Multicultural Literature
Jason Courtmanche
Dennis O’Connor
June, 2003
Multicultural Literature
Description
This one-semester elective course will focus on literature written by
members of the various cultures found in the United States, as well as literature
from around the world. Readings will include works written in English as well
as literature in translation. Most of the works will be contemporary, though
some influential pieces from earlier periods may be included.
Standards
K-12 Content Standards
1. Reading and Responding: Students will read and respond in individual,
literal, critical and evaluative ways to literary, informational and persuasive
texts.
2. Producing Texts: Students will produce written, oral and visual texts to
express, develop and substantiate ideas and experiences.
3. Applying English Language Conventions: Students will apply the
conventions of standard English in oral and written communication.
4. Exploring and Responding to Texts: Students will use the language arts to
explore and respond to classical and contemporary texts from many cultures and
literary periods.
Language Arts Program Goals
By the end of grade 12, students will develop proficiency, confidence and
fluency in reading, writing, listening, speaking and viewing to meet the literacy
demands of the 21st century.
As a result of education in Grades K-12, students will:
•read, write, speak, listen and view to construct meaning of written, visual and
oral texts;
•read with understanding and respond thoughtfully to a variety of texts;
•write and speak English proficiently to communicate ideas clearly;
•create works using the language arts in visual, oral and written texts;
•choose and apply strategies that enhance fluent and proficient use of language
arts;
•understand and appreciate texts from many literary periods and cultures; and
•employ that language arts for lifelong learning, work and enjoyment.
Course Enduring Understandings and Essential Questions
1. The culture of the United States is increasingly multicultural. (Content
Standards 1 and 4)
1. What is culture?
2. Where do US cultural groups come from?
3. How do cultures interact?
2. An understanding of cultural diversity is essential for effective participation
in society. (Content Standards 1 and 4)
1. How does cultural understanding promote communication?
2. How does diversity enhance society?
3. How do members of different cultural groups work together
effectively?
3. Literature is both a source and an expression of cultural identity. (Content
Standards 1,2, 3 and 4)
1. How do cultural groups perceive themselves?
2. What is the relationship between culture and identity?
3. How does literature communicate and express culture?
4. The study of literature facilitates an understanding of cultural diversity.
(Content Standards 1, 2, 3 and 4)
1. How can the study of literature promote an understanding of culture?
2. How can literature help people to understand themselves?
3. How do cultures communicate through literature?
5. Writing and discussion are essential components of the study of literature.
(Content Standards 1,2, 3 and 4)
1. How do we construct meaning?
2. How does discussion affect our understanding of a text?
3. How does writing affect our understanding of a text?
Applied Knowledge and Skills
Content Standard 1: Reading and Responding: Students will read and respond in
individual, literal, critical and evaluative ways to literary, informational and persuasive
texts.
1.1
Describe the text by giving an initial reaction to the text and describing its
general content and purpose.
The student will:
•speak or write about his/her ideas, questions and reactions.
•identify context, themes, audience and purpose.
1.2
Interpret the text by using prior knowledge and experiences.
The student will: The student will:
•Identify similarities and differences between his/her own experience
and those depicted in the text.
•Use this identification to comprehend and thus interpret the text.
1.3
Reflect on the text to make judgments about its meaning and quality.
The student will:
•Establish criteria for the evaluation of a text.
•Apply these criteria to elements of style, content and purpose.
1.4
Analyze text and task, set purpose and plan appropriate strategies for
comprehending, interpreting and evaluating texts.
The student will:
•Compare the text to other texts which deal with similar content or
context.
•Relate the text to historical or current events.
1.5
Generate questions before, during and after reading, writing, listening and
viewing.
The student will:
•Maintain a reading journal, or some other written log of ideas.
•Lead and participate in classroom discussion.
1.6
Make and confirm or revise predictions.
The student will:
•Make written or oral predictions.
•Assess their predictions periodically.
1.7
Use a variety of monitoring and self-correcting methods.
The student will:
•Develop comprehension strategies.
•Consult with the teacher as to the effectiveness of his/her
comprehension strategies.
1.8
Use the structure of narrative, expository, persuasive, poetic and visual
tests to interpret and extend meaning.
