Fall 2017 Courses
(Subject to change)
|Engl||698||Gen Ed Practicum||By arrangement||Laura Furlan|
|Engl||698B||Intro to Teaching Writing||Tue 10:00-11:15||Zukowski/Woods/Fleming/Mordecai/
|Engl||698I||Teaching Basic Wriiting||By arrangement||Anne Bello|
|Engl||698J||Teaching Mentoring||by arrangement||Peggy Woods|
|Engl||698L-1||Teaching Creative Writing||Mon 5:00-6:00||Jennifer Jacobson|
|Engl||698MA||Teaching MFA Online Courses||by arrangement||Jennifer Jacobson|
|Engl||698R-1||Applied Literary Arts||by arrangement||Jennifer Jacobson|
|Engl||698V-1||Special Topics: Teaching Writing||M, 4:00-5:00||Woods/Lorimer Leonard/Dingo|
|Engl||698V-2||Special Topics: Teaching Writing||M, 4:00-5:00||Woods/Lorimer Leonard/Dingo|
|Engl||698V-3||Special Topics: Teaching Writing||M, 4:00-5:00||Woods/Lorimer Leonard/Dingo|
|Engl||699||Master's Thesis||by arrangement|
|Engl||712||Writing & The Teaching of Writing||Tue 5:30-8:00||Rebecca Lorimer Leonard|
|Engl||731||The Bible as Literature||Thur 4:00-6:30||David Toomey|
|Engl||780/1||Imaginative Writing: Poetry||Tue 1:00-3:30||Dara Wier|
|Engl||780/2||Imaginative Writing: Poetry||Mon 1:25-3:55||Peter Gizzi|
|Engl||780/3||Imaginative Writing: Poetry||Mon 6:00-8:38||Ocean Vuong|
|Engl||781/1||Imaginative Writing: Fiction||Thur 11:30-2:00||Edie Meidav|
|Engl||781/2||Imaginative Writing: Fiction||Tue 6:00-8:30||Noy Holland|
|Engl||781/3||Imaginative Writing: Fiction||Wed 4:00-6:30||Sabina Murray|
|Engl||791E||Theorizing the Discipline||Wed 4:00-6:30||Jordy Rosenberg|
|Engl||791RC||Race & Cultural Critique||Tue 5:30-8:00||Caroline Yang|
|Engl||792A||Methods for Study of Amer Culture||Thur 5:30-8:00||Ron Welburn|
|Engl||796||Independent Study||by arrangement|
|Engl||796A||Independent Study||by arrangement|
|Engl||796W||Independent Area||by arrangement|
|Engl||796X||Independent Area||by arrangement|
|Engl||891AA||Re/Orienting Arab America||Mon 1:00-3:30||Mazen Naous|
|Engl||891BF||Narratives of Dev. & Globalization||Thur 1:00-3:30||Asha Nadkarni|
|Engl||891DS||Historiography and Digital Humanities||Mon 5:00-7:30||Janine Solberg|
|Engl||891FF||Feral Fiction||Thur 2:30-5:00||Noy Holland|
|Engl||891G||Form & Theory of Fiction||Wed 1:25-3:55||Edie Meidav|
|Engl||891M||Form & Theory of Poetry||Tue 6:00-8:30||Dara Wier|
|Engl||891MG||Early Modern Global Economics, Imperialism & Discourses of Fortune||Tue 1:00-3:30||Jane Degenhardt|
|Engl||899||Doctoral Dissertation||by arrangement|
Fall 2017 Graduate English Course Descriptions
712---Writing and the Teaching of Writing
Rebecca Lorimer Leonard
This course introduces current and future K-16 teachers to writing pedagogies and the theory that informs them. The seminar has a dual aim: to probe the historical and theoretical issues in teaching writing and to connect those issues to pedagogical problems. We will do this work in pursuit of the following questions: Why teach writing? Where did this practice come from and where is it going? What is the role of writing in the 21st century university? How do we best prepare students to write for this role and for practices outside of and after college? We will read from Erika Lindemann’s A Rhetoric for Writing Teachers; Stephen North’s The Making of Knowledge in Composition; Gary Tate, Amy Rupiper, and Kurt Schick’s A Guide to Composition Pedagogies; James Williams’ Preparing to Teach Writing: Research, Theory, and Practice; and The Norton Book of Composition Studies, all of which will be available at Amherst Books. Writing projects will include a textbook critique, a feedback on feedback project, a unit design, and a course syllabus with theoretical rationale. These projects are meant to deepen reflection about our experiences as writers, learners, and teachers, as well as hone the pedagogical values that shape our teaching decisions.
