Composing: An Overview - Pearson Education · 2019-02-20 · Composing: An Overview This text...

PART I

�Composing:

An OverviewThis text serves a dual purpose: to enable you to enjoy, under-stand, and learn from imaginative literature; and to help youto write clearly, intelligently, and correctly about what youhave learned. It is designed to guide you through the interre-lated processes of analytical reading and critical writing. Thebook combines an anthology of short stories, poems, and playsalong with instruction in interpreting and writing about liter-ature. It also includes a concise handbook to help you in cor-recting errors, plus a handy glossary of literary and rhetoricalterms. Throughout we supply inventive topics for responsive,critical, and researched writing.

We begin our rhetorical instruction at the beginning withthe prewriting process—the thinking that goes on as you sortout and focus on what you want to say. Then we offer advice toget you through a first draft. Next comes help with the crucialtask of revising, followed by tips to improve your editing andproofreading. Finally, you will learn how to use secondarysources—library and Internet materials—to enhance yourthinking and writing about literature. As you study these firstfour chapters, you will be guided with geniality and encour-agement through the writing process to the completion of afinished paper you can be proud of.

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1The Prewriting Process

Your study of writing, as we approach it in this book, will focus onthe composing process: prewriting, writing, rewriting, and edit-ing. The first part of the text takes you through each stage,

explaining one way of putting together a paper on James Joyce’s“Eveline.” The following parts, which include more short stories, pluspoems and plays, offer further advice for understanding and writingabout these various kinds of literature.

We realize, of course, that our chronological, linear (step-by-step)explanations of the writing process are not entirely true to experience;most of us juggle at least two of the steps at a time when we write. Weput down half a sentence, go back and revise it, make notes of somedetails to include later in the essay, and then finish the sentence, perhapscrossing out and correcting a misspelled word—a combination ofprewriting, writing, rewriting, and editing. We have adopted the linear,step-by-step presentation because it allows us to explain this complicatedprocess. �

Reading for WritingTo prepare for your study of the stages of writing an essay about a lit-

erary topic, find a comfortable spot and read the following short story.

James Joyce 1882–1941

James Joyce rejected his Irish Catholic heritage and left his homeland at age twenty.Though an expatriate most of his adult life, Joyce wrote almost exclusively about hisnative Dublin. His first book, Dubliners (1914), was a series of sharply drawn vignettesbased on his experiences in Ireland, the homeland he later described as “a sow that eatsits own farrow.” His novel Ulysses (1933) was banned for a time in the United Statesbecause of its coarse language and frank treatment of sexuality; it is now often ranked asthe greatest novel of the twentieth century.

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4 JAMES JOYCE Eveline

Eveline

She sat at the window watching the evening invade the avenue. Her head wasleaned against the window curtains and in her nostrils was the odour of dustycretonne. She was tired.

Few people passed. The man out of the last house passed on his way home;she heard his footsteps clacking along the concrete pavement and afterwardscrunching on the cinder path before the new red houses. One time there usedto be a field there in which they used to play every evening with other people’schildren. Then a man from Belfast bought the field and built houses in it—notlike their little brown houses but bright brick houses with shining roofs. Thechildren of the avenue used to play together in that field—the Devines, theWaters, the Dunns, little Keogh the cripple, she and her brothers and sisters.Ernest, however, never played: he was too grown up. Her father used often tohunt them in out of the field with his blackthorn stick; but usually little Keoghused to keep nix and call out when he saw her father coming. Still they seemedto have been rather happy then. Her father was not so bad then; and besides, hermother was alive. That was a long time ago; she and her brothers and sisterswere all grown up; her mother was dead. Tizzie Dunn was dead, too, and theWaters had gone back to England. Everything changes. Now she was going togo away like the others, to leave her home.

Home! She looked round the room, reviewing all its familiar objects whichshe had dusted once a week for so many years, wondering where on earth all thedust came from. Perhaps she would never see again those familiar objects fromwhich she had never dreamed of being divided. And yet during all those yearsshe had never found out the name of the priest whose yellowing photographhung on the wall above the broken harmonium beside the coloured print of thepromises made to Blessed Margaret Mary Alacoque. He had been a schoolfriend of her father. Whenever he showed the photograph to a visitor her fatherused to pass it with a casual word:

“He is in Melbourne now.”She had consented to go away, to leave her home. Was that wise? She tried

to weigh each side of the question. In her home anyway she had shelter andfood; she had those whom she had known all her life about her. Of course shehad to work hard, both in the house and at business. What would they say of herin the Stores when they found out that she had run away with a fellow? Say shewas a fool, perhaps; and her place would be filled up by advertisement. MissGavan would be glad. She had always had an edge on her, especially wheneverthere were people listening.

“Miss Hill, don’t you see these ladies are waiting?”“Look lively, Miss Hill, please.”She would not cry many tears at leaving the Stores.But in her new home, in a distant unknown country, it would not be like that.

Then she would be married—she, Eveline. People would treat her with respectthen. She would not be treated as her mother had been. Even now, though shewas over nineteen, she sometimes felt herself in danger of her father’s violence.She knew it was that that had given her the palpitations. When they were grow-ing up he had never gone for her, like he used to go for Harry and Ernest,because she was a girl; but latterly he had begun to threaten her and say what he

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CHAPTER 1 The Prewriting Process 5

Photo of a street in Dublin that conveys a sense of the neighborhoodwhere Eveline grew up. (Courtesy of Benjamin D. Smith)

would do to her only for her dead mother’s sake. And now she had nobody toprotect her. Ernest was dead and Harry, who was in the church decorating busi-ness, was nearly always down somewhere in the country. Besides, the invariablesquabble for money on Saturday nights had begun to weary her unspeakably.She always gave her entire wages—seven shillings—and Harry always sent upwhat he could but the trouble was to get any money from her father. He said sheused to squander the money, that she had no head, that he wasn’t going to giveher his hard-earned money to throw about the streets, and much more, for hewas usually fairly bad on Saturday night. In the end he would give her the moneyand ask her had she any intention of buying Sunday’s dinner. Then she had torush out as quickly as she could and do her marketing, holding her black leatherpurse tightly in her hand as she elbowed her way through the crowds and return-ing home late under her load of provisions. She had hard work to keep the housetogether and to see that the two young children who had been left to her chargewent to school regularly and got their meals regularly. It was hard work—a hard life—but now that she was about to leave it she did not find it a whollyundesirable life.

She was about to explore another life with Frank. Frank was very kind, manly,open-hearted. She was to go away with him by the night-boat to be his wife andto live with him in Buenos Ayres where he had a home waiting for her. How wellshe remembered the first time she had seen him; he was lodging in a house on themain road where she used to visit. It seemed a few weeks ago. He was standing at

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6 JAMES JOYCE Eveline

1“The end of pleasure is pain!”

the gate, his peaked cap pushed back on his head and his hair tumbled forwardover a face of bronze. Then they had come to know each other. He used to meether outside the Stores every evening and see her home. He took her to see TheBohemian Girl and she felt elated as she sat in an unaccustomed part of the theatrewith him. He was awfully fond of music and sang a little. People knew that theywere courting and, when he sang about the lass that loves a sailor, she always feltpleasantly confused. He used to call her Poppens out of fun. First of all it had beenan excitement for her to have a fellow and then she had begun to like him. He hadtales of distant countries. He had started as a deck boy at a pound a month on aship of the Allan Line going out to Canada. He told her the names of the ships hehad been on and the names of the different services. He had sailed through theStraits of Magellan and he told her stories of the terrible Patagonians. He had fall-en on his feet in Buenos Ayres, he said, and had come over to the old country justfor a holiday. Of course, her father had found out the affair and had forbidden herto have anything to say to him.

“I know these sailor chaps,” he said.One day he had quarrelled with Frank and after that she had to meet her

lover secretly.The evening deepened in the avenue. The white of two letters in her lap grew

indistinct. One was to Harry; the other was to her father. Ernest had been herfavourite but she liked Harry too. Her father was becoming old lately, shenoticed; he would miss her. Sometimes he could be very nice. Not long before,when she had been laid up for a day, he had read her out a ghost story and madetoast for her at the fire. Another day, when their mother was alive, they had allgone for a picnic to the Hill of Howth. She remembered her father putting onher mother’s bonnet to make the children laugh.

Her time was running out but she continued to sit by the window, leaning herhead against the window curtain, inhaling the odour of dusty cretonne. Downfar in the avenue she could hear a street organ playing. She knew the air. Strangethat it should come that very night to remind her of the promise to her mother,her promise to keep the home together as long as she could. She rememberedthe last night of her mother’s illness; she was again in the close dark room at theother side of the hall and outside she heard a melancholy air of Italy. The organ-player had been ordered to go away and given sixpence. She remembered herfather strutting back into the sickroom saying:

“Damned Italians! coming over here!”As she mused the pitiful vision of her mother’s life laid its spell on the very

quick of her being—that life of commonplace sacrifices closing in final craziness.She trembled as she heard again her mother’s voice saying constantly with fool-ish insistence:

“Derevaun Seraun! Derevaun Seraun!”1

She stood up in a sudden impulse of terror. Escape! She must escape! Frankwould save her. He would give her life, perhaps love, too. But she wanted to live.Why should she be unhappy? She had a right to happiness. Frank would takeher in his arms, fold her in his arms. He would save her.

She stood among the swaying crowd in the station at the North Wall. Heheld her hand and she knew that he was speaking to her, saying something about

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the passage over and over again. The station was full of soldiers with brown bag-gages. Through the wide doors of the sheds she caught a glimpse of the blackmass of the boat, lying in beside the quay wall, with illumined portholes. Sheanswered nothing. She felt her cheek pale and cold and, out of a maze of dis-tress, she prayed to God to direct her, to show her what was her duty. The boatblew a long mournful whistle into the mist. If she went, tomorrow she would beon the sea with Frank, steaming towards Buenos Ayres. This passage had beenbooked. Could she still draw back after all he had done for her? Her distressawoke a nausea in her body and she kept moving her lips in silent fervent prayer.

