Why do educators teach literature? The author thinks they can hear the answer in the voice of Huckleberry Finn and David Copperfield and Holden Caulfield and the omniscient narrator in "Beloved." It's the wonderful sound of those words, the gorgeous flow of those well-crafted sentences, and the marvelous way Twain and Dickens and Morrison and…

In contemporary contexts, young people are accustomed to life story; indeed, their lives are saturated with constructions of their stories and those of others, whether created by themselves or their "friends" on social networks. Multimedia outlets convey often detailed stories of more-famous others, whether celebrities or those experiencing…

In this high-accountability era--one in which there is an expanding movement to condemn teachers for the failures of their schools--teachers teach students who believe writing is primarily an act of complying to a prompt, likely for a state accountability assessment or the troubling 25-minute essay that constitutes less than half of the writing…

The author does not really like "Hamlet." He loves the play, the language, and the characters, but always finds it difficult to teach. Part of this is because he prefers to assign students scenes to perform as they read a Shakespeare text, but Hamlet does not divide nicely into manageable scenes, and he usually does not have enough teenage Ken…

Shows how to help students fill in textual "gaps" to interact more fully with contemporary texts, classics, and myths. Presents examples of this approach for studying (1) Shakespeare's "Hamlet" with Tom Stoppard's "Rosencrantz and Guildenstern Are Dead"; and (2) George Bernard Shaw's "Pygmalion" with the…