English 100 [W]
Focuses on rhetorical awareness. In this course, students will explore the reading and writing practices of the academic community. Through primary and secondary research, and through guided writing practice, students will critically examine what these practices mean and consider how students’ own reading and writing practices fit into those of “the Academy.” While additional texts may be assigned, writing produced by students in the class will serve as the principal texts of the course. Additional texts may include Graff & Birkenstein’s They Say/I Say, Harris’ Rewriting: How to do things with Texts, and Richard Lanham’s Revising Prose. Prerequisite: FYS. Enrollment is restricted to first-year and sophomore students.
English 100-01: Introduction to Academic Writing
In this section of English 100, “The Heartbeat of America: Writing about the World of Work,” we will explore different kinds of work in contemporary U.S. culture. We will read and discuss narratives of men and women’s working lives and explore the changing nature of work in the post-industrial United States. We will read and respond to texts in variety of genres, including oral histories, memoirs, academic essays, and scholarly writings. We will also read and respond to one another’s writing.
Professor Tatu MWF 9:00 – 9:50 a.m.
English 100-02: Introduction to Academic Writing
In this course, students will explore the reading and writing practices of the academic community. Through primary and secondary research, and through guided writing practice, students will critically examine what these practices mean and consider how students’ own reading and writing practices fit into those of “the Academy.” While additional texts will be assigned, writing produced by students in the class will serve as the principal texts for the course. This class will be of particular interest to students who have had limited experience with academic writing. Prerequisite: First Year Seminar.
Professor Uzendowski MWF 1:10 – 2:00 p.m.
English 100-03: Introduction to Academic [W]
Writing enhancement in academic settings for non-native speakers of English. Includes reading and analysis of published essays, practice in research, and production of a research paper. Writing skills are designed to build fundamental skills step by step through exploration of rigorous academic content. Critical thinking skills move from skill building to application of the skills that require critical thinking.
Professor Tingting Kang TR 1:15 – 2:30 p.m.
English 115: Science Fiction [H]
This course focuses on a genre that is highly popular but often regarded as mere entertainment and “fluff.” Examining representative short stories, novels, and films, we’ll discuss the imaginative and thought-provoking way in which Sci Fi writers have depicted human interactions and societies—those of the writer’s past and present as well as his or her potential future. Authors likely to be studied include Philip K. Dick, Ursula LeGuin, Isaac Asimov, Robert Heinlein, Octavia Butler, H.G. Wells, Mary Shelley, Ray Bradbury…and a host of writers you probably haven’t heard of unless you’re an avid reader of Sci Fi.
Professor Byrd MW 11:00 – 12:15 p.m.
English 135: Literature and Human Experience [H, V]
An examination of a significant social or cultural problem as reflected in literary texts. Topics vary from semester to semester and will be announced during the registration period. May be taken more than once with different content.
English 135-01: Misfits, Outcasts, and Loners
What is normal, and who gets to decide? These are simple questions that are actually hard to answer. Although “normal” seems to describe what most people think or do, once you stop to ponder these questions, you might start to wonder if the very idea of normality is connected to social or political regulation—after all, to be labeled “not normal” is to be placed on the margins of some (usually imaginary) group or society that calls itself normal. In this course, we will read literature concerned with misfits, outcasts, and loners in order to understand how writers have challenged the very idea of normality as it relates to a variety of human experiences. Given that many well-known writers have been interested in the broad question of normality versus abnormality, we will have the opportunity to read literature ranging from the 19th Century up to 2015. Along the way, we will study some of the most significant works of literature written in the last 150 years, as well as lesser known—though no less powerful—work. Our method will be to combine close attention to the language of the text with explorations of the social, cultural, political, and intellectual contexts that help these works come alive. Throughout the course, we will explore also what is distinctive about literature and literary inquiry and ask why so many people across so many different times and places have thought literature vital to better understanding themselves and their relationship to wider culture. We will read Herman Melville, “Bartleby, the Scrivener,” Mark Twain, Pudd’nhead Wilson, William Faulkner, The Sound and the Fury, Allen Ginsberg, Howl, Sylvia Plath, The Bell Jar, Toni Morrison, The Bluest Eye, and Alexandra Kleeman, You Too Can Have a Body Like Mine.
Professor Belletto MW 8:00 – 9:15 a.m.
