Instructor: Sydney Brown
Website: sydbrown.net
Contact: 619.644.7523 / sydney.brown@gcccd.edu
Office: Building 52, Room 564-B
Office Hours: M 3:30-4:30 & 6-7 / T 5:30-6:30 / W 3:30-4:30 / Th 12:30-1:30
Class Meets MW 12:30-1:45 in 584
The following is a tentative schedule of readings and course activities
subject to change at the discretion of the instructor OR unforeseen
changes in collective linguistic weather (the best way to stay “in the
loop” is to attend class regularly). If you miss class, you are still
responsible for knowing any changes made in the course and for
arranging to pick up handouts before the next class meets—most
handouts are available online. Absence is not an excuse for being
unprepared when you return. Please remember to turn
off laptops and cell phones (in fact, do not place them on
your desk!) while in the classroom.
Readings, Discussion Catalysts, and Critical Reading
Responses should be completed FOR the day they are
assigned. In other words, come to class having prepared and/or
completed what is listed for that date. Readings are from The Norton
Anthology of American Literature C, D, or E, unless identified as a
handout. We begin No Country for Old Men later in the semester,
though many of you will want to begin reading it earlier. Pop Quizzes (open notes/closed book) come
from the Discussion Catalysts and can occur on any day; there is no makeup for them (before or after
they are given). Critical Responses turned in late will be accepted for half credit. Essays turned in late
will lose 20 points. Bring appropriate books/handouts on days you have assignments from them.
“One of the terrible divisions in the world is between those who are drawn to the difficult things and
those who give up. They are the ones who become the censors.”
–Steve Wasserman
Week One
Monday, January 27
• Introduction to Course
• Handouts: Syllabus; Course Calendar; Matthew Dickman, “All-American Poem.”
Wednesday, January 29
• Read: Matthew Dickman, “All-American Poem” (handout—not available on website, though
online at kathleenjoy.tumblr.com/post/370164088/all-american-poem-matthew-dickman).
• Discussion Catalysts:
1. Quote a line, phrase, or brief excerpt from the poem that moves / irritates / confounds /
delights you and explain your response.
2. Describe the speaker’s tone.
3. Choose three images and discuss how they contribute to the speaker’s view of what is
“all-American.”
• Handout: “Three Spiders / Three Vital American Poets: Walt Whitman, Emily Dickinson, and
Robert Frost” (handout).
2
Grossmont College English 232-American Literature II: Course Calendar
Week Two
Monday, February 3
• Read: The Norton Anthology of American Literature, Volume C: “American Literature 18651914” (3-19); “Three Spiders / Three Vital American Poets: Walt Whitman, Emily Dickinson,
and Robert Frost” (handout—also on website).
• Discussion Catalysts:
1. How does diction affect the meaning of each poem?
2. Describe each poet’s formal choices, in other words, how the poems are written.
3. Compare the image of the spider in each poem.
4. What theme or worldview is represented in each poem? What doe they suggest about
what it means to be American?
• Overview: Reading and Writing About Literature.
• Handouts: Sample Critical Reading Response.
Wednesday, February 5
• Read: “Walt Whitman 1819-1892” (20-23); Song of Myself, Sections 1 and 49-52 (24, 65-67);
“The Wound Dresser” (77-79).
• Due: Critical Reading Response #1 (50 points). Compare the speaker’s tone in the assigned
sections from Song of Myself and “The Wound Dresser.”
• Overview: From American Romanticism to American Realism, 1865-1915.
• Handout: American Literary Realism: Regionalism/Local Color.
Week Three
Monday, February 10
• Read: “Mark Twain, (Samuel L. Clemens) 1835-1910” (118-121), from Adventures of
Huckleberry Finn (from last paragraph on page 260, beginning “Once I said to myself...” to “All
right, then, I’ll go to hell—and tore it up” on page 262), “Fenimore Cooper’s Literary Offences”
(325-334), “The War Prayer” (334-336); “William Dean Howells, 1837-1920” (374-375), from
Novel-Writing and Novel-Reading: An Impersonal Explanation” (905-907), “Editha” (376-385).
• Discussion Catalysts:
1. Identify and explain how one phrase, sentence, or passage from each of the assigned
works by Twain and Howells addresses or represents American Realism.
2. Contextualize the use of the word “vulgar” (385) in Howells’ “Editha,” and discuss its
implications for the title character.
