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This Premium Study Guide is an offprint from Novels For Students: Presenting Analysis, Context, and Criticism on Commonly Studied Novels.
Novels For Students
Project Editor David Galens
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Introduction
Purpose of the Book
The purpose of Novels for Students (NfS) is to provide readers with a guide to understanding, enjoying, and studying novels by giving them easy access to information about the work. Part of Gale's "For Students" Literature line, NfS is specifically designed to meet the curricular needs of high school and undergraduate college students and their teachers, as well as the interests of general readers and researchers considering specific novels. While each volume contains entries on "classic" novels frequently studied in classrooms, there are also entries containing hard-to-find information on contemporary novels, including works by multicultural, international, and women novelists.
The information covered in each entry includes an introduction to the novel and the novel's author; a plot summary, to help readers unravel and understand the events in a novel; descriptions of important characters, including explanation of a given character's role in the novel as well as discussion about that character's relationship to other characters in the novel; analysis of important themes in the novel; and an explanation of important literary techniques and movements as they are demonstrated in the novel.
In addition to this material, which helps the readers analyze the novel itself, students are also provided with important information on the literary and historical background informing each work. This includes a historical context essay, a box comparing the time or place the novel was written to modern Western culture, a critical overview essay, and excerpts from critical essays on the novel. A unique feature of NfS is a specially commissioned critical essay on each novel, targeted toward the student reader.
To further aid the student in studying and enjoying each novel, information on media adaptations is provided, as well as reading suggestions for works of fiction and nonfiction on similar themes and topics. Classroom aids include ideas for research papers and lists of critical sources that provide additional material on the novel.
Selection Criteria
The titles for each volume of NfS were selected by surveying numerous sources on teaching literature and analyzing course curricula for various school districts. Some of the sources surveyed included: literature anthologies; Reading Lists for College-Bound Students: The Books Most Recommended by America's Top Colleges; textbooks on teaching the novel; a College Board survey of novels commonly studied in high schools; a National Council of Teachers of English (NCTE) survey of novels commonly studied in high schools; the NCTE's Teaching Literature in High School: The Novel; and the Young Adult Library Services Association (YALSA) list of best books for young adults of the past twenty-five years.
Input was also solicited from our advisory board, as well as educators from various areas.
From these discussions, it was determined that each volume should have a mix of "classic" novels (those works commonly taught in literature classes) and contemporary novels for which information is often hard to find. Because of the interest in expanding the canon of literature, an emphasis was also placed on including works by international, multicultural, and women authors. Our advisory board members—educational professionals— helped pare down the list for each volume. If a work was not selected for the present volume, it was often noted as a possibility for a future volume. As always, the editor welcomes suggestions for titles to be included in future volumes.
How Each Entry Is Organized
Each entry, or chapter, in NfS focuses on one novel. Each entry heading lists the full name of the novel, the author's name, and the date of the novel's publication. The following elements are contained in each entry:
Introduction: a brief overview of the novel which provides information about its first appearance, its literary standing, any controversies surrounding the work, and major conflicts or themes within the work.
Author Biography: this section includes basic facts about the author's life, and focuses on
events and times in the author's life that inspired the novel in question.
Plot Summary: a factual description of the major events in the novel. Lengthy summaries are broken down with subheads.
Characters: an alphabetical listing of major characters in the novel. Each character name is followed by a brief to an extensive description of the character's role in the novel, as well as discussion of the character's actions, relationships, and possible motivation. Characters are listed alphabetically by last name. If a character is unnamed—for instance, the narrator in Invisible Man-the character is listed as "The Narrator" and alphabetized as "Narrator." If a character's first name is the only one given, the name will appear alphabetically by that name.
Variant names are also included for each character. Thus, the full name "Jean Louise Finch"
would head the listing for the narrator of To Kill a Mockingbird, but listed in a separate cross-reference would be the nickname "Scout Finch."
Themes: a thorough overview of how the major topics, themes, and issues are addressed within the novel. Each theme discussed appears in a separate subhead, and is easily accessed through the boldface entries in the Subject/Theme Index.
