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The Literary Experience, Compact Edition 2nd Edition

Bruce Beiderwell | Jeffrey M. Wheeler

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  • ISBN-10: 1337091707
  • ISBN-13: 9781337091701
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Organized around the elements of literature common to all genres, THE LITERARY EXPERIENCE, COMPACT EDITION allows classes to focus on the real interpretive questions students ask of any text in any genre. Material on symbolism, for example, includes discussion of symbols in poems, stories, and plays.

Bruce Beiderwell, University of California, Los Angeles

Bruce Beiderwell completed his Ph.D. in 1985 and since then has taught a wide range of composition and literature courses. He has published articles and reviews on 19th century fiction and detective fiction. His book, POWER AND PUNISHMENT IN SCOTT’S NOVELS (University of Georgia Press, 1992), was nominated in 1993 for the McVities Prize, an award given to the best book of the year on a Scottish subject. Beiderwell is now director of UCLA Writing Programs.

Jeffrey M. Wheeler, Long Beach City College

Jeff Wheeler serves as chair of the English department at Long Beach City College in Long Beach, California, where he also teaches a wide variety of literature and composition courses. He has taught at UCLA, Pepperdine, and USC, where he earned his doctorate in English. His work in literature of the English Reformation has earned him places in two seminars sponsored by the National Endowment for the Humanities.

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  • The text treats writing as an interpretive act, rather than an afterthought. Every chapter contains features that help students write analytically, including end-of-chapter checklists, end-of-anthology writing prompts, and “A Note to Student Writers.”
  • Chapter discussion is punctuated throughout with literary examples that illustrate the topics at hand (poems, stories, scenes from plays, and even references to film).
  • Organized by the literary elements common to all genres, THE LITERARY EXPERIENCE makes literature more engaging and accessible.
  • Interpretation questions frame each chapter to help students understand the poems, stories, and plays. Rather than focusing the discussion of literature on the formal elements, chapters are based on the real questions that students pose when they read a text, such as “What happened and why do we care?” or “Who is involved and why does it matter?”
  • Thematic units within each chapter support element instruction and allow teachers and students to explore the ways different writers examine and develop similar ideas.
  • Beiderwell and Wheeler’s unique cross-genre approach to teaching literature (including multiple genres in each elements-based chapter) allows instructors to include significant discussions of, and references to, film. The original film series in literature, along with the film guide for THE LITERARY EXPERIENCE, integrates students’ natural affinities for film with their study of literature.

