Instructor: Bryan “Jonas” Erickson
Travel Writing
WRTG 3020, Section 83
Fall 2012
E-mail: ericksbj@colorado.edu
Office: ENVD 1B27E
Office Hours: Tuesday 5:00-5:30, Thursday 11:00 a.m.-1:00 p.m. and 5:00-5:30, or by appointment
Office Phone: 303-735-4661
Class Meeting Time: Tuesday and Thursday: 2:00–3:15 p.m.
Room: ECCR 137
“Push it. Examine all things intensely and relentlessly. Probe and search each object in a piece of art; do not leave it, do not course over it, as if it were understood, but instead follow it down until you see it in the mystery of its own specificity and strength.”
—Annie Dillard, The Writing Life
“Trips don’t end when we return home—in a sense it’s when they usually begin.”
—Agnes E. Benedict
“To say writing is artificial is not to condemn it but to praise it. Like other artificial creations and indeed more than any other, it is utterly invaluable and indeed essential for the realization of fuller, interior, human potentials. Technologies are not mere exterior aids but also interior transformations of consciousness, and never more than when they affect the word. Such transformations can be uplifting.
Writing heightens consciousness. Alienation from a natural milieu can be good for us and indeed is in many ways essential for full human life. To live and to understand fully, we need not only proximity but also distance. This writing provides for consciousness as nothing else does.”
—Walter J. Ong, Orality and Literacy
Course Description: WRTG-3020 (Topics in Writing) sharpens critical thinking and critical writing skills. The course focuses upon rhetorical forms students will use in academia, in the workplace, and in the civic domain, across a full spectrum of persuasive strategies, including analysis and argument. This course reinforces skills taught in first-year writing classes and builds upon them, with a greater emphasis upon the situational quality of writing or upon rhetorical context: the relationship between writer, reader, subject, and purpose in the formation of a text.
The topic in this class, travel writing, serves as a means to an end—to create a knowledgeable audience and a context for discussion and writing: a discourse community. In a workshop setting, students engage in a dialogue with their audience, working out meaningful theses, testing rhetorical strategies, responding to objections and potential objections, and revising (and revising, and revising!) to meet the needs of their readers.
Required Texts:
Annie Dillard: Encounters with Chinese Writers
The Best American Travel Writing 2000 (edited by Bill Bryson)
The Best American Travel Writing 2004 (edited by Pico Iyer)
Stanley Fish: How to Write a Sentence: And How to Read One
Course Pack (only available at the CU bookstore)

Recommended texts:
Annie Dillard: The Writing Life
Bruce Ballenger: The Curious Researcher
William Zinsser: On Writing Well
“The Purdue Owl,” http://owl.english.purdue.edu/owl/resource/679/01/
Goals:
Critical Thinking and Its Written Application.
As writers and as readers, students should leave 3020 able to:
 See writing as a form of personal engagement, demanding an awareness of the inherent power of language and its ability to bring about change.
 Pose and shape a question at issue.
 Locate and use resources when necessary to exploring a line of inquiry.
 Critically evaluate information sources for credibility, validity, timeliness, and relevance.
 Draw inferences from a body of evidence.
 Distinguish description from analysis and argument.
 Distinguish flawed from sound reasoning, and be able to respond to and challenge claims.
 Recognize a thesis, and understand the organic relationship between thesis and support in an essay.
 As writers, structure and develop points of argument in a coherent order to build a case; as readers, recognize this structure and development within texts.
 Critique one’s own works in progress and those of others.
 Recognize that academic and public writing is dialogic, addresses an audience, and anticipates the thinking, the questions, and the possible objections of readers.
The Writing Process
As writers, students should be able to:
 Understand writing as an ongoing process that requires multiple drafts and various strategies for developing, revising and editing texts.
 Understand that revision is informed by critical dialogue.
 See the critical analysis of others’ work as relevant to one’s own writing.
Rhetorical Situation
Students should learn to:
 Exercise rhetorical skills: frame issues, define and defend theses, invent and arrange appeals, answer counterarguments, and contextualize conclusions.
 Value writing as a collaborative dialogue between authors and audiences, critics, and colleagues.
 Make decisions about form, argumentation, and style based on the expectations of different audiences.
 Recognize that a voice or style appropriate to one discipline or rhetorical context might be less appropriate for another.
 Develop topic-specific language that is appropriate for the defined audience while also intelligible to a non-expert audience.
