English Department offerings, Spring 2014.

For your convenience, a pdf of our current semester course offerings can be downloaded here

English 19-1: Introduction to Literary Analysis  

Although primarily designed as an introductory course for English majors, this course is open to all lovers of literature. It will give more experienced readers a chance to perfect their analytical skills and less experienced readers a chance to acquire new skills. We will concentrate on learning how to pay the kind of attention that literature demands and how to ask and answer fruitful questions. We will begin to master the language of literary criticism, the technical vocabulary that makes it possible for a reader to ask and to answer interpretive questions with clarity and precision.


Active participation in class discussions, three short essays, quizzes and responses, and a final exam. 

Texts: Literature, ed. Kennedy and Gioia 

Abrams, A Glossary of Literary Terms 

Michael Ondaatje, In the Skin of the Lion 

Instructor: Carol Beran T/Th 9:45-11:20 

Fulfills a Creative Writing minor requirement and Core Curriculum Requirement: Artistic Understanding.

English 23: African American Voices From the Harlem Renaissance to Invisible Man  

 This course will serve as an introduction to some of the most important African American voices of the Harlem Renaissance and the thirty tumultuous years that followed. If the Harlem Renaissance of the 1920s represented a celebration of African American life and culture, the three decades that followed represented the ongoing volatility of race relations in America and the struggles of black men and women to find visibility, voice, and equality in American society. In our reading of poetry, fiction, nonfiction, and memoir, we will examine the politics of racial identification, the intersection of race and gender, the visibility and invisibility of race in America, and the impact of racism on the individual and American society at large. Please join us as we encounter some of the most powerful and enduring works of the American twentieth century. 

Reading List

Du Bois, W. E. B. The Souls of Black Folk; Hughes, Langston, Selected poetry; Hurston, Zora Neale, Their Eyes Were Watching God; Wright, Richard, Native Son; Ellison, Ralph, Invisible Man 

Course Requirements: 

Careful reading, active participation, presentations, weekly response papers, three essays

Instructor: Kathryn Koo MWF 11:45-12:50 

Note: This course is cross-listed with Ethnic Studies. Students taking this course will receive Artistic Analysis and American Diversity credit toward the Core Curriculum requirements. 

Students may also petition to have this course count as an upper division English course offering.

English 25: Creative Writing, Multi Genre 

This is a course for those who have an interest in writing creatively, and exploring language in various forms: poetry, fiction, drama, and essays. Students who have an interest in one particular genre but would like to experiment with others are welcome, along with anyone who has not tried creative writing yet, but would like to. Over the course of the semester, you will experiment with various writing forms and techniques, using exercises from our text as well as other sources. You will also analyze and critique established writers’ work, with a special emphasis on form and technique. And you will grow and change as a writer by writing and revising your own personal essays, poems, fiction and dramatic works. 


Janet Burroway, Imaginative Writing: The Elements of Craft. Assorted stories, poems, and plays. 

Instructor: Professor Matthew Zapruder T/Th 3:00-4:35 

No experience required! This course is open to all majors. It fulfills a Creative Writing Minor requirement and the Artistic Understanding Learning Goal for the Core Curriculum. 

English 26: Creative Writing Reading Series (.25)

Every semester, some of our finest contemporary writers visit Saint Mary’s to read from their work and to discuss their writing processes. English 26 is a quarter-credit class designed to give students an opportunity to be more active members of the audience. The student will attend the events in the Creative Writing Reading Series, read the work of some of the writers, and have a chance ask the visitor questions about the life of a writer. 


Regular attendance at all events in the Reading Series; brief reviews of two events and a 
longer review of one writer’s book. 
Instructor: Brenda Hillman Wednesdays 7:30-9:00 p.m

English 27: Book and Film Club

If you ever wanted to be a film critic, this is the book club for you. In this class, we will explore the transformation of different literary genres into film and/or television series. Discussion will center on the relationship between the novel and screenplay, with consideration of what changes and why. Is it important to be true to the book? Are the novels or short stories always better?

Students will have the opportunity to shape the reading/ viewing list on the first day of class (the books/films cited to the right are just some of the possibilities). We may also want to explore at least one television adaption such as Orange is the New Black, or Mildred Pierce, a classic that went from novel to film to, in 2011, HBO series directed by the innovative Todd Haynes. And how best to translate a graphic novel to film? We might read and view Persepolis in this regard.

