6

THE PROGRAM AT A GLANCEA24

The Program at a Glance

Viewpoints 12

Organized by genre.

Wide variety of formswithin genre units.Includes works by

accomplished writersfrom different periods,from all regions ofCanada, and fromaround the world.

Alternative table of contents organizes selections into 30 specificthemes, encouraging students tolink and compare selectionswithin the anthology.

Invitation to Literature…

invitation to literature

2 | Invitation to Literature

What comes to mind when we

talk about a text? Why does this

concept matter? Every one of us

is surrounded daily by books,

magazines, television, CDs,

DVDs, e-mail, the Internet, cell

phone screens, billboards, vir-

tual reality arcades—all of them

texts. How do we sift through

these texts and make sense of

them? How do we sort out

which ones are important to us?

Texts contain words, images,

sounds, textures, or a combi-

nation of all four. They may

embody information that we

need. Many texts hold a story

or a narrative. These texts form

literature, a body of work that

communicates meaningful infor-

mation and insights into ideas,

culture, and history.

Literature is more than sim-

ply information; it is information

with lasting significance, cre-

ated because someone has a

The Library, 1960, Jacob Lawrence

Contents | iii

Preface. . . . . . . . . . . . . . . . . . . . . . . . . . xviii

Acknowledgements . . . . . . . . . . . . . . . . . . . . xix

Invitat ion to Literature 2

The Word poemPablo Neruda . . . . . . . . . . . . . . . . . . . . . . . . . 4

Reading on “the Rez” memoirTomson Highway . . . . . . . . . . . . . . . . . . . . . . . 6

For the Love of Books memoirRita Dove . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Not a Boyhood Passion memoirMordecai Richler . . . . . . . . . . . . . . . . . . . . . . . 10

How Reading Changed My Life memoirAnna Quindlen . . . . . . . . . . . . . . . . . . . . . . . . 12

The Secret poemDenise Levertov . . . . . . . . . . . . . . . . . . . . . . . 14

Invitation to Literature: Activities . . . . . . . . . . . . . 15

U n i t 1 S h o r t F i c t i o n 1 6

The Rocking-Horse Winner short storyD.H. Lawrence . . . . . . . . . . . . . . . . . . . . . . 18

Write Me Sometime short storyTaien Ng-Chan . . . . . . . . . . . . . . . . . . . . . . 36

Calgary from Sunnyside woodblock printMargaret Shelton . . . . . . . . . . . . . . . . . . . . . 46

Outside Edges short storyIvan Dorin . . . . . . . . . . . . . . . . . . . . . . . . 48

Twisted Roots photographLyle McIntyre . . . . . . . . . . . . . . . . . . . . . . . 60

The Shining Houses short storyAlice Munro. . . . . . . . . . . . . . . . . . . . . . . . 62

Contents by Genre and Form

Contents | v

U n i t 2 E s s a y s , A r t i c l e s ,a n d M e d i a 1 9 4

Essays

Portrait of the Essay as a Warm Body expository essayCynthia Ozick . . . . . . . . . . . . . . . . . . . . . . 196

Personal and Ref lect ive Essays

Ka-Ching! personal essayMargaret Atwood . . . . . . . . . . . . . . . . . . . . 205

Afternoon of an American Boy personal essayE.B. White . . . . . . . . . . . . . . . . . . . . . . . . 209

A Place to Stand On reflective essayMargaret Laurence . . . . . . . . . . . . . . . . . . . . 216

Chameleons and Codas personal essayPatricia Conrad . . . . . . . . . . . . . . . . . . . . . 224

Elegy in Stone reflective essaySteven Heighton . . . . . . . . . . . . . . . . . . . . . 229

The Death of the Moth reflective essayVirginia Woolf . . . . . . . . . . . . . . . . . . . . . . 236

Biographica l Essays

Guy Lafleur biographical essayKen Dryden . . . . . . . . . . . . . . . . . . . . . . . 242

My Mother’s Blue Bowl biographical essayAlice Walker . . . . . . . . . . . . . . . . . . . . . . . 251

Migrant Mother photographDorothea Lange . . . . . . . . . . . . . . . . . . . . . 256

Exposi tory and Analyt ica l Essays

Of Youth and Age analytical essayFrancis Bacon . . . . . . . . . . . . . . . . . . . . . . 258