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Mechanics and Style
Students in WRTG 3020 should learn to:
 Convey meaning through concise, precise, highly readable language.
 Apply the basics of grammar, sentence-structure, and other mechanics integral to analytical and persuasive writing.
 Develop skills in proofreading.
 Use voice, style, and diction appropriate to the discipline or rhetorical context.
 Use paragraph structure and transitional devices to aid the reader in following even a complex train of thought.
Colorado Commission on Higher Education Criteria
This 3000-level writing seminar satisfies upper-division core requirements in the College of Arts
& Sciences because it extends student rhetorical knowledge and writing skills by engaging theoretical perspectives and addressing specialized disciplinary communities. This course will not only reinforce, but also advance your level of competency in critical thinking, written communication, and reading. In your first-year writing and rhetoric course, you developed an ability to use language effectively, read and listen critically, and write with thoughtfulness, clarity, coherence, and persuasiveness. The present course will build upon and extend all of these abilities, and in so doing should assist you in other upper division courses and your subsequent career. This course is designed to:
1) Extend rhetorical knowledge. In this course, we will study texts from the travel writing discipline, including Annie Dillard’s Encounters with Chinese Writers , a special collection of essays put together by the instructor, and The Best American Travel Writing volumes from 2000 and 2004. Through critical analysis of these exemplary models, we will gain the advanced literacy skills necessary to recognize and utilize the complexities of voice, tone, and structure involved in writing and reading travel writing. The reading and writing assignments will be interrelated and lead us to greater skill and rhetorical awareness in writing. To deepen our ability to use language effectively, we will read, discuss, and put into practice the advanced techniques presented in Stanley Fish’s How to Write a Sentence: And How to Read One . Travel, although writing not an inherently persuasive genre, utilizes the tools of ethos, logos, and pathos in its own ways. We will also use reflective strategies to learn sophisticated ways to structure a narrative so that it is built on knowledge relevant to our audiences.
2) Extend experience in writing processes. We will take a revision-minded approach, acknowledging that a piece of writing is never ready for its audience until the author has written multiple drafts. To this end, we will workshop extensively and practice specific revision techniques passed down from successful authors such as Samuel Johnson, Ralph Waldo
Emerson, and Dillard. We will consider how the genre of travel writing, per se , asks us to approach revision and idea generation. We will use our knowledge of the genre and revision to offer strategic, helpful comments to peers. We will learn more effective uses for writing and research tools such as databases, journals, maps, and scissors. In studying the works of others
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4 and in assessing the research we gather for our own work, we will learn further our skills for evaluating sources.
3) Extend mastery of writing conventions. In our reading and writing, we will identify many of the conventions of travel writing, learn how to talk about them with the specialized vocabularies of professional travel writers, and practice adapting them for our own use. We will further develop our writing styles and reinforce the use of proper syntax, grammar, punctuation, and spelling.
4) Demonstrate comprehension of content knowledge at the advanced level through effective communication strategies. We will consider the audiences (or “discourse communities”) who read travel writing in its multiple forms and hone our abilities to shape our knowledge to suit their needs. We will do this, in part, by studying the many places that publish travel writing, and what their various requirements are; by doing so, we will be able to anticipate the shape of the rhetorical situation necessary for a given audience.
Policies
Reading: The best writers are also voracious and critically astute readers. On the most basic level, reading literature helps us to recognize what good literature is as well as how good writing works. Furthermore, reading also inspires writing in that it continually keeps language moving through the brain. We will spend time closely reading texts, discussing the techniques these writers use (and how we can use them in our own writing), and how reading and writing inform each other. All reading is required. Because this course hinges upon participation, assigned readings must be completed before the class they are to be discussed. Arriving to class prepared for discussion will result in a higher grade for the course. Please bring the texts for the day to class.
Class-wide workshops: Nearly every class will include a time when students can read aloud from their essays and have a class-wide workshop. (I will ask for volunteers to read. If you have not read your work in a while, I will call on you.) We will do this for many reasons: 1) You receive a different quality of feedback when people respond to a work they listen to rather than reading it on their own—while there are fewer comments on details, it is also less nitpicky and more likely to see the overall vision you are working toward. 2) We will also have smaller group workshops, but the regular class-wide workshops will give you an opportunity to receive feedback from and get to know the work of students whom you otherwise would not hear from.
3) This will make workshopping a regular part of the class rather than something that merely punctuates it. 4) This will give you a chance to test out things you might like to develop—the feedback can help you decide what direction to go in.
