Spring 2022 Course Descriptions

100-Level English Courses

ENG 101 Writing Your Way Through WWU

Prerequisites Notes: May not be taken concurrently with ENG 100. GUR: ACOM.

A writing course designed to prepare students for college-level creative, critical, and reflective writing. Because writing looks and works differently in different contexts, this course teaches the rhetorical competencies that students need to write across multiple disciplines. The course introduces students both to the processes of building and analyzing ideas, and to ways of communicating those ideas in context-specific genres for targeted audiences. This course has the immediate goal of preparing students to succeed in their writing at Western, but it will also serve them personally and professionally. Students needing to satisfy Block A of the communications section of the General University Requirements, which ENG 101 does, are required to do so prior to completion of 45 credits. Students with a 4 or 5 AP score are encouraged to take this class so they can learn to adapt their test-taking skills to college coursework.

OVERRIDES / CAPACITY OVERRIDES ARE NEVER GRANTED FOR ENGLISH 101.

200-Level English Courses

ENG 202 Writing About Literature 5cr

Notes and Prereqs: ENG 101.

CRN: 20135 Day/Time: MWF 10:00-11:20 am Instructor: Instructor: Bell, Michael

This section of English 202 involves critical inquiry into the literary effect of “speculative fiction,” which for our purposes we can define as the literatures of the imagination: fantasy, science-fiction, horror, alternate history. Such fiction has become arguably the dominant mode of contemporary narrative production, so there is rich opportunity to explore the power these literatures have had on history and culture. The specific forms we will study will of course include the written word, but because so much of our contemporary culture is expressed and reflected in the visual realm, we will be making constant connection to TV, film, comics, and game narratives in our inquiries.

All of our study will assume that whatever form it takes, fictional narrative has the power to construct and inform our worldly experience, even our reality. To sometimes great extent, we model our identities on literary stories, and build our perspectives from them. By making connection to our experiences and histories, stories illuminate the world, permitting us to see more texture and variety and possibility in our lives. Through intensive reading, discussion, activity, and writing we will further develop our ability to make meaning from the texts we study, focusing our analyses through formal critical practices as well as rigorous play and experimentation. You will emerge from the course a stronger analytic writer and reader with greater appreciation of the power of literature to bring you to deeper self-knowledge and increased awareness of a wider, richer, more complex world.

TEXTS: My Life in the Bush of Ghosts, Amos Tutuola, Chocky, John Wyndham, The Unlimited Dream Company, JG Ballard, Binti, Nnedi Okorafor, In the Cities of Coin and Spice, Catherynne M. Valente, The Mount, Carol Emshwiller

ASSIGNMENTS: In addition to reading assignments and participation in class activities, requirements will comprise one formal analytical paper, several informal writing assignments, and a final project.

CRN: 20263 Day/Time: MWF 01:00-02:20pm Instructor: Instructor: Bell, Michael

CRN: 20734 Day/Time: MWF 02:30-03:50pm Instructor: Heim, Stefania F.

Emily Dickinson once wrote to a friend that if after reading a book, “I feel physically as if the top of my head were taken off, I know that is poetry.” Franz Kafka asserted, “I think we ought to read only the kind of books that wound or stab us.” Audre Lorde called poetry “a vital necessity of our existence. It forms the quality of the light within which we predicate our hopes and dreams toward survival and change.” In this course we will ask some answerable as well as some unanswerable questions. What is literature? How does it work? What happens when we read it? Why do we love it or hate it? What does it have to do with our experiences of living? What does it have to do with large social and political forces? How do we construct our opinions about it, about the things that happen within it? How can we speak to each other productively about it? How can we analyze it and make arguments about it? In pursuit of answers, we will read widely across short fiction, poetry, and some hybrid forms. And we will write constantly: formal analyses and essays as well as drafts, explorations, experiments, lists, responses, and questions.

CRN: 20741 Day/Time: TR 10:00-11:50 am Instructor: McGuire, Simon Leonard

This section of Eng 202 uses Making Arguments About Literature: A Compact Guide and Anthology as central reference and text. To give the course an emphasis for discussion and writing, we will explore the early work of James Joyce: Dubliners and Portrait of the Artist as a Young Man. All 3 texts are required, and other required readings and texts will be made available in class and on Canvas.

CRN: 21216 Day/Time: TR 12:00-01:50pm Instructor: Yu, Ning

The key to making meaning is contextualizing. The key to good writing is re-writing. Re-writing, if you look at it more closely, is re-contextualizing the existing words, sentences and paragraphs by re-arranging them into a new order and thus lending them a new, better defined meaning with a sharper focus. The objective of this class is to help students improve their textual power by honing their skills of contextualization. What is the larger cultural context of college writing? What is the context of student life? What is the larger context of our identity that is taking shape in a specific socio-economic as well as natural environment? In response to these questions, students work towards becoming self-conscious writers who know why, what, how and for whom they write. We will also devote a considerable amount of time to sentence skills so that students can write with clarity and some grace. This course hopes to lay the foundation for the students’ academic success and for their success in the larger world beyond college. More specifically, we will read literary texts (poetry and fiction) together and learn the techniques of literary analysis, which we will articulate in the more or less familiar genre of academic writing.

Requirements: 1) Regular attendance; no students with three or more unexcused absence will get a final grade higher than C+ no matter how well s/he otherwise does in class. Much of our work will be dependent upon exercises and discussions during the class period; therefore, it unusually difficult to make up for a class-meeting that you miss. If you miss more than five classes, I advise you to withdraw from the course. We need you to be here to learn with us. I will check attendance regularly. 2) Active participation based on careful reading and responsible critique/comments on peer essays; 20%. 3) Punctual submission of writing assignments---two seven-page essays with 25% each (50% total). 4) Each student will write four questions on four different occasions about the assigned texts, with a full page of written response to each question. You will post your question on Canvas by 7 pm the night before the class meeting when your question will be used. 5% per question, 20% total. 5) Each student will prepare a ten-minute talk about her/his writing process, product, skills learned and problems that remain towards the end of the quarter. 10%. This is a key to becoming a conscious word-artist. In order to do this well, I recommend that you keep a writing journal where you record, analyze, and reflect on your own writing process and the problems you encounter and resolve.

You will write four three-page essays including various drafts that lead to the finished products. Some of the drafting will be done in class. You must read the assigned texts as close and critical reading is the first step towards successful writing about literature. In addition to the readings from Literature, you will periodically read from A Handbook To Literature, in order to gain a working knowledge of literary terms and learn the structure, style and mechanics of an academic paper.

Class Attendance: Your regular physical and mental presence in class is essential. Much of our work will be dependent upon exercises and discussions during the class period. Due to this structure, there is usually no way to make up a class you have missed. If you miss more than five classes, I strongly advise you to withdraw from the course. I will check attendance regularly.

Class Participation: The success of our class will depend a great deal on how consistently and seriously students participate in class discussion and group work. I expect you to complete all reading assignments and to be prepared to discuss the readings in class and in your essays. 20%.

Class Behavior: For a term we will be a classroom community working toward shared goals. We need to respect each other in order to do our jobs well and so good listening (no talking while others are talking) and good classroom citizenship are required of you.

Questions and Responses: 5% for each question-response; 20% total.

Evaluation: Your final grade will be based on your essay grades and class participation: four essays = 60% (15% each); class participation = 20%.

CRN: 22193 Day/Time: TR 02:00-03:50pm Instructor: McDonald, Catherine

Why are we drawn to fiction and film? What stories do they tell us (or leave out) of our daily lives? Assuming that sites of everyday experience are worthy of intellectual analysis, this section of English 202 will look at fictional portrayals—not of the heroic and epic—but of the everyday workings of people’s lives. We will read, analyze, and write about fiction that has been made into film.

For instance, you’ve all seen the movie Princess Bride, but have you read the book? Why is there a second story in the background?—what is William Goldman saying? What is going on when Charlie Kaufman turns Susan Orleans’ charming short story “The Orchid Thief” into a murder plot where a main character gets eaten by an alligator?