The student will:
•Read and compare texts from different structural genres.
•Compose texts of different structural genres.
1.9
Select and apply efficient and effective word recognition strategies,
including contextual clues, phonics and structural analysis.
The student will:
•Apply previously learned strategies to help his/her comprehension.
•Consult with the teacher to develop strategies if necessary.
1.10
Use a variety of strategies to develop an extensive vocabulary.
The student will:
•Develop vocabulary by reading challenging texts.
•Employ new vocabulary in his/her written work.
1.11 Identify and use main ideas and supporting details in informational texts
or elements, such as key events, main characters and setting in narratives.
The student will:
•Identify and discuss relevant elements of poetry and prose.
•Employ these elements in his/her own written work.
1.12 Make inferences about ideas implicit in narrative, expository, persuasive
and poetic texts.
The student will:
•Use knowledge of literary devices to make inferences.
•Use these inferences to develop an interpretation.
1.13
Understand that a single text may elicit a wide variety of responses.
The student will:
•Develop and express interpretations.
•Respond to others’ interpretations.
1.14 Interact with others in creating, interpreting and evaluating written, oral
and visual texts.
The student will:
•Participate in classroom discussions.
•Collaborate in other meaningful ways, such as projects and
presentations.
Content Standard 2: Producing Texts: Students will produce written, oral and visual
texts to express, develop and substantiate ideas and experiences.
2.1
Communicate effectively by determining the appropriate text structure on
the basis of audience, purpose and point of view.
The student will:
•Compose texts in a variety of genres.
•Consider audience and purpose in the selection of written genres.
2.2
Communicate effectively in descriptive, narrative, expository and
persuasive modes.
The student will:
•Analyze texts stylistically and structurally.
•Employ the structural and stylistic devices of the above modes.
2.3
Gather, select, organize and analyze information from primary and
secondary sources.
The student will:
•Evaluate the merits of secondary sources.
•Integrate secondary source data into his/her written work on primary
texts.
2.4
Engage in a process of generating ideas, drafting, revising, editing and
publishing or presenting.
The student will:
•Compose texts using a process approach to composition.
•Develop an awareness of the composing process which is most effective
for him/her.
2.5
Engage in writing, speaking and developing visual texts through frequent
reflection, reevaluation and revision.
The student will:
•Participate in writing conferences with the teacher.
•Reflect in writing on his/her own writing processes.
Content Standard 3: Applying English Language Conventions: Students will apply
the conventions of standard English in oral and written communication.
3.1
Proofread and edit for grammar, spelling, punctuation and capitalization.
The student will:
•Use acceptable, conventional grammar and spelling.
•Deviate from convention for stylistic purposes only.
3.2
Speak and write using conventional patterns of syntax and diction.
The student will:
•Use acceptable, conventional grammar and spelling.
•Deviate from convention for stylistic purposes only.
3.3
Use variations of language appropriate to purpose, audience and task.
The student will:
•Vary his/her language for reasons of audience and purpose.
•Be able to make conscious stylistic choices.
3.4
Develop fluency and competency in the English language arts by using
and building upon the strengths of the learner’s language and culture.
The student will:
•Recognize linguistic differences which exist among cultural groups.
•Recognize his/her own cultural linguistic idiosyncrasies.
3.5
Understand that an accepted practice in spoken and written language may
change over time.
The student will:
•Understanding the dynamic nature of language.
•Recognize historically specific meanings and usages of words and
phrases.
Content Standard 4: Exploring and Responding to Texts: Students will use the
language arts to explore and respond to classical and contemporary texts from many
cultures and literary periods.
4.1
Explore and respond to classic literary texts that have shaped Western
thought.
The student will:
•Read works of classic literature.
•Identify the value systems inherent in these works.
4.2
Explore and respond to contemporary literature.
The student will:
•Read works of contemporary literature.
•Identify the value systems inherent in these works, and compare them to
those found in classic literature.
4.3
Evaluate the merit of literary texts on the basis of individual preferences
and established standards.
The student will:
•Develop his/her own criteria for the evaluation of literature.
•Recognize traditional criteria used for the evaluation of literature.