Style: this section addresses important style elements of the novel, such as setting, point of view, and narration; important literary devices used, such as imagery, foreshadowing, symbolism; and, if applicable, genres to which the work might have belonged, such as Gothicism or Romanticism. Literary terms are explained within the entry, but can also be found in the Glossary.
Historical Context: This section outlines the social, political, and cultural climate in which the author lived and the novel was created. This section may include descriptions of related historical events, pertinent aspects of daily life in the culture, and the artistic and literary sensibilities of the time in which the work was written. If the novel is a historical work, information regarding the time in which the novel is set is also included. Each section is broken down with helpful subheads.
Critical Overview: this section provides background on the critical reputation of the novel, including bannings or any other public controversies surrounding the work. For older works, this section includes a history of how the novel was first received and how perceptions of it may have changed over the years; for more recent novels, direct quotes from early reviews may also be included.
Criticism: an essay commissioned by NfS which specifically deals with the novel and is written specifically for the student audience, as well as excerpts from previously published criticism on the work (if available).
Sources: an alphabetical list of critical material quoted in the entry, with full bibliographical information.
Further Reading: an alphabetical list of other critical sources which may prove useful for the student. Includes full bibliographical information and a brief annotation.In addition, each entry contains the following highlighted sections, set apart from the main text as sidebars:
Media Adaptations: a list of important film and television adaptations of the novel, including source information. The list also includes stage adaptations, audio recordings, musical adaptations, etc.
Topics for Further Study: a list of potential study questions or research topics dealing with the novel. This section includes questions related to other disciplines the student may be studying, such as American history, world history, science, math, government, business, geography, economics, psychology, etc.
Compare and Contrast Box: an "at-a-glance" comparison of the cultural and historical differences between the author's time and culture and late twentieth century/early twenty-first century Western culture. This box includes pertinent parallels between the major scientific, political, and cultural movements of the time or place the novel was written, the time or place the novel was set (if a historical work), and modern Western culture. Works written after 1990 may not have this box.
What Do I Read Next?: a list of works that might complement the featured novel or serve as a contrast to it. This includes works by the same author and others, works of fiction and nonfiction, and works from various genres, cultures, and eras.Other Features
NfS includes "The Informed Dialogue: Interacting with Literature," a foreword by Anne Dev-ereaux Jordan, Senior Editor for Teaching and Learning Literature (TALL), and a founder of the Children's Literature Association. This essay provides an enlightening look at how readers interact with literature and how Novels for Students can help teachers show students how to enrich their own reading experiences.
A Cumulative Author/Title Index lists the authors and titles covered in each volume of the NfS series.
A Cumulative Nationality/Ethnicity Index breaks down the authors and titles covered in each volume of the NfS series by nationality and ethnicity.
A Subject/Theme Index, specific to each volume, provides easy reference for users who may be studying a particular subject or theme rather than a single work. Significant subjects from events to broad themes are included, and the entries pointing to the specific theme discussions in each entry are indicated in boldface.
Each entry has several illustrations, including photos of the author, stills from film adaptations (if available), maps, and/or photos of key historical events.
Citing Novels for Students
When writing papers, students who quote directly from any volume of Novels for Students may use the following general forms. These examples are based on MLA style; teachers may request that students adhere to a different style, so the following examples may be adapted as needed.
When citing text from NfS that is not attributed to a particular author (i.e., the Themes, Style, Historical Context sections, etc.), the following format should be used in the bibliography section:
"Night." Novels for Students. Ed. Marie Rose Napierkowski. Vol. 4. Detroit: Gale, 1998. 234-35.
When quoting the specially commissioned essay from NfS (usually the first piece under the "Criticism" subhead), the following format should be used:
Miller, Tyrus. Critical Essay on "Winesburg, Ohio." Novels for Students. Ed. Marie Rose Napierkowski. Vol. 4. Detroit: Gale, 1998. 335-39.
When quoting a journal or newspaper essay that is reprinted in a volume of NfS, the following form may be used:
Malak, Amin. "Margaret Atwood's "The Handmaid's Tale and the Dystopian Tradition," Canadian Literature No. 112 (Spring, 1987), 9-16; excerpted and reprinted in Novels for Students, Vol. 4, ed. Marie Rose Napierkowski (Detroit: Gale, 1998), pp. 133-36.
