THE HEATH ANTHOLOGY Do Not Be Afraid To Sing Your Own

The Heart Is a Lonely Hunter (CarsonMcCullers) —3The Lord of the Rings (J. R. R. Tolkien)—5Losing Battle (Eudora Welty)One of Ours (Willa Cather)Henderson the Rain King (Saul Bellow)Lost in the Fun House (John Barth)On the Road (Jack Kerouac) —6Herzog (Saul Bellow)A Lost Lady (Willa Cather)Operation Shylock (Philip Roth)Hopeful Monsters (Nicholas Mosley)The Loved One (Evelyn Waugh)O Pioneers! (Willa Cather) —3The Horse’s Mouth (Joyce Cary)Love Medicine (Louise Erdrich) —6The Optimist’s Daughter (Eudora Welty) —2The House behind the Cedars (CharlesLucky Jim (Kingsley Amis)Oranges Are Not the Only Fruit (JeanetteChesnutt)Lud-in-the-Mist (Hope Mirlees)Winterson)The House of Breath (William Goyen)Main Street (Sinclair Lewis) —2Orlando (Virginia Woolf) —2Housekeeping (Marilynne Robinson) —6Make Way for Lucia (E. F. Benson)The Outsider (Richard Wright)House Made of Dawn (N. Scott Momaday)The Making of Americans (Gertrude Stein)Oxherding Tale (Charles Johnson)The Maltese Falcon (Dashiell Hammett)Pale Fire (Vladimir Nabokov) —6Mama Day (Gloria Naylor) —4Pale Horse, Pale Rider (Katherine—2The House on Mango Street (SandraCisneros) —3The Man in the High Castle (Philip K. Dick)Anne Porter)The House of Mirth (Edith Wharton) —8The Man Who Lived Underground (Wright)Parade’s End (Ford Madox Ford)Howard’s End (E. M. Forster) —4The Man Who Loved ChildrenA Passage to India (E. M. Forster) —8I, Claudius (Robert Graves)(Christina Stead)Passing (Nella Larsen) —2In the Beauty of the Lilies (John Updike)Martha Guest (Doris Lessing)Pilgrimage (Dorothy Richardson)In Cold Blood (Truman Capote) —2Mason & Dixon (Thomas Pynchon)Pincher Martin (William Golding)Indian Killer (Sherman Alexie)Maud Martha (Gwendolyn Brooks)Player Piano (Kurt Vonnegut)In Dubious Battle (John Steinbeck)Mean Spirit (Linda Hogan)Play It As It Lays (Joan Didion)In Parenthesis (David Jones)Memoirs of an Infantry OfficerThe Plumed Serpent (D. H. Lawrence)Invisible Man (Ralph Ellison) —26(Siegfried Sassoon)Portnoy’s Complaint (Philip Roth) —2The Iron Heel (Jack London)Meridian (Alice Walker) —2Jazz (Toni Morrison)Middle Passage (Charles Johnson) —2The Jewel in the Crown (Paul Scott)Midnight’s Children (Salman Rushdie) —3Possession (A. S. Byatt) —3Jingo (Terry Pratchett)The Milagro Beanfield War (John Nichols)The Power and the Glory (Graham Greene) —2John Dollar (Marianne Wiggins)Miss Lonelyhearts (Nathanael West)Praise Song for the Widow (Paule Marshall) —3The Joy Luck Club (Amy Tan) —5Molloy (Samuel Beckett)The Prime of Miss Jean Brodie (Muriel Spark)Jubilee (Margaret Walker) —2The Mosquito Coast (Paul Theroux) —2Kate Vaiden (Reynolds Price)The Moviegoer (Walker Percy)Prince of Tides (Pat Conroy)The Kid from Tomkinsville (John R. Tunis)Mrs. Dalloway (Virginia Woolf) —9The Professor’s House (Willa Cather) —3The Killer inside Me (John Thompson)Mumbo Jumbo (Ishmael Reed)Quicksand (Nella Larsen) — 2Kindred (Octavia Butler)My Ántonia (Willa Cather) —10Rabbit at Rest (John Updike)The Kitchen God’s Wife (Amy Tan)The Naked and the Dead (Norman Mailer)Rabbit Run (John Updike) —6Lady Chatterley’s Lover (D. H. Lawrence) —2Native Son (Richard Wright) —16Ragtime (E. L. Doctorow) —2The Left Hand of Darkness (Ursula K.Neuromancer (William Gibson)The Rainbow (D. H. Lawrence)LeGuin) —3A Portrait of the Artist as a Young Man(James Joyce) —9—3Murphy (Samuel Beckett)Raintree County (Ross Lockridge)A Lesson before Dying (Ernest J. Gaines)Nights at the Circus (Angela Carter)The Raj Quartet (Paul Scott)Light in August (William Faulkner) —10Nightwood (Djuna Barnes) — 3Red Dragon (Thomas Harris)Little, Big (John Crowley)1984 (George Orwell) — 11Regeneration (Pat Barker)Little Big Man (Thomas Berger)Ninety-Two in the Shade (Thomas McGuane)The Remains of the Day (Kazuo Ishiguro)Lives of Girls and Women (Alice Munro)No-No Boy (John Okada)Requiem for a Nun (William Faulkner)Lolita (Vladimir Nabokov) —8Nostromo (Joseph Conrad) — 4The Rise of David LewinskyLone Ranger and Tonto Fistfight in HeavenThe Novel (James Michener)(Sherman Alexie)(Abraham Cahan)Offshore (Penelope Fitzgerald)The Robber Bride (Margaret Atwood)Lonesome Dove (Larry McMurtry) —2Of Love and Dust (Ernest J. Gaines)A Room with a View (E. M. Forster)Look Homeward Angel (Thomas Wolfe)The Old Man and the Sea (ErnestRoots (Alex Haley)Lord of the Flies (William Golding) —4Lord Jim (Joseph Conrad) —24Hemingway) —4Sanctuary (William Faulkner)One Flew over the Cuckoo’s Nest (Ken Kesey)Houghton Mifflin Company College Division 222 Berkeley StreetSapphira and the Slave Girl (Willa Cather) Boston, MA 02116

