Gateway Course Required for the Beginning Major
Introduction to Literary Study
27670 sec. C Kathryn Gelsone M, W 11:00 – 12:15pm
27655 sec. E Harold Veeser M, W 2:00 – 3:15pm
27677 sec. G Kathryn Gelsone M, W 5:00 – 6:15pm
27692 sec. L Casey Henry T, TH 9:30 – 10:45am
42914 sec. P Joshua Barber T, TH 2:00 – 3:15pm
27656 sec. T Bradley Nelson T, TH 6:30 – 7:45pm
This course offers an introduction for beginning English majors to the practices and concepts in the study of literature. We will think carefully about literature as a form of representation – about what literary texts mean as well as how they mean. The course will help students to develop a critical vocabulary and method for reading and writing about literature, as well as introduce them to the cultural contexts and backgrounds of various literary traditions. Our readings will explore a variety of genres and styles – short fiction, the novel, narrative poetry, lyric poetry, and forms of drama. Above all, this is a class in reading and (frequent) writing which will emphasize close reading techniques, interpretive approaches, the making of arguments, and the development of individual critical voices in order to prepare students to succeed in advanced English elective courses.
200- Level courses
Please note: These 200-level courses are designed to introduce beginning students to literary history, critical approaches, and formal terminology. They typically have a minimum of 3-5 shorter assignments, a variety of in-class writing tasks, and assume no prior background in the discipline. For this reason, majors are not permitted to take more than four (4) 200-level classes.
Studies in Genre: Black Poetry from Wheatley to Wright
59969 sec. P Gordon Thompson T, TH 2:00 – 3:15pm
59970 sec. R Gordon Thompson T, TH 3:30 – 4:45pm
This class will explore African American poets burdened with a dual set of aesthetic expectations. Laboring under the need to reflect Euro-American ideals of perfection and innovation, they must also speak to and for a set of African American cultural traditions. In part these concerns reflect problems of audience. A third burden of black poets, as with all artists, is the deeply personal need to illustrate powerful feelings through poetry, to make passions rational, or to communicate an intense love of life. Examining the synthesis or lack thereof of these aims shall be the focus of class discussions. And since the need to appease two different audiences and the poet’s own desires has produced a body of poetic expression that is curiously hybrid in its construction and effect, concepts associated with the notion of double consciousness will complement these discussions, supplying us with a tool by which to explore the hybridicity such texts evince.
Readings will include the poetry of Phillis Wheatley, Paul Laurence Dunbar, Countee Cullen, Claude McKay, Langston Hughes, Gwendolyn Brooks, Robert Hayden, Amiri Baraka, Michael Harper, June Jordan, Audre Lorde, and Jay Wright among a few others.
Requirements: One paper at mid term and a longer one at semester’s end.
Studies in Genre: Drama
44162 sec. D Daniel Gustafson M, W 12:30 – 1:45pm
This course is an introduction to the literary genre of drama. We will investigate what a play is, how plays are different from other genres of literature, how we can interpret plays as performances as well as texts, the cultural and social importance of theater, and how the writing of drama has changed over the course of literary history. The plays we will read span a number of different dramatic styles, such as comedy, tragedy, tragicomedy, melodrama, and many things in between. They will be drawn from a variety of time periods (from the 5th century B.C. to the present) and from a variety of national dramatic traditions and cultural contexts (ancient Greek, British, American, African, Russian, Norwegian). Possible playwrights include Sophocles, Euripides, Shakespeare, Aphra Behn, William Wycherley, Henrik Ibsen, Anton Chekhov, Bertolt Brecht, Harold Pinter, Wole Soyinka, Caryl Churchill, Suzan-Lori Parks, and Sarah Ruhl.
Literature of Diversity: Imagining Native Peoples
46585 sec. M Michelle Valladares T, TH 11:00 – 12:15pm
Joy Harjo writes, “The literature of the aboriginal people of North America defines America. It is not exotic. The concerns are particular, yet often universal.” This course will examine texts by Native American writers. Despite being the original inhabitants of the North American continent, Native American stories, images and experiences have been depicted through the colonizer’s lens. The texts in this class will shift that historical perspective. We will read, fiction, non fiction and poetry by Leslie Marmon Silko, Linda Hogan, Joy Harjo, Scott Momaday, Layli Long Soldier, Sherman Alexie, Louise Erdrich, Gerald Vizenor and others. Additional assignments outside class will include viewing the films, Smoke Signals by Sherman Alexie (Spokane/Coeur d'Alene) and John Ford’s The Searchers. The work in the class will include two short papers and weekly responses to the readings.
