American Experimental Fiction: 1970 to the Present
Engl 3540

Spring 2008: M/W 5:30-6:45pm, LA 107
Instructor: Dr. John Charles Goshert
Office: LA 121t  Hours: M/W 11:30-1:00 and by appointment
Phone: 863-6288  email: gosherjo@uvsc.edu
 

Required Texts—to be purchased*

Don DeLillo, Americana (1970) New York: Penguin, 1989. 0140119485

Ishmael Reed, Mumbo Jumbo (1972) New York: Atheneum, 1972. 0689707304

Kathy Acker, Don Quixote (1986) New York: Grove, 1994 0802131921

Frank Chin, Donald Duk (1991) Minneapolis: Coffee House, 1991. 0918273838

Sarah Schulman, Rat Bohemia (1996) New York: Plume, 1996.  0452271827

Paul Beatty, White Boy Shuffle (1996) New York: Picador, 1996. 031228019x

*All but one of these texts are available in (among other places) the UVSC bookstore.  Please find a copy of the Schulman novel through another source, such as powells.com, alibris.com, etc.

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

Cowart, David.  “For Whom the Bell Tolls.”  Contemporary Literature 37.4 (1996): 602-20.

Hutcheon, Linda.  “Representing the Postmodern.”  The Politics of Postmodernism (1-29)

Harde, Roxanne.  “We Will Make Our Own Future Text.”  Critique 43.4 (2002): 361-78.

Acker, Kathy.  “Dead Doll Humility.”    Postmodern Culture 1.1 (1990)  <http://muse.uq.edu.au/journals/postmodern_culture/v001/1.1acker.html>

Pitchford, Nicola.  “Flogging a Dead Language.”  Postmodern Culture 11.1 (2000)   <http://muse.uq.edu.au/journals/postmodern_culture/v011/11.1pitchford.html>

Frank Chin.  “Pidgin Contest Along I-5.”  Bulletproof Buddhists (415-29).

Roof, Judith.  “Introduction.”  Come as You Are (xiii-xxxvi).

Rechy, John.  The Sexual Outlaw (excerpts)

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

Course Overview, Objectives, Requirements

Beginning with the reflections of philosopher Jean Baudrillard in America, this section of Contemporary American Literature focuses experimental fiction in the United States that comments on and critiques contemporary American culture.  Following Linda Hutcheon (who we’ll read later), these works might loosely be described as postmodernist in that they work to “de-naturalize some of the dominant features of our way of life; to point out that those entities we unthinkingly experience as ‘natural’ . . . are in fact ‘cultural’; made by us, not given to us.”  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 piece by Baudrillard, 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 January 23.  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. 

Term Project Guidelines

The term project is essentially a research argument—typically a paper of 10-12 pages—on any topic within the scope of the course (American art and culture, 1970 to the present).  You may use any of the course texts/authors or develop a project on texts, authors, music, films, art, and so on of personal interest with one caveat: ensure in making your choice that your subject matter merits close examination, and that you can develop a research question and a critical apparatus to explore it.  Successful students tend to settle on at least a broad subject and begin the research and writing process shortly following the midterm.  Feel free to write a term paper proposal if you want sustained feedback; this is optional, but due on or before Monday 10 March. 

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/uvsc354g.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.

Spring 08 calendar

January

Mon 7    Course Introduction

Wed 9    Baudrillard (handout)

                Americana 1-60

Mon 14  Americana 61-125

Wed 16  Americana 126-200

Mon 21  no class

Wed 23  Americana 201-331

Response paper #1 due

Mon 28  complete Americana

                Cowart (reserve)

                Hutcheon (reserve)

Wed 30  Mumbo Jumbo 1-71

February

Mon 4    Mumbo 72-139

Wed 6    Mumbo 139-207

Mon 11  complete Mumbo Jumbo

                Harde (reserve)    

Response paper #2 due

Wed 13  Don Quixote 1-77 (through “Text 3: Text of Wars”)

                Acker (reserve/online)

Mon 18  no class

Wed 20  Don 77-144 (through “Heterosexuality 1. The River”)

Mon 25  complete Don Quixote

                Pitchford (reserve/online)

                Midterm prep

Wed 27  Summative discussion

                Midterm assigned

March

Mon 3    Film screening: Repo Man (1984)

Wed 5    complete Repo Man

                Midterm due

Mon 10  Donald Duk 1-60

Wed 12  no class

Mon 17  Donald 61-153

Wed 19 complete Donald Duk

                Chin (reserve)

                Response paper #3 due

Mon 24  Rat Bohemia 1-54

Wed 26  Rat 55-100

Mon 31  Rat 101-64

April

Wed 2    complete Rat Bohemia

Roof (reserve)

                Rechy (reserve)

Response paper #4 due

Mon 7    White Boy Shuffle 1-58

Wed 9    White 59-111

Mon 14  White 112-95

Wed 16  complete White Boy Shuffle

                Stallings (reserve)

Response paper #5 due

Mon 21  Final Project due

                Response paper #6 due