Summer 2006 Courses
English 8: The American Short Story in the 20th Century, Professor Wykes at the 12 hour
“American letters may still lack a novelist whose life work matches in weight the achievement of Dickens
or Tolstoy, but our 20th century masters of the short story bow to no one for stylistic elegance or emotional
penetration.”---Reynolds Price We will study the work of writers whose achievement has been mainly--if
arguably--in the form of the short story. Authors may include: Anderson, Thurber, Hemingway, O’Hara,
Welty, Salinger, O’Connor, Bertheleme, and Carver. If submissions justify it, we will spend the last two
weeks reading short stories by participants in the course. Not for English major credit. Graded Credit/No
Credit.
English 15: Introduction to Literary Theory, Professor Boggs at the 12 hour
The course will introduce students to some of the leading texts, concepts, and practices of what has come to
be known as theoretical criticism. Topics to be considered may include some of the following:
structuralism, deconstruction, psychoanalysis, feminism, new historicism, post-colonialism, postmodernism, queer theory, and cultural studies. Attention will also be given to historical and institutional
contexts of this criticism. Intended to provide a basic, historically informed, knowledge of theoretical terms
and practices, this course should enable students to read contemporary criticism with understanding and
attempt theoretically informed criticism themselves. Dist: LIT. Course Group IV
English 24: Shakespeare I, Professor Crewe at the 10 hour
A study of about ten plays spanning Shakespeare’s career, including comedies, histories, tragedies, and
romances. Attention will be paid to Shakespeare’s language; to his dramatic practices and theatrical milieu;
and to the social, political, and philosophical issues raised by the action of the plays. Videotapes will
supplement the reading. Exercises in close reading and interpretative papers. Prerequisite: English 2/3,
English 5 or Writing 5 exemption status. Dist: LIT; WCult: EU. Course Group I, CA tag Genre-Drama.
English 50: American and British Poetry Since 1914, Professor Zeiger at the 11 hour
A survey of modern American and British poetry since the First World War, with particular emphasis on
the aesthetics, philosophy and politics of modernism. The course covers such canonical and non-canonical
poets as Yeats, Pound, HD, Lawrence, Eliot, Stevens, Frost, Williams, Crane, Moore, Millay, Auden, the
Harlem Renaissance, and the Beats. Dist: LIT; WCult: EU or NA. Course Group III, CA tags Genre-Poetry,
National Traditions and Countertraditions.
English 53: 20th Century British Fiction: 1900 to World War II, Professor Silver at the 10A hour
A study of major authors, texts, and literary movements, with an emphasis on literary modernism and its
cultural contexts. We will read works by Conrad, Forster, Joyce, Woolf, Lawrence, Rhys, and Beckett, as
well as writers such as Kipling, Ford, West, Waugh, Bowen, and Lowry. Dist: LIT; WCult: EU. A study of
major authors, texts, and literary movements, with an emphasis on literary modernism and its cultural
contexts. We will read works by Conrad, Forster, Joyce, Woolf, Lawrence, Rhys, and Beckett, as well as
writers such as Kipling, Ford, West, Waugh, Bowen, and Lowry. Dist: LIT; WCult: EU. Course Group III.
CA tags Genre-Narrative, National Traditions and Countertraditions.
English 62.1: Odi et Amo: Men, Women, and the Love Lyric in English, Professor Zeiger at the 12
hour
What we call “love poetry” has generally been a way of expressing much more than the emotional and
erotic fascination of one person with another. Often it seems to bypass the love-object altogether, and has
on different occasions been: a careerist display for beginning poets, an allegory of the poet’s fusion with
the spirit of poetry, a congratulation upon one’s own taste and discernment, a place to consolidate political
power, a way of bonding with other men, a feminist response to existing power relations. Beginning with
several Renaissance and contemporary sonnet sequences, a moving on to a variety of other forms, our
course will place poems by men and women in the context of an ongoing poetic tradition and of recent
feminist criticism and theory. Course Group III. CA tags Genre-Poetry, Genders and Sexualities.
English 66.l: Whitman and Dickinson, Professor Boggs at the 2 hour
Although virtually unknown in their lifetimes, Walt Whitman and Emily Dickinson today attract a wide
readership and extensive scholarly interest. Whitman would have been gratified by this kind of attention,
Dickinson horrified. Whitman aggressively tried to promote his works, and even published – favorable -reviews of his own writing. Although Dickinson made an early attempt to publish her poetry, she horded
her poems in a dresser-drawer where they were found after her death. As an urban poet, preoccupied with
the rise of commercial society and scientific progress, Whitman experimented with ways to represent the
national paradox – the e pluribus unum by which the many could become one and the one contain
multitudes. Choosing domestic seclusion, Dickinson experimented with lyric as a means of extreme
individualism. Straining against the formal conventions of their time, when poets were expected to write in
metered and rhyming verse, Whitman and Dickinson shared a fierce willingness to experiment with form,
and keen critical insights into the role that gender, race, religion, science, commerce and the arts played in
American society. In this course, we will develop three ways of understanding Whitman and Dickinson.
We will examine their poetry in its historical context, and ask how they responded to the challenges of
representing America in poetry. Second, we will study the literary devices at their disposal, focusing on the
way form influences the meanings they construct and deconstruct in their poetry. Third, we will discuss the
persona that emerges in the poetic enterprise of each poet. We will divide our time evenly between the
poets, and study each in their own right as well as in comparison with the other. Course Group II. CA tags
Genre-Poetry, Genders and Sexualities, National Traditions and Countertraditions.