Why I Write analytical essayGeorge Orwell . . . . . . . . . . . . . . . . . . . . . . 263

The Not-So-Deadly Sin expository essayBarbara Kingsolver . . . . . . . . . . . . . . . . . . . . 272

Call of the Weird expository essayDrew Hayden Taylor . . . . . . . . . . . . . . . . . . . 279

xii | Contents

■ The Love Song of J. Alfred Prufrock 530 ■ Sonnet 116 570 ■ DoverBeach 604 ■ A Poison Tree 572 ■ A Marriage Proposal 614 ■ Hamlet666

Heroes and Rebels

The Archetypes of Literature 166 ■ The Hero’s Adventure 171 ■ Elegy inStone 229 ■ Guy Lafleur 242 ■ Amiri Baraka 498 ■ The Heroes YouHad as a Girl 503 ■ foremother 507 ■ I, Icarus 515 ■ Mu-lan 548 ■

Beowulf 553 ■ The Canterbury Tales 560 ■ Acoose 636 ■ TheShakespearean Tragic Hero 687 ■ Strong Women Prevail 692

Loss

A Devoted Son 74 ■ Magpies 87 ■ Was It a Dream? 150 ■ No GreatMischief 155 ■ The Archetypes of Literature 166 ■ The Death of theMoth 236 ■ Migrant Mother 256 ■ The Rime of the Ancient Mariner574 ■ Because I Could Not Stop for Death— 608 ■ Hamlet 666

Creat iv i ty

Calgary from Sunnyside 46 ■ Twisted Roots 60 ■ Easter at My Aunt’s 118■ The Spirit of Haida Gwaii 142 ■ Portrait of the Essay 196 ■ A Place toStand On 216 ■ Guy Lafleur 242 ■ Why I Write 263 ■ The Not-So-Deadly Sin 272 ■ Ours by Design 354 ■ Shower at Ohashi Bridge 368 ■

The Poetry of Earth and Sky 370 ■ Morty Mania 394 ■ Aphorisms 431 ■

Engineers’ Corner 478 ■ Is the Pathetic Fallacy True? 481 ■ Evening 484■ Amiri Baraka 498 ■ People on the Bridge 521 ■ Progress 524 ■ SetDesign for The Foreigner 634 ■ Invisible Genius 658 ■ Shakespeare in theCinema 677

Learn ing

A Devoted Son 74 ■ The Death of History Is Bunk 300 ■ LearningWithout Lectures 443 ■ grammar poem 545 ■ Saloonio 696

Work and Careers

Write Me Sometime 36 ■ Ka-Ching! 205 ■ Guy Lafleur 242 ■ Unzipped389 ■ Morty Mania 394 ■ Engineers’ Corner 478 ■ Prairie Flight 492 ■

Amiri Baraka 498 ■ Set Design for The Foreigner 634 ■ Invisible Genius658

Contents | xi

Sense of Self

The Rocking-Horse Winner 18 ■ Outside Edges 48 ■ A Devoted Son 74■ War 120 ■ No Great Mischief 155 ■ The Hero’s Adventure 171 ■

Araby 181 ■ Ka-Ching! 205 ■ Afternoon of an American Boy 209 ■

A Place to Stand On 216 ■ Chameleons and Codas 224 ■ My Mother’sBlue Bowl 251 ■ Of Youth and Age 258 ■ Why I Write 263 ■ The Not-So-Deadly Sin 272 ■ Wanderers by Choice 306 ■ Paradise, a Poet, andPromised Land 327 ■ Hockey Night in Port Hawkesbury 331 ■ Is thePathetic Fallacy True? 481 ■ Fern Hill 494 ■ The Heroes You Had as aGirl 503 ■ I, Icarus 515 ■ Summer Night 527 ■ The Love Song of J.Alfred Prufrock 530 ■ Afternoons & Coffeespoons 539 ■ grammar poem545 ■ Stop! 642

Personal Chal lenges

The Rocking-Horse Winner 18 ■ Outside Edges 48 ■ The Hero’sAdventure 171 ■ Chameleons and Codas 224 ■ Wanderers by Choice306 ■ The Sixth Flight 336 ■ Landscape with the Fall of Icarus 366 ■