When quoting material reprinted from a book that appears in a volume of NfS, the following form may be used:
Adams, Timothy Dow. "Richard Wright: "Wearing the Mask," in Telling Lies in Modern American Autobiography (University of North Carolina Press, 1990), 69—83; excerpted and reprinted in Novels for Students, Vol. 1, ed. Diane Telgen (Detroit: Gale, 1997), pp. 59-61.
We Welcome Your Suggestions
The editor of Novels for Students welcomes your comments and ideas. Readers who wish to suggest novels to appear in future volumes, or who have other suggestions, are cordially invited to contact the editor. You may contact the editor via e-mail at: ForStudentsEditors@gale.com. Or write to the editor at:
Editor, Novels for Students
Gale Group
27500 Drake Road
Farmington Hills, MI 48331-3535
The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/ Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of NFS. Every effort has been made to trace copyright, but if omissions have been made, please let us know.
COPYRIGHTED EXCERPTS IN NFS, VOLUME 3, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:
American Literature, v. 56, May, 1984. Copyright © 1984 Duke University Press, Durham, NC. Reproduced by permission.
The Centennial Review, v. XX, Summer, 1976 for 'Tune, Uncertainty, and Kurt Vonnegut, Jr.," by Charles B. Harris. © 1976 by The Centennial Review. Reproduced by permission of the publisher and the author.
Critique: Studies in Modern Fiction, v. XX, 1978. Copyright © 1978 Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 119 18th Street, N. W., Washington, DC 20036-1802.
The Horn Book Magazine, v. LXDC, November-December, 1993; v. LXX, July-August, 1994. Copyright, 1993, 1994, by The Horn Book, Inc., 11 Beacon St., Suite 1000, Boston, MA 02108. All rights reserved. Both reproduced by permission.
Los Angeles Times Book Review, July 11, 1982. Copyright, 1982, Los Angeles Times. Reproduced by permission.
The Mississippi Quarterly, v. XXIII, Spring, 1970. Copyright 1970 Mississippi State University. Reproduced by permission.
Modern Language Studies, v XDI, Summer, 1989 for "From Face Value to the Value in Faces: 'Wise Blood,' and the Limits of Literalism" by Gary M. Ciuba. Reproduced by permission of the publisher and the author.
The New York Review of Books, v. XXXI, May 10, 1984. Copyright © 1984 Nyrev, Inc. Reproduced with permission from The New York Review of Books.
Prairie Schooner, v. 63, Fall, 1989. © 1989 by University of Nebraska Press. Reproduced from Prairie Schooner by permission of the University of Nebraska Press.
Radical Teacher, v. 9, September, 1978. Reproduced by permission.
Research Studies, v. 42, September, 1974 for "Pilgrim's Dilemma: 'Slaughterhouse-Five'" by David L. Vanderwerken. Reproduced by permission of the author.
South Atlantic Review, v. 48, January, 1983 Copyright © 1983 by the South Atlantic Modern Language Association. Reproduced by permission.
The Southern Literary Journal, v. XVII, Spring, 1985. Copyright 1985 by the Department of English, University of North Carolina at Chapel Hill. Reproduced by permission.
The Southern Quarterly, v. 30, Winter-Spring, 1992. Copyright © 1992 by the University of Southern Mississippi Reproduced by permission.
VLS, v. 34, April, 1985 for "Up from Eden" by Jacqueline Austin. Copyright © V. V. Publishing Corporation.
Women's Studies: An Interdisciplinary Journal, v. 13, 1986. © Gordon and Breach Science Publishers. Reproduced by permission
COPYRIGHTED EXCERPTS IN NFS, VOLUME 3, WERE REPRODUCED FROM THE FOLLOWING BOOKS:
Brander, Laurence From George Orwell. Longmans, Green and Co., 1954. Reproduced by permission of Addison Wesley Longman
Callan, Edward From Alan Paton. Revised edition. Twayne Publishers, 1982. Copyright © 1982 by G. K Hall & Co. All rights reserved. Excerpted with permission of Twayne Publishers, an imprint of Simon & Schuster Macmillan.
