Looking at literature : 12 short stories, a play, and a novel / 1st ed.

Contents
Intent and/or Tone Contents
Foreword
Preface
RIPE FIGS A Sample Lesson 1
Kate Chopin Ripe Figs
CHAPTER 1 Characters and Conflicts
Kate Chopin The Kiss
Kate Chopin presents an interesting play between female wiles and male determination in this spirited tale.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"The Kiss"
Journal
Follow-up Questions
Discussion Questions
Writing
Anita Endrezze Marlene's Adventure
Marlene finds her real adventure within herself in this poignant story.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"Marlene's Adventure"
Journal
Follow-up Questions
Discussion Questions
Writing
Saki Tobermory
Characters fail to see the forest and only focus on the trees in this satire of proper society.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"Tobermory"
Journal
Follow-up Questions
Discussion Questions
Writing
CHAPTER 2 Setting and Props
Joseph Bruchac Bone Girl
There are morals in these eerie ghost stories.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"Bone Girl"
Journal
Follow-up Questions
Discussion Questions
Writing
Mark Twain Strong Temptations; Strategic Movements; The
Innocents Beguiled
Told with humor and irony, this is the classic tale of Tom Sawyer painting the fence.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"Strong Temptations; Strategic Movements; The
Innocents Beguiled"
Journal
Follow-up Questions
Discussion Questions
Writing
Edgar Allan Poe The Cask of Amontillado
Edgar Allan Poe walks the reader through the homicidal mind in this classic story of revenge wherein darkness increases
with the subterranean descent.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"The Cask of Amontillado"
Journal
Follow-up Questions
Discussion Questions
Writing
CHAPTER 3 Plot and Foreshadowing
Kate Chopin The Story of an Hour
Kate Chopin turns marital assumptions upside down as events swirl.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"The Story of an Hour"
Journal
Follow-up Questions
Discussion Questions
Writing
Arthur Conan Doyle The Adventure of the Speckled Band
In this classic mystery story, the inimitable Sherlock Holmes is at his deductive best.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"The Adventure of the Speckled Band"
Journal
Follow-up Questions
Discussion Questions
Writing
Nathaniel Hawthorne Dr. Heidegger's Experiment
In this tale set amid dark and ominous surroundings, Nathaniel Hawthorne questions change with light humor, ironic
twists, and even a touch of cynicism.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"Dr. Heidegger's Experiment"
Journal
Follow-up Questions
Discussion Questions
Writing
CHAPTER 4 Irony
O. Henry The Ransom of Red Chief
Written in a simpler time and with continuing humor, O. Henry turns the tables.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"The Ransom of Red Chief"
Journal
Follow-up Questions
Discussion Questions
Writing
Zora Neale Hurston Sweat
Zora Neale Hurston's ever surviving female realizes ultimate justic.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"Sweat"
Journal
Follow-up Questions
Discussion Questions
Writing
Herman Melville The Bell-Tower
In this powerful tale written long before modern machinery, Herman Melville exposes a man's self-glorifying pride in
his our resourcefulness.
Pre-reading Vocabulary-Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"The Bell-Tower"
Journal
Follow-up Questions
Discussion Questions
Writing
CHAPTER 5 The Play
Kate Chopin An Embarrassing Position
In this delightful waltz between feminine wiles and male determination, Kate Chopin poses many
questions.
Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
"An Embarrassing Position"
Journal
Follow-up Questions
Discussion Questions
Writing
CHAPTER 6 The Novel
Agatha Christie The Body in the Library
Miss Jane Marple is at her best in solving this complicated and utterly intriguing murder mystery.