Ulysses (James Joyce) —17Under the Volcano (Malcolm Lowry) —3V (Thomas Pynchon)The Violent Bear It Away (FlanneryO’Connor) —2Waiting for the Barbarians (J. M. Coetzee)The Wapshot Chronicle (John Cheever)The Waterfall (Margaret Drabble)Using The HeathAnthology of AmericanLiterature in SophomoreCompositionby Randy Accettarequired to submit a 1–2 page summaryand analysis of each reading. Althoughby the end of the semester studentsreported being bored by the continuingsummaries, these short assignmentsprepared them for class discussion andprovided them with prewriting materialfor their four larger essays.Waterland (Graham Swift)Waterlily (Ella Cara Deloria)The Waves (Virginia Woolf) —2Weep Not Child (Ngugi Wa Thiong’o)When Rain Clouds Gather (Bessie Head)The White Hotel (D. M. Thomas)White Noise (Don DeLillo) —3Wicked Pavilion (Dawn Powell)Wide Sargasso Sea (Jean Rhys)The Winds of War (Herman Wouk)Winesburg, Ohio (Sherwood Anderson) —6The Wings of the Dove (Henry James) —2Wise Blood (Flannery O’Connor) —6Wise Children (Angela Carter)The Woman Warrior (Maxine HongKingston) —11Women in Love (D. H. Lawrence) —6The World According to Garp (John Irving)—3Wuthering Heights (Emily Brontë)Yellow Back Radio Broke Down (IshmaelReed)Yonnondio (Tillie Olsen) —2The Young Lions (Irwin Shaw)Have you ever had one of those studentessays that goes something like this:“Because America was founded onChristianity, we should have prayer inschools?” As a finger in the dam againstsuch rhetorical leaps, I designed acomposition course that wouldinterrogate the rhetorical strategies ofkey early American texts in order tobetter understand contemporary socialand political issues. As I told thestudents, I had five main goals for them:to acquire expertise in critical readingand analytical writing; to learnstrategies for persuasive writing; tobecome an expert at editing; to take aposition on a contemporary social issueimportant to them; to gain thebeginnings of a grounding in earlyAmerican literature. Volume One of theHeath Anthology was our source forearly American texts, while the Internetprovided contemporary texts.Zen and the Art of Motorcycle Maintenance(Robert Pirsig)Volume One of the HeathAnthology was our sourcefor early American texts,while the Internet providedcontemporary texts.Seeking answers to Crèvecoeur’squestion, “What is an American?” thestudents read selections fromHandsome Lake, the Yuchi CreationMyth, Smith, Bradford, Winthrop,Mather, Edwards, Hawthorne,Crèvecoeur, Franklin, Paine, Jefferson,Wheatley, Apess, Haynes, Fuller,Stanton, and Douglass. Students were I designed a compositioncourse that wouldinterrogate the rhetoricalstrategies of key earlyAmerican texts in order tobetter understandcontemporary social andpolitical issues.As often happens when students arefirst exposed to Thomas Jefferson’sNotes on the State of Virginia, mystudents were especially drawn to thecontradiction between the idealism ofthe Declaration of Independence and theracism of Query IX, in which Jeffersonargues for the separation of Europeanand African. One of the most successfulassignments was a five-page essayexamining the ways that FrederickDouglass constructs his Narrative and‘What to the Slave Is the Fourth ofJuly?’ to prove to a white audience thatAfricans deserve the same rights andprivileges that the Declaration assertsfor European Americans. ReadingDouglass against Jefferson in thismanner allowed the students to movebeyond the simple observation thatJefferson was a hypocritical product ofhis times and provided a historicalawareness of one of our nationalparadoxes.For more information, consult the College Division at Houghton Mifflin’s home page: www.hmco.com.(continued)5

the students foundvaluable and interestingconnections between pastand present nationalrhetoric.The final third of the course wasdevoted to examining the wayscontemporary political rhetoric invokes,borrows, steals, and otherwiseappropriates the language of the earlyAmerican texts. I offered a fewalternatives for this assignment:students could write an analytic essayon one of several topics, they couldwrite a series of letters modeled afterCrèvecoeur’s Letters, or they couldwrite a short story. Almost everystudent wrote what we came to callCrèvecoeurian letters, in which thefictional characters presented theirarguments and observations by quotingfrom actual historical or contemporarytexts. Although the open–ended naturecaused a bit of early anxiety, the finalprojects uniformly indicated that thestudents found valuable and interestingconnections between past and presentnational rhetoric.Another student developed apersuasive exchange of letters betweenhigh school friends now at differentcolleges who argue over the benefits ofimmigration. One fictional studentargues that immigrants should