Wednesday, February 12
• Read: “Henry James, 1843-1916” (417-420), “From The Art of Fiction” (908-910), “The Beast
in the Jungle” (477-506).
• Discussion Catalysts:
1. Describe the point of view in “The Beast in the Jungle.” Is it limited in any way, if so,
why?
2. In what ways does “The Best in the Jungle” represent Psychological Realism?
3. In “The Art of Fiction,” James’ advice to young writers is “Try to be one of the people on
whom nothing is lost” (909). How does James utilize his own advice in “The Best in the
Jungle”?
4. Identify and compare James’ use of irony in “The Beast in the Jungle” to Twain’s in “The
War Prayer” and Howell’s in “Editha.”
• Return/Discuss: Critical Reading Response #1
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Grossmont College English 232-American Literature II: Course Calendar
Week Four
Monday, February 17:
Presidents’ Day Holiday—enjoy!
Wednesday, February 19
• Read; “Charlotte Perkins Gilman 1860-1935” (790-791), “The Yellow Wall-paper” (791-803),
“Why I Wrote “The Yellow Wall-paper” (804).
• Discussion Catalysts:
1. Is it better to read “Why I Wrote ‘The Yellow Wall-paper’?” before or after engaging with
the story—or not at all?
2. Consider why some may consider the ending of “The Yellow Wall-paper” a “happy” one,
even cause for celebration.
3. Compare Gilman’s narrator and Psychological Realism in “The Yellow Wall-paper” to
James’ in “The Beast in the Jungle.”
• Handouts: Elizabeth Cady Stanton, “The Declaration of Sentiments,” Thomas Jefferson, “The
Declaration of Independence.”
Week Five
Monday, February 24
• Read: Elizabeth Cady Stanton, “The Declaration of
Sentiments” (handout—also on website); Thomas
Jefferson, “The Declaration of Independence” (handout—
also on website); Charlotte Perkins Gilman, “To the
Indifferent Women” (805); “Kate Chopin, 1850-1904”
(550-551), “Désirée’s Baby” (551-555); “Zitkala Ŝa,
1876-1938” (1085-1087), “From Impressions of an
Indian Childhood” (1087-1093), “The Soft-Hearted
Sioux” (1101-1106).
• Due: Critical Reading Response #2 (50 points). Choose
one of the following for the Critical Reading Response
and prepare the others as Reading Catalysts:
1. When Gilman turns to poetry, she remains true to
her politics and passion. How do those intentions
and emotions influence her poetry, for better or
worse?
2. Discuss the ways in which “Désirée’s Baby”
exemplifies the branch of Realism known as
Regionalism/Local Color.
Photograph of Zitkala Ŝa by Gertrude Käsebier
3. What is the literal and figurative significance of
“red apples” in “From Impressions of an Indian
Childhood”?
4. In her essay “Writing (and Speaking) in Tongues Zitkala Ŝa’s American Indian Stories”
(full essay available on website) Julianne Newmark asserts that language has been used
“as an authorizing agent of conquest and violence” (335). How might this quote apply to
“The Soft-Hearted Sioux”?
5. Why do you think Newmark calls Ŝa a “trickster” (353) in her narration of “The SoftHearted Sioux”?
Wednesday, February 26
• No Class—I will be attending the Association of Writers & Writing Programs (AWP) Conference
in Seattle.
Grossmont College English 232-American Literature II: Course Calendar
4
Week Six
Monday, March 3
• Read: “Stephen Crane, 1871-1900” (943-946), “The Open Boat” (990-1006), from War is Kind
(1007-1009).
• Discussion Catalysts:
1. Explicate Crane’s poem “[A man said to the universe].”
2. From what point of view is “Open Boat” told? Explain you choice (which passages
convinced you).
3. Crane’s “Open Boat” is separated into sections. Do you see an organizational pattern or
principle that links the sections? How might the organization be linked to the meaning of
the story?
4. What is ironic about the ending of “Open Boat”?
• Overview: Naturalism (the darker side of Realism).
• Return: Critical Reading Response #2.
• Handout: American Literary Naturalism (the darker side of Realism).
Wednesday, March 5
• Read: “Frank Norris, 1870-1902” (920-821), “Fantaisie Printanière” (921-927); “Jack London
1876-1916” (1042-1043), “The Mexican” (1058-1074).
• Discussion Catalysts:
1. What are the major situational ironies in Norris’s story?
2. We don’t get the “backstory” on Felipe until “The Mexican” is well underway—in Part II.
Why does London delay so long in telling us all this about the boy?