English 67.1: Dylan, Professor Renza at the 10A hour
In this course, we will do close, critical readings of certain Dylan lyrics spanning his entire career, also
taking into consideration their social, historical, and biographical circumstances. Oral reports as well as a
long final paper will be required. Note: some attention will be given to the performance aspect of Dylan's
songs, but we will not listen to them in class. All of the songs assigned and discussed will be available for
your listening in the Paddock Music Library beforehand. Dist: LIT; WCult: NA. In this course, we will do
close, critical readings of certain Dylan lyrics spanning his entire career, also taking into consideration their
social, historical, and biographical circumstances. Oral reports as well as a long final paper will be
required. Note: some attention will be given to the performance aspect of Dylan's songs, but we will not
listen to them in class. All of the songs assigned and discussed will be available for your listening in the
Paddock Music Library beforehand. Dist: LIT; WCult: NA. Course Group III. CA tags Genre-Poetry,
Cultural Studies and Popular Culture.
English 67.2: The Edges of Nation Making: Perspectives on Modern Indian Literatures, Professor
Hariharan at the 11 hour
The focus is on a range of texts (post-1947) to be read not only as samples of modern Indian literatures but
also as part of – or on the edge of -- some of the major social/ cultural debates in India in recent times.
These include coming to terms with partition, borders, public and private identities; socio-political issues
taken up within the mainstream; voices of resistance to mainstream ideas of the nation/ society/ literature;
and views of India as written by “insiders” and “outsiders” – these terms being applicable at different levels
to both Indians and non-Indians. Together, these strands make up the central concern with “nation-
making”. Course Group III. CA tags National Traditions and Countertraditions, Multicultural and Colonial
and Postcolonial Studies.
English 67.3: From Cyberspace to MySpace: Studies in Cyberculture, Professor Silver at the 2A hour
When William Gibson coined the term "cyberspace" in his 1984 novel Neuromancer, he introduced a realm
that not only captured the popular imagination, but influenced the development of the Internet and the
Web. This course will use a wide range of print and electronic texts to explore the ways in which
cyberspace as a cultural phenomenon has been experienced and imagined. Texts will include cyberpunk
fiction and films (Neuromancer; Blade Runner; perhaps Snow Crash or The Empire of the Senseless or The
Matrix); electronic literature; computer games; and the expanding world of blogs and social networks that
constitutes the Living Web. Topics we will consider: What happens to the concept of space in these sites
and how is it represented? What happens to genres, narrative, identity, the body when translated into the
digital world? What is the cultural role of the cyborg? Where do cyberspace and cyberpunk intersect with
theories of the postmodern? And, what did Wired magazine mean when it declared in February that
"'Cyberspace' is Dead"? Course Group III. CA tag Cultural Studies and Popular Culture.
English 80: Creative Writing, Professor Hebert, M/W 7 to 8:50pm
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week plus
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed their seminar. Students will be admitted on a competitive basis. Please pick up the “How To
Apply To English 80” form from the English Department and answer all of the questions asked in a cover
letter. Students should submit a five-eight page writing sample of poetry and/or fiction to the
Administrative Assistant of the English Department by the last day of classes of the term preceding the
term in which they wish to enroll. English 80 is the prerequisite to all other Creative Writing courses. It
does not carry major or minor credit. Starting with Academic Year 2001-2002, this class will be graded.
Dist: ART.
English 82: Advanced Creative Writing: Fiction, Professor Hebert, Tu/Th 7 to 8:50pm
Continued work in the writing of fiction, focusing on short stories, although students may experiment with
the novel. The class proceeds by means of group workshops on student writing, individual conferences with
the instructor, and analysis of short stories by contemporary writers. Constant revision is required
Fall 2006 Courses
English 17: Introduction to New Media, Professor Evens at the 2A hour
This course introduces the basic ideas, questions, and objects of new media studies, offering accounts of the
history, philosophy, and aesthetics of new media, the operation of digital technologies, and the cultural
repercussions of new media. A primary emphasis on academic texts will be supplemented by fiction, films,
music, journalism, computer games, and digital artworks. Class proceeds by group discussion, debate,
student presentations, and peer critique. Typical readings include Alan Turing, Friedrich Kittler, Ray
Kurzweil, and Henry Jenkins, plus films such as Blade Runner and eXistenZ. Dist: ART. Course Group III.
CA tags Cultural Studies and Popular Culture, Literary Theory and Criticism.
English 18: History of the English Language, Professor Pulju at the 10 hour (cross-listed with
Linguistics 18)
The development of English as a spoken and written language as a member of the Indo-European languagefamily, from Old English (Beowulf), Middle English (Chaucer), and Early Modern English (Shakespeare),
to contemporary American English. Emphasis will be given to the linguistic and cultural reasons for
‘language change,’ to the literary possibilities of the language, and to the political significance of class and
race. Dist: LIT.
English 20: Chaucer: The Canterbury Tales, Professor Edmondson at the 10 hour
An introduction to Chaucer, concentrating on ten of the Canterbury Tales, and studying him as a social
critic and literary artist. Special attention will be paid to Chaucer’s language, the sounds of Middle English,
and the implications of verse written for the ear. Dist: LIT. Class of 2007 and earlier: WCult: EU. Class of
2008 and later: WCult: W. Course Group I, CA tags Genre-poetry, Genre-narrative..
English 30: Age of Satire (formerly Order and Disorder in British Neoclassicism), Professor
Cosgrove at the 10 hour
English literature from 1660 to 1789 is concerned with the problems of regulation and excess. The return to
a traditional stability promised by the neoclassical aesthetic veils a threat from new dynamics in art and
politics. The role of the imagination in life and art, ideals of political liberty, the emergence of women’s
writing, all contribute to the underlying tensions. Readings will be chosen from among John Dryden,
Jonathan Swift, Daniel Defoe, Alexander Pope, Mary Astell, Anne Finch, Frances Burney, Oliver
Goldsmith, Samuel Johnson, William Cowper and George Crabbe. Dist: LIT. Dist: LIT. Class of 2007 and
earlier: WCult: EU. Class of 2008 and later: WCult: W. Course Group II, CA tag National Traditions and
Countertraditions.