English 135-02: Race and Identity: Ethnic American Literature
This course examines national identity and history from the perspectives of ethnic American writers. Students will analyze a variety of works published or performed since 1900 including the fiction of Zora Neale Hurston and Louise Erdrich, the lyrics of Kendrick Lamar and Lin-Manuel Miranda, and the comedy of Richard Pryor and Aziz Ansari. Intersectionality will guide many of our class discussions. To analyze the complex influence of race, class, sexuality, and gender on American society, students will compare literary texts by authors from different cultural backgrounds and eras. Reading literature by African American, Native American, Asian American, and Latinx writers, students will be able to identify and analyze shared themes across distinct ethnic American literary traditions and movements. Historical touchstones that will guide our discussions include the Harlem Renaissance, the Civil Rights Act, the Chicano Movement, the Red Power Movement, the Vietnam War, 9/11, and Black Lives Matter. We will also discuss how contemporary authors promote coalition building, social justice and allyship in their creative work. Authors we will read include Oscar Casares, Gloria Anzaldúa, Daniyal Mueenuddin, Nam Le, Zitkala Sa, Jhumpa Lahiri, Sherman Alexie, Dave Chappelle, Langston Hughes, Ta-Nehisi Coates, and Barack Obama.
Professor Uzendowski MWF 3:10 – 4:00 p.m.
English 151: Introduction to Creative Writing [W]
An introduction to the fundamentals of creative writing, focusing on strategies for generating, developing, revising, and editing in the genres of poetry and fiction. Through intensive reading, writing, and discussion, students will explore ways to enhance their own creative processes as they identify and seek to duplicate techniques employed by imaginative writers. In turn, students will discover ways to critique the creative work of their peers and to respond with insight to the imaginative writing of a diverse range of writers. Open to first-year students & sophomores. (W)
Professor Upton TR 1:10 – 2:00 p.m.
English 202: Writing Seminar [W]
Writing seminars are courses that make writing and language their explicit subject. Examples include seminars in writing genres (memoir and travel writing), in rhetoric and argument, or in the way language and discourse constitute particular cultural constructions (“the animal” or “race”). While each seminar has a specific focus (to be announced in its subtitle), all seminars emphasize the process of academic reading and writing and use student writing as a primary text. Prerequisite: FYS.
English 202-01: Writing with Digital Media
In this class we will write with—and about—digital media like blogs, wikis, and ebooks. We’ll consider how digital writing technologies give (and sometimes take away) control over the production of texts and their various elements like document design and publication format. We will also consider how the affordances of digital media enable multimodal forms of composing. You do not need previous experience with digital writing technologies to succeed in this class, but you should be willing to learn to work with software packages like Adobe’s InDesign.
Professor Laquintano MWF 2:10 – 3:00 p.m.
English 202-02: Travel Writing
This course will examine various forms of travel literature and critically interrogate the use the of travel metaphors in popular discourse. In the first half of the course, students will learn what the defining characteristics of the travel literature genre are and develop a critical vocabulary for discussing various types of mobilities. The latter half of the course will critically interrogate various types of “travelers” including, but not limited to, the figures of the tourist, the migrant, immigrant and the refugee. Students will consider the racialized and gendered assumptions attached to each of these figures and how these figures are explicitly and implicitly shaping legal, cultural and social discourses. Throughout the course, students will contemplate the following question: How do travel metaphors and travel literature both reinforce and challenge our sense of belonging to local, national and/or international communities?
Professor Gill-Sadler MWF 2:10 – 3:00 p.m.
English 202-03 – Writing Seminar: Border Crossings
In this course we will explore some of the central questions on the subject of borders and border crossings. We will consider multiple perspectives from cultural scholars, economists, novelists, poets, political theorists, travel writers and others on borders and their effects on individuals and society. Questions we may ask include: What are borders? How does technology and social media change our understanding of borders? Why do geographical borders matter? How do borders influence the ways we write and speak? Does creativity transcend borders? Can we rethink a world without borders? We will analyze, evaluate, reflect, and write on the strategies various writers and speakers use to cross borders with their audience at the same time that they may be also creating barriers.
Professor Clayton MWF 3:10 – 4:00 p.m.
English 202-04: Writing Seminar – Spiritual Writing
This course explores a range of forms and practices involved in writing that takes as its subject the spiritual dimension of human experience. Readings and techniques will incorporate several world spiritual traditions. Major emphases include contemplation and revision as ways of knowing, writing as self-discovery, and using writing to move from the self to the community. No religious or spiritual background is necessary for this course. This class requires at least one field trip.
