Gateway Course Required for the Beginning Major
Engl 25000 Introduction to Literary Study
25545 sec. E Casey Henry M, W 2:00 – 3:15pm
25547 sec. H Casey Henry M, W 6:30 – 7:45pm
68085 sec. L Kathryn Gelsone T, TH 9:30 - 10:45am
25548 sec. P Joshua Barber T, TH 2:00 – 3:15pm
25549 sec. R Daniel Gustafson T, TH 3:30 – 4:45pm
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.
25546 sec. B Robert Higney M, W 9:30 – 10:45am
This course offers an introduction to the academic study of literature in English. We will closely read poetry, drama, short stories, and a novel, spanning the last 500 or so years of English literary history, paying attention not only to what these texts mean but also to how they mean. How does a poem use imagery and rhyme, for example, to affect our understanding and to move us? How does a story encourage us to sympathize with one character’s point of view and not another’s? And what kinds of evidence from literary texts might we use to convince others of our interpretations? As we ask these questions and others, will we consider how writers’ aims and historical circumstances influence their varying uses of literary form. In regular writing assignments, students will employ the critical terms and concepts we discuss in class to analyze and make arguments about literary texts. You will also have the opportunity to demonstrate your knowledge on some short exams. In addition to helping you to say informed and insightful things about works of art and literature, the skills you learn in this course will help you to succeed in more advanced courses in the English major at City College.
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 26100 Introduction to Novel
52809 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, symbolism, and other aspects of the form. Be prepared to read a lot. Texts may include Aphra Behn, Oroonoko; Daniel Defoe, Robinson Crusoe; Jane Austen, Pride & Prejudice; Charles Dickens, Great Expectations; Virginia Woolf, Mrs. Dalloway; Zadie Smith, NW; and Teju Cole, Open City. Workload will involve 3 essays, mid-semester exam, and shorter occasional writing assignments.
Engl 26103 Studies in Genre: The Social Media Novel
52994 sec. F Casey Henry M, W 3:30 – 4:45pm
Margaret Thatcher once famously stated that there was “no such thing as society,” just “individual[s].” She might just have easily been discussing our current atomized media landscape. Online, we watch well-known figures snipe through Twitter, national disasters diffuse through multiple layers of hearsay and reposting, and obscene philosophies incubate on Reddit message boards. As social intimacy increasingly takes place on grand, algorithmically controlled systems, owned by massive tech firms, a sense of person-to-person contact has become an exotic commodity. And where exactly does contemporary fiction fit in? Threads in contemporary criticism have attempted to locate both the affective potential, and stultifying boredom, of our all-digital, all-the-time neoliberal moment.
This course will investigate the genre of the “social media novel,” marked by late-capitalist relations filtered through technology, in twenty-first century fiction. We will ask: how do new kinds of work, especially the proliferation of precarious labor under the “gig economy,” affect the subject in fiction? How do depictions of race, sex, and gender operate in this presentational world of avatars and noms de plume? Do stories arising out of the information economy bear the imprint of their driving organizations? And, perhaps most importantly: is loneliness and isolation simply an unavoidable part of life on the Internet? We will consider the formal qualities wrought from these forces against other literary forms, and employ a critical vocabulary to help us diagnose this emerging narrative terrain. The course will start with texts exploring medium and feeling by Marshall McLuhan, Theodor Adorno, and Kathy Acker. Then, we will probe the interaction between new media aesthetics and fictional representation in works such as Dennis Cooper’s God Jr., set in a psychedelic video game world, and Tao Lin’s Taipei, which traces millennial malaise across global Gmail chats. We will end with depictions of institutions shaped by these influences, such as Silicon Valley (Jarett Kobek) and the university (Michel Houellebecq), as well as ruptures of racialized violence tinging progressive rhetoric of uplift (Claudia Rankine). Students should expect suitably creative and multimodal writing assignments, as well as a final paper.