3. Discuss the literal and figurative roles of violence in these stories.
4. Review the components of Naturalism from last week’s discussion and consider ways in
which the stories by Norris, London, and Crane represent Naturalism.
5. Choose a long paragraph of exposition from Cranes’ story and compare paragraphs from
Norris and London. Do the literary naturalists sound alike? What distinctions can we
make among these voices?
• Handout/discuss: Assignment for Essay #1(200 points).
• Return: Critical Reading Response #2.
Week Seven
Monday, March 10
• Read: Norton-D, “American Literature 19141945” (3-22); Images 1914-1945 (beginning
after page 484, C1-C8); Ezra Pound, “from A
Retrospect” (342-343), “A Pact” (318); Wallace
Stevens, “Of Modern Poetry” (294); Marianne
Moore, “Poetry” (359-360).
• Discussion Catalyst:
1. What argument does each of these poems
make?
2. Reduce each poem into your own onesentence thesis statement/claim. Make
sure you can support your claim with the
text.
• Overview: American Modernism—Experimentalism/Imagism, Lost Generation, Harlem
Renaissance.
• Handout: American Literary Modernism.
Grossmont College English 232-American Literature II: Course Calendar
5
Wednesday, March 12
• Read: Norton-D, “Amy Lowell, 1874-1925” (191-195), “September, 1918” (195); “Wallace
Stevens, 1879-1955” (281-283), “Anecdote of the Jar” (288-289); “Ezra Pound, 1885-1972”
(314-315), “In a Station of the Metro” (318); “William Carlos Williams, 1883-1963” (302-304),
“The Red Wheelbarrow” (309), “This Is Just to Say” (310), “A Sort of a Song” (310); “E.E.
Cummings, 1894-1962 (636-637), “O sweet spontaneous” (639-640) “Buffalo Bill’s” (640),
“next to of course god america I” (641); “Edna St. Vincent Millay 1892-1950” (633), “[I, being
born a woman]” (634-635).
• Overview: Imagism
• Discussion Catalysts:
1. Consider how the first stanza of “September, 1918” might foreshadow (rather than
simply contrast) the second stanza.
2. What is the “anecdote” in “Anecdote of the Jar”?
3. Compare the image of the jar and the wheelbarrow in Stevens’ and Williams’’ poems.
4. Cummings is fond of irony, especially in his closing stanzas and lines. Describe how he
uses irony and how it advances or undercuts important themes in his poems.
5. What makes Millay’s sonnet new or modern?
Week Eight
Monday, March 17
• Read (Muscle-up and bring Norton C and D to class today): Norton C-“Emily Dickinson
1830-1886” (89-93); “[Some keep the Sabbath going to Church-]” (96); “[A Bird, came down
the Walk-]” (100); “[There’s a certain Slant of light,]” (97); “[After great pain, a formal feeling
comes-]” (101); “[I felt a Funeral, in my Brain]” (99); “[I heard a Fly buzz – when I died -]”
(103); ‘[Tell all the truth but tell it slant-]” (108); Norton D-“Gertrude Stein, 1874-1946” (197199), from The Making of Americans (200-203), from Tender Buttons (203-205—stop after “A
Red Stamp”).
• Discussion Catalysts:
1. In what ways is Dickinson a reporter, like Whitman?
2. Exemplify Dickinson’s “natural religion” and assessment of death.
3. In what ways might Dickinson be considered a prototype of American Literary
Modernism?
4. How do Dickinson and Stein cause their readers to lose what the editors of your Norton
anthology call their “original perceiving power” (Norton-D 198)? Why are most
audiences open to this “loss” when it comes to painting, but turned off to it in writing?
• Handout: Ernest Hemingway, “Up in Michigan,” “Now I Lay Me,” and F. Scott Fitzgerald
“Sleeping and Waking.”
Wednesday, March 19
• Read: Norton-D, “Robert Frost, 1874-1963” (230-231), “The Pasture” (231), “The Road Not
Taken” (241); “T.S. Eliot 1888-1965” (365-367), “The Love Song of J. Alfred Prufrock” (368371);
• Discussion Catalyst:
1. What are the similarities between “The Pasture” and “The Love Song of J. Alfred
Prufrock”?
2. “The Road Not Taken” is commonly interpreted to be a poem about “making your own
way” in the world; consider why this interpretation may be wrong.