Chapter 1 Pre-reading Vocabulary; Context xxx
Pre-reading Vocabulary; Structural Attack xxx
Pre-reading Questions xxx
Chapter 1 xxx
Journal xxx
Follow-up Questions xxx
Discussion Questions xxx
Chapter 2 Pre-reading Vocabulary; Context xxx, Pre-reading Vocabulary; Structural Attack
xxx, Pre-reading Questions xxx, Chapter 2 xxx, Journal xxx, Follow-up Questions
xxx, Discussion Questions xxx
Chapter 3 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 3
Journal
Follow-up Questions
Discussion Questions
Chapter 4 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 4
Journal
Follow-up Questions
Discussion Questions
Chapter 5 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 5
Journal
Follow-up Questions
Discussion Questions
Chapters 1-5 Journal; Chapters 1-5
Follow-up Questions; Chapters 1-5
Discussion Questions; Chapters 1-5
Writing
Chapter 6 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 6
Journal
Follow-up Questions
Discussion Questions
Chapter 7 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 7
Journal
Follow-up Questions
Discussion Questions
Chapter 8 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 8
Journal
Follow-up Questions
Discussion Questions
Chapter 9 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 9
Journal
Follow-up Questions
Discussion Questions
Chapter 10 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 10
Journal
Follow-up Questions
Discussion Questions
Chapters 6-10 Journal; Chapters 6-10
Follow-up Questions; Chapters 6-10
Discussion Questions; Chapters 6-10
Writing
Chapter 11 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 11
Journal
Follow-up Questions
Discussion Questions
Chapter 12 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 12
Journal
Follow-up Questions
Discussion Questions
Chapter 13 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 13
Journal
Follow-up Questions
Discussion Questions
Chapters 11-13 Journal; Chapters 11-13
Follow-up Questions; Chapters 11-13
Discussion Questions; Chapters 11-13
Writing
Chapter 14 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 14
Journal
Follow-up Questions
Discussion Questions
Chapter 15 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 15
Journal
Follow-up Questions
Discussion Questions

Chapter 16 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 16
Journal
Follow-up Questions
Discussion Questions
Chapter 17 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 17
Journal
Follow-up Questions
Discussion Questions
Chapters 14-17 Journal; Chapters 14-17
Follow-up Questions; Chapters 14-17
Discussion Questions; Chapters 14-17
Writing
Chapter 18 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 18
Journal
Follow-up Questions
Discussion Questions
Chapter 19 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 19
Journal
Follow-up Questions
Discussion Questions
Chapter 20 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 20
Journal
Follow-up Questions
Discussion Questions

Chapter 21 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 21
Journal
Follow-up Questions
Discussion Questions
Chapter 22 Pre-reading Vocabulary; Context
Pre-reading Vocabulary; Structural Attack
Pre-reading Questions
Chapter 22
Journal
Follow-up Questions
Discussion Questions
Chapters 18-22 Journal; Chapters 18-22
Follow-up Questions; Chapters 18-22
Discussion Questions; Chapters 18-22
Writing
The Body in the Library Journal; The Novel
Follow-up Questions; The Novel
Discussion Questions; The Novel
Writing
Appendix
Glossary of Prefixes and Suffixes
Credits
Index

Intent and/or Tone
Contents
Here is a general listing of contents by themes, although most of these works do not easily
fit one category or another. For example, Twain's story of Tom Sawyer painting the fence can as
easily be placed in Irony, Triumph of the Spirit, Social Commentary, or Humor.
TRIUMPH OF THE SPIRIT
These tales inspire and offer insight into the human condition.
Anita Endrezze Marlene's Adventure
Arthur Conan Doyle The Adventure of the Speckled Band
Zora Neale Hurston Sweat
HUMOR
These tales tickle the reader's funny bone.
Mark Twain Strong Temptations; Strategic Movements; The Innocents
Beguiled
O. Henry The Ransom of Red Chief
IRONY
These tales come with unexpected twists.
Kate Chopin The Story of an Hour
Nathaniel Hawthorne Dr. Heidegger's Experiment
Herman Melville The Bell-Tower
SOCIAL COMMENTARY
These tales examine social and/or cultural issues.