Restoring Life on the Edge 421 ■ foremother 507 ■ I, Icarus 515 ■

The Canterbury Tales 560 ■ Acoose 636 ■ Hamlet 666

Creat ing and Breaking Stereotypes

The Shining Houses 62 ■ Chameleons and Codas 224 ■ Elegy in Stone229 ■ Call of the Weird 279 ■ Mu-lan 548

Close Connect ions

The Rocking-Horse Winner 18 ■ Write Me Sometime 36 ■ OutsideEdges 48 ■ A Devoted Son 74 ■ Magpies 87 ■ The Winner 96 ■

Windows 109 ■ Easter at My Aunt’s 118 ■ War 120 ■ Was It a Dream?150 ■ No Great Mischief 155 ■ Araby 181 ■ Afternoon of an AmericanBoy 209 ■ A Place to Stand On 216 ■ Chameleons and Codas 224 ■ MyMother’s Blue Bowl 251 ■ Look What I Found 364 ■ The Monkey’s Paw403 ■ Evening 484 ■ Birch Bark 486 ■ The Heroes You Had as a Girl503 ■ foremother 507 ■ To You Who Would Wage War Against Me 511

Contents by Theme

The text begins with an invitingintroduction to the world of liter-ature, followed by the thoughts and recollections of six well-knownwriters on their experiences withliterature.

7

THE PROGRAM AT A GLANCE A25

Opening spread provides a visualand genre-related quotations.

Introduction to each genre unit…

“The act of writing is

the creation of some-

thing in the world that

hasn’t existed before in

just this form, and

while I’m engaged in it

I am at a very high level

of concentration,

absorption, and joy.”

— Alice Walker

“I find the world around

me much more inter-

esting than what I can

come up with inside

my own head. If you

write just what you

have experienced,

you’ve only got about a

book and a half in you.”

— Michael Ondaatje

1s h o r t f i c t i o n

Many selections include attractive illustrations.

The introduction toeach selection providesinformation on theauthor, and of literary,historical, or social interest, as well as twoor three open-endedquestions to triggercreative and criticalthinking.

Before each selection…

The Winner | 97

The WinnerBarbara K imenye

Barbara Kimenye was born in 1940, in Buganda, the former kingdom

of East Africa on the north shore of Lake Victoria, now part of Uganda.

In Africa, she worked as private secretary for the government of

Buganda. She was also a newspaper journalist and columnist in

Kenya. In 1974, she moved to London, England, and became a social

worker. She is well known for her children’s books and has pub-

lished story collections dealing with the everyday lives of Ugandans.

Many African writers, like Kimenye, choose to write in English in

order to reach a wider audience. Others write only in African lan-

guages because they believe that their culture and values are best

carried by their own language. What might some of the disadvan-

tages and advantages be of writing in a “second” language?

When Pius Ndawula won the football pools, overnight he seemed tobecome the most popular man in Buganda. Hosts of relatives convergedupon him from the four corners of the kingdom: cousins and nephews,nieces and uncles, of whose existence he had never before been aware,turned up in Kalasanda by the busload, together with crowds of indi-viduals who, despite their downtrodden appearance, assured Pius that theyand they alone were capable of seeing that his money was properlyinvested—preferably in their own particular businesses! Also lurkingaround Pius’s unpretentious mud hut were newspaper reporters, slickyoung men weighed down with cameras and sporting loud checked capsor trilbies set at conspicuously jaunty angles, and serious young men

96 | Short Story

Dialogue, 1991, Nuwa Wamala Nnyanzi

Two or three activities that en-courage students to develop anddemonstrate—collaboratively andindependently—the knowledgeand skills required by Ontario’scurriculum expectations.Activities cover comprehension,style and technique, and extensionprojects.

After each selection…

Mazes | 149

Notes

aesthetic related to beauty and good taste; from the Greek word aisthetikos,meaning “of sense perception”

perverse persistent in going against what is expected or considered to beright

feint a false movement intended to deceive the viewer; from the Old Frenchfeindre, meaning “to feign”

parameter a limit or boundary

motif a recurring element or theme in an artistic or literary work; originallya French word meaning “motive”

labially using the lips

indubitable unquestionable, without a doubt

feintways false passages or parts

Act iv i t ies

1. In your journal, make a list of issues about human nature and interactionwith alien beings that are raised in this story. What is your response to LeGuin’s views on these subjects? Share your ideas with the class. After thediscussion, make notes on aspects of speaking and listening which you finddifficult. Then list strategies for improving your performance.