act‘American’ or go home, while the otherargues for the benefits of a multiculturalsociety. Both characters rely on a varietyof sources to support their opinions,and they debate various passages byhistorical and contemporary authors(such as Paine, Crèvecoeur, JamesBaldwin, Peter Brimelow, and RichardRayner). Finally, one student suggeststhat the other emigrate to Australia,where things are more monocultural—anice irony.One of the difficulties ofthe course was balancingthe needs for writinginstruction with trying tounderstand the primarytexts One of the difficulties of the course wasbalancing the needs for writinginstruction with trying to understandthe primary texts—in part because inFor example, during her research oneorder to understand the texts, wewoman found that she was related toan actual historical figure, Sarah Goode. needed to understand the historicalbackground. A significant amount ofConsequently, her essay begins with aclass time was thus devoted to simplydevice similar to Hawthorne’s CustomHouse sketch in which a fictional young learning the basics of early contact, theReformation, Puritanism, and thewoman finds old family papers in theFederalist period. (In terms of the earlyattic that reveal her genealogicalcontact, I presented excerpts fromconnection to the witchcraft trials.Bartolomé de las Casas’s The DevastationWhen she awakens the next day, she isof the Indies and The Vinland Sagas—bothin 1692 Salem and on her way to theof which provide an excellentwitch trials. During the proceedings,introduction to the European presencewhich she transcribes and paraphrasesfrom historical texts, she argues against in the Americas. I think the HeathMather, Hale, and Hawthorne by using Anthology would be well served by theiraddition.) Besides addressing questionsquotations and paraphrases fromof immigration and race, I had initiallycontemporary pagan Web sites.expected to focus on working-class6Houghton Mifflin Company College Division 222 Berkeley Streetissues and women’s issues, but whenwe reached such sections in thesemester, it seemed wiser to focus onthe writing rather than on the culturalcritique. it seemed wiser to focuson the writing rather thanon the cultural critique.Finally, I would like to report thateveryone was happy with the balanceof composition and literature, but theresults were a bit mixed. For example,while one student wrote that shelearned ‘how to condense and sharpen[her] writing,’ another student said, ‘Iwished we had focused on sentencelevel writing a little sooner.’ However,for the most part, the students seemedto enjoy the combination. As onewoman wrote in an evaluation of thecourse, ‘I’ve learned this semester [that]building into and out of quotes takes alot more work than I once thought. Aquotation should not be left to speak foritself in an essay [and] I’ve learned alot more about early America than Ihave before. Other classes never exposethe other side of the story.’Randy Accetta is completing hisdissertation at the University of Arizona onthe implications of using telecourses toteach composition and literature. Hisinterests include the constructions ofmasculinity in the American West. Boston, MA 02116

Their Own Progressand Prospect: AfricanAmericans andl’Exposition Universellede 1900by Wilfred D. SamuelsWe have thus, it may be seen, an honest,straightforward exhibit of a small nation ofpeople, picturing their life and developmentwithout apology or gloss, and above allmade by themselves.body was evident as early as the 1870sin annual world’s fairs and specificallyin the financially successfulethnographic exhibitions staged inpublic parks and fairgrounds,sponsored at first by the Jardind’Acclimatation and later by agovernment with dreams of a colonialempire in Africa. Through these venuesthe French gazed at the bodies of black“subjects” in their natural habitat,“going about their daily routine—displaying what life was like in distantlands.”3—W. E. B. Du Bois, “TheMembers of the French AnthropologicalSociety, particularly those interested incraniometry, reaped tremendousDiscussion of Africans and Africanbenefits, as they were able to have,Americans in Paris during the earlythrough these exhibitions, adecades of the twentieth centuryconveniently available laboratory ingenerally leads to the French fascination which to measure not only skull shapewith “primitivism,” manifested, forand volume—that is, the brain size andexample, in the Expressionistintelligence of their black “subjects”—Movement, specifically the works ofbut also all aspects of human anatomy,Pablo Picasso and Matisse, and also bythough not without some limitations, asSt. Louis–born Josephine Baker, whoa society member reveals