Kate Chopin The Kiss
H. H. Munro Tobermory
Kate Chopin An Embarrassing Position
MYSTERIOUS
These tales visit mysterious events and/or dark behaviors.
Joseph Bruchac Bone Girl
Edgar Allan Poe The Cask of Amontillado
Agatha Christie The Body in the Library
Foreword
Looking at Literature has been a natural extension of my other books and has been
absolutely a joy to prepare. Many classic and favorite stories, a terse and playful drama by Kate
Chopin, and Miss Jane Marple and Sherlock Holmes wandering around in the same book; what
fun! What a wonderful journey developing this book has been.
My journey started with American 24-Karat Gold, which grew out of necessity. While
simultaneously teaching World Literature, Freshman Composition, and Developmental English, I
looked for a collection of American short stories to conclude World Literature in New World short
story genre, that would also serve for prompts in writing and might attempt to answer the question:
"But what do they read in Reading?" For the most part, all I found were ponderous tomes for 300
level courses, or monographs (all Hawthorne, all Poe, etc.), or esoteric collections of obscure
writers. Noting this need, I developed American 24-Karat Gold, and it became as an immediate
success. From the beginning, the intention has been to offer collections that are high on content
and pedagogy, but low on price. Every sentence, every phrase, every word is most carefully and
purposely weighed to ensure maximum productivity in teacher and student friendly materials.
With 24-Karat on its way, we decided to develop a collection of short stories from around
the world, and this resulted in A World of Short Stories. Like 24-Karat, World is now traveling
around the world teaching students to read and write in English. At your request, we then decided to
do a collection of the more accessible stories and Sterling Stories will be released at the same time
as this book. When I say "we," I am referring to my wonderful editors; Steven Rigolosi who
started with me and Susan Kunchandy who continues with me; who have been absolutely fabulous
and have made the arduous and complex task of producing a book absolutely a joy.
So that brings us to Looking at Literature. Short stories now combine with a play and a
Miss Marple mystery novel, intending to offer you even more options.
Of course, in the process there are so many who help. First, I deeply thank Lucille Alfieri,
Betty Altruda, Jim Bernarducci, Debby Brady, Santi Buscemi, Wilson Class, Gert Coleman, Jamie
Daley, Sallie DelVecchio, Leah Ghiradella, Evelyn and Kristin Honey, Vernie Jarocki, Jim Keller,
Angela Lugo, Ben Marshall, JoAnne McWilliams, Albert Nicolai, Renee Price, Helena Swanicke,
Shirley Wachtel, Nancy Zavoluk, and Dan Zimmerman; dear friends and colleagues at
Middlesex; for their ever-ready interest, guidance, and patience. Next, I deeply thank Andre Gittens,
Dennis Cutburth, and Liz Oliu, librarians at Middlesex who always find the impossible for me. I
also deeply thank Bernie Weinstein, Dan O'Day, Eileen Kennedy, Bill Evans, Howard Didsbury,
and Carla Lord; my mentors who continually inspire me. Very special thanks go to all the students
who have field-tested these books and who continue to teach me what does and what does not work.
Extraordinary thanks go to Susan for believing in my books.
Special thanks also go to my mom, Margaret, and to my sisters, Michelle, Dodee, and
Alice, who always adjust to my I've-got-to-get-this-done days. Really special thanks go to my
brother-in-law, John, whose illustrations light my books. Super thanks go to my husband,
George, who now asks where; not when; dinner is. And super, super thanks go to my beautiful
children. Thank you, daughter-in/law Jess, for advising me in Latin American literature. Thank
you, son-in-law Dave; who just recently married Laura in a fabulous wedding at Disney's Grand
Floridian; well, we all thank you for my many technical tantrums you have solved. Thank you,
Teddy, for your illustrations, your infectious laugh, and your patient technical help. And thank you,
Laura, for your radiant and boundless enthusiasm that ever lights my life.