Engl 27001 Literature of Diversity: Literature of Immigration
25550 sec. M Grażyna Drabik T, TH 11:00 – 12:15pm
52642 sec. S Grażyna Drabik T, TH 5:00 – 6:15pm
In this survey course we’ll focus on three major themes characteristic of immigrant writings: the powerful experience of “border crossing” and a resulting sense of displacement; dynamic of the costs and gains of assimilation; and challenges of confrontation with the complexities of the mainstream American culture, reevaluating and reinventing in this process not only oneself but also America. This is an intensive “reading course,” so be prepared to read and discuss texts of various genres, including novels by Mario Puzo and Jamaica Kincaid, collections of short stories by Anzia Yezierska and Junot Diaz, and a selection of poems and excerpts of memoirs.
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 31158 Contemporary African American Female Playwrights
Cross-listed with THTR 31113
30875 sec. 1EF Eugene Nesmith M 2:00 – 4:40pm
In the past quarter of a century there has been a plethora of new, young, African American playwrights who have written and acquired major productions of their works nationally and internationally to wide critical acclaim and major awards. This course will trace this development beginning with Lorraine Hansberry’s 1959 groundbreaking A Raisin in the Sun, to Lynn Nottage’s 2017 Pulitzer Prize winning drama Sweat. This course is designed to accommodate students at all levels of study. As a basic reading and text analysis class we will begin our critical analysis from an Aristotelian approach to critical approaches inclusive of Cultural Theory, Feminist Theory, Performance Theory and Critical Race Theory. This is a reading and discussion class. We will certainly examine how the roles of women have changed in the past fifty years, as well as racial and gender issues as they relate to love, family, oppression, history and economics. In the process, hoping that students will gain a higher level of critical and analytical consciousness, and a more empowering voice. By the process of close reading we will analyze texts from the social, historical, cultural, political and psychological perspectives. Throughout the process of this course, we attend to a broader analysis of the relationship between African American Theatre and the broader American Theatre.
Engl 31891 Harlem Renaissance
52811 sec. D Gordon Thompson M, W 12:30 – 1:45pm
52812 sec. E Gordon Thompson M, W 2:00 – 3:15pm
This class will focus on literature, images and music of African Americans created during and around the period of the Harlem Renaissance—between, that is, WW I and the Great Depression. A flowering of artistic production by African Americans was created in tandem with and often in response to the changing social conditions of life for blacks. These offerings illustrate the lifestyle of African Americans, highlighting its contrast with life in mainstream America. The class will explore that musical genre, blues, which grew out of the era and that would continuously influence American music (and the music of the world.) We will examine African American art such as the paintings of Aaron Douglas, some of which serve to illustrate literature by Langston Hughes, James Weldon Johnson, and Jamaican-born Claude McKay. Other writers that the class will read will include pieces by Arna Bontemps, Zora Neale Hurston, Wallace Thurman, Nella Larsen and Jean Toomer.
Engl 34200 Advanced Grammar
52645 sec. G Nicole Treska M, W 5:00 – 6:15pm
25098 sec. L Fred Reynolds T, TH 9:30 – 10:45am
67909 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: Canterbury Tales
52814 sec. P Paul Oppenheimer T, TH 2:00 – 3:15pm
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 35302 Shakespeare II
25559 sec. F András Kiséry M, W 3:30 – 4:45pm
Shakespeare is the most influential and most successful writer in English. Shakespeare 2 is a survey of Shakespeare’s plays in the second half of his career. Our readings will probably include the “problem comedy” Measure for measure, the twisted tragicomedy of love Troilus and Cressida, the major tragedies Hamlet, Othello, and Coriolanus, and the late romance Cymbeline. Our reading of these stories of love, power, violence, jealousy, and loss will be accompanied by occasional critical readings and short clips from movie adaptations. Regular quizzes, short written assignments, in-class performances, and a final project.
Engl 35401 Remapping the Middle Ages
62961 sec. L Brad Fox T, TH 9:30 – 10:45am
The Middle Ages are often taught as if they happened mostly in England and France—Arthurian legends, Romance of the Rose, Marie de France. But much of the period’s great literature and art was produced in the bustling, cosmopolitan cities to the south and east. This course will expand the view to take in the greater Mediterranean, from the mystics of Andalusia to the party crashers of Baghdad. We will read poetry and prose in translations from Arabic, Spanish, Greek, and Italian; stories of love and adventure, crime and prayer. We’ll also look at examples of art and material culture of the time. Two required papers, one 2-3 pages, one 7-10 pages, and short responses along the way.
