"I like that approach. It should help the students focus on reading the text per se, as opposed to reading "the genre." And students need all the help they can get synthesizing. I’m also hoping that so many of my students who love film but aren’t sure about their commitment to reading will see the commonality of "reading" a film and reading a text, and might be encouraged to read more."
— Cary Ser, Miami Dade Community College
"Your ’canon’ is quite inclusive-- I am happy to see females authors and authors of color well represented. I am also happy to see Shakespeare, Swift, and other ’classics.’ Your literature selections include very new writing and very old-- as it should be in an introductory course in literature. As a newcomer to the text, it is reassuring to see literature that I have taught many times before along with works I have not yet taught. Teaching should be a process of continual learning, and the inclusion of unfamiliar texts allows for that."
— Kathy Houghton, Erie Community College
"I very much like the idea of works in different genres to teach the basic elements of literature. This not only keeps from relegating poetry to the "deeper, harder" section of the semester, but demonstrates that poetry can be read and understood by the average student. It also helps students to focus on single elements and develop their ideas about specific works rather than trying to write about a work in many general terms."
— Michael Morris, Eastfield College
"The thematic clusters are the strongest feature of the text. Teaching by themes allows the teacher and students to explore the different ways different writers examine and develop similar ideas."
— Jan Prewitt, Emporia State University
"In terms of the specifics of the chapter (Chapter 12) that I have been sent, I applaud the inclusion of film discussions. Students are very aware of popular culture, and film is often a good way to explain literary terms, techniques, and other tools that literature students need to learn. Additionally, the text seems not to treat film as something simply to be enjoyed (vs. enjoyed, appreciated, examined, studied, treated seriously, etc.), and as a film instructor (in addition to literature, film adaptation, etc.), this is refreshing to see."
— Diana Gingo, University of Texas, Dallas
"Based on what I have seen so far, I would love to adopt this text for our Literary Heritage course. It is fresh, interesting, and challenging. Whereas most writers/publishers seem intent on creating texts that cannot be differentiated from the others (Meyers, Kennedy, Kirszner, etc.) you have come up with something that is not only different, but which makes the other texts seem timid and tired. I won’t pretend it would not be a challenge getting this text approved by folks too set in their ways, but I think it meets our department’s requirements and would be worth fighting for. I congratulate you on your work and wish you good luck."
— Mike Compton, University of Memphis
"Not only would I consider adopting it, but I can’t wait for it to appear. It would absolutely work within my course structure, as it seems ideally suited to gradually building a deepened understanding of, and appreciation for, the art of literature (and art, and film, and photography). It is fresh and stimulating, and already has me rethinking categories and how I approach teaching."
— Richard Middleton-Kaplan, Harper College
"I like the idea of mixing genres because, as the authors point out, the separation into discrete genres is often artificial and unlike real life."
— Gillian R. Hettinger, William Paterson University
"I find this TOC to be not only comprehensive but also really wonderful in its inclusion of so many texts that aren’t in every other anthology I see. I like that it doesn’t just reorganize the same list of texts we find everywhere else, and I think it does a very good job of including texts from a pretty wide range of writers."
— Andrea Kaston Tange, Eastern Michigan University
"I was glad to see that someone had organized a text another way. I think the important goal of this course is that students learn that literature has meaning, that it relates to their lives, that it tells our own story. The authors have succeeded in moving seamlessly from the relatively simple to the more complex, from the beginning concepts of plot and character to the much more difficult concept of critical theories and post-modernism. If students read and understood each of these chapters, and if they observed in each literary work what the authors ask them to observe, they would come to have some real appreciation of literature as an art."
— Jo Nell Farrar, San Jacinto College
"It is canonical literature, contemporary literature, and pop culture bound in analysis and criticism. I will definitely consider using this text in my College English II (Intro to Literature) class. At last, a literature textbook that is compiled with the student in mind. The authors understand the mindset of the traditional college student taking a required literature class. Why not make it relevant?"
— Karen Chaffee, Ulster County Community College
"The range and variety of elements is the most effective aspect of the reconfiguration: literary devices, such as plot, along with rhetorical devices, such as interruptions."
— Ken Johnson, Georgia Perimeter College
"Since film often is created from a previously published written text, it seems imperative to include it in any study of literature. The films that have been chosen are interesting and will intrigue a student to think more critically and to expand his or her thoughts on literature."
— Jan McArthur, Delgado Community College
"The arrangement in this text is effective as it enables students to more readily recognize that common elements exist in poetry, drama, fiction, art, and film. This approach may help students appreciate art or film as more than a form of entertainment."
— Glenda Bryant, South Plains College—Levelland