Paper Guidelines
American Lit. 2433
General Instructions for everyone:
By February 20, decide which option you complete. No changes, please, after February 20.
Please choose new authors (to you) from the biblio list on the back of your syllabus. Before, or at class time, February 20, provide a typed prospectus, indicating which option you will choose and what focus you will pursue in your paper. Be as specific as possible. Indicate the primary sources (novels) and various secondary sources that are available for your topic. Do some thinking and browsing before February 20; don’t come to class and wing it. Prepare for this paper. Visit with your librarians who are eager to help you find good sources. After you have done some browsing and thinking, visit with your professor as well. If you start well, you have a decent chance of finishing well. As always, any plagiarism, copying websites and other sources, misrepresenting sources, quotes, terms and ideas, etc., will result in a failing grade for the semester.
Option 1 (75 points):
* read one full-length novel, one of which you have not previously done papers or critical work (from the syllabus bibliography. p.5)
* use a minimum of two legitimate library sources at least two times per source. (Library sources include MLA bibliography, Academic Search Premier, reference books and books off the shelves. Our library has wonderful material for this time period. Don’t just quote. Read the sources and understand them. Help is available.
* write a 3-7 page interpretive paper. Create a meaningful title, provide a clear thesis to be followed indicating a significant concept from the book and/or its relation to literary criticism and/or literary history.
* quote at least 6 specific references to the text of the novel, woven with your secondary sources and the inferences you draw from your analysis.
* use MLA documentation, including in-text, parenthetical citation and correct and complete "works cited" page.
* due at the beginning of class, March 27.
* warning: this is not to be a summary or a book report. You are to make a persuasive interpretation based on the text of the novel and your understanding of secondary sources.
* by April 8, choose a second novel and follow the same procedure for the second paper that is due May 5 (75 points).
Option 2 (150 points):
* read three full-length works of fiction (or fiction along with a complete collection of poetry). Select new authors for which you have not previously written papers.
* you may choose works from a singular author, or may arrange a study of a period or thematic emphasis, or demonstrate the connection to this period of study, etc. Visit with your librarians and professor.
* use a minimum of four legitimate library sources at least two times per source. (Library sources include MLA bibliography, Academic Search Premier, reference books and books off the shelves. Our library has wonderful stuff for this time period. Don’t just quote. Read the sources and understand them. Help is available.
* write a 7-14 page interpretive paper. Create a meaningful title, provide a clear thesis to be followed indicating a significant concept from the books and/or their relation to literary criticism and/or literary history.
* quote at least 4 specific references from the text of each novel, woven with your secondary sources and the inferences you draw from your analysis.
* use MLA documentation, including in-text, parenthetical citation and correct and complete "works cited" page.
* due at the beginning of class, April 17.
* warning: this is not to be a summary or a book report. You are to make a persuasive interpretation based on the text of the novel and your understanding of secondary sources.
Saturday, February 21, 2009
Mi-term Exam Sp09
ENG 2433 - Mid-Term Exam
Due March 13 (75 points total)
Choose two of the following four questions
Type all answers. Professionally format your paper according to MLA guidelines. Avoid plot summaries and generalizations; be specific to the literary texts and inferences drawn from those references. The best answers will demonstrate careful reading of the texts by reasoning and quoting – weaving the primary and secondary source material together in a thoughtful manner (in-text references and complete MLA works cited page required). Label the questions clearly. For English majors: hand in two copies, one to be returned and one to go into your English Department portfolio. Create titles for your answers. You may use secondary sources, but document thoroughly, in-text and "works cited" – see syllabus for plagiarism consequences.
1. To what exactly does Edna awaken in Chopin’s novel? Be specific and trace your answer by close reading and interpreting enough passages to cover the novel.
2.Use three of the following six stories to discuss relevant stylistic, literary effects (things like literary devices, images, language, plot outcomes, etc.) that would indicate or suggest the author was aware of a philosophy of Naturalism and was concerned with a realistic portrayal of life: Outcasts of Poker Flat, Editha, Chickamauga, Episode of War, To Build a Fire and The Yellow Wall-Paper.
