(Re)claiming the Past in Contemporary American Literature

Engl 3540  Fall 07

 
Fall 2007: M/W 4:00-5:15pm, LA 102
Instructor: Dr. John Charles Goshert
Office: LA 121t  Hours: T/R 1:30-3:00 and by appointment
Phone: 863-6288  email: gosherjo@uvsc.edu

Required Texts—to be purchased

 
Joan Didion.  Play it as it Lays. (1970).  New York: Noonday.  ISBN 0374521719

Toni Morrison.  Song of Solomon (1977).  New York: Plume.  ISBN 0452260116

Don DeLillo.  Libra (1988).  New York: Penguin.  ISBN 0140156046 

Paul Beatty.  White Boy Shuffle (1996).  New York: Picador ISBN: 031228019X

Peter Bacho.  Dark Blue Suit (1997).  Seattle: U of Washington ISBN: 0295976373

Eric Miles Williamson.  East Bay Grease (1999).  New York: Picador ISBN: 0312204043
 

Required Reading—to be photocopied
obtained through electronic library reserves: http://eres.uvsc.edu

Baudrillard, Jean.  “Astral America.”  America 26-73.

Eco, Umberto. “Travels in Hyperreality.”  Travels in Hyperreality (excerpt)

Edington, K.  “The Hollywood Novel: American Dream, Apocalyptic Vision.”  Literature Film Quarterly 23.1 (1995): 63-67.

Awkward, Michael.  “‘Unruly and Let Loose’.”  Callaloo 13 (1990): 482-98.

Reed, Ishmael.  “Flight to Canada.”  Flight to Canada (excerpt).

Wilcox, Leonard.  "Don DeLillo's Libra: History as Text, History as Trauma."  Rethinking History 9.2-3 (2005): 337-353.

Stallings, L.H.  “‘I’m Goin Pimp Whores’: The Goines Factor . . .”  New Centennial Review 3.3 (2003): 175-203.

Gotera, Vince.  “Moments in the Wilderness.”  MELUS 29.1 (2004): 19-40

Keating, AnnLouise.  “Interrogating ‘Whiteness,’ (De)Constructing ‘Race’.”  College English 57.8 (1995): 901-18.

 
Films include Bamboozled dir. Spike Lee (2000).

Course Overview, Objectives, Requirements

Beginning with the observations of two European philosophers, this section of Contemporary American Literature focuses on the ways American history is perceived by its inhabitants.  Each novelist is a prominent, although not necessarily dominant, figure in post-1970 American literature; each takes a unique perspective on American history, life, and culture, presenting it through the eyes and experiences of particular ethnic, gender, regional, and class groups.  Beyond the introductory pieces by Baudrillard and Eco, we’ll also read other short works of fiction and criticism that will broaden and deepen our understanding of longer works.

Assignments include periodic response papers, a take-home midterm exam, a term project (which will include a significant research component), and—of course—attendance and active participation in class.

Prerequisite Skills

Using reading skills and strategies of argument learned in courses such as Engl. 2600 (Critical Intro to Literature) and 2010 (Research Writing), students are expected, from the opening of the course, to be prepared to actively, critically read literary texts, and to respond orally and through writing.  This course will add to those skills and strategies through lecture, class discussion, and engagement with current critical approaches of responding to literature. 

Response Paper Guidelines

 
2-3 page response papers are due periodically, beginning September 12th.  While this paper is, primarily, an expression of your opinion, you should nonetheless develop a cogent, well-written argument.  The best responses take on a specific topic from lecture, class discussions, presentations (or, of course, from your own reading alone), which is then worked out in some critical/analytic detail.  Avoid trying to fit an entire week’s reading—an entire novel or other extended text—into your response, since this leaves you with such a broad scope that any detailed examination is rather difficult.

 
Avoid summarizing the text and, instead, argue for a particular position, for a particular “reading.”  Your treatment of whatever topic you choose will be enhanced not only by a strong thesis, but also by your incorporation of specific material from the texts (both literary and critical); that is, present details, such as dialogue or other citations.  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 on 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 our focus period, across gender and/or ethnic boundaries?  How are those characteristics treated differently and why?