300- Level Courses
Please note: 300-level classes assume some background and prior experience at the 200-level. Students should complete two 200 level courses before embarking on 300 level work; however, they may register for a single 300 level course if they are still completing 200 level requirements. Generally, these classes require two shorter essays and one longer assignment or final paper involving research or reference to secondary materials.
Crosslisted BLST 31153
South African Literature and Culture
57235 sec. R Patrina Jones T, TH 3:30 – 4:45pm
South Africa evokes Apartheid, which means Apartness, as in the separation of the races and the society that was the official social, economic, and political policy until 1994. While Apartheid will be a major theme in the course, we will explore different genres of literature such as the epic, poetry, essays, as well as film and music. Authors we will read include Thomas Mofolo, Peter Abrahams, Sindiwe Magoma, Zakes Mda, and Zoe Wicomb, as well as excerpts from Winnie and Nelson Mandela’s memoirs, to understand pre- and post Apartheid South Africa.
Jane Austen and Her Contemporaries
46587 sec. C Daniel Gustafson M W 11:00 – 12:15pm
Jane Austen’s world – much like our own – was rocked by inescapable, deeply partisan political and social conflicts. Revolution and war, radicalism and conservative backlash, globalism and nationalist xenophobia, religious intolerance, gender and class inequality, new systems of mass entertainment and social media, imperialism, troubled race relations: familiar and pressing to us today, these were issues just as urgent for writers and thinkers in Austen’s era in the late eighteenth and early nineteenth centuries. In this course, we will explore Austen’s novels as more than popular romance fiction (though we will think about the politics of the romance genre and the marriage plot for which she is famous). Along with studying the literature of other British writers and the cultural movements to which they belonged, we will read her novels for the way they engage in and are shaped by the preoccupations of her historical moment. Readings will include some of Austen’s major and lesser-known fiction, scholarly essays on Austen and on British culture of the period, and a selection of contemporary writing by Mary Wollstonecraft, William Godwin, Maria Edgeworth, Hannah More, Edmund Burke, Tom Paine, Charlotte Smith, Anne Radcliffe, William Cowper, and Walter Scott.
68515 sec. D Anna Voisard M, W 12:30 – 1:45pm
27682 sec. F Nicole Treska M, W 3:30 – 4:45pm
28115 sec. G Nicole Treska M, W 5:00 – 6:15pm
Advanced Grammar reviews principles of traditional English grammar and usage (parts of speech, sentence structures, punctuation, pronoun/verb form/agreement, etc.) for English majors and minors, especially for those who plan to teach or work as tutors or editors. It is not a remedial course for non-majors who struggle with writing problems, though many non-majors take it. There is a custom-published workbook for the course, and used copies of it are not allowed.
27681 sec. B Doris Barkin M, W 9:30 – 10:45am
This course constitutes a general introduction to Shakespeare’s earlier works, (1590-1600) from a variety of historical, generic, and thematic perspectives. We will consider the development of Shakespeare’s work chronologically as well as through an examination of themes and protagonists from across his plays. Works may include Two Gentlemen of Verona, Romeo and Juliet, The Merchant of Venice, Henry IV, Part 1, The Merry Wives of Windsor, and Othello. We will also read from a selection of the Sonnets written roughly over the same period. In addition to class discussion and oral presentations, there will be a reading journal, quizzes, and several written assignments.
Representative US Writers 20th Century
27694 sec. S Keith Gandal T, TH 5:00 – 6:15pm
This course explores American literature during the course of what has been called “the American Century.” W.E.B. Du Bois declared that the problem of the 20th century would be the problem of race, and we can affirm that claim while adding some supplementary problems that have shaped American literature since 1900: the problems of gender, ethnicity, class, sexuality, and ability. The course will attempt to revise our traditional understandings of modernist and postmodern literature, based on an examination of America’s internal developments and rise to world prominence with the World Wars.