Another question about a course called Writing about Literature is Who writes about literature, and why? We will look at an array of spaces where people post/publish their analysis of imaginary texts. By the end of the quarter you’ll not only be able to compose the assignments that literature professors require, you will put your voice into the conversation of those reflecting on fiction turned into film.

ENG 214 Shakespeare 5cr

CRN: 20421 Day/Time: TR 10:00-11:50 am Instructor: Metzger, Mary J.

In this course we will explore racialization in Shakespeare’s drama, his historical context and later characterization of his work, and its appropriation and revision by contemporary Black writers and actors. We’ll develop a shared understanding of racialization in and following the English 16th and 17th century in which Shakespeare wrote, Shakespeare’s representation of racialization and its erasure, and the history and significance of Shakespeare’s work for our own lives, country, and time.

Shakespeare’s work provides a potent site of inquiry for considering the nature and construction of racialization past and present. By combining present day concerns with careful consideration of a handful of Shakespeare’s plays and recent adaptations of them, we’ll explore Shakespeare’s attention to embodied difference via his representation of the racialization of ethnic, religious, and gendered figures who variously seek to use those terms to dominate and/or resist the sociopolitical narrative in which they are cast.

Required Texts: Keith Hamilton, Cobb, American Moor. Available thru WWU bookstore.
Djanet Sears, Harlem Duet. Available thru WWU bookstore
Toni Morrison, Desdemona: Available as a PDF in Canvas Modules.
All 3 Shakespeare plays for class available in Canvas as Norton PDFs.
A variety of historical and contemporary digital texts will supplement our work, also available in Canvas Modules.

Hybrid Mode: For first few weeks we will meet on T & R to establish community and shared understanding of the histories & theories of racialization we will be working with. Collectively we will determine the uses of our scheduled time as we go forward but will mostly meet on Tuesday in class and asynchronously on Thursdays after week 2 or 3 unless the class needs determine otherwise. I aim for a high level of collaboration so most of our time will be spent in dialogue in prompted small and large group discussion, and lectures kept short, purposeful, and to a minimum.

Requirements include: Completion of assigned readings/viewings, active participation, 2 short close reading essays, canvas discussion posts shared with a standing small group of students, and a final 4-page essay or its media equivalent. E.g. Creative adaptation of a portion of one of our 3 plays in writing, performance, or visual production. Note that creative alternatives to the scholarly paper will require a postscript explaining your aims and your reflections on your work.

Heads Up: Shakespeare, while censored for political content, was wildly free to write about religious, gendered, and racialized violence. Reading and discussing these texts – despite their antiquated language -- can be unsettling; this class will require commitment to engage such material with care and respect for yourself and others. Take care of yourself and communicate with me as needed. Given our comparative inquiry rooted in the present, it is also likely that you will hear about experiences and views that challenge your sense of the literature classroom as a place of disinterested critical inquiry. No offensive language will be permitted and we will all subscribe to classroom commitments that help us create meaningful and respectful dialogue.

ENG 216 American Literature 5cr

CRN: 23672 Day/Time: MWF 11:30-12:50pm Instructor: Prichard, Tony Alan

“America is not a young land: it is old and dirty and evil…The evil is there waiting.”

—William S. Burroughs

Using William S. Burroughs’s quote as a point of departure we will examine the relationship between American Literature and the supernatural. We will look at how American Literature is haunted.

Required Texts

Joshi, S. T. ed. American Supernatural Tales
LaValle, Victor. The Devil in Silver

ENG 236 Asian American Literatures 5cr

CRN: 21877 Day/Time: TR 08:00-09:50 am Instructor: Wong, Jane

The term “Asian American” is often discussed as if it were both self-evident and immutably fixed. Indeed, the question of authenticity or belonging is often raised: who counts? Who doesn’t? This course asks you to reconsider such problematic static boundaries! As scholar Lisa Lowe argues, Asian American literature is all about heterogeneity, hybridity, and multiplicity. How do Asian American writers resist static definitions and create their own complex paths through identity? Through their distinct approaches to creative expression, how do these writers resist social expectations and build strong communities of readers and activists? We will examine numerous texts that explore the lives, experiences, and roles of Asian American writers through multiple layers (transnational identity, the Model Minority myth, immigration and displacement, mixed race identity, queerness, colonialism, racialized and gendered norms, storytelling, language, class and labor, popular culture, and more) and highlight their struggles for visibility, representation, and civil rights along the way. These texts will span numerous genres, including poetry, fiction, graphic novels, essays, hybrid forms, media, and more. We will close read texts and weave in theory and historical contexts, building an intimate yet contextualized understanding of a work. As writers, readers, and artists, we will add our own unique stories and reflect on our process of responding to a text – honoring both self-awareness and engaged conversation in our communities!

ENG 238 Society through its Literature 5cr

CRN: 23673 Day/Time: MWF 08:30-09:50 am Instructor: VanderStaay, Steven L.

In this course we will read, discuss, analyze and write about a variety of fiction addressing the right of passage from childhood to adulthood. Along the way we’ll compare books written for teenagers with book written about teenagers for an adult audience. We’ll also compare our texts’ portraits of teenagers with psychological accounts of adolescence, our own experience, and what these books say or show us about coming-of-age. Course work includes informal and formal papers, small-group activities, a midterm and final. Course content includes accounts of suicide and traumatizing sexual experiences.

300-Level English Courses

ENG 301 Wrtg Stds: 5cr

Notes and Prereqs: ENG 101; junior status; or instructor permission. Major restrictions lift on Friday, February 25th, at 4:30pm.

CRN: 20074 Day/Time: MWF 11:30-12:50pm Instructor: Weed, Katie

We make evaluative judgements all day, every day.

“Two enthusiastic thumbs up!”
“10/10, would recommend.”
“Driver was quiet and ran two red lights. Made it to my meeting early. Five stars.”
“This meeting could’ve been an email.”

In framing our experiences, we also frame ourselves. And increasingly, we are offered opportunities and incentives to do both, publicly. Invitations abound to provide our takes on art, products, experiences, people–with these reviews often becoming products in and of themselves. We swim, constantly, in surveillance capitalism.

English 301 focuses on the composition, delivery, and public circulation of texts in this era of digital communication technologies and practices. In this section, grounded on reviewing, we will explore contemporary writing studies scholarship and craft reviews in various genres. All the while, we will consider questions like:

What drives our impulses to critique and share our experiences (“Hey, this is gross, taste it”)?
How do reviews simultaneously reflect on their topic, their authors, and evolving, indeterminate audiences?
What trust do we grant to what kinds of reviews, and why?
What counts as a review? As public?
How many adverbs can one get away with in a course description?

ENG 302 Technical Writing 5cr

Notes and Prereqs: ENG 101; junior standing. Major restrictions lift on Friday, February 25th, at 4:30pm.

CRN: 20147 Day/Time: TR 08:00-09:50 am Instructor: Sarkar, Rachel Diane

Students engage with the rhetorical and technical practices for creating user-friendly content. Topics include document design, information architecture, and sentence-level efficacy. The course covers a variety of technical genres and focuses on the ethical and social implications of a technical writer's choices.

CRN: 20349 Day/Time: TR 08:00-09:50 am Instructor: Forsberg, Geri

English 302 is the English department’s introductory 300-level workshop course in technical writing. It is for juniors and seniors. It is a 5-credit writing proficiency course. English 302 emphasizes the writer-reader relationship in a variety of nonacademic writing situations. Students learn to identify their audience, develop objectives, organize the content of their documents and revise documents for readability. Students write and design a resume, letters, memos, a proposal, a formal report, an infographic, and a visual presentation. Students also learn to work in small breakout groups, collaborate on writing, and give peer feedback. The final project in this course is a professional portfolio which provides examples of your strongest work. When you have completed this course, you should be ready to write in the professional world.