2. What does the narrator reveal about the captor? Reread the story, noting passages where the captor’s behaviour and attitudes are described.How does the author’s use of irony affect your response to these descriptions?

3. Why do you think Le Guin chose not to provide a physical description ofthe alien narrator in the story? Imagine that you have been given the task ofcreating an illustration for “Mazes.” What medium and visual style will youchoose? How can you balance the author’s style with your need to representthe content? In a group, present and discuss your illustrations. Assess thechoices you made in your illustration and consider how its impact might bestrengthened.

“Notes,” when appropriate, providebrief definitions orhistories of words andspecific informationon references or allusions in the selection.

8

THE PROGRAM AT A GLANCEA26

“In-Depth” sections focus on four areas of special interest: Universal Themes and Patterns, Media onMedia,Argument and Persuasion, and Shakespeare.Containing a mix of genres, each “In-Depth” sectionallows students to explore more deeply a particularauthor, genre, or other area of literary or curriculuminterest.

“In-Depth” Sections…in-depth: universal themes and patterns

164 | Universal Themes and Patterns

Can you remember watching a

movie or reading a story and

thinking, “The same thing has

happened to me”? Maybe an

event in a book or film reminded

you of an incident in the life of

someone you know or of

another story you have come

across. Narratives, regardless of

their literary forms or specific

historical or cultural contexts,

spring from themes or patterns

that are universal. These themes

and patterns—such as self-dis-

covery, love, and the cycles of

days and seasons—are known

as archetypes. Archetypes are

truthful, essential prototypes

of characters or events that

provide a blueprint for the indi-

vidual experiences that make up

real life. Archetypes can be

considered a reflection of what

has been called the collective

unconscious, a shared body of

knowledge, assumptions, and

interpretations that an entire cul-

ture holds, sometimes without

even being aware of it. An

archetypal approach to literature

reveals recurring patterns and

themes in myths, folklore, liter-

ature, and art—even in cultures

widely separated by time and

space.

Some archetypes express the

way in which individuals expe-

rience the world—in roles such

as the hero, rebel, or star-

crossed lover. Other archetypes

explore the situations in which

we find ourselves and the jour-

neys we undertake—such as ini-

tiation, loss of innocence, or

death of a loved one. Part of

what gives literature its power

and primacy is the way it

attracts its reader by creating

interest on multiple levels. When

we immerse ourselves in texts,

we experience these archetypal

patterns, universal themes, and

literary modes and consciously

or unconsciously integrate them

into our lives.

Universal Themes and Patterns | 165

This In-Depth includes a variety

of selections that highlight such

archetypal patterns and concepts

as duty, passage of seasons, and

utopia. Excerpts from Northrop

Frye’s classic essay “The

Archetypes of Literature” describe

the archetypes and patterns

prevalent in narratives. In an inter-

view, Joseph Campbell talks

about heroes in mythology. The

short story “Araby” by James

Joyce, with its quest motif, fol-

lows the structure of a medieval

romance. The poem “Ode to the

West Wind” by Percy Bysshe

Shelley and “Utopian Dreams,” a

book review by Val Ross, contain

many of the ideals about rebirth

and new beginnings also associ-

ated with the literary mode of

romance. As you explore this sec-

tion, consider ways in which uni-

versal themes and patterns create

ties and common understanding

in communities and cultures that

you know. (To find related activi-

ties on archetypal patterns and

literary modes and forms, see the

references in the Another

Viewpoint Index on page 714.)

Contrasting, often opposing, cosmic and moral forces (such as light and dark, virtue andvice) are common in many mythological and belief systems. In Hindu mythology, Durgais one of the manifestations of the goddess Devi. A many-armed warrior seated on a tiger,Durga represents benevolence. Here, Durga battles the monster Mahisha, a colossal water-buffalo, representing the forces of malevolence.

“Another Viewpoint”…

The Shining Houses | 73

Notes

Plymouth Rock in this instance, refers to a breed of hen; named after theplace in Massachusetts where the Pilgrims from England are said to have firstset foot on North American soil after disembarking from The Mayflowership

Jehovah’s Witness a member of a religious Christian sect. Members ofthis sect canvass door-to-door as witnesses for their faith.

