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Novels for Students PDF

376 Pages·2008·4.62 MB·English
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National Advisory Board Jennifer Hood:Young Adult/Reference Librarian, Guide in Biography/Memoir for the website Cumberland Public Library, Cumberland, About.com (http://biography.about.com). Au- Rhode Island. Certified teacher, Rhode Island. thor of short stories and book reviews. Re- Member of the New England Library Associ- ceived B.A., M.A. (anthropology), and M.L.S. ation, Rhode Island Library Association, and from Rutgers University. the Rhode Island Educational Media Associa- Heidi Stohs: Instructor in Language Arts, grades tion. 10-12, Solomon High School, Solomon, Christopher Maloney:Head Reference Librarian, Kansas. Received B.S. from Kansas State Ocean City Free Public Library, Ocean City, University; M.A. from Fort Hays State Uni- New Jersey. Member of the American Library versity. Association and the New Jersey Library As- sociation. Board member of the South Jersey Barbara Wencl: Library Media Specialist, Library Cooperative. Como Park Senior High School, St. Paul, Minnesota. Teacher of secondary social Kathleen Preston: Head of Reference, New City studies and history, St. Paul, Minnesota. Library, New City, New York. Member of the Received B.S. and M.Ed. from University of American Library Association. Received B.A. Minnesota; received media certification and M.L.S. from University of Albany. from University of Wisconsin. Educator and Patricia Sarles: Library Media Specialist, Canar- media specialist with over 30 years experi- sie High School, Brooklyn, New York. Expert ence. Novels for Students Staff Copyright Notice Editor:Elizabeth Thomason. Since this page cannot legibly accommodate all copyright Contributing Editors:Anne Marie Hacht, Michael L. notices, the acknowledgments constitute an extension of the LaBlanc, Ira Mark Milne, Jennifer Smith, Carol Ullmann. copyright notice. Managing Editor, Content:Dwayne D. Hayes. While every effort has been made to secure permission to Managing Editor, Product:David Galens. reprint material and to ensure the reliability of the information presented in this publication, Gale Research neither guarantees Publisher, Literature Product:Mark Scott. the accuracy of the data contained herein nor assumes any re- Literature Content Capture:Joyce Nakamura, Managing sponsibility for errors, omissions, or discrepancies. Gale accepts Editor. Sara Constantakis, Editor. no payment for listing; and inclusion in the publication of any Research:Victoria B. Cariappa, Research Manager. Sarah organization, agency, institution, publication, service, or indi- Genik, Ron Morelli, Tamara Nott, Tracie A. Richardson, vidual does not imply endorsement of the editors or publisher. Research Associates. Nicodemus Ford, Research Assistant. Errors brought to the attention of the publisher and verified to Permissions:Maria Franklin, Permissions Manager. Kim the satisfaction of the publisher will be corrected in future edi- Davis, Permissions Associate. tions. Manufacturing:Mary Beth Trimper, Manager, Composition This publication is a creative work fully protected by all and Electronic Prepress. Evi Seoud, Assistant Manager, applicable copyright laws, as well as by misappropriation, trade Composition Purchasing and Electronic Prepress. Stacy secret, unfair competition, and other applicable laws. The au- Melson, Buyer. thors and editors of this work have added value to the underly- Imaging and Multimedia Content Team:Barbara Yarrow, ing factual material herein through one or more of the follow- Manager. Randy Bassett, Imaging Supervisor. Robert ing: unique and original selection, coordination, expression, Duncan, Dan Newell, Luke Rademacher, Imaging Specialists. arrangement, and classification of the information. All rights to Pamela A. Reed, Imaging Coordinator. Leitha Etheridge- this publication will be vigorously defended. Sims, Mary Grimes, David G. Oblender, Image Catalogers. Robyn V. Young, Project Manager. Dean Dauphinais, Senior Image Editor. Kelly A. Quin, Image Editor. Copyright © 2002 Gale Group Product Design Team:Pamela A. E. Galbreath, Senior Art 27500 Drake Rd. Director. Michael Logusz, Graphic Artist. Farmington Hills, MI 48331-3535 All rights reserved including the right of reproduction in whole or in part in any form. ISBN 0-7876-4896-5 ISSN 1094-3552 Printed in the United States of America. 