And thank you, deeply, for choosing this book; I truly, truly hope you enjoy using this
book as much as I have enjoyed developing it.

; Yvonne Collioud Sisko
Old Bridge, New Jersey
Preface
To the Student
It seems that human beings have always loved a good story. In fact, anthropologists tell
us that story telling has been used to teach rules and ideas for centuries.
This book is filled with good stories, or narratives or narrations, from some of
post/Columbian America's greatest story tellers. Read these stories to gain knowledge
about past and present American attitudes. Read them to gain knowledge about yourself,
for a good story always offers us some information about ourselves. But most of all, read
these stories to enjoy them. Stories have a way of taking us into new worlds, offering
universals (feelings we all can understand).
However, the stories in this book are designed to do more than just expose you to each
story itself. Each story in Looking at Literature Gold is surrounded with exercises that will
help you better understand each story. Each story includes:
- Vocabulary Exercises; Vocabulary exercises help you define the words you need to
know for the story, before you even read it.
- Questions; Questions help guide you through the story.
- Biography; A biography of the story's author provides you information about the
author's style and other works.
- Journal; After reading, you can record and organize your thoughts about the story in
a journal.
- Follow-up Questions; You can demonstrate what you've learned about the story in
follow-up questions.
- Writing Ideas; Writing ideas help guide your own writing.
To better understand how this book works, turn to the Sample Lesson on page 1, and work
your way through it. You'll find that you will be actively participating in this book, which
will make understanding and appreciating the stories easier and more rewarding for you.
Welcome to Looking at Literature! Read this book, study it, and; most of all; enjoy it.
To the Teacher
The greatest assets of Looking at Literature are its participatory lessons and the
many options these lessons offer you. Certainly, the literature is the core of this book, but
the pedagogical materials that surround every story require students to actively
participate in every story. Simultaneously, these materials offer a choice of multiple,
administratively efficient diagnostic and assessment tools. Each story is a self-contained
lesson, and all the stories are consistently formatted, thereby offering students clear
expectations and offering you multiple options.
Sample Lesson
Looking at Literature starts out with an applied Sample Lesson. The Sample Lesson
can be used in class, or it can be assigned as homework. Written in simple and
accessible language, this introductory lesson walks students through the basic story
format, using Kate Chopin's "Ripe Figs." This lesson, as all lessons, opens with Pre-
Reading Vocabulary; Context and Pre-Reading Vocabulary; Word Attack to help
students define important words used in the story. Pre-Reading Questions set purpose,
and an author biography supplies relevant background information.
After reading "Ripe Figs," students learn notation strategies that they can then apply to
the subsequent readings. With the story completed, students move on to the Journal
exercises, which are comprehensive and participatory studies of the story. The Sample
Lesson explains the tasks in each Journal section, offers sample answers to get students
started, and introduces relevant literary terminology.
With the Journal completed, students now have an active, working understanding of "Ripe
Figs." They can then move on to three sets of Follow-up Questions. These questions
consistently use multiple assessment formats: (1) ten multiple-choice questions
objectively assessing comprehension, (2) five significant quotations subjectively
assessing comprehension; and (3) two essay questions subjectively assessing
comprehension. Each story ends with Writing suggestions. In the Sample Lesson,
students are introduced to pre-writing and outlining strategies. In subsequent stories,
students will find multiple writing prompts.
I suggest that you work through the Sample Lesson in class for it is here that you will find
the dynamics and possibilities of this book encapsulated.
Chapter Structure
The stories in Looking at Literature are arranged into five topical chapters, based on
and reinforcing the literary terminology the student has already encountered in the
Sample Lesson. While all stories contain combinations of these terms and/or elements,
each of the chapters focuses on a specific term(s) and/or element(s) by beginning with a
restatement of the term(s) and then by presenting the stories that have been specifically
chosen to demonstrate the term(s) and/or element(s). Chapter 1 focuses on characters
and conflicts, Chapter 2 focuses on setting and props, Chapter 3 focuses on plot and
foreshadowing, and Chapter 4 focuses on irony. Chapter 5 focuses on symbolism, but
Chapter 5 is different from the other chapters. The more complex stories in Chapter 5
bring together all that students have learned in earlier chapters and are intended to
challenge advanced students.