4.4
Examine the ways readers and writers are influenced by individual, social,
cultural and historical contexts.
The student will:
•Study the biographical, social, historical and cultural contexts in which
works were created and set.
•Analyze the current social, historical and cultural contexts in which these
texts are being received.
4.5
Recognize literary conventions and devices, and understand how they
convey meaning.
The student will:
•Identify literary devices in context.
•Analyze the ways in which authors employ these devices.
4.6
Demonstrate an understanding that literature represents, recreates, shapes
and explores human experience through language and imagination.
The student will:
•Analyze the ways in which texts have influenced culture.
•Analyze the ways in which texts respond to and revise earlier texts.
4.7
Explore and respond to the aesthetic elements of literature, including
spoken, visual and written texts.
The student will:
•Determine what is meant by aesthetic appreciation.
•Respond aesthetically in written form.
4.8
Use literature as a resource to explore ideas and decisions, as well as
political and social issues.
The student will:
•Read works of literature which explore various political and social
issues.
•Research, discuss and write upon those issues.
4.9
Identify the unique and shared qualities of the voices, cultures and
historical periods in literature.
The student will:
•Read and respond to paired works of literature (particularly from similar
cultures) which treat similar subject matter very differently.
•Read and respond to paired works of literature (particularly from
divergent cultures) which treat similar subject matter very much alike.
4.10 Explore and respond to texts representing both the literary tradition and
the diversity of American cultural heritage.
The student will:
•Read and respond to texts produced by members of several different
cultural groups within the United States.
•Read and respond to texts produced outside of the United States which
either react to US cultural values, or which have influenced US cultural values.
Assessment Evidence and Learning Activities
1. Classroom discussion of works of literature.
• Read two to four works of literature a quarter, depending on type,
length and difficulty of works, and reading levels of students.
• Lead and participate in text-specific class discussions.
2. Reading quizzes on works of literature.
•Correctly answer reading comprehension questions on daily or weekly
reading assignments.
•Effectively extend comprehension to figurative and thematic meanings.
3. Unit tests on thematic units of instruction.
•Correctly identify relevant terms, events, characters, etc from a unit of
study.
•Effectively discuss relevant thematic issues.
4. In-class essays.
•Effectively and succinctly answer relevant questions in a timed setting.
5. Book talks on works of literature.
•Make presentations to the class on elements of plot, character, setting,
theme, and other relevant literary concepts.
6. Presentations on culture and/or literature.
• Make presentations to the class on culture and/or literature. These can
derive from the texts, relevant current events, or the students’ own personal
lives.
7. Essays on each work of literature read for class.
• For every text, compose a written essay which is critical, analytical,
personal or creative, as assigned by the teacher.
8. Response journal which discusses texts, self, classroom discussion and
relevant current events.
• Respond in writing in response journals to teacher- and studentgenerated questions related to the texts, classroom discussion, personal reactions
and relevant current events.
9. A final exam.
•To be determined by instructor. Some suggestions: a traditional written
exam, a writing portfolio, an annotated bibliography of primary and/or
secondary texts, or a term paper.
Rubrics for Assessment Evidence and Learning Activities
Letter Grade
Criteria
1. Presentations and book talks on culture and/or literature.
A
1. Presentation lasts at least 20 minutes.
2. Many direct references are made to the text.
3. Many connections are made between the text and other texts,
and/or history, culture, current events, and personal life.
4. Presentation actively engages class in discussion.
B
1. Presentations lasts between 15 and 20 minutes.
2. Some direct references are made to the text.
3. Some connections are made between the text and other texts,
and/or history, culture, current events, and personal life.
4. Presentation somewhat actively engages class in discussion.
C
1. Presentation lasts between 10 and 15 minutes.
2. Occasional direct references are made to the text.
3. Occasional connections are made between the text and other texts,
and/or history, culture, current events, and personal life.
4. Presentation attempts to actively engage class in discussion.
D
1. Presentation lasts between five and 10 minutes.
2. Few direct references are made to the text.
3. Few connections are made between the text and other texts,
and/or history, culture, current events, and personal life.
