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| A Brief Guide to Writing | |
| The Practice of Writing | |
| Why Am I Writing Essays? | |
| An Occasion for Writing | |
| Using Your Voice and Finding Your Character | |
| Moving from Evidence to Idea to Essay | |
| Evidence | |
| Idea | |
| Essay | |
| How to Reveal the Discoveries? | |
| Analysis | |
| Interpret... MORE | |
| Reflection and Meaning | |
| Making Evidence and Discovery Work Together | |
| An Exploratory Essay: A Student's Progress | |
| Using Images and Experience as Evidence | |
| The Persuasive Essay: A Student's Progress | |
| Using Text and Experience as Evidence | |
| An Introduction to Visual Understanding | |
| Keeping Your Eyes Open and Learning to See | |
| A Strategy for Visual Understanding | |
| Looking and Responding | |
| Analyzing Images: Categorizing to Make Sense of What You See | |
| Focal Point and Emphasis | |
| Figure-Ground Contrast | |
| Grouping: Proximity & Similarity | |
| Color | |
| Continuation | |
| Line | |
| Closure | |
| Narration or Story | |
| Context | |
| The Whole Composition | |
| Communicating What You See | |
| A Sample Student Paper, Ryan Pollack, Visible Feelings | |
| Themes for Writing | |
| Stories | |
| Mark Doty, Souls on Ice | |
| Look at Your Fish | |
| Steps Towards a Small Theory of the Visible | |
| Virginia Woolf, Portrait of a Londoner | |
| Late Victorians | |
| Aching for a Self | |
| Anthology Readings: Diane Ackerman, In the Memory Mines | |
| Brian Doyle, Yes | |
| The Tipping Point | |
| The Most Dangerous Beauty | |
| Identity | |
| Brent Staples, Just Walk on By | |
| How It Feels to Be Colored Me | |
| The Myth of the Latin Woman | |
| Eva Hoffman, Lost in Translation | |
| The Way to Rainy Mountain | |
| Stranger in the Village | |
| Anthology Readings: Jamaica Kincaid, On Seeing England for the First Time | |
| Sojourner Truth, Ain't I a Woman | |
| Mary Wollstone craft A Vindication of the Rights of Women | |
| Gender | |
| Susan Brownmiller, Femininity | |
| Men and Women Talking | |
| Oranges and Sweet Sister Boy | |
| Paul Fussell, Uniforms | |
| A Woman's Beauty: Put-Down or Power Source | |
| Beauty: When the Other Dancer is the Self | |
| Anthology Readings: Bernard Cooper, Burl's | |
| Gretel Ehrlich, About Men | |
| Being a Man | |
| Sojourner Truth, Ain't I a Woman | |
| Mary Wollstone craft A Vindication of the Rights of Women | |
| Families | |
| Chang Rae Lee, Coming Home Again | |
| Stone Soup | |
| Family Values | |
| David Sedaris, Cyclops. bell hooks, Inspired Eccentricity | |
| Maxine Hong Kingston, No-Name Woman | |
| Anthology Readings: Diane Ackerman, In the Memory Mines | |
| Bernard Cooper, Burl's | |
| Brian Doyle, Yes | |
| Education | |
| Frederick Douglass: Learning to Read and Write | |
| Maya Angelou, Graduation | |
| Bernard Cooper, Labyrinthine | |
| Eudora Welty, Clamorous to Learn | |
| Claiming an Education | |
| The Banking Concept of Education | |
| Anthology Readings: Roland Barthes, Toys | |
| On Not Looking at Pictures | |
| The Curse of Talent | |
| Plato, The Allegory of the Cave | |
| Mary Wollstone craft A Vindication of the Rights of Women | |
| Nature and the Environment | |
| Virginia Woolf, The Death of the Moth | |
| Spring Comes to Hogeye | |
| Transfiguration | |
| William Cronon, The Trouble with Wilderness | |
| The Desert World | |
| The Stone Horse | |
| Anthology Readings: Malcolm Gladwell, The Tipping Point | |
| On Seeing England for the First Time | |
| The Most Dangerous Beauty | |
| The Loss of the Creature | |
| Science and Technology | |
| Jacob Bronowski, The Nature of Scientific Reasoning | |
| The Art of Science | |
| The Bird of Paradise | |
| Sven Birkerts, Into the Electronic Millennium | |
| Terry Tempest Williams, A Shark in the Mind of One Contemplating Wilderness | |
| Crickets, Bats, Cats, and Chaos | |
| Anthology Readings: Diane Ackerman, In the Memory Mines | |
| Roland Barthes, Toys | |
| The Tipping Point | |
| The Most Dangerous Beauty | |
| Language and Thought | |
| Aria: A Memoir of a Bilingual Childhood | |
| Politics and the English Language | |
| Signs and Symbols | |
| Ursula LeGuin: Where Do You Get Your Ideas? | |
| Logical and Lateral Thinking | |
| Criticism | |
| Anthology Readings: Diane Ackerman, In the Memory Mines | |
| Brian Doyle, Yes | |
| On Not Looking at Pictures | |
| The Declaration of Independence | |
| The Loss of the Creature | |
| Ethics and Values | |
| Joan Didion, On Self Respect | |
| Why I Went Into the Woods | |
| Sissela Bok, On Lying | |
| Langston Hughes, Salvation | |
| An Introduction to Zen | |
| Letter from Birmingham Jail | |
| Anthology Readings | |
| The Declaration of Independence | |
| Plato, The Allegory of the Cave | |
| Jonathan Swift A Modest Proposal | |
| Vermeer in Bosnia | |
| Mary WollstonecraftA Vindication of the Rights of Women | |
| Work and Working | |
| Ellen Goodman, The Company Man | |
| Hotel Kitchens | |
| Lifework | |
| Ellen GilchristThe Middle Way | |
| The World Is Flat | |
| Against Work | |
| Anthology Readings | |
| About Men The Curse of Talent | |
| Mary Woll stone craft A Vindication of the Rights of Women | |
| Anthology for Further Reading | |
| In the Memory Mines | |
| Toys | |
| Burl's | |
| Yes | |
| About Men | |
| On Not Looking at Pictures | |
| The Tipping Point | |
| The Declaration of Independence | |
| On Seeing England for the First Time | |
| The Curse of Talent | |
| The Most Dangerous Beauty | |
| The Loss of the Creature | |
| The Allegory of the Cave | |
| Jonathan Swift A Modest Proposal | |
| Being a Man | |
| Sojourner Truth, Ain't I a Woman | |
| Vermeer in Bosnia | |
| Mary Wollstonecraft A Vindication of the Rights of Women | |
| Table of Contents provided by Publisher. All Rights Reserved. |