10 9 8 7 6 5 4 3 2 1 i v N o v e l s f o r S t u d e n t s Table of Contents Guest Foreword “The Informed Dialogue: Interacting with Literature” by Anne Devereaux Jordan . . . .ix Introduction . . . . . . . . . . . . . . . . . . . . . . .xi Literary Chronology . . . . . . . . . . . . . . . .xv Acknowledgments . . . . . . . . . . . . . . . .xvii Contributors . . . . . . . . . . . . . . . . . . . . . .xix Absalom, Absalom! (by William Faulkner) . . . . . . . . . . . . . . . . . . .1 Author Biography . . . . . . . . . . . . . . . . . . . .2 Plot Summary . . . . . . . . . . . . . . . . . . . . . .3 Characters . . . . . . . . . . . . . . . . . . . . . . . . .4 Themes . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Historical Context . . . . . . . . . . . . . . . . . . . .9 Critical Overview . . . . . . . . . . . . . . . . . . .11 Criticism . . . . . . . . . . . . . . . . . . . . . . . . .13 All the King’s Men (by Robert Penn Warren) . . . . . . . . . . . . . . . .27 Author Biography . . . . . . . . . . . . . . . . . . .28 Plot Summary . . . . . . . . . . . . . . . . . . . . . .28 Characters . . . . . . . . . . . . . . . . . . . . . . . .31 Themes . . . . . . . . . . . . . . . . . . . . . . . . . .35 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Historical Context . . . . . . . . . . . . . . . . . . .37 Critical Overview . . . . . . . . . . . . . . . . . . .40 Criticism . . . . . . . . . . . . . . . . . . . . . . . . .41 V o l u m e 1 3 v T a b l e o f C o n t e n t s Brideshead Revisited Nectar in a Sieve (by Evelyn Waugh) . . . . . . . . . . . . . . . . . . . .54 (by Kamala Markandaya) . . . . . . . . . . . . . . .170 Author Biography . . . . . . . . . . . . . . . . . . .55 Author Biography . . . . . . . . . . . . . . . . . .170 Plot Summary . . . . . . . . . . . . . . . . . . . . . .56 Plot Summary . . . . . . . . . . . . . . . . . . . . .171 Characters . . . . . . . . . . . . . . . . . . . . . . . .58 Characters . . . . . . . . . . . . . . . . . . . . . . .172 Themes . . . . . . . . . . . . . . . . . . . . . . . . . .62 Themes . . . . . . . . . . . . . . . . . . . . . . . . .174 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .175 Historical Context . . . . . . . . . . . . . . . . . . .66 Historical Context . . . . . . . . . . . . . . . . . .176 Critical Overview . . . . . . . . . . . . . . . . . . .67 Critical Overview . . . . . . . . . . . . . . . . . .177 Criticism . . . . . . . . . . . . . . . . . . . . . . . . .69 Criticism . . . . . . . . . . . . . . . . . . . . . . . .178 The Death of the Heart The Optimist’s Daughter (by Elizabeth Bowen) . . . . . . . . . . . . . . . . . .80 (by Eudora Welty) . . . . . . . . . . . . . . . . . . . .192 Author Biography . . . . . . . . . . . . . . . . . . .81 Author Biography . . . . . . . . . . . . . . . . . .193 Plot Summary . . . . . . . . . . . . . . . . . . . . .193 Plot Summary . . . . . . . . . . . . . . . . . . . . . .81 Characters . . . . . . . . . . . . . . . . . . . . . . .194 Characters . . . . . . . . . . . . . . . . . . . . . . . .83 Themes . . . . . . . . . . . . . . . . . . . . . . . . .197 Themes . . . . . . . . . . . . . . . . . . . . . . . . . .86 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .198 Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .88 Historical Context . . . . . . . . . . . . . . . . . .199 Historical Context . . . . . . . . . . . . . . . . . . .89 Critical Overview . . . . . . . . . . . . . . . . . .200 Critical Overview . . . . . . . . . . . . . . . . . . .91 Criticism . . . . . . . . . . . . . . . . . . . . . . . .201 Criticism . . . . . . . . . . . . . . . . . . . . . . . . .92 The Remains of the Day The Kitchen God’s Wife (by Amy Tan) 99 (by Kazuo Ishiguro) . . . . . . . . . . . . . . . . . .212 Author Biography . . . . . . . . . . . . . . . . . .100 Author Biography . . . . . . . . . . . . . . . . . .212 