A bell clanged upon her heart. She felt him seize her hand:“Come!”All the seas of the world tumbled about her heart. He was drawing her into

them: he would drown her. She gripped with both hands at the iron railing.“Come!”No! No! No! It was impossible. Her hands clutched the iron in frenzy. Amid

the seas she sent a cry of anguish.“Eveline! Evvy!”He rushed beyond the barrier and called to her to follow. He was shouted at

to go on but he still called to her. She set her white face to him, passive, like ahelpless animal. Her eyes gave him no sign of love or farewell or recognition.

(1914)

Now that your reading of Joyce’s story has given you material to mullover, you should consider some questions that good writers think aboutas they prepare to write. Granted, experienced writers might go oversome of these prewriting matters almost unconsciously—and perhaps asthey write instead of before. But in order to explain how to get theprocess going for you, we will present these considerations one by one.

Who Are My Readers?Unless you are writing a journal or a diary for your own satisfaction,

your writing always has an audience—the person or group of people whowill read it. You need to keep this audience in mind as you plan what tosay and as you choose the best way to express your ideas.

Analyze the AudienceNo doubt you already have considerable audience awareness. You

would never write a job application letter using the latest in-group slang,nor would you normally correspond with your dear Aunt Minnie inimpersonal formal English. Writing for diverse groups about whom youknow little is more difficult than writing for a specific audience whomyou know well. In this class, for instance, you will be writing for your fel-low students and for your instructor, a mixed group often thrown togeth-er by a computer. Although they are diverse, they do share some charac-teristics. For one thing, when you begin to write a paper about “Eveline,”you know that your audience has read the story; thus, you need not

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8 PART I Composing: An Overview

summarize the plot. Also, the people in your audience are college-educated (or becoming so); therefore, you need not avoid difficult wordslike epitome, eclectic, or protean if they are the appropriate choices. Othershared qualities will become apparent as you get to know your classmatesand your instructor.

Prewriting ExerciseCompose a brief letter persuading Eveline that she should (or should

not) leave Frank. Your argumentative tactics, your attitude, and evenyour word choice must be affected by what you know about Eveline fromreading the story—her essential timidity, her insecurity, her self-doubt,her capacity for self-deception.

Then, write briefly to her bullying father explaining to him why hisdutiful daughter has deserted him.

Finally, write Frank a short letter explaining why Eveline will not begoing away with him.

Be prepared to discuss with the class specific ways in which your lettersare different when you change your audience.

Why Am I Writing?Every kind of writing, even a grocery list, has a purpose. You seldom

sit down to write without some aim in mind, and this purpose affectsyour whole approach to writing. The immediate response to the question“Why am I writing?” may be that your teacher or your employer askedyou to. But that answer will not help you understand the reasons thatmake writing worth doing—and worth reading.

Reasons for WritingSometimes you may write in order to express your own feelings, as in a

diary or a love letter. More frequently, though, you will be writing for sev-eral other people, and the response you want from these prospective read-ers will determine your purpose. If, for instance, you want your audience tobe amused by your writing (as in an informal essay or friendly letter), yourpurpose is to entertain. If you want your readers to gain some knowledgefrom your writing (say, how to get to your house from the airport), then youare writing to inform. If you want your readers to agree with an opinion orto accept an idea (as in a letter to the editor or an advertisement), then youare writing to persuade. Of course, these aims overlap—as do most things inthe writing process—but usually one purpose predominates.

Most of your writing in this course, as in real life, will attempt to per-suade in one way or another. Your purpose is often to convince yourreader to agree with the points you are making. Logical ideas set downin clear, interesting writing should prove convincing and keep your read-ers reading.

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Prewriting ExerciseIn writing the three letters to various characters, you have already

noticed how audience and purpose can change the way you think andwrite about “Eveline.” After studying the four writing suggestions thatfollow, reread the story. You may discover that you have more ideas andfeelings about it than you first imagined. Thinking about prospectivereaders and determining your purpose will help you to understand yourown views and reactions better.

1. If your purpose is to express your personal response:Write down your feelings about Eveline in a journal entry or in a briefnote to a close friend. Do you sympathize with Eveline? Pity her?Does she irritate you or make you angry? Be as forthright as you can.

2. If your purpose is to inform someone else:Write a brief summary (less than one hundred words) of “Eveline” fora fellow student who wants to know if the story is worth reading.Write a slightly longer summary for your instructor (or someone elsewho has read the story) who wants to know if you have grasped itsimportant points.Which summary was easier to write? What purposes besides provid-ing information were involved in each summary?

3. If your purpose is to entertain yourself or your readers:How would you rewrite the ending of “Eveline” to make it more pos-itive or romantic—to make it appeal to a wider audience? Would suchan ending be consistent with the earlier parts of the story? Would itbe true to human experience?

4. If your purpose is to persuade your readers:The author tells us that Eveline held two letters in her lap, but we donot know their contents. Write your version of one of them. Try toconstrue from evidence in the story what Eveline would have said toconvince her father or her brother that she had good reasons for goingaway with Frank. How would she persuade them to forgive her?Consider also what other purposes Eveline would try to achieve ineach of these letters.

What Ideas Should I Use?Understanding literature involves learning what questions to ask

yourself as you read. To deepen your comprehension and develop ideasfor writing, you need to examine the work carefully and think criticallyabout its component parts.

Reading and Thinking CriticallyCritical reading and thinking involves several overlapping procedures:

analysis, inference, synthesis, and evaluation. The word critical does notmean “disapproving” or “faultfinding” in this context; it means thorough,

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thoughtful, inquisitive, and discerning. As a critical reader you want todiscover meanings and relationships that you might otherwise miss inuncritical, superficial reading.

● Analysis involves examining the parts or elements of a work, the better tounderstand it.

● Inference entails drawing conclusions about a work based on your analy-sis. When you infer, you explore the implications of various elements(such as plot, characterization, structure, tone) and interpret theirmeaning.

● Synthesis is the process of putting your analysis and inferences togetherinto a new, more informed understanding of the work. You create thisnew understanding by making connections, identifying patterns, anddrawing conclusions.

● Evaluation means defending the judgments you have made about awork’s meaning and significance.

Chapters 5, 11, and 15—“How Do I Read Short Fiction?” “How Do IRead Poetry?” and “How Do I Read a Play?”—provide specific sug-gestions and questions to guide you in analyzing, making inferences,synthesizing, and evaluating literary works. Here are some sugges-tions and questions from those chapters, along with their critical readingbasis.

Example of Questions Inviting AnalysisWhat is the central conflict of the play? Does the play contain any sec-

ondary conflicts (subplots)? How do they relate to the main conflict?Example of Questions That Require Inferences

Who is the main character? Does this person’s character change duringthe course of the story? Do you feel sympathetic toward the main charac-ter? What sort of person is she or he?Example of Questions Involving Synthesis

What is the theme (the central idea) of this poem? Can you state it in asingle sentence?Example of a Suggestion for Evaluation

Is the play a tragedy, a comedy, or a mixture? Is this classificationimportant?

Discovering and Developing IdeasYou read critically to derive meaning from a work, and you continue

to think critically as you go about discovering ideas to write about. Thislatter process, called invention, is more effective if you employ one of thefollowing techniques designed to help you analyze literary works andgenerate ideas about them.

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Self-QuestioningThese are the kinds of questions you might ask yourself when study-

ing a work of literature: questions about characters, their circumstances,their motives and conflicts, their fears and expectations, their relationswith other characters; questions about the setting in which the storytakes place; questions about any repeated details that seem significant;questions about the meaning and value of actions and events. Write outyour responses to these questions about “Eveline” and keep them handyas you formulate your essay.

1. What is Eveline’s home life like?2. How does she expect her new life to be different?3. Do you think this expectation is realistic?4. Why is the word dust mentioned so often?5. List all the concrete details you can find that describe Eveline’s home.6. How old is Eveline? Is her age important for any reason?7. What sort of person is her father? What kind of “bad way” is he in on

Saturday nights?8. How does Eveline feel about her father?9. What sort of person was Eveline’s mother? What happened to her?

Does Eveline identify with her mother in any way?10. How does Eveline feel about her dead mother?11. What do you think her mother meant when she kept repeating “the

end of pleasure is pain”? Why would she say this? Was she reallycrazy—or only worn down?

12. What does Eveline’s father mean when he tells her, “I know thesesailor chaps”? What possible reasons could he have for trying to breakup Eveline’s romance?

13. What sort of person is Frank? What does Eveline actually know abouthim?

14. Has Eveline romanticized Frank in any way? Is her father’s objectionto him perhaps justified?

15. What is Eveline’s duty to her father? What promise did she make toher dying mother?

16. What is her duty to herself? Does she really believe she has a “right tohappiness”? Why or why not?

17. How does Eveline feel about leaving her brother?18. In what ways is Eveline “like a helpless animal”? What is she afraid of ?19. Why do you think her eyes give Frank “no sign of love or farewell or

recognition”?20. Do you think Eveline made the right decision? Why or why not?

During the invention stage, you want to turn up as many ideas as possi-ble. Later, after choosing a focus for your paper, such as characterizationor theme, you will select those story details that you will be discussing

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when developing your ideas. Even though you narrow your focus, you stillneed to consider other elements of the story—imagery, symbolism, set-ting, point of view—as these elements serve to reveal character or theme.

Directed FreewritingMany people find that they can best bring ideas to the surface by writ-

ing freely, with no restrictions about correctness. When you engage infreewriting in order to “free” ideas from your subconscious mind, youshould think of a pertinent question and just start writing.

Consider this question: “Why does Eveline stay with her abusivefather?” As you think, start writing. Set down everything that comes tomind; do not concern yourself with spelling, word choice, or punctua-tion. You are writing for your own benefit, attempting to discover every-thing about Eveline’s decision that you have in mind after reading andthinking about the story.

