English 2520, Spring 2002
Instructor: John C. Goshert
Office: EB 010-117  Hours: MW 11:00-12:00
Phone: 764-6288  e-mail: jcgoshert@hotmail.com
 

Nathaniel Hawthorne.  The Scarlet Letter.  3ed.  Norton CE, 1988.

Mark Twain.  Pudd’nhead Wilson and Those Extraordinary Twins.  Norton CE, 1981.

Frank Chin.  The Chickencoop Chinaman and The Year of the Dragon.  U of Wash. P, 1982.

Ishmael Reed.  Yellow Back Radio Broke Down.  Dalkey Archive, 2000.

Toni Morrison.  The Bluest Eye.  Penguin, 2000.

Don DeLillo.  White Noise.  Penguin, 1991.

Faye Myenne Ng.  Bone.  Harper Perennial, 1994.

Poetry, short fiction, and other companion texts will occasionally be assigned throughout the semester.
 

This course is a survey of American literature, from 1865 to the present.  Instead of attempting to trace such a vast literary history in terms of breadth—by trying to read bits and pieces of everything—this course is organized with a view toward depth.  In other words, we will address at length signal works from a number of periods, then explore the contexts of those works in the three genres of poetry, fiction, and drama.  The major works we examine are not, however, representative either of some broad notion of “American literature” or of any particular group; rather, these works allow us to see, in often idiosyncratic and frustrating ways, “America,” and the ways in which ethnicity, class, gender, and sexuality all affect the visions of America presented by each author.

Class periods will be spent discussing the readings assigned for the day, exploring contexts, and developing the strategies for becoming informed respondents to the texts.  You will thus be expected to attend (and attend to) class each day.  Attendance and participation will factor into your final grade.

Short response/reaction papers will be due each week.  These (MLA formatted) papers will be about two pages in length and will address any topics you find significant in the reading.  Because you will certainly become inspired to respond by class discussions, lectures, student presentations, these papers will not be difficult if you follow the above advice.

Each student will make a presentation that relates to and expands upon course readings and topics.  These presentations can be made either by individuals or by panels of 2-3 people.  A sign-up sheet will go around shortly, so think about a topic in which you are interested and would like to present.
 

While the response paper is, primarily, an expression of your opinion, you are by no means excused from forming a cogent, well-written argument!  The best responses are often those that take on a specific topic from lecture, class discussions, and/or presentations (or, of course, from your own reading alone), and then work that topic out in some detail.  That is, avoid trying to fit an entire week's reading--or an entire play or novel--into your response, since this leaves you with such a broad scope that any detailed examination is rather difficult.

Avoid simply summarizing the text and, instead, argue for a particular position, for a particular "reading" of the text.  Your treatment of whatever topic you choose will be enhanced not only by a cogent argument, but also by your incorporation of specific material from the text; that is, present details, such as dialogue or other citations from the text.  This is in keeping with that old adage of "showing" rather than "telling" as you work out your argument/position.

Consider also, addressing questions you have about the reading--perhaps centered around a scene, event, character, etc.  How do specific questions or parts of the novel/essay/poem inform the significance of the whole?  You may also think about developing connections between works--how do formal characteristics, topics, characters, etc. resonate across historical periods, across national and/or ethnic boundaries?  How are those characteristics treated differently and why?

These are simply preliminary remarks/guidelines.  Feel free to drop me an e-mail if you have other questions that need to be addressed here, or bring questions to class.

See two sample response papers from January 23, 2001.

Presentations can be made either by individuals or by a "panel" of up to three people--think of taking 15-20 minutes per person, and bringing to the class material that has not been (at least in significant detail) discussed.  Focus on the reading for the day (as with the response papers, avoid trying to talk about the entire work in a short amount of time), and have follow-up questions or discussion topics prepaers for after the presentation.

One effective (I'll resist saying necessary!) strategy for presentations is to incorporate outside material that has not come up in class.  Regardless, you must at least present a significant expansion of specific topics/arguments that have come up in class.  For example, if you do a presentation on Chin, consider developing the context of his work for the class.  Among other possible topics on Chin, consider the ways in which The Chickencoop Chinaman plays a significant role in the history of American theatre, in Chinese American literature and in contemporary Asian American literature generally--why? what has the long term effect of Chin's work been on American literature?  To pose another Chin example, the critical treatment of Chin (as a public figure and as a creative writer) experienced a sea change in the mid-1980s, and Chin's reputation suffered a major blow--again, why did this happen? describe the "sides" that have been drawn around Chin's work, etc.  What does Chin himself have to say about the (past or present) state of Asian American literature and Asian American literary studies?

Whatever you do, take a trip to the library!

Again, let me know by e-mail or in class if you need more direction on the presentations generally, or if you'd like suggestions for a particular topic.
 
 

If you have a disability that may impair your ability to successfully complete the course, contact Accessibility Services (BU 145).  They will help coordinate any necessary services.
 

3 course introduction

8 “The Custom House”
 Scarlet Letter ch. 1-2

10 Scarlet Letter ch. 3-11

15 Scarlet Letter ch. 12-20

17 complete The Scarlet Letter

22 Pudd’nhead Wilson: ch. 1-11

24 complete Pudd’nhead

29 Those Extraordinary Twins

31

February

5 Installment: Labor Literature and Critical Realism

7 Labor Literature continued

12 The Chickencoop Chinaman Introduction, Act I

14 complete Chickencoop

19 Yellow Back Radio Broke Down parts I-II

21 Yellow Back part III

26 Yellow Back part IV

28 Yellow Back part V
  Midterm assigned

March

5 The Bluest Eye: “Autumn”

7 Bluest: “Winter”
  Midterm Due

12 Bluest: “Spring”

14 complete The Bluest Eye

19 White Noise ch. 1-15

21 White Noise ch. 16-20

26 White Noise ch. 21

28 no class

April

2 White Noise ch. 22-31

4 complete White Noise

9 Bone ch. 1-7

11 Bone ch. 8-10

16 complete Bone

18  last day of class