Within each chapter, you have many options:
1. You can assign these chapters in any order.
2. You can also assign the stories within each chapter in any order.
Generally, the stories within each chapter progress from more accessible to more
difficult; but the strengths of each class vary, and what may seem more accessible to one
group may be more difficult for another.
3. You can assign all the stories in a chapter or any number you prefer.
4. You can ignore all these suggestions and assign any story at your
discretion.
5. You can use one of the alternative tables of contents. Selecting from the
Intent and/or Tone Contents can make for interesting study. The Chronological Contents
offers an historical perspective for more thematic or sophisticated study, wherein the
stories move, generally, from Puritan moral and supernatural concerns to laic human
affairs and, with Jackson and O'Connor, back to moral concerns. In this context,
students visit the Mississippi with Twain, the Civil War with Bierce, the suburban
movement with Thurber, the disillusionment after World War I with the modernists, and
discrimination and/or cultural concerns with contemporary writers.
Story Structure
Each story in Looking at Literature Gold is set amid carefully designed teaching materials,
and because the format is consistent, you will be able to find material easily. These
materials were discussed generally in the overview of the Sample Lesson above, but here
we look at the materials more closely.
Pre-Reading Materials
Each story selection begins with pre-reading materials. The pre-reading materials
prepare students for reading stories while offering you insights into their vocabulary
mastery and study habits.
Pre-Reading Vocabulary; Context presents words that are crucial to understanding the
story. These words have been chosen to make the story accessible to students and may
or may not be the most sophisticated words in the story. For more sophisticated study, all
potentially troublesome words in any given story are presented in the Instructor's
Manual, where you will find words listed in the order in which they appear in the story so
that you can easily locate them and identify them for students in the story's text.
Pre-Reading Vocabulary; Word Attack offers structural analysis exercises. These words
were chosen not for their sophistication, but because they help students apply structural
analysis skills. Thus, before students start the story, they have defined at least 20 words
in context and 10 to 30 words by structural analysis. The need for distracting glossed
words and marginal definitions is thereby eliminated, because students are well prepared
by the pre-reading vocabulary to attack the story.
Third, Pre-Reading Questions offer food for thought as students enter the story. The
author's Biography offers not only biographical background, but also additional
information about the author's other works.
Journal
After students have read and annotated the story, the Journal then draws them into active
reflection and participation.
- MLA Works Cited; Students record the story in MLA Works Cited entry format,
using the generic model provided.
- Main Characters(s); Students separate, describe, and defend the character(s) they
have selected as main character(s) (applying and reinforcing the separation of main
ideas from supporting details).
- Supporting Characters; Students separate, describe, and defend the characters they
have selected as supporting characters (applying and reinforcing the separation of
main ideas from supporting details).
- Setting; Students describe and decide if they can change the setting (applying and
reinforcing inference skills).
- Sequence; Students outline the story's events in order (applying and reinforcing
sequencing and outlining skills).
- Plot; Students summarize the story's events in no more than three sentences
(applying and reinforcing the separation of main ideas from supporting details, as
well as summary skills).
- Conflicts; Students identify and explain the relevant conflicts (applying and
reinforcing inference and judgment skills).
- Significant Quotations; Students explain the importance of quotations that are
central to the story (applying and reinforcing inference skills).
- Foreshadowing, irony, or symbolism; There may be a section to discuss
foreshadowing, irony, or symbolism. Students explain foreshadowing, irony, or
symbolism (applying and reinforcing inference and judgment skills).
