Fall 2019

ENGL 20000
Introduction to Creative Writing
Nazli Koca
MW 9:30-10:45
Section 01 - Seniors
Section 02 - Unallocated
Section 03 - Freshmen

In this class, we will explore the art of writing by reading the works of authors from different areas of the world who use various avenues of literature such as Elena Ferrante, Kathy Acker, Sylvia Plath, and Franz Kafka. Students will be given the tools and the space to craft poems, short stories, novel excerpts, and pieces of narrative nonfiction. We will discuss how reading improves our life and writing skills. We will write and review stories that are courageous and unique in a supportive and constructive workshop throughout the semester. 

 

ENGL 20000 
Introduction to Creative Writing
Natasha Ali
MW 3:30-4:45
Section 04 - Seniors
Section 05 - Unallocated
Section 06 - Freshmen

This section of ENGL 20000 caters to students who love to read, wish to write, and yearn to engage with literature, both published and in-progress. Concentrating on the question of what makes successful narrative – whether we are constructing fantasy worlds or relating our own lived experiences – this course will see us read, study, and write an amalgam of fiction, nonfiction, and poetry.


 

ENGL 20000
Introduction to Creative Writing
Maxime Berclaz
TR 11:00-12:15
Section 07 - Seniors
Section 08 - Unallocated
Section 09 - Freshmen

This course will provide students with an introduction to writing both fiction and poetry. In terms of poetry we will cover an equal range of contemporary, avant-garde, and historical writers, while terms of fiction we will look at works that fall on either side of the literary/genre distinction. You will learn a range of techniques from both mediums and how each can strengthen the other, along with the general craft of writing. By the end of the course you will have produced a portfolio of fiction and poetry, reviewed by your peers and edited by you. 

 

ENGL 20001
Introduction to Fiction Writing
Kirsten Aquilar
MW 5:05-6:20
Section 01 - Seniors
Section 02 - Unallocated
Section 03 - Freshmen

 In this course we’ll dive headfirst into the art and craft of fiction writing. We’ll read like writers, write intensively and cultivate a literary community in our classroom. Our readings will be broad and varied in order to study, engage with and try out a range of techniques and forms. Through workshop, we’ll learn how to constructively critique and revise both our own work and our peers’. Students will come away from this course with a polished portfolio of writing. Readings will include authors such as Elena Ferrante, Angela Carter, Han Kang, Lesley Nneka Arimah, and many others. 

 

ENGL 20001
Introduction to Fiction Writing
Greg Havrilak
TR 2:00-3:15
Section 07 - Seniors
Section 08 - Unallocated
Section 09 - Freshmen 

This course is devoted to the craft of story-writing. Each week we will analyze classic and contemporary stories, novellas, novel excerpts, stand-up routines, and/or essays on the craft, vetting the components of effective written narrative. Along the way you will try your hand at various writing prompts, and submit short fiction pieces of your own. Readings include work by Maile Meloy, Adam Johnson, Roxane Gay, Gish Jen, George Saunders, Jamel Brinkley, and others.

 

ENGL 20002
Introduction to Poetry Writing
Sebastian Bostwick
MW 2:00-3:15
Section 01 - Seniors
Section 02 - Unallocated
Section 03 - Freshmen

This course will introduce you to contemporary poetry in a variety of media and formats and from an array of lively, diverse voices. Through in- and out-of-class assignments you'll learn how poets draft and revise; you'll practice techniques, genres and forms; and you'll generate a poetry portfolio of your own. Class format will include discussion, in-class activities, and opportunities for feedback on student work. Please see the English Department website for an individualized description for each section of this course.

 

ENGL 20002
Introduction to Poetry Writing
Jahan Khajavipour
TR 3:30-4:45
Section 04 - Seniors
Section 05 - Unallocated
Section 06 - Freshmen

This course will introduce you to contemporary poetry in a variety of media and formats and from an array of lively, diverse voices. Through in- and out-of-class assignments you'll learn how poets draft and revise; you'll practice techniques, genres and forms; and you'll generate a poetry portfolio of your own. Class format will include discussion, in-class activities, and opportunities for feedback on student work. Please see the English Department website for an individualized description for each section of this course.