Quizzes: Quizzes may be given at any time, usually unannounced. Quizzes may cover the day’s assigned reading (including any vocabulary found therein). Quizzes cannot be made up and do count against you if you miss them (you will receive zero credit). Missed quizzes will not count against you if you were absent due to illness, a death in the family, or you were observing a religious holiday—but you will need documentation to verify the reason.

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Attendance and Class Participation: There is no attendance policy, except during the first two weeks. If you miss two classes during the first two weeks of the semester, you will be administratively dropped from the course. Although class attendance is not required, this class depends on your voice and you are urged to miss no more than two classes. I want to make this class a cooperative learning experience and a true creative community. You will be called upon to enter discussion, contribute your ideas, share your writing, and otherwise join in class activities. Participation includes full attention and courtesy to whomever is speaking. Learning results from being present (and actively engaging when you are present). Finally, in order to reinforce this participatory community, you may not use cellphones or computers in class. (If you are reading your work to the class, you may use your computer.)
Grading Scale for Participation:
A always prepared for class; participates without being called on; response to other students’ papers reveals insight and close reading; comments are clear, succinct, and helpful.
B generally prepared for class; occasionally participates without being called on; response to other student papers demonstrates mastery of the course goals; comments are generally clear and helpful.
C sometimes prepared for class; only participates when called on; mastery of the course goals generally evident, but responses to other student papers, although somewhat helpful, demonstrate a less than thorough rhetorical awareness or reading of the paper.
D inadequately prepared or never participates unless called on; response to other student papers demonstrates a superficial or inaccurate reading, at best; comments demonstrate a failure to master the course goals.
F disruptive to class (talking inappropriately, continual tardiness, etc.); unprepared when called on; unable or unwilling to participate in class discussions.
At some point, you will give a brief presentation (2-5 minutes) and lead the discussion on a travel writing piece of your choice (the discussion should last at least 15 minutes). There are enough essays in our two BATW books for each student to select one from there. You may assign something from outside these books if you provide paper copies for each student. Find something you would like to recommend. Explain what picture of travel writing it offers us that we haven’t encountered in the reading we’ve done so far. Or, if you cannot find one that offers something new, simply explain why you think it’s a successful travel piece. This will be worth a third of your participation grade.
Students and faculty each have an obligation to help maintain an appropriate learning environment. Students who fail to adhere to such behavioral standards may be subject to discipline. Faculty have the professional responsibility to treat all students with understanding, dignity, and respect, to guide classroom discussion, and to set reasonable limits on the manner in which they and their students express opinions. Professional courtesy and sensitivity are especially important with respect to individuals and topics dealing with differences of race, culture, religion, politics, sexual orientation, gender variance, and nationalities. Class rosters are provided to the instructor with the student's legal name. I will gladly honor your request to address you by an alternate name or gender pronoun. Please advise me of this preference early in the semester so that I may make appropriate changes to my records.

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Facebook: I do not instigate Facebook friendships with students, but accept all friend requests from them (find me with the address listed at the start of this syllabus). However, if you “friend” me during the present semester, I will wait until it is over to accept your request.
Office hours: I have scheduled regular office hours when you may visit me, and am also available by appointment. This is the most effective way for me to give you individual attention and get to know you better. You are required to meet with me at least once during the semester.
Assignments:
Formatting: Everything that is turned in for credit must be typewritten, paginated, doublespaced, in Times or Times New Roman font, size 12, with 1-inch margins all around . Proofread carefully; mistakes in grammar or punctuation will negatively affect your grade. Please adhere to page number requirements, but also realize that writing the maximum number of pages for an assignment does not make it better than a shorter work of better quality. If your computer adds an extra blank space between paragraphs, please add one line to the minimum page requirement for every blank space. In this class, twenty lines of text are considered a full page for one-page assignments (but not for longer assignments) and ten lines a half page for half-page assignments.
Late work will be marked down a full letter grade for every calendar day it is late.
Journals: You will write one journal entry a week. They need only be one page each, though you may write as much as you like for each one. Some will be writing exercises that prepare us for class discussions and for the larger written projects. Others will be rhetorical analyses of the day’s reading. On the back or on a separate page, write two discussion questions about the reading for the day (this can be handwritten).
Other Homework: Occasionally, I may give the class additional assignments that will count toward your participation grade. They will usually require only a short amount of time to complete.
Writing: You will submit three major essays, each at least six pages long. Submissions should be accompanied by a one-page writer’s letter discussing the creation and development of the piece.