4. Presentation makes little attempt to actively engage class in discussion.
F
1. Presentation lasts fewer than five minutes.
2. No direct references are made to the text.
3. No connections are made between the text and other texts,
and/or history, culture, current events, and personal life.
4. Presentation makes no attempt to actively engage class in discussion.
2. Essays on each work of literature read for class. (This can be adapted for inclass essays).
A
1. Written papers are at least five pages in length.
2. Analysis, criticism, response or expression is thorough and insightful.
3. Many connections are made among text and other texts, and/or
history, culture, current events, and personal life.
4. Many direct references are made to the text.
B
1. Written papers are four pages in length.
2. Analysis, criticism, response or expression is mostly thorough and
insightful.
3. Some connections are made among text and other texts, and/or history,
culture, current events, and personal life.
4. Some direct references are made to the text.
C
1. Written papers are three pages in length.
2. Analysis, criticism, response or expression is somewhat thorough and
insightful.
3. Few connections are made among text and other texts, and/or history,
culture, current events, and personal life.
4. Few direct references are made to the text.
D
1. Written papers are fewer than three pages in length.
2. Analysis, criticism, response or expression is not very thorough or
insightful.
3. Not many connections are made among text and other texts, and/or
history, culture, current events, and personal life.
4. Not many direct references are made to the text.
F
1. Written papers are a page or less in length.
2. Analysis, criticism, response or expression is not thorough or
insightful.
3. No connections are made among text and other texts, and/or history,
culture, current events, and personal life.
4. No direct references are made to the text.
3. Response journal which discusses texts, self, classroom discussion and
relevant current events.
A
1.
2.
3.
4.
All required journal entries are completed.
All responses refer to self, discussion and current events.
All responses are thorough and insightful.
All responses include direct references to the text(s).
B
1.
2.
3.
4.
More than 80% of all required journal entries are completed.
Most responses refer to self, discussion and current events.
Most responses are thorough and insightful.
Most responses include direct references to the text(s).
C
1. More than 70% of all required journal entries have been completed.
2. Some responses refer to self, discussion and current events.
3. Some responses are thorough and insightful.
4. Some responses include direct references to the text(s).
D
1.
2.
3.
4.
More than 60% of all journal entries are completed.
Occasional responses refer to self, discussion and current events.
Occasional responses are thorough and insightful.
Occasional responses include direct references to the text(s).
F
1.
2.
3.
4.
50% or fewer of the required journal responses are completed.
Few responses refer to self, discussion and current events.
Few responses are thorough and insightful.
Few responses include direct references to the text(s).
Suggested Thematic Units of Study
Standards, understandings, essential questions, knowledge and skills,
assessment evidence and learning activities for the course as described prior to
this section apply to all thematic units described here.
I. Double Consciousness
This unit derives its name from W. E. B. DuBois’ term, which he explained
in The Souls of Black Folk as a “sense of always looking at one’s self through the
eyes of others.” DuBois meant for the term to describe the experience of being
black in the United States, but the term has been used by many other ethnic
minorities to describe their experience as both ‘American’ and ‘Other.’
Suggested Texts
Henry Roth, Call it Sleep
O. E. Rolvaag, Giants in the Earth
Arundhati Roy, The God of Small Things
Chaim Potok, The Chosen or My Name is Asher Lev
Gloria Naylor, The Women of Brewster Place
Alice Walker, The Color Purple
Toni Morrison, The Bluest Eye
Maxine Hong Kingston, The Woman Warrior or China Men
Amy Tan, The Kitchen God’s Wife or The Joy Luck Club
Naomi Shihab Nye, 19 Varieties of Gazelle
Julia Alvarez, How the Garcia Girls Lost Their Accent
Christina Garcia, Dreaming in Cuban
Sherman Alexie, The Lone Ranger and Tonto Fistfight in Heaven
Arturo Islas, The Rain God
Maya Angelou, I Know Why the Caged Bird Sings
Richard Wright, Native Son
Sandra Cisneros, The House on Mango Street
Lorraine Hansberry, A Raisin in the Sun
John Edgar Wideman, Brothers and Keepers
Michael Dorris, A Yellow Raft in Blue Water
David Guterson, Snow Falling on Cedars
II. The Non-immigrant Experience
Most U. S. citizens can discuss the arrival of their ancestors as a moment
in their pursuit of the American Dream, but for Native- and African-Americans,
the experience is quite different. One group was already here, and the other was
brought here forcibly. This unit explores the commonalities which exist for these
two non-immigrant groups.