3. Toni Morrison, in Playing in The Dark: Whiteness and the Literary Imagination (NY: Vintage Books, 1993), writes about a "certain set of assumptions conventionally accepted among literary historians and critics and circulated as ‘knowledge’. This knowledge holds that ... American literature is free of, uninformed, and unshaped by the four-hundred-year old presence of, first, Africans and then African-Americans in the United States. ... It assumes that this presence ... has had no significant place or consequence in the origin and development of that culture’s literature. ... The contemplation of this black presence is central to any understanding of our national literature and should not be permitted to hover at the margins of the literary imagination" (5). Using Morrison’s comment as a guide, discuss the role of (or absence of) black influence in American literary culture. What implications are involved? Refer specifically to either Washington or DuBois and to at least two of the African-American poets we have read this semester to explain and defend your answer. Use the poets thoroughly.
4. Discover a significant, specific recurring theme in the following poets: Frost, Stevens, Williams, Jeffers, Moore and Eliot. Demonstrate that theme in a titled, focused essay that also explains the theme, refers to the lines where it occurs, interprets the affect of the theme. Use three of the six poets, but again, look at thorough samples of their poems.
Due March 13 (75 points total)
Choose two of the following four questions
Type all answers. Professionally format your paper according to MLA guidelines. Avoid plot summaries and generalizations; be specific to the literary texts and inferences drawn from those references. The best answers will demonstrate careful reading of the texts by reasoning and quoting – weaving the primary and secondary source material together in a thoughtful manner (in-text references and complete MLA works cited page required). Label the questions clearly. For English majors: hand in two copies, one to be returned and one to go into your English Department portfolio. Create titles for your answers. You may use secondary sources, but document thoroughly, in-text and "works cited" – see syllabus for plagiarism consequences.
1. To what exactly does Edna awaken in Chopin’s novel? Be specific and trace your answer by close reading and interpreting enough passages to cover the novel.
2.Use three of the following six stories to discuss relevant stylistic, literary effects (things like literary devices, images, language, plot outcomes, etc.) that would indicate or suggest the author was aware of a philosophy of Naturalism and was concerned with a realistic portrayal of life: Outcasts of Poker Flat, Editha, Chickamauga, Episode of War, To Build a Fire and The Yellow Wall-Paper.
3. Toni Morrison, in Playing in The Dark: Whiteness and the Literary Imagination (NY: Vintage Books, 1993), writes about a "certain set of assumptions conventionally accepted among literary historians and critics and circulated as ‘knowledge’. This knowledge holds that ... American literature is free of, uninformed, and unshaped by the four-hundred-year old presence of, first, Africans and then African-Americans in the United States. ... It assumes that this presence ... has had no significant place or consequence in the origin and development of that culture’s literature. ... The contemplation of this black presence is central to any understanding of our national literature and should not be permitted to hover at the margins of the literary imagination" (5). Using Morrison’s comment as a guide, discuss the role of (or absence of) black influence in American literary culture. What implications are involved? Refer specifically to either Washington or DuBois and to at least two of the African-American poets we have read this semester to explain and defend your answer. Use the poets thoroughly.
4. Discover a significant, specific recurring theme in the following poets: Frost, Stevens, Williams, Jeffers, Moore and Eliot. Demonstrate that theme in a titled, focused essay that also explains the theme, refers to the lines where it occurs, interprets the affect of the theme. Use three of the six poets, but again, look at thorough samples of their poems.
Syllabus Spring 09
East Central University; Spring 2009 580-559-5557; khada@ecok.edu
ENG 2433: "American Lit - Since Whitman" Hours: M,W 1-2pm.; T,Th 10-11 am.
Professor: Dr. Hada, HM 336B Other appointments always welcome
In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance.
Azar Nafisi, Reading Lolita in Tehran
Course Description: Extensive reading of prominent American authors since Whitman. The course will survey a great variety of authors, addressing some of their signature works, the spirit of the times in which their works arose, the greater literary tradition surrounding those works as well as important critical responses.