 

ENGL 20002
Introduction to Poetry Writing
Scarlett Wardrop
TR 9:30-10:45
Section 07 - Seniors 
Section 08 - Unallocated 
Section 09 - Freshmen
 

"So be it, I said, poetry is an ice palace. There the Snow Queen lives with her kidnapped child. The little boy puts together a puzzle made of ice shards, which are also the letters, the blind alphabet, of Desire. She promises to set him free if he pieces together the word eternity" (María Negroni, translated by Michelle Gil-Montero, The Annunciation). In this Introduction to Poetry Writing class, we will learn how to put the puzzle of ice shards together to make poetry. We will discuss poetic elements, including scenes, figurative language, form, language, and more. We will also learn about the different mediums poetry can take including visual forms, performance, experiment, and digital media. We will discuss works by Chelsey Minnis, Christian Bök, Marosa di Giorgio, Natalie Diaz, Georg Trakl and more to learn about how these poets approach such poetic elements in their writing, as well as what we might like to implement in our own creative work. Students will work toward building a collection of poems over the course of the semester that will culminate in a final portfolio.

 

ENGL 20106
Point-of-View in the Novel
Noreen Deane-Moran
MW 12:30-1:45
Section 01 - Unallocated
Section 02 - Freshmen
 

This course will focus on the introduction to the novel as a form, a means to view the world of the author/artist and the reader. Literature is an art whereby one consciousness seeks to communicate with another consciousness. One of the artist's techniques for controlling this flow is the concept of point of view. We will explore various approaches and uses of this "framing" in some nineteenth and twentieth century novels. The goal is to use an understanding of point of view to more fully comprehend, enjoy, and sensitively read this popular genre. Texts: Henry James, Turn of the Screw; Emily Bronte, Wuthering Heights; Edith Wharton, Ethan Frome; James Joyce, Dubliners; William Faulkner, Absalom, Absalom!; Carson McCullers, The Heart is a Lonely Hunter; E. L. Doctorow, Ragtime; Roddy Doyle, Paddy Clarke, Ha, Ha; and Richard Brautigan, Trout Fishing in America. Requirements: regular class participation; two short papers, a mid-term; and a final.

 

ENGL 20106
Point-of-View in the Novel
Noreen Deane-Moran
MW 3:30-4:45
Section 03 - Unallocated
Section 04 - Freshmen
 

This course will focus on the introduction to the novel as a form, a means to view the world of the author/artist and the reader. Literature is an art whereby one consciousness seeks to communicate with another consciousness. One of the artist's techniques for controlling this flow is the concept of point of view. We will explore various approaches and uses of this "framing" in some nineteenth and twentieth century novels. The goal is to use an understanding of point of view to more fully comprehend, enjoy, and sensitively read this popular genre. Texts: Henry James, Turn of the Screw; Emily Bronte, Wuthering Heights; Edith Wharton, Ethan Frome; James Joyce, Dubliners; William Faulkner, Absalom, Absalom!; Carson McCullers, The Heart is a Lonely Hunter; E. L. Doctorow, Ragtime; Roddy Doyle, Paddy Clarke, Ha, Ha; and Richard Brautigan, Trout Fishing in America. Requirements: regular class participation; two short papers, a mid-term; and a final.


 

ENGL 20192
Narrative in Fiction and Film
Barry McCrea
MW 12:30-1:45
Sec. 01 - Freshmen
Sec. 02 - Unallocated
 

What are stories? Where do they come from, how do they work, what do they do to us? This course will explore the hidden structures of all kinds of narratives, from nineteenth-century novels to Hollywood blockbusters. We will examine the ways in which our understanding of our own lives and their meaning is unconsciously shaped by certain narrative forms and assumptions.

