For courses in American Literary Survey. This leading, two-volume anthology represents America's literary heritage from the colonial times of William Bradford and Anne Bradstreet to the contemporary era of Saul Bellow and Alice Walker. Volume I covers Christopher Columbus through Walt Whitman and Emily Dickinson.

Represents the American literary works most respected by modern scholars. Volume I covers Christopher Columbus through Walt Whitman and Emily Dickinson. This book also emphasizes the contributions to the American literary canon made by women and minority authors. Extensive explanatory headnotes and footnotes link the works and authors of a period and provide readers with additional insights into each selection. New to this edition is an expanded presentation of Native American literature (myths, tales, autobiography, etc.).

The Eighth Edition features a diverse and balanced variety of works and thorough but judicious editorial apparatus throughout. The new edition also includes more complete works, much-requested new authors, 170 in-text images, new and re-thought contextual clusters, and other tools that help instructors teach the course they want to teach.

Draws together the most important examples of American literature from its beginnings to the present day.

Allow students to step back in time to experience the thoughts, feelings, dilemmas, and actions of people from history. For each history topic, Miller suggests two titles-one for use with the entire class and one for use with small reading groups. Summaries of the books, author information, activities, and topics for discussion are supplemented with vocabulary lists and ideas for research topics and further reading. This integrated approach makes history meaningful to students and helps them retain historical details and facts.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.