Suggested Texts
Gloria Naylor, The Women of Brewster Place
Alice Walker, The Color Purple
Toni Morrison, The Bluest Eye or Beloved
Marilyn Nelson, Carver
Maya Angelou, I Know Why the Caged Bird Sings
Richard Wright, Native Son
Zora Neal Hurston, Their Eyes Were Watching God
James Baldwin, Go Tell it on the Mountain
Lorraine Hansberry, A Raisin in the Sun
Yusef Komunyakaa, Magic City
John Edgar Wideman, Brothers and Keepers
Michael Dorris, A Yellow Raft in Blue Water
Louise Erdrich, Love Medicine
Leslie Marmon Silko, Ceremony
N. Scott Momaday, House Made of Dawn
Joy Harjo, She Had Some Horses
Simon Ortiz, from Sand Creek
James Welch, Fool’s Crow
Sherman Alexie, The Lone Ranger and Tonto Fistfight in Heaven
III. American, or Citizen of the United States?
Citizens of the United States generally refer to themselves as ‘Americans,’
but this term also refers to all the citizens of North, Central and South America.
This unit explores the relationship between U. S. culture and all the many other
American cultures, particularly those of the Spanish speaking countries of Latin
America.
Suggested Texts
Julia Alvarez, How the Garcia Girls Lost Their Accent or In the Time of the Butterflies
Christina Garcia, Dreaming in Cuban
Rudolfo Anaya, Bless Me, Ultima
Gabriel Garcia Marquez, In Evil Hour or 100 Years of Solitude
Isabel Allende, The House of Spirits or Stories of Eva Luna
Carlos Fuentes, The Old Gringo
Jamaica Kincaid, Annie John
Earl Lovelace, The Wine of Astonishment
John Hearne, Voices Under the Window
Arturo Islas, The Rain God
Sandra Cisneros, The House on Mango Street
IV. The European-Americans
Sociologist Richard Alba has made the claim that intermarriage among
members of various European-descent groups in the United States has resulted
in a “leveling [of] the once important distinctions deriving from European
origins” and the subsequent “emergence” of a new ethnic group which he calls,
simply, European-American. This unit focuses on this notion by exploring the
literature of various European ethnic groups in the United States.
Suggested Texts
Frank McCourt, Angela’s Ashes
Peter Handke, Across
Marguerite Duras, The Lover
Peter Hoeg, Smila’s Sense of Snow
Milan Kundera, The Unbearable Lightness of Being
Nikos Kazantzakis, Zorba the Greek
Herman Hesse, Siddhartha
Henry Roth, Call it Sleep
O. E. Rolvaag, Giants in the Earth
Chaim Potok, The Chosen or My Name is Asher Lev
David Guterson, Snow falling On Cedars
V. The So-Called Orient
In his famous work Orientalism, Edward Said chronicles the many ways
European and later U. S. intellectuals ‘created’ the Orient, and the division
between the Oriental and the Occidental. This unit focuses on literature from the
so-called orient, and from U. S. writers with ‘oriental’ ancestry.
Suggested Texts
Marguerite Duras, The Lover
Michael Ondaatje, The English Patient
Arundhati Roy, The God of Small Things
Mark Salzman, Iron and Silk
Shusaku Endo, Silence or Foreign Studies
Maxine Hong Kingston, The Woman Warrior or China Men
Amy Tan, The Kitchen God’s Wife or The Joy Luck Club
Naomi Shihab Nye, 19 Varieties of Gazelle
Herman Hesse, Siddhartha
Bharati Mukherjee, The Middleman and Other Stories
Kamala Markandaya, Nectar in a Sieve
VI. Things Fall Apart
This line from Yeats’ poem “The Second Coming” was made famous a
second time by the Nigerian author Chinua Achebe when he used it for the title
of his most famous novel, which describes the destruction—and recreation—of
culture in Africa after the onset of European imperialism and colonialism. This
unit focuses on the meetings of African and European/U. S. cultures.