Tentative Reading List:
F. Scott Fitzgerald, The Great Gatsby
Ernest Hemingway, The Sun Also Rises
Katherine Anne Porter, “Pale Horse, Pale Rider” (novella)
Victor Daly, Not Only War (novella)
Zora Neale Hurston, Their Eyes Were Watching God
Claude Brown, Manchild in the Promised Land
Michael Herr, Dispatches
Toni Morrison, Sula
Maxine Hong Kingston, The Woman Warrior
Sandra Cisneros, The House on Mango Street
Poetry of T.S. Eliot, Langston Hughes, Wallace Stevens, Gwendolyn Brooks
Selected Topics in American Literature: Captivity, Escape, and the Inescapable
28118 sec. L Alec Magnet T, TH 9:30 – 10:45am
American literature overflows with stories of captivity and escape. Among the most popular genres of early American writing were tales of capture and escape from Native Americans or Barbary pirates. In the nineteenth century, anti-slavery writers adapted the conventions of these (very white) genres to describe the experience of being enslaved and escaping. American writers have long been fascinated, as well, with more indefinite, pervasive of captivity—for example, social convention, the market economy, or sexist gender roles—and whether these are escapable at all. Many texts coalesce these issues into stories of the family—families as something to escape into and especially as something to escape from.
In this course, we will read American writing from the seventeenth century to today about captivity and escape in order to explore what these texts try to do politically, emotionally, and artistically. How do these writers seek to understand, represent, critique, and even affect themselves and the world around them? What, for them, comes after escape? What are we running toward, and what—like trauma and memory—is left over when we get there? What cannot be escaped at all?
Because we do our best thinking about literature by writing about it, you will write and revise three formal assignments for this course, along with a number of more casual in-class and take-home responses. Other requirements will include careful, patient reading of sometimes difficult texts, as well as regular attendance and participation in class discussions. Readings may come from Charles Brockden Brown, Charlotte Perkins Gilman, Patricia Highsmith, Harriet Jacobs, Herman Melville, Toni Morrison, Edgar Allan Poe, Thomas Pynchon, and others.
Selected Topics in 20th Century & Contemporary Literature: Bible, Myth and Contemporary Literature
46595 sec. R Mark Mirsky T, TH 3:30 – 4:45pm
The Influence of the Bible and Myth on Modern Literature will center on how questions raised in texts from the world of Antiquity spoke to writers in the Twentieth Century. We will look at pages from The Sumerian/Babylonian Epic of Gilgamesh, Homer’s Odyssey, The Hebrew Bible, the New Testament,the Irish Tain, several of Grimm’s Fairy Tales and trace how they worked on the imagination of writers of the last century and this. We will read novels, selections from novels, and stories of Franz Kafka, Miguel de Unamuno, Bruno Schulz, William Faulkner, Cynthia Ozick, John Barth, Charles Baldwin, and others.
Students will be encouraged to write a final paper based on a creative response to the work discussed in class and to submit written questions on some of the texts assigned.
Franz Kafka, The Trial
Isak Dinnesen, “Sorrow Acre”
Bruno Schulz “Sanatorium Under the Sign of the Hourglass”
Isaac Bashevis Singer “Gimpel the Fool”
James Baldwin, Go Tell it On the Mountain
Milan Kundera, The Lightness of Being
Selected poetry of W.B. Yeats
Cythia Ozick’s essay on The Book of Ruth, her short story: The Pagan Rabbi
William Faulkner, Absalom, Absalom.
Miguel de Unamuno, selections from Our Lord, Don Quixote
Jorge Luis Borges’ stories: “Three Versions of Judas,” “Ragnarok,” “The Gospel According to Mark,” “The Aleph”
John Barth, “Dun Cove to Madison,” from The Tidewater Tales
Mark Jay Mirsky, from The Secret Table, “Onan’s Child.” Puddingstone
Donald Barthelme, “Shower of Gold” “Snow White”
Selected Topics in Anglophone Literature: Postcolonial Literature
46597 sec. F Harold Veeser M, W 3:30 – 4:45pm
46598 sec. H Harold Veeser M, W 6:30 – 7:45pm
This course covers poems, plays, short stories, films, and novels. All of these works interpret the effects of colonialism, imperialism, forced migration, and the search for identity.