Professor Phillips TR 11:00 – 12:15 p.m.
English 205: Seminar in Textual Practices [H]
This course provides students with an introduction to the theory and methodology of literary study by focusing on three questions: What is a literary text? How do we read a literary text? How do we write about a literary text? By considering the rhetorical, aesthetic, and ideological issues that determine literary value, students examine their assumptions about literature. Required of all English majors and minors. Prerequisite: Any introductory English Department course (101-199) or AP credit.
We will read a wide variety of works ranging from different eras, and including traditional genres and more recent works such as graphic novels. We will also look at a number of critical frameworks for examining these artworks.
Professor Rohman TR 9:30 – 10:45 a.m.
Primary texts in section 2 of English 205 will include Shakespeare’s Hamlet, Henry James’s The Turn of The Screw, Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Art Spiegelman’s graphic novel Maus. These readings will be supplemented with secondary essays that exemplify various schools of critical interpretation, including reader-response, psychoanalytic, feminist, Marxist, and deconstructive interpretive strategies.
Professor Cefalu TR 11:00 – 12:15 p.m.
English 206: Literary History [H pending]
How is literary history constructed? What is the canon of great works and how is it formed? This course inquires into the specific cultural practices that construct literature and engages students in an exploration of canon formation, marginalization, intertextuality, and influence. Readings are chosen from British, American, and Anglophone literatures and from various genres; texts from at least three literary periods are studied in depth. Prerequisite: Any introductory English Department course (101-199) or AP credit.
English 206-01: Medieval-ish: The Idea of the Middle Ages
The focus of this section is on the medieval roots of modern fantasy writing, so we’ll be moving from Beowulf to Tolkien, from Sir Thomas Malory’s Morte D’Arthur to Game of Thrones, as we explore the many guises in which the Middle Ages live on in modern popular culture. One goal of this method will be to ask what our ideas about the Middle Ages might tell us about ourselves. Another is to explore literary history itself as structured by an encounter with the medieval as “other”—the period against which subsequent writers, from Shakespeare onward, will seek to define themselves as modern.
Professor Wadiak MWF 10:00 – 10:50 a.m.
English 206-02: Romantics in Context: The Meaning and Making of Anglo-American Romantic Traditions.
Our work this semester examines the production and circulation of literary texts by writers who have come to be associated with “Romantic” traditions in Great Britain and America. Traditionally, the relationship between British and American Romantics has been understood in terms of the “influence” of British traditions on American authors. Our course will examine the uses and limits of this view. Looking at a range of “literary” and other kinds of writing from 1789 to the mid 1850s, we will (1) re-consider the authors we read in their historical and cultural contexts; (2) question the logic of dividing lines between centuries (18th century/19th century), nations (Great Britain/America), and literary traditions (British v. American “romanticism”); (3) explore some of the issues in bibliographic and textual studies that have influenced the production of literary texts; and (4) consider the ways in which Anglo-American romantic traditions have shaped our own experiences as readers of literature.
Professor Falbo MWF 2:10 – 3:00 p.m.
English 225: Contemporary U.S. Fiction [H]
This course focuses on contemporary U.S. fiction. For our purposes, “contemporary” is defined as work written since 2000, and the course explores what sets such work apart from writing of other times and places. In order to do so, the course is organized around two broad characteristics of the contemporary world: the post-9/11 moment, in which a perpetual “War On Terror” has become the norm; and the social media moment, in which anyone with access to a computer or smart phone can construct stories about themselves on Facebook and Instagram. After attuning ourselves to what these characteristics mean for contemporary U.S. culture, we study writers who have responded in compelling ways to 9/11 and the subsequent War on Terror. We then turn attention to work written in the first-person to ask how subjectivity has changed in an age in which many people are obsessively or even narcissistically posting about themselves in social media. How, we will ask, is writing a novel different from other forms of expression available in our technology-saturated environment? Might there be a connection between the post 9/11 moment and new forms of subjectivity? Particular books studied varies by semester, but might include Don DeLillo, Falling Man, Mohsin Hamid, The Reluctant Fundamentalist, Teju Cole, Open City, Ben Lerner, Leaving the Atocha Station, Aimee Bender, The Particular Sadness of Lemon Cake, Adelle Waldman, The Love Affairs of Nathaniel P., and Gary Shteyngart, Super Sad True Love Story. Prerquisite: Any introductory English Department course (101-199) or permission of instructor.