Plot Summary . . . . . . . . . . . . . . . . . . . . .100 Plot Summary . . . . . . . . . . . . . . . . . . . . .213 Characters . . . . . . . . . . . . . . . . . . . . . . .102 Characters . . . . . . . . . . . . . . . . . . . . . . .214 Themes . . . . . . . . . . . . . . . . . . . . . . . . .104 Themes . . . . . . . . . . . . . . . . . . . . . . . . .216 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .106 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .217 Historical Context . . . . . . . . . . . . . . . . . .107 Historical Context . . . . . . . . . . . . . . . . . .218 Critical Overview . . . . . . . . . . . . . . . . . .109 Critical Overview . . . . . . . . . . . . . . . . . .220 Criticism . . . . . . . . . . . . . . . . . . . . . . . .111 Criticism . . . . . . . . . . . . . . . . . . . . . . . .221 The Member of the Wedding Snow Falling on Cedars (by Carson McCullers) . . . . . . . . . . . . . . . .122 (by David Guterson) . . . . . . . . . . . . . . . . . .237 Author Biography . . . . . . . . . . . . . . . . . .123 Author Biography . . . . . . . . . . . . . . . . . .238 Plot Summary . . . . . . . . . . . . . . . . . . . . .123 Plot Summary . . . . . . . . . . . . . . . . . . . . .238 Characters . . . . . . . . . . . . . . . . . . . . . . .124 Characters . . . . . . . . . . . . . . . . . . . . . . .239 Themes . . . . . . . . . . . . . . . . . . . . . . . . .126 Themes . . . . . . . . . . . . . . . . . . . . . . . . .242 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .127 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .244 Historical Context . . . . . . . . . . . . . . . . . .128 Historical Context . . . . . . . . . . . . . . . . . .245 Critical Overview . . . . . . . . . . . . . . . . . .130 Critical Overview . . . . . . . . . . . . . . . . . .246 Criticism . . . . . . . . . . . . . . . . . . . . . . . .131 Criticism . . . . . . . . . . . . . . . . . . . . . . . .247 Moll Flanders (by Daniel Defoe) . . . . . .145 Surfacing (by Margaret Atwood) . . . . . . .254 Author Biography . . . . . . . . . . . . . . . . . .145 Author Biography . . . . . . . . . . . . . . . . . .254 Plot Summary . . . . . . . . . . . . . . . . . . . . .146 Plot Summary . . . . . . . . . . . . . . . . . . . . .255 Characters . . . . . . . . . . . . . . . . . . . . . . .148 Characters . . . . . . . . . . . . . . . . . . . . . . .257 Themes . . . . . . . . . . . . . . . . . . . . . . . . .151 Themes . . . . . . . . . . . . . . . . . . . . . . . . .259 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .153 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .260 Historical Context . . . . . . . . . . . . . . . . . .154 Historical Context . . . . . . . . . . . . . . . . . .261 Critical Overview . . . . . . . . . . . . . . . . . .155 Critical Overview . . . . . . . . . . . . . . . . . .262 Criticism . . . . . . . . . . . . . . . . . . . . . . . .157 Criticism . . . . . . . . . . . . . . . . . . . . . . . .264 v i N o v e l s f o r S t u d e n t s T a b l e o f C o n t e n t s The Sweet Hereafter The Wonderful Wizard of Oz (by Russell Banks) . . . . . . . . . . . . . . . . . . .267 (by L. Frank Baum) . . . . . . . . . . . . . . . . . . .309 Author Biography . . . . . . . . . . . . . . . . . .267 Author Biography . . . . . . . . . . . . . . . . . .310 Plot Summary . . . . . . . . . . . . . . . . . . . . .268 Plot Summary . . . . . . . . . . . . . . . . . . . . .310 Characters . . . . . . . . . . . . . . . . . . . . . . .270 Characters . . . . . . . . . . . . . . . . . . . . . . .311 Themes . . . . . . . . . . . . . . . . . . . . . . . . .273 Themes . . . . . . . . . . . . . . . . . . . . . . . . .314 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .274 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .316 Historical Context . . . . . . . . . . . . . . . . . .275 Historical Context . . . . . . . . . . . . . . . . . .316 Critical Overview . . . . . . . . . . . . . . . . . .276 Criticism . . . . . . . . . . . . . . . . . . . . . . . .277 Critical Overview . . . . . . . . . . . . . . . . . .318 Criticism . . . . . . . . . . . . . . . . . . . . . . . .319 Vanity Fair (by William