All are welcome. Join us!

P/F grading based on attendance, completion of reading assignments, and participation in class discussions.

Instructor: Janice Doane Time: Alternate Mondays 2:45-4:20

English 29-1: Issues in Literary Study

This is an introductory course for English majors and minors, and also for any student who wants to know what concerns those who study literature in college and beyond.

In English 19, or other introductory English courses, you learned to value reading a text closely for its form and aesthetic features. In this course, we’ll start with a brief review of this formal (text- based) approach to literature. Then we’ll read a range of literature and learn how different interpretive approaches can enrich our reading and writing about texts. We’ll ask many questions: Is it possible (or desirable) to read a text “objectively”? Why might we want to read familiar literature “against the grain’? Can we really say that some texts embody “timeless values” and teach “universal truths”? What’s the role of ideology in interpretation? What does it mean to say that texts and readers are “situated”? Why do we read and discuss certain texts in the classroom and not others? What’s the distinction between “serious” and “popular” literature? Is the distinction meaningful?

By the end of the course, you’ll be a more sophisticated reader, with new reading strategies: new questions to pose about texts, new ways to answer those questions. You’ll understand why and how serious readers of literature can disagree. With the new perspectives you’ll develop, you’ll find literature a richer field of exploration.

Requirements: Careful reading and re-reading, scrupulous attendance, active participation in class discussion, short essays, final exam.

Readings: Texts and Contexts: Writing About Literature with Critical Theory by Steven Lynn; a variety of literary texts

Instructor: Sandra Grayson M/F 1:00-2:40

English 29-2

This course will offer students the opportunity to develop a “toolbox” of methods and skills for the advanced study of literature. We will examine and practice a number of theoretical approaches, including New Critical, feminist, deconstructionist, post-structuralist, and historical/cultural approaches to the text. We will seek to identify the cultural and aesthetic values that shape literary canons. We will also practice the research skills of the literary scholar and engage with other critics whose views may or may not coincide with our own. This course will be essential to the development of a new critical voice in the field – yours. Join us.

Reading List: Steven Lynn, Texts and Contexts Novellas, short stories, and plays, to be determined

A course reader

Course Requirements: Participation, Presentations, Short Assignments and Responses, and Three Essays

Instructor: Kathryn Koo M/W/F 2:45-3:50

ENGLISH 101-1: Writing Adviser Training – BEGINNING (.25)

We explore ways of helping peer students express themselves during all stages of the writing process – from discovering and organizing ideas to editing drafts. By learning practical techniques, we strengthen our own writing and develop confidence in working with others. We also will learn strategies for helping peers write in diverse genres, situations, and academic disciplines.

This training is especially valuable for those who are considering working as teachers, counselors, lawyers, business executives, or other positions that involve mentoring and professional communication.

After this course, students are eligible to apply to work in the Center for Writing Across the Curriculum. If interested, please contact the CWAC Director for details of the application process.

Readings: Requirement:

InstructorTereza Joy Kramer Tuesday 3:00-4:35

Ryan, Leigh, and Lisa Zimmerelli. The Bedford Guide for Writing Tutors One class hour per week (l hour/.25 unit)

ENGLISH 101-2: Writing Adviser Training – ADVANCED (.25)

This is a weekly Staff Workshop taken by students who already have passed ENGLISH 101-1, have been hired, and currently work as Writing Advisers in CWAC.

Through the Learning element of our Service-Learning work, we are always building our repertoire of skills to offer peer writers and simultaneously improve our own writing and empathic skills.

We explore various facets of Writing Center work, weaving in ideas from scholarly research and our practical experiences in CWAC. We reflect upon and discuss these topics, and we work on collaborative projects that enhance our learning and benefit writers of all disciplines across the college.


As assigned 1.5 workshop hours per week (l hour/.25 unit)

Instructor: Tereza Joy Kramer Monday 6:30-8:05 By permission of instructor

English 102-1: Creative Writing, Playwriting

Those who create plays are called “playwrights.” Like shipwrights, playwrights make vessels fit for a journey. That’s what you’ll learn to do in this course.