English 36: Victorian Literature and Culture,1837-1859, Professor McCann at the 11 hour
This course examines early Victorian poetry, prose and fiction in the context of cultural practices and
social institutions of the time. We will locate cultural concerns among, for example, those of capitalism,
political reform, scientific knowledge, nation and empire. And we will consider revisions of space, time,
gender, sexuality, class, and public and private life that characterized formations of British identity during
this period. Texts may include work by Charles Dickens, Thomas Carlyle, Elizabeth Barrett Browning,
Charlotte Bronte, John Ruskin, Charles Darwin. We will also read selections from recent criticism of
Victorian culture. Dist: LIT. Class of 2007 and earlier: WCult: EU. Class of 2008 and later: WCult: W.
Course Group II. CA tag Cultural Studies and Popular Culture.
English 40: American Poetry, Professor Schweitzer at the 2A hour
This course concentrates on the three major American poets writing in English before 1900: Walt
Whitman, Emily Dickinson, and Herman Melville. The work of these three will preoccupy the readings,
lectures, discussions, and examinations for the course. For their two required papers, however, students will
choose poems by any two other Anglo-American writers of the period for close investigation. Dist:
LIT. Dist: LIT. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W. Course Group
II. CA tags Genre-poetry, National Traditions and Countertraditions
English 41: American Prose, Professor Renza at the 11 hour
Readings of nonfiction narratives by such American writers as Franklin, Emerson, Thoreau, Henry Adams,
Gertrude Stein, Hemingway, and Jack Kerouac. Dist: LIT. Class of 2007 and earlier: WCult: NA. Class of
2008 and later: WCult: W. Course Group II. CA tags Genre-narrative, National Traditions and
Countertraditions.
English 43: Early Black American Literature, Professor Chaney at the 10A hour (cross-listed with
AAAS 34)
A study of the foundations of Black American literature and thought, from the colonial period through the
era of Booker T. Washington. The course will concentrate on the way in which developing Afro-American
literature met the challenges posed successively by slavery, abolition, emancipation, and the struggle to
determine directions for the twentieth century. Selections will include: Wheatley, Life and Works; Brown,
Clotel; Douglass, Narrative; Washington, Up from Slavery; DuBois, Souls of Black Folk; Dunbar, Sport of
the Gods; Chestnut, House Behind the Cedars; Harriet Wilson, Our Nig; Johnson, The Autobiography of an
Ex-Coloured Man; and poems by F. W. Harper, Paul L. Dunbar and Ann Spencer. Dist: LIT. Class of 2007
and earlier: WCult: NA. Class of 2008 and later: WCult: W. Course Group II. CA tags National Traditions
and Countertraditions, Cultural Studies and Popular Culture.
English 60.1 Experimental Novels and Their Adaptations, Professor Gerzina, at the 2A hour
The course looks at books in which language is central, all but one of them written in the twentieth century.
In what ways are their authors playing with words to create new meaning, and to explore historical, societal
and psychological experiences? Each of the books in the course has been adapted to film, and we will also
explore the ways that the second medium attempts to deal with the intricacies posed by experimental
language and form, and to translate the verbal experience into the visual. Lewis Carroll, Alice’s Adventures
in Wonderland and Through the Looking-Glass Film: 2 versions of Alice in Wonderland Virginia Woolf,
Mrs. Dalloway Film: The Hours Anthony Burgess, A Clockwork Orange Film: A Clockwork Orange Toni
Morrison, Beloved Film: Beloved Roddy Doyle, The Commitments Film: The Commitments. Dist: LIT,
pending faculty approval. Course Group IV, CA tags Literary Theory and Criticism, Cultural Studies and
Popular Culture
English 65: Spenser and the Faerie Queene, Professor Halasz, at the 11 hour
We'll spend most of the term reading Spenser's great epic romance, The Faerie Queene. It's a wonderful
poem, deeply engaged with philosophical, poetic, ethical and political issues via compelling stories and
fabulous descriptions. Shakespeare, Milton, and Monty Python are on the long list of the poem's keen
readers. Experience with sixteenth century literature is not required. Patience and a willingness to read
slowly and then read slowly again is required. Spenser's language is deliberately archaic at times, but it is
not difficult for modern readers. Students will write three short papers (3-5 pages) and one long essay (open
topic), and do one or two short oral presentations. There will not be an exam. Supplementary material will
include critical essays and Ovid's Metamorphoses. Course Group I. CA tags, Genre-Poetry, National
Traditions and Countertradtions.
English 67.4: American Fiction in the 1920s, Professor Hook at the 2A hour
In the history of nineteenth-century American literature, the decade of the 1850s has become generally
recognized as the age's high point in terms of imaginative creativity. In the case of twentieth-century
American writing it is the decade of the 1920s that has acquired parallel status. Jazz Age America saw the
emergence of a brilliant group of precocious young novelists -- including Scott Fitzgerald, Ernest
Hemingway and William Faulkner-- who moved American fiction in new directions both in terms of form
and subject-matter. American poetry, through the work of such figures as Wallace Stevens and Robert
Frost, shared in the exhilarating creativity of this postwar decade. But just as the social history of the period
reflects a tension between new freedoms and old restraints so its art struggled to balance the loss of old
values with the creation of new ones. In the 1930s in Tender Is The Night, Scott Ftzgerald would write of
the crucial, bloody battle-fields in France of World War I: 'All my beautiful lovely safe world blew itself up
here with a great gust of high explosive love.' The course will consider how the writers of the 1920s
confronted such a problematic inheritance. Dist: LIT; WCult: NA. Course Group III. CA tags Genrenarrative, National Traditions and Countertraditions.
English 67.5: Black Women Writers, Professor Vasquez at the 2A hour (cross-listed with AAAS 86)
In this course we will examine significant literary contributions of twentieth century Black women writers.
While we will explore the social and historical contexts that inform the work of authors from a variety of
nation states, we will also examine moments of continuity within a Black diasporic community. For
example, our discussions will include analyses of the ways in which Western and non-Western influences
are reflected in protagonists’ use of language, their negotiation of different locales and in their construction
of female communities. To this end, we will consider primary sources as well as critical responses to the
poetry, plays, essays and novels of a variety of writers. Authors may include Ama Ata Aidoo, Louise
Bennett, Maryse Condé, Edwidge Dandicat, Zora Neale Hurston, Jamaica Kincaid, Toni Morrison and
Gloria Naylor. Dist: LIT, pending faculty approval. Course Group III, CA tags National Traditions and
Countertraditions.