CRN: 20424 Day/Time: TR 10:00-11:50 am Instructor: Bell, Michael Patrick

In this section of English 302 you’ll develop your skill in generating reader-centered documents that work: documents that do things as well as say things, performing specific functions for specific kinds of readers. Given that so much of our culture now communicates and conducts its business in the visual realm, your work in the course will be focused as much on document design as written language. Through this work you will gain an understanding of how all the elements of a document work together to communicate within specific contexts, for specific audiences.

English 302 is not simply a skills-acquisition course however. We will use technical communication as a field in which to conduct analytic inquiry appropriate to study in the humanities. This quarter the analytic component of the course will take us into a study of games and the culture surrounding them: both table-top and video games. As a student of the course, you will be collaborating with other students on a series of documents, presentations, and prototypes leading to the development of an original tabletop game. The design of your game will be based in part on contemporary game studies and critiques. Every stage of this inquiry will generate documents in accord with the guidelines of effective technical and professional communication. (And yes, we will be playing games in class!)

You will emerge from the course with the ability to respond effectively to the requirements of technical communication. You will also have a complex understanding of what is becoming a vital aspect of our contemporary culture.

CRN: 20449 Day/Time: TR 10:00-11:50 am Instructor: Forsberg, Geri

CRN: 20481 Day/Time: TR 02:00-03:50pm Instructor: Forsberg, Geri

CRN: 20577 Day/Time: TR 02:00-03:50pm Instructor: Lewis, Justin A.

In ENG 302, we will be learning about and practicing technical communication through the study of rhetorical principles, audience analysis and user experience design (UXD). We will be learning about rhetorical problem-solving principles and applying them to diverse professional writing tasks and situations. In other words, in this class, you will be learning about the conventions for writing, speaking and designing appropriate workplace documents and communications. We will be studying and writing a variety of different genres that are common in professional settings and you will be learning about and testing out new digital platforms and programs for technical & professional communication.

Assignments/Evaluation:

Rhetorical Analysis
Professionalization Documents
Website Design

ENG 307 Seminar: Medieval 5cr

Notes and Prereqs: ENG 202. The seminar and survey time periods are not repeatable. Do not take ENG 307 if you have taken ENG 307 or ENG 317. Creative writers without the endorsement may register starting on Monday, February 28th, at 10:30am. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 23045 Day/Time: MWF 10:00-11:20 am Instructor: Vulic, Kathryn Rajam

Get ready for a wild ride – medieval literature is not what you think it might be, given the ways that medieval texts and history are represented in popular culture! There’s a lot more subtlety, sophistication, humor, and literary variety than the Middle Ages get credit for. This course covers the first era in the Literature and Culture sequence, from the earliest surviving writings in English to the advent of the printing press in England. We will sample a broad array of genres, techniques, forms, and themes of the literature of medieval England, many of which establish models and expectations for the writings of later eras. We will also trace the effects of an increasingly literate population and increasingly sophisticated writing technology (like the introduction of paper and the printing press to England) on literary culture.

This class aims at breadth of coverage (with course readings consisting of excerpts as well as whole texts), rather than depth, though this course could be designed productively either way. This class focuses on what it meant to read and write in Middle English, and therefore strives not only for a general understanding of the politics and other social factors that influence writing in English, but also examines the range of writing interests expressed by those who chose to compose in English.

Textbook: Broadview Anthology of British Literature, Vol. 1: The Medieval Period (3rd ed., 2014) and supplements posted to Canvas.

Tentative assignments:

Daily readings and participation
A research project: what historical event, social phenomenon, preconception, or myth about the medieval past would you like to explore?
A creative project: propose and then create something with a clear primary connection to our class, and accompany it with a statement that makes visible the decisions that shaped your work.
An analytical project: do a deep dive into one of the texts in class, to help you understand better something that puzzles you about it.
Unit review (three total spread through the quarter, in the form of take-home quizzes).

ENG 309 Seminar: The Long 18th Century 5cr

Notes and Prereqs: ENG 202. The seminar and survey time periods are not repeatable. Do not take ENG 309 if you have already taken ENG 319 or 309. Creative writers without the endorsement may register starting on Monday, February 28th, at 10:30am. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 21492 Day/Time: MWF 10:00-11:20 am Instructor: Laffrado, Laura

This courses focuses on the time period that scholars have recently named the long eighteenth century—that is, the era that extends from the late seventeenth century to the early nineteenth century. These are such dynamic years in the literature of what becomes the United States. We will read literary works by people of various races, ethnicities, religions, and economic positions that explore vital issues of the day such as liberty, literacy, revolution, and science. We will examine the various ways in which a dominant rich male whiteness is challenged as America and American identities are formed and defined.

ASSIGNMENTS: In this course you will write both extensively and intensively, producing multiple drafts of papers, revisions, and finished essays. We will devote class time for instruction and practice in disciplinary research methods and writing strategies. Students will write short responses to the reading, shorter essays, and one twelve-page critical research paper that engages with current scholarship on an eighteenth-century text or texts assigned for class. Much reading, writing, and thinking will be asked of you, along with steady attendance, a participation grade, group work, and various out-of-class assignments

EVALUATION: 75% of your final grade in this course will be based on revised versions of writing assignments. The remaining 25% will be based on class participation and attendance.

TEXTS: Lauter, Paul (ed.), The Heath Anthology of American Literature, Volume A, 7th edition.

ENG 310 Seminar: The Long 19th Century 5cr

Notes and Prereqs: ENG 202. The seminar and survey time periods are not repeatable. Do not take ENG 310 if you have already taken ENG 320 or 310. Creative writers without the endorsement may register starting on Monday, February 28th, at 10:30am. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 21493 Day/Time: MWF 08:30-09:50 am Instructor: Anderson, Katherine J.

In the nineteenth century, Britain was the dominant superpower, claiming the “sun never set” on her vast empire because it stretched around the globe. This course investigates empire and global migration as manifested in nineteenth-century British literature and culture, focusing specifically on three geographical locations that were crucial to the British Empire: the West Indies, India, and the African continent. We will consider depictions of the Empire ranging from the “uncharted” colonial territories and settler farms of South Africa to the urban spaces of London. Along the way, we’ll incorporate attention to empire’s effects on race, class, gender and sexuality, disability, and other forms of personal identity for both the colonizers and the colonized. We’ll engage with literary and cultural representations of imperialism, such as slave narrative, imperial adventure fiction, detective fiction, autobiography, and art and visual images. We’ll also read critical sources that will provide us with a variety of theoretical frameworks to help us expand our discussion of imperialism in the nineteenth century. Some of the questions we will consider include: How did social positioning, for example class, race, or gender identity, affect experiences of empire and migration in the nineteenth century? What is the relationship of narrative to empire and expansion? How does form or genre affect a depiction of empire, or relatedly, of migration or diaspora? How did imperialism shape these various colonies, and in return, how did empire seep into the domestic space and consequently reshape Britain? How does the nineteenth-century British Empire inform our current experiences of globalization and neo-imperialism?

Course Objectives:

As a Literature and Culture Requirement seminar, this course provides deep analysis of the literature, history, and cultural context of nineteenth-century Britain and the British Empire. I will provide you with reading guides and/or lectures on relevant historical, cultural, and literary contexts as needed. These are important for a deeper understanding the literature. The course is a seminar rather than a survey, intended to help you prepare for 400-level seminar courses in English; I designed it to teach you to dig a little deeper, in terms of both the course topic and your own writing assignments. Reading assignments go beyond traditional “canonical” texts of the nineteenth-century. Because literature is not written in a vacuum, they also go beyond the literature itself, including the scholarship you need to practice responsible analysis of historical texts. Writing assignments are designed to help you hone your analytical abilities, scholarly voice, and research skills.

