Fall 2019 Undergraduate Courses

Gateway Course Required for the Beginning Major

Engl 25000
Introduction to Literary Study

25883            sec. C                     Kaitlin Mondello                     M, W 11:00 – 12:15pm
25869            sec. E                     Alexander Magnet                  M, W 2:00 – 3:15pm
42041            sec. F                     Alexander Magnet                  M, W 3:30 – 4:45pm
25903            sec. L                     Mark-Allan Donaldson           T, TH 9:30 – 10:45am
26474            sec. P                     Aaron Botwick                        T, TH 2:00 – 3:15pm
25870            sec. T                     Jared D. Fagen                       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.

Literature 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.

Engl 21200
Introduction to Language Studies

48248       sec. P         Melissa Watson       T, TH 2:00 – 3:15pm

This course examines intersections of language and society, introducing important theories about how language is used, perceived, taught, and treated in the US and beyond. The course provides opportunities to investigate societal structures and attitudes surrounding language that create and uphold hierarchies, empowering some groups and disadvantaging others.

Just like English 342, this course fulfills language study requirements for Education program students.

Engl 26102
Studies in Genre: Novel

42061       sec. C       Robert Higney           M, W 11:00 – 12:15pm

If you have ever read literature for enjoyment, you’ve almost certainly read a novel—a long fictional narrative. Novels are at the center of our literary culture, and have been for over two hundred years. But why is this the case? Where does the novel as an art form come from, how has it developed, and how can we approach novels critically and better understand their place in literary culture? This course will begin to answer these questions, taking as examples a selection of key novels from the 17th century to the present day. Throughout the course, we will develop a critical vocabulary for discussing character, narrators, narrative structure, theme, and other aspects of the form. Be prepared to read a lot. Texts will likely include Aphra Behn, Oroonoko; Daniel Defoe, Robinson Crusoe; Jane Austen, Pride & Prejudice; Charles Dickens, Great Expectations; Virginia Woolf, Mrs. Dalloway; Zadie Smith, NW; and NoViolet Bulawayo, We Need New Names. Work will involve 3 essays and shorter occasional writing assignments.

Engl 26200
Studies in Genre: Drama

26480       sec. G       Daniel Gustafson       M, W 5:00 – 6:15pm

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 classical antiquity 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, Henrik Ibsen, Anton Chekhov, Bertolt Brecht, Harold Pinter, Wole Soyinka, Caryl Churchill, Suzan-Lori Parks, and Sarah Ruhl.

Engl 27008
Literature of Diversity: Prison Writings

48253       sec. L       Elizabeth Mazzola        T, TH 9:30 – 10:45am

The curious flipside of a global world where ideas, things, and people seem to travel far and wide is an increasingly locked down world, where scores of people are detained, put away in camps or relocation centers, or kept alive and offsite in prison. How have writers described the role of prisons in society? What kind of history does the prison have, and what is its future? How does the prison operate as a business, as an architectural structure, and as a setting for behavior modification, rehabilitation, or torture? How do writers use the prison as a metaphor for madness? For marriage? For modern life?
Open to English majors and non-majors, this class is a broad survey course with a variety of readings and many short assignments. We will read Kafka’s “In the Penal Colony,” a Guantanamo diary, Richard Wright’s Native Son, Charlotte Perkins Gilman’s The Yellow Wallpaper, a selection from Malcolm X’s autobiography and a letter by Martin Luther King, Jr., Agnes Smedley’s newspaper stories, and Sophie Treadwell’s Machinal, along with theoretical perspectives and contemporary discussions of American mass incarceration. With enough time (for good behavior?), we might see a prison film and visit MOMA’s exhibit of Ibrahim El-Salahi’s Prison Notebook as well as look at a literary journal produced by inmates at San Quentin.


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.


Engl 34200
Advanced Grammar

26190       sec. G     Nicole Treska           M, W 5:00 – 6:15pm
27235       sec. S      Nicole Treska           T, TH 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.