Required Texts: American Literature vol.2, William E. Cain, editor
Old Man and the Sea, Hemingway (Barnes & Noble)
The Awakening, Chopin (Dover)
Students will choose additional novels from the list on page six. Handouts will accompany texts and some material may be reserved at the library.
Collateral Texts: Bressler’s Literary Criticism: An Introduction to Theory and Practice.
A Handbook to Literature. 10th ed., Harmon et al.
Course Goals: The primary goal is to provide students what Jonathan Culler has called "literary competency" in reading a broad range of fiction and poetry from a wide variety of American authors since the Whitman era. Students who complete this course should be able to read fiction with insight and to communicate that insight–orally and in writing-- to communities of educated readers. Specifically:
Students will gain historical competency through study of fiction written in various time frames with corresponding philosophical and literary emphases.
Students will gain cultural competency through study of fiction from diverse American authors within the historical parameters of the course.
Students will gain critical and theoretical competency through reading critical works and applying theory in their reading, discussion, and writing.
Students will gain writing competency by composing writings which demonstrate the above competencies.
Requirements & Evaluation: Points will be accumulated throughout the semester based on the following tasks and their corresponding point value.
I. Class participation: includes reading the assigned material, coming regularly to class on time, staying for the entire period, enthusiastically and intelligently contributing to discussion of issues. Students will be subjectively evaluated by the professor to determine the quality of participation. Two points will be
awarded per class meeting in which the student fulfills the expectations indicated in the above sentences. These are not bonus points. Students do not earn these points by merely sitting in class; active participation is expected on a daily basis. The first 35 class sessions will be counted x 2 points = 70 points. Obviously, then, students should limit their absences as much as possible.
The annual Scissortail Creative Writing Festival will be held April 2-4. Approximately 50 authors will be on campus to read from their works in approximately 15 sessions. Students are required to attend 3 sessions and submit a minimum two-page, reflective response. ..........................................30 points
(If applicable, students are encouraged to check on Service Learning requirements that may be met by performing tasks on behalf of the festival.)
II. Two exams: Mid-term and Final. Take-home, essay questions. ...................................... 150 points.
III. Two Papers: based on novels read outside of class, connected to class readings and supported by library sources). Read two of the books listed at the end of this syllabus. Please choose new works which you have not read and studied previously. Specific guidelines will be given for each paper.
Students may opt to write one paper instead of two. In such cases, students would need to either read three novels, or two novels plus short fiction selections to make a unified research project. Students choosing to write one paper will be required to produce at least the minimum research of secondary sources and primary sources as those writing two papers. Finally, if students choose to do one paper project instead of two, the due date for the one paper will be April 17. Students are required to decide on one or two papers by February 20 .......................................................................................150 points
Bonus: Students may earn up to 5 bonus points per Scissortail session (up to 4 sessions) attended above the 3 required. Simply add reflections to the required paper (above).
The total number of points earned (including any bonus) will be divided by the total number of possible points, 400, to determine a percentage which correlates to the following scale:
A=100%-90%; B=89%-80%; C=79%-70%; D=69%-60%; F=below 60%
Plagiarism: is the undocumented use of terms, phrases and ideas gathered from other sources and presented in papers as if they are the writer’s terms, phrases and ideas. It is always the researcher’s/writer’s responsibility to clearly present his/her sources in an appropriate format. Any misrepresentation of sources and terminology disqualifies the researcher/writer from an acceptable paper and will result in the grade of "F" for the semester, regardless of other work and grades. Please review the ECU "Academic Honesty"policy in the student handbook.
ADA Statement: East Central University is committed to providing equal access to University programs and services for all students. Under university policy and federal and state laws, students with documented disabilities are entitled to reasonable accommodations. If any member of the class has a documented disability requiring academic accommodations, he or she should report to the Office of Disability Services, room 159 Administration Building, as soon as possible. A student seeking reasonable accommodations originating from a documented disability must register with the Office of Disability Services so that said accommodations may be provided. Contact the Office of Academic Affairs if any assistance is needed in this process.