The semester will begin with exercises in creating conflict, developing characters, writing dialogue, and structuring action and will culminate in writing a stage-worthy one-act play. Throughout the term, we will also read plays, see plays, analyze plays, and practice the art of thoughtful criticism.

No previous experience is required, but the willingness to embark on imaginative voyages is essential.

Texts: David Ball, Backwards and Forwards, A Technical Manual for Reading Plays William W. Demastes, ed. The Best American Short Plays 2011-2012

Basis for final grade:

Analytical and creative writing exercises Participation/ Critiques Review of live theatre production Formal writing (monologues, scenes, a one-act play)

Instructor: Carol Lashof T/Th 9:45-11:20

Fulfills Core Curriculum: Artistic Understanding and Creative Practice

English 102-2: Creative Writing / Fiction

A man walks into a bar. A woman visits a friend in the hospital. Two men meet one summer in Wyoming. Those are the starts to some of the short stories we will study in this, a creative writing course devoted to reading and writing short fiction. We'll study opening lines, the contours of plots, how descriptions of settings reveal time, character, and place. We'll talk about how point of view operates and to what effect a writer opts for first person, say, over third. We'll talk about time and structure and how fast a story moves and when and why the writer slows the reader down. We'll talk about where we feel intensity in a given story and from where that intensity arises. And we will talk about how characters are rendered as real and memorable and understandable on the page, how a reader is invited into one small part of a character's life.

Because after the man walks into the bar and the woman visits her friend in the hospital and the two men meet in Wyoming--that's when the trouble begins and where our study of particular techniques begins. Which is not to say that the study of the short story will be all about an accumulation of techniques. For beyond all of the technical tricks and beyond theories of how a short story works-- Frank O’Connor said the short story depicts “an intense awareness of human loneliness,” and Nadine Gordimer suggested the story is more suitable than the novel in rendering the fragmentary modern experience--there is this: Eudora Welty who says the short story is something “wrapped in an atmosphere” of its own.

Brevity. Coherence. A flash. The great stories are, as Rosellen Brown says, unique. "They are, after all, not clocks or watches, not simply cunningly calibrated machines. They are extreme. They proceed with the conviction that their means and ends are inseparable, and they take chances; they exaggerate, they make vivid their choices; they dominate us." So we will talk about that too: how to bring the full force of our own personalities to the page as we draft and revise our own short stories; how to bring what is unique in ourselves (even if we are beginning, maybe especially if we are beginning) to our characters and to our plots and to our words on the page. "Fiction," Brown continues, "is not for the faint of heart."


--The Scribner Anthology of Contemporary Short Fiction edited by Michael Martone --Friend of My Youth by Alice Munro --This Is How You Lose Her by Juno Diaz

Instructor: Marilyn Abildskov T/Th 3-4:35 p.m.

English 103: British Literature I

In this course we will survey thousand years of British literature, from its beginnings to 1700. We will start with the writings of the Anglo-Saxons, above all Beowulf, texts that look back to the world of Germanic tribes that had not yet migrated to the island of Great Britain. We will learn to read the Middle English of Geoffrey Chaucer and his contemporaries. And we will explore the rich literary production of the English Renaissance, the period that gave us Marlowe, Shakespeare, Donne, and Milton.

Readings will include Beowulf, Sir Gawain and the Green Knight, selections from Chaucer's Canterbury Tales, Everyman, lyric poetry by Sidney, Spenser, Shakespeare, and Donne, selections from Spenser's Faerie Queene, Marlowe's Doctor Faustus, Webster's The Duchess Malfi, selections from Milton's Paradise Lost, and Congreve's The Way of the World.

Reguired Text: The Norton Antholo ofenglish Literature, Volume I (latest edition). 

Requirements: Careful reading and re-reading, scrupulous attendance, active participation in class discussion, short essays, a take-home final.

