African American Literature

In 1903, American naturalist John Burroughs triggered a fierce public debate when he accused some of his peers of writing “sham natural history.” These other naturalists, Burroughs claimed, had given in to the major temptation lying in wait for all nature writers: “the danger of making too much of what we see and describe—of putting in too much sentiment, too much literature—in short, of valuing these things more for the literary effects we can get out of them than for themselves.” The ensuing debate over the responsible depiction of nonhuman nature went on for five years in the pages of popular magazines, drawing in dozens of writers and one U.S. president. More than a century later, we remember it as the “nature faker” controversy. But though this episode has taken its place in the history books, its unresolved tensions and questions live on, occupying nature writers and filmmakers to this day: How can writers tell stories that spark human interest in the natural world while doing justice to that world’s alterity? What does it mean to value nonhuman animals “for themselves” and not for the reasons we might project onto them? Are emotion and imagination incompatible with good nature writing?

In this writing class, students will not only get to know this longstanding conversation; they will also be asked to weigh in. Students will study the strategies that help experienced writers make their own marks on existing debates: strategies for posing rich problems, analyzing texts, representing and responding to other voices, giving and using feedback, and otherwise developing a sustainable writing practice. Students will become better navigators of writing for various contexts and audiences by studying and practicing the ways in which public and scholarly writers convey their ideas to readers. Students will be evaluated on a rhetorical analysis of a single text; an analytical essay that incorporates multiple sources and makes an original argument; a reflection that analyzes their own approach to writing; participation in in-class work; and the completion of short, low-stakes assignments preparing them for class. This course will be helpful for new college students looking to establish a base of knowledge about analytical writing, as well as for students at any point in their college careers who want to dedicate some time to working on their writing.

This is an advanced course which explores in depth the works of three major writers of the Victorian period: Jane Austen, Charlotte Bronte, and George Eliot. The set-up of the syllabus, group meetings, and individual projects require that participants talk about connective factors between texts and the development of women writers' voices and narrative structures during this period. Emphasis will also be placed on the construction of the heroine, the use and manipulation of the marriage plot, developments in linguistic and narrative practice, and developments in each author's work- from the juvenilia to the later fiction. Historical perspectives, gender roles, and theoretical approaches will all be taken into consideration as we analyze novels such as: Lady Susan, Northanger Abbey, Persuasion (Austen); The Professor, Villette, and Shirley (Bronte); and The Mill on the Floss and Middlemarch (Eliot). Rather than prepare papers and exams, participants will prepare and ask questions of each other, develop response papers and passage analyses, and carry out a sustained independent project to be presented to the group. The outside project will involve additional research into one of the major authors, to include both the reading of another novel, biographical information, and critical analyses. Projects will give participants the opportunity to explore a particular author, question, or form in depth. The reading load for this tutorial is very heavy. Evaluation will focus on preparation, participation, insight, critical thinking, and the outside project, which will be be presented orally and developed in an analytic fashion to be determined by the class.

This class focuses on American fiction from the realist/naturalist period (roughly 1860-1920), a time when enormous changes were occurring in and on the American landscape. Increasing urbanization, immigration, and industrialization corresponded both with a desire for 'realistic' fiction of social problems, and nostalgic stories of a more 'realistic' rural life. For the first time there was a national literature, resulting from the capabilities of large publishing houses, urban centers and mass production - but this national literature was acutely self-conscious of regional differences, and especially of the tension between city and country. As writers tried to paint the American landscape in literature, their works subsumed major social issues to place and formal arguments about the true nature of realistic description. Examining works that portray factory towns, urban tenements, midwestern prairies, New England villages, and the broad spectrum of American landscapes, we look at how a complex, turbulent, multi-ethnic, and simultaneously urban and rural American culture defined itself, its realism, and thus its gender, class, race, and social relations and sense of values, against these landscapes. There are two extra, evening classes during week 7 (Short Fiction Week), and a modest lab fee. Evaluation is based on weekly response papers, two short papers, and a short fiction project, as well as class participation.