 

ENGL 20199
The Fashioned Self: Clothing, Identity, and Gender in Fiction
Stacy Sivinski
MW 2:00-3:15
Sec 01 - Unallocated
Sec 02 - Majors
 

As Virginia Woolf once wrote, “Vain trifles as they seem, clothes…change our view of the world and the world’s view of us.” Indeed, rather than slipping passively into the background, articles of clothing typically assume complex, active, and extraordinarily visual cultural roles. Especially within a literary context, garments take on a special significance by allowing characters to craft their identities through a process of self-fashioning that grants them a degree of control over how they will be read. Throughout this course, we will explore the social meaning woven into the fabric of clothing in order to better understand how fashion helps uphold or contest dominant understandings of gender, race, and class. Although our discussions will primarily draw from works of fiction such as Emile Zola’s The Ladies’ Paradise, Bret Easton Ellis’American Psycho, and Chimamanda Ngozi Adichie’s Americanah, we will also be analyzing films, magazines, and recent texts on fashion sustainability while considering the social implications of clothes. 


 

ENGL 20217
Ethics and Affects in Medieval Heroic Literature
Marjorie Housley
TR 2:00-3:15
Sec 01 - Unallocated
Sec 02 - Major

 

Medieval heroic literature from the North Atlantic is both foreign and familiar. It is a world of heroes, gods, and monsters; a world of cold vengeance and explosive anger; a world of anarchy and tightly regimented political rules. But why, exactly, do we have such strong emotional attachments to these texts, and how can they vary so widely? Is there something inherently “emotional” about medieval literature? How do medieval texts “feel” about the medieval, or about others? Focusing on heroic literature, we will read a variety of texts in translation from medieval Britain, Ireland, and Scandinavia, examining the different ways that we can identify feelings in these literary traditions, including emotion-words, physical responses, and literary criticism.


 

ENGL 20380
The Victorian Marriage Plot
Sara Maurer
TR 11:00-12:15
Section 01: Freshmen
Section 02: Unallocated

 

While stories of falling in love and getting married have been told and retold throughout history, the mobility, technology, liberal theories, and modernizing economy of Victorian culture make Victorian marriage plots especially rich and strange. This class will explore the remarkable pressure put on stories of courtship and commitment in Victorian fiction, poetry, and prose. We’ll examine how female writers try to reverse literary traditions which allow men to speak of love but require men to remain silent, and how male writers respond to new ideas about a less differentiated, more equal marriage partnership. We’ll look at the literature shaped by the competing demands of Victorian domestic ideals, Victorian notions that companionate marriage was the best avenue to mature self-realization, and a persistent Victorian traditionalism that valued the practices of the past.  We’ll read plots of love, marriage, bigamy, divorce, artistic development, and vampires in Charlotte Bronte’s Jane Eye, Anne Bronte’s The Tenant of Wildfell Hall, and Bram Stoker’s Dracula. We’ll get to know newlyweds, prostitutes, princesses, nuns, madwomen, and the occasional goddess in poems by Elizabeth Barrett Browning, Alfred Lord Tennyson, Robert Browning, Christina Rossetti, Dante Gabriel Rossetti, Augusta Webster, Adelaide Procter, William Morris and Michael Field, always focusing on the questions of how literature addresses the problems troubling modern marriage, and how literature imagines new possibilities for human connection. 


 

ENGL 20513 
Introduction to Irish Writers
Chris Fox
MW 10:30-11:20 *With discussion session F 12:30-1:20
Sec. 01 - Freshmen
Sec. 02 -  Unallocated

 

As the visit to campus of the most recent Irish winner of the Nobel Prize in Literature suggests, this small island has produced a disproportionate number of great writers. Designed as a general literature course, the class will introduce the student to a broad range of Irish writers in English from the eighteenth century to the present. Writers will include Jonathan Swift, Maria Edgeworth, Oscar Wilde, James Joyce, William Butler Yeats, Brian Friel, and John McGahern. We will also look at recent film versions of several of these writers' works, including Wilde's Importance of Being Earnest. Themes to be explored include representations of national character and the relationships between religion and national identity, gender and nationalism, Ireland and England, and "Irishness" and "Englishness." Students can expect a midterm, a paper (5-6 pages typed) and a final. 



