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Course Criteria
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3.00 Credits
A study of short stories and novellas written in the last half of the 20th century.
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3.00 Credits
A survey of criminals in American literature.
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3.00 Credits
Novels from Hawthorne to Morrison.
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3.00 Credits
Literary representations of the city and social identity in American texts from the 1890s to the present, including Riis, Dreiser, Wharton, Sinclair, Yezierska, Wright, Paley, and Cisneros, as well as contemporaneous nonfiction and films
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3.00 Credits
A study of selected modern writers whose concern with God and evil, faith and despair, and the reality and significance of suffering animates their writings. In considering the relationships between the religious imagination and experience and its expression in literature, we will discuss the ways in which writers envision the nature and purpose of narrative and of language itself --as efficacious and even sacred or as ineffectual. Before dealing with particular modern writers, we will reflect on the presuppositions of the Bible and medieval thought and literature in relation to truth, faith, and narrative. Readings will be selected from the following: St Francis, Little Flowers; Dostoevsky, The Brothers Karamazov; DeVries, The Blood of the Lamb; Melville, Billy Budd; Greene, The Power and the Glory or The End of the Affair; Flannery O'Connor, Everything That Rises Must Converge or The Violent Bear It Away; Hammarskjold, Markings; Roth, Job; Hawthorne, Selected Tales; Wiesel, Night; and narratives by Primo Levi, Dinesen, and Updike.
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3.00 Credits
A survey of selected 19th and 10th Century Latino/a American writings.
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3.00 Credits
A survey of chicano/a and latino/a literature written between 1848-1998, with an emphasis on the themes and issues of revolution and rebels.
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3.00 Credits
A sampling of novels written by Caribbean writers, with a particular emphasis on such themes as colonization, madness, childhood, and memory.
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3.00 Credits
What does it mean to write fiction in the "Naughts" (2000-2010)? In the age of MySpace, RSS feeds, American Idol, and YouTube, is the term "fiction" even valid anymore? Or, for that matter, books? In this class, we will read several novels published since January 2001. In addition to covering the "usual" topics (plot, character relationships, themes, etc.), we'll also think about what it means to write fictions, to write novels, in a world, in an America, that is increasingly being parsed into smaller and smaller pieces. A partial list of texts include (subject to change): Mark Danielewski, Only Revolutions: A Novel; Jennifer Egan, Look at Me; Joshua Ferris, Then We Came to the End; Dinaw Menegstu, The Beautiful Things This Heaven Bears; and Dana Spiotta, Eat the Document: A Novel. We'll also view excerpts of television shows, movies, and other media, as well as attend some campus literary events.Required work: two short essays, midterm, final, occasional quizzes.
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3.00 Credits
In his masterpiece, A Season in Hell, French visionary and boy-genius Arthur Rimbaud proclaimed: "One must be absolutely modern." This remained at the core of the varied, radical artistic explorations that form the category "Modern Poetry." In the late 19th century and the first half of the 20th century, to be modern meant to keep up with and try to respond to vertigo-inducing, often brilliant and often shocking changes in technology and politics, including the invention of trains and planes, films and cars, and the horrific violence of two world wars. We will study how the intense and greatly varied impulse of modern poetry took shape in the U.S., from Walt Whitman through Modernism, to the upheavals of the 1960s. In the process, we will discuss such still pervasive questions as what is the value of the new? Must the new always be shocking? Can art be political? Should it be? We will also problematize our own positions as historians of this movement. What thinkers, writers and administrators have determined our views of these poets? Is poetry still "modern"? What does "modern" mean today?
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