Instructor: Robert Gorsch M/F 1:00-2:40

English 115: Chaucer’s Canterbury Tales

Prior to writing one of the earliest masterpieces of English literature, Chaucer spent most of his creative hours falling asleep over the books of great authors who had come before him. But his naps were not completely unproductive, for from this sleep of books what dreams may come: dreams of “shipmen and pilgrimes” and pardoners. We will open our study of Chaucer’s Canterbury Tales by considering his struggles with authority, experience, and originality. How does the design of The Canterbury Tales allow him to make creative use of sources? How does Chaucer’s use of a variety of literary genres and sensitivity to the personalities and professions of his society combine to create a new work out of traditional storylines and stereotyped figures? Finally, are books or lived experience more authoritative for Chaucer and his pilgrims? The range of Chaucer’s tales will allow us to explore a variety of issues (historical, cultural, poetic, etc.) throughout the term. You will have opportunities to come up with your own readings of Chaucer’s pilgrims and their tales during discussion and in a midterm essay.


Geoffrey Chaucer. The Canterbury Tales: Fifteen Tales and the General Prologue. Eds. V.A. Kolve and Glending Olson. 2nd ed. New York: W.W. Norton, 2005.


Participation (20%) Presentation (25%) Short Essay (25%) Take Home Final (30%)

Instructor: Lisa Manter T/Th 11:30-1:05

Satisfies the Core’s Artistic Understanding and the English Major pre-1800 requirements.

English 140: Detective Fiction: Murder in the Classroom

Day breaks over the mean streets of Moraga. Lured by a corny, possibly phony brochure description, 22 students gather in a gritty Dante classroom. There, aided only by black coffee and their razor sharp wits, they unravel sinister plots. One day they’re at a stately country home in England, dodging butlers, playing croquet with 20 of their dearest enemies. The next they’re working dangerous back allies with a tough attitude and a concealed weapon, rely on, trusting, no one—just themselves. Somehow, no matter how bizarre, dastardly, perplexing or mired in tangled webs of corruption the plot is, they always guess the ending. For no money whatsoever. Always, justice is served.

We will study the evolution of the detective story from its beginning with the “mother” and “father” of the genre, Katherine Anne Greene and Edgar Allan Poe. Our guides will be the detective heroes, beginning with Greene’s Amelia Butterworth, Poe’s Auguste Dupin and Arthur C. Doyle’s Sherlock Holmes. In the twentieth century, we will meet hard and soft-boiled detectives, including misogynist males, feminist social reformers and detectives trying to balance loyalty to their ethnic group with the need to solve crimes. We will end the class by sampling one of the popular “global” mysteries, with detective fiction from Ireland or Scandinavia.

As we trace the development of detective fiction, we will raise many questions. Why are gender issues so dominant in this form? To what extent does this popular, formulaic genre reflect society’s moral order; to what extent can it successfully challenge this order? When the detective is a woman or racial minority, to what extent do they subvert or reaffirm social values often oppressive to them? Can writers of detective fiction be innovative or must they write to a formula? Is detective fiction necessarily escapist fantasy, or can it be serious art?

Course Requirements: Active class participation, weekly written responses and questions, one film review, and two essays.

Instructor: Janice Doane MWF 11:45-12:50

This course is cross-listed with Women’s Studies and fulfills the core curriculum requirement for Artistic Understanding.

English 142: Renaissance Drama

This course will focus on the major works produced for the Elizabethan and Jacobean stage. In addition to Shakespeare, this age of theater shaped a host of influential playwrights – Kyd, Marlowe, Middleton, Dekker, and Webster, to name a few – and with them, a collection of masterful plays. We will look at some of the chief thematic concerns not only of the Renaissance stage, but also of the society within which these plays were produced. This was a time when theater catered to both the elite and popular masses; it reaffirmed religious and political pieties, yet it threatened social conventions and expressed cultural anxieties. Some of the topics that we will explore include contributions to the court-centered Cult of Elizabeth, expressions of homosocial desire, representations of occult practices, and depictions of domestic treason in late Jacobean plays. Throughout our readings, we will examine how the period’s dramatists were products of their ideology and culture, as well as producers of them.

Text: Bevington, David, et al, eds. English Renaissance Drama: A Norton Anthology. New York: Norton, 2002. Requirements: Weekly response papers, two formal essays, careful reading, participation in class discussions, a midterm and a final exam.

Instructor: Hilda Ma MF 1:00 – 2:40

In The Roaring Girl, Moll Cutpurse is a sword-fighting, tobacco-smoking, cross-dresser.