English 70: Love, Gender and Marriage in Shakespeare: Professor Boose at the 2A hour (cross-listed
with WGST 48.3)
In Shakespeare, issues so seemingly "domestic" as love, sexuality and family are problems of such colossal
significance that they could be said to constitute the focal center of the canon itself. Hamlet and King Lear,
for instance, are plays more truly "about" the politics of family than they are about the politics of kingdom.
Focusing on 7 particular plays, this course will interrogate the knotty issues of love, sexuality, and family.
As part of the course, students will be required to participate in at least one scene production. Dist: LIT,
pending faculty approval. Course Group I. CA tags Genre-drama, Genders and Sexualities.
English 72.1: The Poetry of Wallace Stevens, Professor Renza at the 10A hour
The course will mostly consist of reading and discussing Stevens' collected poems and some prose. We will
also read critical interpretations of his works. Students will give oral class reports and write two essays on
approved topics. Dist: LIT. Class of 2007 and earlier: WCult: NA. Class of 2008 and later: WCult: W.
Course Group III. CA tag Genre-poetry.
English 80.1: Creative Writing, Professor Mathis at the 10A hour
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 80.2: Creative Writing, Professor Huntington at the 2A hour
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 85.1: Senior Workshop in Creative Writing, Professor Mathis at the 2A hour
English 85.2: Senior Workshop in Creative Writing, Professor Tudish at the 10A hour
Winter 2007 courses
English 16: Old and New Media, Professor Halasz at the 11 hour
A survey of the historical, formal, and theoretical issues that arise from the materiality and technology of
communication, representation, and textuality. The course will address topics in and between different
media, which may include oral, scribal, print, and digital media. Readings and materials will be drawn from
appropriate theorists, historians, and practitioners, and students may be asked not only to analyze old and
new media, but also create with them. Dist: LIT. Course Group IV. CA tags Cultural Studies and Popular
Culture, Literary Theory and Criticism.
English 22: Medieval English Literature, Professor Edmondson at the 10A hour
An introduction to the literature of the “Middle English” period (ca. 1100- ca. 1500), concentrating on the
emergence of English as a literary language in the twelfth and early thirteenth centuries and on some of the
great masterworks of the late fourteenth century. Readings will include early texts on King Arthur, the lais
of Marie de France, the satirical poem The Owl and the Nightingale, the romance Sir Orfeo, Pearl, and Sir
Gawain and the Green Knight, the Book of Margery Kempe, and the York Cycle. Most readings in modern
English translation, with some explorations into the original language. Dist: LIT; WCult: EU. Course
Group I. CA tags National Traditions and Countertraditions, Cultural Studies and Popular Culture.
English 24: Shakespeare I, Professor Halasz at the 9L hour
A study of about ten plays spanning Shakespeare’s career, including comedies, histories, tragedies, and
romances. Attention will be paid to Shakespeare’s language; to his dramatic practices and theatrical milieu;
and to the social, political, and philosophical issues raised by the action of the plays. Videotapes will
supplement the reading. Exercises in close reading and interpretative papers. Prerequisite: English 2/3,
English 5 or English 5 exemption status. Dist: LIT; Class of 2007 and earlier: WCult: EU. Class of 2008
and later: WCult: W. Course Group I, CA tag Genre-drama.
English 26: English Drama to 1642, Professor Boose at the 10A hour
A study of commercial theater in London from about 1570 until the closing of the theaters in 1642.
Anonymous and collaborative plays will be read as well as those by such playwrights as Kyd, Marlowe,
Dekker, Jonson, Webster, and Ford. The course will focus on the economic, social, political, intellectual,
and theatrical conditions in which the plays were originally produced, on their continuing performance, and
on their status as literary texts. Research into the performance history of a play or participation in a scene
production is required. Dist: LIT; WCult: EU. Course Group I. CA tags Genre-drama, Genders and
Sexualities.
English 32: The Rise of the Novel, Professor Cosgrove at the 10 hour
A study of the eighteenth-century English novel, with emphasis on formal variations within the genre as
well as on interrelations of formal, political, and psychological elements of the narratives. Reading may
include works by Daniel Defoe, Eliza Haywood, Samuel Richardson, Henry Fielding, Tobias Smollett,
Oliver Goldsmith, Frances Burney, and Elizabeth Inchbald, as well as twentieth-century criticism. Dist:
LIT; WCult: EU. Course Group II. CA tag Genre-narrative.
English 38: The 19th Century English Novel, Professor McKee at the 11 hour
A study of the nineteenth-century novel focusing on the Victorian novel’s representation of public and
private categories of experience. Readings may include Austen’s Mansfield Park, Charlotte Bronte’s Jane
Eyre, Shelley’s Frankenstein, Thackeray’s Vanity Fair, Dickens’s Bleak House, George Eliot’s
Middlemarch, and Thomas Hardy’s The Mayor of Casterbridge. Dist: LIT; WCult: EU. Course Group II.
CA tag Genre-narrative.
English 42: American Fiction to 1900, Professor Pease at the 12 hour
A survey of the first century of U.S. fiction, this course focuses on historical contexts as well as social and
material conditions of the production of narrative as cultural myth. The course is designed to provide an
overview of the literary history of the United States novel from the National Period to the threshold of the
Modern (1845-1900). To do justice to the range of works under discussion, the lectures will call attention to
the heterogeneous cultural contexts out of which these works have emerged as well as the formal and
structural components of the different works under discussion. (more description elsewhere). Dist: LIT;
WCult: NA. Course Group II. CA tags National Traditions and Countertraditions, Cultural Studies and
Popular Culture.