Suad Amiry, Sharon and My Mother-in-Law
Tayeb Saleh, Season of Migration of the North
Aimé Césaire, Notebook of a Return to the Native Land
Mohamed Choukri, For Bread Alone
Emile Habiby, The Secret Life of Sa’eed, the Ill-Fated Pessoptimist
Selected Topics in African-American Literature: Aesthetics & Ideology in Black Literature & Culture
61456 sec. M Gordon Thompson T, TH 11:00 – 12:15pm
The slogan “Black is Beautiful” has a long tradition though its most recent iteration--occurring during the Civil Rights Movement of the 1960’s—remains the most memorable. This notion, relevant to both social life and the world of the arts, emerged in an attempt, conscious and otherwise, to counter EuroAmerican commentary that often denied Black aesthetic values particularly those related to issues such as skin color, facial attributes, intellectual thought and artistic achievements. In the arts, in particular, the rise of Aestheticism--an intellectual and art related movement of the late 19th and early 20th century that emphasized aesthetic values in literature, fine art, music and other arts--centered on European notions of beauty and less on social-political themes. The larger philosophy of aesthetics, while concerned with the nature of art, beauty, and taste, questions the epistemological foundations of such judgments. Scholars are then alerted that such judgments are constructed “from within certain limited ideological positions” (Elliott).
This class will examine that aspect of African American literature that challenges EuroAmerican aesthetics, looking at matters such as the distinction between high and low forms of artistic expression. We will examine the works of writers such as Charles Chesnutt, Zora Neale Hurston, Langston Hughes, various poets, and also observe some visual art while also listening to particular forms of Black popular music.
46602 sec. D Renata Miller M, W 12:30 – 1:45pm
Dinosaurs brought into conflict with man. Time travel. A fabricated human being. Late-20th-century and 21st-century culture have been fascinated by these concepts. All of these ideas, however, originated in the nineteenth-century literary imagination, in the works that are the roots of the genre of science fiction. In an era of burgeoning scientific advancement, writers imagined not only things that remain fantasies, but also made predictions about the future that would be realized by modern technology.
This class will survey 19th-century science fiction, as well as the scientific discourse that informed these works, and will connect the beginnings of the genre to 20th- and 21st-century literature and film. We will consider the formal features of this genre, as well as the cultural work that it performed. In addition to works of fiction, we will read texts concerning Charles Babbage and the earliest computer, Charles Darwin's theory of evolution, the discovery of geologic time, and the Crystal Palace exhibition of 1851.
Graded work will include exams as well as essays.
The Horror: What Scary Literature Tells Us About Ourselves
50491 sec. P Chet Kozlowski T, TH 2:00 – 3:15pm
This new literature course examines a much-maligned but enduring genre, the horror novel. Combining the classic (Edgar Allan Poe, Mary Wollstonecraft Shelley) with the pulp-years paranoid (Jack Finney, Shirley Jackson) and contemporary (Stephen King, Cormac McCarthy), the selections delve into the various fears gifted authors exploit to make us squirm. Lectures include critical analysis, fun fact minutiae, historical perspective, and grisly thrills, plus a look at the films the books inspired.
46613 sec. C Aaron Botwick M, W 11:00 – 12:15pm
In “The Political Novel,” we will explore the reciprocal relationship between literature and politics through a range of modern and contemporary works. Though we will primarily address how these works challenge political thought and practice, we will also examine the ways they invest individuals’ lives, locales, and beliefs with broad political significance. In the course of our discussions, we will explore the historical underpinnings of the novels as well as touch upon a number of topics, such as the formation of ideologies, revolution and reform, exiles and intellectuals, gender and class, and alternative histories. Orwell, Koestler, Endo, Doctorow, Danticat, and others.
Please note: 400-level courses are designed for students who have completed at least two classes at the 300-level. Longer essays which involve research and work with secondary materials are typically required at the conclusion of the semester; and students are also expected to demonstrate their familiarity with a range of methodological approaches and critical perspectives.
Advanced Topics in Language, Writing, and Rhetoric: Discourse Analysis
46614 sec. P Missy Watson T, TH 2:00 – 3:15pm
When you communicate, it’s not just what you say that counts; it’s how you say it, who you are, and where/when you are as you say it. We all participate in different communities, and the ways in which we communicate across those groups depends entirely on the situation and on a variety of social and linguistic circumstances. Discourse analysis is a method for studying what’s entailed when we do language. In this course, you’ll learn various analytical tools and apply them to study real language in use. We will examine language use across diverse discourse communities, such as in academia, the classroom, the workplace, news and other media, social media and other online communities, speeches, law, politics, sports, interpersonal relationships, and in the community (neighborhood churches, banks, bars, etc.). In addition to our weekly inquiries into the discursive practices of communities and situations, you’ll select a specific discourse community you’ll study more extensively over the course of the semester. James Paul Gee’s How to do Discourse Analysis: A Toolkit (2nd edition) will be our text.