ENGL 20740
Novels of New York
Noreen Deane-Moran
TR 12:30-1:45
Section 01 - Unallocated
Section 02 - Freshmen

 

Knowledge presents itself in many forms. And it is the very shape of this form which perhaps gives us the greater part of the information. It has long been said that form and content must mesh for there to be beauty and inspiration. The books here are housed in the area called Literature, and thus it is the written word which is the chosen outer form. But, within that box are many varied elements which each give their own spirit to the work. They do that by squeezing the essence of their meaning into a certain shape or form which in itself creates much of the meaning of the artistic work. Potential books: Washington Square - Henry James (1880); Maggie: A Girl of the Streets - Stephen Crane (1893); The Age of Innocence - Edith Wharton (1820); The Great Gatsby - F. Scott Fitzgerald (1925); A Tree Grows in Brooklyn - Betty Smith (1943); A Walker in the City - Alfred Kazin (1951); A Fairytale of New York - J.P. Donleavy (1973); Billy Bathgate - E. L. Doctorow (1990).


 

ENGL 20908
Voracious Reading: Literature and/as Consumerism
Eric Lewis
MW 11:00-12:15
Section 01: Freshmen
Section 02: Unallocated

 

Literature is often considered priceless, but books themselves are consumer goods. In this course, we will read a selection of novels in English from around the world to investigate how literature is implicated in a consumerist economy in which readers are also consumers. We will examine not only these novels’ representations of consumerism but also their own position as goods to be bought and sold. Whether as cheap entertainment or high art, books are marketed to consumers, and we will contextualize our close readings of texts in this often overlooked exchange. We will interrogate the distinction drawn between art and other cultural products and its implications in terms of class, race, gender, and educational background. We will examine various ways of consuming texts - not just reading. Through exploring such content, we will investigate what literature and consumerism are, how people make use of them, and what value they may possess.



ENGL 30101
Intro to Literary Studies
Susan Harris
TR 11:00-12:15
Sec 01 - Freshmen
Sec 02 - Unallocated

 

This course provides beginning English majors with experience in the analysis, interpretation, and appreciation of literary works of different kinds and eras. Texts assigned will vary from one section to another, but all sections will include attention to poetry and at least one other genre (fiction, drama, non-fiction prose). Frequent writing about works studied will introduce students to the practice of critical argument and consideration of how to read criticism as well as literature critically.



ENGL 30101
Intro to Literary Studies
Cyraina Johnson-Roullier 
MW 12:30-1:45
Sec 03 - Freshmen
Sec 04 - Unallocated
 

This course provides beginning English majors with experience in the analysis, interpretation, and appreciation of literary works of different kinds and eras. Texts assigned will vary from one section to another, but all sections will include attention to poetry and at least one other genre (fiction, drama, non-fiction prose). Frequent writing about works studied will introduce students to the practice of critical argument and consideration of how to read criticism as well as literature critically.

 

ENGL 30111
British Literary Traditions II
Laura Betz
MW 11:00-12:15
Sec 01 - Majors
Sec 02 - Unallocated

This course focuses on major works of British literature from the end of the 17th century to the beginning of the 21st. We will examine a variety of poetry and prose genres, addressing key terms related to periodization (e.g., Romanticism, Modernism), genre (e.g., lyrical ballads, dramatic monologue), and various other aspects of literary technique. We will read texts in light of their historical and cultural contexts and work to foster skills of close literary analysis, both through class discussion and written assignments.



ENGL 30116
American Literary Traditions II
Francisco Robles
TR 3:30-4:45 
Sec 01 - Freshmen
Sec 02 - Unallocated

In this course, we will take a look at some of the most widely read and discussed authors of U.S. Literature, asking ourselves whether it is possible to understand these texts as a coherent, cogent body of literature. In so doing, we will understand the connections between "canon/tradition" and "innovation/experimentation," "center" and "margin," as well as the various contexts from which literature emerges, such as politics, culture, science, and history. We will focus on three major themes, and discuss a number of related issues and ideas: movement (thematically, formally, and historically) as a major force in U.S. Literature; questions of heritage, inheritance, and memory; and representation as an aesthetic and political feature of literature and life. Authors may include Langston Hughes, Marianne Moore, William Carlos Williams, Robert Frost, T. S. Eliot, William Faulkner, Zora Neale Hurston, Ralph Ellison, Flannery O'Connor, Gwendolyn Brooks, Hisaye Yamamoto, Tomás Rivera, Amiri Baraka, Robert Hayden, Toni Morrison, Lorna Dee Cervantes, Mark Doty, Rita Dove, and Tommy Orange.