In this letter, you can analyze your own work, discuss the effects you intended to create, how you approached it, difficulties you encountered, strategies you used, etc. You might think of it as a cross between a self-critique and a journal written on your own work. The due date is when you must submit paper copies (e-mailed work is not acceptable) to me and your peer group.
However, by the beginning of the fourth week, you will be expected to have a complete travel essay ready to read aloud to the class at any time (though after you read, you will not be expected to read again for a while so that your well may fill). So you must work ahead.
Written critiques : For each essay that the students in your group submit, you are required to write an assessment. Give your general impressions of the work: What was it like to read? How does the author apply the techniques we have studied in class to his or her work? You may also make suggestions for revision. For each round of critiques, I’ll give you specific things I’m looking for you to comment on as well. Please also make some comments directly on the manuscript and

7 return this to the author. Your critique of each essay must be at least a half page. You must bring two copies of your evaluation to class—one for your peer and one for me (you can print these single-spaced and on the same sheet) .
Revisions: For each essay, there will be a unique revision assignment. These are different from what we normally think of as revision. Rather than making the essay as good as it can be, each of these revision assignments will focus on one particular aspect of writing. In fact, these revisions may end up being worse essays, overall, than the originals—but they should ingrain core writing concepts in the process that will make future writing and revision more effective. These revisions will count for twenty-five percent of each essay’s grade.
Proofreading: For all assignments, one spelling, grammar, or punctuation error per page will be forgiven. After this, each one will drop the essay grade by one percent.
Service-learning: This is a service learning course. Each student will do some volunteer work for an organization of his or her choice. This may be an organization with which you are already involved. I will provide a list of places where you might consider volunteering, and we will discuss the options in class. How much time you volunteer is up to you, but it will need to be long enough that it is worth the organization having you around. In addition to discussing these volunteer experiences in class, we will write two weeks’ worth of journal exercises devoted to this experience. The first one is due November 27, so you must start volunteering before then.
On that same date, I will also need a short letter (written by you or someone at the organization) describing the work you did; regardless of who wrote it, it must be signed by your supervisor at the organization. If I do not get this letter, you will not receive credit for the two weeks’ worth of journals mentioned above.
Grading: Your returned assignments will be clearly marked with a letter grade or numeric percentage that corresponds to one of the following:
A = Excellent (90-100%)
B = Above Average (80-89%)
C = Average (70-79%)
D = Below Average (60-69%)
F = Failing (0-59%)
Your final grade will be based on the following:
 Quizzes ………………………..…………………………..…..25%
 Participation…………………..……………………………….10%
 Written critiques …………………………………………..……5%
 Journals ……………………………….………….……….…...15%
 First essay (including revision)………………………………...15%
 Second essay (including revision)……………………………..15%
 Third essay (including revision)……………………………….15%
100%

Other:
If you qualify for accommodations because of a disability, please submit to me a letter from
Disability Services in a timely manner so that your needs can be addressed. Disability Services determines accommodations based on documented disabilities. Contact: 303-492-8671, Center for Community N200, and http://www.colorado.edu/disabilityservices.
If you have a temporary medical condition or injury, see guidelines at http://www.colorado.edu/disabilityservices/go.cgi?select=temporary.html
Campus policy regarding religious observances requires that faculty make every effort to deal reasonably and fairly with all students who, because of religious obligations, have conflicts with scheduled exams, assignments or required attendance. In this class, you are required to contact the instructor about such absences at least two weeks in advance. See full details at http://www.colorado.edu/policies/fac_relig.html
Students and faculty each have responsibility for maintaining an appropriate learning environment. Those who fail to adhere to such behavioral standards may be subject to discipline.