Capstone Seminars – recommended after 24 credits in the major
These courses are strongly recommended upon completing 24 credits in the major and can only be registered with an English Advisor.
Representation of Trauma
50489 sec. 1GH Mikhal Dekel M 5:00 – 7:00pm
Representation of Trauma will examine a range of artistic and intellectual engagements with collective traumatic events: from works by writers and visual artists who have borne witness to these events to theoretical explorations of trauma’s aftermaths. We will reflect on questions of memory, memorialization, and historical responsibility, and on the ethical and political problems that arise from the retrospective confrontation with violent histories. Through a discussion of a range of literary, cinematic, artistic, and theoretical texts dealing with the aftermaths of slavery, the Holocaust, Apartheid and war, we will explore the dilemmas of historical accuracy, voice, justice, reparation, reconciliation, and forgiveness in works by Charlotte Delbo, J.M. Coetzee, Rithy Panh, Susan Faludi, Anje Krog, Toni Morrison, Art Spiegelman, and Ari Folman, among others.
One presentation; two papers
The New World Seminar
59967 sec. 2ST Grażyna Drabik T 5:00 – 7:00pm
The riches of contemporary immigration literature permit us to address difficult questions of the politics and poetics of language, culture, and self. Discussion will highlight the impact of geographical and linguistic dislocation; complexities of bi-cultural identity; and reassessments of trans/national cultural borders. The texts covered in this reading-intensive seminar include novels by Tomás Rivera, Jamaica Kincaid and Chang-Rae Lee; short stories by Chimamanda Ngozi Adichie and Natalie L. M. Petesch; plays by Martyna Majok and David Henry Hwang; and a selection of poems by Rodolfo Anaya, Gloria Anzaldúa, Czeslaw Milosz, and Simon J. Ortiz
Internet Writing: Technology and Contemporary Fiction
59968 sec. 2NP Casey Henry T 12:30 – 2:30pm
In a world of accelerating and abstract information, how is literature supposed to render sensations that, in David Foster Wallace’s terms, are “just too fast and huge and all interconnected” to do more than barely “sketch”? This course will address how literature has become situated in a vastly interconnected technological system, represented most notably by the Internet and its related innovations. We will ask: how does an increasing reliance on mediated systems for romantic fulfilment, economic stability, and self-definition manifest in literary art? How might literature depict relationships on “chat” networks, financial drama tied to fluid shifts in global capital, or identities forged through digital modifications? Can literature function like an Internet virus, an unrequited DM?
This course will survey fiction from roughly the last three decades, tracing the charged relationship between technology and literary expression, culminating in the Internet as a shared, epochal phenomenon. Fiction works will span from cyberpunk premonitions of the Internet in William Gibson’s Neuromancer (the origin of the term “cyberspace”), to the mundane side of online millennialism in Tao Lin’s Shoplifting from American Apparel. Along the way, we’ll read Amie Barrodale on tracking web paramours (“William Wei”), Don DeLillo on global capital run amok (Cosmopolis), David Foster Wallace on broadcast trauma (“The Suffering Channel”), and graphic novels depicting squalid, yet virtually supercharged urban landscapes (Ghost in the Shell and Transmetropolitan). We will also touch on science fiction, including work by Alice B. Sheldon and Samuel Delany, employing images of the “cyborg” to presciently address issues of gender, race, and sexuality through a “posthuman” lens. The course will entail regular blackboard posts, a midterm paper, and either a final paper or creative final project.
50486 sec. 3CD Elizabeth Mazzola W 11:00 – 1:00pm
Medieval bodies are bodies in flux; they can be male and/or female; transcendent or transsexual; holy, airborne, animal, wounded, armored, even reborn. We will read a range of older stories with an eye for their ideas about and ambitions for managing flesh, seeking out contemporary parallels as well as questions plaguing bodies nowadays, questions like: What renders a body dead or illegal or disabled? How does gender conformity pave the way for love or divine favor, and how do gender rules change over time, with money or with special equipment? The texts we will consider as challenging but fascinating and radical in their magic, and we will aim to read and write about them with care and imagination. These works include Beowulf,Sir Gawain and the Green Knight, Malory's Morte D'Arthur, The Book of Margery Kempe, Chaucer's Canterbury Tales, Marie de France's lais. and Hildegard of Bingen's visions. We will also acquaint ourselves with a variety of critical models and approaches advanced by queer and feminist critics, thing theorists and eco-critics.