Engl 35202
Chaucer: The Canterbury Tales

42064       sec. R     Paul Oppenheimer     T, TH 3:30 – 4:45pm

A rollicking study of one of the most influential masterpieces of English—actually Middle English—literature, along with one of the most brilliant and entertaining, Chaucer’s unfinished Canterbury Tales presents a collection of bawdy, tragic, sublime, pathetic, romantic, comical, allegorical and occasionally preposterous stories which serve as a gateway to the medieval and modern worlds. Readings will be in Chaucer’s easy-to-grasp-and-learn Middle English, which everyone picks up rapidly enough. Often we shall be examining fundamental relations between the medieval world and our own. Two required papers, the first fairly short, the second somewhat longer. A number of guided readings in class. Text: Larry D. Benson ed. The Riverside Chaucer. 3rd ed.

Engl 35301
Shakespeare I

25892       sec. D       Doris Barkin            M W 12:30 – 1:45pm

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 will 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.


Engl 35800
Representative British Writers of the Modernist Period

42071       sec. B       Robert Higney         M W 9:30 – 10:45am

This course will survey the modern period in British literature, from the beginning of the twentieth century to the post-World War II era and beyond, with particular attention to poetry and the novel but including drama, short stories, and film as well. In this period, modernism became an important aesthetic movement in the metropolitan centers of Europe and around the world; literature became a means by which nations and peoples emerging out of the empires of the nineteenth century constructed identities for themselves; and English itself was established as a truly global literary language. Recurring themes: the relationship of empire and history to literary form; modern writers’ use of the English literary tradition; representations of gender and race, class and culture. Authors will include W.B. Yeats, Joseph Conrad, Virginia Woolf, James Joyce, T.S. Eliot, Ezra Pound, Elizabeth Bowen, C.L.R. James, George Orwell, Jean Rhys, and others. 3 essays and shorter occasional writing assignments.

Engl 36200
Representative US Writers 20th Century

25905       sec. T       Keith Gandal             T, TH 6:30 – 7:45pm

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

Engl 36701
Selected Topics in Literature of the Americas:
The Short Stories in the Americas

48254       sec. P       Lyn Di Iorio               T, TH 2:00 – 3:15pm

In this class, we will examine single-author short story collections of high accomplishment by writers from Canada, the Caribbean, Latin America, and the United States.  In addition, we will consider theories of short story writing.  We may read short story collections by some, although not all, of the following: Jorge Luis Borges, Julio Cortázar, V.S. Naipaul, Flannery O'Connor, Silvina Ocampo, Alice Munro, Joy Williams, Tiphanie Yanique, or others.  Course work will include one presentation, a midterm paper, and a final essay. Experienced creative writers may write a short story and self-critique as their final project.

Engl 36805
Selected Topics in Life Writing:
Autobiography, Confession, Memoir

48255       sec. G      Harold Veeser            M, W 5:00 – 6:15pm

This course will allow for experiments in criticism and memoir. We will read a sampling of popular memoirs, recovery narratives, ethnic-identity stories, substance-abuse sagas, trauma memoirs, conversion narratives, and coming-of-age stories.

Required Books

Julie Otsuka, The Buddha in the Attic
Chris Kraus, I Love Dick
Tupac Shakur, The Rose that Grew from Concrete
Jen George, The Babysitter at Rest
Maggie Nelson, The Argonauts

Engl 37006
Comparative Africana Fiction

Cross-listed with BLST (course number 32010)

58804       sec. L      Marsha Jean-Charles   T, TH 9:30 – 10:45am

What is our world in the eyes of First-Generation creators of color? This course is discussion based and in it we focus on coming of age texts regarding identity formation and specifically race, sexuality, class, gender, and (im)migration. Rooted in diaspora theory, this course is an exploration of what it means to grow up in America and be a child of (im)migrants in the texts from the early 1990s to the contemporary moment. Endeavoring to advance conversations about identity, socio-cultural politics, theory, and more, this course excavates the realities of both being and living in between.

Engl 37104
Key African American Writers of the 20th Century

Cross-listed with BLST (course number 31911)

48256         sec. R     Gordon Thompson      T, TH 3:30 – 4:45pm

As an overview of African American writers of the 20th century, this class examines works of fiction, poetry, and non-fiction that have had a major impact on fashioning an African American literary tradition. This class will examine entire texts or excerpts from writers such as Jean Toomer, Langston Hughes, Claude McKay, Countee Cullen, Richard Wright, James Baldwin, Gwendolyn Brooks, Amiri Baraka, Toni Morrison, Ntozake Shange among others.