English 46: 20th Century American Fiction: 1900 to World War II, Professor Will at the 10 hour
A study of major American fiction in the first half of the twentieth century. Works by Dreiser, Stein,
Fitzgerald, Cather, Larsen and Faulkner, and a changing list of others. Dist: LIT; WCult: NA. Course Group
III. CA tag National Traditions and Countertraditions
English 58: Introduction to Postcolonial Literature, Professor Giri at the 11 hour (xlist AAAS 65)
An introduction to the themes and foundational texts of postcolonial literature in English. We will read and
discuss novels by writers from former British colonies in Africa, South Asia, the Caribbean, and the
postcolonial diaspora, with attention to the particularities of their diverse cultures and colonial histories.
Our study of the literary texts will incorporate critical and theoretical essays, oral presentations, and brief
background lectures. Authors may include Chinua Achebe, Ngugi wa Thiong’o, V.S. Naipaul, Merle
Hodge, Anita Desai, Bessie Head, Nadine Gordimer, Paule Marshall, Tsitsi Dangarembga, Salman
Rushdie, Earl Lovelace, Arundhati Roy. Serves as prerequisite for FSP in Trinidad. Dist: LIT or INT;
WCult: NW. Course Group III. CA tags Genre-narrative, Multicultural and Colonial/Postcolonial Studies.
English 60.1: Native American Oral Traditional Literature, Professor Runnels at the 11 hour (xlist
NAS 34)
Native American oral literatures constitute a little-known but rich and complex dimension of the American
literary heritage. This course will examine the range of oral genres in several tribes. Since scholars from
around the world are studying oral literatures as sources of information about the nature of human
creativity, the course will involve examining major theoretical approaches to oral texts. Dist: LIT; WCult:
NW. No Course Group designation. CA tag Multicultural and Colonial/Postcolonial Studies.
English 62.2: War and Gender, Professor Boose at the 2A hour (xlist WGST 46)
Of all the cultural enterprises and big ticket myths in western history, probably none has been as strictly
gendered as war. Traditionally, war has been constructed as powerfully gendered binary in which battle is
posed as a nearly sacred and exclusively male domain through which young men are initiated into the
masculine gender and the male bond. From the west’s great classical war narrative of The Iliad onward, the
feminine has, by contrast, been defined as that which instigates male-male conflict and that which wars are
fought either to save or protect, be it a war to rescue Helen of Troy, to avenge the raped women of Kuwait
whose plight was invoked as a cause for the l991 Gulf War, one to protect the faithful (or faithless and
betraying) wife at home, or a war to defend the ultimate national repository of the feminine ideal to be
protected from the rapacious invasions of the enemy: America the Beautiful, mother land and virgin land.
As a counterpart to the protection of the feminine imagined as belonging to one’s own males, the narrative
either tacitly or overtly allows a soldier to view the all “enemy” women as objects to be raped; and in the
most recent wars of ethnic genocide of the 1990s onward, women in Bosnia, Rwanda, and Sudan have
become no longer just incidental victims or “collateral damage,” but the primary objects of enemy
destruction. Starting with the Gulf War, however, the strict spatialization of the American war myth was at
least challenged by the new presence of women on the war front, women as POWs, and in the present war
in Iraq, women coming home maimed and in body bags; and women have now been integrated—whether
successfully or not-- into all of the U. S. military accredited academies. With a special although not
exclusive concentration on U.S. culture of the past century, this course will take a look at film, fiction, non
fiction and biography, news media and online material, in tracing the strongly gendered myths and
narratives that are wrapped up in the cultural understanding of War. Dist: TBA. Course Group III. CA tags
Genders and Sexualities, Cultural Studies and Popular Culture.
English 66.2: Black Atlantic, Professor Cosgrove at the 12 hour
“Black London” and “Black Atlantic” denote African and Slave presence in Europe and the Caribbean
Islands. From Aphra Behn’s Oroonoko about a kidnapped African prince in the 17th century to John
Stedman’s account of a slave rebellion in Surinam in the late 18th century, literature is rich with accounts
of the British African population and the Caribbean middle passage. This course offers a new intimate view
of these events and areas of conflict. Among other readings The Two Princes of Calabar is a history of two
African princes who traveled through Europe in the 18th century, Equiano’s Interesting Narrative tells the
life of a slave who bought his freedom and became a sailor. The course will also use the films Burn, with
Marlon Brando, about a slave rebellion in the Caribbean, and Middle Passage, an unusual French view of
the slave trade. Dist: LIT. Course Group II. CA tags National Traditions and Countertraditions,
Multicultural and Colonial/Postcolonial Studies.
English 66.3: American Gothic: Theory of the Eerie, Professor Chaney at the 2A hour
Study of nineteenth-century gothic and horror literature as well as the socio-political and psychological
"ghosts" that haunt it, such as slavery, Native American removal, women's suffrage, imperialism, and
urbanization. In addition to short theoretical selections, students will read works by Irving, Poe, Jacobs,
Hawthorne, Melville, James, Gilman, Alcott, and Wharton. Graded work will consist of short responses
and two formal essays. Dist: LIT. Course Group II, CA tags National Traditions and Countertraditions,
Multicultural and Colonial/Post Colonial Studies.
English 67.6: Harlem in Literature, Professor Gerzina at the 12 hour
Harlem has been used in fiction, poetry and film as a setting for the larger social, cultural and historical
issues of race, literary experimentation, urbanization, and music. This course examines the heyday of the
Harlem Renaissance into the twenty-first century, through the motifs of social and literary change, sound
and the visual. It pays particular attention to literary form, style and language. Books include Claude
McKay’s Home to Harlem, Nella Larsen’s Quicksand, Ann Petry’s The Street, Chester Himes’ Cotton
Comes to Harlem, Toni Morrison’s Jazz, and Mat Johnson’s Hunting in Harlem, and selected poems and
essays.
English 72.2: William Faulkner, Professor McKee at the 10A hour
In this course we will read five of Faulkner's novels, The Sound and the Fury, As I Lay Dying, Absalom,
Absalom, Light in August, and The Hamlet. Our focus will be on Faulkner's continuing attention to
constructions of identity: especially Southern identities, racialized identities, and individual psyches. We
will spend considerable time reading criticism, by such writers as Edouard Glissant and Vera Kutzinski.