Creative Writing Courses
Introduction to Creative Writing
28109 sec. A Natasha Herring M, W 8:00 – 9:15am
27691 sec. J Salar Abdoh M, W 8:00 – 9:15pm
27705 sec. L Emily Wright-Rosenblatt T, TH 9:30 – 10:45am
27649 sec. M Felice Neals T, TH 11:00 – 12:15pm
42912 sec. P Sheila Maldonado T, TH 2:00 – 3:15pm
While studying various forms of creative writing, emphasis will be placed on the creative process of writing while encouraging students to find their writing voice.
28110 sec. C Doris Barkin M, W 11:00 – 12:15pm
27667 sec. D Doris Barkin M, W 12:30 – 1:45pm
This course presents approaches to discovering, exercising, applying, and learning the processes involved in the practice of creative writing. Critical reading and written expression are interconnected processes: we will examine our own written work and the work of exemplary writers in fiction, poetry, essay, and nonfiction. Upon completion of the course, students will demonstrate the ability to write in various genres, forms, styles, and techniques; additionally, students will demonstrate facility in reading literature critically and analytically, and engaging in constructive criticism with the community of writers in the class. As a supplement to work done in class, poetry readings, audio and video recordings, film viewing, and hypertext Web documents and other writing platforms will be used whenever possible. Finally, the goal of the course is to see language in a revitalized, meaningful way, and to find that creative writing offers great emotional, imaginative, and intellectual pleasure.
27690 sec. R Keith Gandal T, TH 3:30 – 4:45pm
Students in this course will begin to learn the art of writing and rewriting stories, poems, and one-act plays. The requirements include participation in the writing workshop, weekly writing assignments, peer reviews of other students’ work, a presentation, a short story, a poem, a short one-act play, and a final exam.
Isaac Babel, Red Cavalry and Other Stories; Daniel Halpern, ed., Plays in One Act; Joel Conarroe, ed., Six American Poets; Collection of short stories – in a reader
Prerequisite: English 22000
Intermediate Creative Writing: Reading As Writers
27669 sec. D Laura Hinton M, W 12:30 – 1:45pm
27668 sec. G Laura Hinton M, W 5:00 – 6:15pm
27650 sec. T Robert Balun T, TH 6:30 – 7:45pm
This intermediate creative writing workshop focuses on the continued improvement of student writing through reading and discussing models in literature. These may include poems, short stories, essays and plays. The emphasis of the course is on reading texts as writers, and discussion of craft, based on the work of a few published authors considered in-depth. It operates with the belief that writers must read deeply and extensively in order to hone their work.
Prose Writing Workshop
27651 sec. B Brad Fox M, W 9:30 – 10:45am
27674 sec. E Amir Ahmadi M, W 2:00 – 3:15pm
42913 sec. F Kathryn Gelsone M, W 3:30 – 4:45pm
27696 sec. H Constantine Jones M, W 6:30 – 7:45pm
27652 sec. K Susan Konig T, TH 8:00 – 9:15am
27653 sec. R Yahdon Israel T, TH 3:30 – 4:45pm
27654 sec. S Yahdon Israel T, TH 5:00 – 6:15pm
This workshop will focus on the art of writing the analytic and non-fiction essay. The craft of the essay will be explored through the study of various styles including the critical, memoir and travel essay. Students will read and consider the strategies of established writers in this genre. Students will be expected to write and revise several short essays. The class is designed as a workshop in which students will receive critique and respond to the work of their peers.
Prerequisite: English 22100
Workshop in Fiction
27671 sec. H Salar Abdoh M, W 6:30 – 7:45pm
The course is divided between understanding and executing the various elements of the art of fiction and learning to read a work and critique it constructively. This is a more rigorous class than an introductory one and the grading standards will reflect that. It will be assumed that the student has taken several courses in creative writing already and approaches the craft seriously. There will be a final submission, as well as numerous writing exercises throughout the semester.