The Literary Experience, Compact Edition


Writing as a Process.
Getting Started. Crafting a First Draft. Marge Piercy, A Work Of Artifice. Revising the Draft. An Orientation to Research.
How Do We Use Sources? How To Find Sources. Giving Appropriate Credit: The Issue of Plagiarism. Integrating Sources Into Our Writing: What Do We Document? How To Cite.
1. Genre.
Conventions. Charlotte Riddell, from Nut Bush Farm. William Shakespeare, from Macbeth. Disruptions. Mark Twain, Ode to Stephen Dowling Bots, Dec''''d. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet.
Anthology: Horror.
Anthony Lane, Trick and Treat: Can we still be scared of Halloween? Michael Chabon, In the Black Mill. George R. R. Martin, Sandkings. Charlotte Perkins Gilman, The Yellow Wallpaper. Robert Browning, "Porphyria''''s Lover". Carolyn Forche, The Colonel. William Butler Yeats, Leda and the Swan. Linda Pastan, Ethics. Christina Rossetti, Goblin Market. Christopher Marlowe, Doctor Faustus.
2. Scene, Episode, and Plot.
Storytelling and Critical Analysis. Sharon Olds, The Possessive. Elements of Plot: Incident, Scene, and Sequence. Robert Pinsky, Poem With Lines in Any Order. Wislawa Szymborska, ABC. Truncation of Plot: Episode, Impression, and Fragment. Stephen Crane, An Episode of War. Momentum of Plot: Tension, Release, Rising Action, Climax and Resolution. Variations on Plot Form: Multiple and Reflexive Plots. Modeling Critical Analysis: Jamaica Kincaid, Girl.
Anthology: Detective.
Michael Sragow, Getting Sherlock Holmes Right Onscreen. Arthur Conan Doyle, A Scandal in Bohemia. Don Lee, The Price of Eggs in China. Emily Dickinson, A Route of Evanescence (#1463). Emily Dickinson, I like to see it lap the miles (#585). A.E. Robinson, Richard Cory. William Stafford, Traveling Through the Dark. Aron Keesbury, On the Robbery Across the Street. Muriel Rukeyser, Myth. Sophocles, Oedipus the King (tr. George Young).
3. Character.
Building Character. Michael Chabon, from Kavalier and Clay. Presenting Character. Picturing Character. Rita Dove, Hattie McDaniel at the Coconut Grove. Feeling for Character. Cathy Song, Picture Bride. Robert Hayden, Those Winter Sundays. Character and Function. Judith Ortiz Cofer, My Father in the Navy. Modeling Critical Analysis: Jamaica Kincaid, Girl.
Anthology: Folklore.
Joan Acocella, Love''''s True Kiss. Alice Munro, How I Met My Husband. Jhumpa Lahiri, This Blessed House. Alice Walker, Everyday Use. Eavan Boland, The Pomegranate. Billy Collins, The Lanyard. Robert Frost, Home Burial. Audre Lorde, Now That I Am Forever with Child. Edgar Lee Masters, Elsa Wertman. Edgar Lee Masters, Hamilton Greene. Sylvia Plath, Daddy. Geoffrey Brock, Daddy: 1933. Gary Soto, Black Hair. Kitty Tsui, A Chinese Banquet. Michael Lassell, How to Watch Your Brother Die. Gwendolyn Brooks, Sadie and Maud. Sharon McCartney, After the Chuck Jones Tribute on Teletoon.
4. Point of View.
Point of View. Dorothy Parker, Penelope. The Narrative Voice. Film Focus and Angles. Henry Taylor, After a Movie. Reliable and Unreliable Narrators. Charles Dickens, from A Christmas Carol. Ernest Hemingway, from Hills Like White Elephants. Wendell Berry, The Vacation. Shifting Perspectives. Stevie Smith, Not Waving But Drowning. Frank Gaspar, It Is the Nature of The Wing. Modeling Critical Analysis: Robert Browning, My Last Duchess.
Anthology: Mythopoeia.
David Denby, Grand Scam. Anne Beatty, Janus. Ursula LeGuin, Wife''''s Story. Sylvia Plath, Mirror. William Carlos Williams, This Is Just to Say. Erica-Lynn Gambino, This Is Just to Say. Edna St. Vincent Millay, Childhood is the Kingdom Where Nobody Dies. Adrienne Rich, Living in Sin. Theodore Roethke, Elegy for Jane. H. D., Helen. Alice Walker, Women. Richard Creese, Solemn Mockeries.
5. Setting.
Details of Place and Time. Denise Levertov, February Evening in New York. Theodore Dreiser, from Sister Carrie. The Role of Physical Objects. Kazuo Ishiguro, from Remains of the Day. Imaginary Places. Modeling Critical Analysis: Robert Browning, My Last Duchess.
Anthology: Dystopia.
Laura Miller, Fresh Hell. George Saunders, Escape from Spiderhead. Salman Rushdie, The Courter. Samuel Taylor Coleridge, Kubla Khan. Edgar Allan Poe, The Raven. Dudley Randall, Ballad of Birmingham. Langston Hughes, Night Funeral in Harlem. Gary Soto, Braly Street. Gary Soto, Kearney Park. Chitra Banerjee Divakaruni, Indian Movie, New Jersey. Christina Rossetti, Cobwebs. Oscar Wilde, The Harlot''''s House. William Blake, London. William Wordsworth, London, September 3, 1802, "O friend . . .".
6. Rhythm, Pace, and Rhyme.