Student Learning Outcomes (what you’ll get from your work in this class):

Increased understanding of nineteenth-century British literature, history, and culture.
Increased ability to analyze nineteenth-century literature and to relate its concerns and its modes of expression to its historical context as well as our contemporary moment.
Increased capacity to compare and contrast texts of different forms or genres, making connections between different texts and/or critical theories.
Increased ability to perform and then apply proactive research.
Increased autonomy in assessing literary texts and critical theories.
Increased ability to write cogent literary criticism.
Increased ability to participate in an ongoing academic conversation.
Increased self-awareness of personal reading, writing, and methodological practices.

Required Texts will likely include:

Anonymous, The Woman of Colour
Wilkie Collins, The Moonstone
Joseph Conrad, Heart of Darkness
Richard Marsh, The Beetle
Mary Prince, The History of Mary Prince
Olive Schreiner, The Story of an African Farm
Additional short texts and secondary readings available on Canvas

ENG 311 Seminar: The 20-21st Century 5cr

Notes and Prereqs: ENG 202. The seminar and survey time periods are not repeatable. Do not take ENG 311 if you have already taken ENG 321 or 311. Creative writers without the endorsement may register starting on Monday, February 28th, at 10:30am. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 21494 Day/Time: MWF 01:00-02:20pm Instructor: Lee, Jean

This course focuses on writers of color who use the ghost, or metaphors of haunting, to reclaim narratives of exclusion, oppression, and histories that just won’t die. Going beyond Eurocentric perspectives that assume that the ghostly presence is a figure of repression or cultural anxieties, we will explore how for writers of color, “a poetics of haunting is…a productive and intentional act to go toward the ghost, and rewrite forgotten histories.” We will analyze Black diasporic, Indigenous, Chicanx, and Asian American literature, scholarship, and art to explore decolonial, queer, and anti-racist possibilities which require readers to reckon with how the past and present are cyclically, ancestrally, cosmologically, and structurally intertwined.

ENG 313 Critical Theories & Prac I 5cr

Notes and Prereqs: ENG 202. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20075 Day/Time: TR 02:00-03:50pm Instructor: Yu, Ning

This course surveys a variety of literary and cultural theories, with a brief review of the ancient thinkers such as Plato and Aristotle, and then reviews with some depth five schools of our contemporary thinking: formalism, reader-response, psycho-analysis, structuralism/deconstruction and feminism. We will cope with our “theoretical anxiety” with the help of practical criticism, focusing on one creative work, Joseph Conrad’s Heart of Darkness, working out outlines for papers approaching the same novella from different theoretical perspectives listed above. We will write two short essays, one at mid-term (5 pages) and the other as the final paper (7 pages). The first one (20%) requires you to use the formalist approach to analyze Heart of Darkness, while the second one would ask you compare and/or contrast what two different literary approaches can do to the same novella (22%). Rather than mid-term and final examinations, each student will write a summary for each of the essays we read when s/he is not writing questions for that day’s discussion (20%; you’re required to post your summaries the night before the class meeting during which the essays you summarize will be discussed. Your summaries will be regularly and strictly checked, but not graded. By the end of the quarter, you will have 20 summaries or outlines, with 1% for each summary). They are the things you can walk out of the classroom with at the end of the quarter, and they are yours to use for the rest of your college career and beyond. Each student is also responsible for six thought-provoking questions and be prepared to lead discussion with the question (18%, 3% for each question). When it is your turn to lead class discussion, you will post your question, on canvas the night before (by 8:00 pm; if late, 1 point off per hour; I know it’s kind of harsh but I need your notes on time for my teaching preparation). The rest of the class will read it and think about it before they come to class. Thus prepared, we can best use our class “contact hours” working on difficult issues under discussion. Your general participation will be 20% of your total grade.

Requirements: 1. Careful reading. Students must read all the assigned texts carefully and be well prepared to discuss them in depth. Active participation in class discussion is a must for a successful student. Because literary theories sometimes can sound abstract, it is important for you to make a summary for each essay so that you can retain the information you get from these essays. 2. Each student is responsible for six thought-provoking, well-written questions about the assigned texts; one question at a time, we’ll take six turns to write all the six questions. You will post your question by 8 pm the evening before discussion so that the instructor can organize his lecture and discussion in response to your questions and thus offer you a class centered on questions and issues that you find important. Of course, I will have my questions ready for you for discussion too. When we are responding to your question in class, you, with the help of your written response, will lead the discussion because you are the expert in this particular subject. 3. The class will work together towards outlining several critical essays from the perspective of each approach. Every student should actively participate in the outlining process. This is actually a preparation for your final paper: we try to figure out what different things a certain theoretical approach can do to the same creative text---Heart of Darkness, and how sometimes the text simply resists and challenges critical theories. 4. Last but not the least, regular attendance is required. The student will lose 3% of their total grade for each unexcused absence. No student with more than three unexcused absences will get a grade higher than C+ no matter how well s/he does in the class otherwise. Severe tardiness (10 minutes or more) will also impact your final grade negatively.

Evaluation: Class participation = 20% of total grade; mid-term essay=20%; final essay = 22%; written questions and responses = 18% (3% per question and response); summaries = 20%.

ENG 314 Critical Theories & Prac II 5cr

Notes and Prereqs: ENG 202. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 23051 Day/Time: MWF 11:30-12:50pm Instructor: Heim, Stefania F.

What is literature? Why and how do we read, understand, and make meaning from it? How does it interact with larger systems and structures of our world? What underlies our own assumptions about it? These are some of the questions that have animated critical and cultural theory since the end of the 19th century, which we will attend to in this introductory course. We will explore questions of meaning, pleasure, identity, power, access, representation, and production. We will interrogate the relationship between content and form, between world and word, between writer and reader. Theoretical texts will be our primary focus; and though their questions are urgent, often forcing us to reconsider our literatures, worlds, and realities, they can sometimes seem dense, abstract, difficult. As a result, we will work conscientiously to develop skills and strategies for doing theoretical reading and understanding these works in their historical and cultural contexts. (Asking, for example, how apparent difficulty participates in the development of ideas or arguments: what difficulty does.) In addition, we will practice using these theoretical approaches to encounter and unpack creative works. These activities will provide a foundation and framework you may bring to future literary study and analysis. This class will not provide anything approaching a comprehensive survey of theoretical texts or even approaches, but it will offer an introduction, essential practice, and some useful tools.

ENG 317 Survey: Medieval 5cr

Notes and Prereqs: ENG 101. The seminar and survey time periods are not repeatable. Do not take ENG 318 if you have taken ENG 308 or ENG 318. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 23240 Day/Time: TR 12:00-01:50pm Instructor: Amendt-Raduege, Amy Michelle

One of the most dynamic fields in literature today is the exploration of global medieval literature. From the rolling hills of England to the roots of medieval Japan, this course takes us through the widespread and emerging understanding of how these stories speak to each other across time and space. Beginning in our own back yard with the tales and legends of the Lummi and the Nooksack, we’ll wrestle a dragon with Beowulf, roam the deserts of the Middle East with Ibn Fadlan, witness the rise of the samurai in feudal Japan, and marvel at the wonders of the world’s great library at Timbuktu. The tales told by these remarkable people continue to delight, and underline the common humanity that unites us all.

ENG 318 Survey: Early Modern 5cr

CRN: 23055 Day/Time: TR 10:00-11:50 am Instructor: Forsythe, Jenny Marie

Writing the American Hemisphere

By some accounts, the early modern period begins in the fifteenth century with the European invasion of Africa and the Americas, and it ends in the eighteenth century with the age of revolution. But invasions do not start and stop during any one time period, and revolutionary movements against colonialism and domination also have long and ongoing histories.

This course is called “Writing the American Hemisphere” because we will examine many forms of communication and technologies of memory that shape what we know about the history of the Americas today. These may include codices, chronicles, letters, textiles, maps, songs, poems, music, stories, ceramics, archival documents, and artistic recreations. We will also explore forms of communication and technologies of memory that shape our current-day collective experiences of American history. For example, we may study public monuments, K-12 curriculum, film, performance, podcasts, and museums as sites of ongoing processes of invasion and revolution. Most course material will be available on the course website.