Rebecca Lorimer Leonard specializes in literacy studies, language ideologies, multilingual writing, and comparative rhetoric. She teaches undergraduate and graduate courses on language diversity, writing center studies, and research methods. Professor Lorimer Leonard received the 2014 Promising Researcher Award from the National Council of Teachers of English. She has published in College English, Research in the Teaching of English, Written Communication, and WPA: Writing Program Administration, and her book, Writing on the Move: Migrant Women and the Value of Literacy, is in production with University of Pittsburgh Press.
731---Bible as Literature
The class will explore several of the most studied and influential books of the Old and New Testaments.
As a whole, the class will read (from the Hebrew Bible or Old Testament) the books Genesis, Exodus, Ruth, Job, Psalms, Proverbs, Ecclesiastes and Isaiah and (from the New Testament) the gospels Luke and John. Most class meetings, following Luther’s doctrine of sola scriptura (scripture alone) will involve collective efforts to derive coherent close readings of particularly provocative or problematic passages. Where necessary, following the historical-critical type of exegesis called Higher Criticism, we will appeal to secondary sources. Individually, students will undertake term projects culminating in seminar papers that examine the influence of a particular Biblical passage or figure on a literary text or set of texts. The passage or figure need not be among those discussed in class, and the text or texts may be from any historical period. Nonetheless, the project must be approved by the instructor. Additionally, each student will make an in-class presentation on a subject related to the Bible, providing the class as a whole with cultural and historical context not supplied by course readings.
Course texts, yet to be determined, will be ordered through Amherst Books.
David Toomey’s most recent book is Weird Life: the Search for Life That is Very, Very Different from our Own (Norton, 2013).
780/1 – Imaginative Writing: Poetry
Tues., 1-3:30 SC W365
*Satisfies MFA Contemporary Poetry requirement, and with additional reading can satisfy contemporary poetry requirement.
We'll be concerned with what poets encounter as they solve the problems their art presents. Workshop won't be about re-writing one another's poems. It is a unique set of circumstances during which we see new work as it comes into being. We will be simultaneously writers and readers. We will ask how (in what ways) a poet's overlapping brain activities benefit their poems. Poets are welcome to identify parts of their work they want pressed into conversation. We'll listen to poets bring to workshop those eternally fueling and occasionally vexing constellations of purpose and desire, talents, styles and cryptically splintered elements of craft--- in artificial and illusory and real manifestation. Continuity and condensation, evaporation and every sort of combination we'll hope to witness and to understand in contexts in which we meet them. We'll look into dark corners where there are no words and no comparisons and no syntax or scaffolding or bridges or walkways or light switches. We'll talk about who we're reading and who we hear and see read in all the venues available in our vicinity and in our travels. We'll talk about structure when that is evident and story when that is evident and sometimes when it is invisible and about the places in poems where crucial events, emotional and intellectual, political and spiritual and all else, happen to happen. We'll talk about who's talking and why. We'll talk about how expectations shift depending on the look of a poem and the mood of the reader. We'll talk about prepared reading and other kinds of reading. We'll talk about whatever we happen to bring into the room with us and those things poetry brings into the room for us. We'll read 12 new poems (minimum) by each of you over the course of our meetings; you'll make a chapbook, booklet or pamphlet; we'll have a reading of new work near the end of the semester; we may have a few guests; field trips; other trips; our methods will change as we ask questions, speculate, investigate, and often change our minds. A reading list combining prose and poetry will be provided.