After writing for ten minutes (or after you run out of ideas), stop andread over what you have said. Underline any idea that might serve as thefocus for a paper. Put stars or asterisks in the margin beside any ideas thatsound useful as support for your interpretation. Figure 1-1 provides anexample of freewriting turned out by a student on this same question.

If you find freewriting a good method for generating ideas, you maywant to go through the process again. This time write down a statementthat you underlined in your first freewriting as a possible approach foryour paper. Let’s say you decide to focus (as our student did) on the ideathat Eveline’s sense of insecurity causes her to remain with her father.Put that sentence at the top of a fresh sheet of paper and begin writing.Continue recording your thoughts until you either run out of ideas orrun out of time (fifteen minutes is usually enough). Then read over yourfreewriting, underlining or putting stars by any ideas that you thinkwould be good support to include in your paper.

Problem SolvingAnother method of generating material for a paper involves problem

solving. Consider some part of the work that you feel you need to under-stand better and pose yourself a problem, like the following:

Explain the ending of the story so that it is understandable and believable.

As you seek a solution, ask yourself more questions.

● Why does Eveline refuse to leave her pinched, narrow life with herfather and the younger children?

● Is there anything about the way she was brought up that makes thisaction seem reasonable, perhaps inevitable?

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Figure 1-1 Directed Freewriting

● Would her life have been different if she had been born male instead offemale? What happened to her brothers, for instance?

● Does her religion have any bearing on her decision?

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Write down all the reasons you can find to help explain why Eveline doesnot leave home. Do any of these reasons shed light on the overall mean-ing of the story? Do you now perhaps see a meaningful point you coulddevelop into an essay?

ClusteringAnother useful way of getting ideas out of your head and down on

paper involves clustering. Begin with a blank sheet of paper. In the center,write a crucial question about the story that you want to investigate, andcircle the words. Then, draw a line out from that circle, write an idea ora question related to the central idea, and circle that. Spiraling out fromthat circle, add and circle any further associations that you can make.Continue drawing lines from the center, like spokes radiating from awheel, and record any other ideas or questions that are related. Whenyou finish, you will have a cluster of related ideas resembling Figure 1-2,which explores the question “Why does Eveline decide to stay with herfather?”

Clustering works just fine with statements, as well as with questions.If you think you might want to write a paper focusing on the character-ization of Eveline, you could just write her name in the center of the pageand begin recording all that you know about her. Your first ring of cir-cles might include father, mother, siblings, house, church, job, Frank,lifestyle, personality—and spiral out from there.

You can see that this technique works well for exploring any aspect ofa work. As you progress through this course, you may decide to write inthe middle of the page point of view, setting, imagery, or whatever elementyou think might serve as a meaningful focus for your paper.

What Point Should I Make?Besides providing a thorough understanding of the story, these

prewriting activities serve to stir up ideas for a thesis—the controllingidea for your paper—and to help you discover evidence to support con-vincingly the observations you will make in developing that thesis.

Relate a Part to the WholeOne bit of advice that will help you write meaningful literary papers is

the following:

Devise a thesis that makes its point by relating some aspect of the work tothe meaning of the whole—that is, to its theme.

Our questions so far have led you to approach Joyce’s story by ana-lyzing character and plot. But writing a simple character sketch (in

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Figure 1-2 Clustering

which you discuss what sort of person Eveline is) would not pro-duce a satisfactory critical paper. You need to go beyond that one-dimensional approach and make your essay say something about thestory itself. In short, you must relate your analysis of her character tothe theme.

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How Do I Find the Theme?You may have learned that the theme of a work is the moral. In a sense

that is true, but a moral suggests a neatly stated, preachy comment onsome vice or virtue, whereas a literary theme will seldom be so pat andshould never sound preachy. In order to discover theme you need todecide what you have learned from reading the story. What did theauthor reveal about the behavior of human beings, about the conduct ofsociety? Rather than looking for a moral, look for some insight into thehuman condition.

Sometimes you may have a theme in mind but be unable to express itexcept in a cliché. You could, for instance, see the theme of “Eveline” asan acceptance of the old adage “Better the devil you know than the devilyou don’t.” Although this idea is acceptable as a theme, a clearer state-ment would relate the concept more closely to the story, as follows:

In “Eveline,” Joyce focuses on the painful choices a young woman facesconcerning her desire for a better life, her duty to her family, and her fearof leaving home.

Certainly her character—the kind of person she is—relates directly tothis theme. If, for instance, Eveline had been a willful, disobedient childwho grew up into a rebellious, irresponsible young woman, the outcomeof the story would surely be different.

The problem is thus to find a thesis that will allow you to explain howEveline’s upbringing has conditioned her for the inevitable failure ofnerve, the return to servitude and security, the relinquishing of hopes anddreams.

Stating the ThesisA good thesis statement should be a complete sentence that clearly con-

veys the point you plan to make in your paper. Notice the differencebetween a topic, which is not a complete sentence, and a thesis, which is.

Topic A characterization of EvelineThesis Joyce’s characterization of Eveline as a dutiful daughter enables us

to discover why she makes her strange decision at the end.Topic The role of the church in “Eveline”

Thesis The role of the Catholic church is crucial in shaping Eveline’spersonality and in helping us understand why she sacrifices her-self for her family.

Topic Dust as a symbol in “Eveline”Thesis Joyce’s use of dust as a controlling symbol in “Eveline” reinforces

our understanding of this young woman’s dreary, suffocating,arid life.

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Your thesis sentence should be broad enough to include all the ideasthat are necessary as evidence but narrow enough to make a precise state-ment of your main point and focus your thoughts. If your thesis is toobroad—as, for example, “Joyce’s characterization of Eveline is extremelywell drawn”—you may end up skimming the surface, never providing ameaningful interpretation of the work. Notice that the previous overlybroad thesis is unsatisfactory for another reason: it fails to make a realpoint.

A better thesis for a paper on “Eveline” might be stated in any of thefollowing ways:

Eveline’s Catholic upbringing as a dutiful daughter makes impossibleher hopes for a happier life.

If Eveline had been born male instead of female, she might haveescaped her unhappy home life, as her brother did.

Eveline, “trapped like a helpless animal” by her deathbed promise toher mother, is morally unable to break her vow and flee her miserablehome to seek a new life for herself.

Having been thoroughly beaten down by her brutal, domineeringfather, Eveline lacks the self-confidence to flee in search of her own life.

Most of the ideas and details you need to support any of these thesisstatements will appear in the freewriting or clustering that you havealready completed. In the next chapter, we will suggest some ways inwhich you might arrange this material in the paper itself.

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55

4Researched Writing

At some point you may be asked to write a literary paper thatdoesn’t draw entirely on your own understanding and judgments.In other words, you will have to do some research. When writing

a researched paper about literature, you begin, as always, with a primarysource—the story, poem, or play the paper is about—but you expand therange of your coverage to include secondary sources—critical, biograph-ical, historical, and cultural documents that support your interpretationof the primary work (or works).�

Using Library Sources in Your WritingMost student writers consult secondary sources to help them explain,

develop, and strengthen their ideas and opinions. That’s what WendyDennison did with her essay “Fear of Failure in Joyce’s ‘Eveline’”(see pages 51–54 in the previous chapter). Although Wendy had workedout her own arguments for why Eveline did not go away with Frank, sheand her instructor thought it would be enlightening to see what otherreaders thought. So Wendy went to the library to find material by criticswho had published their interpretations of “Eveline,” especially about theending of the story. After reading and taking notes from a number of booksand articles, Wendy revised her paper by incorporating comments fromseveral critics into her discussion. The revised, documented version of heressay appears on pages 73–79.

Although not everyone produces a finished paper before doing research,some writers do prepare a first draft before looking at secondary sources.Others consult secondary materials to help them decide on a topic.Another common strategy is to use the ideas of others as a platform for aninterpretation, first summarizing several views and then presenting a dif-ferent interpretation, a synthesizing conclusion, or an analysis of their con-flicting points of view.

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Secondary sources can help you in a number of different ways todevelop an essay about literature:

● Analyzing the features of a single work. Why does E. E. Cummings disre-gard traditional form and punctuation in his poetry? How does the chorusfunction in Antigone?

● Exploring connections between a work and the author’s life. How does theconsumption of alcohol in “What We Talk About When We Talk AboutLove” relate to Raymond Carver’s personal struggles with alcoholism?How autobiographical is Anne Sexton’s “You All Know the Story of theOther Woman”?

● Assessing the impact of social, historical, or cultural backgrounds on a work. Howdo attitudes toward homosexuality in China affect your understanding of“The Bridegroom” by Ha Jin? What is the role of the blues tradition inFences by August Wilson? How do psychological theories of family sys-tems illuminate “The Rocking-Horse Winner”?

● Understanding the political or artistic objectives of a work. In what ways canLuis Valdez’s play Los Vendidos be seen as a drama of social protest? Howwell does “The Cask of Amontillado” illustrate Poe’s theory aboutachieving “a certain unique or single effect” in a short story?

● Comparing themes or characters in several works. How do the mother-daughter relationships in stories by Tillie Olsen, Hisaye Yamamoto,Flannery O’Connor, and Joyce Carol Oates illustrate different kinds ofmaternal-filial bonding? What attitudes toward sports are expressed inHousman’s “To an Athlete Dying Young,” Updike’s “Ex-BasketballPlayer,” and Wright’s “Autumn Begins in Martins Ferry, Ohio”?

You will find ideas for researched writing in the questions that followmost of the literary selections in this book.

Conducting Your ResearchThe prewriting you do for a documented paper is similar to the

prewriting you would do for any literary essay. You still need to consideryour audience, determine your purpose, discover and develop your ideas,and decide what point you want to make. The techniques and advicepresented in Chapter 1 will help you with these tasks. But the next stepswill be different, perhaps even new to you. First and foremost, you haveto track down relevant secondary sources, a challenging procedure thatinvolves libraries, computer terminals, and stacks of papers and indexcards. The following sections will guide you through this process.