The Journal is a comprehensive cognitive workout for students. In the Journal, students
reflect on the story, sort out the details, and organize the story's components while
applying and/or reinforcing the comprehension skills noted above. You can collect any
part or all of the Journal to check on student progress. The wealth of diagnostic
information in the Journal will enable you to spot misunderstandings, illogical thinking,
and so forth, that may compromise comprehension. Requiring a completed Journal for
classroom participation also assures you of students prepared to discuss the story.
Follow-up Questions
The Journal is followed by three follow-up question formats. The Follow-up Questions are
designed for assessment, but can also be used for small-group or class discussion. All of
these questions are intended to measure comprehension; they purposely avoid literary
controversy.
- 10 Short Questions offers ten multiple-choice questions.
- 5 Significant Quotations asks students to explain the importance of five quotations
that are always central to the story and usually different from the five quotations in
the Journal.
- 2 Comprehensive Essay Questions provides two essay prompts.
The Follow-up Questions offer you multiple, efficient assessment options. You may
decide to use some questions for discussion or some for testing. If you are trying to
establish standardization, the section of 10 Short Questions is applicable for
standardization, measuring comprehension efficiently by psychometrically employing 10
questions with 3 choices each (only 6 are needed for accurate measurement).
Writing Prompts
Each story concludes with options for Writing. Here, two prompts for personal writing are
included. Then, under Further Writing, you will find prompts for more advanced,
research-oriented writing. These prompts may be literary (compare and contrast this
story with another in this book, with another by this author, with one by another author,
and so forth) or topical research suggestions.
Instructor's Manual
The Instructor's Manual (IM) offers valuable resources for teachers. In addition to an
overview of the book's pedagogy, the IM offers additional information on each story.
1. The entry for each story starts with a brief overview and suggestions for
appropriate readers.
2. Next, each entry offers an extensive list of all potentially troublesome
words in the story, assembled with both the native speaker and the ESL student in mind.
Words are listed in the order they appear in the story for easy location.
3. Under plot, each story is condensed to one sentence; you may find these
summaries useful in selecting stories for assignment.
4. Suggested answers to the Journal and Follow-up Questions are provided.
The suggested answers; suggested because these are, after all, literary pursuits and
students answers will vary; set parameters for correctness. The only areas that have
clearly right and/or wrong answers are the MLA Works Cited entry and 10 Short
Questions.
To order a copy of the Instructor's Manual, contact your Longman sales representative
and request ISBN 0-321-08331-8.
Some Final Notes
The materials in Looking at Literature; the context and structural vocabulary
exercises, the journal format, the three assessment options, as well as many of the
writing prompts; have been extensively field-tested by 2,000 students. These field tests
have taken place in one of the most culturally diverse counties in the nation; Middlesex
County, New Jersey. Two results have occurred. First, the story lessons have not only
increased all students' competencies but have also come to serve as a basis for
acculturation discussions with ESL and/or international students. Second, the
pedagogical materials have been streamlined to maximize learning efficacy and to
minimize administrative inefficiency.
It should also be noted that, although copyright restrictions apply, we have elided
offensive words wherever feasible.
Last, but certainly not least, we must address the stories themselves. The richness of the
literature speaks for itself, and the stories have been carefully chosen to present the best
of American short stories by some of America's foremost writers. Increasingly, we are
seeing students who have never heard of O. Henry or Mark Twain, let along Faulkner,
Hurston, or Hughes. This collection sets out to expand the basic literary lexicon of
today's entering student.
Two criteria were used to select the stories in this anthology: first, that the author is a
recognized American writer and, second, that the story is important, accessible, or
interesting. Tom Sawyer painting the fence? It's in here. The irony of O. Henry and the
macabre aura of Poe? They're in here. This is America and America's best.
I sincerely hope you and your students enjoy reading these stories as much as I have
enjoyed discovering them, rediscovering them, and working with them.
; Yvonne Collioud Sisko
Matawan, New Jersey