Dara Wier’s newest books are the forthcoming fall 2017 in the still of the night (Wave) and You Good Thing (Wave Books, 2013), a collection of sonnet-length poems and The Believer's reader's choice book of 2014. Books in progress include Extremely Expensive Mystical Experiences for Astronauts (poems), The Pieces (poems in pieces), The Camouflage of Marriage (stories) and INSIDE UNDIVIDED (prose); she is the author of poems and prose, poems most often since HAT ON A POND, the book length poem in 9 line 9 stanza sections REVERSE RAPTURE, SELECTED POEMS, and YOU GOOD THING, all from Wave Books. Guggenheim, National Endowment for the Arts and Massachusetts Cultural Council fellowships have supported her work which can be found in Best American Poetry, The Pushcart Prize Anthology, The Golden Shovel, Black Ocean's Anthology of Surveillance Poetics; the Norton Anthology of American Hybrid Poetry, Fou, Divine Magnet, American Poetry Review, The Nation, Conduit, Maggy, Volt, Bat City Review, Tinhouse, jubilat, Massachusetts Review, Boston Review, Sixth Finch, Oh No, Telephone, Lungful, Green Mountain Review, Make, Matter, Scythe, Fence, Mead, The Fairytale Review, Wolf in a Field, Salt Hill Journal, The Academy of American Poets and The Poetry Foundation's websites, in the Wave Newsletter, LITERATURA, HYPERALLERGIC, on CA Conrad's blog and in the lecture series PLATFORM, and in chapbooks from Rain Taxi, The Song Cave, Small Anchor Books, Oat City Press, and as a big broadside in Rain Taxi's brainstorm series. Her book REVERSE RAPTURE was awarded the San Francisco Poetry Center’s book of the year award; her work was awarded American Poetry Review's Jerome Shestack Prize. She is a founding editor of Factory Hollow Press, and founding director of the Juniper Initiative for Literary Arts and Action and the Juniper Institute Summer Writing Workshops. She is now serving as jubilat's executive editor and publisher.
780/2 – Imaginative Writing: Poetry
Mon, 1:25-3:55 SC W365
The workshop is a demanding class. It consists of work-shopping several batches of poems, providing in-depth written comments, handing in revisions, reading several books of poetry and essays, and required participation and attendance. Permission of instructor requires of students not enrolled through the MFA Program for Poets & Writes. All course books available at Amherst Books.
Peter Gizzi is the author of Archeophonics (Wesleyan 2016), In Defense of Nothing: Selected Poems 1987-2011 (Wesleyan 2014), Threshold Songs (Wesleyan 2011), The Outernationale (Wesleyan 2007), Some Values of Landscape and Weather (Wesleyan 2003), Artificial Heart (Burning Deck 1998), and a reprint of his first book, Periplum and other poems 1987-1992 (Salt Publishing UK 2004). His honors include the Lavan Younger Poet Award from the Academy of American Poets and fellowships in poetry from The Fund for Poetry, The Rex Foundation, Howard Foundation, The Foundation for Contemporary Arts, The John Simon Guggenheim Memorial Foundation, and The Judith E. Wilson Visiting Fellowship in Poetry at Cambridge University.
780/3 – Imaginative Writing: Poetry
781/1 – Imaginative Writing: Fiction
Thurs., 11:30-2:00 SC W365
The Drama of Fiction. How might you raise the stakes of your writing? In this workshop open to inspiration from another genre, you will continue working on your narratives while using theater for inspiration and new possibilities. We will actively consider dramatic principles as a way to help us structure both shorter and longer work. Classwork includes the reading of a short weekly play, a theater field trip, and presentations. The influence may be osmotic or it may be direct, but you will be steeping yourself in the possibility theater offers the writer.
Edie Meidav is the author of three award-winning novels: LOLA, CALIFORNIA (FSG/Picador), CRAWL SPACE (FSG/Picador) and THE FAR FIELD: A NOVEL OF CEYLON (Houghton/Mariner) as well as the story/nonfiction collection KINGDOM OF THE YOUNG (April, 2017). Her work has been called an editorial pick or book of the year by the New York Times, the L.A. Times, Literary Blog Co-Op and other sites, and has been excerpted by The Chicago Tribune and The Denver Post. Fellowships she has received include a Lannan, Howard, Whiting, an imminent Fulbright in Cyprus, a Fulbright in Sri Lanka, the Kafka award for best novel by an American woman, the Bard Fiction prize for writers under 40 and a Village Voice award. Residencies at Macdowell, Yaddo, Vermont Studio Center, Fundacion Valparaiso and other sites have supported her work, while stories, excerpts, reviews, homages and poetry have been published in The Millions, PEN/Guernica, Artweek, Conjunctions, The Chicago Tribute, Kenyon Review, Ms., Poetry Flash, The Village Voice, The American Voice, Zyzzyva and other publications. A former director of the MFA Program at New College of California in San Francisco and writer-in-residence at Bard College, she is a senior editor at Conjunctions as well as a contributing editor to Fifth Wednesday Journal, and the International Literary Quarterly. In 2016 she represented Macdowell for a consortium of NH leaders, told stories for The Moth/NPR, guest-lectured for the Squaw Valley Community of Writers and judged the PEN/Bingham First Fiction prize. She directs the literary arts internships for the UMass MFA Radio Hour, and has nominated or judged for the Nobel committee, the NEA, Howard Foundation, Yaddo, the Massachusetts Cultural Council, the UMass Juniper Prize and elsewhere.