Filmic Rhythm. Poetic Rhythm. Herman Melville, The Maldive Shark. William Blake, The Nurse''''s Song. Stephen Crane, from A Bride Comes To Yellow Sky. The Rhythm Of Pauses. Samuel Johnson, On The Death of Dr. Robert Levet. Ben Jonson, On My First Son. The Rhythm of Sounds. Alfred Lord Tennyson, from The Lotus Eaters. Alexander Pope, from An Essay on Criticism. Randall Jarrell, The Death of the Ball Turret Gunner. Robert Frost, Fire And Ice. Modeling Critical Analysis: Robert Browning, My Last Duchess.
Anthology: Farce.
Penelope Gilliatt, Peter Sellers in the Pink. James Baldwin, Sonny''''s Blues. Gabriel Garcia Marquez, The Very Old Man with Enormous Wings. Tope Folarin, Miracle. Ogden Nash, Kind of an Ode to Duty. Amiri Baraka, In Memory of Radio. Langston Hughes, Dream Boogie. Langston Hughes, Negro Speaks of Rivers. Theodore Roethke, My Papa''''s Waltz. Lawrence Ferlinghetti, Constantly Risking Absurdity. William Blake, The Chimney Sweeper (Innocence). William Blake, Holy Thursday (Innocence). William Blake, Holy Thursday (Experience). William Blake, The Chimney Sweeper (Experience). Gwendolyn Brooks, We Real Cool. Sharon Olds, I Go Back to May 1937. Heather McHugh, Past All Understanding. Susan-Lori Parks, Topdog/Underdog.
7. Images.
Creating Pictures with Words. William Carlos Williams, The Red Wheelbarrow. Czeslaw Milosz, Watering Can. Wislawa Szymborska, The Courtesy of the Blind. Registering Taste and Smell. Salman Rushdie, On Leavened Bread. The Interaction of the Senses. John Milton, from Paradise Lost (Satan Emerging into Eden). Richard Wilbur, A Fire-Truck. The Conflation of Thought and Sensations. Yosa Buson, from Hokko Poems in Four Seasons. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock.
Anthology: Soap Opera.
Joan Acocella, Happy Feet. Alice McDermott, Enough. Susan Minot, Lust. Haruki Murakami, UFO in Kashiro. Anonymous, My Love in Her Attire. Anonymous, Western Wind. Emily Dickinson, Wild Nights (#249). John Fletcher, Take, Oh, Take Those Lips Away. Henry Howard, Earl of Surrey, Love, That Doth Reign Within My Thought. Thomas Wyatt, The Long Love that in my Heart Doth Harbor. Galway Kinnell, Shelly. Robert Burns, A Red, Red Rose. Sharon Olds, Topography. Denise Levertov, The Ache of Marriage. Denise Levertov, Divorcing. Christopher Marlowe, The Passionate Shepard to His Love. Sir Walter Raleigh, The Nymph''''s Reply to the Shepherd. Andrew Marvell, To His Coy Mistress. Edna St. Vincent Millay, Whose lips these lips have kissed. Elizabeth Barrett Browning. How Do I Love Thee. Elizabeth Barrett Browning, When Our Two Souls. Robert Browning, Meeting at Night. Robert Browning, Parting at Morning. Susan Glaspell, Trifles.
8. Coherence.
Nick Hornby, from High Fidelity. Design and Shape. George Herbert, Easter Wings. Thomas Hardy, The Convergence of the Twain. Traditional Structures. William Wordsworth, Nuns Fret Not. Edna St. Vincent Millay, I, Being Born a Woman and Distressed. Robert Frost, Design. Dylan Thomas, Do Not Go Gentle into That Good Night. Coherence Without Traditional or Fixed Structures. Joe Kane, The Boy Who Nearly Won the Texaco Art Competition. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock.
Anthology: Puzzle Story.
Anthony Lane, Degrees of Cool. Edith Wharton, Roman Fever. Charles W. Chestnut, Wife of His Youth. Kate Chopin, Story of an Hour. John Donne, A Valediction Forbidding Mourning. e. e. cummings, in just. Walt Whitman, There Was a Child Went Forth. Oscar Wilde, The Importance of Being Earnest.
9. Interruption.
Interrupting The Fictional Frame: Choruses And Expositions. Structural Interruptions. William Butler Yeats, The Folly of Being Comforted. Mary Oliver, Bone Poem. Juxtaposition. Ted Kooser, Tattoo. Sensory Juxtapositions. Montage. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock.
Anthology: Espionage.
David Denby, War Wounds. Jorges Luis Borges, The Garden of Forking Paths. Joseph Conrad, Secret Sharer. Jennifer Egan, Black Box. Raymond Carver, Cathedral. Samuel Taylor Coleridge, Rime of the Ancient Mariner. Emily Dickinson, The Brain--is wider than the Sky-- (#632). Emily Dickinson, I never saw a Moor-- (#1052). Emily Dickinson, Tell all the Truth but tell it slant-- (#1129). Emily Dickinson, To make a prairie it takes a clover and one bee (#1755). Laura Riding, The Map of Places. William Shakespeare, Much Ado About Nothing.
10. Tone.
Hearing Right. Margaret Atwood, You Fit Into Me. Dorothy Parker, One Perfect Rose. Dorothy Parker, Thought for a Sunshiny Morning. John Donne, The Flea. Dark and Light. Ted Kooser, A Letter from Aunt Belle. Zora Neal Hurston, from Peter''''s Rock. Irony and Introspection. William Carlos Williams, At the Ball Game. Chinua Achebe, Dead Men''''s Path. Czeslaw Milosz, If There Is No God. Modeling Critical Analysis: O Brother Where Art Thou?