Engl 36100 Representative US Writers 19th Century
52816 sec. B Alec Magnet M, W 9:30 – 10:45am
In the 1830s, Ralph Waldo Emerson declared the independence of American literature from “our long apprenticeship to the learning of other lands.” And yet Emerson also thought of himself as part of the community of world literature. He drew inspiration from European, Asian, and Middle Eastern writers. And he was painfully aware of the conflicts threatening to fracture the United States from within—North and South, free and slave, rich and poor, for and against women’s rights, white (particularly the right kind of white) and everyone else. These were some of the thorny questions that nineteenth-century US writers had to tackle. What does it mean to be an American, and for whom? What should it mean? What does it mean to write in America, a country that called itself into existence with two written documents—the Declaration of Independence and the Constitution—just before the nineteenth century began? In this course, we will explore the intersection of these questions: Between 1801 and 1900, what did US writers think literature could do—politically, emotionally, intellectually—and how did they use literature to engage with issues of slavery and race, gender and sexuality, nation and world, class, and personal identity. Readings may come from Edgar Allan Poe, Herman Melville, Walt Whitman, William Wells Brown, Louisa May Alcott, Emily Dickinson, Charles W. Chesnutt, and others. 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 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.
Engl 36500 Selected Topics in 20th Century & Contemporary Literature: Kafka and the Kafkaesque
30685 sec. G Václav Paris M, W 5:00 – 6:15pm
What do CUNY administration, waking up as a beetle, insurance, America, immigration, tax forms, torture, David Lynch, communism, “late” capitalism, suffocating families, airport security, and the law have in common? One answer is the “Kafkaesque.” Defined briefly as “characteristic or reminiscent of the oppressive or nightmarish qualities of Franz Kafka's fictional world,” the Kafkaesque originates with the German-language Prague-based Jewish writer Franz Kafka (1883-1924). Its applications, however, are much broader than simply to Kafka’s work. Taken up in various ways by writers, artists, philosophers, and filmmakers, the Kafkaesque has become one of the defining symptoms of modern life.
This course is dedicated to exploring the meanings of the Kafkaesque, theorizing the term, and staking out its creative potentials. We will begin by reading Kafka’s major works: a selection of his stories, including “Metamorphosis,” his novels, The Castle, The Trial, and Amerika, as well as extracts from his letters and biography. We will then move on to other expressions of the Kafkaesque in literature and film (both earlier and later), including Hermann Melville’s “Bartleby the Scrivener,” sections from David Foster Wallace’s The Pale King, and Basma Abdel Baziz’s 2016 novel, The Queue. We’ll also read a selection of theorists of the Kafkaesque perhaps including Georges Bataille, Hannah Arendt, Theodor Adorno, Giorgio Agamben, Gilles Deleuze, and Nick Land. The questions that we’ll ask include: is the Kafkaesque a historical formation? How does it relate to modernity? What is its genre? Is it a form of comedy? Does it have a particular place (the city, the West), or relation to a given identity (Jewishness, linguistic minority)? What are its existential and psychoanalytic ramifications? Why has such an apparently inane set of topics and affects proved so fascinating to writers and theorists of the last century? And hat does it teach us about life today, and about the future? Evaluation will be based on participation, written responses on Blackboard, as well as two critical essays (or one critical essay and one creative piece).
Engl 36800 Selected Topics in Life Writing: Autobiography Now
52817 sec. S Harold Veeser T, TH 5:00 – 6:15pm
This course features new ways of answering the old question, “Who am I?” We will read 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; and Maggie Nelson, The Argonauts. Excerpts of a few classic memoirs will also be discussed. Experimental writing in criticism and memoir will be encouraged. Some of the topics to be studied are recovery epics, s-&-m-dungeon memoirs, ethnic-identity stories, drug-abuse yarns, trauma chronicles, conversion tales, and coming-of-age sagas. Two papers with a creative option, an oral presentation, and a group project are required.