781/2 – Imaginative Writing: Fiction
Tues., 6-8:30 SC W365
This is a course about learning to be better at being, as Mr. Joyce says, "above the text, paring one's fingernails." My hope is that the class inspires fanaticism, perversions of the given, a new sense of the plasticity of the language, its instability, a fresh devotedness to the task of exploring lingual effects, the texture and coloration of words, the deep structure of sentences. The course seeks to encourage work that produces not sensationalism but sensation or what Nabokov called "aesthetic bliss; that is, a sense of being where art (curiosity, tenderness, kindness, ecstasy) is the norm." Please note that we will be reading at least 3 collections of short fiction for this course, and I will expect submissions to the workshop to be, in the main, short fiction. If you are working on a novel, please check with me first to determine whether or not this is the best workshop for you. Books ordered at Amherst Books.
Noy Holland’s debut novel, Bird, was released by Counterpoint in Fall 2015. Her collections of short fiction and novellas include Swim for the Little One First (FC2), What Begins with Bird (FC2), and The Spectacle of the Body (Knopf.) She has published work in The Kenyon Review, Antioch, Conjunctions, The Quarterly, Glimmer Train, Western Humanities Review, The Believer, NOON, and New York Tyrant, among others. She was a recipient of a Massachusetts Cultural Council award for artistic merit and a National Endowment for the Arts Fellowship. She has taught for many years in the MFA Program for Poets and Writers at the University of Massachusetts, as well as at Phillips Andover and the University of Florida. She serves on the board of directors at Fiction Collective Two.
781/3 – Imaginative Writing: Fiction
Wed., 4-6:30 SC W365
This workshop is designed to accommodate longer works--novels in progress, collected short stories, novellas--in order to allow the writer to present a larger body of work. The workshop is most helpful for writers who have at least 60pp of manuscript completed. In the past, novel excerpts and cycles of short shorts have been successfully presented, as well as collected stories: the workshop is not concerned with form, but rather with the writer presenting a solid chunk of unified work. Keep in mind, you writers of epic novels, that there will be a strict limit of 25,000 words (103.5 pages double-spaced, 12 pt, Times New Roman, real margins) per submission. Should the class not be full, there might be a possibility of accommodating additional submissions by individual writers.
Sabina Murray is the author of three novels and two story collections, including The Caprices, which won the 2002 PEN/Faulkner Award. She has been awarded fellowships from the National Endowment for the Arts, the Guggenheim Foundation, and the Radcliffe Institute. She teaches in the MFA Program at the University of Massachusetts at Amherst. Her stories are anthologized in The Norton Anthology of Short Fiction and Charlie Chan is Dead II. She has held fellowships from the National Endowment for the Arts, Guggenheim Foundation, Radcliffe Institute, and Massachusetts Cultural Council. She has written on Sebald for the Writers Chronicle, Wordsworth for the Paris Review blog, and time theory and historical fiction for LitHub. Her most recent book, Valiant Gentlemen, was included in the New York Times 100 Notable Books of 2016.
791E---Theorizing the Discipline
This course will give graduate students an introduction to the history and methodology of literary study. We will concentrate on Marxist literary and cultural criticism; theories of postcoloniality and decolonization; neoliberalism, critical race studies; feminism, and queer theory. Authors will include: Althusser, Adorno, Benjamin, Deleuze and Guattari, Fanon, Freud, Gilroy, Gramsci, C.L.R. James, Marx, Mbembe, Fred Moten, and Raymond Williams.
Jord/ana Rosenberg is author of Critical Enthusiasm: Capital Accumulation and the Transformation of Religious Passion (Oxford University Press, 2011), and of The House of Waste (Random House, forthcoming 2018), a fictionalized history of the origins of testosterone extraction and synthesis, set in an alternate 18th-century, and narrated by the period’s most infamous jailbreak artist. Rosenberg’s fiction, experimental prose, and scholarly work have recently appeared in Fence, The Common, Salvage Quarterly, PMLA, GLQ, and Theory & Event.