Anthology: Noir.
Richard Brody, Mothers and Lovers. Tessa Hadley, Bad Dreams. Flannery O''''Connor, A Good Man Is Hard to Find. Joyce Carroll Oates, Where Are You Going, Where Have You Been? Billy Collins, Chopping parsley while listening to Art Blakey''''s Three Blind Mice. Ted Kooser, A Hairnet with Stars. Yusef Komunyakaa, A Break from the Bush.
11. Word Choice.
Precision and Playfulness. Erasmus, De Duplici Copia Verborum et Rerum. William Shakespeare, Sonnets: From fairest creatures, When fortie Winters, Looke in thy glasse, Is it for feare to wet a widdowes eye, Shall I compare thee. Definition and Usage. Billy Collins, Thesaurus. Robert Sward, For Gloria on Her 60th Birthday, or Looking for Love in Merriam-Webster. Modeling Critical Analysis: O Brother Where Art Thou?
Anthology: Historical Fiction.
Nancy Franklin, Dead On. Jim Shepherd, Gojira, King of the Monsters. Emma Donoghue, Man and Boy. Nathaniel Hawthorne, Young Goodman Brown. Phillis Wheatley, On Being Brought from Africa to America. Allen Ginsberg, Supermarket in California. James Tate, Shiloh. Meghan O''''Rourke, The Window at Arles. Chidiock Tichborne, Elegy Written with His Own Hand in the Tower Before His Execution. Gwendolyn Brooks, Of De Witt Williams on his way to Lincoln Cemetery. David Shumate, High Water Mark.
12. Symbolism.
Figurative Language. Recognizing Symbols. Gary Soto, Oranges. Allegory and Symbol. Embodying Timeless Qualities. Billy Collins, The Death of Allegory. Reading Allegory. Modeling Critical Analysis: Guimaraes Rosa, The Third Bank of the River.
Anthology: Gothic Romance.
Richard Brody, Why "Mean Girls" Is a Classic. Karen Russell, Haunting Olivia. Bram Stoker, Dracula''''s Guest. Matthew Arnold, Dover Beach. Jimmy Santiago Baca, Green Chile. e. e. cummings, anyone lived in a pretty how town. Emily Dickinson, The Soul selects her own Society (#303). Peter Meinke, Sunday at the Apple Market. William Butler Yeats, The Wild Swans at Coole. Moira Buffini, Vampire Story.
13. Context.
How Does New Knowledge Influence Our Experience of Old Texts? Alfred Lord Tennyson, Charge of the Light Brigade. How Is Knowledge "Outside" the Text Helpful? Czeslaw Milosz, A Song on the End of the World. Czeslaw Milosz, Christopher Robin. Do We Need to Know Everything in Order to Understand? What If Substantial Outside Knowledge Is Essential? Herman Melville, The House-Top. Modeling Critical Analysis: Guimaraes Rosa, The Third Bank of the River.
Anthology: War Film.
David Denby, Anxiety Tests. Ernest Hemingway, Soldier''''s Home. Tim O''''Brien, The Things They Carried. Herman Melville, A Utilitarian View of the Monitor''''s Fight. e. e. cummings, I sing of Olaf glad and big. Richard Eberhart, The Fury of Aerial Bombardment. Edgar A. Guest, The Things That Make a Soldier Great. Sir Henry Newbolt, Vitai Lampada. Wilfred Owen, Anthem for Doomed Youth. Wilfred Owen, Dulce et Decorum Est. Carl Sandburg, Grass. Siegfried Sassoon, The Rear Guard. Siegfried Sassoon, Repression of War Experience. Anne Sexton, Courage. Valclav Havel, Temptation.
14. Allusions.
Modeling Analysis of Allusions. Charles Simic, My Weariness of Epic Proportions. What Purpose Does an Allusion Serve? Dick Barnes, Up Home Where I Come From. Finding the Sources. Tom Stoppard, Fifteen Minute Hamlet. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet.
Anthology: Time Travel.
Anthony Lane, Killing Time. John Crowley, Snow. James Joyce, The Dead. Ray Bradbury, A Sound of Thunder. Amy Clampitt, The Dakota. Czeslaw Milosz, Orpheus and Eurydice. Adrienne Rich, I Dream I''''m the Death of Orpheus. Robert Pinsky, Keyboard. William Butler Yeats, Sailing to Byzantium. John Keats, Ode on a Grecian Urn. John Keats, On First Looking into Chapman''''s Homer. Percy Bysshe Shelley, Ozymandias. Horace Smith, Ozymandias. David Ives, Sure Thing.
15. The Production and Reproduction of Texts.
Texts and Technology. Textual Form and Conditions of Production. Experiencing Literature through Issues of Production. William Blake, Poison Tree. An Orientation To Contemporary Critical Theory. Why Do We Study The Texts We Study? Experiencing Literature through Theory. Abridging, Revising, and Repackaging Text. Charles Dickens, from Oliver Twist. Mark Twain, from Huckleberry Finn. Translations, Subtitles, and Dubbing. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet.

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