in his lamenttook Paris by storm in the Revue Nègrethat “The only thing we could not doand Folies Bergére. Whereas Picassowas to examine and measure genitalimmortalized this allure in Lesorgans. It was not possible to see anyDemoiselles d’Avignon, Baker changedlower than the upper part of pubicforever Parisian theater and revues with areas.”4her stage personification of the savagethrough her exotic costumes and dance A somewhat different agenda and planmovements to tom-tom music.1 Thisfor assessment must have dominated“vogue of the Negro” led French artthe mind of Dr. W. E. B. Du Bois, thecritic Paul Guillaume to concludeHarvard graduate and sociologist,France was experiencing a “newwhen he traveled to Paris to participaterenaissance” at the turn of the twentieth in l’Exposition Universelle de 1900—century.2still considered the greatest of all FrenchAmerican Negro in Paris” the French obsessionwith African culture was evident as early asthe 1870s in annualworld’s fairs However, the French obsession withAfrican culture and the black (Nubian)exhibitions. The exhibition’s motto—”Le bilan du siècle” [The summation ofthe century]—concisely stated itspivotal objective. Designed in part foran international intellectual elite todisplay its scholarly and technicalknowledge and progress, the expositionof 1900 was, according to Richard D.Mandell, “the last time anyone tried toinclude all of man’s activity in onedisplay.” Mandell concluded that morethan man’s creativity was at stake: Thatlast festival of amusement andeducation, co-operation andcompetition, chauvinism andinternationalism could only be plannedduring a time that still had faith inoptimistic philosophical systems, hopesfor social reform, joy in expandingmaterial wealth, and confidence in themoral benefits of art.5 the exposition of 1900was the last time anyonetried to include all of man’sactivity in one display.This optimism, particularly the sensethat art was morally beneficial, wasshared in part by Dr. Du Bois, who wascommitted to what he called “thehigher aims of life.” Despite hispessimistic but prophetic declaration inhis now classic collection of essays, TheSouls of Black Folk (1903), that “theproblem of the twentieth century is theproblem of the color line,” Du Bois wasmost encouraged by what for him werethe significant contributions of Africanslaves and their descendants. Hemaintained: Little of beauty hasAmerica given the world save the rudegrandeur of God himself stamped onher bosom; the human spirit in this newworld has expressed itself in vigor andingenuity rather than beauty. And so byfateful chance the Negro folk-song—therhythmic cry of the slave—stands todaynot simply as the sole American music,but as the most beautiful expression ofhuman experience born this side of theseas it still remains as the singularspiritual heritage of the nation and thegreatest gift of the Negro people.6For more information, consult the College Division at Houghton Mifflin’s home page: www.hmco.com.(continued)7

What greater progress in humancivilization to celebrate, Dr. Du Boisdeclares, than the measurable progressblacks had made, a mere three decadesafter emancipation, with their nowcalculable contributions—not only toAmerican culture, but indeed to humanculture. He concluded:It is no new thing for a group ofpeople to accomplish much underthe help and guidance of a strongergroup . When, however, theinevitable question arises, What arethese guided groups doing forthemselves? there is no moreencouraging answer than given bythe American Negroes, who [in thisexhibit] are shown to be studying,examining, and thinking of theirown progress and prospect.7Du Bois’s gift and culturalbearers had made thiscontribution, despite theiractive and continued questfor freedom in amarginalized world of legalsegregation.Du Bois’s gift and cultural bearers hadmade this contribution, despite theiractive and continued quest for freedomin a marginalized world of legalsegregation. In fact, Dr. Du Bois hadtraveled to Paris from the AmericanSouth, a space governed by segregatedpublic facilities.In response to the French’s specificrequest for a “Negro Section” for the1900 exhibition, Du Bois mounted the“American Negro Exhibit, “ a“panorama of progress” that,assembled by him and ThomasCalloway, was housed in the Palace ofSocial Science. Including musical8compositions, books by AfricanAmerican authors, and the poetry ofPaul Laurence

Foxfire (Joyce Carol Oates) The French Lieutenant’s Woman(John Fowles) —3 Fried Green Tomatoes(Fannie Flagg) Galapagos (Kurt Vonnegut) A Gathering of Old Men(Ernest J. Gaines) Gaudy Night(Dorothy L. Sayers) Ghost Dance(Carole Maso) The Gift(H. D.) Giles Goat-Boy(John Barth) God Kn