791RC---Race & Cultural Critique
This seminar will introduce students to race as a category of analysis and critique. We will begin by grounding ourselves in the history of racial formations in the United States and study various interdisciplinary theorizations of race and the material effects of racism on racialized lives. The texts for the first portion of the course may include Michael Omi and Howard Winant’s Racial Formations in the United States, W.E.B. Du Bois’s Souls of Black Folk and Black Reconstruction in America, David Roediger’s Wages of Whiteness, critical essays by Kimberlé Crenshaw and Cheryl Harris, Moon-Kie Jung’s Beneath the Surface of White Supremacy, Michelle Alexander’s The New Jim Crow, and Chandan Reddy’s Freedom with Violence. The latter part of the class will focus on the notion of cultural critique as we think about how we read race as literary critics. The texts could include Asha Nadkarni’s Eugenic Feminism, Toni Morrison’s Playing in the Dark and Home, Aida Levy-Hussen’s How to Read African American Literature, and Elda Tsou’s Unquiet Tropes. The books will be ordered through Amherst Books and Amazon.
Caroline Yang’s current research project examines the figure of the Chinese worker in American literature during and after Reconstruction. Her second book centers on figures and spaces of work in post-1965 Asian American and African American literatures in the context of U.S. imperialism, global racial capitalism, and liberal multiculturalism. In addition to Asian diaspora and African American literary studies, her teaching and research interests include comparative race and ethnic studies, gender and sexuality studies, and transnational media and cultural studies.
792A---Methods for the Study of American Culture
How do we pursue methodologies for an interdisciplinary field like American studies which has continued to evolve since the 1960s? How can we reconcile its foundational theories and methods like its search for a useable past with postcolonial developments and the globalizing of U.S. culture? An expanded interpretation of a Mary Helen Washington view asks what happens to American studies when communities of color have a central role. Is American Studies still in “a moment of danger” as George Lipsitz declared in 2001? What about American exceptionalism? What’s going on with the “transnational turn” pondered by Shelley Fisher Fishkin, Donald Pease, and others? In this year’s Methods course we will engage these and related ideas while also examining case studies, oral history practice, philosophical conflicts over culture consumerism and global economics, and American studies in the western hemisphere. Plan on a series of seminar-like presentations, studies of literary works, and inclusions of exemplary music and the fine arts.
Ron Welburn (Gingaskin Cherokee) recently published Hartford's Ann Plato and the Native Borders of Identity (SUNY Press 2015/2016), a study both of the book (Essays) this elusive author/teacher published in 1841 and the urban Indian community of which she was a part. Welburn is also researching the following: the Rev. George A. Spywood, the Mashpee Wampanoag and Narragansett minister who emerged as a leader in Hartford's A.M.E. Church; Ann Plato's possible early life in New Haven; and he has a work in progress on Native Americans in jazz, blues, and popular music.
796---Independent Study By arrangement
For students wishing to do special work not covered by courses listed in the curriculum. Each student when registering should submit a brief description of the semester’s work agreed on by the student and the instructor. This must be signed by both the instructor and the student. No instructor should do more than one such course. Forms for registering for this course are available in the Graduate Studies Office. The Director of Graduate Studies must approve each proposal.
796A---Independent Study By arrangement
For students who are taking more than one independent study course per semester.
796B---Independent Study By arrangement
796W---INDEPENDENT AREA-1 By arrangement
796X----INDEPENDENT AREA-2 By arrangement
891AA---Re-Orienting Arab America
The rise of neo-orientalist, Arabophobic and Islamophobic discourses in the US has put pressure on Arab American writers to respond to these stereotypes and misrepresentations. Furthermore, the very designation of “Arab American writing” posits the cultural production of Arab Americans in overdetermined socio-political matrices that prescribe certain readings, which deemphasize the artistic and aesthetic significance of this production. How, then, do Arab American writers tread the fine line between political and aesthetic considerations? What cultural and cross-cultural strategies do they employ to promote both a counter politics and artistic innovation? How do they address and persuade potentially hostile audiences? The literature of Arab Americans is emerging from years of neglect in the US academy, where it was not readily admitted alongside other literatures of migration and exile, and our focus will extend in part to the possibilities and orientations of this newly visible field of study. We will negotiate these questions and issues in the works, among others, of Diana Abu-Jaber, Rabih Alameddine, Rawi Hage, Laila Halaby, and Mohja Kahf. Literary and cultural theory will guide our readings. Books will be ordered at Amherst Books.
Mazen Naous specializes in Arab American literature, Arabic literature, postcolonial studies, translation theory, and music and literature. He is currently writing a book titled Traveling Poetics in the Arab American Novel. Naous’s most recent publication is an interdisciplinary edited collection of essays titled Identity and Conflict in the Middle East and its Diasporic Cultures.