Students will be responsible for producing discussion posts and short written reflections throughout the quarter, along with two creative projects. They will also spend class time working collaboratively to create study guides for their take-home midterm and final exams.

CW: This course engages histories of sexual, gendered, religious, and racialized violence along with histories of resistance and rebellion against such violence. Please be prepared to work together to create a classroom space where we prioritize caring for each other and for the language we read and produce during our time together.

ENG 319 Survey: The Long 18th Century 5cr

Notes and Prereqs: ENG 101. The seminar and survey time periods are not repeatable. Do not take ENG 319 if you have already taken ENG 309 or 319. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 21495 Day/Time: MWF 08:30-09:50 am Instructor: Laffrado, Laura

ASSIGNMENTS: Much reading, writing, and thinking will be asked of you, along with two exams, a participation grade, group work, and regular attendance.

TEXTS: Lauter, Paul (ed.), The Heath Anthology of American Literature, Volume A, 7th edition.

ENG 333 Topics in Global Literature 5cr

Notes and Prereqs: ENG 202.

CRN: 23678 Day/Time: MWF 02:30-03:50pm Instructor: Lee, Jean

What does it mean to “return” to a place you’ve never been? This course focuses on Black writers from the United States and Caribbean who travelled to Africa to further their Pan-Africanist and decolonial consciousness and solidarities. Balancing the romanticized idea of Africa as one’s ancestral and cultural home with Western assumptions about its (under)development and a keen understanding of the relationship between anticolonial and civil rights movements, writers and activists such as Richard Wright, Gwendolyn Brooks, Frantz Fanon, Maya Angelou, Audre Lorde, and Saidiya Hartman meditate on what it means to be alienated from and claim Africa as a member of the Black diaspor

ENG 334 TextsAcrossNAm&Eur: 5cr

Notes and Prereqs: ENG 101 or equivalent.

CRN: 21912 Day/Time: TR 02:00-03:50pm Instructor: Dietrich, Dawn Y.

Post-Millennial Film: Virtuality, Embodiment, and the Cinematic Real

This course explores a range of post-millennial films (2010 and after), characterized by a response to technology’s ability to shape and redefine human subjectivity and identity. Harkening back to early cinema’s fascination with form, these recent films are distinct, in terms of the ways they utilize film technique and industry conventions to create a highly mediated cinematic experience. Moving beyond conventional narrative construction, these films create an interface between the film text and our daily interactions with smart technology, mobile and GPS systems, and artificial intelligence. The selected films, from varying levels of commercial cinema, utilize the filmic medium to create affective responses in a variety of contexts—with the goal of breaking down preconceived notions about how human subjectivity and identity are shifting in our current age of ubiquitous computing as well as how gender/sexuality studies and critical race theory have reframed the cultural imaginary of “the film subject.”

Specifically, the movies experiment with film form and conventions to develop material metaphors that demonstrate a form of visual argumentation, mediated relationships between human and non-human actors, and the extension of the human sensorium into virtual strata. Moving beyond the optical sensation of film, many of these movies highlight the affective experience of watching film, including the haptic responses that come from an embodied perspective of a historically situated subject. We will look at reception spaces in an expanded sense—from physical spaces dependent upon projectors and screens to “virtual spaces” that come from fluid immersion in TV, laptop, or handheld devices. Highly attuned to the embodied experience of diverse viewers, these films privilege the body, senses, perceptive modalities, and tactile, affective, and sensory motor perceptions in deeply creative ways.

Content Warning: Some of the films in the course deal explicitly with physical violence, sexual assault, racism, abortion, and sexism. Feel free to talk with me ahead of registering if you want to know what to expect with each film and whether this course will work for you. I will post content notes in the module of each film as well.

Course Expectations and Evaluation

In this course, I will be teaching you how to perform media-specific analysis of film and digital video within the post-millennial context. We will be reading contemporary film criticism which attempts to situate our current cultural moment in the larger stream of cinema history; and you will be working with the films closely to provide readings of their content and form. I ask that you come to class having viewed the film critically and having read the assigned reading—and then to be willing to share your thoughts, questions, and comments. This is especially important for those parts of the film that may seem difficult, puzzling, or provocative. It is okay not to have answers. In fact, it is much more useful to explore a film’s complexity or indeterminacy from different and multivalent perspectives than it is to reduce it to a single narrative. Despite the larger enrollment of our GUR course, I’m organizing the course like an intimate movie club that gathers regularly for film discussions, which I hope you enjoy! And yes, you are welcome to bring popcorn to class! My goal is to create an informal discussion format where any questions and comments can be asked of the group or in smaller breakout groups. This only works, of course, if you’re willing to share your perceptions and your experience of viewing the films, openly--and if you practice active listening when others speak about their interpretations.

In terms of course assignments, you’ll have the opportunity to write three multi-modal blogs and lead a group discussion/presentation.

Film Screening

I hope to get streaming services for the movies through Western Library, so viewings are free for students. There may be the occasional cost of a streaming fee, in the event that the library cannot purchase streaming rights for a particular film. But, I will do my best to keep costs minimal.

Selected films from among the following:

Her, Spike Jonze (2013)
Locke, Stephen Knight (2013)
Portrait of a Lady on Fire, Céline Sciamma (2019)
Get Out, Jordan Peele (2017)
Tim’s Vermeer, Raymond Teller (2013)
The Rider, Chloë Zhao (2017)
Under the Skin, Jonathan Glazer (2013)
13th, Ava DuVernay (2016)
Ex Machina, Alex Garland (2015)
Only Lovers Left Alive, Jim Jarmusch (2013)
Nightcrawler, Dan Gilroy (2014)
Mad Max: Fury Road, George Miller (2015)

Required Texts

“The Oppositional Gaze: Black Female Spectators,” bell hooks (PDF)
Film Theory: An Introduction Through the Senses, Thomas Elsaesser and Malte Hagener
“Sex in Public,” Lauren Berlant and Michael Warner (PDF)
Carnal Thoughts: Embodiment and Moving Image Culture, Vivian Sobchack

ENG 335 Global Texts Outside N.Am&Eur 5cr

Notes and Prereqs: ENG 101 or equivalent.

CRN: 23679 Day/Time: MWF 10:00-11:20 am Film viewing: Mondays, 4:00-6:50 Odabasi, Eren

Even though adaptations can occur between many different types of media forms, the study of films adapted from existing sources tends to have a narrow focus on works based on literature, and novels in particular. This emphasis on novel-film pairings has caused a number of significant issues in adaptation theory including the literary source’s perceived superiority over its filmic adaptations, the problematic use of fidelity as an evaluation criterion, and a trade-off between effectively translating the narrative or capturing the “essence” of a text. This course aims to offer alternative perspectives on these ideas and explores the practice of adapting literary texts into feature films in the context of global cinema. In this course, we will

Review key theoretical approaches to adaptation
Critically study relevant concepts such as fidelity, intertextuality, medium specificity, and multimodality
Closely read four important case studies from Argentina, Australia, India, and Japan

Books and Films

The Woman in the Dunes: novel (1962) written by Kobo Abe, film (1964) directed by Hiroshi Teshigahara, English translation (1991) by Dale Saunders
My Brilliant Career: novel (1901) written by Miles Franklin, film (1979) directed by Gillian Armstrong
Zama: novel (1956) written by Antonio di Benedetto, film (2017) directed by Lucrecia Martel, English translation (2016) by Esther Allen
Devdas: novel (1917) by written by Sarat Chandra Chatterjee, film (2002) directed by Sanjay Leela Bhansali, available in multiple English translations

ENG 337 LitGenres:IrishPoetry&Politics 5cr

Notes and Prereqs: Faculty-Led Travel Program: Ireland. Website: https://studyabroad.wwu.edu/global-learning-programs. Self-Sustaining tuition is $280 per credit which is not included in 10-18 credit tuition costs. Program dates: March 29 - June 3, 2022. Travel dates: April 19 - May 23, 2022.