Procedures:
1. I care about your progress, and I am available and happy to visit with you. Please call or email to set up an appointment, and/or drop by the office if you would like to discuss your progress.
2. I will work with you as best I can to ensure your success in the class. In order to be fair to everyone, however, please realize that assignments are to be turned in at the beginning of class time on the due date. Late work will be docked 10% for each class date the assignment is late. But it is usually better to turn in a late paper, than not turn anything in. Also, please staple your papers; you don’t need plastic or other kinds of folders for papers.
3. Please understand that in this course, students will frequently volunteer ideas and various thoughts. I welcome that, and I expect that. I will also call on you to share your insights with us. I will attempt to not embarrass you, but I will provide opportunities for you to display your views and understanding. So do your reading and be prepared. Take notes as you read and bring those observations to class to share with the class. If you are shy, you may simply, occasionally read your thoughts to the class or distribute insights in writing to me. Also, please realize that not everyone in the class will agree with your views, nor will everyone share the same taste in language and content. The course material is not to intentionally offend anyone, but it is designed to help us realistically assess the various literary and cultural contexts demanded by the course description as instituted and approved by the university. So the course will be an adult learning situation. Please respect all participants; however, it is unwise to censor speech or reading material, so please be advised that if you are easily offended by content and language in the readings, this class may not be your best option.
4. I want each of you to succeed this semester. I want you to become a competent and an authoritative voice concerning our literary tradition. However, if life situations arise that take away from your time, then you may need to drop the course. I encourage you to visit with me before you drop, however. If you must drop the course, please realize that it is always your responsibility to drop the course, and also, please recognize the university policy that requires you to drop by April 23 to receive a guaranteed "W" grade.
Calendar: (All dates and assignments are tentative and may be rescheduled for the benefit of the class. Students are responsible for any announced changes made in class)
Jan. 9 Introduction and Syllabus
Jan. 12 Whitman (handouts)
Jan. 14 "Outcasts of Poker Flat" (p. 42)
Jan. 16 "Editha" (p. 52)
Jan. 19 Martin Luther King Jr. Holiday
Jan. 21 "Chickamauga" (p. 71)
Jan. 23 "Episode of War" (254)
Jan. 26 "To Build a Fire" (279)
Jan. 28 "The Yellow Wall-Paper" (p. 203)
Jan. 30 The Awakening
Feb. 2 The Awakening
Feb. 4 The Awakening
Feb. 6 writing/reading/research
Feb. 9 "Up from Slavery (p. 160)
Feb. 11 "Souls of black Folk" (p. 238)
Feb. 13 writing/reading/research
Feb. 16 Robinson (p. 327) & Dunbar (p.332)
Feb. 18 Hughes (p. 683)
Feb. 20 Hughes & Identify novel choice for independent reading paper # 1
Feb. 23 Frost (p. 390-405)
Feb. 25 Professor at conference, no class meeting
Feb. 27 Professor at conference, no class meeting
Mar. 2 Frost (p. 390-405)
Mar. 4 Stevens (p. 416)
Mar. 6 Williams (p. 444)
Mar. 9 Jeffers (p. 466) & Moore (p. 470)
Mar. 11 Eliot "Wasteland" (p. 490)
Mar. 13 Mid-term exam due by class time
Mar. 16-20 Spring Break
Mar. 23 Faulkner (p. 626)
Mar. 25 Faulkner (Handout)
Mar. 27 Paper # 1 due by class time
Mar. 30 Old Man and the Sea
April 1 Old Man and the Sea
April 3 Scissortail Festival
April 6 Old Man and the Sea
April 8 Welty (p. 762) & Scissortail Reflections due & Identify novel for paper # 2
April 10 Ellison (p. 877)
April 13 O’Connor (p. 917)
April 15 O’Connor (handout)
April 17 reading/writing/researching & Papers due for those opting to write only one paper
April 20 Roethke (p. 1282) & Jarrell (p. 1313)
April 22 Levertov (p. 1355) & Merwin (p. 1412)
April 24 O’Brien (p 1107)
April 27 Wright (p. 1414) & Levine (p.1418) & Rich (p. 1426)
April 29 Clifton (p. 1456) & Oliver (p. 1448) & Harjo (p. 1486)
May 1 reading/writing/researching
May 4 Final Exam due at 8 am.
