What should we do with a literary work? Is it best to become immersed in a novel or poem, or is our job to objectively dissect it? Should we consult literature as a source of knowledge or wisdom, or keenly interrogate its designs upon us? Do we excavate the text as an historical artifact, or surrender to its aesthetic qualities? Balancing foundational topics with new developments, Engagements with Close Reading offers an accessible introduction to how prominent critics have approached the task of literary reading. This book will help students learn different methods for close reading perform a close analysis of an unfamiliar text articulate meaningful responses Beginning with the New Critics and recent argument for a return to formalism, the book tracks the reactions of reader-response critics and phenomenologists, and concludes with ethical criticism's claim for the value of literary reading to our moral lives. Rich in literary examples, most reprinted in full, each chapter models practical ways for students to debate the pros and cons of objective and subjective criticism. In the final chapter, five distinguished critics shed light on the pleasures and difficulties of close reading in their engagements with poetry and fiction. In the wake of cultural studies and historicism, Engagements with Close Reading encourages us to bring our eyes back to the words on the page, inviting students and instructors to puzzle out the motives, high stakes, limitations, and rewards of the literary encounter under the pressure of this beleaguered and persistent methodology.

What should we do with a literary work? Is it best to become immersed in a novel or poem, or is our job to objectively dissect it? Should we consult literature as a source of knowledge or wisdom, or keenly interrogate its designs upon us? Do we excavate the text as an historical artifact, or surrender to its aesthetic qualities? Balancing foundational topics with new developments, Engagements with Close Reading offers an accessible introduction to how prominent critics have approached the task of literary reading. This book will help students learn different methods for close reading perform a close analysis of an unfamiliar text articulate meaningful responses Beginning with the New Critics and recent argument for a return to formalism, the book tracks the reactions of reader-response critics and phenomenologists, and concludes with ethical criticism's claim for the value of literary reading to our moral lives. Rich in literary examples, most reprinted in full, each chapter models practical ways for students to debate the pros and cons of objective and subjective criticism. In the final chapter, five distinguished critics shed light on the pleasures and difficulties of close reading in their engagements with poetry and fiction. In the wake of cultural studies and historicism, Engagements with Close Reading encourages us to bring our eyes back to the words on the page, inviting students and instructors to puzzle out the motives, high stakes, limitations, and rewards of the literary encounter under the pressure of this beleaguered and persistent methodology.

A personal approach to Dickens's art that pays attention to what magnetizes Federico or strikes her as newly relevant to our own world, and to her life, as she explores what Dickens' works are emotionally about. Dickens's first concern in all his fiction is with people's feelings and their imaginations. Everything else-the social criticism, the satire, the comedy-flows from that spring. How does a person begin to imagine, to enter vividly into the life he or she has been given, and into the lives of others? How does someone change, how do they love, give their trust, look forward to the future? These questions make their way into all of Dickens's novels, including the four discussed in this contribution to the My Reading series: Oliver Twist (1837-39), David Copperfield (1849-50), Little Dorrit (1855-57), and A Tale of Two Cities (1859). Consistent with the aims of the series, this book takes a personal approach to Dickens's art. Federico follows her own responses, paying attention to what magnetizes her or strikes her as newly relevant to our own world, and to her life. What is the story emotionally about? This becomes the important question as she reads through Dickens's works. It is the question that opens the door to her own memories, her own stories, as she grows from being an innocent reader of Dickens to a more critical, professionalized one-while still listening confidentially to what Dickens has to teach her about hope, love, and the limits of knowledge.