Engl 36900 Selected Topics in Language, Writing, and Rhetoric: Rhetoric and Reality
Cross-listed with MCA 31135
62736 sec. 1CD Seth Graves M 11:00 – 1:45pm
Practices of reading, writing, speaking, and thinking evolve not only historically but culturally. In this course, we’ll use Charles Bazerman’s characterization of rhetoric as “the study of how people use language and other symbols to realize human goals and carry out human activities” to consider the politics and poetics of our time. We’ll consider the workings of rhetoric in the language of gender, immigration, the internet, and the environment. Students will develop writing projects that emerge from their own interests in the subject matter. Readings will include passages by Aristotle, Kenneth Burke, Roland Barthes, bell hooks, James Berlin, Deborah Brandt, Patricia Roberts-Miller, Susan Sontag, Judith Butler, and Nicholas Carr.
Engl 37005 African Literature
Cross-listed with BLST 37005
63929 sec. B Marcia Jean-Charles M, W 9:30-10:45am
Why is African literature written in European languages? What then makes an epic, a novel, a play, and even a film, African? This course will provide a comprehensive introduction to the range of African literature and its major theoretical constructs. It will also engage with select films that complement the literature. Themes will include the transformation from the oral to the written to the filmic narrative, the construction of the African novel and its response to colonialism, the quest for an “authentic” African voice and theories of literary engagement, along with the post-colonial shift in expression. We will examine the historical and cultural contexts of the writings, with attention to their structures and their unique writing techniques, in exploring issues as diverse as African cultural traditions, the impact of colonialism, the quest for national identity, female subjectivity, and African identities in the global world.
Engl 38105 Modern Drama
52818 sec. T Aaron Botwick T, TH 6:30 – 7:45pm
This course will provide a survey of the developments in modern and contemporary drama from the 1940s to the present. Beginning with absurdist drama and Brecht’s epic theater, the class will explore how late twentieth- and twenty-first century playwrights experimented with inherited dramatic forms and traditions and how their work contributed and responded to such issues as globalization, technology and new media, post-structuralist theories of subjectivity, and the debate between theater as part of the mass culture entertainment industry and theater as a locus of high aesthetics and social responsibility. Our readings will be drawn from the works of playwrights and theorists such as Bertolt Brecht, Antonin Artaud, Samuel Beckett, Jean Genet, David Mamet, Sam Shepard, Wole Soyinka, Caryl Churchill, August Wilson, Sarah Kane, Suzan-Lori Parks, and Stephen Adly Guirgis.
Engl 39203 Political Novel
52819 sec. E Richard Braverman M, W 2:00 – 3:15pm
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.
Engl 47100 Advanced Topics in African-American Literature: Blackness and the Arts
Cross-listed with BLST 31157
58851 sec. R Michael Gillespie T, TH 3:30 – 4:45pm
This class is devoted to the study of the art of blackness in visual and expressive culture as students explore contemporary art, literature, music, graphic novels, and film. The class is organized around a series of themes including afrofuturism, black feminist film and video, film noir, and contemporary black art. Students will investigate blackness as an idea, and as an intersection of politics, culture, and aesthetics.
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 49005 Gothic Literature
52820 sec. 2NP Lyn Di Iorio T 12:30 – 2:30pm
Contemporary culture is characterized by, among many other tendencies, a reawakened interest in the “Gothic”—the aesthetic discourse of horror and terror that arose following the publication of Horace Walpole’s The Castle of Otranto in 1764. This seminar begins with a focus on the early British Gothic aesthetic, and also addresses other types of Gothic, or ways of understanding it, such as: American Gothic, Female Gothic, Queer Gothic, the sublime, the uncanny, the abject, and trauma theory. The course also proposes that the contemporary Gothic aesthetic in our not completely postcolonial times uncovers important issues of racial, ethnic and gendered otherness. As such, Caribbean Gothic and Postcolonial Gothic are emerging categories that we will examine with special interest.
Requirements: one class presentation, a short paper, and a final research paper. I may allow students who have taken at least two creative writing classes to write a short story in lieu of one of the papers.