 

ENGL 30851
Poetry Writing
Orlando Menes
TR 11:00-12:15

This is a course for students who are ready to immerse themselves in the strange contagious waters of poetry. We’ll read across regions, languages, communities and time periods to connect to poetry’s aesthetic, formal, and political urgencies and possibilities, and we’ll write an array of poems of our own. Expect to write individual lyrics as well as prose poems, letters, verse plays, sound poems, collages, remixes, performance pieces, and verse plays, and to poke around in the traditional and digital media by which poems have been shared. I’ll expect you to write in- and out- of class poems, work collaboratively on group projects and translations, present, perform, participate, offer kind supportive feedback on peer work, and propose and execute a final project of your own devising. Attendance is mandatory.

 

ENGL 30853
Fiction Writing
Jake Schepers
MW 11:00-12:15

 

ENGL 40145  
Literary Theory
David Thomas
TR 9:30-10:45

Marxist theorist emphasizes how economic conditions affect social and political realities, and a narrative theorist examines the importance of such matters as perspective and plotting in storytelling. Rather than promoting one theoretical perspective, this course surveys numerous styles of literary theory and criticism. Students will come to understand key features and issues in topics such as: Marxist theory; psychoanalysis; French and Anglo-American feminisms; gender theory and masculinity; structuralism and poststructuralism; postmodernism; history of sexuality; race and ethnicity studies; the development of literary canons; and disability theory. There is a great deal of sheer fun and surprise in learning about these various approaches. But such knowledge is also empowering, raising our consciousness concerning our own commitments and interests as readers. This course is therefore of special value to students anticipating subsequent thesis writing or graduate study in the humanities, social sciences, and law. Our main text is The Norton Anthology of Literary Theory and Criticism (2nd Ed.). It's a typically huge Norton tome but worth the wrist damage as a superb launching point into all areas of literary and cultural theory. Graded coursework involves a midterm and a final exam, a paper documenting a point of theory controversy that interests you individually, and a paper in which you critique a theorist or apply a theoretical approach to a literary or cultural context of your choosing. Active participation is also important.

 

ENGL 40209
Chaucer
Michelle Karnes
TR 12:30-1:45
Sec 01 - Majors
Sec 02 - Unallocated
 

This course will introduce you to the works of Geoffrey Chaucer, the deservedly famous author from medieval England who had an exceptionally good sense of humor.  We will spend the majority of the class on Chaucer’s magnum opus, the Canterbury Tales, an ambitious collection of tales drawn from different countries and genres. We will also read works by other medieval authors to provide context. Throughout the course, you will hone your Middle English comprehension skills as you confront challenging, diverse, and sophisticated pieces of literature. Students will write two papers as well as several targeted analysis exercises. No prior knowledge of Middle English or medieval literature is expected.


 

ENGL 40257
Viral Shakespeare
Jesse Lander
MW 2:00-3:15
Sec 01 - Majors
Sec 02 - Unallocated

 

This course will explore the way in which Shakespeare's plays emerged out of a culture of commonplacing (the literary practice of collecting choice quotations in a commonplace book for subsequent use in the process of composition) and almost immediately underwent a process of remediation as stage performances were transformed into printed books sold to an eager reading public. Stage performance and print publication led to an extraordinary proliferation of Shakespearean media, and the course will consider the way in which film and new digital media have in turn reshaped and extended our understanding of Shakespeare. The course will be organized around seven case studies - A Midsummer Night's Dream, Romeo and Juliet, Hamlet, 1 Henry IV, King Lear, Macbeth, The Tempest - in each case we will consider the play's initial composition, earliest performance and first publication before going on to consider the ways in which the play has perpetuated itself in later times and places.