Locating SourcesMore than likely you will conduct your search for sources on a com-

puter. Most college libraries offer workshops to help students locatematerials, conduct computer searches, use online databases, and navigate


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CHAPTER 4 Researched Writing 57

the Internet. If these courses are not required, take them anyway—youcould save yourself hours of aimless wandering. Your library’s informa-tion desk will provide you with schedules of these valuable sessions.

Using the Online CatalogMost libraries today list their holdings in a computerized public access

catalog (PAC) or an online catalog (OC). The PAC or OC terminal itselfwill tell you how to use it. The opening screen of the OC at the libraryWendy Dennison used shows that she can search for books, journals andmagazines, and other items owned by her library and by other libraries inthe state. In electronic databases, you can usually search for sources byauthor, title, and publication year and also by subject, using keywords, ordescriptors, to describe the source’s contents. Subject searches work bestwhen the keywords conform to a database’s directory of terms. For yourlibrary’s catalog, the directory is the Library of Congress Subject Headings(LCSH), which is available in printed form in the library’s reference room.Remember that computers are unforgiving about spelling and typingerrors. When your results are not what you expected, check the accuracyof the search terms you used.

To begin her search of the OC, Wendy typed in the LSCH heading“Joyce, James, 1882–1941” and selected “subject” in the “search by” menu.The results showed more than seventy entries, most of which containedsublistings for specific titles. In other words, her library owns hundreds ofbooks and other materials about James Joyce. Wendy refined her search byadding “Dubliners” (the title of the collection that contains “Eveline”) toher descriptor; she found that her library had eight books on this topic. Shesaw which ones were available and where they were located in the library.Wendy also browsed a number of items under the subheading “criticismand interpretation” and took down information about books that appearedto deal with Joyce’s early works. She felt she had plenty of material to beginher review of critical opinions about the motivations of Eveline.

Using Indexes and DatabasesEven though you might find valuable material in books to use in doc-

umenting your ideas and critical judgments, your paper will not be wellresearched unless you also find articles and reviews relevant to yourtopic. These sources are now available electronically through onlinedatabases and text archives that your library subscribes to. The libraryhomepage that Wendy was using allowed her to move from the onlinecatalog to a list of more than a hundred searchable indexes, bibliogra-phies, and other electronic reference tools.

The reference librarian recommended that Wendy look first at twocomputerized indexes to find publication information on articles about“Eveline”: the MLA International Bibliography and the HumanitiesInternational Index. Other databases, like Academic Search Elite and Expanded


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Academic Index ASAP, also provide citations for journal articles, but theycover a wide range of academic subjects. These may be suitable for gather-ing background information, but the MLA International Bibliography is thebest choice for finding authoritative, scholarly sources about literature.Journals, like magazines and newspapers, are published periodically, but arewritten by and for academics or expert scholars. Journals rarely have adver-tising, eye-catching artistic touches, or slick covers. Each journal is devotedto a specific academic subject, often a very narrow one.

When Wendy typed “Eveline” in the “find” box of the MLA searchscreen, she got 132 hits. The display also prompted her to narrow herresults by subject and gave her several words and phrases to add to hersearch term. Wendy selected “Joyce, James,” which reduced the list to41 entries. She could view these entries one at a time or print out theentire list. Each citation included the article title and the name, volume,date, and page number of the periodical; it also supplied the call numberfor any publications in her library. Many of the entries contained a briefsummary of the article’s content, and several included the full text of thearticle for her to read or print. She could also send the data to her homecomputer by e-mail.

Wendy browsed through these findings and printed the citations forseveral articles that looked promising. Because the library did not own sev-eral of the periodicals, the librarian suggested requesting copies of the arti-cles through an interlibrary loan, but that would take several days. Anotheroption was to consult a full-text database, such as JSTOR ( Journal StorageProject) or ProjectMUSE, to see if the articles were available there. Wendydiscovered two promising articles in JSTOR and printed them out.

These are some of the electronic tools that Wendy used to search forpossible sources. Your library may subscribe to many of the same indexesand databases, but you need to find out what’s available and how to usethem. Chart 4-1 provides a list of the most popular online sources forresearching literary topics. Most of these are subscription services, butthey are often available, without a fee, on computers at academic andpublic libraries. You may also be able to access these resources from yourhome or other location through a proxy service that verifies your statusas a library card holder.

Using the InternetOnline databases and text archives are stored on computers all over

the world and are accessible over the Internet, through your librarynetwork, a local Internet provider, or a commercial service. Chart 4-2presents selected Internet sources for doing literary research; this listingfocuses on well-established sites that feature useful links and otherresources.

The most popular tool for searching the Internet is the World WideWeb, a complex system for organizing and viewing information. Theprimary attraction of the Web is that its documents are linked to other


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Chart 4-1 Selected Online Indexes and Databases

Indexes and AbstractsAmerican Humanities Index

Bibliographic references to more than 1,000 creative, literary, andscholarly journals published in the United States and Canada.

Gale’s Literary IndexMaster index to author and title listings from 130 literary reference works, including Contemporary Authors, ContemporaryLiterary Criticism, Contemporary Novelists, and Contemporary Poets.

Humanities International IndexBibliographic references to more than 1,900 literary, scholarly, andcreative journals in the humanities published worldwide, dating asfar back as 1925.

MLA International Bibliography OnlineCitations and indexing of more than 1.2 million scholarly journal arti-cles, book chapters, monographs, and dissertations on all areas ofmodern language and literature.

Periodical AbstractsCitations with abstracts and many complete articles from periodicals in all subject areas.

The Readers’ Guide to Periodical LiteratureOnline version of the classic library reference, indexing popular andgeneral-interest magazines. An expanded version, Readers’ GuideFull-Text, Mega Edition, provides an index and some full-text articlesfrom 1983 to the present.

Full-Text DatabasesAnnual Bibliography of English Language and Literature

Citations of journal articles on all aspects and periods of English lit-erature, with full texts from 120 scholarly publications.

EBSCO Academic Search PremierIndexing for nearly 8,200 periodicals, with full text for 4,700 of those titles, in the social sciences, humanities, general science, multicultural studies, education, and much more.

Humanities Full TextOnline indexing of journal articles, some full text, from 400 major humanities periodicals (1984 to present).

InfoTrac Expanded Academic Index ASAPAbstracts and many complete articles from scholarly and general interest journals in the social sciences, humanities, andnontechnical sciences (1980 to present).


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Chart 4-1 (Continued)

JSTOR (Journal Storage Project)Full-text, searchable archive of digitized (scanned) back issues ofmore than 500 well-known academic journals.

LexisNexis Academic UniverseFull-text access to a wide range of sources, including newspapersand magazines, legal publications, radio and television transcripts,and reference works.

ProjectMUSEFull-text collection of more than 100 scholarly journals in the artsand humanities, mathematics, and the social sciences, includingmore than 30 literature titles.

WilsonSelectPlusCitations, abstracts, and complete articles from almost 1,400periodicals in general science, the humanities, current events, andbusiness (generally 1994 to present).

pages by a technique called hypertext, which provides paths to additionalmaterial on other pages and at other Web sites. The Web is also search-able. Several different search engines—such as Netscape, Google,Teoma, Yahoo!, Ask.com, and Microsoft Explorer—catalog Web sites indirectories and allow you to conduct keyword searches.

You can also join electronic communities called newsgroups, throughwhich members exchange information about a common interest or affil-iation by posting questions and answers to online sites. Or you canbecome a member of an Internet discussion group, frequently called alistserv, whose subscribers use e-mail to converse on a particular subject.You will find e-mail discussion groups to join at Google Groups(http://groups.google.com), Yahoo! Groups (http://groups.yahoo.com), andTile.net (www.tile.net/lists).

It is not possible for us to give you detailed instructions for usingthe Internet and the Web—it would simply take up too much space.If you need additional information, you can visit one of these helpfulreference sites:

The Librarians’ Internet Index http://lii.org/search/file/netsearchUsing the Internet http://www.sofweb.vic.edu.au/internetMatisse’s Glossary of http://www.matisse.net/files/glossary.html

Internet Terms


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Chart 4-2 Internet Sources for Literature

Directories for Finding SitesVoice of the Shuttle http://vos.ucsb.edu

An annotated guide to literary resources online, with more than70 pages of links.

Literary Resources on the Net http://andromeda.rutgers.edu/~jlynch/LitA collection of links dealing primarily with English and Americanliterature.

IPL Literary Criticism Collection http://www.ipl.org/ref/litcritFrom the Internet Public Library, a collection of critical and bio-graphical Web sites about authors and their works.

Virtual Reference WorksBartleby.com http://www.bartleby.com

Bills itself as the “preeminent Internet publisher of literature, reference, and verse, providing students, researchers, and the intellectually curious with unlimited access to books and information on the Web, free of charge.”

Encyclopedia Mythica http://www.pantheon.orgOnline encyclopedia covering mythology, folklore, and legends.

*Literature Online http://www.online-literature.comA full-text, searchable library of more than 330,000 works ofEnglish and American poetry, drama, and prose; 400 authorbibliographies; 1,000 biographies of the most studied authors; 200 journals (with 30 in full text); and links to author Web sites.

*Literature Resource Center http://www.gale.com/LitRCBiographical, critical, and bibliographical coverage of more than100,000 writers from all time periods and genres.

Reviews and CriticismArts & Letters Daily http://aldaily.com

A service of the Chronicle of Higher Education; includes daily links toessays, book reviews, interviews, obituaries, and news in a wide rangeof online publications; coverage of literary topics is substantial.

*Book Review Digest Plus http://www.hwwilson.com/databases/brdig.htmProvides excerpts from and citations to reviews of current adultand juvenile fiction and nonfiction, extending back to 1983.

* Indicates a subscription site. Check to see if your library subscribes.


