- Page 2:
Bloom's Literary Themes f Alienatio
- Page 6 and 7:
Bloom’s Literary Themes THE TABOO
- Page 8 and 9:
, Contents . Series Introduction by
- Page 10:
Contents ix The Satanic Verses (Sal
- Page 13 and 14:
xii Series Introduction by Harold B
- Page 16 and 17:
, Volume Introduction by Harold Blo
- Page 18 and 19:
Confessions of an English Opium Eat
- Page 20 and 21:
Confessions of an English Opium Eat
- Page 22 and 23:
Confessions of an English Opium Eat
- Page 24 and 25:
Confessions of an English Opium Eat
- Page 26 and 27:
Confessions of an English Opium Eat
- Page 28 and 29:
Confessions of an English Opium Eat
- Page 30 and 31:
Confessions of an English Opium Eat
- Page 32 and 33:
Confessions of an English Opium Eat
- Page 34 and 35:
Confessions of an English Opium Eat
- Page 36 and 37:
Confessions of an English Opium Eat
- Page 38:
Confessions of an English Opium Eat
- Page 41 and 42: 24 Bram Stoker published perceive D
- Page 43 and 44: 26 Bram Stoker Arthur placed the po
- Page 45 and 46: 28 Bram Stoker Van Helsing to Lucy
- Page 47 and 48: 30 Bram Stoker how spontaneous and
- Page 49 and 50: 32 Bram Stoker they are avoiding se
- Page 51 and 52: 34 Bram Stoker of castration to all
- Page 53 and 54: 36 Bram Stoker 15. Richardson, p. 4
- Page 55 and 56: 38 Allen Ginsberg exuberant tone, l
- Page 57 and 58: 40 Allen Ginsberg Most people who c
- Page 59 and 60: 42 Allen Ginsberg “negro streets
- Page 61 and 62: 44 Allen Ginsberg Loafe with me on
- Page 63 and 64: 46 Allen Ginsberg Following the cha
- Page 65 and 66: 48 Allen Ginsberg in music and lite
- Page 68 and 69: JULIUS CAESAR (WILLIAM SHAKESPEARE)
- Page 70 and 71: Julius Caesar 53 suggest how his ex
- Page 72 and 73: Julius Caesar 55 not, Cassius; yet
- Page 74 and 75: Julius Caesar 57 Caesar: Thou, too,
- Page 76 and 77: Julius Caesar 59 attach crucial imp
- Page 78 and 79: Julius Caesar 61 called up in our m
- Page 80 and 81: Julius Caesar 63 III Peter Gay note
- Page 82 and 83: Julius Caesar 65 labour” (96). On
- Page 84 and 85: Julius Caesar 67 effect suggestive
- Page 86 and 87: Julius Caesar 69 “the phenomenon
- Page 88 and 89: Julius Caesar 71 NOTES 1. In Moses
- Page 90 and 91: Julius Caesar 73 17. I am suggestin
- Page 94 and 95: LADY CHATTERLEY’S LOVER (D.H. LAW
- Page 96 and 97: Lady Chatterley’s Lover 79 The ch
- Page 98 and 99: Lady Chatterley’s Lover 81 Lawren
- Page 100 and 101: Lady Chatterley’s Lover 83 sympat
- Page 102 and 103: Lady Chatterley’s Lover 85 This w
- Page 104 and 105: Lady Chatterley’s Lover 87 That a
- Page 106 and 107: Lady Chatterley’s Lover 89 one pr
- Page 108 and 109: LOLITA (VLADIMIR NABOKOV) ,. “
- Page 110 and 111: Lolita 93 She was Lo, plain Lo, in
- Page 112 and 113: Lolita 95 wed together for the rest
- Page 114 and 115: Lolita 97 of women, not Nabokov. Ce
- Page 116 and 117: LORD OF THE FLIES (WILLIAM GOLDING)
- Page 118 and 119: Lord of the Flies 101 the more prim
- Page 120 and 121: Lord of the Flies 103 They compare
- Page 122 and 123: Lord of the Flies 105 The first hun
- Page 124 and 125: Lord of the Flies 107 but also the
- Page 126 and 127: Lord of the Flies 109 primitive men
- Page 128 and 129: Lord of the Flies 111 “They’d b
- Page 130 and 131: “THE MILLER’S TALE” (GEOFFREY
- Page 132 and 133: “The Miller’s Tale” 115 prese
- Page 134 and 135: “The Miller’s Tale” 117 to th
- Page 136 and 137: “The Miller’s Tale” 119 could
- Page 138 and 139: “The Miller’s Tale” 121 by Ni
- Page 140 and 141: “THE MOTHER” (GWENDOLYN BROOKS)
- Page 142 and 143:
“the mother” 125 review A Stree
- Page 144 and 145:
“the mother” 127 nice, not simp
- Page 146 and 147:
“the mother” 129 claim to her i
- Page 148 and 149:
“the mother” 131 It’s worth n
- Page 150 and 151:
MOURNING BECOMES ELECTRA (EUGENE O