891BF---Narratives of Development and Globalization
The “age of development” officially began in the post-World War II era of decolonization, transforming development into the new “white man’s burden.” At the same moment, postcolonial nation states turned to the discourse of development as a means of articulating their identity on the global stage. In the last several decades, neoliberal regimes of globalization have challenged the shape and form of national development. This course begins with classical theories of imperialism before turning to modernization theory, dependency theory, post-development theory and current theories of globalization and neoliberalism. In each case it seeks to unpack the theoretical and historical contexts of development and globalization with a particular eye to the ways in which subjects are interpellated as “developed” or “underdeveloped.” We will also explore representations of developmental and neoliberal regimes of subjection in literary and filmic texts by authors that may include Aravind Adiga, Mohsin Hamid, Kiran Desai, Jhumpa Lahiri, Alex Rivera, and Stephen Frears.
Asha Nadkarni specializes in postcolonial literature and theory, American studies, Asian American Studies, transnational feminism, and literatures and cultures of the South Asian diaspora. She is the author of Eugenic Feminism: Reproductive Nationalism in the United States and India (University of Minnesota Press, 2014), and is working on a second book, tentatively titled From Opium to Outsourcing: Global Circuits of South Asian Labor. She is also co-editing, with Cathy Schlund-Vials, Volume Three of the Cambridge University Press series, Asian American Literature in Transition: 1965-1996.
891DS---Historiography and Digital Humanities
This seminar will provide an introduction to writing studies scholarship in historiography and the Digital Humanities (DH). Although historical research in Composition and Rhetoric has enjoyed steady growth over the past several decades, and although DH is dominated by work that is overtly historical (Liu 2013), the use of DH methods in histories of composition and rhetoric has thus far been relatively modest. This may be changing, however, and our seminar will try to understand why this might be, identify emerging questions, and ask how scholars working on historical projects within writing studies might productively locate themselves (or not) in relation to DH, its questions, and its methods. Seminar participants will have a chance to practice traditional archival methods as well as explore digital tools and theoretical stances associated with DH scholarship.
Course texts will include readings on historiography, archival research, and DH that are firmly located within the field of Composition and Rhetoric, as well as works that help us take up DH from a more interdisciplinary perspective. Examples of possible readings include: Alan Liu’s “The Meaning of the Digital Humanities” (PMLA 2013), Ramsey, et al’s Working in the Archives: Practical Research Methods for Rhetoric and Composition (2009), Ridolfo and Hart-Davidson’s Rhetoric and the Digital Humanities (U of Chicago Press 2014), Matthew K. Gold’s Debates in the Digital Humanities (U of Minnesota Press 2016), Morris’s “Archival Queer” (2004), Bizzell’s, “Feminist Methods of Research in the History of Rhetoric” (2000), and Octalog III (Rhetoric Review).
Janine Solberg is currently writing a book on early 20th century career advice literature for women. Her research and teaching interests include gender, technology, and writing studies, as well as historiography and archival research methods.
Feral Fiction, Art and Action, and the Essay Unbound: Citizenship, Resistance, and Aesthetics. This course seeks to blur and disquiet taxonomies of intelligence and ready categories of artistic forms. The reading list mingles essays, short fiction, and novels, in an invitation to wonder at the ways in which writers, directly and obliquely, implicitly and explicitly, invite questions of social and environmental justice through disruptions of the given. We will look closely at works that stop the clock, resist what is commonly called progress, honor the flux of experience, insist on candor, compassion, intimacy, and fresh incursions into form.