The following texts offer some possibilities for our reading pleasure:
The Oxford Book of Gothic Tales by Chris Baldick
Gothic (an introduction to the critical idiom of the Gothic) by Fred Botting
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful by Edmund Burke
“The ‘Uncanny’” by Sigmund Freud
The Talented Mr. Ripley by Patricia Highsmith
We Have Always Lived in the Castle by Shirley Jackson
The Autobiography of My Mother by Jamaica Kincaid
The Gothic, Postcolonialism, and Otherness: Ghosts from Elsewhere by Tabish Khair
The Red of His Shadow by Mayra Montero
Wide Sargasso Sea by Jean Rhys
Perfume by Patrick Suskind
Engl 49006 Love Plots: Shakespeare and His Contemporaries
52821 sec. 1GH András Kiséry M 5:00 – 7:00pm
Our class will explore texts about the variety of forms sexual passion takes, and about the conventions and transgressions it gives rise to, by studying works by major authors of the English Renaissance. We will be reading poetry – long and short, lyric and narrative –, as well as plays – tragedies, comedies, and things in between – in an effort to chart an emotional, sensual, social, and legal environment that is different from, yet continuous with ours.
In the readings of the semester, the ideals of Petrarchan love poetry and the idealized scenario of romantic comedy are enabled by courtship and homosociality, but also by cross-dressing and celibacy. Romantic love may lead to marriage and to divorce, and is complicated by jealousy, coercion, and rape, while alternatives to reproductive sexuality can also be glimpsed. In addition to poems and plays by Shakespeare, we will be discussing pieces by Petrarch, Wyatt, Sidney, Spenser, Donne, Marlowe, Marston, Middleton, Webster, and others, and read a selection of critical texts as well. There will be quizzes, presentations, shorter written assignments, and a final paper.
This is a capstone seminar: only advanced students, who have completed the majority of the required number of classes for the major, and confident in their ability to handle large amounts of reading should be taking it.
Engl 49007 Asian-American Literature
52822 sec. 4LM Michelle Valladares TH 10:00 – 12:00pm
This Capstone Seminar is a hybrid literature and creative writing course, in which students will read texts by Asian American writers and use the discussions of the text to inspire their own creative work. Authors include Maxine Hong Kingston, Michael Ondaatje, Jumpha Lahiri, Kazuo Ishiguro, Vijay Seshadri, Cathy Song, Ruth Ozeki, Rahna Reiko Rizzuti and Monica Truong. We will deconstruct the terminology used to refer to this body of literature and examine its production and reception by reading criticism which includes Edward Said and Gayatri Spivak. Two creative essays, one short story and one critical paper will be required.
Engl 49008 Gender in Early Modern English Drama: Masculinities and Femininities
58837 sec. 3BC Doris Barkin W 9:30 – 11:30am
Femininities and masculinities are plural and dynamic: they are defined by class, religion, and social developments, and they change with culture and individual identity. This advanced undergraduate class will explore how dramatists such as Shakespeare, Webster, Middleton and Dekker, Ford, Cary represent gender, its anxieties and fantasies, and its performance in early modern culture. In addition to primary dramatic texts, we will be reading works from early modern literature such as poetry and essays, documents from the period, and scholarly and theoretical essays, which situate the primary texts in their literary and historical context. In this weekly two-hour seminar, we will be discussing roughly one play a week along with other documents of the period. Consequently, this will be a demanding class. Previous familiarity with works written before the 18th century is desirable. We will consider these works and the historical and cultural role of women and men in early modern England. Additionally, we will examine gender theory and constructions of gender identity and agency and how these shape our own world and structure our thought.
Creative Writing Courses
Engl 22000 Introduction to Creative Writing
25533 sec. B Chester Kozlowski M, W 9:30 – 10:45am
25536 sec. F Rosenblatt, Emily M, W 3:30 – 4:45pm
25537 sec. H Salar Abdoh M, W 6:30 – 7:45pm
25540 sec. U Robert Balun T, TH 8:00 – 9:15pm
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.
25534 sec. D Doris Barkin M, W 12:30 – 1:45pm
25535 sec. E Doris Barkin M, W 2:00 – 3:15pm
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.