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Evaluating Online SourcesAlthough many online sources are informative and valuable, determin-

ing their credibility can be challenging. With scholarly books and journalarticles, you can consider the information credible because it has beenreviewed and edited; the authors are often recognized authorities andtheir claims are documented. But anyone can create and post informationon a Web site or join a newsgroup. So when you use information from anelectronic source, you want to be confident that it is reliable and that itcomes from someone with the appropriate authority. Here are someguidelines for evaluating online materials:

● Look for credentials. What do you know about the people supplying theinformation? What’s the basis of their expertise? Is the source also availablein an established, conventional printed form?

● Track down affiliations. Who sponsors the online site? Is it a reputablegroup that you can easily identify? Is the information influenced bycommercial or political sponsorship? Does the site include links to otherresources?

● Analyze motives. What purpose does the site serve? Many online postingsare trying to buy or sell something; others are promoting a favorite cause.These don’t usually make good sources for research.

● Consider currency and stability. Is the material updated regularly? Is therean archive for older information?

● Confirm your information. Can you find other sources to verify whatyou’ve found online? Ideally, you want to have several different kinds ofsources to achieve a credible balance of research material.

For more details about evaluating online sources, you can visit one ofthese sites:

Evaluating Web Sites, a comprehensive and instructive guide to judginginformation resources for reliability and accuracy, at http://www.lesley.edu/library/guides/research/evaluating_web.htmlLibrarySmart, an online guide to “smart information”; created and main-tained by the Washington State Library, at http://www.librarysmart.com/working/home.asp

Using Reference Works in PrintAs you can see, the library’s computers provide an overwhelming num-

ber of sources and service options. You will have to spend some time withthese data systems to find out how they work and how useful they arefor your research. Most libraries still hold much of this material in old-fashioned print. The MLA International Bibliography, for example, continuesto be issued in book form. Your library probably has print versions of manyindexes and guides to articles on literature. Some of the most useful onesare listed in Chart 4-3. So if the computer terminals are crowded or not


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Chart 4-3 Selected Reference Works in Literature

Encyclopedias and Research GuidesEncyclopedia of American Poetry: The Nineteenth CenturyEncyclopedia of American Poetry: The Twentieth CenturyEncyclopedia of the NovelEncyclopedia of Science FictionEncyclopedia of World Literature in the 20th CenturyNew Princeton Encyclopedia of Poetry and PoeticsThe New York Public Library Literature Companion

Guides to Criticism of FictionCritical Survey of Long FictionCritical Survey of Short FictionShort Story CriticismTwentieth-Century Short Story Explication

Guides to Criticism of PoetryCritical Survey of PoetryPoetry CriticismPoetry Explication: A Checklist of Interpretation Since 1925 of British

and American Poems, Past and Present

Guides to Criticism of DramaDramatic Criticism IndexA Guide to Critical ReviewsNew York Theater Critics’ ReviewsNew York Times Theater Reviews

Guides to Authors and Their WorksContemporary AuthorsContemporary Literary CriticismA Reader’s Guide to Twentieth-Century WritersShort Story WritersTwentieth-Century Literary Criticism

Some of these reference works may be available online. Check withyour school’s librarian.


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working, or if you simply want some peace and quiet while researching, thereference librarian can tell you where on the shelves these books are kept.You are likely to run across valuable material on shelves near the books youseek, an advantage to this often neglected ambulatory research system.

Working with SourcesOnce you have located the books and articles you want to read and

assimilate, you can begin reading, taking notes, and synthesizing thematerial.

Taking NotesMany researchers use note cards for keeping track of the facts and

opinions they find. If you decide to use cards, work out some system forrecording information. Here are some suggestions:

1. Fill out a bibliography card every time you consult a new source, andrecord all the details necessary for citing this source in your paper,including where to find the source again. Then put the author’s lastname, an abbreviated title, and the page number or numbers on all thenote cards you use for this source.

2. Write only one idea or point on each card. This allows you to shufflethe cards as you figure out the precise organization of your paper.

3. Put subject headings on the cards—one or two words in the upperright-hand corner to tell you what each note is about.

4. Summarize the ideas in your own words. If you think you might wantto quote directly from the source, copy the author’s exact words andenclose them in quotation marks.

Computers now come with a note card program, or you can purchasesoftware for a note card system. You can use the computer note cards justas you would use index cards: title each card by topic, and then type yournotes onto the card provided by the computer.

Using the Printout/Photocopy OptionIf the time you can spend in the library is limited, you might want to

print out an online article or photocopy portions of books in order to havethese materials available to study at your convenience. In fact, you mightfind it easier to take notes from a printout than from a computer screen.You can underline or highlight key ideas, even color coding these high-lighted passages to fit different subtopics in your paper. You can also writecomments or cross-references to other sources in the margins. It’s a goodidea to put the information from printouts and photocopies on note cards.This procedure forces you to summarize the material in your own wordsand makes it much easier to sort the separate items into categories.


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Summarizing, Paraphrasing, and QuotingIn most of your notes, you will be summarizing or paraphrasing your

source materials, rather than quoting the author’s exact words. In a summaryyou condense the main point of an argument or passage in your own words.A summary is useful when you want to capture the gist of an idea withoutincluding the background or supporting details. Compare these sentencesfrom an article about “Eveline” with the summary that follows it.

Original“Joyce indicates why Eveline will not, in fact, be able to escape. Paralysiswill win because she is not worthy to defeat it. Her inertia is revealedby the excessive value she places on the routine satisfactions of her pres-ent existence, and on the pathetically small indications of affection whichher father has been prepared to give.” (Clive Hart, James Joyce’sDubliners).SummaryEveline won’t be able to leave because she’s too attached to her father andto the familiarity of her everyday life.

In a paraphrase you restate comments and ideas from a source, usingapproximately the same number of words as the original. Although writ-ten in your own words and style, a good paraphrase will reflect the author’sidea, tone, and point of view more clearly than a summary does. Here’s aparaphrase of the passage from Clive Hart’s article:

Joyce shows us that Eveline is incapable of leaving home. That she doesn’thave the strength of character to break away can be seen in her desperateattachment to the comforts of a familiar life, as well as to her father’s meagerexpressions of love.

You will also find comments and observations that are so well expressedthat you want to use the original wording rather than summarize or para-phrase it. Be sure to record the exact words of the original quotation, aswell as the number of the page on which it appears.

Devising a Working OutlineAs you are reading and taking notes, you should also be thinking about

the organization of your points and ideas. Chances are the best arrange-ment won’t emerge until you are fairly well along with your research—possibly not until you have finished it. But as you collect more and morenotes, leaf through your cards or printouts occasionally to see if you canarrange them into three or four main categories to form the major claimsin your argument or analysis. The sooner you can get a plan worked out,the more efficient your research becomes. You can see exactly what youare looking for and avoid wasting time on sources that would prove irrel-evant or redundant.


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Writing a First DraftAs we pointed out at the beginning of this chapter, some people write

a preliminary draft before beginning their research, especially if they areeager to get their arguments written down before they forget them.If you use this method, you should devise a thesis, assemble your evi-dence from the primary source, order your ideas, and write a first draft,following the procedures discussed in Chapter 2. Then you can go to thelibrary, as Wendy did, to locate and read a number of pertinent sec-ondary sources and incorporate ideas from this reading into your paperat appropriate places.

On the other hand, if you are not sure about your topic or yourapproach, you can go to the library, locate some relevant secondarysources, and study them carefully. Then return to the primary source andbegin the discovery process again, using freewriting or questioning orproblem solving to refine your topic, devise a thesis, and generate ideas.You may have to do further research as you work through your interpre-tation, but that’s all part of the recursive nature of writing.

Organizing Your NotesOnce you have a clearly focused thesis, go back and read through your

note cards. Using the headings that you put on the cards, group the oneswith similar ideas together in stacks. If you photocopied most or all ofyour sources, write headings on the first page of each photocopy and sortthe articles that way. Then consult your working plan or rough outline,and arrange the stacks in the order that the headings appear there. As youwrite, the necessary information will be in front of you, ready to beincorporated into the first draft of your paper.

If your stacks of cards don’t follow the outline but lie there in a con-fused, overlapping mess, all is not lost. You can still bring order out ofchaos. Here are a few methods:

1. Tinker with your outline. It may seem like a step backward, but now thatyou have new information from your research, the whole topic maylook different. Look at the main headings and change any that don’tseem to fit; add others that you have good material for but overlookedwhen you made the working outline.

2. Put your note cards into different groupings. This process may suggest anorganizing strategy that you wouldn’t think of any other way.

3. Set your notes aside and begin writing—even if you begin in the middleof a thought. Force yourself, as in freewriting, to keep going, even ifyour paper seems repetitive, disorganized, and sketchy. Eventually, thewriting will begin to take shape, giving you an idea about where tostart your first draft.

4. Find a key article on the topic, and examine its structure. You may be ableto find an organizational scheme that will work for your paper.


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5. Explain your ideas to a friend who agrees to ask questions along the way.Tape-record your discussion, and see whether it suggests a sensibleorder of exposition.

Using Quotations and ParaphrasesA research paper involves incorporating the words and ideas of others

into your writing. You want to be judicious in using the material you havegathered from secondary sources. Your main goal is to argue your thesis oradvance your interpretation, not simply to paste together other people’sthoughts and words. Don’t just sprinkle your discussion with quotations andparaphrases; work them into your analysis and explain how they supportyour points. Take a look at this example from a paper about “The Lottery”:

The author reveals the savagery that is hidden just beneath the surface ofseemingly civilized exteriors. This duality of human nature is exhibitedthrough the characterization and actions of the villagers. As CleanthBrooks and Robert Penn Warren point out, “The cruel stoning is carriedout by ‘decent’ citizens who in many other respects show themselves kindand thoughtful” (130). When it was time for the scapegoat to be murdered,Mrs. Delacroix, who earlier had made neighborly conversation with thevictim, was one of the first to pick up a stone.

As you can see, the student writer backed up her observation about theduality of human nature with a direct quotation from a secondary source.She then used a detail from the primary source to nail down the point.

