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ENGLISH 3328: U.S Literature from 1890 to the present

University of Memphis, Spring 2005 Monday/Wednesday 12:40-2:05 Patterson 323 Dr. L. A. Duck [email protected] www.people.memphis.edu/~lduck Patterson 443 Office Phone: (901) 678-3400 Office hours: MW 2:15-3:30 and by appointment OBJECTIVES · To examine the genres, styles and themes of U.S. literature from 1890 to the present · To analyze various models for understanding self and society posited by literary texts · To achieve greater clarity and depth in written and oral literary analysis REQUIRED TEXT--available at University Bookstore The Norton Anthology of American Literature, 6th ed., vol. C, D, and E. CONDUCT · While in class, you are expected to attend to and participate in discussion; you are NOT allowed to engage in private conversation or other behaviors that would disrupt class activities. Turn off your phones before class! · You are expected to be civil to others in the class. Discussion is an important element of this course, and our reading presents some unsettling images as well as controversial topics. You are encouraged to express your concerns and opinions, but please be aware that this right is shared by other members of the class. We will be able to work through the more upsetting elements of this literature most effectively by communicating both candidly and in a manner that demonstrates respect for the classroom community. · Student conduct should accord with university expectations, as outlined in the Student Handbook, p. 5 (available online at www.memphis.edu/stuhand2/stuhand982.pdf). · Bring the relevant text to every meeting of class! GRADING · Plagiarism, if detected, will result in a failing grade for the course. You can find further information regarding plagiarism and penalties at my web page. · More than seven unexcused absences will result in failure of the course. More than three unexcused absences will lower your final grade. Attendance will be recorded during the first 5 minutes of class. Repeated tardiness or early departure will be recorded as absence. · Your grade will be assessed according to a +/- scale. At the University of Memphis, an Aearns 3.84 out of 4 possible points; all other +/-s indicate a .33 distance from the nearest integer (i.e., a B+ = 3.33, and a B- = 2.67). · Your course grade will be determined by a weighted average: · Quizzes: 20% · First essay: 20% · Second and third essays: 25% each · Participation: 10 to 15% (for students who contribute consistently to class discussion, this part of the grade will be weighted to counter a lower grade on one of the papers)

2 · · You may be allowed to make up graded work for a limited number of classes, if you can present a documented and acceptable excuse, such as personal illness, unexpected and serious illness of a close family member, participation in a university-sponsored activity, etc. You must complete all assigned work to pass this class.

DAILY/WEEKLY WORK · In addition to reading assignments, there will be a quiz almost every day in this class. Their chief purpose is to ascertain that you have done the reading while reasonably alert. If you keep up with the reading, this aspect of the course will help your grade (and will also enable you to participate in class discussion, further improving your grade). If you do not keep up with the reading, you will not do well in this class. Student participation is vital to this course--both for fulfilling our pedagogical goals, and establishing students' grades. It will be recorded daily. I do not generally call on students who are not volunteering, at a given moment, to participate, but I am aware that this practice may be a useful method for further encouraging some students to contribute to discussions. Please alert me to any concerns you may have about this aspect of the course/your grade at the beginning of the semester.

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PAPERS · · · · · Each writing assignment must be typed and double-spaced. You are advised to use one of the smaller 12-point fonts, and your margins should not exceed 1.25." All sources must be cited; MLA style is recommended. If you are solely citing our anthology, you need not submit a "Works Cited" page. All assignments must include author's working email address or phone number in their heading. Underline your thesis. In every essay you write for me, you should be sure to organize your paper in support of one over-arching thesis. Use textual evidence to support your claims, including analysis of the text's tone, characterization, imagery, plot and setting. You are advised to quote from the text to substantiate your analysis; be sure to explain how these citations support your argument. For further format information and important advice, consult my general paper guidelines at http://www.people.memphis.edu/~lduck/studentinfo/papersframeset.html. Paper topics are forthcoming, and will be developed through class discussion and exercises.