English 150: Early American Literature: Encounters

In this course we will explore the diverse texts of early American literature up to 1800. We will juxtapose the writings and perspectives of different cultural groups to understand the way in which these encounters have shaped our literary and historical legacy. We will begin, for example, with the earliest records of the encounter between English settlers and Native Americans that will help us to correct the heavily mythologized versions that still saturate American popular culture today. We will read the journals, sermons, captivity narratives and poetry of Puritan and other Colonial writers, while also attending to the emerging voices of Native American and African American writers. In our examination of gender, we will turn to two critical moments in early American history—the Antinomian Controversy and the Salem Witchcraft Crisis—that reveal the ways in which women challenged the existing social order and the authority of the established church. We will examine the rising status of women writers in the late 18th century. We will see many fruitful cultural exchanges, for example, how the Puritan tradition of self-examination and spiritual autobiography could fuel a number of life stories: the Mohegan Samson Occom’s personal narrative that protests the exploitation of white culture, Olaudah Equiano’s slave narrative, and Benjamin Franklin’s Autobiography. Our goal, then, will not simply be to define a uniquely American voice, but rather to uncover the varieties of early American expression that have contributed to the way we have come to see ourselves today.

Readings: The Norton Anthology of American Literature, Volume A: Literature to 1820, Sixth Edition.

A Course Booklet of Supplemental Readings Wieland, Charles Brocken Brown

Requirements: Careful reading and active class participation, weekly reading responses, a group presentation, Midterm and Final exam.

Instructor: Janice Doane MWF 9:15-10:20

English 150 satisfies the literature before 1800 requirement for the English major and is cross-listed with Women’s Studies

English 152: Twentieth Century American Literature

In this survey course we will read a broad range of American literary works from the twentieth century. We will start at the beginning of the century with Willa Cather’s novel My Antonia, and selections from Booker T. Washington’s Up From Slavery and WEB DuBois’s The Souls of Black Folk. We will examine the impact of the two world wars on the American consciousness and explore American Modernism including readings by authors in the Harlem Renaissance and the Beat Generation. Throughout the course will examine competing notions of American myth, place and memory and explore how voices from the margins, including women and minority authors, have altered our sense of American identity.

Texts: Norton Anthology of American Literature, Volumes D and E

Basis for final grade: Midterm Exam Final Examm 2 short papers

Instructor: Molly Metherd MWF 10:30-11:35

English 154: Trauma in African-American Literature

Modern life begins with slavery... These things had to be addressed by black people a long time ago: certain kinds of dissolution, the loss of and the need to reconstruct certain kinds of stability. Certain kinds of madness, deliberately going mad in order not to lose your mind.” These strategies for survival made the truly modern person. They’re a response to predatory western phenomena. You can call it an ideology and an economy, what it is is a pathology. (Toni Morrison)

Slavery sought to repress the human instinct to question, to resist, and to love. While this endeavor failed in many respects, it did create a pathology, one that novelist Toni Morrison attributes to “predatory Western phenomena.” One example of these phenomena is the master narrative of Truth that repressed the psyches of African-Americans, hindering their ability to speak their own truth. In this class, we will consider literature and artistic expression as antidotes to the master narrative and to psychological trauma.

Texts: Morrison, Toni. Beloved Jacobs, Harriet. Incidents in the Life of A Slave Girl Toomer, Jean. Cane Petry, Ann. Larsen, Nella. Baldwin, James. Souljah, Sistah. The Coldest Winter Ever Supplemental readings


Active class participation Essays (2) One-page Talking Papers (7) Group presentation

Instructor: Jeannine King T/Th 1:15-2:50


Over time, critics change their approaches to literature and reading. Do we read to discover the author's intention? To analyze the ways in which a writer has created a unified work of art? To understand the writer's view of the society? To encounter timeless truths? To see how the assumptions of a particular time and place are inscribed in the text? Do we pay primary attention to themes, to images, to plot, to language, to our own reactions? Do we expect literature to provide answers, or to pose new questions?