 

ENGL 40304
Jane Austen and Her World
Greg Kucich
TR 3:30-4:45
Sec 01 - Majors
Sec 02 - Unallocated

 

This course will entail the reading of all of Austen’s novels, in addition to selective readings of her juvenilia and letters.  One of our primary goals will involve situating Austen’s novels within the social and political contexts of her historical time.  We will thus complement the joy of reading Austen with the intellectual fascination of tracking how her writings relate to some of the major historical developments of her time, such as the French Revolution, the slave trade, the growth of empire, the expansion of war across the European continent, and the “revolution in female manners” advocated by Mary Wollstonecraft.   Readings of Austen will be supplemented with readings derived from these various historical contexts. We will also attend to the ways that Austen interacts with other major writers from her era, the age of British Romanticism. We will also periodically watch and discuss recent film versions of Austen’s novels. Students will gain not only a deepened appreciation of the wonderful complexity of Austen’s novels but also how these works emerge from and respond to the historical and cultural intricacies of British Romanticism.
 

ENGL 40322  
Reading Revolutions in the Eighteenth Century
Chris Fox
MW 12:30-1:45
Sec 01 - Majors
Sec 02 - Unallocated
 

The distinctive feature of the long eighteenth century lay partly in the rediscovery of classical values, but above all in the impetus created by a series of revolutions--scientific, religious, political, social and economic. We will explore representations of these revolutions in writers from Dryden to Burke.

 

ENGL 40524 
Virginia Woolf and Bloomsbury
Barbara Green
TR 12:30-1:45
Sec 01 - Majors
Sec 02 - Unallocated

 

The modernist feminist writer Virginia Woolf lived and worked with a loose collective of writers, painters, and social thinkers that we call the "Bloomsbury Group," though many members of the group disliked the phrase. We will look at the novels, essays, art, and political writings of some of the members of Bloomsbury - Virginia Woolf, E. M. Forster, Roger Fry, Leonard Woolf, Vanessa Bell, Clive Bell, Lytton Strachey and others - to explore the complex moments of cross-fertilization, critique, and revision that define their encounters. In addition, we will attend to a few areas that have dominated discussions of Bloomsbury modernism: ideas of nation, "civilization," and critiques of Empire; the formation of literary modernism's often tense relation to mass culture; the development of modern discourses of sexuality; the relationship between literature and the modern metropolis; and explorations of women's "experience" of modernity. Because members of the Bloomsbury Group worked in a number of fields beyond the literary - painting, economics, social thought, publishing, and interior design to name a few - students will find that they can easily develop projects that engage more than one area of interest.


 

ENGL 40590 
Race, Law and Utopia in Atlantic America
Cyraina Johnson-Roullier
MW 2:00-3:15
Sec 01 - Majors
Sec 02 - Unallocated

 