May 5 Paper # 2 due by 3pm.
Reading List: Choose your novels from this list for each of the papers. Please see the professor for each of your choices as you finalize your plans. Decide on your first choice by February 20, choice # 2, by April 8. Please read books you have not already read and/or done interpretive work. If you have read all of these, see me for additional titles. Specific instructions for each paper will be given.
Invisible Man, Ellison
Huck Finn, Twain
As I Lay Dying, Faulkner
Sound and Fury, Faulkner
The Bear, Faulkner
Intruder in the Dust, Faulkner
Light in August, Faulkner
Wise Blood, O’Connor
Daisy Miller, James
Red Badge of Courage, Crane
Maggie, Crane
Call of the Wild, London
Their Eyes Were Watching God, Hurston
Great Gatsby, Fitzgerald
The Sun Also Rises, Hemingway
Farewell to Arms, Hemingway
Grapes of Wrath, Steinbeck
Cannery Row, Steinbeck
Black Boy, Wright
Native Son, Wright
The Color Purple, Walker
Ethan Frome, Wharton
Death Comes for the Archbishop, Cather
My Antonia, Cather,
O Pioneers, Cather
Look Homeward, Angel, Wolfe
Ship of Fools, Porter
A Death in the Family, Agee
Blood Meridian, McCarthy
All the Pretty Horses, McCarthy
The Naked and the Dead, Mailer
Also, collections of stories from Hemingway, O’Connor or Welty
complete collections of poetry can also be considered
ENG 2433: "American Lit - Since Whitman" Hours: M,W 1-2pm.; T,Th 10-11 am.
Professor: Dr. Hada, HM 336B Other appointments always welcome
In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance.
Azar Nafisi, Reading Lolita in Tehran
Course Description: Extensive reading of prominent American authors since Whitman. The course will survey a great variety of authors, addressing some of their signature works, the spirit of the times in which their works arose, the greater literary tradition surrounding those works as well as important critical responses.
Required Texts: American Literature vol.2, William E. Cain, editor
Old Man and the Sea, Hemingway (Barnes & Noble)
The Awakening, Chopin (Dover)
Students will choose additional novels from the list on page six. Handouts will accompany texts and some material may be reserved at the library.
Collateral Texts: Bressler’s Literary Criticism: An Introduction to Theory and Practice.
A Handbook to Literature. 10th ed., Harmon et al.
Course Goals: The primary goal is to provide students what Jonathan Culler has called "literary competency" in reading a broad range of fiction and poetry from a wide variety of American authors since the Whitman era. Students who complete this course should be able to read fiction with insight and to communicate that insight–orally and in writing-- to communities of educated readers. Specifically:
Students will gain historical competency through study of fiction written in various time frames with corresponding philosophical and literary emphases.
Students will gain cultural competency through study of fiction from diverse American authors within the historical parameters of the course.
Students will gain critical and theoretical competency through reading critical works and applying theory in their reading, discussion, and writing.
Students will gain writing competency by composing writings which demonstrate the above competencies.
Requirements & Evaluation: Points will be accumulated throughout the semester based on the following tasks and their corresponding point value.
I. Class participation: includes reading the assigned material, coming regularly to class on time, staying for the entire period, enthusiastically and intelligently contributing to discussion of issues. Students will be subjectively evaluated by the professor to determine the quality of participation. Two points will be
awarded per class meeting in which the student fulfills the expectations indicated in the above sentences. These are not bonus points. Students do not earn these points by merely sitting in class; active participation is expected on a daily basis. The first 35 class sessions will be counted x 2 points = 70 points. Obviously, then, students should limit their absences as much as possible.