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SCHEDULE (* = volume change) W, 1/19 Introduction Local Color: Borders and Crossings Charles Chesnutt, "The Goophered Grapevine" (1887) and "The Wife of His Youth" (1899), C: 782-97 Kate Chopin, "At the `Cadian Ball" (1892) and "The Storm" (1898), C: 622-33 Sui Sin Far, "Mrs. Spring Fragrance" (1910), C: 867-75 John M. Ossikon, "The Problem of Old Harjo" (1907), C: 966-70

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3 M, 1/31 W, 2/2 Hermeneutics of Capital Henry James, "The Real Thing" (1892), C: 506-24 Anzia Yezierska, "The Lost `Beautifulness'" (1920), D: 1253-63 * Carl Sandburg, "Halsted Street Car" (1916), D: 1231 Robert Frost, "Provide, Provide" (1934), D: 1197 John Dos Passos, "The Big Money" (1938), D: 1674-93 Zora Neale Hurston, "The Gilded Six-Bits" (1933), D: 1518-27 Sterling Brown, "Mister Samuel and Sam" (1932), D: 1886-7 Langston Hughes, "Visitors to the Black Belt" and "Note on Commercial Theatre" (1949), D: 1899-1900 David Mamet, Glengarry Glen Ross I (1984), E: 2509-23 * David Mamet, Glengarry Glen Ross (1984), E: 2509-14 Norms and Nationhood Sherwood Anderson, "Mother" (1919), D: 1214-9 * F. Scott Fitzgerald, "Babylon Revisited" (1931), D: 1658-72 Jean Toomer, "Fern" (1923), D: 1636-9 Countee Cullen, "Heritage" (1925), D: 1915-18 E. E. Cummings, "next to of course god america i" (1926), D: 1628 Genevieve Taggard, "At Last the Women Are Moving" (1935), D: 1622 Louise Bogan, "Evening in the Sanitarium" (1941), D: 1807-8 FIRST ESSAY DUE! Ralph Ellison, "Battle Royal" (1952), E: 2083-93 * Allen Ginsberg, "Howl" (1956), E: 2865-72 Leslie Marmon Silko, "Lullaby" (1981), E: 2543-50 Sandra Cisneros, "Barbie-Q" and "Mericans" (1991), E: 2558-60 Gwendolyn Brooks, "A Bronzeville Mother Loiters in Mississippi. Meanwhile a Mississippi Mother Burns Bacon" (1960), E: 2783-6

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SPRING BREAK 3/7-3/11 Intimacies William Faulkner, As I Lay Dying (1930), D: 1695-1713 * As I Lay Dying, D: 1713-36 As I Lay Dying, D: 1736-65 As I Lay Dying, D: 1765-90

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4 M, 3/28 Theodore Roethke, "My Papa's Waltz" (1948), E: 2694 * Robert Hayden, "Those Winter Sundays" (1962), E: 2738 Sylvia Plath, "Daddy" (1966), E: 2972-4 Louise Glück, "Terminal Resemblance" (1990), E: 3040-1 Rita Dove, "Poem in Which I Refuse Contemplation" (1989), E: 3069-70 Li-Young Lee, "The Gift" (1986), E: 3094-5 James Baldwin, "Going to Meet the Man" (1965), E: 2191-2202 Lorna Dee Cervantes, "For Virginia Chavez" (1981), E: 3080-2 Anne Sexton, "Little Girl, My String Bean, My Lovely Woman" (1966), E: 2937-9 SECOND ESSAY DUE! Time, Perception, and Being T. S. Eliot, "The Waste Land" (1922), D: 1430-43 * Amy Lowell, "September, 1918" (1919), D: 1147 Ezra Pound, "The River-Merchant's Wife: A Letter" (1915), D: 1286 William Carlos Williams, "The Red Wheelbarrow" (1923), D: 1271 Wallace Stevens, "The Snow Man" (1931) and "Of Modern Poetry" (1942), D: 1235-6 and 1249 Flannery O'Connor, "Good Country People" (1955), E: 2211-25 * Alice Walker, "Everyday Use" (1973), E: 2469-75 Raymond Carver, "Cathedral" (1983), E: 2368-78 Toni Morrison, "Recitatif" (1983), E: 2253-66 Bernard Malamud, "The Magic Barrel" (1958), E: 2052-64 Judith Ortiz Cofer, "The Witch's Husband" (1993), E: 2551-5 Elizabeth Bishop, "The Fish" (1946), E: 2715-6 Robert Lowell, "Skunk Hour" (1959), E: 2774-5 Frank O'Hara, "The Day Lady Died" (1960), E: 2654-5 A. R. Ammons, "Easter Morning" (1981), E: 2831-3 Adrienne Rich, "Diving into the Wreck" (1973), E: 2949-51 Rita Dove, "Parsley" (1983), E: 3064-5 Amiri Baraka (LeRoi Jones), Dutchman (1964), E: 2301-14 Ursula K. Le Guin, "She Unnames Them" (1982), E: 2232-4 Louise Erdrich, "Fleur" (1986), E: 2562-71 Richard Wilbur, "Love Calls Us to the Things of This World" (1956), E: 2806-7 Louise Glück, "Vespers" (1992), E: 3042 FINAL PAPERS DUE BY NOON!

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