Professor Belletto MW 11:00 – 12:15 p.m.
English 231: Journalistic Writing [W]
This course introduces the fundamentals of journalism through its most basic form: news reporting. Students will learning how to write clearly and succinctly, conduct interviews, locate and use accurate and relevant information, think analytically, recognize a good story, and work on deadline. The course also examines the changing media landscape as it pertains to digital media and the role of the journalist in a democratic society. Prerequisite: FYS.
Professor Parrish R 7:00 – 9:50 p.m.
English 246: Black Writers: Black Literature from 1970 to the Present [GM1]
This course considers the impact of the Black Power, Black Arts and Feminists Movements on Black literature from 1970 to the present. While the Black Power, Black Arts and Feminists Movements forced major shifts in American politics, they had an equally profound effect on literary and artistic production writ large. Students in this course will interrogate how the literary production of Black writers in the United States and the Caribbean both responded to and shaped the imperatives of these political movements. The course will also introduce students to early, seminal essays in African American and Black Feminist literary theory Over the course of the semester, in short response papers and presentations, students will address the following questions: What is the role of the “Black Writer”?” What is the role of the “Black Feminist Writer?” How does one critique and theorize about black/feminist/ literature? Prerequisite: Any introductory English Department course (101-199) or permission of instructor.
Randi Gil-Sadler MWF 10:00 – 10:50 a.m.
English 250 Writing Genres [W]
Writing Genres introduces students to the expectations and purposes of a particular written genre and offers them intensive practice composing texts that function within the conventions and boundaries of this genre. Students will compose multiple texts in drafts, participate in workshops and discussions, and produce critical analyses and reviews. Sample genres include the essay, autobiography, hypertext and electronic media, travel writing, and science writing.
English 250-01: Writing in Digital Environments
Writers working with digital technologies encounter problems that they rarely experienced in the age of print. This course will blend practice and theory to help students understand key issues they might confront when writing with networked computers in digital culture. Some of the questions we will consider and write about are: How does one craft a writing style optimized for small screens? Can old-fashioned alphabetic text compete for attention with visually rich and interactive media? How does one find a voice in noisy online environments filled with haters, trolls, and lolcats? How do you make your writing intelligible to robots? And why would you want to?
Professor Laquintano MWF 10:00 – 10:50 a.m.
English 250-02: Professional Writing and Communication
In this workshop course, we will define, examine, analyze, and practice professional writing and communication through the rhetorical concepts of audience, purpose, and context. We will develop and strengthen the ability to think critically, understand visual design principles, deliver presentations, communicate effectively as part of a team, and understand the written and presentation conventions of several different subgenres of professional writing and communication. Work for this course includes multiple individual and team written documents and several individual and team presentations.
Professor Clayton MWF 1:10 – 2:00 p.m.
English 251: Screen Writing [H, W]
Intensive workshop in writing for film. Screenings, papers, and a digital video filmmaking assignment also required. Prerequisite: FYS. Permission of Professor Ohlin required. If you wish to take the course, email Professor Ohlin (email@example.com) as soon as possible.
Professor Ohlin TR 11:00 – 12:15 p.m.
English 254: Humor Writing [W]
A seminar in which we closely examine the work of exceptional humor writers and try to write a whole lot better than they ever did or could possibly do if they were granted multiple lifetimes. No, seriously: a seminar in which we study selected strategies of writers such as David Sedaris, Steve Martin, Bernie Mac, and Jenny Lawson to determine how such strategies might inspire and enliven our own writing and allow us to generate new perspectives through humor. Supportive atmosphere in which we destroy one another’s will to live. No, seriously: supportive atmosphere. Students will compile a final portfolio of humor writing in multiple genres, including essays, flash fiction, and scripts. Impromptu exercises and collaborative writing, occasional arm-wrestling. Required: a great big (or even middling) sense of humor, tolerance.
Professor Upton TR 9:30 – 10:45 a.m.
English 257: Intermediate Poetry Workshop [W]
An intensive workshop course in poetry writing at the intermediate level. Students will compose poems, study the art and craft of major poets, and participate in revision and editing workshops. Students will strengthen close reading and workshop skills, produce a polished portfolio of poems, experiment with different writing prompts, and analyze contemporary poetry. Prerequisites: English 151 OR English 255 OR English 256 OR permission of instructor.