Engl 37105
Selected Black Authors from Hurston to Morrison

Cross-listed with BLST (course number 31166)

48257         sec. S   Gordon Thompson        T, TH 5:00 – 6:15pm

This class examines the work of a choice group of African American writers—a group that includes women writers such Nella Larsen, Zora Neale Hurston, Lorraine Hansberry, Gwendolyn Brooks, Audre Lorde, Alice Walker, or Toni Morrison; or men who have created significant female characters such as James Baldwin, Larry Neal and Carl Phillips.

Engl 37200
Selected Topics in Literary Theory

47152          sec. S     Vacláv Paris                   T, TH 5:00 – 6:15pm

This course is about how we read. It asks fundamental, often philosophical, questions, such as: what is an author? How do we construct meaning? What purpose does literature serve? We’ll be reading the work of theorists in various schools (e.g. poststructuralism, feminism, Marxism, ecocriticism), as well as key literary texts that help to illustrate or test these theories. In the latter half of the course, a particular emphasis will be placed on asking after the state of literary theory now. What seem to be the most vital questions in 2019, and how can we engage in them? Students will write a mid-term and a final paper on a theoretical approach or theorist of their choice.

Engl 37502
19th Century Women Writers

42083            sec. C    Renata Miller              M W 11:00 – 12:15pm

The nineteenth century was an era in which women’s writing flourished and women were able in large numbers to make a profession of writing for the first time.  Writing provided women with a public voice and with financial independence.  In this course we will read fiction, poetry, autobiography, and drama by anglophone women writers from England, the United States, and the Caribbean.  We will focus on works that reflect on the significance of women’s writing as they explore issues around women’s voices, women’s art, women’s freedom, and women’s agency. 

Subject to change before the start of the course, our reading list may include the following works:

Mary Shelley, Frankenstein (1818)
Mary Prince, The History of Mary Prince, A West Indian Slave (1831)
Charlotte Brontë, Jane Eyre (1847)
Elizabeth Barrett Browning, Aurora Leigh (1856)
Mary Seacole, Wonderful Adventures of Mrs. Seacole in Many Lands (1857)
George Eliot, Daniel Deronda (1876)
Elizabeth Robins, Alan’s Wife (1893)
Kate Chopin, The Awakening (1899)

Two exams (a mid-term and a final) will prepare students to write two essays in which they will explore a theme of their choice.

Engl 37505
Hybrid Experimental Poetics
Please note this class may also count as a 300-level Creative Writing Workshop

50462       sec. F       Laura Hinton       M, W 3:30 – 4:45pm

Can you use a smart-phone camera, video, or voice-recording app? Do you like writing creative poetry and experimental prose in tandem with using various software technologies? In this new experimental course, we will be using the mixed-media technology readily available to us through phones, tablets, and computer software to write and produce our own creative multi-media literary works. We will also be reading, viewing, listening to and writing about 20th and 21st century writers who work either solo in the hybrid literary arts or in collaboration with other visual and musical artists.

This new critical practice course will require students to both read and analytically study contemporary ”hybrid writing and poetics,” and also to try their hand at creating their own hybrid literary pieces. We will start with the concept of the prose-poem, move to poetry-music hybrids, then to video poetry and other forms of visual-verbal collaborations, finally, to choreographed movement and performance poetry practices. Some of the hybrid experimental poets and writers we will study include jazz and spoken-word poets Jayne Cortez, Tracy Morris, and Gil Scott-Heron, video artists and filmmakers Theresa Cha, Abigail Child, Claudia Rankine, multi-media performance poet Ann Waldman, and choreographer-poet Sally Silvers, among others.

Requirements include short critical as well as creative assignments, a final creative project and “artist’s notebook.” The course will be conducted both through creative writing workshops and text-based discussions over required readings.