Professional courtesy and sensitivity are especially important with respect to individuals and topics dealing with differences of race, color, culture, religion, creed, politics, veteran's status, sexual orientation, gender, gender identity and gender expression, age, disability, and nationalities. Class rosters are provided to the instructor with the student's legal name. I will gladly honor your request to address you by an alternate name or gender pronoun. Please advise me of this preference early in the semester so that I may make appropriate changes to my records. See policies at http://www.colorado.edu/policies/classbehavior.html and at http://www.colorado.edu/studentaffairs/judicialaffairs/code.html#student_code
The University of Colorado at Boulder Discrimination and Harassment Policy and Procedures, the University of Colorado Sexual Harassment Policy and Procedures, and the University of
Colorado Conflict of Interest in Cases of Amorous Relationships policy apply to all students, staff, and faculty. Any student, staff, or faculty member who believes s/he has been the subject of sexual harassment or discrimination or harassment based upon race, color, national origin, sex, age, disability, creed, religion, sexual orientation, or veteran status should contact the Office of Discrimination and Harassment (ODH) at 303-492-2127 or the Office of Student Conduct
(OSC) at 303-492-5550. Information about the ODH, the above referenced policies, and the campus resources available to assist individuals regarding discrimination or harassment can be obtained at http://www.colorado.edu/odh
All students of the University of Colorado at Boulder are responsible for knowing and adhering to the academic integrity policy of this institution. Violations of this policy may include: cheating, plagiarism, aid of academic dishonesty, fabrication, lying, bribery, and threatening behavior. All incidents of academic misconduct shall be reported to the Honor Code Council
(honor@colorado.edu; 303-735-2273). Students who are found to be in violation of the academic integrity policy will be subject to both academic sanctions from the faculty member and nonacademic sanctions (including but not limited to university probation, suspension, or expulsion).
Other information on the Honor Code can be found at http://www.colorado.edu/policies/honor.html and at http://www.colorado.edu/academics/honorcode/
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Schedule:
Starting the journey
August 28 (T) —Introduction to course and each other; overview of syllabus.
August 30 (R) — Journal #1 due.
Quiz on syllabus. Annie Dillard: Encounters with Chinese
Writers (3-7). Jason Wilson: “Foreword: Why Travel Stories Matter” ( BATW 2000 , xi-xvii).
Bill Bryson: “Introduction” ( BATW 2000 , xix-xxvii). Jason Wilson: “Foreword” ( BATW 2004 , xi-xv).
What is travel?
September 4 (T) —Xavier de Maistre: A Journey Round My Room , chapters 1-5 (course pack).
Annie Dillard: Encounters with Chinese Writers (11-44). Dillard: “Transfiguration” (from Holy the Firm ) (1-2) (handout).
September 6 (R) — Journal #2 due.
Annie Dillard: Encounters with Chinese Writers (45-74).
Pico Iyer: “Introduction” ( BATW 2004, xvi-xxiv).
Character
September 11 (T) —Ralph Waldo Emerson: “First Visit to England” (course pack). Annie
Dillard: Encounters with Chinese Writers (75-106). Treats: Amy.
September 13 (R) — Journal #3 due.
Lawrence Durrell: “Landscape and Character” (course pack). Herman Melville: “Loomings” (course pack). Treats: Dara.
Tourism
September 18 (T) —Alden Jones: “Lard is Good for You” ( BATW 2000 , 107-19). Patrick
Symmes: “From the Wonderful People Who Brought You the Killing Fields” ( BATW 2000 ,
216-28). Jonathan Tourtellot: “The Two Faces of Tourism” (taught by Drew) ( BATW 2000 ,
251-59). Treats: Zoe.
September 20 (R) — Journal #4 due.
Evan S. Connell: “Various Tourists” (course pack).
Stanley Fish: “Why Sentences?” (1-12). Treats: Drew.
Place
September 25 (T) — Turn in first essay.
Herman Melville: “The Isles at Large” (course pack).
Dillard: “The Washington Coast” and excerpt from The Maytrees (handouts). Stanley Fish:
“Why You Won’t Find the Answer in Strunk and White” (13-24). Treats: Will.
September 27 (R) — Journal #5 due.
Peter Hessler: “Chasing the Wall” (taught by Will) ( BATW
2004 , 113-28).
Stanley Fish: “It’s Not the Thought that Counts” (25-34).
Memory
October 2 (T) — Workshop first essay.
Stanley Fish: “What is a Good Sentence?” (35-44).
Treats: Kelli.
October 4 (R) — Journal #6 due.
E. B. White: “
Once More to the Lake” (course pack).
Stanley Roger Angell: “Romance” (taught by Sarah) ( BATW 2004 , 1-11). Fish: “The
Subordinating Style” (45-60). Treats: Erika.
Mode of travel / in transit
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October 9 (T) — Turn in revision of first essay.
Antoine de Saint-Exupéry: “The Craft” (course pack). Adam Gopnik: “People on the Bus” (taught by Michelle) ( BATW 2004 , 94-101). Stanley
Fish: “The Additive Style” (61-88). Treats: Katie H.
October 11 (R) — Journal #7 due.
Dervla Murphy: “The Elusive Visa” (course pack). Dillard:
“In Transit” (handout). William Booth: “Boat Camp” (taught by Mike) ( BATW 2000, 1-8).