CRN: 23651 TBD TBD Staff

Poetry and politics have long had a close relationship in Ireland, a country in which a poet was appointed to the first Senate following independence from Britain, creative writers receive an income tax exemption, and the national symbol is a harp—as closely associated with poetry as with music. In Ireland, Eavan Boland writes, “the idea of the poet was honored. It was an emblem to the whole culture that self-expression and survival could combine.” Studying Irish poetry thus provides a rich entry into questions about the relationship between poetry, identity, and politics more generally. How does poetry influence politics? What makes a politically effective poem, and what can a poem accomplish that other forms of political writing can’t? How do poems establish relationships between national and other identities (for example public, private, gender, language, individual, postcolonial, or globalized identity)? We will approach these questions through critical and theoretical texts on literature and politics as well as creative readings from poets including Thomas Moore, Thomas Davis, James Clarence Mangan, William Butler Yeats, Padraic Colum, Seamus Heaney, Eavan Boland, Nuala Ní Dhomhnaill, and Gail McConnell.

ENG 337 Sem/Survey:20/21CLit:Irish Lit 5cr

Notes and Prereqs: Faculty-Led Global Learning Program: Ireland. Notes: https://studyabroad.wwu.edu/global-learning-programs. Self-Sustaining tuition is $280 per credit which is not included in 10-18 credit tuition costs. Program dates: March 29 - June 3, 2022. Travel dates: April 19 - May 23, 2022.

CRN: 23653 TBD TBD Staff

How has Irish identity shifted under the pressures of colonialism, emigration, immigration, and globalization? Who is Irish? We will consider Irish identity in a global context that includes Irish emigrant literature (with a focus on United States emigrants), Irish immigrant literature, and an exploration of tensions between indigenous and colonial languages. Questions we will ask include the following:

what roles do ethnicity and race play in determining membership in a country characterized by waves of colonization, emigration, and immigration?
how is Irish identity expressed abroad, through emigrant cultural expressions?
• how is Irish identity affected by immigrants to Ireland?

Although our readings and discussions will focus on Irish identity, the questions we raise will also be applicable to other ethnic identities, especially those that have been shaped by colonialism and migration.

ENG 338 Women's Lit N Am and Europe 5cr

Notes and Prereqs: ENG 101.

CRN: 20435 Day/Time: MWF 11:30-12:50pm Instructor: Giffen, Allison A.

In this class we will explore the work of American women writers, primarily of the late 18th and nineteenth century in the context of their historical and cultural moment. We will explore a variety of genres including poetry, slave narrative, the novel and short stories. Focusing on Black and white women writers, we will examine the ways that these writers worked within and against emerging racialized ideals of womanhood. We will look to the strategies these women relied upon to construct themselves as writers as we also think about how our own expectations about women and writing contribute to how we read this work. Writers will include Anne Bradstreet, Phillis Wheatley, Emily Dickinson, Harriet Jacobs, Frances Ellen Watkins Harper, and Louisa May Alcott among others.

ENG 343 Critical Childhood Studies 5cr

Notes and Prereqs: ENG 202. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 23680 Day/Time: MWF 02:30-03:50pm Instructor: Giffen, Allison A.

What is childhood and how has it been variously defined and understood? This is one of the central questions of Critical Childhood Studies, a growing field within the humanities. Along with the history and construction of childhood, Critical Childhood Studies also examines textual and visual representations of childhood, exploring, for example, how childhood functions metaphorically in literature and culture. New ideals about childhood emerge in the nineteenth century that are shaped by Romantic notions of childhood innocence. Our work this quarter will focus particularly on the role that race played in these new conceptions of childhood. We will begin with the racialized construction of girlhood in the novels of Harriet Beecher Stowe and Harriet Wilson, then explore seduction and consent in the figure of the tragic mulatto, in the work of Lydia Maria Child and Harriet Jacobs. We will conclude by turning to the popular children’s periodical St Nicholas Magazine and investigate the cultural work it performed in its representations of Black and white boyhood.

ENG 347 Studies in Young Adult Lit 5cr

Notes and Prereqs: ENG 202 or instructor permission. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20412 Day/Time: TR 10:00-11:50 am Instructor: Qualley, Donna

Our course will focus on contemporary literature written and published for young adults between the ages of 12-20+. In these books, you’ll meet a diverse group of young people who are wrestling with the seminal questions of identity, agency, and community: Who am I? Who are my people? Why does the world sometimes suck? What can I do about it? Because young adults themselves question, experiment, and push boundaries, it should come as no surprise that the literature written for and about young adults also pushes conventional boundaries in terms of language, subject matter and craft.

This course will also help you develop your own answers to questions like these:

How might young adult literature serve as a vehicle for critical and self-reflexive examination of the social, cultural, and political landscapes in which we are and have been emmeshed? How might these books offer their readers new ways to imagine and create a more just, equitable, and hopeful futures for themselves and others?
What are some of the critical conversations that continue to galvanize the field of young adult literature?
How might YA literature re-ignite an interest in reading? How might YA literature stimulate young people’s (and your) own expressive and creative work?
What qualities make YA literature engaging and deserving of respect by adults (and schools) as well as young people? What kinds of discussions, assignments, and projects can open up and extend students’ understanding and enjoyment of this literature?

Since a primary goal of this course is to expose you to a range of contemporary young adult literature, the course is reading-intensive, but I hope you will agree—also intensely interesting! In our time together, we’ll read 6-8 books plus some supplementary material that I will make available on Canvas. You’ll engage in short response projects (analytical and creative, individual and collaborative) that include writing, speaking, and responding using visual and other non-print media.

IMPORTANT INFORMATION ABOUT BOOKS: Having a physical copy of each book is preferable (especially if you plan on teaching in the future). However, you may read digital versions of these books if you have one of the larger e-reader devices (not your phone). Page design is an important element in many of our course texts.

A Partial List or Required Books

Long Way Down (not the graphic novel version), Jason Reynolds
Laura Dean Keeps Breaking Up with Me, Mariko Tamaki & Rosemary Valero-O’Connell
Poet X, Elizabeth Acevedo
Dig, A.S. King
The Betrayed, Ruta Sepetys
Unwind, Neal Shusterman

ENG 350 Intro to Creative Writing 5cr

Notes and Prereqs: ENG 101. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20148 Day/Time: MWF 08:30-09:50 am Instructor: Gulyas, Lee R.

This course will introduce you to the process of writing—the reading, scribbling, drafting, craft elements, analysis, extensive revision, focus, and discipline that are essential. You will explore, develop, rethink, and revise with the final goal of a portfolio of creative work. This is a skills class, one that will require practice and participation. We will work in fiction, creative nonfiction, and poetry.

Assignments include: exercises, readings, analytical discussions, group discussions on a variety of topics, and extensive revision of your own drafts into your final portfolio.

COURSE GOALS

You will practice reading published work as a writer.
You will work with craft elements and literary techniques in fiction, nonfiction, and poetry and read examples from a variety of authors, perspectives, genres, and forms.
You will experiment and take risks to create drafts, then cut, hone, and explore possibilities through revision.
You will actively work to increase your knowledge and skills, and aim for professional standards.

CRN: 20488 Day/Time: MWF 10:00-11:20 am Instructor: McGuire, Simon Leonard

In this course we will explore, discuss, practice and revise forms of poetry, short fiction and creative non-fiction. I'll introduce you to exercises in ekphrasis (writing about art), traditional forms, poetry machines and current trends in contemporary poetics (visual poetry, collaborative writing methods, conceptual writing, multilingual pieces.). While we all will work remotely, everyone will be required to participate each week in small group discussion forums to read and responds to assignments and complete attentive peer reviews. This course uses Imaginative Writing (4th ed.) as a main text, and I will offer other documents and sources on Canvas.