The reading list will be drawn from the following books:
Joy William’s ILL NATURE and STATE OF GRACE; Claudia Rankine’s CITIZEN; Ta-Nehisi Coates’ BETWEEN THE WORLD AND ME; Sarah Gerard’s BINARY STAR, Nell Zink’s WALL CREEPER; Vi Khi Nao’s OH, GOD, YOUR BABIES ARE SO DELICIOUS; Amina Cain’s CREATURE; Maggie Nelson’s ARGONAUTS; Lidia Yuknavitch’s CHRONOLOGY OF WATER; Fred Bosworth’s THE LAST CURLEW; Hilary Plum’s WATCH FIRES; Lauret Savoy’s TRACE; Naomi Klein’s THIS CHANGES EVERYTHING; Audre Lorde’s SISTER OUTSIDER; Melanie Rae Thon’s SILENCE AND SONG; James Welch’s WINTER IN THE BLOOD; Bonnie Nadzam’s LOVE IN THE ANTHROPOCENE; Bill McKibben’s EAARTH; Amitav Ghosh THE GREAT DERANGEMENT; Amy Leach THINGS THAT ARE
891G---Form & Theory of Fiction: Writing & Fascism: The Engaged Writer
How does writing matter in a moment when the world appears to be in disarray? How can it speak to a wide audience? When the culture industry propagates fake news, how does a writer respond? This course looks at writers, silenced and bold, from diverse international milieus. Our goal will be to create, together, a taxonomy of strategies the writer may use. The United States, unlike many countries in Latin America, only recently resuscitated the ideal of the creative writer, like Marquez, dwelling in a more engaged public sphere. This cross-genre seminar in non/fiction will explore how work rich in imagination and research explores questions of identity and authority, exile and marginalization, while offering readers the possibility of catharsis and change. Reading closely, we will explore the voice of non/fiction which speaks in a way that either inhibits or revives the concept of civil discourse. Homi Bhabha says our "humanistic commitment to interpretation encourages the exercise of independent free will and judgment," that our work as readers and writers forms "a gesture of reaching out, of empathy towards the lives, works, and histories of others." Our readings will include the work of writers such as Adichie, Abinader, Alexie, Anzaldua, Baldwin, Cabrera Infante, Coates, Coetzee, Galeano, Gyasi, Greene, Grossman, Hamid, hooks, Johnson, Kapuscinski, Klemperer, Marquez, Oyeyemi, Roth, Roy, Yapa, Winterson. Classwork includes presentations and the writing of work both creative and analytical. For those outside the MFA, permission from the instructor is required.
891M Form & Theory of Poetry: Invisible Visible
ues., 6-8:30 SC E370
891 INVISIBLE VISIBLE, transformations from private to public and back again (a jubilat seminar); this seminar will include juniper editorial and production staff (for jubilat editorial screeners, assistant editors, managing editors, feature editors, this seminar is where you receive academic credit for your work with jubilat) for any jubilat work, sign up for this seminar and not for arts administrative hours; for anyone not affiliated with jubilat you should write to firstname.lastname@example.org letting her know of your interest in the seminar’s content and letting her know what you hope to gain with participation and what you believe you will bring to the seminar as it develops content and concerns, knowing you are very welcome whether you are working with jubilat or not, the seminar will be limited to 12 participants
weekly meetings designed to both work with jubilat’s editors, founding editors, and guest editors, as a collective to produce and design and investigate jubilat’s on-going content commitment to a range of interests poets, writers, artists, scholars, bring to the transformation of private, personal thought to published, public, narrowly or widely available variously distributed (via print, digital or combinations of any and all available media) public knowledge and to work with one another as a thinking cooperative to question, research, talk about and explore issues apparent and discoverable relative, tangential, intuitive, historical, practical, political, oblique, counterintuitive, urgent, necessary
why do poets and writers and scholars submit their work to the transformations publishing requires and may ultimately mean
why does anyone want to publish in print, digitally or otherwise distribute work by themselves or others (writing on water, sky-writing, invisible ink, codes, secret languages and signs, zines, booklets, broadsides, pamphlets, chapbooks, volumes, serial publications, magazines, journals, graffiti, signatures, fascicles, blogs, websites, columns, podcasts, posters, pictures, words, text, via any combinations of any of these)
what can we uncover about what can appear to be everyday ordinary processes that will lead us to considerations, possibly insights, deeper understandings, surprising questions, new concerns, significance, values, with which we might better be knowledgeable sufficient to taking good care of our lives, our work, and those lives and works we feel responsible for knowing