Stanley Fish: “The Satiric Style: The Return of Content” (89-98). Treats: Katie W.
Research
October 16 (T) —Annie Dillard: “Life on the Rocks” (course pack). Mark Hertsgaard: “The Nile at Mile One” (taught by Katie H.) ( BATW 2000 , 59-71). Stanley Fish: “First Sentences” (99-
118). Treats: Keely.
October 18 (R) — Journal #8 due.
Isabel Hilton: “Spies in the House of Faith” (taught by Amy)
( BATW 2000 , 72-99). Stanley Fish: “Last Sentences” (119-32). Treats: Mike.
Exploration
October 23 (T) — Turn in second essay.
Evan S. Connell: “The White Lantern” (course pack).
Stanley Fish: “Sentences That are about Themselves (Aren’t They All?)” (133-58). Treats:
Mari.
October 25 (R) — Journal #9 due.
Annie Dillard: “Expedition to the Pole” (course pack). Alfred
Lansing: first chapter of Endurance: Shackleton’s Incredible Voyage (course pack). Stanley
Fish: “Epilogue” (159-60). Treats: Witt.
The border of fiction
October 30 (T) — Workshop second essay.
Clive Irving: “The First Drink of the Day” (taught by Katie W.) ( BATW 2000 , 100-06).
Treats: Sarah.
November 1 (R) — Journal #10 due.
A chapter by Marco Polo and a chapter from Italo
Calvino’s Invisible Cities (handouts). Bill Donahue: “Under the Sheltering Sky” (taught by
Keely) ( BATW 2004 , 52-60).
Commercial travel writing
November 6 (T) — Turn in revision of third essay.
Steve Rushin: “Winter Rules” ( BATW 2000 ,
203-15). Kevin Fedarko: “Kashmiri Extremism” (taught by Witt) ( BATW 2004 , 71-80). Treats:
Stephanie.
November 8 (R) — Journal #11 due.
Annie Dillard: “Reflections on an Island,” “Yemen: The
Land Nobody Knows,” “A Sojourner In North Yemen,” and “Sirens of the South Seas”
(handouts). Tim Cahill: “The Accidental Explorer’s Guide to Patagonia” (taught by Erika)
( BATW 2004 , 22-36). Treats: Tu.
Traveling at home
November 13 (T) —Bill Buford: “Lions and Tigers and Bears” ( BATW 2000 , 9-18). Annie
Dillard: “Why I Live Where I Live” (handout). Rian Malan: “The Wrong Side of the Cape”
(taught by Leah) ( BATW 2004 , 149-56).
November 15 (R) — Journal #12 due.
Henry David Thoreau: “The Shipwreck” (course pack).
David Halberstam: “Nantucket on my Mind” (taught by Dara) ( BATW 2000 , 50-58). Treats:
Leah.

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Break (i.e. time to travel)
November 20 (T) —No class (Fall Break).
November 22 (R) —No class (Thanksgiving).
Service-learning
November 27 (T) — Turn in third essay.
George Packer: “Gangsta War” (taught by Cassie)
( BATW 2004 , 204-23). Bring scissors, tape or glue, and an essay you have written for this course (we’re going to practice revision techniques). Treats: Hillary.
November 29 (R) — Journal #13 due.
Kira Salak: “Places of Darkness” (taught by Stephanie)
( BATW 2004 , 237-59). Paul Salopek: “Shattered Sudan” (taught by Hillary) ( BATW 2004 , 260-
74).
The volta
December 4 (T) — Workshop third essay.
Michael Gorra: “Innocents Abroad?” (taught by Zoe)
( BATW 2004 , 102-06). Treats: Michelle.
December 6 (R) — Journal #14 due.
William T. Vollmann: “The Very Short History of
Nunavut” ( BATW 2000 , 260-76). Mark Jenkins: “The Ghost Road” (taught by Kelli) ( BATW
2004 , 129-48).
Coming home
December 11 (T) —David Lansing: “Confessions of a Cheese Smuggler” (taught by Mari)
( BATW 2000 , 128-33). Michael Byers: “Monuments to Our Better Nature” (taught by Tu)
( BATW 2004 , 17-21). D. H. Lawrence: “The Return Journey” (course pack).
December 13 (R) — Journal #15 due.
Wrapping up the semester.
December 15 (Sat) , 4:30-7:00 p.m.— Turn in revision of third essay.