Act iv i t ies

1. Create a two-column chart. In the first column, record three quotationsthat you believe are central to the story. In the second column, explain thecontext and significance of each. With a group, compare and discuss yourchoices.

2. In a group, consider characterization by discussing the motivation of the“people who win” in this story: Why is Mrs. Fullerton’s house so importantto them? What underlying beliefs and values are revealed in their wordsand behaviour? Do you agree with Mary that “they are good people”? Towhat extent does Alice Munro offer a fair and balanced portrait of thesecharacters?

3. Work with a group to create a script for a dramatization of a scene thatmight result from the conflicts in “The Shining Houses.” Before presenting,prepare an audience-response form to collect feedback about your produc-tion. Afterward, have your group evaluate both your collaborative skills andthe quality of your presentation.

Another Viewpoint : Culture

Consider the following statement: “The main character in ‘The ShiningHouses’ is a quintessential Canadian character—she would not exist in anyother culture.” To what extent do you agree with this statement? Make a “topten” list of Canadian characters in fiction—characters who represent some-thing essential about Canada and who would not be “at home” in any othercontext. Be prepared to defend your choices.

Many selections offer “AnotherViewpoint” feature in one of the following areas:ArchetypalPatterns, Literary Modes andForms, Critical Approaches,Society, Culture, and History.Each of these is an activity that encourages students to look at the selection more deeply from aparticular perspective.

in-depth: universal themes

From The Archetypes ofLiterature

Northrop Frye

Canadian literary critic Northrop Frye was born in Sherbrooke, Quebec,

in 1912, and he spent the formative years of his life in Moncton,

New Brunswick. In the history of Canadian scholarship, Frye has

emerged as perhaps the most prominent figure. From 1939 until his

death in 1991, he was based at Victoria College, University of Toronto,

where he taught English and served as an administrator. Frye’s author-

itative study of the poetry of William Blake, Fearful Symmetry (1947),

is considered a classic critical work. His synopsis of the principles and

techniques of literary criticism, Anatomy of Criticism (1957), was his

first work to win him international prominence. He won the Governor

General’s Award for Nonfiction in 1986 for Northrop Frye on

Shakespeare. In the following two excerpts from his essay “The

Archetypes of Literature,” first published in 1951, Frye lays out some

of the broader categories and modes by which texts can be classified.

In order to show how texts work, he concentrates on the recurrent

structures that might be described as natural. In this essay, Frye

wrote, “All literary genres are derived from the quest myth.” What

do you know about the quest myth? Based on your own reading

experience, do you agree or disagree with Frye’s comment, and why?

166 | Universal Themes and Patterns

and patterns

| 169The Archetypes of Literature | 169

Notes

etiological having to do with the study of the cause, origin, or reason forsomething

dithyrambic an irregular or frenzied poetic expression; from the ancientGreek dithurambos, an impassioned hymn and dance held in honour of thegod Dionysus

apotheosis glory, exaltation, ultimate achievement

Götterdämmerung myths narratives that deal with the turbulent end toan institution or a ruler’s regime

Jung refers to Carl Jung (1875–1961). Originally a student of SigmundFreud, this Swiss psychiatrist founded analytical psychology; Jung studied thelinks between myths, archetypes, and psychology, and he pioneered suchconcepts as “the collective unconscious.”

Arcadian related to a pastoral paradise, the home of song-loving shepherds;in Greek mythology, Arcadia is the home of Pan, god of flocks and herds

Shakespeare’s forest comedies refers to those romantic comedies byWilliam Shakespeare, such as A Midsummer Night’s Dream and As You LikeIt, in which characters move from the normal world of conflict and trouble intoa “green world” in which these troubles are magically resolved

Marvell a reference to Andrew Marvell (1621–1678), an English meta-physical poet; his poems often contain have idyllic pastoral themes

starlit dome a reference to the following lines in the poem “Byzantium” byW.B. Yeats, in which he contrasts a spiritual, unchanging world with the ever-changing physical human world: “A startlit or moonlit dome disdains / Allthat man is, / All mere complexities, / The fury and mire of human veins.”

four humours refers to what the Ancient Greeks believed were the fourchief fluids of the body (blood, phlegm, yellow bile, and black bile) that werethought to determine a person’s physical and mental qualities.