3. Identify and describe three ways “The Love Song of J. Alfred Prufrock” is emblematic of
Literary Modernism.
• Due: Essay 1—follow guidelines on prompt. Essays turned in after I collect them today will be
penalized 20 points.
Grossmont College English 232-American Literature II: Course Calendar
6
Week Nine
Monday, March 24
• Read: “Ernest Hemingway, 1899-1961: (824-826), “Up in Michigan” (handout—also on
website),“The Snows of Kilimanjaro” (826-842), “Now I Lay Me” (handout—also on website).
• Due: Critical Reading Response #3 (50 points). Identify and discuss at least one specific
example of Hemingway’s signature-style of minimalism in each story.
• Discussion Catalysts:
1. Hemingway is often criticized for his treatment of women (in fiction and life). Compare
Liz in “Up in Michigan” to Helen in “The Snows of Kilimanjaro” and the depiction of
women (and girls) in “Now I Lay Me.”
2. Does “The Snows of Kilimanjaro” have a double ending or are there simply different
perspectives of the same event? How might the epigraph be read as a clue?
Wednesday, March 26
• Read: “Scott Fitzgerald 1896-1940” (658-659), “Winter Dreams” (659-675), “Sleeping and
Waking” (handout—also on website); “Richard Wright 1908-1960” (898-899), “The Man Who
Was Almost a Man” (899-907).
• Discussion Catalysts:
1. Compare how the narrators feel about death in Fitzgerald’s “Sleeping and Waking”
(nonfiction) and Hemingway’s “Now I Lay Me” (fiction). What role does insomnia play?
2. Nietzsche said that “In the end one loves one’s desire, not the thing desired,” and Oscar
Wilde said that “There are only two tragedies in life: one is not getting what one wants,
and the other is getting it.” Discuss these how these two quotes relate to “Winter
Dreams.”
3. Where is Dave Saunders going in the end of “The Man Who Was Almost a Man”?
4. Compare the values of Dexter Green to Dave Saunders. What do they suggest with
regards to the characters’ identities (class, race, gender) as Americans?
• Handouts: Langston Hughes “Dream Deferred” and “Dream Boogie”; Discussion Catalysts for A
Streetcar Named Desire.
Week Ten
Monday, March 31
• Film: Without Fear or Shame, directed by Sam Pollard, PBS (1999). 60 minutes.
• Handout: Assignment for Essay #2 (200 points).
• Return: Essay #1.
!
Wednesday, April 2
• Read: “Langston Hughes, 1902-1967” (869-871), “I, Too” (872), “Dream Deferred” and
“Dream Boogie” (handout—also on website); “Zora Neale Hurston, 1891-1960” (528-530), “How
it Feels to be Colored Me” (838-547).
• Discussion Catalysts:
1. From your own experience, identify several reasons you believe dreams are deferred and
then explain why ONE simile best captures ONE of those reasons.
2. Identify and analyze Hurston's use of metaphor in one of the following situations: when she
evaluates the effects of slavery, "sixty years in the past," on her own life; when she notes "I
do not weep at the world--I am too busy sharpening my oyster knife"; or when she is in the
New World Cabaret, listening to jazz.
• Guest Lecturer: Dr. Oralee Holder
7
Grossmont College English 232-American Literature II: Course Calendar
Week Eleven
Monday, April 7
• Read: Norton-E, “American Literature since 1945” (3-19); Images 1945-Present (beginning
after page 668, C1-C8); “Tennessee Williams, 1911-1983” (90-93), A Streetcar Named Desire
(93-116).
• Discussion Catalysts (handout—also on website).
• Return: Critical Reading Response #3.
Wednesday, April 9
• Read: A Streetcar Named Desire (117-155).
• Discussion Catalysts (handout—also on website).
• Handout: Discussion Catalysts for No Country for Old Men.
• Due: Essay #2—follow guidelines on prompt. Essays turned in after I collect them today will be
penalized 20 points.
Week Twelve: April 14-18—Spring Break!
Week Thirteen
Monday, April 21
• Read: Cormac McCarthy, No Country for Old Men,
Chapters 1-5 (1-157).
• Discussion Catalysts (handout—also on website).
• Overview: 18th Annual Literary Arts Festival.
• Discuss: Literary Arts Festival Extra Credit
Opportunities.
Wednesday, April 23
• Read: Cormac McCarthy, No Country for Old Men,
Chapters 6-13 (158-309).