In his 2012 work What Was African American Literature?, Kenneth Warren writes: "When racial identity can no longer be law, it must become either history or memory - that is, it must be either what some people once were but that we no longer are, or the way we were once upon a time, which still informs the way we are." Both understandings of the meaning of race and its relation to identity suggest a problematic disjuncture between the past and the present that, in focusing on an imagined understanding, refuses all attempts to locate it in material reality. Following Warren's argument, once detached from the law, race and its relationship to identity are caught in an infinite loop, no longer completely accessible in the real time of the present, continually wavering between two radically different poles of being. In the absence of the law, pitted against which it derives its interpretive power, race ceases, for Warren, to be useful both as a critical tool and, more importantly, as the foundation for the field of African American literature. Yet this problem also poses a number of crucial questions, particularly when viewing the significance of race through the lens of modernity - one that might not only ask us to reconsider our historical perceptions of race, but which interrogates our present understanding of the term while simultaneously pointing to its future possibilities. How can the conversation on race be continued without becoming trapped in what seems to be an ongoing critical circle, endlessly vacillating between an irreparable past and a tentative future? Is it possible to think race beyond the idea of race? What does race actually mean? What might a new conception of race actually look like? Would it help us to break through familiar stereotypes tired from overuse to a new vision of racial and democratic possibility? This course will take a step backward to investigate these questions and others as a part of what may be called the utopic impulse and its emphasis on the imagination in a number of 19th-century American authors whose work participates in a broad yet under-acknowledged vision of race and Atlantic modernity. Grounding our analysis in a number of 16th, 17th and 18th political philosophical texts and drawing on the theories of Giorgio Agamben, Jacques Derrida and others, as well as insights from critical race theory, theories of law and literature, and utopian studies, our goal will be to gain a more nuanced understanding of our racialized past, through which we can better hope to reimagine its potential for our collective democratic future. Course texts are to be determined, but will most likely include some of the following, either in their entirety or in the form of relevant excerpts: Plato's Republic; Niccolo Machiavelli, The Prince; Thomas More, Utopia; Francis Bacon, The New Atlantis; James Harrington, Oceana; Thomas Hobbes, Leviathan; Robert Filmer, Patriarcha, Or The Natural Power of Kings; John Locke, Two Treatises of Government; Montesquieu, The Spirit of the Laws; Jean-Jacques Rousseau, The Social Contract or The Discourse on Inequality; Alexis de Toqueville, Democracy in America; Thomas Jefferson, Notes on the State of Virginia; Adam Smith, The Wealth of Nations; Frances Wright, Views of Society and Manners in America; Nathaniel Hawthorne, Blithedale Romance; Moncure Conway, Pine and Palm; Walt Whitman, Democratic Vistas; Frances Ellen Watkins Harper, Iola Leroy; Pauline Hopkins, Contending Forces or Of One Blood; Sutton Griggs Imperium in Imperio; W.E.B. DuBois, The Souls of Black Folk.



ENGL 40609  
American Transcendentalism
Laura Walls
TR 5:05-6:20
Sec 01 - Majors
Sec 02 - Unallocated


When European Romanticism crossed the Atlantic, it precipitated American Transcendentalism, this nation's first great literary movement. The Transcendentalists were a loose group of rebels, dreamers, and freethinkers who, inspired by both the American Revolution and the new European philosophies, set about the immodest task of remaking America - and thence, they hoped, the world. Inspired by resistance to their radical ideas, these men and women - including Ralph Waldo Emerson, Margaret Fuller, Henry David Thoreau, Orestes Brownson, Bronson Alcott and his daughter Louisa May Alcott -launched a daring movement to renew American religion and philosophy and create a new and genuinely American literature - and, as if that weren't enough, to reform a nation shot through with the contradictions of slavery, economic inequality, social injustice and environmental destruction. Did they succeed? Was their idealism a noble dream destroyed by the violence of the Civil War? Or did their hard work bring real progress to an American society still indebted today to this band of dreamers? That's our dilemma: both answers are correct. How are we still living the consequences of their failures, and their successes? Can their dreams still speak to us today, in our own moment - shot through as it is with so many similar contradictions?

 

ENGL 40670  
Gender & Sexuality in American Drama
Susan Harris
TR 2:00-3:15
Sec 01 - Majors
Sec 02 - Unallocated

 

Ever since Nora Helmer walked out on her husband and slammed the door in Henrik Ibsen's 1879 play A Doll's House, modern drama has been closely connected with the struggles to redefine gender and sexuality that have shaped the twentieth and twenty-first century. In this course, we will look at how this story plays out on the American stage, as we examine the works of American playwrights who have participated in the many long-running debates about gender and sexuality in modern and contemporary America. We will read both canonical modern playwrights--Eugene O'Neill, Tennessee Williams, Lillian Hellman, Arthur Miller, Edward Albee, Lorraine Hansberry, etc.?and a variety of contemporary playwrights, including but not necessarily limited to Tony Kushner, Larry Kramer, David Mamet, Sara Ruhl, Melissa George, and Susan Lori-Parks. Students will write at least two papers, keep a journal, and give at least one in-class presentation.