Suggested Texts
Alan Paton, Too Late the Phalarope or Cry, the Beloved Country
Gloria Naylor, The Women of Brewster Place
Alice Walker, The Color Purple
Toni Morrison, The Bluest Eye or Beloved
Marilyn Nelson, Carver
Maya Angelou, I Know Why the Caged Bird Sings
Richard Wright, Native Son
Zora Neal Hurston, Their Eyes Were Watching God
James Baldwin, Go Tell it on the Mountain
Lorraine Hansberry, A Raisin in the Sun
Yusef Komunyakaa, Magic City
John Edgar Wideman, Brothers and Keepers
Bessie Head, Collector of Treasures
J. M. Coetzee, Waiting for the Barbarians
Chinua Achebe, No Longer At Ease or Things Fall Apart
Alex La Guma, Time of the Butcherbird
Wole Soyinka, Kongi’s Harvest
Sembene Ousmane, God’s Bits of Wood
Ngugi, Devil on the Cross
C. H. Bruner, ed., Unwinding Threads
Norman Rush, Mating
Barbara Kingsolver, The Poisonwood Bible
VII. The Children of Abraham
Three major world religions—Judaism, Christianity and Islam—all derive
from the same cultural source, but cultural tensions and violence between and
among members of these groups have been dominant on the world scene for
centuries, and continue to affect the world. This unit focuses on literature from
the Middle East, and from U. S. writers of Jewish and Islamic background.
Suggested Texts
Henry Roth, Call it Sleep
Chaim Potok, The Chosen or My Name is Asher Lev
Saul Bellow, Henderson the Rain King
Amos Oz, Black Box
Naomi Shihab Nye, 19 Varieties of Gazelle
VIII. Women in Culture
Often women from ethnic minority communities endure dual prejudice,
against their race, ethnicity or religion, as well as against their gender. This unit
will explore the commonalities which exist among the experiences of women
from a variety of cultural groups.
Suggested Texts
Frank McCourt, Angela’s Ashes
Marguerite Duras, The Lover
Peter Hoeg, Smila’s Sense of Snow
Milan Kundera, The Unbearable Lightness of Being
Henry Roth, Call it Sleep
O. E. Rolvaag, Giants in the Earth
Arundhati Roy, The God of Small Things
Bharati Mukherjee, The Middleman and Other Stories
Naomi Shihab Nye, 19 Varieties of Gazelle
Gloria Naylor, The Women of Brewster Place
Alice Walker, The Color Purple
Toni Morrison, The Bluest Eye or Beloved
Maya Angelou, I Know Why the Caged Bird Sing
Zora Neal Hurston, Their Eyes Were Watching God
Lorraine Hansberry, A Raisin in the Sun
Bessie Head, Collector of Treasures
C. H. Bruner, ed., Unwinding Threads
Norman Rush, Mating
Barbara Kingsolver, The Poisonwood Bible
David Guterson, Snow Falling on Cedars
Maxine Hong Kingston, The Woman Warrior
Amy Tan, The Kitchen God’s Wife or The Joy Luck Club
Julia Alvarez, How the Garcia Girls Lost Their Accent or In the Time of the Butterflies
Christina Garcia, Dreaming in Cuban
Rudolfo Anaya, Bless Me, Ultima
Isabel Allende, The House of Spirits or Stories of Eva Luna
Sandra Cisneros, The House on Mango Street
Jamaica Kincaid, Annie John
Michael Dorris, A Yellow Raft in Blue Water
Louise Erdrich, Love Medicine
Joy Harjo, She Had Some Horses
Resource List
Frank McCourt, Angela’s Ashes (Irish-American, set in Ireland and US)
Peter Handke, Across (Austrian, translated)
Marguerite Duras, The Lover (French, set in French Indo-China, translated)
Peter Hoeg, Smila’s Sense of Snow (Danish, translated)
Milan Kundera, The Unbearable Lightness of Being (Czech, translated)
Nikos Kazantzakis, Zorba the Greek (Greek, translated)
Herman Hesse, Siddhartha (German, translated, set in India)
Henry Roth, Call it Sleep (Yiddish, Polish-American, set in US)
O. E. Rolvaag, Giants in the Earth (Norwegian, translated, set in US)