Thackeray) . . . . . . . . . . . . . . . .284 Glossary of Literary Terms . . . . . . . .333 Author Biography . . . . . . . . . . . . . . . . . .285 Plot Summary . . . . . . . . . . . . . . . . . . . . .285 Cumulative Author/Title Index . . . .345 Characters . . . . . . . . . . . . . . . . . . . . . . .288 Themes . . . . . . . . . . . . . . . . . . . . . . . . .292 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .293 Cumulative Nationality/ Historical Context . . . . . . . . . . . . . . . . . .295 Ethnicity Index . . . . . . . . . . . . . . . . . . .351 Critical Overview . . . . . . . . . . . . . . . . . .296 Criticism . . . . . . . . . . . . . . . . . . . . . . . .297 Subject/Theme Index . . . . . . . . . . . . . .355 V o l u m e 1 3 v i i The Informed Dialogue: Interacting with Literature When we pick up a book, we usually do so ”Hurray, hurray,” cried the funny little clown and all with the anticipation of pleasure. We hope that by the dolls and toys. “The good little boys and girls in the city will be happy because you helped us, kind, entering the time and place of the novel and shar- Little Blue Engine.” ing the thoughts and actions of the characters, we will find enjoyment. Unfortunately, this is often not In picture books, messages are often blatant the case; we are disappointed. But we should ask, and simple, the dialogue between the author and has the author failed us, or have we failed the au- reader one-sided. Young children are concerned with the end result of a book—the enjoyment thor? gained, the lesson learned—rather than with how We establish a dialogue with the author, the that result was obtained. As we grow older and read book, and with ourselves when we read. Con- further, however, we question more. We come to sciously and unconsciously, we ask questions: expect that the world within the book will closely “Why did the author write this book?” “Why did mirror the concerns of our world, and that the au- the author choose that time, place, or character?” thor will show these through the events, descrip- “How did the author achieve that effect?” “Why tions, and conversations within the story, rather did the character act that way?” “Would I act in the than telling of them. We are now expected to do the interpreting, carry on our share of the dialogue same way?” The answers we receive depend upon with the book and author, and glean not only the how much information about literature in general author’s message, but comprehend how that mes- and about that book specifically we ourselves bring sage and the overall affect of the book were to our reading. achieved. Sometimes, however, we need help to Young children have limited life and literary do these things. Novels for Students provides that experiences. Being young, children frequently do help. not know how to go about exploring a book, nor A novel is made up of many parts interacting sometimes, even know the questions to ask of a to create a coherent whole. In reading a novel, the book. The books they read help them answer ques- more obvious features can be easily spotted— tions, the author often coming right out and telling theme, characters, plot—but we may overlook the young readers the things they are learning or are more subtle elements that greatly influence how the expected to learn. The perennial classic, The Little novel is perceived by the reader: viewpoint, mood Engine That Could, tells its readers that, among and tone, symbolism, or the use of humor. By fo- other things, it is good to help others and brings cusing on both the obvious and more subtle liter- happiness: ary elements within a novel, Novels for Students i x F o r e w o r d aids readers in both analyzing for message and in it is important to know that Harper Lee, author of determining how and why that message is com- To Kill a Mockingbird, was born and raised in Mon- municated. In the discussion on Harper Lee’s To roeville, Alabama, and that her father was a lawyer. Kill a Mockingbird (Vol. 2), for example, the Readers can now see why she chose the south as a mockingbird as a symbol of innocence is dealt with, setting for her novel—it is the place with which she among other