Integrating SourcesWhether you are quoting directly or simply paraphrasing someone

else’s ideas and observations, you should always give credit in the text ofyour paper to the person from whom you are borrowing. The MLA doc-umentation style requires you to cite all sources within the paper. Thesein-text citations contain three important parts:

1. an introduction of the source, telling your reader that material fromsome authority is coming up, who or what the source is, and what theperson’s credentials are, if you know them;

2. the material from the source, quoted or paraphrased; and3. the parenthetical documentation, which tells your reader that your use

of the source is over and gives the page number for the source of thatparticular material.

More details about in-text citations are given in the explanation of theMLA documentation style at the end of this chapter (pages 80–81).

If you want your paper to read smoothly, pay particular attention to theway you introduce quotations and paraphrases. You need a ready supply ofintroductory phrases to slide the source material in gracefully—phrases


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like “As LeSeure discovered,” “Professor Weber notes,” and “According toDr. Carter.” These attributions help your readers to evaluate the sourcematerial as they read it and to distinguish source material from yourremarks about it. Here are some more models for you to go by:

As critic Lawrence Stone explains, daughters in Shakespeare’s Englandwere “often unwanted and might be regarded as no more than a tiresomedrain on the economic resources of the family” (112).According to biographer Joan Givner, the failure of Porter’s personal rela-tionship with Josephson caused a temporary inability to write (221).D. G. Gillham remarks that the “male ‘worm’” and “female ‘rose’” in “TheSick Rose” have Freudian significance and “give rise in the speaker to half-hidden feelings of indecency, guilt, and fear so easily associated with sexu-al experience” (11).Prospero’s suite in “The Masque of the Red Death” has been described byKermit Vanderbilt as “a metaphor of nature and mortality” (382).“A beautiful virgin walled off from an imperfect world,” Rachel Brownsteinpoints out, “is the central figure in romance” (35).

Quoting from Primary SourcesThe advice for handling quotations from secondary sources also applies

to quoted material from primary sources: keep quoted passages brief; usethem as support for your own observations, and don’t rely on a quotation tomake a point for you; integrate quotations smoothly and grammaticallyinto your own sentences; vary the way you introduce the quotations.

You will also need to cite the work you are quoting from so that yourreaders know exactly which passage you are referring to and where it islocated. For short stories and novels, give the author’s last name and thepage number in the parenthetical citation. The author’s name may be omit-ted if you mention it in your paper or if authorship is clear from context.

We are told that Dorie “loved that woman’s husband with a fierce love thatwas itself a little ugly” (Oates 112).The narrator of Oates’s story tells us that Dorie “loved that woman’s hus-band with a fierce love that was itself a little ugly” (112).

For poems, line numbers alone are usually sufficient to identify thesource—provided that the author and title are given in your essay.

Coleridge’s assertion that poetic life is a “miracle of rare device / A sunnypleasure dome with caves of ice” (35–36) proves paradoxical.

You do not need to include the word line or lines or its abbreviation in theparenthetical citation. When citing a play, give the act and scene num-bers (without abbreviations), plus the line numbers if the work is in verse.


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In Othello, Iago’s striking comment, “What you know, you know. / Fromthis time forth I will never speak a word” (5.2.299–300), serves as a philo-sophic closure.

The numbers separated by periods mean “act 5, scene 2, lines 299through 300.” In plays that are not written in verse, you may simply citepage numbers, as you would with a quotation from a short story.

Jim’s role in the play is best described by Tom, who calls him “an emissaryfrom a world of reality” and the “long-delayed but always expected some-thing that we live for” (643).

You can get additional guidance for quoting primary sources on pages00–00 (short stories), pages 000–00 (poetry), and pages 000–00 (drama).You will also find details about punctuating quoted material on pages0000–00 in “A Handbook for Correcting Errors.”

Avoiding PlagiarismThe failure to give proper credit to your sources is called plagiarism.

It usually involves carelessly—or, far worse, deliberately—presenting thewords or ideas of another writer as your own. You can avoid this dishon-esty by using a moderate amount of care in taking notes. Put quotationmarks around any passages, even brief phrases, that you copy word forword. Circle the quotation marks in red or highlight the quoted materi-al in some way, as a reminder to give credit to the source.

You must also avoid the original wording if you decide to paraphraseyour sources, rather than quoting directly. Changing a few words orrearranging the phrases is not enough: such close paraphrasing is stillconsidered plagiarism. The following examples may help you to see thedifference between plagiarism and paraphrasing:

Original Passage“The interest of the story lies not in the events, but in the reasons forEveline’s failure to accept the offer of salvation.” (Clive Hart, James Joyce’sDubliners)PlagiarismOne critic notes that the story’s main interest is not in its events but in thereasons why Eveline fails to accept Frank’s offer of salvation.PlagiarismMost readers are interested not in the events of “Eveline” but in the rea-sons for the protagonist’s failure to accept her salvation.ParaphraseAs Clive Hart notes, we are interested not in what happens in the story butin why Eveline doesn’t take the chance to save herself (48).


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Combined Paraphrase and Direct QuotationHart notes that the main interest for the reader “lies not in the events” butin “Eveline’s failure to accept the offer of salvation” (48).Direct Quotation“The interest of the story lies not in the events,” critic Clive Hart claims,“but in the reasons for Eveline’s failure to accept the offer of salvation” (48).

Rewriting and EditingMany people who do researched writing make no attempt to work in

direct quotations or provide complete citations in the first draft becausepausing to do so interrupts the flow of their ideas. They just jot down thename of the person who has provided the information or idea; they goback later to fill in page numbers and integrate exact quotations as theyrevise their first draft. Putting self-stick notes on pages of sources youintend to use will help you find the precise material later.

Documenting Your SourcesVarious academic disciplines use different documentation styles.

Because you are writing about literature, the appropriate one for you tofollow is the Modern Language Association style. Sample entries illus-trating the MLA format appear at the end of this chapter. You may alsouse as a model the documentation included in the sample student researchpapers on pages 73–79 and pages 000–000.

Revising the DraftBecause a research paper entails the extra demands of incorporating

other people’s ideas and acknowledging these sources, you will want totake special care in rewriting your early drafts. The checklist for revisingand editing researched writing, Chart 4-4, will help you to turn yourdraft into a successful essay.


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Chart 4-4 Checklist for Revising and Editing Researched Writing

Check the Usual Things1. Be sure the introduction states your thesis (see pages 14–17, 24–25).2. Be sure each paragraph is unified, coherent, and directly related

to your thesis (see pages 36–37, 40–41).3. Be sure that the transitions between paragraphs are clear and

effective (see pages 41–42).4. Be sure your conclusion reinforces your main argument (see pages

25–26).

Check the Special Things1. Be sure that you have introduced direct quotations gracefully,

using the name and, if appropriate, the title or occupation of theperson quoted.

2. Be sure each citation is accurate.3. Be sure that paraphrases are in your own words and that sources

are clearly acknowledged.4. Be sure that you have not relied too heavily on a single source.5. Be sure that you have written most of the paper yourself; you

need to examine, analyze, or explain the material, not just splicetogether a lot of quotations and paraphrases.

6. Be sure to separate quotations with some comment of your own.7. Be sure to underline or italicize the titles of books and magazines;

put quotation marks around the titles of articles, stories, poems,and chapters in books.

Formatting Your PaperThe document format recommended by the MLA Handbook is fairly

simple. But individual course requirements may vary from the MLAdesign, so check with your instructor before you begin preparing yourfinal copy. Here are some features to examine:

Margins. Provide margins of at least one inch at the top, bottom, andboth sides of the page.Spacing and indentions. Double-space throughout, including quota-tions and the Works Cited page. Indent paragraphs one-half inch orfive spaces. Long prose quotations (five or more typed lines) and quo-tations of more than three lines of poetry should be double-spaced andindented one inch or ten spaces from the left margin.


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Page numbers. Number all pages, beginning on the first page. Putthe numbers in the upper-right-hand corner about one-half inch fromthe top. Place your last name before the page number in case the pageslater become separated. Note the correct page numbering on the sam-ple student paper, which follows.Heading. The MLA does not require a separate title page. If your in-structor asks you to use one, follow the format he or she provides.Otherwise, give your name and the date, plus any other informationrequested by your instructor (such as the title and number of thecourse), on the first page of your text. Place this heading an inch fromthe top of the page, aligned with the left margin. Note the heading onthe sample student paper.Title. Double-space after the heading and center the title of yourpaper. Do not underline or place your title in quotation marks, anddo not set it in large type or capitalize all the letters. Do capitalizethe first and last words and all other words except articles (a, an, the),prepositions, coordinating conjunctions, and the to in infinitives.Double-space between your title and the first line of text.Textual headings. If you use headings within your paper to guide read-ers through the discussion, keep them as short as possible and makethem specific to the material that follows. Do not boldface, italicize, oruse bigger type or all capitals for these headings.

Sample Documented Student PaperThe following is the documented version of the essay that Wendy

Dennison wrote about “Eveline.” See pages 51–54 for the undocumentedversion.


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Dennison 1

Wendy Dennison

Professor McMahan

English 102

11 March 2005

Fear of Failure in Joyce’s “Eveline”

In his short story “Eveline,” James Joyce

gives the protagonist an exciting chance to

leave her old life and begin a new one. But she

rejects this offer that Frank--or Fate--makes,

preferring instead to settle back into the

dreary life she has known all along. Why does

she not go away with Frank when the opportunity

seems so attractive? One critic, Magda de

Tolentino, says, “Nothing but family bonds hold

her back” (74). Another critic thinks Eveline is

“imprisoned” in her passive, feminine role of

housekeeper (Ingersoll 4), while another calls

her “a meaningless sacrificial victim for a

religious community lacking charity” (Torchiana

75). Some commentators think she’s afraid of

marrying Frank. Professor Edward Brandabur, for

example, claims Eveline “is ever conscious of

the effects on her mother of a brutal marriage”

(63), and Professor Thomas Dilworth maintains

that “her mother’s marriage to her father must

subconsciously condition her anticipation of

married life” (458).