Professor Fernandes T 1:10 – 4:00 p.m.
English 276: Literature of the Sea [H, GM1, W]
The sea is the great barrier, and the great meeting place, of the world’s nations. This course will explore a range of literature dealing with the oceanic environment from several world traditions, from 1800 to the present (the period of time when the word “environment” in English has referred to the natural world). While we will take brief looks at earlier literary treatments of this largest of terrestrial subjects, the focus of the course will be to track ideas, images, and stories across space and time, as we use new angles of vision to explore a world that takes up 70% of our planet, and yet still resists being known. Prerequisite: Any introductory English Department course (101-199) or permission of instructor.
Professor Phillips TR 1:15 – 2:30 p.m.
English 300: Chaucer [H, W]
Chaucer’s Canterbury Tales (c. 1386-1400) dramatizes the story-telling competition among a group of travelers thrown together by chance. As the contest evolves from a way of passing the time into a wide-ranging and sometimes heated debate, the question of how we should engage with fictional narratives—whether to laugh, shudder, get mad, get even, or break down in tears—takes center stage in a poem that asks us to think about the ultimate value of the stories we tell each other. We will read (almost) all the tales—from romances and animal fables to tales of seduction and trickery—along with a smattering of early verse. We’ll explore the stories both for themselves and for what they might tell us about Chaucer’s evolving sense of himself as a writer doing something unprecedented. Readings are in the Middle English of Chaucer’s day, but no prior experience is assumed Prerequisite: ENG 205 or permission of the instructor.
Professor Wadiak MWF 11:00 – 11:50 a.m.
English 331: American Fiction from 1945 to the Present [H, W]
This course introduces students to the American novel after 1945. Since there are potentially hundreds of excellent novels that we might have read for this course, an organizing theme is necessary to tell a coherent story about the period. For this course, we look at a range of novels exploring the relationship between the United States and the rest of the world to see how and why novelists have been concerned with “globalization.” Since the Second World War, it has become increasingly difficult to think about the United States without thinking about the rest of the world: political developments such as the Cold War meant that the United States felt compelled to intervene around the world in order to check the spread of global Communism. This is how we got the Korean War and the Vietnam War, and why the U.S. had interests in places like Central America or central Africa. During the post-1945 period, the Third World was likewise becoming newly independent from their former colonial masters; and yet, as many of our authors acknowledge, these newly-formed countries were not entirely independent as they relied on foreign capital to sustain their economies, a situation some observers referred to as “neocolonialism.” In exploring the American novel after 1945, then, we find writers interested in many forms of global circulation, from military actions to more subtle kinds of contact or influence. For much of the postwar period, the United States was, with the Soviet Union, one of the two superpowers in the world. But after the end of the Cold War, and especially after 9/11, the United States entered a new phase in its relationship with the rest of the world, and we end the course by looking at a recent novel that depicts this new global situation. In general, we will find our authors imagine very complex relationships both among different countries and among the ordinary citizens in those countries, and we will make sense of these relationships through broad themes such as nationhood, history, personal identity, and cultural imperialism. In recent iterations of this course, we have read Tim O’Brien, Going After Cacciato, Joan Didion, A Book of Common Prayer, Thomas Pynchon, V., Jessica Hagedorn, Dogeaters, Karen Tei Yamashita, Tropic of Orange, and Dave Eggers, A Hologram for the King. Students are also required to read and present on one other novel written since 2000 that explores the relationship between the U.S. and the world. Prerequisite: ENG 205 or permission of the instructor
Professor Belletto MW 12:45 – 2:00 p.m.
English 338: Metaphysical Poetry [H, W]
In this course we will study metaphysical poetry. Metaphysical poems are witty, cerebral poems that use elaborate metaphors or “conceits” to comment on a range of elusive, “big topics,” including the nature of love, death, evil, and God. We will consider not only the form, style, and imagery of such poems, but also the historical contexts in which metaphysical poetry emerged in England. To what extent, for example, does the scientific revolution influence the anxious poetry of John Donne? In what manner does the rise of Protestantism help to shape the theocentric poetry of George Herbert, Richard Crashaw, and Thomas Traherne? In answering these questions and others, we will read poetry of the seventeenth century, after which we will compare such foundational seventeenth-century poetry with the later work of Gerard Manley Hopkins, Emily Dickinson, T.S. Eliot, and several contemporary poets. Prerequisite: ENG 205 or permission of the instructor
Professor Cefalu W 7:00 – 9:50 p.m.