with anticipated guest appearances from among: Mira Bartok (artist & writer), Matvei Yankelvich (poet, publisher, Ugly Duckling Presse), Lucy Ives (poet and writer, Triple Canopy), Rosamond Purcell (photographer, installation artist, writer), Emily Brewster (lexicographer, Merriam Webster), Alix Kennedy (Eric Carle Picture Book Museum Director), Chris Janke (poet, writer, artist, publisher, editor), Christian Hawkey (poet, writer, Pratt Institute), Rob Casper (Library of Congress), Eric Lorberer (Rain Taxi), Kelly Link (Small Beer Press, writer and publisher), Jedediah Berry (writer, editor, Small Beer Press), Bianca Stone (poet, writer, poetry comics, Ruth Stone Foundation), Kevin Gonzalez (writer, poet, jubilat editor, Carnegie Mellon University), Caryl Pagel (poet, Cleveland Sate Poetry Center director, editor, jubilat editor, Rescue Press) and others
a few resources for background, foreground, and possible attention:
THE JOURNALS OF LEWIS AND CLARK (Frank Bergon, editor)
jubilate agno (Christopher Smart)
THE DEAD SEA SCROLLS
WHAT WE SEE WHEN WE READ (Peter Mendelsund)
INTERIOR CASTLE (Teresa of Avila)
NOTES FROM NO MAN'S LAND (Eula Biss)
A BRIEF HISTORY OF PORTABLE LITERATURE (Enrique Vila-Matas)
PAINTING WITH WORDS, WRITING WITH PICTURES (Franco Ricci)
A HISTORY OF READING (Alberto Manguel)
GRAPHESIS visual forms of knowledge production
VARIOUS SMALL BOOKS (Ed Ruscha)
DISTANT READING (Franco Moretti)
THE VISIBLE WORLD (Johanna Drucker)
NO MEDIUM (Craig Dworkin)
THE THING THE BOOK (Jonn Herschend & Will Rogan)
STEVE WOLFE ON PAPER (Foster & Sirmans)
A READER ON READING (Alberto Manguel)
THE LIBRARY AT NIGHT (Alberto Manguel)
THINKING WITH TYPE (Ellen Lupton)
PIERRE MENARD (Jorge Luis Borges)
RED (Maggie Nelson)
in addition to theoretical concerns, the seminar will aim to view, as an example, what jubilat is and what it does, identify its roles, imagine its development, and within the seminar's requirements envision, make and create and seek content and production, on-going and new features explored, examples: appearances of eternal presence, developing found content, interviews, arts & actions words & pictures, words and music, book & poem epigraph collections, prose documents, jubilat chapbooks, unexplored introductions, who is anonymous, new content
with constant and on-going underlying and overt regard for issues related to what happens in exchanges between what is private and what is public
Dara Wier’s new book, in the still of the night, is forthcoming fall 2017 from Wave Books; she is the author of poems and prose, poems most often since HAT ON A POND, the book length poem in 9 line 9 stanza sections REVERSE RAPTURE, SELECTED POEMS, and YOU GOOD THING, all from Wave Books. Her on-going writing about reading, poetry, chance, and context has moved from Flying Object to jubilat’s website; newer work has recently appeared in EPIPHANY, DIVINE MAGNET, as a big broadside in Rain Taxi’s brainstorm series, in BOSTON REVIEW, on the Poetry Foundation’s and Poetry Society of American’s websites, in the Wave Newsletter, LITERATURA, HYPERALLERGIC, on CA Conrad’s blog and in the lecture series PLATFORM; she is the executive editor and publisher of jubilat, and an editor for factory hollow press; she is a founding director of The Juniper Initiative for Literary Arts & Action, and The Juniper Summer Writing Institute and workshops
891MG---Early Modern Global Economics, Imperialism, & Discourses of Fortune
Jane Hwang Degenhardt
This course will explore the ways that early modern England’s economic transformation and nascent colonial exploration produced, and were in turn ideologically justified by, new understandings of the nature of luck, chance, and fortune. We will think about how these interlinked developments relate to narratives of secularization and modernity. By extension, we will explore how travel, commercial exchange, and colonial exploration gave rise to new ways of knowing and navigating the world through human perception, feelings, and ambitions. How did these globalized enterprises lend themselves to new forms of inter-personal intimacy, as well as to new configurations of the relationships between humans and the larger ecologies of the natural and supernatural worlds?
We will also consider how shifting understandings of fortune became fused with moral purpose, and how the human pursuit of economic fortune became associated with virtuous national and imperial gains. In what ways were chance, luck, and divine providence employed to justify violence, inequalities, and formations of racial difference? How can a cultural history of early capitalism equip us to approach modern-day global capitalism in a more informed and ethical manner?
The plays of Shakespeare and his contemporaries will be foregrounded, but we will also investigate a variety of influential writers on the topic of fortune, including Lucretius, Boethius, Machiavelli, Montaigne, Bacon, and others. Plays may include Antony and Cleopatra, The Merchant of Venice, Two Noble Kinsmen, Troilus and Cressida, Othello, The Tempest, and The Comedy of Errors, as well as lesser-known plays by Heywood, Dekker, Jonson, and Marlowe. In addition, we will sample some early modern travel writing and economic treatises.
Jane Hwang Degenhardt is writing a book on fortune and empire. Her earlier books focus on conversion and embodiment, the logics of religious and racial difference, performance, and dramatic genre. She has published in numerous journals, including PMLA, ELH, Journal for Early Modern Cultural Studies, Modern Fiction Studies, and others.
899----Doctoral Dissertation Staff
All graduate students must have a minimum of 18 credits at the time of their graduation.