Literary Theory and Criticism is a course designed to cope with these questions and others. It is for the student who is uncertain about or even frightened by such labels as "New Criticism," "New Historicism," "Feminism," "Post-Colonialism," "Deconstruction," etc. The only prerequisite is openness to considering new, sometimes foreign ideas or ways to study and think of literature. The aim of the course is to break down the fear and resulting mistrust or mysticism that grows up around these terms and to encourage a more sophisticated reading of text than that based on mere common sense and impression.


M.H. Abrams. A Glossary of Literary Terms. K.M. Newton. Twentieth-Century Literary Theory: A Reader Essays of Practical Criticism (Handouts) Herman Melville, Billy Budd Milder Robert, Critical Essays on Melville's Billy Budd, Sailor (Handouts) Ken Kesey, One Flew Over the Cuckoo's Nest Anchee Min, Red Azalea David Henry Huang, M Butterfly Milan Kundera, The Unbearable Lightness of Being


Careful reading and re-reading, diligent marking of the texts, active participation in class discussions, and two papers.

Instructor: Ben Xu MWF 10:30-11:35

English 175: Shakespeare

About four hundred years ago, for reasons no one is quite sure of, the young William Shakespeare arrived in London and made his mark as a writer for the stage. Drama—perhaps even our understanding of human nature—has never been the same.

What is it in Shakespeare’s works that makes every serious reader of literature and every playgoer agree that they are matchless? We will do our best to discover Shakespeare’s special magic by reading, discussing, viewing, and analyzing poems and plays.

Readings: Sonnets and a selection of plays.

Text: The Riverside Shakespeare (2nd edition Requirements: Two essays, careful reading, participation, and a final exam.

Instructor: Clinton Bond MWF 8:00-9:05

English 198: Senior Honors Thesis (Independent Study)

Directed reading and research under the supervision of a department faculty member, culminating in the writing of an academic thesis.


1. Senior standing in the English Major (for the semester in which thesis is to be undertaken)

2. 3.70 GPA in the English Major

Exceptions must be pursued with the Department Chair.

Application and Deadlines

To undertake an Honors Thesis in Spring 2014, apply by Thursday, November 14, 2013.

Students are responsible for contacting and proposing projects to potential faculty supervisors. They must then submit a proposal containing the following to the Department Chair by the above deadline. Final approval rests with the Dept. Chair:

  1. a page-long description of the academic project to be undertaken
  2. the signature of a faculty supervisor for the project, to be solicited by the student
  3. evidence of 3.70 GPA in major

Course Credit

Students will receive 1 course credit for English 198. The course must be taken for a grade and may not be repeated for credit.


1. Regularly scheduled meetings with faculty supervisor to establish a reading list, organize research, and confer on progress and on drafts of the essay.

2. To equip the student with the skills necessary to complete a significant research study, the student will meet early in the semester with the librarian subject specialist (Sharon Walters) who will assist the student in formulating a search strategy, and in identifying, using, and evaluating appropriate sources of information.

3. The final project for this course will be a scholarly research essay of at least 20 pages, in addition to a Bibliography or Works Cited list. The essay must conform to MLA citation procedures. The faculty supervisor must approve and grade the final project.

Graduate Level Courses

ENGLISH 201-1: Writing Across the Curriculum: Composition Theory and Practice

This course prepares graduate students for teaching academic writing courses in Composition and Writing In the Disciplines courses. There are four Friday-morning workshops, covering theory in the field of Rhetoric and Composition and practical strategies to use in the classroom. Topics include career preparation for college writing instruction; teaching writing process as critical thinking, enabling students to effectively analyze and revise their own work; teaching students to edit their own texts for grammar, citation, and style; responding to drafts and evaluating student writing; and guiding students to transfer their writing skills into and then beyond your course.

Readings: Bean, John C. Engaging Ideas: The Professor’s Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom, 2nd ed.

The other two books are free, provided through instructor: Gottschalk, Katherine, and Keith Hjortshoj. The Elements of Teaching Writing Hedengren, Beth Finch. A TA’s Guide to Teaching Writing in All Disciplines

Requirement: 3 class hours, 4 Friday mornings per semester Instructor: Tereza Joy Kramer Friday 9-Noon

ENGLISH 201-2: Writing Across the Curriculum: Training in One-on-One Pedagogy

This course prepares graduate students for working one-on-one with student writers of all disciplines and levels, as well as creating and presenting Writing in the Disciplines (WID) workshops and facilitating Writing Circles. Students learn strategies for helping peers write in diverse genres, situations, and academic disciplines. Students will explore the pedagogy of collaboration and one-on-one teaching and do hands-on practice to see if this is something they are adept at and that interests them.