• Due: Double (3-4 pages—no longer than 4) Critical
Reading Response #4 (100 points). Describe the
“two Americas” in No Country for Old Men—the one
for “old men” and the one that is not for “old men,”
and then consider whether or not, in McCarthy’s
vision, there is any hope for the “new America.”
• Discussion Catalysts (handout—also on website).
• Return: Essay #2.
èFriday, April 25:
Last Day to Drop Semester Length Classes
8
Grossmont College English 232-American Literature II: Course Calendar
Week Fourteen:
18 th Annual Literary Arts Festival 4/28-5/1
FYI: www.grossmont.edu/english/Festival/
Monday, April 28
• No class meeting.
Wednesday, May 30
• Attend Steven Frye Lecture on Cormac McCarthy in Hyde
Gallery. Arrive early for a seat!
Week Fifteen
Monday, May 5
• Read: “John Cheever, 1912-1982” (156-157), “The Swimmer”
(157-165); “John Berryman, 1914-1972” (182-184), From The
Dream Songs “1” and “14” (190-191); “Elizabeth Bishop, 19111979” (71-72), “From Letter to Robert Lowell” (413-414), “The
Armadillo” (81-82), “One Art” (89-90); “Robert Lowell, 19171977” (303-306), “Memories of West Street and Lepke” (316318), “Skunk Hour” (318-319).
• Discussion Catalysts:
1. Compare in content and form the ways in which “The
Swimmer” and “On Art” deal with loss.
2. Compare the unidentified speaker and “Huffy Henry”
(sometimes Mr. Bones) in The Dream Songs #1 and #14.
3. Lowell’s “Skunk Hour” is dedicated to Bishop; Bishop’s
“The Armadillo” is dedicated to Lowell. Lowell does not
introduce the skunks until line 37, toward the end;
Bishop’s armadillo doesn’t appear until the end of her
poem. Aside from the fact that these poems are both
“about” small mammals, what connects them
thematically? Why are the animals here at all?
4. What do Cheever’s Neddy Merrill and the speaker in
“Memories of West Street and Lepke” have in common?
• Discuss: Literary Arts Festival.
• Handout: Amiri Baraka, “Somebody Blew Up America”; Billy
Collins, “The Names.”
LIT ART FEST
AT A GLANCE
Monday, April 29
1:00-12:15 PM, Griffin Gate
WHY LITERATURE MATTERS
An Interdisciplinary Panel
✪
2:00-3:15 PM, Griffin Gate
Jimmy Callaway presents:
COMIC BOOKS:
EVOLUTION IN APPRECIATION
✪
7:00-8:30 PM, Griffin Gate
POET JENNIFER L. KNOX
Reading and Book Signing
Sponsored by Poets & Writers
✪
Tuesday, April 29
11:00 - 12:15 PM, Griffin Gate
LA LITERATURA DE LUCHA
FEAT. Joe Medina and Vera Sanchez
✪
2:00-3:15 PM, Griffin Gate
Sri Lankan-American Novelist
NAYOMI MUNAWEERA
Reading and Book Signing
✪
7:00-8:30 PM, Griffin Gate
Students Of High Tech HighChula Vista &
INSTRUCTOR TIM BRIGGS
CHOOSE YOUR OWN ADVENTURE
✪
Wednesday, April 30
12:30-1:45 PM, Hyde Gallery
DR. STEVEN FRYE
Cormac McCarthy Scholar
✪
7:00 - 9:00 PM, Room 220
NEW VOICES:
A Student Reading
Fiction, Poetry, Drama
& Creative Nonficiton
✪
Wednesday, May 7
• Read: “Allen Ginsberg, 1926-1997” (490-492), “Howl” (492500), “On Burroughs’ Work” (504); “Amiri Baraka, 1934-2014”
(669-671), “Somebody Blew Up America” (handout—also on
website); “Billy Collins, b. 1941” (829-830), “The Names”
(handout—also on website).
• Discussion Catalyst:
1. What do you think is the most striking image in
“Howl”?
è5/7 Continued on next page…
Thursday, May 1
12:30 - 1:45 PM, Griffin Gate
CRAMPS & AGUES
Literature and Malady
✪
7:00-9:00 PM, Griffin Gate
Keynote Author
LUIS J. RODRIGUEZ
Sponsored by WACC
All events are free and open to the
public.