 

ENGL 40850
Advanced Fiction Writing 
Joyelle McSweeney
MW 3:30-4:45
 

In this course, students will generate, draft, and revise their own prose-projects-in-progress; lead workshops of their own drafts; and contribute generously to workshops of peer projects. To expand our sense of possibility, we’ll read works of modern and contemporary literature and contemplate some of the ‘stranger forms’ of prose writing; to expand our technical skills, we’ll try our hands at one or more of these stranger forms, such as  translation, adaptation, ghost story, haunted house, lyric essay, pataphysics, style-driven writing, craft essay, prose-poem sequence, etc. 


 

ENGL 40852
Advanced Fiction Writing II
Joyelle McSweeney
MW 3:30-4:45
 

This course is intended for students who have already taken an Advanced Fiction Writing and who are seriously interested in writing fiction. In this course, students will generate, draft, and revise their own prose-projects-in-progress; lead workshops of their own drafts; and contribute generously to workshops of peer projects. To expand our sense of possibility, we’ll read works of modern and contemporary literature and contemplate some of the ‘stranger forms’ of prose writing; to expand our technical skills, we’ll try our hands at one or more of these stranger forms, such as  translation, adaptation, ghost story, haunted house, lyric essay, pataphysics, style-driven writing, craft essay, prose-poem sequence, etc. 


 

ENGL 40855
Advanced Fiction Writing III
Joyelle McSweeney
MW 3:30-4:45

This course is intended for students who have already taken an Advanced Fiction Writing and who are seriously interested in writing fiction. In this course, students will generate, draft, and revise their own prose-projects-in-progress; lead workshops of their own drafts; and contribute generously to workshops of peer projects. To expand our sense of possibility, we’ll read works of modern and contemporary literature and contemplate some of the ‘stranger forms’ of prose writing; to expand our technical skills, we’ll try our hands at one or more of these stranger forms, such as  translation, adaptation, ghost story, haunted house, lyric essay, pataphysics, style-driven writing, craft essay, prose-poem sequence, etc. 


 

ENGL 40921  
Reading the Body Politic: Literature as Moral Thermometer
Azareen Van Der Vliet Oloomi
TR 11:00-12:15
Sec 01 - Majors
Sec 02 - Unallocated


In this course we will examine the strange intimacy between experience and writing as it manifests in literature that engages notions of the body, language, community, memory and history. We will ask: How do experiences of violence, oppression, anxiety and indignity manifest in language? How do current and past humanitarian crises across the globe impact the production and study of literature? How does literature resist, update or corroborate the fantasy of the American Dream? What does it mean to be American? How do writers invent linguistic structures in order to document community histories and respond to personal, political, social, economic and moral crisis? Can literature be a resource for intersectional coalition building? In order to inhabit these questions, we will read texts that explore the outer limits of language. What the margins of language offers writers is the necessary distance from which to exert pressure on centralizing forms of speech, to expose subtle forms of censorship, and to record and respond to historical crises. The stories we tell ourselves about who we are—the very grammar of those narratives—shapes our perception of self and world. Manipulating grammar, targeting limiting or exclusionary forms of speech, can lead to a shift in consciousness both for the writer and the reader. That kind of rigor allows literature to have an impact on the social body. That kind of rigor allows us to probe what’s been kept off limits and obscured by secrecy or state-sanctioned violence. That kind of rigor allows us to think of literature as a practice of “beloved community.” We will read authors who navigate the subtle constraints placed on our speech in order to bring previously invisible forms of suffering into the realm of public discourse. Readings will include works by authors such as Alexander Chee, Ocean Vuong, Natalie Diaz, Solmaz Sharif, Roger Reeves, Claudia Rankine, Natasha Tretheway, Tommy Orange, Viet Than Nguyen, Ta-Nehisi Coates, Kevin Young, Jericho Brown, June Jordan, Lucille Clifton, Angela Davis, Audre Lorde, Susan Abulhawa, Zeyn Joukhadar, Randa Jarrar, Naomi Shihab Nye, and theorists/thinkers James Baldwin, Edward Said, Judith Butler, Sara Ahmad, Jasbir K. Puar and Elaine Scarry.