- Page 152 and 153:
Mourning Becomes Electra 135 a banq
- Page 154 and 155:
Mourning Becomes Electra 137 In thi
- Page 156 and 157:
Mourning Becomes Electra 139 Thus,
- Page 158 and 159:
Mourning Becomes Electra 141 their
- Page 160 and 161:
OEDIPUS TYRANNUS (SOPHOCLES) ,. “
- Page 162 and 163:
Oedipus Tyrannus 145 dialectical lo
- Page 164 and 165:
THE PICTURE OF DORIAN GRAY (OSCAR W
- Page 166 and 167:
The Picture of Dorian Gray 149 losi
- Page 168 and 169:
The Picture of Dorian Gray 151 is a
- Page 170 and 171:
The Picture of Dorian Gray 153 Dori
- Page 172 and 173:
The Picture of Dorian Gray 155 and
- Page 174 and 175:
THE POETRY AND PROSE OF SYLVIA PLAT
- Page 176 and 177:
The Poetry and Prose of Sylvia Plat
- Page 178 and 179:
The Poetry and Prose of Sylvia Plat
- Page 180 and 181:
The Poetry and Prose of Sylvia Plat
- Page 182 and 183:
“A ROSE FOR EMILY” (WILLIAM FAU
- Page 184 and 185:
“A Rose for Emily” 167 that res
- Page 186 and 187:
“A Rose for Emily” 169 but stil
- Page 188 and 189:
“A Rose for Emily” 171 with the
- Page 190 and 191:
“A Rose for Emily” 173 men her
- Page 192 and 193:
“A Rose for Emily” 175 “in ou
- Page 194 and 195:
SABBATH’S THEATER (PHILIP ROTH) ,
- Page 196 and 197:
Sabbath’s Theater 179 reeling in
- Page 198 and 199:
Sabbath’s Theater 181 establishin
- Page 200 and 201:
Sabbath’s Theater 183 To remain f
- Page 202 and 203:
Sabbath’s Theater 185 this identi
- Page 204:
Sabbath’s Theater 187 Omer-Sherma
- Page 207 and 208:
190 Salman Rushdie (2005), and The
- Page 209 and 210:
192 Salman Rushdie To put it as sim
- Page 211 and 212:
194 Salman Rushdie How does newness
- Page 213 and 214:
196 Salman Rushdie is to have power
- Page 216 and 217:
THE POETRY OF ANNE SEXTON ,. “The
- Page 218 and 219:
The Poetry of Anne Sexton 201 expla
- Page 220 and 221:
The Poetry of Anne Sexton 203 ultim
- Page 222 and 223:
The Poetry of Anne Sexton 205 onese
- Page 224 and 225:
The Poetry of Anne Sexton 207 defen
- Page 226 and 227:
The Poetry of Anne Sexton 209 compl
- Page 228 and 229:
The Poetry of Anne Sexton 211 cance
- Page 230 and 231:
The Poetry of Anne Sexton 213 fathe
- Page 232:
The Poetry of Anne Sexton 215 10. A
- Page 235 and 236:
218 The Prose Works of Jonathan Swi
- Page 237 and 238:
220 The Prose Works of Jonathan Swi
- Page 239 and 240:
222 The Prose Works of Jonathan Swi
- Page 241 and 242:
224 The Prose Works of Jonathan Swi
- Page 244 and 245:
TESS OF THE D’URBERVILLES (THOMAS
- Page 246 and 247:
Tess of the D’Urbervilles 229 had
- Page 248 and 249:
Tess of the D’Urbervilles 231 Fin
- Page 250 and 251:
Tess of the D’Urbervilles 233 mer
- Page 252 and 253:
Tess of the D’Urbervilles 235 the
- Page 254 and 255:
Tess of the D’Urbervilles 237 Par
- Page 256 and 257:
Tess of the D’Urbervilles 239 Did
- Page 258 and 259:
Tess of the D’Urbervilles 241 Suc
- Page 260 and 261:
Tess of the D’Urbervilles 243 Tes
- Page 262 and 263:
Tess of the D’Urbervilles 245 cas
- Page 264 and 265:
Tess of the D’Urbervilles 247 the
- Page 266 and 267:
Tess of the D’Urbervilles 249 5.
- Page 268 and 269:
ULYSSES (JAMES JOYCE) ,. “Fetishi
- Page 270 and 271:
Ulysses 253 wears a blue blouse, a
- Page 272 and 273:
Ulysses 255 The summer evening had
- Page 274 and 275:
Ulysses 257 his masturbation. Of co
- Page 276 and 277:
, Acknowledgments . Baudelaire, Cha
- Page 278 and 279:
, Index . Characters in literary wo
- Page 280 and 281:
Index 263 Crossing the Water (Plath
- Page 282 and 283:
Index 265 “Please Master,” 43
- Page 284 and 285:
Index 267 Clifford Chatterley in, 8
- Page 286 and 287:
Index 269 self-absorbed narrator in
- Page 288 and 289:
Index 271 Ransom, John Crowe, 45 Ra
- Page 290 and 291:
Index 273 Julius Caesar, xv, 51-75
- Page 292:
Index 275 “Song of Myself,” 37-