The annual Scissortail Creative Writing Festival will be held April 2-4. Approximately 50 authors will be on campus to read from their works in approximately 15 sessions. Students are required to attend 3 sessions and submit a minimum two-page, reflective response. ..........................................30 points
(If applicable, students are encouraged to check on Service Learning requirements that may be met by performing tasks on behalf of the festival.)
II. Two exams: Mid-term and Final. Take-home, essay questions. ...................................... 150 points.
III. Two Papers: based on novels read outside of class, connected to class readings and supported by library sources). Read two of the books listed at the end of this syllabus. Please choose new works which you have not read and studied previously. Specific guidelines will be given for each paper.
Students may opt to write one paper instead of two. In such cases, students would need to either read three novels, or two novels plus short fiction selections to make a unified research project. Students choosing to write one paper will be required to produce at least the minimum research of secondary sources and primary sources as those writing two papers. Finally, if students choose to do one paper project instead of two, the due date for the one paper will be April 17. Students are required to decide on one or two papers by February 20 .......................................................................................150 points
Bonus: Students may earn up to 5 bonus points per Scissortail session (up to 4 sessions) attended above the 3 required. Simply add reflections to the required paper (above).
The total number of points earned (including any bonus) will be divided by the total number of possible points, 400, to determine a percentage which correlates to the following scale:
A=100%-90%; B=89%-80%; C=79%-70%; D=69%-60%; F=below 60%
Plagiarism: is the undocumented use of terms, phrases and ideas gathered from other sources and presented in papers as if they are the writer’s terms, phrases and ideas. It is always the researcher’s/writer’s responsibility to clearly present his/her sources in an appropriate format. Any misrepresentation of sources and terminology disqualifies the researcher/writer from an acceptable paper and will result in the grade of "F" for the semester, regardless of other work and grades. Please review the ECU "Academic Honesty"policy in the student handbook.
ADA Statement: East Central University is committed to providing equal access to University programs and services for all students. Under university policy and federal and state laws, students with documented disabilities are entitled to reasonable accommodations. If any member of the class has a documented disability requiring academic accommodations, he or she should report to the Office of Disability Services, room 159 Administration Building, as soon as possible. A student seeking reasonable accommodations originating from a documented disability must register with the Office of Disability Services so that said accommodations may be provided. Contact the Office of Academic Affairs if any assistance is needed in this process.
Procedures:
1. I care about your progress, and I am available and happy to visit with you. Please call or email to set up an appointment, and/or drop by the office if you would like to discuss your progress.
2. I will work with you as best I can to ensure your success in the class. In order to be fair to everyone, however, please realize that assignments are to be turned in at the beginning of class time on the due date. Late work will be docked 10% for each class date the assignment is late. But it is usually better to turn in a late paper, than not turn anything in. Also, please staple your papers; you don’t need plastic or other kinds of folders for papers.
3. Please understand that in this course, students will frequently volunteer ideas and various thoughts. I welcome that, and I expect that. I will also call on you to share your insights with us. I will attempt to not embarrass you, but I will provide opportunities for you to display your views and understanding. So do your reading and be prepared. Take notes as you read and bring those observations to class to share with the class. If you are shy, you may simply, occasionally read your thoughts to the class or distribute insights in writing to me. Also, please realize that not everyone in the class will agree with your views, nor will everyone share the same taste in language and content. The course material is not to intentionally offend anyone, but it is designed to help us realistically assess the various literary and cultural contexts demanded by the course description as instituted and approved by the university. So the course will be an adult learning situation. Please respect all participants; however, it is unwise to censor speech or reading material, so please be advised that if you are easily offended by content and language in the readings, this class may not be your best option.
4. I want each of you to succeed this semester. I want you to become a competent and an authoritative voice concerning our literary tradition. However, if life situations arise that take away from your time, then you may need to drop the course. I encourage you to visit with me before you drop, however. If you must drop the course, please realize that it is always your responsibility to drop the course, and also, please recognize the university policy that requires you to drop by April 23 to receive a guaranteed "W" grade.