25538 sec. L Pamela Laskin T, TH 9:30 – 10:45am
25539 sec. P Pamela Laskin T, TH 2:00 – 3:15pm
This course explores the fundamentals of creative, eclectic, artistic and exciting writing using various forms. It is a class in art and craft, which begins with poetry, moves into short fiction and concludes with memoir. Skills of editing and revision will be stressed for each literary work submitted. It is conducted as a workshop and a seminar.
Engl 22100 Intermediate Creative Writing: Reading As Writers
Prerequisite: English 22000
25788 sec. E Laura Hinton M, W 2:00 – 3:15pm
25542 sec. H Sheila Maldonado M, W 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.
25543 sec. M Paul Oppenheimer T, TH 11:00 – 12:15pm
Students in this course will examine, discuss and model the defining traits of creative writing in a range of poems, short stories and creative nonfiction essays, execute in-class writing exercises based on themes in assigned work, constructively critique the work of their peers in small groups when time permits, and produce a final portfolio containing 3 poems, 1 short story, and 1 creative nonfiction essay.
50317 sec. R Estha Weiner T, TH 3:30 – 4:45pm
This intermediate creative writing workshop will immerse students in the creative process of writing short fiction, encouraging continued improvement of their work and the development of voice through experimentation with a variety of writing techniques. The emphasis of the course is on reading published work as writers, doing writing exercises and workshopping student writing, noting how shifts in perspective and other techniques affect the tone and content of short fiction. Strong participation and attendance are required.
Engl 23000 Prose Writing Workshop
25565 sec. A Felice Neals M, W 8:00 – 9:15am
25089 sec. B Yahdon Israel M, W 9:30 – 10:45am
25090 sec. C Therese O'Neill M, W 11:00 – 12:15pm
25091 sec. G Peter C. Jones M, W 5:00 – 6:15pm
25092 sec. R Brendan Costello T, TH 3:30 – 4:45pm
25093 sec. T Peter C. Jones T, TH 6:30 – 7:45pm
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.
Engl 32000 Workshop in Fiction
Prerequisite: English 22100
25552 sec. E Amir Ahmadi M, W 2:00 – 3:15pm
25553 sec. R G.D. Peters T, TH 3:30 – 4:45pm
25554 sec. T Keith Gandal T, TH 6:30 – 7:45pm
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 Workshop in Poetry
Prerequisite: English 22100
25555 sec. P Michelle Valladares 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.
Engl 32200 Advanced Drama Workshop
Prerequisite: English 22100
25556 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.
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
CL 31102: Literature of the Maghreb and Marshrek in Translation
FREN 28300: Literature of Contemporary France
ITAL 28700: Italian Cinema and Literature
JWST 23200: Jews in Film/Fiction
JWST 31108: Humor and Despair in Jewish Literature
JWST 31127: Jews in Latin American Film and Literature
JWST 31171: Literature of the Arab-Israeli Conflict
JWST 32200: Women in Modern Jewish Fiction
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.
52810 Engl 31131 sec. 4ST Digital & E-Book Publishing TH 4:50 – 7:20pm
This course will examine the rise of the eBook from the advent of the internet and Google’s plan to digitize all books in print to the current debates about eBook formats offered via Kindle, the Sony Reader, the nook and the iPad. Rights, pricing and formats will be addressed. Ultimately, the future of publishing and the “book” will be discussed.
25094 Engl 32501 sec. 2LM Introduction to Publishing T 9:30 – 12:15pm
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.
52813 Engl 32502 sec. 2ST Publishing Practicum T 5:00 – 7:30pm
Students simulate the complete book-publishing process from contract negotiations to bound book.
25095 Engl 32600 sec. 1GH Books for Young Readers M 5:00 – 7:30pm
A look at the world of publishing for children and young adults. Licensing, merchandising, sales and marketing to all age groups and reader categories will be discussed. Includes substantial reading of children’s titles
25096 Engl 32700 sec. 3HJ The Editorial Process W 6:30 – 9:00pm
An in-depth look at the editorial process from a corporate and employment-seeking perspective. Includes visits from authors and industry professionals.
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.