CRN: 23057 Day/Time: MWF 01:00-02:20pm Instructor: McGuire, Simon Leonard

CRN: 23058 Day/Time: TR 10:00-11:50am Instructor: Weed, Katie

“When I'm writing, I'm thinking about time, pace, rhythm, cadence. Sometimes the language is upright, more formal in sound--my getting out of the story's way. Other times, the words lay down, lean, fall on each other, play differently, which makes a different sound and music. That's the part of craft that I love most. Thinking about how to stack the language.” -- Sarah M. Broom

“Remember, we are mortal, but poetry is not.” -- Patti Smith

“My mantra was: follow the fun. If I’m not having fun, I’m doing it wrong.” -- Jordan Peele

In this introduction to the practices and possibilities of creative writing, we’ll explore multiple genres: creative nonfiction, poetry, and screenwriting. Together, we will immerse ourselves in a variety of works across these genres, considering writing from authors and artists spanning continents and centuries. We’ll pay careful attention to various perspectives on theory and approaches to craft, reflecting on both tradition and innovation.

We’ll stack language. We’ll follow fun. We’ll think about power. As Matthew Salesses--whose book Craft in the Real World we will work with, writes: “Make no mistake--writing is power. What this fact should prompt us to ask is: What kind of power is it, where does it come from, and what does it mean?” Salesses again: “Craft is support for a certain worldview…To be a writer is to wield and be wielded by culture. There is no story separate from that. To better understand one’s culture and audience is to better understand how to write.” We will reckon with these ideas, with genre, with voice, with audience. We will wield, and be wielded by, cultures around us and the culture we create together in our classroom.

We’ll draft extensively both in and out of class, creating a range of work to share, and offering and receiving substantial peer feedback. We’ll compose pieces inspired by and in response to those we read, and as well generate original work of your own design, culminating in a polished portfolio and in-person public or virtual reading (we’ll see what safety dictates by then. As Smith notes, we are mortal).

CRN: 23681 Day/Time: TR 12:00-01:50pm Instructor: Araki-Kawaguchi, Kiik

As a participant in this course, you will learn through reading, writing, discussing and reflecting. Together, we will examine the fundamental elements of fiction and poetry. In the final weeks of our workshop, we will also examine humor writing and performance. We will explore a diverse body of published works. And, foundational to the workshop process, we will discuss the working drafts by our peers. Above all, we will privilege our writing process and development.

Expect this to be an exciting and challenging course. We will ask big questions and discuss the practical benefits of a creative life. We hope you will develop new ways of thinking, working, writing and communication. We hope you will take risks. For many, this will be their first writing workshop. You do not have to write “magnificent” works to do well in this course. You just have to be brave, respectful, and a hard worker.

Participation in a 5-credit course is equivalent to 150 hours of work over the quarter. This will include 4 hours of classroom time weekly (lecture, discussions, workshop) and approximately 10 hours of outside preparation (reading, writing, investigating, reflecting, projects). You are also encouraged to visit me in office hours, attend literary events, and (safely) connect with your peers.

Required learning materials include Wonderbook by Jeff VanderMeer, How to Not Be Afraid of Everything by Jane Wong, Humor Writing by Bruce A. Goebel, and course handouts. I am also asking that you find access to a portable electronic device that will allow you to listen to a podcast and move simultaneously (e.g. walk or dance).

ENG 351 Intro to Fiction Writing 5cr

Notes and Prereqs: ENG 350. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20326 Day/Time: MWF 02:30-03:50 pm Instructor: Trueblood, Kathryn R.

This class will be about creation and craft, about opening the floodgates of the subconscious as well as learning the tough task of self-editing. We will pay close attention to the toolbox at the writer's disposal, identifying narrative strategies, levels of diction, conventional and unconventional short story form. The course will include many exercises in automatic writing in order to illustrate cliché-breaking and block-dissolving methods. These in-class exercises will also serve as a reminder that a workshop at its best provides a safe forum in which all are entitled to experiment and receive thoughtful responses to their work. This course will introduce students to the terms and protocol of good workshop critique.

Scenes then Stories:

The quarter system moves at a hectic pace, and many stories are underdeveloped as a result. So, we will be moving from exercises to scenes and then to full stories. Scenes are the dramatic building blocks of stories and novels (as opposed to summaries, chronologies, or treatments for novels). By writing them, you should feel what it’s like to inhabit your characters.

Texts:

100 Years of the Best American Short Stories, edited by Lorrie Moore.
The Art and Craft of Fiction: A Writer's Guide by Michael Kardos, any edition.

CRN: 20489 Day/Time: TR 02:00-03:50 pm Instructor: Westhoff, Kami

This course is designed to introduce you to the craft and culture of writing fiction as well as the complex world of critique and workshop. We will read established authors from various backgrounds and cultures and study the ways in which they make their writing work through unique use of voice, description, language, dialogue, character development, and experimentation. While reading and studying these authors, you will begin your own journey into fiction writing with the help of various writing exercises and assignments, revision, and most importantly, your imagination and individuality.

ENG 353 Introduction to Poetry Writing 5cr

Notes and Prereqs: ENG 350. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20076 Day/Time: MWF 02:30-03:50pm Instructor: Shipley, Ely

This generative writing course focuses on the practices of reading and writing poetry. We work from the basis that in order to become better writers, we also must become better readers. We will explore a range of poetic traditions and contemporary developments and spend the quarter reading, writing, and discussing poetry through focusing on elements such as metaphor, image, rhythm, sound, line, and dramatic tension. Students will be responsible for offering thoughtful readings of professional models, as well as submitting poetry writing experiments. We become better writers through reading, thinking and feeling intensely, learning from our own work, the work of others, and above all, by practicing.

CRN: 22194 Day/Time: TR 04:00-05:50pm Instructor: Yeasting, Jeanne Ellen

This introductory poetry writing course combines a creative component and the study of literature from a writer’s perspective. You’ll be introduced to, and asked to experiment with various forms of poetry. To enhance your understanding of craft possibilities, we will study writing models from earlier times, as well as contemporary authors. Class will be a mixture of discussion of assigned writing models, writing exercises, and workshops. Students may be required to complete a collaborative project, post weekly reading responses, write critical reviews, conduct research, and/or participate in a local literary event.

EVALUATION: Based primarily on active, attentive class participation and fulfillment of assignments, including a Final Project.

REQUIRED TEXTS:

The Poet’s Companion, edited by Kim Addonizio and Dorianne Laux. W.W. Norton.
Paperback ISBN: 978-0393316544; e-book also available
Joy Harjo, An American Sunrise. W. W. Norton. 2019.
Paperback ISBN: 978-0393358483; e-book also available
Various poems and other texts on Canvas

OPTIONAL but recommended text:

Natalie Goldberg, Writing Down the Bones. Shambhala. 2016 edition.
Paperback ISBN: ‎ 978-1611803082

ENG 354 Intro to Creative Nonfict Writ 5cr

Notes and Prereqs: ENG 350. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20347 Day/Time: MWF 11:30-12:50pm Instructor: Gulyas, Lee R.

This is a beginning level creative writing class that combines a creative component and the study of literature. Students will submit drafts for workshops, provide feedback, and lead class discussions in critical exploration of readings. Coursework will include in-class writing exercises, reading responses, writing assignments, and extensive revision. Since this is a five-credit course, the university expects fifteen hours of work per week: five hours in class and ten hours on your own.

My goals for this class are that you will:

read a variety of creative nonfiction, grasp basic concepts about what the term implies, the variety of forms can take, and the craft elements, reworking, and revision integral to its success.
begin thinking about the ethical implications involved when writing about your life and the lives of others.
read published nonfiction as models for your own work, and read your colleagues’ writing with empathy, compassion, and insight.
gain a better understanding of yourself as a writer and be able to critically analyze your own work.