Cheung, King-Kok. From "Attentive Silences m Joy Kogawa's 'Obasan',"inArticulateSilences: Hisaye Yamamoto, Maxine Hong Kingston, Joy Kogawa. Cornell, 1993. Copyright© 1993 by Cornell University. All nghts reserved. Reproduced by permission of the publisher, Cornell University Press All additional uses of this material—including, but not limited to, photocopying and reprinting—are prohibited without the prior written approval of Cornell University Press
Greenblatt, Stephen. From Three Modern Satirists: Waugh, Orwell, and Huxley. Yale University Press, 1965 Copynght © 1965 by Yale University. All nghts reserved. Reproduced by permission of the author.
Hinde, Thomas. From "Accident and Coincidence in Tess of the D'Urbervilles," in The Genius of Thomas Hardy. Edited by Margaret Drabble. Knopf, 1976. Copyright © 1976 by George Wei-denfeld and Nicolson Ltd All nghts reserved. Reproduced by permission of the author.
Leatherbarrow, William J. From Fedor Dos-toevsky. Twayne Publishers, 1981. Copyright © 1981 by G. K. Hall & Co All rights reserved. Excerpted with permission of Twayne Publishers, an imprint of Simon & Schuster Macmillan.
Miller, J. Hillis. From Fiction and Repetition: Seven English Novels. Cambridge, Mass.: Harvard University Press, 1982. Copyright © 1982 by J. Hillis Miller. All nghts reserved. Excerpted by permission of the publishers. In the British Commonwealth by Basil Blackwell, Ltd.
Nagel, James. From "Desperate Hopes, Desperate Lives: Depression and Self-Realization in Jamaica Kincaid's 'Annie John' and 'Lucy'," in Traditions, Voices, and Dreams: The American Novel Since the 1960s. Edited by Melvin J. Friedman and Ben Siegel. University of Delaware Press, 1995. © 1995 by Associated University Presses, Inc. All rights reserved. Reproduced by permission.
Owens, Louis. From Other Destinies: Understanding the American Indian Novel. University of Oklahoma Press, 1992. Copyright © 1992 by the University of Oklahoma Press. All nghts reserved. Reproduced by permission.
Stout, Jams P. From "Joan Didion and the Presence of Absence," in Strategies of Reticence: Silence and Meaning in the Works of Jane Austen, Willa Cather, Katherine Anne Porter and Joan Didion. Edited by Sharon Felton. University Press of Virginia, 1990 Reproduced with permissions of The University Press of Virginia
PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN NFS, VOLUME 3, WERE REPRODUCED FROM THE FOLLOWING SOURCES:
AP/WIDE WORLD PHOTOS: Antiguan girl carrying water jug, photograph. AP/Wide World Photos, Inc. Reproduced by permission. —Dorris, Michael, photograph. AP/Wide World Photos, Inc. Reproduced by permission. —Hurston, Zora Neale, photograph. AP/Wide World Photos, Inc. Reproduced by permission. —Orwell, George, photograph. AP/Wide World Photos, Inc. Reproduced by permission. —Peter and Paul Fortress, photograph. AP/Wide World Photos, Inc. Reproduced by permission. —Vonnegut, Kurt, photograph. AP/Wide World Photos, Inc. Reproduced by permission.
ARCHIVE PHOTOS: Dostoevsky, Fyodor, photograph Archive Photos, Inc. Reproduced by permission. —Forster, E. M., photograph. Archive Photos, Inc. Reproduced by permission. —Kevorkian, Jack (with Geoffrey Feiger), photograph. Archive Photos, Inc. Reproduced by permission. —Lorre, Peter, in the film "Cnme and Punishment," photograph. Archive Photos, Inc. Reproduced by permission. —Paton, Alan, photograph. Archive Photos, Inc. Reproduced by permission. —Women marching for the right to vote, photograph. Archive Photos, Inc./Hackett Collection. Reproduced by permission.
JERRY BAUER: Didion, Joan, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission. —Gibbons, Kaye, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission. —Kinkaid, Jamaica, photograph by Jerry Bauer. © Jerry Bauer. Reproduced by permission.
CANAPRESS PHOTO SERVICE: Japanese-Canadians protesting for compensation for World War II internment, photograph. Canapress Photo Service, 1988. Reproduced by permission.