Comus a pastoral entertainment written by John Milton about the con-frontation between good and evil

Inferno part one of three of The Divine Comedy by Italian poet DanteAlighieri (1265–1321), which is an allegorical journey through Hell.

leviathan a mythical, monstrous sea creature

An accompanying introduction andnotes for each selection.

Activities | 451

Media on Media: Act iv i t ies

1. When Marshall McLuhan first spoke of a single global village—in whichtime and space disappear and everyone, regardless of physical location, isconnected simultaneously through electronic media—the Internet was usedonly by the military and academics and the Web did not even exist. Make amultimedia presentation in which you explore how the Web fulfills McLuhan’svision of a global village.

2. Locate a videotape of a television news program from ten or more yearsago. Carefully watch it, as well as a current television news program. Write acommentary for a radio broadcast in which you compare the two news sam-ples, offering reasons for the ways in which TV news has either changed orstayed the same. Make sure that you have a clearly stated thesis and that youuse a comparative report structure to pique the interest of your listeners.

3. Imagine that you have just voted in your first federal or provincial election.In the weeks preceding the election, you researched the candidates, par-ties, and issues, but you find that the media does not answer all your ques-tions and, at times, provides biased coverage. Set yourself the task of helpingthirteen- to sixteen-year-olds read and view the news critically, identify bias,and recognize the differences between explicit and implicit messages. In agroup, plan, script, and tape a video to achieve this goal. Keep an ongoingdiary of choices you make during the production process to help you assessyour overall effectiveness.

4. In a group, research and evaluate possibilities for post-secondary edu-cation provided by technology, such as Internet distance-learning or instruc-tional videos. Analyze the various options for technological learning youdiscover by defining each option and considering its applications and impli-cations. Be sure to evaluate these options in light of your experiences atschool and your goals for the future. As a group, present your findings inone of two ways: as an oral or multimedia presentation with a well-developedthesis; or as a dramatic or comic presentation based on a prepared script.

Concluding activities help consolidate section-relatedknowledge and skills, linking selections within thesection, and allowing assessment in all four areas of theOntario Achievement Chart for English.

The “In-Depth” sections are multi-purpose. Each section can be used as an interesting multi-genre unitfor additional readings and activities, for independentstudy, or for student reflection and assessment.

A general introduction.

9

10

THE PROGRAM AT A GLANCEA28

Reference Po in ts

Covers all aspects of purposefulcommunication—through confi-dent speaking, listening, reading,writing, viewing, and represent-ing—both inside and outside theclassroom.

Extensive coverage of all majorforms of literary and informa-tional texts, encouraging studentsboth to respond to and createsuch texts.

Extensive coverage of all majorprint and non-print media, espe-cially as forms of argument andpersuasion.

Extensive coverage of communi-cation in the world of work.

Learning focus and models…

Learning Focus boxes appear frequently throughout thetext, identifying the knowl-edge and skills that studentsare expected to develop anddemonstrate.

Activities—collaborative andindependent—offer opportunities for creative andcritical responses, research, andthe use of technology.

Annotated modelsof print and non-print genres andforms appearthroughout the text.

Reading selections and checklists…

Includes checklists forhandy reference andself-assessment.

Includes a wide variety ofreading selections, includingsome student samples, manyannotated, and from all genres and forms.

11

THE PROGRAM AT A GLANCE A29

Visuals…

Includes a wide variety of visualssuch as charts, cartoons, pho-tographs,Web pages, and posters.

Appendix A…

Provides “additionalreference points” infour areas:• effective writing• documentation• video production• graphs Appendix B…

A quick-reference section on grammar,usage, and mechanics, in two parts:• “Common Writing Problems and

How to Solve Them”;• “Reviewing the Basics to Improve

Your Writing,”alphabetically arrangedentries that include reviews of thebasics of grammar and spelling, noteson usage, and tips on improvingwriting style.

Glossary…

An extensive glossary provides brief definitionsof literary elements andtechniques, and specializedterms from areas such asthe media and the world ofwork.

Appendix C…

A summary of the development of theEnglish language,including sections onChaucer, Shakespeare,and the many“Englishes” of today’sworld.