9
Grossmont College English 232-American Literature II: Course Calendar
2. Critic A.O. Scott writes:
It is often the fate of the most radical works of literature to overcome scandal by
becoming respectable, and this fate has hardly escaped “Howl,” Allen Ginsberg’s
first published poem, a wild Whitmanian rant that has long since become a
classroom staple. The wildness is still there, of course, but the apparatus of
literary immortality—the paradoxical effect of which is to keep poems alive by
embalming [emphasis mine] them—can make it hard to appreciate.
•
•
•
Do you agree with Scott, and do you see the same happening for Baraka’s “Somebody
Blew Up America”? Why or why not?
3. Compare the content and form in “Somebody Blew Up America” and “The Names.”
4. Both banned in their time, some claim that “Somebody Blew Up America” is the
“Howl” of our time. Explain your opinion on this matter.
Short Films/Audio Clips: Jack Kerouac-American Haiku, William S. Burroughs-A
Thanksgiving Prayer, Diane Di Prima-Revolutionary Letters, 1969.
Return: Reading Response #4.
Due: Literary Arts Festival Extra Credit.
Week Sixteen
Monday, May 12
• Read: “N. Scott Momaday, b 1934” (676-677), From The Way to Rainy Mountain,
“Introduction,” (677-682); “Simon J. Ortiz, b. 1941” (823-824), from From Sand Creek (828);
“Leslie Marmon Silko, b 1948” (1049-1050), “Lullaby” (1050-1056); “Joy Harjo, b. 1951”
(1094-1096), “Call it Fear” (1096); “Sherman Alexie, b. 1966” (1207-1208), “At Navajo
Monument Valley Tribal School” (1208-1209), “Pawn Shop” (1209).
• Discussion Catalyst:
1. As seen in these American Indian works, what is the role of art in healing?
2. Choose two of the works and list some common themes that each writer employs.
• Guest Lecturer: Stephanie Mood.
Wednesday, May 14
• Read: “Adrienne Rich, 1929-2012” (566-568),
“Diving into the Wreck” (573); “Sylvia Plath,
1932-1963” (623-624),”The Applicant” (634635); “Mary Oliver, b. 1935” (698-700), “Wild
Geese” (701-702); “Lucile Clifton, 1936-2010”
(705-706), “the lost baby poem” (707), “homage
to my hips” (707); “Gloria Anzaldúa, 1942-2004”
(837-838), “El sonovabitche” (858-862); “Lorna
Dee Cervantes, b. 1954” (1152-1153), “Visions of
Mexico While at a Writing Symposium in Port
Townsend, Washington” (1156-1158).
• Due: Critical Reading Response #5: Choose two of
today’s assigned poems and determine whether
they are more about “transformation” or
“acceptance.” Explain your response, and then
discuss the implications for women.
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Grossmont College English 232-American Literature II: Course Calendar
Week Seventeen
Monday, May 19
• Read: “Art Spiegelman, b. 1948” (1057-1058), from Maus (1058-1074); “Li-Young Lee, b.
1957” (1165-1166), “Persimmons” (1167-1169); “Junot Díaz, b. 1968” (1239-1240), “Drown”
(1240-1248).
• Discussion Catalysts:
1. How might Spiegelman’s work resist the forgetfulness of history?
2. In what ways does Lee enlighten his readers with regards to assimilation?
3. Why is Díaz’s story called “Drown”?
4. How does each author address individual and/or collective (American?) identity?
Wednesday, May 21
• Read: Jorie Graham, b. 1950” (1084-1085), “The Geese” (1085-1086); Reread: “Three Spiders
/ Three Vital American Poets: Walt Whitman, Emily Dickinson, and Robert Frost” (handout—
also on website).
• Discussion Catalyst: How does Graham’s “spider” compare to the spiders of Whitman,
Dickinson, and Frost?
• Overview of Final Exam (200 points).
• Handout: Possible prompts for Part II of Final Exam, an in-class essay on American Literature
since 1945.
• Return: Critical Reading Response #5.
Final Exam Week
Monday, June 2: 11:35-1:35 (Note earlier start time!)
• Final Exam: Part I (100 points) is cumulative and closed book/notes; it involves matching,
identification, (author, quotes, titles, literary movements) and short answers. Part II (100
points) is open notes/book and requires you to respond to one of several prompts (given in
advance) on American Literature since 1945 (200 points total). Bring 8 ½ by 11 white, college
ruled paper, pen, and Norton-E.
have a literaryluscious
summer!