CORBIS-BETTMANN: Hardy, Thomas, photograph. Corbis-Bettmann. Reproduced by permission. —Mondale, Walter, with Ronald Reagan at presidential debate in Louisville, Kentucky, October 7, 1984, photograph. Corbis-Bettmann. Reproduced by permission. —Neoclassical building in the French Quarter, New Orleans, photograph. Corbis-Bettmann. Reproduced by permission. —O'Connor, Flannery, photograph. Corbis-Bettmann. Reproduced by permission. —Stalin, Joseph, photograph. Corbis-Bettmann. Reproduced by permission.
GEORGIA CURRY: Headstone on grave of Zora Neale Hurston, photograph by Georgia Curry.
GALE RESEARCH: Antigua, map. Gale Research.
THE GLOBE AND MAIL, TORONTO- Ko-gawa, Joy, 1992, photograph by Randy Velocci. The Globe and Mail, Toronto. Reproduced by permission. —Uprooting of Japanese Canadians, Vancouver, 1942 train shot, photograph. The Globe and Mail, Toronto. Reproduced by permission.
HALLMARK HALL OF FAME: Harris, Julie, with Jena Malone, in a scene from "Ellen Foster," photograph. Hallmark Hall of Fame. Reproduced by permission.
HENRY HOLT AND COMPANY. Robbins, Ken, illustrator. From a jacket of A Yellow Raft in Blue Water, by Michael Dorris. Henry Holt and company, Inc. Jacket design copyright © 1987 by Henry Holt and Company, Inc. Reproduced by permission of Ken Robbins.
HOUGHTON MIFFUN COMPANY: Lowry, Lois, photographer. From a cover of The Giver, by Lois Lowry. Houghton Mifflin Company, 1993. Jacket photograph © 1993 by Lois Lowry. Reproduced by permission of Houghton Mifflin Company.
THEKOBAL COLLECTION: Davis, Judy, and Nigel Havers in the film "A Passage to India," 1984, photograph. The Kobal Collection Reproduced by permission. —Harris, Richard, with James Earl Jones in the film "Cry, the Beloved Country," photograph. The Kobal Collection. Reproduced by permission. —Kinski, Nastassia, and Peter Firth in the film "Tess," photograph. The Kobal Collection. Reproduced by permission. —Pig from animated film "Animal Farm," photograph. The Kobal Collection. Reproduced by permission. —Sacks, Michael, in the 1972 motion picture "Slaughterhouse Five," photograph. The Kobal Collection. Reproduced by permission.
MISSOURI HISTORICAL SOCIETY: Chopin, Kate, photograph. Missouri Historical Society. Reproduced by permission.
LUFTIOZKOK: Gardner, John, photograph by Lutfi Ozkok. Reproduced by permission.
AMANDA SMITH: Lowry, Lois, photograph by Amanda Smith. Reproduced by permission of Lois Lowry.
UPI/CORBIS-BETTMANN- 5th Avenue and 135th street, Harlem, New York, 1927, photograph.
UPI/Corbis-Bettmann. Reproduced by permission. —Black South Africans outside shacks in slum of Sofiatown, 1954, Johannesburg, South Africa, photograph UPI/Corbis-Bettmann. Reproduced by permission. —Ceremonies commemorating Battle of Little Big Horn, photograph. UPI/Corbis-Bettmann. Reproduced by permission —Demonstration at Grant Park, photograph. UPI/Corbis-Bettmann. Reproduced by permission. —Evacuation plane boarding, Nha Traing, S. Vietnam, photograph. UPI/Corbis-Bettmann. Reproduced by permission. —Gandhi, Mahatma, and Shnmah Sorojini Naidu, photograph. UPI/Corbis-Bettmann. Reproduced by permission. —Lafata, Lorraine, writing down "House Rules" at Safe House in Ann Arbor, Michigan, photograph. UPI/Corbis-Bettmann. Reproduced by permission. —Men among the ruins of Dresden, 1946, Germany, photograph. UPI/Corbis-Bettmann. Reproduced by permission. —Presnell, Tom, photograph. UPI/Corbis-Bettmann. Reproduced by permission.
SALLY WEIGAND: Dorset, England, photograph by Sally Weigand. © 1989. Reproduced by permission of Sally Weigand.
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