Dist: LIT; WCult: NA Course Group III. CA tag Genre-narrative.
English 75.2: Psychoanalytic Literary and Cultural Criticism, Professor Edmondson at the 2A hour
The dream is a text that both solicits and resists interpretation: With that insight, Freud established the
paradigm for all subsequent modes of literary and cultural analysis. Using that paradigm as a starting point,
students in this course will immerse themselves in the principles, aims, and methods of psychoanalytic
literary and cultural criticism, particularly as they serve as the foundation for other interpretive practices.
Our primary texts will be those of Freud, Lacan, Kristeva, Žižek, and their followers, supplemented by
readings of Sophocles, Shakespeare, Poe, and Conrad, among others. Dist: LIT, pending faculty approval.
Course Group IV. CA tag Literary Theory and Criticism.
English 80.1, Professor Hebert, M/W 7 - 8:50pm
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 80.2, Professor Finch at the 10A hour
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 80.3, Professor Huntington at the 2A hour
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 81, Professor Mathis at the 2A hour
Continued work in the writing of poetry, focusing on the development of craft, image, and voice, as well as
the process of revision. The class proceeds by means of group workshops on student writing, individual
conferences with the instructor, and analysis of poems by contemporary writers
English 82, Professor Hebert, Tu/Th 7 - 8:50pm
Continued work in the writing of fiction, focusing on short stories, although students may experiment with
the novel. The class proceeds by means of group workshops on student writing, individual conferences with
the instructor, and analysis of short stories by contemporary writers. Constant revision is required
Spring 2007 Courses
English 8.2: Journalism: Literature and Practice, Professor Jetter at the 11 hour
This course will explore the role of print journalism in shaping the modern American literary, cultural and
political landscape--from Nellie Bly’s late 19th century undercover exposure to Seymour Hersh’s coverage
of the Iraq War. Students will also participate in an intensive weekly workshop on reporting and writing,
with a short unit on radio commentary. This course does not carry English major credit.
English 15: Introduction to Literary Theory, Professor Will at the 2A hour
The course will introduce students to some of the leading texts, concepts, and practices of what has come to
be known as theoretical criticism. Topics to be considered may include some of the following:
structuralism, deconstruction, psychoanalysis, feminism, new historicism, post-colonialism, postmodernism, queer theory, and cultural studies. Attention will also be given to historical and institutional
contexts of this criticism. Intended to provide a basic, historically informed, knowledge of theoretical terms
and practices, this course should enable students to read contemporary criticism with understanding and
attempt theoretically informed criticism themselves. Dist: LIT. Course Group IV. CA tag Literary Theory
and Criticism.
English 28: Milton, Professor Luxon at the 9L hour
A study of most of Milton’s poetry and of important selections from his prose against the background of
political and religious crises in seventeenth-century England. Dist: LIT; WCult: EU. Course Group I, CA
tags Genre-poetry, Genders and Sexualities.
English 34: Romantic Literature: Writing and English Society, 1780-1832, Professor McCann at the
10 hour
This course offers a critical introduction to the literature produced in Britain at the time of the Industrial
Revolution, the French Revolution, and the Napoleonic wars. There will be a strong emphasis throughout
the course on the specific ways in which historical forces and social changes shape and are at times shaped
by the formal features of literary texts. The question of whether romantic writing represents an active
engagement with or an escapist idealization of the important historical developments in this period will be a
continuous focus. Readings include works by Blake, Wordsworth, Helen Maria Williams, Edmund Burke,
Thomas Paine, Mary Wollstonecraft, Robert Southey, Coleridge, Percy Shelley, Mary Shelley, Keats, and
Clare. Dist: LIT; WCult: EU. Course Group II. CA tag National Traditions and Countertraditions.
English 39: Early American Literature: Conquest, Captivity, Cannibalism, Professor Schweitzer at
the 2A hour
The "invention" of America changed the world forever and precipitated the beginning of the modern era.
This course explores that invention, covering the period of about 1500 to 1800 and surveying a wide range
of cultural attitudes towards the imagination, exploration, and settlement of the Americas: Native
American, Spanish, French, and English. Our reading, including oral tales, letters, diaries, captivity
narratives, poetry, personal narratives, political tracts, and secondary criticism, will focus on the themes of
conquest, captivity, cannibalism in the shaping of a particularly "American" identity. We will use historical
sources and early books and manuscripts to illuminate attitudes towards power, identity, race, gender, and
nature prevailing in the multicultural landscape of the early Americas that shaped the emerging literature
and culture of British North America. We will also look at recent cinematic representations of this early
period in our examination of the shifting and contentious meaning of "America." Dist: LIT. WCult: NA.
Course Group I, CA tags Multicultural and Colonial/Postcolonial Studies, National Traditions and
Countertraditions.
English 45: Native American Literature, Professor Goeman at the 11 hour (xlist NAS 35)
Native American Literature (identical to English 45). Published Native American writing has always
incorporated a cross-cultural perspective that mediates among traditions. The novels, short stories, and
essays that constitute the Native American contribution to the American literary tradition reveal the literary
potential of diverse aesthetic traditions. This course will study representative authors with particular
emphasis on contemporary writers. Open to all classes. Dist: LIT; WCult: NA. Course Group III. CA tags
National Traditions and Countertraditions, Multicultural and Colonial/Postcolonial Studies.
English 47: American Drama, Professor Pease at the 10 hour
A study of major American playwrights of the 19th and 20th centuries including S. Glaspell, O’Neill,
Hellman, Wilder, Hansberry, Guare, Williams, Wilson, Mamet, Miller, Albee, Shepard, Wasserstein. Dist:
LIT; WCult: NA. Course Group III. CA tags Genre-drama, National Traditions and Countertraditions.