Engl 39010
Suspense in Film and Literature: Anticipating What Happens Next

Cross-listed with MCA 31009

53824       sec. 2PR      Chester Kozlowski       TU 2:00 – 4:45pm

Suspense is defined as a state or feeling of excited or anxious uncertainty about what may happen. It also refers to the temporary suspension of disbelief, a quality intrinsic in much popular entertainment. This course, a unique partnership between the Cinema Studies Program and the Dept. of English, examines the structure, nuances, and value of keep an audience on the edge of its seat. Meeting once a week, the viewing of full-length feature films by director like Alfred Hitchcock and David Lynch will alternate with lectures featuring clips and comparison to literary sources by authors like Daphne Du Maurier and Stephen King. 


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.


Engl 49017
Modern Literature, Illness and Medicine

48249       sec. 3HJ       Keith Gandal       W 6:30 – 8:30pm

The meteoric rise of modern medicine, starting in the late 19th century, with its strictly “materialist” approach to health—and its separation from (what is now called) psychology--has greatly transformed the very conception of the human being.  From that period until now, literature, which is of course centrally concerned with characters and human experience, has both reflected and contested this modern medical understanding of human illness.  We will consider the literary representations of illness and doctors--and their relation to the medical versions of these--in American works, as well as a couple of European works that had great impact in the US, from the 1890s to the present.

This class initiates a new project in literary studies, which will involve discussions usually outside the purview of literature courses: about the nature of the scientific method and the history of science.  This is not the typical course on “Literature and Medicine,” which, even when it focuses on modern literature and medicine, does so in an ahistorical way.  The standard course might, for example, “raise questions about ethical behavior in the face of sickness” (to quote a random course description at another university).  But, as this phrase indicates, it takes “sickness” as a given and doesn’t distinguish between different sorts of sicknesses; in other words, it doesn’t raise questions about the ethics of the modern medical construction of sicknesses themselves.  The treatments of sicknesses that have no cure have a significant social history because our medical ideas about such sicknesses are, by necessity, unscientific, which is to say, they are not scientifically proven--as only a cure is scientific proof.  To take perhaps the most important example, doctors have for centuries recognized cancer, but the conception of the cause of cancer is very different today from what it was even in the early 19th century.

Tentative texts:

Charlotte Perkins Gilman, The Yellow Wallpaper
Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde
Kate Chopin, The Awakening
Sigmund Freud, Five Lectures on Psycho-Analysis
Djuna Barnes, Nightwood
Henry Miller, The Colossus of Maroussi
William Burroughs, Junky
Norman Mailer, An American Dream
Toni Morrison, Sula
Maxine Hong Kingston, The Woman Warrior
Leslie Marmon Silko, Ceremony
Audre Lorde, The Cancer Journals
Joan Didion, The Year of Magical Thinking


Engl 49018
Renaissance Poetry

48251       sec. 3EF       Andras Kisery          W 2:00 – 4:00pm

In this course, we will be reading and discussing English poems written by Shakespeare and his contemporaries. Epigrams and elegies, sonnets, songs, and shorter narrative poems, everything except the epic. The poems are mostly about love – we will be thinking about how poetry remakes love into its own image, and how different poetic forms change our experience of love and of the world.

Engl 49019
Anxiety of Influence: Wright, Ellison, Baraka

48252       sec. 2NP      Gordon Thompson   TU 12:30 – 2:30pm

This class will draw a line back to the classic slave narrative of Frederick Douglass, but also to Harriet Beecher Stowe’s impactful novel Uncle Tom’s Cabin: these had a big impact on the shape of many 20th century black fiction and non-fiction.  The anti-Douglass and Stowe dimensions of Booker T. Washington’s autobiographical Up from Slavery is complicated by its representation of “Uncle Tom” tropes and stereotypes. The most notable figure associated with this tradition, however, is Richard Wright in his autobiographical work Black Boy and his first novel Native Son, but also in his short story collection Uncle Tom’s Children—a title we are told was suggested by Wright’s editors and publisher. With James Baldwin’s famous essay “Everybody’s Protest Novel,” and his indictment of Wright’s Native Son as an unconscious parody of Stowe’s Uncle Tom’s Cabin, Wright’s link with Stowe’s themes seems a settled matter.  Wright’s works convey a modern version of the escape narrative--escape, if not from slavery, then, at least from a form of economic enslavement aka financial repression.  Ellison’s Invisible Man can be read as a reaction to Wright’s work, as its protagonist seeks to escape society; and though his quest does not lead to death as in the case of Wright’s protagonist, it leads, instead, to a self-enforced hibernation underground—a social death.  Amiri Baraka’s play, Dutchman, finally, and based on its setting in New York City’s subway, reconfigures the escape narrative associated with the Underground Railroad.  It also challenges the hibernation tropes at play in Ellison’s novel. Additional texts concerned with the black male’s flight from an oppressive society will be examined as well.