things, as is the importance of Lee’s was most familiar—and start to comprehend her use of humor which “enlivens a serious plot, adds characters and their actions. depth to the characterization, and creates a sense Novels for Students helps readers find the an- of familiarity and universality.” The reader comes swers they seek when they establish a dialogue with to understand the internal elements of each novel a particular novel. It also aids in the posing of ques- discussed—as well as the external influences that tions by providing the opinions and interpretations help shape it. of various critics and reviewers, broadening that di- “The desire to write greatly,” Harold Bloom of alogue. Some reviewers of To Kill A Mockingbird, Yale University says, “is the desire to be elsewhere, for example, “faulted the novel’s climax as melo- in a time and place of one’s own, in an originality dramatic.” This statement leads readers to ask, “Is that must compound with inheritance, with an anx- it, indeed, melodramatic?” “If not, why did some iety of influence.” A writer seeks to create a unique reviewers see it as such?” “If it is, why did Lee world within a story, but although it is unique, it is choose to make it melodramatic?” “Is melodrama not disconnected from our own world. It speaks to ever justified?” By being spurred to ask these ques- usbecauseof what the writer brings to the writing tions, readers not only learn more about the book from our world: how he or she was raised and ed- and its writer, but about the nature of writing itself. ucated; his or her likes and dislikes; the events oc- The literature included for discussion in Nov- curring in the real world at the time of the writing, els for Students has been chosen because it has and while the author was growing up. When we something vital to say to us. Of Mice and Men, know what an author has brought to his or her work, Catch-22, The Joy Luck Club, My Antonia, A Sep- we gain a greater insight into both the “originality” arate Peaceand the other novels here speak of life (the world of the book), and the things that “com- and modern sensibility. In addition to their indi- pound” it. This insight enables us to question that vidual, specific messages of prejudice, power, love created world and find answers more readily. By or hate, living and dying, however, they and all informing ourselves, we are able to establish a more great literature also share a common intent. They effective dialogue with both book and author. force us to think—about life, literature, and about Novels for Students,in addition to providing a others, not just about ourselves. They pry us from plot summary and descriptive list of characters— the narrow confines of our minds and thrust us out- to remind readers of what they have read—also ex- ward to confront the world of books and the larger, plores the external influences that shaped each real world we all share. Novels for Students helps book. Each entry includes a discussion of the au- us in this confrontation by providing the means of thor’s background, and the historical context in enriching our conversation with literature and the which the novel was written. It is vital to know, for world, by creating an informed dialogue, one that instance, that when Ray Bradbury was writing brings true pleasure to the personal act of reading. Fahrenheit 451 (Vol. 1), the threat of Nazi domi- nation had recently ended in Europe, and the Mc- Sources Carthy hearings were taking place in Washington, Harold Bloom, The Western Canon, The Books and School D.C. This information goes far in answering the of the Ages,Riverhead Books, 1994. question, “Why did he write a story of oppressive Watty Piper, The Little Engine That Could,Platt & Munk, government control and book burning?” Similarly, 1930. Anne Devereaux Jordan Senior Editor, TALL (Teaching and Learning Literature) x N o v e l s f o r S t u d e n t s

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Jennifer Hood: Young Adult/Reference Librarian,. Cumberland Minnesota; received media certification on Evelyn Waugh's novel, photograph.
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