This meets for 1.5 hours a week during the first half of the semester; students then may apply and potentially be hired for paid positions as Writing Across the Curriculum Advisers in the Center for Writing Across the Curriculum (CWAC). If hired, they then join the weekly Staff Workshop.

Readings: Ryan, Leigh, and Lisa Zimmerelli. The Bedford Guide for Writing Tutors

Requirement: 1.5 class hours per week, through mid-semester only Instructor: Tereza Joy Kramer Tuesday 10:30-Noon

ENGLISH 201-3: Writing Across the Curriculum: Writing Adviser Staff Workshop

This is a weekly Staff Workshop offered continually, every semester, and taken by students who have passed ENGLISH 201-2, have been hired, and currently work as Writing Across the Curriculum Advisers in CWAC.

Through the Learning element of our Service-Learning work, we are always building our repertoire of skills to offer peer writers and simultaneously improve our own writing and revising strategies. We consider ideas from scholarly research into writing pedagogy, coupled with our practical experiences in CWAC; topics include empathic questioning, non-native speaker concerns, the demands of particular academic disciplines, grammar, and source integration for research papers. We collaboratively prepare trainings for each other, and we work on collaborative projects that enhance our learning and benefit writers of all disciplines across the college.

Readings: As assigned Requirement: 1.5 workshop hours per week Instructor: Tereza Joy Kramer Monday 6:30-8 p.m. Enrollment: By permission of instructor

English 211: Fiction Workshop

This course is an intensive exploration of the ideas, techniques, and forms of fiction, such as the short story, novella, and novel, with primary emphasis on the careful analysis and discussion of student works-in-progress

Instructor: Joshua Mohr Wednesday 4:00-7:15

English 212: Poetry Workshop

The primary aim of this course is to allow the students as much freedom as possible in their writing while teaching them the skills to identify their strengths and weaknesses. The most important work for the student will be to locate his or her style or voice, with encouragement to produce at least one new poem per week. By the end of the course, the students should develop the terminology and the critical skills for revising poetry, and should develop a good understanding about issues and trends in the genre. Students may also be encouraged to write a poetic statement in which they will analyze their own poems

Instructor: Norma Cole Wednesday 4:00-7:15

English 214: Nonfiction Workshop

This course gives students the opportunity to explore material in various areas of nonfiction, such as memoir, personal essay, or travel writing. The course addresses issues of voice, scene, point-of- view, and theme, as well as any other elements of nonfiction writing that will emerge from individual manuscripts. By the end of the course, the students should develop the terminology and the critical skills for revising nonfiction, and should develop a good understanding about issues and trends in the genre.

Instructor: Kaya Oakes Wednesday 4:00-7:15

*English 232: Contemporary Poetry

*English 261: Craft Seminar in Fiction

This course focuses on issues that influence the writing of fiction. Some seminars may focus on issues of craft or aesthetics – narrative structure in the novel, point of view, or dialogue – and others may be thematic in nature – historical fiction, realism or the postmodern ethos. Readings may include a wide range of fiction from diverse backgrounds and historical periods as well as the students’ own works-in-progress.

Instructor: Lysley Tenorio Thursday 4:45-8:00

*English 264: Craft Seminar in Nonfiction

In this course we will explore the forms and techniques of literary journalism. We will do exercises in which we practice the interview, the profile, the place of the narrator, etc. Students will ultimately be asked to complete a longer project, which they may do in conjunction with CILSA, St. Mary’s service organization. However, they are also free to pursue a project of their own choosing. In addition, we will read examples from the genre which might include Capote, Didion, Thompson, Malcolm, Orlean or Mailer. Finally, students will be asked to bring in an example of reportage for the class to discuss.

Instructor: Wesley Gibson Tuesday 4:45-8:00

 * Open to qualified undergraduates with permission of instructor.
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