Engl 49020
Between History and Memory: The Memoir in the Age of Forgetfulness

51465       sec. 1GH     Mikhal Dekel                  M 5:00 – 7:00pm

A memoir is a historical account of the past written from a personal angle. But how does the memoirist “unlock” the past? If individual memory is dynamic and ever-changing and collective histories get re-written often, what are the memoirist’s sources? How does the past come to “speak” to him or her? What are his or her obligation to historical accuracy? In this seminar, we will read memoirs, personal essays and theoretical works on memoir, memory and history. Writers will include Joan Didion, Edmund de Waal, James Baldwin, Simon de Beauvoir, Marianne Hirsch, Reinhart Koselleck and others. Midterm and final papers will be assigned.

Creative Writing Courses

Engl 22000
Introduction to Creative Writing

26188       sec. B       Virginia Vasquez       M, W 9:30 – 10:45am
42018       sec. G       Virginia Vasquez       M, W 5:00 – 6:15pm
25902       sec. J       Robert Balun              M, W 8:00 – 9:15pm
25913       sec. L       Elaine Sexton             T, TH 9:30 – 10:45am
25863       sec. M      Matthew Gahler          T, TH 11:00 – 12:15pm
26472       sec. P      Sheila Maldonado       T, TH 2:00 – 3:15pm
25901       sec. R      Peter C. Jones            T, TH 3:30 – 4:45pm

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.

26189      sec. C      Doris Barkin                M, W 11:00 – 12:15pm
25880      sec. F      Doris Barkin                M, W 3:30 – 4:45pm

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.

Engl 22100
Prerequisite: English 22000
Intermediate Creative Writing: Reading As Writers

25882     sec. E      Laura Hinton                 M, W 2:00 – 3:15pm

This intermediate creative-writing course will be experimental in that it will focus on issues of language and its potential for observing and investigating the mind, the body, perception and the experience of our world—all from the point of view of our own writing practice. We will work in this course to divest ourselves of preconceived ideas about “point of view,” as in authoritarian or moralistic speech (presumed in so much U.S. commercial discourse and “creative writing” expression alike).  Our emphasis will be on “poetics” in the sense that the language we draw from in stating some aspect of our experience is social, shared, but also new—as we engage with our own feel for language and “activate” it in a series of creative “experiments.”  We will treat language as having its own activity on the page and in the mind. We will try to avoid cliché traps, the usual cultural narratives, or expected “points of view” of a “narrator” or “speaker.”

We will not constrain ourselves in this course to a study of traditional literary “genres”—these are transformable and ever changing, culturally and historically defined. We will engage together in a number of writing experiments modeled by and/or intellectually informed by assigned literary readings and a critical response to those readings. These readings include pieces by contemporary authors like Langston Hughes, both Amiri and Amina Baraka, Jayne Cortez, Rae Armantrout, Barbara Guest, Claudia Rankine, and several others. Issues of sight and image, sound and performance, reality and experience, and the language that invokes our “experience,” will be our focusing concepts as we work through the literary readings together, and as all participate in student writing workshops.

25881    sec. F     Brendan Costello           M W 3:30 – 4:45pm
25864    sec. T     Peter C. Jones                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.

Engl 23000
Prose Writing Workshop

25865    sec. D    Rebecca Minnich            M, W 12:30 – 1:45pm
25886    sec. E     Yahdon Israel                 M, W 2:00 – 3:15pm
26473    sec. F     Ariel F. Henriquez          M, W 3:30 – 4:45pm
25906    sec. H     Alexander Magnet         M, W 6:30 – 7:45pm
25866    sec. K    Stewart Sinclair              T, TH 8:00 – 9:15am
42029    sec. L     Susan Konig                   T, TH 9:30 – 10:45pm
25867    sec. P     Cynthia Cruz                   T, TH 2:00 – 3:15pm
25868    sec. S     Laura Yan                        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. The course will include the writing of a Proposal toward a non-fiction piece, which can serve as one of two major papers assigned.  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.