27693 sec. M Therese O'Neill T, TH 11:00 – 12:15pm
27657 sec. R Manreet Someshwar T, TH 3:30 – 4:45pm
This workshop is designed for students seeking a launch pad and a community for writing short fiction. It is only to be taken by those who have already completed English 220 and 221 -- Intro. and Intermediate Creative Writing. Students will read a range of exemplary short stories over the course of the semester using the critical vocabulary of the craft. This includes: characterization, point of view, point of entry, dialogue, pace, setting, tone, structure, and ending. Assigned stories will serve as models for regular brief in-class writing exercises during the first half of the semester. Mid-semester, students will turn in a short story that is likely to have developed out of one or more of these exercises. In the second half of the semester, students will read and evaluate each other's work in a workshop model. Students will also be performing regular in-class writing exercises. At the end of the semester, each student will turn in a drastic revision of their short story.
Prerequisite: English 22100
Workshop in Poetry
57118 sec. P Estha Weiner T, TH 2:00 – 3:15pm
In this course you will read contemporary poets, study various aspects of craft and write poems. Students will memorize poems, workshop poems and write one paper on a poet of their choice. Students will be expected to attend several poetry readings during the semester. In short you will, both in and out of class, immerse yourself in the poet’s experience, and observe the world through the eyes of a writer. Texts include, A Poetry Handbook by Mary Oliver and The Penguin Anthology of Twentieth Century American Poetry edited by Rita Dove.
Prerequisite: English 22100
Workshop in Film and Television
57237 sec. 1CD Marc Palmieri M 11:00 – 1:45pm
We will examine the storytelling possibilities of writing for this highly technical and collaborative art form. Students will develop a script for the large or small screen – either film, television or webseries, and participate in brief “read-alouds” of portions of the drafts, and feedback discussions of classmates’ work.
Those interested in adapting one of his or her works of fiction, non-fiction or poetry to a screenplay form are encouraged to do so. This process comes with its own interesting set of expectations and strategies, and can be an enlightening exercise in the general honing of your story structure.
List of Interdisciplinary Electives that will be counted toward major requirements
Only one literature course offered outside of the English Department will count toward the English major requirement
ARAB 31101: Literature of the Maghreb & Mashrek in Translation
EDCE 25600: Language, Mind, and Society
JWST 11400: Introduction to Jewish American Literature
JWST 31125: Sex and Zion: Debating Gender in Modern Hebrew Literature
JWST 31171: Literature of the Arab-Israeli Conflict
JWST 31313: Angels & Demons in Modern Literature
PORT 40100: Selected Topics in Luso-Brazilian LiteraSPAN 28200: Masterworks of Spanish Literature II
SPAN 28300: Masterworks of Latin American Literature
THTR 31104: August Wilson
NOTE: Publishing courses do not count toward English major or minor requirements, but only toward fulfillment of the publishing certificate program, or as general electives. For more information, contact the Director of the program, David Unger at (212) 650-7925.
Introduction to Publishing
27658 sec. LM Philip Rappoport T 9:30 – 12:00pm
Introduction to Publishing introduces students to trade books (books for the general consumer) and their publishers. The course is designed to give an overview of the book business--from how manuscripts are made (role of the author, agent and acquiring editor); to how books are made (design, production and distribution of the finished book); to how books are sold (publicity and marketing).
An important aspect of the course is helping students find their potential niche in the publishing business, should they continue on for the Publishing Certificate. The course concludes with how to get a job, stressing resume preparation, writing query letters to publishers, and preparing for interviews. The course aims at inculcating professionalism in students as it prepares them for satisfying careers in book publishing.
Fundamentals of Copyediting & Proofreading
27659 sec. TU Sherry Wasserman TH 6:30 – 9:00pm
Students will employ universal copyediting/ proofreading symbols in type-marking a variety of texts including fiction, non-fiction, cookbooks and references. They will learn design coding; drafting of style sheets; querying; and preparing a manuscript for author review, etc.
Legal Issues in Publishing
27660 sec. ST Steven Weissman T 5:00 – 7:30pm
A course covering the crucial clauses in an author-publisher contract; intellectual property issues; the First Amendment; general copyright matters; defamation; invasion of privacy; obscenity; and internet copyright issues.
Independent Study (3 credits)
Students may register for a three-credit independent study that represents an internship in the Publishing field. Permission of the Director of the Publishing Program, David Unger, is required. Please fill out an independent study form with Mr. Unger and submit it to the English Advising Office (NAC 6/219) before registering through an English Advisor.