Calendar: (All dates and assignments are tentative and may be rescheduled for the benefit of the class. Students are responsible for any announced changes made in class)
Jan. 9 Introduction and Syllabus
Jan. 12 Whitman (handouts)
Jan. 14 "Outcasts of Poker Flat" (p. 42)
Jan. 16 "Editha" (p. 52)
Jan. 19 Martin Luther King Jr. Holiday
Jan. 21 "Chickamauga" (p. 71)
Jan. 23 "Episode of War" (254)
Jan. 26 "To Build a Fire" (279)
Jan. 28 "The Yellow Wall-Paper" (p. 203)
Jan. 30 The Awakening
Feb. 2 The Awakening
Feb. 4 The Awakening
Feb. 6 writing/reading/research
Feb. 9 "Up from Slavery (p. 160)
Feb. 11 "Souls of black Folk" (p. 238)
Feb. 13 writing/reading/research
Feb. 16 Robinson (p. 327) & Dunbar (p.332)
Feb. 18 Hughes (p. 683)
Feb. 20 Hughes & Identify novel choice for independent reading paper # 1
Feb. 23 Frost (p. 390-405)
Feb. 25 Professor at conference, no class meeting
Feb. 27 Professor at conference, no class meeting
Mar. 2 Frost (p. 390-405)
Mar. 4 Stevens (p. 416)
Mar. 6 Williams (p. 444)
Mar. 9 Jeffers (p. 466) & Moore (p. 470)
Mar. 11 Eliot "Wasteland" (p. 490)
Mar. 13 Mid-term exam due by class time
Mar. 16-20 Spring Break
Mar. 23 Faulkner (p. 626)
Mar. 25 Faulkner (Handout)
Mar. 27 Paper # 1 due by class time
Mar. 30 Old Man and the Sea
April 1 Old Man and the Sea
April 3 Scissortail Festival
April 6 Old Man and the Sea
April 8 Welty (p. 762) & Scissortail Reflections due & Identify novel for paper # 2
April 10 Ellison (p. 877)
April 13 O’Connor (p. 917)
April 15 O’Connor (handout)
April 17 reading/writing/researching & Papers due for those opting to write only one paper
April 20 Roethke (p. 1282) & Jarrell (p. 1313)
April 22 Levertov (p. 1355) & Merwin (p. 1412)
April 24 O’Brien (p 1107)
April 27 Wright (p. 1414) & Levine (p.1418) & Rich (p. 1426)
April 29 Clifton (p. 1456) & Oliver (p. 1448) & Harjo (p. 1486)
May 1 reading/writing/researching
May 4 Final Exam due at 8 am.
May 5 Paper # 2 due by 3pm.
Reading List: Choose your novels from this list for each of the papers. Please see the professor for each of your choices as you finalize your plans. Decide on your first choice by February 20, choice # 2, by April 8. Please read books you have not already read and/or done interpretive work. If you have read all of these, see me for additional titles. Specific instructions for each paper will be given.
Invisible Man, Ellison
Huck Finn, Twain
As I Lay Dying, Faulkner
Sound and Fury, Faulkner
The Bear, Faulkner
Intruder in the Dust, Faulkner
Light in August, Faulkner
Wise Blood, O’Connor
Daisy Miller, James
Red Badge of Courage, Crane
Maggie, Crane
Call of the Wild, London
Their Eyes Were Watching God, Hurston
Great Gatsby, Fitzgerald
The Sun Also Rises, Hemingway
Farewell to Arms, Hemingway
Grapes of Wrath, Steinbeck
Cannery Row, Steinbeck
Black Boy, Wright
Native Son, Wright
The Color Purple, Walker
Ethan Frome, Wharton
Death Comes for the Archbishop, Cather
My Antonia, Cather,
O Pioneers, Cather
Look Homeward, Angel, Wolfe
Ship of Fools, Porter
A Death in the Family, Agee
Blood Meridian, McCarthy
All the Pretty Horses, McCarthy
The Naked and the Dead, Mailer
Also, collections of stories from Hemingway, O’Connor or Welty
complete collections of poetry can also be considered
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