English 48: Contemporary American Fiction, Professor Favor at the 2 hour
Contemporary American fiction introduces the reader to the unexpected. Instead of conventionally
structured stories, stereotypical heroes, traditional value systems, and familiar uses of language, the reader
finds new and diverse narrative forms. Such writers as Toni Morrison, Thomas Pynchon, Maxine Hong
Kingston, Leslie Silko, Norman Mailer, Don DeLillo, and Ralph Ellison, among others, have produced a
body of important, innovative fiction expressive of a modern American literary sensibility. The course
requires intensive class reading of this fiction and varied critical writing on postmodernism. Dist: LIT;
WCult: NA. Course Group III. CA tags Genre-narrative, National Traditions and Countertraditions.
English 49: Modern Black American Literature, Professor Vasquez at the 2A hour (xlist AAAS 35)
A study of African American literature from the Harlem Renaissance to the present, this course will focus
on emerging and diverging traditions of writing by African Americans. We shall also investigate the
changing forms and contexts of ‘racial representation’ in the United States. Works may include those by
Hurston, Hughes, Wright, Ellison, Morrison, Schuyler, West, Murray, Gates, Parks. Dist: LIT; WCult: NA.
Course Group III. CA tags National Traditions and Countertraditions, Cultural Studies and Popular
Studies.
English 60.2: Asian American Poetry and Performance, Professor Chin at the 10A hour
How do Asian Americans articulate the world? In this course, we will look at poets, playwrights and
performers who have used the spoken and written word as ways of exploring and asserting identity. We
will examine their prosodies, political stances and the cultural traditions claimed or rejected in an attempt to
define an Asian American aesthetics and literary tradition. Among the artists whose work we will study are:
Beau Sia, Frank Chin, Li-Young Lee, David Henry Hwang, Kimiko Hahn, Shishir Kurup and Denise
Uehara. Dist: LIT; WCult: CI, pending faculty approval. Course Group III. CA tags Cultural Studies and
Popular Culture, Multicultural and Colonial/Postcolonial Studies, Genre-Poetry.
English 62.3: Of Nags, Bitches and Shrews: Women and Animals Western Literature, Professor
Boggs at the 2 hour (xlist WGST 60)
What do stories about animals tell us about the treatment of women in Western society? What do stories
about women tell us about the treatment of animals in Western society? And why are the two so often
linked in the first place? In this course, we will examine the philosophical traditions that associate women
with animals, and will interrogate women’s complex response to those associations. We will ask why
women and animals are jointly bracketed from subjectivity and from ethical consideration. Given the
advances in areas such as women’s rights, we will ask whether there have been corresponding advances in
the treatment of animals, and why women feel particularly called upon to work for those advances.
Statistics suggest, for example, that the overwhelming majority of vegetarians and humane society
members are women. Is the ethical treatment of animals an important feminist cause? We will read literary
(Ursula Le Guin, Aesop, Anna Sewell, Virginia Woolf) alongside religious (the Bible) and philosophical
(Aristotle, Wollstonecraft, Bentham) texts, and draw on current schools of critical thought such as
ecofeminism (Carol Adams) to develop an understanding of these issues. Dist: LIT. Class of 2008 and
later: WCult: CI. No Course Group assignment. CA tags Genders and Sexualities, Cultural Studies and
Popular Culture.
English 63.1: The Emotions and Identity in American Literature and Film, Professor Santa Ana at
the 10A hour
What do our feelings of shame, anger, grief, and compassion tell us about ourselves and the culture in
which we live? By watching films and reading novels, essays, and personal narratives, we will examine the
ways in which human feelings express and construct identities of race, class, gender, and sexuality. Texts
may include The Bluest Eye; Bastard Out of Carolina; My Year of Meats; Fixer Chao; Nickel and Dimed;
and the films Flower Drum Song and Crash. Dist: LIT. Course Group IV. CA tag Literary Theory and
Criticism.
English 63.2: National Allegory: Readings in Postcolonial Literature and Culture, Professor Giri at
the 11 hour (xlist COLT 49)
This course explores current theories of nationalism and postnationalism and how these theories could be
productively utilized in making sense of a select number of literary texts and authors from the postcolonial
world. The authors include Lu Xun from China; Raja Rao from India; Sembene Ousmane from Senegal;
Ngugi wa Thiong’o from Kenya; and Chinua Achebe from Nigeria. Cultural theorists whose work will be
discussed include Benedict Anderson, Anthony Appiah, Homi Bhabha, Partha Chatterjee, Eric Hobsbawm,
Franz Fanon, Frederic Jameson, and Ernest Renan, among others. The readings follow a trajectory that
began with anti-colonial resistance movements leading to the achievement of freedom, and subsequent
recognition that the postcolonial nation-state as a historically realized entity has fallen far short of the idea
of the nation as an imagined community and a utopian project, still unfinished and full of promise for some,
while a matter of historical anachronism for others. Yet others see it as a site where an individual’s desire
for freedom co-exists uneasily with the pursuit of collective wellbeing. Dist: LIT. WCult: NW. Course
Group IV. CA tags Literary Theory and Criticism, Multicultural and Colonial/Postcolonial Studies,
National Traditions and Countertraditions.
English 65.2: The Merchant of Venice: Jews and the Protestant Imagination, Professor McKee at the
10A hour (xlist JWST 70 and REL 81)
This course will offer a close examination of Shakespeare's construction of "Jewishness," in the context of
a larger review of Jewish history in medieval and early modern Europe. Dist: LIT; WCult: EU. Course
Group I, CA tags Genre-drama, National Traditions and Countertraditions.
English 67.7: Mixed-Race Experience in Asian American Literature and Culture, Professor Santa
Ana at the 2A hour
Growing numbers of interracial relationships and the multiracial children of these relations have
contributed to America’s increasing diversity. Asian Americans, in particular, are ever more claiming
biracial parentage and identifying themselves as mixed race. In this course, we will explore the multiracial
experience in Asian American novels memoirs, films, and criticism. Text may include My Year of Meats,
Fixer Chaos, Paper Bullets, The Unwanted, and the films Danang and First Person Rural. Dist: LIT; WCult:
NA. Course Group III. CA tags Genders and Sexualities, National Traditions and Countertraditions.