Introductory/Intermediate. Prerequisite: Writing Seminar I (or the equivalent). Class limit: 15. Meets the following degree requirements: HS

In recent scholarship on humans’ relationship with the sea, a rich and varied set of approaches has emerged, showing how this land-sea interface has been central to human stories, lives, and world-making. Using John Gillis’s innovative work in The Human Shore as a foundation, this course will explore the work of a wide range of scholars across many disciplines, such as history, geology, literature, indigenous studies, art, and marine science, etc., to examine the differences between a coast and a human shore. We will cover topics as diverse as the indigenous lives along the coasts over time, the geologic formation of coastlines, and the portrayal of coasts in Shakespeare.

Thus, the course will interrogate the human experience of these spaces from a range of disciplinary and transdisciplinary perspectives. Visitors from the blue humanities and other areas will enrich the class with their work and perspectives, helping students think through both their work and how they do it. This course is appropriate for students interested in applying their interdisciplinary learning in a thematically framed, place-based way. They will hone their skills at examining how specific threads of scholarship contribute to a comprehensive understanding of how people live on and think about coasts and shores. Students will be evaluated on daily discussion skills, short assignments, a reading journal, and a final project.

How many times have you mused about the idea of borders? What do the lines that divide us mean, and how are we to make sense of them? Literature has always been a place where questions like these have been thought aloud. Whether the borders are geographical or metaphorical, whether they keep people out or fence people in, borders are liminal spaces that raise questions about politics, oppression, belongingness, and identity, which makes them an important subject for our interrogation. Since these literatures are born of political events, our first concern will be to understand the history of the events themselves. We will achieve that by reading excerpts from the works of Gyanendra Pandey, Stanley Waterman, Joe Cleary, and others in juxtaposition with literature. In addition, the literary works by Saadat Hasan Manto, Seamus Deane, Gloria Anzaldúa, and the like will help put the bigger picture in perspective bringing in various thematic concerns like religion, violence, language, and gender together. This class will thus explore two types of borders: one that course texts evoke, helping you critically engage with the theme. The other kind exists between various genres you will encounter like short stories, novels, literary theory, official reports, and movies. The latter, coupled with your writing assignments that we will workshop throughout the term—personal narrative, online article, movie review, multimodal project, and others—will facilitate and deepen your understanding not only of literature from the borders but also writing as a process—prewriting, writing, and rewriting. This course meets the writing requirement.

The Monster is real, and it’s calling. -Michelle Mcnamara

Grew up reading Nancy Drew and Miss Marple? Can’t let a day go by without listening to a murder mystery podcast like Serial or My Favorite Murder? Love binge-watching shows like Killing Eve and Big Little Lies? Consider watching true crime documentaries your hobby? Then this is the class for you.

This college seminar will allow you to delve into the world of murder, mysteries, and the mayhem caused by these through a woman’s eyes. Be it a woman sleuth, a femme fatale, or a damsel in distress, women have been inextricably related to the world of crime. It is no wonder that they make up almost 75% of the listeners of true-crime podcasts and 80% of CrimeCon attendees (Times.com). We will study this phenomenon by paying close attention to not only literary genres like novels, short stories, and non-fiction writing but also non-literary (and multimodal) genres that include pop-culture favorites like TV shows, documentaries, and podcasts, some of which are mentioned above. Other works that we might consider are Sharp Objects (fiction), Dial A for Aunties (fiction), I’ll be Gone in the Dark (non-fiction), Mommy Dead and Dearest (documentary), and The Keepers (documentary).

Since this class also meets the writing requirement, part of your focus will be understanding writing as a dynamic literate activity by composing varied works. For example, you’ll write short reflection posts responding to questions like “Why women kill”?, opinion or review pieces that could appear in The New York Times, conduct interviews, and work on a term-long genre evolution project. All these are different genres and might target a specific audience: me, online readers, fans, or your peers. You will be evaluated on class participation, written work, and a final project.

Students will be evaluated on class participation, written work, and a final project. Lots of attention will be paid to peer review and revision as well.