Obviously many factors affect Eveline and

influence her decision not to go with Frank. But

in the last analysis, I think, we need to


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Dennison 2

examine Eveline’s own character, especially her

timid personality, to discover the answer to our

question. For, as Professor Warren Beck has

pointed out, “Eveline is not simply timid; she

is racked by inner conflict, finally to the

point of distraction” (113).

Since Eveline has been raised a Catholic, we

know she would not take her deathbed promise to

her mother lightly. But surely her promise to

“keep the home together as long as she could”

(Joyce 6) was given under extreme circumstances.

It was unjust of her mother to ask such a

sacrifice of her, and Eveline is aware of the

unfairness: “Why should she be unhappy? She has a

right to happiness” (6). We know that Eveline will

always be haunted by that promise, but we do not

expect her to give up her chance for a life of her

own in order to be a dutiful daughter. Surely that

promise cannot be the only reason she stays.

We certainly should not be surprised that

Eveline might wish to leave her abusive father.

A hot-tempered heavy drinker, he has taken

advantage of his daughter’s promise to her

mother. She is forced to keep house for him, yet

must beg for money to feed the family. He

practically accuses her of stealing, claiming

that “she used to squander the money, that she

had no head, that he wasn’t going to give her

his hard-earned money to throw about the

streets” (4–5). He has so frightened her with

threats of beatings that she has “palpitations”


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Dennison 3

(4). Eveline realizes that with her brothers

gone, there is “nobody to protect her” (4) from

her father’s rage. Her father has treated Eveline

badly and may abuse her even worse in the future.

On the other hand, as Professor Ingersoll points

out, Eveline’s father offers “the comfort and

security of the familiar” and as he grows older

will probably be “less likely to have the

strength to abuse her, as he did her mother” (3).

Yes, getting away from her father would be in her

best interests, but something keeps her there.

Eveline’s home life is so unhealthy that we

feel she would be wise to leave. Despite all the

chores she performs, she still does not feel

entirely at home in her father’s house. For

example, she knows nothing about the picture of

the priest (Joyce 4), not even his name, yet the

portrait seems quite important to her father. The

dustiness of the house, of which Joyce reminds us

periodically, suggests the pervasive dreariness

of her daily life as she looks around “wondering

where on earth all the dust came from” (4).

Critic Clive Hart sums up her condition this way:

Eveline has memories of a happier,

freer past which contrasts both with

the tedium of the present and with

the uncertainty of the future . . . .

The evenings, which used to be a

time for play, are now one of

drudgery, and even in childhood it


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Dennison 4

was evident that happiness was

something transient. (49)

Since her home is clearly not conducive to

happiness, why does she stay there?

The main reason Eveline would remain in

Ireland is that she is desperately afraid of the

unknown. If she leaves the familiar, no matter

how unpleasant, she risks failure. “She was about

to explore another life with Frank” (Joyce 5), we

are told, in faraway Buenos Ayres. The word

explore is significant, as it brings to mind

uncertainty and risk, two factors that Eveline is

not prepared to deal with. She admits that hers

is “a hard life,” yet thinks that “now that she

was about to leave it she did not find it a

wholly undesirable life” (5). According to

Professor Hart, Eveline is psychologically

incapable of breaking away, and it shows in “the

excessive value she places on the routine

satisfactions of her present existence, and on

the pathetically small indications of affection

which her father has been prepared to give” (50).

When she sits in the growing darkness with the

letters in her lap, Eveline calls up a couple of

good memories--of her father being jolly once on

a picnic, of his kindness once when she was sick

(Joyce 6). We see her trying to calm her fears,

trying to convince herself that her home life is

more bearable than it is. But, as Martin Dolch

points out, “Change is already beyond her


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Dennison 5

capacity and fills her with a crazy fear which

mistakes salvation for destruction” (99).

Afraid of failing on her own, Eveline

retreats into the familiar, telling herself that

life with her father cannot be as frightening as

a risky, unknown life with Frank. In Professor

Warren Beck’s view, Eveline doesn’t doubt Frank:

“What she doubts is herself” (116). Eveline’s

doubts and her fear of failure override her fear

of her father. She seems to decide that a

predictable--if dreary and abused--life is

better than a life without security or pattern.

As William York Tindall puts it, “The end [of

this story] is not a coming of awareness but an

animal experience of inability” (15).


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Dennison 6

Works Cited

Beck, Warren. Joyce’s Dubliners: Substance,

Vision, and Art. Durham: Duke UP, 1969.

Brandabur, Edward. A Scrupulous Meanness: A

Study of Joyce’s Early Work. Urbana: U of

Illinois P, 1971.

de Tolentino, Magda. “Family Bonds and Bondage

within the Family: A Study of Family Ties

in Clarice Lipsector and James Joyce.”

Modern Language Studies 18.2 (1988): 73–78.

JSTOR. Illinois State U Lib., 28 Feb.

2005.

Dilworth, Thomas. “The Numina of Joyce’s

‘Eveline.’” Studies in Short Fiction 15.4

(1978): 456–58. Humanities International

Index. EBSCO. Illinois State U Lib., 28 Feb.

2005.

Dolch, Martin. “Eveline.” James Joyce’s

Dubliners: A Critical Handbook. Ed. James

R. Baker and Thomas F. Staley. Belmont:

Wadsworth, 1969. 96–101.

Hart, Clive. “Eveline.” James Joyce’s Dubliners:

Critical Essays. Ed. Clive Hart. New York:

Viking, 1969. 48–52.

Ingersoll, Earl G. “The Stigma of Femininity in

James Joyce’s ‘Eveline’ and ‘The Boarding

House.’” Studies in Short Fiction 30.4

(1993): 501. Academic Search Premier: 10

pp. EBSCO. Illinois State U Lib., 28 Feb.

2005.


REVISED


Dennison 7

Joyce, James. “Eveline.” Literature and the

Writing Process. Ed. Elizabeth McMahan,

Susan X Day, and Robert Funk. 7th ed. Upper

Saddle River: Prentice, 2005. 3–7.

Torchiana, Donald T. Backgrounds for Joyce’s

Dubliners. Boston: Allen, 1986.

Tindall, William York. A Reader’s Guide to James

Joyce. New York: Noonday, 1959.


REVISED


EXPLANATION OF THE MLADOCUMENTATION STYLE

The documentation style of the Modern Language Association(MLA)—used in English, foreign languages, and some other humanities—requires that source citations be given in the text of the paper rather thanin footnotes or endnotes. This in-text style of documentation involvesparenthetical references.

Throughout this section, titles of books and periodicals are italicized.Your instructor may prefer that you underline these titles instead of itali-cizing them.

In-Text CitationsA. You will usually introduce the cited material, whether quoted or

paraphrased, by mentioning the name of the author in your lead-inand giving the page number (or numbers) in parentheses. Put theparenthetical reference near the cited material, but preserve theflow of your writing by placing the citation where a pause wouldnaturally occur, preferably at the end of the sentence, as in thisexample:

Edmund Wilson tells us that the author of Uncle Tom’s Cabin felt“the book had been written by God” (5).

B. Your readers can identify this source by consulting your Works Citedat the end of your paper. The entry for the source cited above wouldappear like this one:Wilson, Edmund. Patriotic Gore: Studies in the Literature of the Ameri-

can Civil War. New York: Oxford UP, 1966.

C. If you do not mention the author in your lead-in, include his or herlast name in parentheses along with the page number, without an intervening comma, like this:

One of the great all-time best-sellers, Uncle Tom’s Cabin sold over300,000 copies in America and more than 2 million copies worldwide (Wilson 3).

D. If you have to quote indirectly—something from another source notavailable to you—use “qtd. in” (for “quoted in”) in your parentheticalreference. This example refers to a book written by Donald Johansonand Maitland Edey:

Richard Leakey’s wife, Maeve, told the paleoanthropologist DavidJohanson, “We heard all about your bones on the radio last night” (qtd.in Johanson and Edey 162).


REVISED


Note: It is always best to track down the original source, in case it has notbeen quoted precisely. You may also find even better material for yourpurposes in the original.

E. If you are using a source written or edited by more than three people,use only the name of the first person listed, followed by “et al.” (mean-ing “and others”), in your lead-in.

Blair et al. observe that the fine arts were almost ignored by colo-nial writers (21).

Since et means “and,” it isn’t an abbreviation and therefore doesn’t need aperiod.

F. If you refer to one of two or more works by the same author, put acomma after the author’s last name and include a shortened title in theparenthetical reference.

(Gould, Mismeasure 138).

Preparing the List of Works CitedOn a separate page at the end of the paper, alphabetize your Works Cited

list for all sources mentioned in your paper. Format the list according tothese rules:

● Center Works Cited at the top of the page.● Arrange your sources in alphabetical order by the last name of the

author. If the author is not given in the source, alphabetize the sourceby the first main word in the title (excluding A, An, or The).

● Double-space the entire list, both within and between entries.● Use hanging indention: put the first line of each entry flush with the

left margin, and indent any subsequent lines in the entry one-half inch.

● In both titles and subtitles, capitalize the first and last words and all other words except articles (a, an, the), prepositions, coordinating conjunctions, and the to in infinitives.

● Omit any use of the words page, pages, line, and lines. Do not eveninclude abbreviations for these terms. Use numbers alone.

Kinsley, Michael. “Continental Divide.” Time 7 Jul. 1997: 89–91.● Shorten publishers’ names: for example, use Prentice instead of Prentice

Hall or Norton instead of W. W. Norton and Co. or Oxford UP insteadof Oxford University Press or U of Illinois P instead of University ofIllinois Press. See sample entries 1 through 14.

● For books, include the city of publication, usually given on the title pageof the work cited. If you find two or more cities, use only the first.

● Use lowercase roman numerals (ii, xiv) for citing page numbers from apreface, introduction, or table of contents; use roman numerals innames of monarchs (Elizabeth II).

● Abbreviate months and titles of magazines as shown in the sampleentries.