English 71.1: Charles Dickens: Allegory, Capitalism and the Grotesque, Professor McCann at the 12
hour
The novels of Charles Dickens embody a complex formal response to the pressures of industrial capitalism
and their apparently corrosive effects on Victorian social life. By foregrounding the concepts of allegory
and the grotesque, this course will explore Dickens’s development of a critical idiom that tried to reveal the
distortions of both laissez-faire economics and state bureaucracy, while also preserving Victorian society
from the revolutionary potential of popular political mobilization. We will discuss Dickens in relationship
to his radical imitators and rivals (such as George Reynolds), to a developing literature of labor (embodied
in the work of Carlyle and Marx), and to anxieties about colonial expansion and dislocation. We will also
draw on the work of critical theorists such as Walter Benjamin and Theodor Adorno to develop a sense of
how Dickens’s work embodies the tense relationship between print-culture, populism and a developing
culture industry increasingly oriented to visual technologies. Reading will include The Old Curiosity Shop,
Barnaby Rudge, Dombey and Son and Our Mutual Friend. Dist: Lit. Class of 2007 and earlier: WCult: EU.
Class of 2008 and later: WCult: W, pending faculty approval. Course Group II, CA tags Genre-narrative,
National Traditions and Countertraditions.
English 72.3: The Poetry of Elizabeth Bishop, Professor Zeiger at the 12 hour
About Elizabeth Bishop's poem, "Exchanging Hats," the younger gay poet James Merrill wrote: "here was a
poet addressing herself with open good humor to the forbidden topic of transsexual impulses, simply by
having invented a familiar, 'harmless' situation to dramatize them. I was enthralled." Some of Bishop's
poetic traits are captured by this reminiscence: her humor; her exploration of twentieth century identities,
spaces and boundaries; her willingness on try on the "headgear" of another gender or culture. Yet Bishop's
exploratory playfulness is connected to her sense of personal displacement and danger. An orphan, a
woman poet, a lesbian, a long-term expatriate in Brazil, Bishop is nowhere definitively at home. Partly for
that reason, her work initially resisted feminist and other forms of political categorization. More refined
variations on these perspectives have, however, made Bishop's work the focus of an exciting assortment of
queer, feminist, and postcolonial criticism. We will read widely in this work and study all of Bishop's
poems and some of her drafts and letters in this new critical context. The last part of the course will focus
on Bishop's relationship with her own mentor, Marianne Moore, and on the male poets who learned from
her: Robert Lowell, James Merrill, and Frank Bidart. Dist: LIT; WCult: NA. Course Group III. CA tags
Genre-poetry, Genders and Sexualities
English 72.4: Postmodern Fiction: Boxes, Labyrinths and Webs, Professor Silver at the 10A hour
This seminar will explore the intersections of postmodern fiction and theory with contemporary electronic
narratives, including hypertext fiction and digital poetry. We will read print fictions by writers who
anticipate the challenges to traditional narrative made possible by the computer, including Borges, Calvino,
Coetzee, Pynchon, Coover, and Danielewski; a wide variety of electronic works, such as Shelley Jackson's
Patchwork Girl; and critical and theoretical essays on the topics covered in the course. Dist: LIT. Course
Group III. CA tags Literary Theory and Criticism, Genre-narrative, Cultural Studies and Popular Culture.
English 72.5: American Writers between the World Wars, Professor Will at the 10A hour
This course will examine the work of American authors writing between the end of World War I and the
beginning of World War II. We will consider such topics as: “post-war” and “pre-war” writing, interwar
nativism, black internationalism, and the afterlife of artistic modernism. The course will combine a strong
historical focus with close readings of texts by Fitzgerald, Dos Passos, Baldwin, Hemingway, Cather, Stein,
and Dorothy West. Dist: LIT. Class of 2007 and earlier WCult: NA. Class of 2008 and later: WCult: W.
Course Group III. CA tag National Traditions and Countertraditions.
English 75.3: Theory Behind the Digital, Professor Evens at the 10A hour
This advanced seminar focuses on the theories that underlie critical accounts of the digital. Though some
course texts deal explicitly with the aesthetics and operation of the digital, this class concentrates on
philosophical readings that may not discuss the digital directly but that have influenced thinking about the
digital. Specific readings and themes will be determined in part by the interests of the class, and might
include texts by such theorists as Hayles, Lévy, Hansen, Shannon, Deleuze, Baudrillard, ZiZek, Heidegger,
Virilio, Kittler, and Manovich.. Dist: LIT, pending faculty approval. Course Group IV. CA tag Literary
Theory and Criticism.
English 80.1: Creative Writing, Professor Finch at the 10A hour
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 80.2: Creative Writing, Professor Finch at the 2A hour
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 80.3: Creative Writing, Professor Chin at the 2A hour
This course offers a workshop in fiction and poetry. Seminar-sized classes meet twice a week and include
individual conferences. Open to sophomores, juniors, and seniors, and to first-year students who have
completed Writing 5 (or have exemption status). Students who wish to enroll in 80 must submit their
applications to the administrative assistant in the English Office by the last day of the term preceding the
term for which they wish to enroll. Students do not submit work for entry into the course. A brief
application form is available in the English Office. English 80 is the prerequisite to all other Creative
Writing courses. Dist: ART.
English 81: Advanced Creative Writing-Poetry, Professor Huntington at the 3A hour
Continued work in the writing of poetry, focusing on the development of craft, image, and voice, as well as
the process of revision. The class proceeds by means of group workshops on student writing, individual
conferences with the instructor, and analysis of poems by contemporary writers.
English 82: Advanced Creative Writing-Fiction, Professor Tudish at the 2A hour
Continued work in the writing of fiction, focusing on short stories, although students may experiment with
the novel. The class proceeds by means of group workshops on student writing, individual conferences with
the instructor, and analysis of short stories by contemporary writers. Constant revision is required.