Engl 32000
Prerequisite: English 22100
Workshop in Fiction

25884    sec. H       Emily Wright-Rosenblatt     M, W 6:30 – 7:45pm
25904    sec. M       Felice Neals                         T, TH 11:00 – 12:15pm
25871    sec. R      Stewart Sinclair                    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.

Engl 32100
Prerequisite: English 22100
Workshop in Poetry

26695   sec. P     Estha Weiner                         T, TH 2:00 – 3:15pm

The Advanced Poetry Workshop offers serious poets the opportunity for "total immersion" in crafting their work, responding to the work of fellow class members, and exposure to the work of other poets from a variety of periods, with a variety of styles. Students will have the chance to shape and reshape their poems through their close attention and ours, to utilize appropriate exercises, and to stretch themselves. A final manuscript representing your body of work during the term, participation in a Final Reading Day, and attendance at as many readings as possible complete this Advanced Poetry Workshop.

Required Texts are:

A Packet of Poems and other suggested readings- to be provided by professor

Engl 32200
Prerequisite: English 22100
Workshop in Drama

42214    sec. 1CD    Marc Palmieri                   M 11:00 – 1:45pm

This is a creative writing workshop in the playwriting form. The plays must be original works or adaptations of your own prose work.  We will read material aloud in class, evaluating one another’s work and sharing feedback in the classroom. Please note: We will work on stage plays, not screenplays. If you have a screenplay in progress, I suggest you adapt it into a play form. Adaptation from screenplay to a stage play format can be an enlightening exercise and have an enormously positive effect on your screenplay and its future. Each student will have his or her work read aloud by fellow class members. This is of particular importance in playwriting. We will work out a schedule, and students will present at least twice. All class members are eligible (and must be willing) to read parts.

Engl 37505
Hybrid Experimental Poetics
Please note this class may also count as a 300-level Literature Elective

50462    sec. F        Laura Hinton                     M, W 3:30 – 4:45pm

Can you use a smart-phone camera, video, or voice-recording app? Do you like writing creative poetry and experimental prose in tandem with using various software technologies? In this new experimental course, we will be using the mixed-media technology readily available to us through phones, tablets, and computer software to write and produce our own creative multi-media literary works. We will also be reading, viewing, listening to and writing about 20th and 21st century writers who work either solo I n the hybrid literary arts or in collaboration with other visual and musical artists.

This new critical practice course will require students to both read and analytically study contemporary ”hybrid writing and poetics,” and also to try their hand at creating their own hybrid literary pieces. We will start with the concept of the prose-poem, move to poetry-music hybrids, then to video poetry and other forms of visual-verbal collaborations, finally, to choreographed movement and performance poetry practices. Some of the hybrid experimental poets and writers we will study include jazz and spoken-word poets Jayne Cortez, Tracy Morris, and Gil Scott-Heron, video artists and filmmakers Theresa Cha, Abigail Child, Claudia Rankine, multi-media performance poet Ann Waldman, and choreographer-poet Sally Silvers, among others.

Requirements include short critical as well as creative assignments, a final creative project and “artist’s notebook.” The course will be conducted both through creative writing workshops and text-based discussions over required readings. 


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

ASIA 31104: Modern Japanese Literature and Film

BLST 31175: AfroLatina/o Literature

JWST 23200: Jews in Film/Fiction

JWST 31008: The Holocaust in Italian Film and Literature

JWST 32200: Women in Modern Jewish Fiction

PORT 40200: The Cultures and Literatures of Lusophone Africa


Publishing Courses

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.

Engl 32501
Introduction to Publishing

25872       sec. LM          Lisa Healy         TU 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.

Engl 32800
Fundamentals of Copyediting & Proofreading

25873        sec. TU       Pamela R. Maines   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. 

Engl 32801
Legal Issues in Publishing

25874          sec. ST     Steven Weissman   TU 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.

Engl 31003
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.