REVISED


Sample Entries for a List of Works CitedThe following models will help you write Works Cited entries for

most of the sources you will use. If you use a source not illustrated inthese examples, consult the more extensive list of sample entries found inthe MLA Handbook for Writers of Research Papers, 6th ed., or ask yourinstructor for guidance. The MLA’s Internet home page includes a list offrequently asked questions (FAQs) that address a number of thorny cita-tion issues: www.mla.org/www_mla_org/style/style_faq.

Books

1. Book by one author

Chused, Richard H. Private Acts in Public Places:

A Social History of Divorce. Philadelphia: U of

Pennsylvania P, 1994.

2. Two or more books by the same author

Gould, Stephen Jay. The Mismeasure of Man. New York:

Norton, 1981.

-–. The Panda’s Thumb: More Reflections in Natural

History. New York: Norton, 1980.

[Give the author’s name in the first entry only. Thereafter, usethree hyphens in place of the author’s name, followed by a periodand the title.]

3. Book by two or three authors

Anderson, Terry, and Donald Leal. Free Market

Environmentalism. Boulder: Westview, 1991.

McCrum, William, William Cran, and Robert MacNeil. The

Story of English. New York: Viking, 1986.

[Notice that only the first author’s name is in reversed order.]

4. Book by more than three authors

Medhurst, Martin J., et al. Cold War Rhetoric:

Strategy, Metaphor, and Ideology. New York:

Greenwood, 1990.

[The phrase et al. is an abbreviation for et alii, meaning “andothers.”]


REVISED


5. Book with an editor

Gallegos, Bee, ed. English: Our Official Language? New

York: Wilson, 1994.

[For a book with two or more editors, use “eds.”]

6. Book with an author and an editor

Whorf, Benjamin. Language, Thought, and Reality:

Selected Writings of Benjamin Lee Whorf. Ed. J. B.

Carroll. Cambridge: MIT P, 1956.

[“Ed.” in front of a name means “Edited by.”]

7. Essay or article in a collection, casebook, or critical edition

Geist, Stanley. “Portraits from a Family Album: Daisy

Miller.” Hudson Review 5 (Summer 1952): 203–6.

Rpt. in James’s Daisy Miller. Ed. William T.

Stafford. New York: Scribner’s, 1963. 131–33.

[If an italicized title contains another title that should be italicized, leave the second title without italics.]

Matthews, James H. “Frank O’Connor.” Lewisburg:

Bucknell UP, 1976. Rpt. in Contemporary Literary

Criticism. Ed. Dedria Bryfonski and Laurie Harris.

Vol. 14. Detroit: Gale, 1983. 399–402.

[Rpt. means “reprinted.”]

8. Work in an anthology

Butler, Octavia. “Bloodchild.” The Norton Anthology of

African American Literature. Ed. Henry Louis Gates

Jr. and Nellie Y. McKay. New York: Norton, 1997.

2480–94.

9. Reprinted (republished) book

Jespersen, Otto. Growth and Structure of the English

Language. 1938. Chicago: U of Chicago P, 1980.

10. Later (second or subsequent) edition

Gibaldi, Joseph. MLA Handbook for Writers of Research

Papers. 6th ed. New York: MLA, 2003.


REVISED

11. Book in translation

Cirlot, J. E. A Dictionary of Symbols. Trans. Jack

Sage. 2nd ed. New York: Philosophical Lib., 1976.

Journals and Magazines

12. Article from a journal with continuous pagination throughoutthe whole volume

Mason, John B. “Whitman’s Catalogues: Rhetorical Means

for Two Journeys in ‘Song of Myself.’” American

Literature 45(1973): 534–49.

13. Article from a journal that paginates each issue separately

Frey, John R. “America and Her Literature Reviewed by

Postwar Germany.” American-German Review 10.5

(1954): 4–7.

[10.5 means volume 10, issue 5.]

14. Article from a monthly or bimonthly magazine

Tocalino, Rob. “The 20-Century American Short Story:

Three Authors, Three Generations.” Bookmarks

May/June 2006: 26–31.

15. Article from a weekly or biweekly magazine

Heilbrun, Carolyn. “The Masculine Wilderness of the

American Novel.” Saturday Review 29 Jan. 1962:

41–44.

Newspapers

16. Signed newspaper article

Weiner, Jon. “Vendetta: The Government’s Secret War

Against John Lennon.” Chicago Tribune 5 Aug. 1984,

sec 3:1.

17. Unsigned newspaper article

“No Power Line-Cancer Link Found.” Chicago Tribune 3

Jul. 1997, final ed., sec. 1: 5.



REVISED

[If an edition is specified on the paper’s masthead, name the edi-tion (late ed., natl ed., final ed.) after the date and before thepage reference. Different editions of the same issue of a newspa-per contain different material.]

18. Letter to the editor

Kessler, Ralph. “Orwell Defended.” Letter. New York

Times Book Review 15 Dec. 1985: 26.

19. Editorial

“From Good News to Bad.” Editorial. Washington Post 16

Jul. 1984: 10.

Other Sources

20. Book review

Emery, Robert. Rev. of The Divorce Revolution: The

Unexpected Social and Economic Consequences for

Women and Children in America by Lenore Weitzman.

American Scientist 74(1986): 662–63.

21. Personal interview or letter

Ehrenreich, Barbara. Personal interview. 12 Feb. 2003.

Vidal, Gore. Letter to the author. 2 Jun. 1984.

22. Article from a reference work (unsigned and signed)

“Psychopharmacology.” The Columbia Encyclopedia. 5th

ed. 1993.

Van Doren, Carl. “Samuel Langhorne Clemens.” The

Dictionary of American Biography. 1958 ed.

[Treat a dictionary entry or an encyclopedia article like an entryfrom an anthology, but do not cite the editor or publisher of thereference work.]

23. Film and video recordings

Brokeback Mountain. Dir. Ang Lee. Perf. Heath Ledger,

Jake Gyllenhaal, Michelle Williams; screenplay by

Larry McMurtry and Diana Ossana. Universal, 2005.

DVD. Focus Features, 2006.



REVISED

[Begin with the title and include the director, distributor, andyear of release. Add any other data you think pertinent (such asthe names of actors, writers, or producers) between the title andthe distributor. For video recordings, include the original releasedate (if relevant) and the medium (such as videocassette, DVD)before the name of the distributor.]

24. Lecture

Albee, Edward. “A Dream or a Nightmare?” Illinois

State University Fine Arts Lecture. Normal, IL. 18

Mar. 1979.

For other sources (such as televised shows, performances, advertise-ments, recordings, works of art), include enough information to permitan interested reader to locate your original source. Be sure to arrangethis information in a logical fashion, following as much as possible theorder and punctuation of the entries above. To be safe, consult yourinstructor for suggestions about documenting unusual material.

Citing Electronic SourcesIf you get material from a full-text database or online source, you need

to indicate that you read it in electronic form. You will probably use aservice to which your library subscribes. Many of the items you accesshave also appeared in print. Give the print information first, and com-plete the citation by giving the name of the database (italicized), thename of the online service (such as InfoTrac or EBSCO), the library youused, and the date of access.

25. Article from a searchable database

Wells, Walter. “John Updike’s ‘A & P’: A Return Visit

to Araby.” Studies in Short Fiction 32.2 (1993):

127–34. MLA International Bibliography. EBSCO.

Eastern Illinois U Lib., 6 Mar. 2005.

You might also consult journals, magazines, and newspapers that areavailable independently on the Internet. For these sources, cite the author,title, and publication data for the printed version as usual; then give thenumber of pages, paragraphs, or other sections of the electronic version, ifprovided on the site—followed by the date of access and the electronicaddress, or Uniform Resource Locator (URL), in angle brackets.

26. Article from an online journal

Dorval, Patricia. “Shakespeare on Screen: Threshold

Aesthetics in Oliver Parker’s Othello.” Early



REVISED

Modern Literary Studies 6.1 (May, 2000):15 pars. 5

Sept. 2003 <http://purl.oclc.org/emls/06-1/

dorvothe.htm>.

[Pars. stands for paragraphs. Pages, paragraphs, or other sec-tions are sometimes numbered in electronic publications. In-clude these numbers in the Works Cited list and the in-textcitations.]

27. Article from an online magazine

Yeoman, Barry. “Into the Closet: Can Therapy Make Gay

People Straight?” Salon.com 22 May 2000. 23 May

2000 <http://www.salon.com/health/feature/

2000/05/22/exgay/html>.

28. Review from an online newspaper

Ebert, Roger. Review of Real Women Have Curves, dir.

Patricia Cardoso. Chicago Sun-Times Online

25 Oct. 2002. 2 Feb. 2003 <http://

www.suntimes.com/ebert/ebert_reviews/

2002/10/102510.html>.

29. Article from an online reference book or encyclopedia

Daniel, Ralph Thomas. “The History of Western Music.”

Britannica Online: Macropaedia. 1995. Online

Encyclopedia Britannica. 14 June 1995

<http//www.eb.com:180/cgi-bin/

g:DocF=macro/5004/45/O.html>.

30. Material accessed on a CD–ROM

Shakespeare. Editions and Adaptations of Shakespeare.

Interactive multimedia. Cambridge, UK: Chadwick-

Healey, 1995. CD-ROM. Alexandria: Electronic Book

Technologies, 1995.

“Silly.” The Oxford English Dictionary. 2nd ed. CD-

ROM. Oxford: Oxford UP, 1992.



REVISED

31. Internet site

Voice of the Shuttle. Ed. Alan Liu. 1994. Dept. of

English, U of California, Santa Barbara. 17 Sept.

2004 <http://vos.ucsb.edu/>.

32. Message posted to a discussion list

Coleman, Linda. “Teaching Cause-Effect Thinking.”

Online posting. 10 Aug. 2001. Writing Discussion

List. 15 Aug. 2001 <news:comp.edu

.writing.instruction>.

[Include a title or description of the posting, the date of the post-ing, the name of the discussion forum, the date of access, and theURL or e-mail address of the list’s moderator or supervisor inangle brackets.]



REVISED

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