English 341: Nineteenth-Century British Novel [W]
During the 19th-century in Great Britain, novels reflected and helped to shape public perceptions of some of the major social and psychological problems of the day (e.g., the impact of scientific progress and industrialization on English life and national identity, challenges to a rigid social structure and repressive moral code, attempts to redefine the nature and role of women). At the same time, novel reading, especially unchecked and unsupervised, was hotly debated. Looking at selected novels and other historical materials, we will consider the cultural work of novels in Great Britain during the 19th century. Reading includes Mary Shelley’s Frankenstein, Charlotte Bronte’s Jane Eyre, Mary Elizabeth Braddon’s Lady Audley’s Secret, Charles Dickens’s, Our Mutual Friend, Thomas Hardy’s Jude the Obscure. Prerequisite: ENG 205 or permission of the instructor
Professor Falbo WF 12:45 – 2:00 p.m.
English 342: Modern British Literature [W]
In her 1924 essay, “Mr. Bennett and Mrs. Brown,” Virginia Woolf famously wrote that “about December 1910, human character changed.” “All human relations have shifted,” she continued, and “when human relations change there is at the same time a change in religion, conduct, politics, and literature.” Woolf’s passage describes the profound upheavals and experimentation with all things artistic in the period between 1890 and 1940. What came to be known as modernism was—in literature and elsewhere—an approach that was obsessed with innovation, avant-garde thinking, radical change and rejection of tradition. “Make it new,” became the battle cry for revising almost everything in aesthetics—a motto that Stephen Ross usefully calls modernism’s “answer” to Marx’s earlier demand for a “ruthless criticism of everything existing.” What we call literature has never been the same. This course immerses us in the intense literary innovations of the British modernist period. Among our considerations will be how science and technology, evolutionary theory, the New Woman, and colonialism upend traditional notions of what it means to be human at the turn of the twentieth century. We will investigate these changes in texts by writers such as Joseph Conrad, E. M. Forster, James Joyce, D. H. Lawrence, and, of course, Virginia Woolf.
Prerequisite: ENG 205 or permission of the instructor.
Professor Rohman TR 1:15 – 2:30 p.m.
English 350: Writing and Authorship: From Print to Digital [W]
In the age of print, writing was more or less separate from the act of publishing. Now digital writing technologies bring with them the capacity to publish. Beginning with this difference, this writing-intensive class will examine how new technologies might foster changes in authorship and writing. We will begin with theories of authorship and their relationship to technological, legal, and cultural conditions. We will then spend most of the semester pursuing questions about digital technologies and their relationship to contemporary theories of authorship and writing: What is authorship’s status when everyone can publish? What should copyright’s relationship to writing be when digital texts are freely shared? How do e-readers and tablets condition reading and writing practices? Readings will be interdisciplinary and draw from a wide array of methodologies, from poststructuralist theories of authorship to sociological studies of writing. Prerequisite: English 205 and 206 or permission of instructor.
Professor Laquintano MWF 9:00 – 9:50 a.m.
English 362: Advanced Creative Writing—Fiction [W]
Intensive weekly workshops in fiction writing. Advanced exercises in structure and style and the composition of an ambitious final portfolio of short stories. Students must be committed to developing a high level of independence as fiction writers while being willing to experiment widely and regularly. Prerequisites: English 250, 251 or 255. Permission of Professor Ohlin required. Students who wish to take the course should contact Professor Ohlin (firstname.lastname@example.org) as soon as possible to be placed on her list.
Professor Ohlin R 1:10 – 4:00 p.m.
English 369: Writers in Focus. Three Writers and their Americas: Henry James, Willa Cather, and F. Scott Fitzgerald [H, W]
This seminar will explore the lives and times of three writers who were influential voices in describing and defining American experience for their readers. In novels and short stories that were both popular and critical successes, these three brought issues into focus in ways that led readers to think differently about their own lives. Readings will include novels and stories by all three; seminars will include discussions on what they wrote about (and did not write about) and on how they wrote what they wrote; research will include attention to the lives of each and to social and economic conditions of their times. Prerequisite: ENG 205.
Professor Johnson MF 11:00 – 12:15 p.m.