Spring 2015 Course Descriptions and Reading Lists

Bookplate of American painter and illustrator Edward Penfield (1866-1925)

Bookplate of American painter and illustrator Edward Penfield (1866-1925)

In the Spring 2015 semester, I will be teaching ENGL 215: Textual Analysis at Virginia Commonwealth University and CRWR 212: Introduction to Creative Writing at The College of William & Mary. Below I’ve included the course descriptions and required texts for each course followed by a brief explanation of my choices for the classes’ reading lists.

VIRGINIA COMMONWEALTH UNIVERSITY
ENGL 215: TEXTUAL ANALYSIS

Course Description
“Brickwork: Urban Imagination”—From the sidewalk to the skyscraper, alleys to main thoroughfares, the urban landscape has not only provided the setting to many works of great literature, it has become a kind of a foil for many protagonists. In this course, we’ll read novels, nonfiction, and poetry that use the urban landscapes, the exterior world, that increasingly engage, complicate, and reveal charactes’ internal life. Starting with photorealistic portrayals of cities in a particular moment, like those in essays by Joan Didion, and moving on to fabular remakings of place, as found in Italo Calvino’s Invisible Cities, students will learn the basics of close reading, analyzing the literary devices and strategies, comparing and contrasting works, and contextualizing their discussion toward a main question about how a city can make a person, how people make a city. In addition to the previously mentioned authors, students will read excerpts or texts by Kazim Ali, Teju Cole, Charles Dickens, Nick Flynn, James Joyce, Rebecca Solnit, Zadie Smith, Anne Winters, and more.

Required Texts

  • Bedford Glossary of Critical and Literary Terms. Ed. Ross Murfin and Supryia M. Ray. 3rd Edition. Bedford/St. Martin’s, 2008. ISB: 978-0312461881.
  • Calvino, Italo. Invisible Cities. Harcourt Brace Jovanovich, 1978. ISBN: 978-0156453806.
  • Gautier, Amina. At-Risk. Athens: University of Georgia Press, 2011. ISBN: 978-0820338880.
  • Levine, Philip. What Work Is. Alfred A. Knopf, 1992. ISBN: 978-0679740582.
  • Whitman, Walt. Leaves of Grass and Selected Poems and Prose. Penguin, 2014. ISBN: 978-0143107439.
  • Winters, Anne. The Key to the City. University of Chicago Press, 1986. ISBN: 978-0226902272.

A course packet available online with excerpts taken from the following texts:

  • Ali, Kazim. Bright Felon: Autobiography and Cities.
  • Biss, Eula. Notes from No Man’s Land.
  • Cole, Teju. Open City.
  • Crane, Hart. The Bridge.
  • Diaz, Junot. Drown
  • Dickens, Charles. Night Walks.
  • Didion, Joan. Slouching Toward Bethlehem.
  • Flynn, Nick. Another Bullshit Night in Suck City
  • Gunn, Thom. The Man with the Night Sweats.
  • Hull, Lynda. Collected Poems.
  • Joyce, James. Dubliners.
  • Lowell, Robert. For the Union Dead.
  • Meitner, Erika. Copia.
  • Meitner, Erika. Ideal Cities.
  • Neruda, Pablo. The Heights of Machu Picchu (trans. Morín)
  • Portable Harlem Renaissance Reader.
  • Sandburg, Carl. Chicago Poems.
  • Shapiro, Alan. Night of the Republic.
  • Smith, Patricia. Blood Dazzler.
  • Smith, Zadie. White Teeth.
  • Solnit, Rebecca. Wanderlust: A History of Walking.
  • Teitman, Ryan. Litany for the City.

*The goal with my selection of these required texts and the course packet is to keep the students engaged and challenged while exposing them to a variety of canonical and contemporary writing in their acquisition of essential textual analysis skills.

Additionally, I want them to be exposed to poetry throughout the course, unlike my students who read only one poetic work this semester. I find that students who read a lot of poetry become much better readers of poems and, I’d even argue, all other texts; continued exposure is the key to their understanding. I came to this conclusion after reading the responses to Autobiography of Red, in which many of them thoroughly investigated sound and line breaks. I realized that I hadn’t trusted the 215 students enough to “get” poetry when I was making my syllabus because they hadn’t taken any college literature classes before; this time, I’m going to give them the benefit of the doubt and give them equal parts poetry and prose.

The excerpts in the course packet will be short, and they will be used either on their own (like Didion), as a supplement for their books, and/or for in-class assignments. Many of the books on the excerpt list were originally a part of the working text lists. I decided, however, to cut down the required reading from this semester’s seven texts to five so that we could spend more time on in-depth exploration. In this way, we’ll have more focus on a few core texts and I won’t have to cut out many of the authors I want to teach. I might supplement Anne Winters with Alan Shapiro poems and an excerpt from Dickens’s Night WalksInvisible Cities with some of Ali’s Bright Felon: Autobiography and Cities. Once I start making the course calendar, I’ll have a better idea about how I’ll juxtapose these texts.