Michael Ondaatje, The English Patient (Indo-English, Canadian, set in Europe and
North Africa))
Arundhati Roy, The God of Small Things (Anglo-Indian, set in India)
Bharati Mukherjee, The Middleman and Other Stories (Indian American, short
stories)
Kamala Markandaya, Nectar in a Sieve (Indian)
Chaim Potok, The Chosen or My Name is Asher Lev (Jewish American)
Saul Bellow, Henderson the Rain King (Jewish-American, set in Africa)
Amos Oz, Black Box (Israeli, translated)
Naomi Shihab Nye, 19 Varieties of Gazelle (Palestinian American, in English,
poetry)
Gloria Naylor, The Women of Brewster Place (African American)
Alice Walker, The Color Purple (African American)
Toni Morrison, The Bluest Eye or Beloved (African American)
Maya Angelou, I Know Why the Caged Bird Sings (African American)
Richard Wright, Native Son (African American)
Zora Neal Hurston, Their Eyes Were Watching God (African American)
James Baldwin, Go Tell it on the Mountain or Giovanni’s Room (African American)
Lorraine Hansberry, A Raisin in the Sun (African American, a play)
Yusef Komunyakaa, Magic City (African American, poetry)
Marilyn Nelson, Carver (African American, poetry)
John Edgar Wideman, Brothers and Keepers (African American)
Bessie Head, Collector of Treasures (black South African, short stories)
Alan Paton, Too Late the Phalarope or Cry, the Beloved Country (white South
African)
J. M. Coetzee, Waiting for the Barbarians (white South African)
Chinua Achebe, No Longer At Ease or Things Fall Apart (West African)
Alex La Guma, Time of the Butcherbird (West African)
Wole Soyinka, Kongi’s Harvest (West African, a play)
Sembene Ousmane, God’s Bits of Wood (West African)
Ngugi, Devil on the Cross (West African)
C. H. Bruner, ed., Unwinding Threads (African women from throughout Africa,
short stories)
Norman Rush, Mating (white American, set in Africa)
Barbara Kingsolver, The Poisonwood Bible (white American, set in Africa)
David Guterson, Snow Falling on Cedars (white American, Japanese protagonist)
Mark Salzman, Iron and Silk (white American in China)
Shusaku Endo, Silence or Foreign Studies (Japanese, translated)
Maxine Hong Kingston, The Woman Warrior or China Men (Chinese American)
Amy Tan, The Kitchen God’s Wife or The Joy Luck Club (Chinese American)
Julia Alvarez, How the Garcia Girls Lost Their Accent or In the Time of the Butterflies
(Dominican American)
Christina Garcia, Dreaming in Cuban (Cuban American)
Rudolfo Anaya, Bless Me, Ultima (Mexican American)
Gabriel Garcia Marquez, In Evil Hour or 100 Years of Solitude (Colombian,
translated)
Isabel Allende, The House of Spirits or Stories of Eva Luna (Chilean, translated, EL
is a collection of short stories)
Carlos Fuentes, The Old Gringo (Mexican, translated)
Arturo Islas, The Rain God (Mexican American)
Sandra Cisneros, The House on Mango Street (Mexican American)
Jamaica Kincaid, Annie John (Caribbean)
Earl Lovelace, The Wine of Astonishment (Caribbean)
John Hearne, Voices Under the Window (Caribbean)
James Welch, Fool’s Crow (Native American)
Sherman Alexie, The Lone Ranger and Tonto Fistfight in Heaven (Native American,
short stories)
Michael Dorris, A Yellow Raft in Blue Water (Native American)
Louise Erdrich, Love Medicine (Native American)
Leslie Marmon Silko, Ceremony (Native American)
N. Scott Momaday, House Made of Dawn (Native American)
Joy Harjo, She Had Some Horses (Native American, poetry)
Simon Ortiz, from Sand Creek (Native American, poetry)
American Mosaic: Multicultural Readings in Context
The Heath Anthology of American Literature, Volume Two