 
Plan to put your growing critical apparatus into practice.  Develop the research and response strategies which will be required for success on your term project.  Articulate your agreement or dissention with critical responses we read, or pursue critical readings on your own which will allow you to enter into an informed conversation on literary, cultural, and theoretical concepts.

 
The final response paper, a narrative self-and-course evaluation, is due with the final project.


See two sample response papers from September. 

 

Grade Distribution/Notes

Response papers: 30%
Take-Home Midterm: 20%
Final Project: 30%
Attendance/Participation: 20%

• If you have any disability that may impair your ability to successfully complete this course, please contact the Accessibility Services Department located in WB 146. Academic Accommodations are granted for all students who have qualified documented disabilities. Services are coordinated with the student and instructor by the Accessibility Services Department. Accessibility Services Department telephone 801‑863‑8747; TDD 801‑221‑0908.
• Plagiarism will result in failure of the course and the possibility of administrative action.
• Attendance is required.  You should plan to attend and be prepared for each class meeting.
• All written work will follow MLA style guidelines; late work will not be accepted.
• Course materials are determined by standards of academic inquiry and a commitment to the exchange of ideas; materials will not be “rated G” or censored in any way.
• Per UVSC policies: “Each student is expected to take an active role in the learning process by meeting course requirements as specified in written syllabi” (VII.A).  Thus, the course syllabus comprises a contract between instructor and students, who will be held to its terms and expectations, for “The right to receive academic credit and/or academic degrees when all specified requirements and course work have been satisfied” (V.L).  In other words, the student has the right to receive credit for work that meets or exceeds satisfactory performance; however, the student also has the right to fail based on those same conditions of performance.
• It is not only your right, but also your responsibility to ask questions, to raise challenges, to discuss readings, and to otherwise participate in the class as it unfolds over the semester.
• Students will activate their UVSC email accounts or notify the instructor of alternate email address.
• The course website (http://research.uvsc.edu/goshert/uvsc354f.html) will direct students toward additional resources for research, documentation, and bibliographic conventions.  Sample student papers will also be archived, as available, throughout the semester.
  

Tentative Class Schedule

 
Week 1

W 22 Aug              Course introduction

 
Week 2

M 27                       Baudrillard (reserve)

                                Play it as it Lays 1-74

W 29                       Play 75-164

                                Eco (reserve)

 
Week 3

M 3 Sep                 No Class

W 5                         complete Play it as it Lays

                                Edington (reserve)

                                                Response paper #1 due

 
Week 4

M 10                       Song of Solomon 1-89

W 12                       Song 90-171

 
Week 5

M 17                      Song 172-304

W 19                       complete Song of Solomon

Reed (handout)

Awkward (reserve)

                                                Response paper #2 due

 
Week 6

M 24                       Libra 1-79

W 26                      Libra 80-168

 
Week 7

M 1 Oct                  Libra 169-268

W 3                         Libra 269-339

 
Week 8

M 8                         Libra 340-418

W 10                       complete Libra

Wilcox (reserve)

                                                Response paper #3 due

 
Week 9

M 15                       White Boy Shuffle 1-58

W 17                       White 59-173

 
Week 10

M 22                       complete White Boy Shuffle

W 24                       Stallings (reserve)

                                Interlude: Richard Pryor, Last Poets, Gil Scott Heron   

Midterm preparation

 
Week 11

M 29                       Begin Bamboozled

Midterm assigned

W 31                       continue Bamboozled

 
Week 12

M 5 Nov                complete Bamboozled (if necessary)

                                                Midterm due

W 7                         Research methods seminar—class meets in LC 218

 
Week 13

M 12                       Independent research/extended office hours 

W 14                       Dark Blue Suit 1-80                            

 
Week 14

M 19                       Complete Dark Blue Suit

Gotera (reserve)

                                                Response paper #4 due

W 21                       No Class

 
Week 15

M 26                       East Bay Grease 1-74

W 28                       East 75-186                           

 
Week 16

M 3                         complete East Bay Grease

                                                Response paper #5 due

W 5                         Keating (reserve)

Week 17

M 10       3-5pm     Final exam time:    Final Project due

                                                                Response paper #6 due