I decided to add the Bedford Glossary because I felt like I often had to remind students of literary terms, strategies, and concepts this semester. They received these terms through lecture, discussion, and a glossary I created. A desk reference such as the Bedford, however, will provide them with many more possibilities to understand and locate literary devices and to explore the lenses through which to analyze texts. I haven’t decided yet whether I want to test them on a selection of these terms, but I think it might incentivize them to learn core terms.

WILLIAM & MARY
CRWR 212: INTRODUCTION TO CREATIVE WRITING

University Course Description
Workshop format emphasizes the basics of writing fiction and poetry. Class meets for one two-hour session per week. No previous writing experience is required.  Open to academic freshmen and academic sophomores with priority given to academic freshmen.

Required Texts

  • Biss, Eula. Notes from No Man’s Land. Graywolf Press, 2009. ISBN: 978-1555975180.
  • Burroway, Janet. Imaginative Writing: The Elements of Craft. (3rd Edition). Penguin Academics, 2010. ISBN: 978-0205750351.
  • Gautier, Amina. At-Risk. Athens: University of Georgia Press, 2011. ISBN: 978-0820338880.
  • Levine, Philip. What Work Is. Alfred A. Knopf, 1992. ISBN: 978-0679740582.
  • Nelson, Maggie. Bluets. Wave Books, 2009. ISBN: 978-1933517407.
  • Rankine, Claudia. Citizen. Graywolf Press, 2014. ISBN: 978-1555976903.

*I decided that I wanted my Creative Writing students to be exposed to the types of writing that we generally eschew in lower-level courses, especially hybrid works like prose poems, lyric essays, etc. So many creative writing students I’ve encountered have such set ideas for what poetry or prose should be that it’s hard for them to engage the genres in any new way. The idea here is that we will start with fiction (Gautier), move into the essays (Biss), transition into poetry (Levine), and then consider poetry/prose hybrids (Nelson and Rankine). In every other creative writing class I’ve taught, questions about prose poetry and, less frequently, lyric essays have arisen. They want to know what they are and how to write them. I want students to understand genre as one bridge you can walk rather than separate rocks you have to hop between to cross the river. This decision is founded on my belief that a writer of any genre can learn from strategies of other genres and that there are many intersections between the genres.

I will use the Burroway for the students to learn essential concepts (setting, tone, point of view, etcetera), and I’ll likely use the example texts therein for in-class assignments to jumpstart exercises and or discussions.

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Archaeology Exercise

Woman putting a letter in a post box, United States of America.
Caption: “FOR YOU, MY DARLING. COPYRIGHT BY A.L. SIMPSON 1909.”


Class: Writing Out of the Ordinary
Genre: Poetry/Nonfiction
Readings: Maggie Nelson’s Bluets and Claudia Rankine’s Don’t Let Me Be Lonely
Time: 40 minutes

I place many objects in the table or assign them at random to students. All of the objects are old: postcards, advertisements, mugshots, taxidermy instructions, a dried beaver face, etc.

1. Select a piece of ephemera from the center of the table.
2. Describe the object. What does it look like? What is/was it used for? How old is it? (5 min.)
3. Who owned this article? Who encountered it? Speculate on their perception/reaction would have been to the object. Would the object have some special importance to them? Would they have ignored the object? Describe a situation in which the object was previously encountered. Is it similar or different to your initial reaction? (10 min.)
4. Have you ever encountered something like this before? Make parallels to your experience with similar objects. Ex. If it’s an advertisement, talk about an experience or reaction to another advertisement. (10 min.)
5. Is there a public and/or private issue that this object and your memory causes you to consider? Does it make you think about identity? The ephemeral nature of life? A shift in culture or fashion? Cruelty? Art? Talk us through your thought process. (10 min.)
6. After thinking about this object in the context of speculation, memory, and meditation, has the object changed in meaning for you? Do you appreciate it more or less? (5 min.)

***Bonus step: Now switch objects with the person on your right. Describe this object. How does this new object compare or contrast to your old object? Does it raise similar issues?

“Bluets” Exercise

“Dead City III (City on the Blue River III)” (1911) by Egon Schiele


Class: Writing Out of the Ordinary
Genre: Poetry/Nonfiction
Readings: Maggie Nelson’s Bluets
Time: 30 minutes

  • Identify one thing you have been obsessed with for quite some time.
  • Detail a direct encounter with that thing. Be as descriptive as possible.
  • Name the first person you can think of who is missing from your life.
  • Write down something you never told them. (A confession, an idea, a story, etcetera.)
  • Remind that person of something you did together. Tell the narrative.
  • Is there a connection between the thing and the person? Explain.
  • Write down the first thing and then write the next five words that come to your mind in an associative chain from one word to the next.
  • Now pick one of those things on the list and write about an encounter you had with that thing.
  • Repeat previous steps.