CRN: 20574 Day/Time: TR 08:00-09:50 am Instructor: Guess, Carol

This course will focus on the complexity of telling the truth in creative nonfiction. We'll read several contemporary essays from The Best American Essay collection, as well as In the Dream House (a lyrical collection of interlinked flash nonfiction) and Frank: Sonnets, a poetry collection that complicates conventional essay forms. Students will write several flash nonfiction pieces, building toward a longer essay as the capstone to the course.

ENG 364 Introduction to Film Studies 5cr

Notes and Prereqs: ENG 101.

CRN: 20490 Day/Time: TR 02:00-03:50pm Film viewing: Tuesdays, 4:00-6:50 Instructor: Youmans, Greg

The course introduces the foundations of film studies. We will explore core vocabulary, concepts, and skills that help us look and listen more closely to motion pictures. We will also develop practices of critical thinking, argumentation, and analysis through various writing exercises. Our course screenings will present films from around the world and from the historical beginnings of cinema to the present day.

ENG 365 Film Hist: 5cr

Notes and Prereqs: ENG 364 or ENG 202.

CRN: 21500 Day/Time: MWF 01:00-02:20pm Film viewing: Wednesdays, 5:00-7:50 Instructor: Odabasi, Eren

The second half of the 20th century was a pivotal period in film history. Following the emergence of several key cinematic waves and movements around the globe, the decades between 1960-2000 witnessed fundamental shifts in the way cinema functions as an art form, a tool for social change, and a commercial endeavor. The purpose of this course is to identify major films and filmmakers that have been influential in reshaping their national cinemas or establishing a film culture in countries with nascent media industries. While this time period also saw the emergence of New Hollywood and American independent cinema, our focus will be exclusively on films made outside North America.

The cinematic waves and filmmakers we will analyze include:

The French New Wave
The Japanese New Wave
The Czechoslovak New Wave
New German Cinema
The Taiwanese New Wave
5th Generation Chinese Directors
New Argentine Cinema

We will trace recurring themes, elements of film language, and production practices that were observed across a seemingly diverse range of films that belonged to the same movement. Additionally, we will re-evaluate each movement in terms of its lasting impact and legacy on contemporary world cinema.

Films:

The Insect Woman, dir. Shohei Imamura, 1963
Le Bonheur, dir. Agnès Varda, 1965
The Joke, dir. Jaromir Jires, 1969
Alice in the Cities, dir. Wim Wenders, 1974
Adoption, dir. Marta Meszaros, 1975
Taipei Story, dir. Edward Yang, 1985
Sweetie, dir. Jane Campion, 1989
Raise the Red Lantern, dir. Zhang Yimou, 1991
Through the Olive Trees, dir. Abbas Kiarostami, 1994
Rosetta, dir. Jean-Pierre and Luc Dardenne, 1999

Course readings will be made available on Canvas.

ENG 371 Rhetorical Practices 5cr

Notes and Prereqs: ENG 101 and junior status. Major restrictions lift on Friday, February 25th, at 4:30pm.

CRN: 23061 Day/Time: TR 10:00-11:50 am Instructor: Cushman, Jeremy W.

Here’s the thing: persuasion happens. It has to! Rhetorical practices underlie the way we understand ourselves, our communities, and our shared values. I mean, just to lay out a few examples, our world gets categorized so that we are already persuaded that it’s a bad idea to shop for yams at BestBuy, and big institutions like universities convince us to identify as a freshman or a senior. And persuasion even happens in our bodies: our heart rate quickens and our faces flush when we speak out against an idea or action that our believes is wrong or evil, which is how we know we care. Plus, mostly invisible systems of exchange like capitalism teach us to value only what we can count. This is all to say, persuasion is baked into our living in a world with others. There is no "not being persuaded."

Together we'll stir up several historical and newer approaches to rhetoric so that you can invent and practice in ways that are personal and meaningful. For example, we'll compare:

ancient understandings of rhetoric
the ways race, gender, and the related notion of individualism get tethered to rhetorical practices
contemporary rhetorical practices connected to the Sociology of Science
the ways rhetoric turned into a 'bad word'
the possibilities of a proto-rhetoric in the Paleolithic era (60,000 years ago!)
rhetoric's role in imagination and advocacy

Such a wide engagement, I hope, will help you better approach the ways persuasion and advocacy emerge as productive possibilities. I also hope the class pushes you to invent powerful and personal responses to that rather tired question about what a degree, or even a single class, in the Humanities is good for.

ENG 385 Sustainability Literacy II 5cr

Notes and Prereqs: ENVS 116 or ENG 201 or ENG 202.

CRN: 21706 Day/Time: MWF 01:00-02:20pm Instructor: Brown, Nicole

Systems Thinking offers an introduction to the interdisciplinary practice and methodology of systems thinking—a perspective for understanding the social and material world in the context of interdependent elements that form a complex and unified whole. By shifting focus from the parts to the whole and from nouns to verbs, this writing intensive course articulates information and story from many different perspectives to find problems and to also discover leverage points for solving problems. Systems thinking shifts the focus from analytical thinking to contextual thinking and develops an ecological practice towards the relationship between discovery, writing, and change.

Systems thinking can be applied to every context—from professional organizations, to anatomy, to ecologies, and the praxis of rhetoric. This class will introduce you to the methodology of systems thinking and will introduce you to the specialized language and tools that encourage us to grasp the ways in which language, discourse, and things— writing ecologies—construct, sustain, and change systems.

The course will involve guest visits from social change leaders in our community. This broad spectrum of disciplinary viewpoints will offer a unique interdisciplinary perspective on systems thinking and the properties of and process of building a viable, desirable, and sustainable future.

Course projects include weekly writing assignment incorporating visual and verbal elements, including experimenting with new media and/or multi modal compositions. For the major project you will be a part of a team that applies a systems thinking approach to writing about sustainability issues in an organization or other community context you care about. We will use these models to develop and propose leverage points for achieving solutions through written and oral proposals.

You should leave the course with excellent writing samples: mappings, systems and rhetorical analyses, research displays, and proposals, as well as a new vocabulary and methodology to facilitate systems-based analysis, communication, and change.

ENG 397K Cultural Disability Studies 5cr

Notes and Prereqs: ENG 101.

CRN: 23704 Day/Time: TR 10:00-11:50 am Instructor: Lucchesi, Andrew John

This brand new, experimental course is all about the concept of disability. It’s a complicated idea, really. On the one hand, around one in four adults in the U.S. has a disability of some kind, and almost all of us will acquire disabilities (or acquire more disabilities) as we grow older. This definition of disability matters a lot to doctors, social workers, politicians, and activists. Our class will focus on the cultural phenomenon of disability, the ways the concept appears in fairy tales, visual art, and even in the English language itself. Rather than thinking about the medical side of disability, we will focus on texts written by disabled people, including cultural histories, memoir, comic books, documentary films, and activist manifestos. By the end of our class, you'll recognize the central role disability plays in the world, and you'll have new critically aware ways to write and think about this important concept.

This asynchronous GUR course will involve quite a bit of writing, including reading responses, short blog-style essays, and a final project. You will frequently work on projects with small groups, either in writing or via Zoom, whatever works best for your group. And I will meet with you individually in conferences once or twice during the quarter to work on your writing.

There are two required books for the course. One is Keywords for Disability Studies, which you can access for free through our library. You will need to buy a copy of Disability Visibility: First-Person Stories from the Twentieth Century edited by Alice Wong.

400-Level English Courses

ENG 410 Lit Hist: 5cr

Notes and Prereqs: ENG 202; plus three from: ENG 307-311, ENG 313, ENG 314, ENG 317-321, ENG 331-347, ENG 364, ENG 371. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20860 Day/Time: TR 10:00-11:50 am Instructor: Amendt-Raduege, Amy

8,000 years ago, an anonymous Chinese storyteller told the first ghost story to be written down. Thus, ghost stories have become one of the oldest literary genres, transcending cultures, religions, philosophies, and media. Together, we will delve into the history of some of these stories, exploring not just the stories themselves, but the fundamental beliefs and fears that underlie them, from cultural imaginaries to popular perception. We will read texts from across the globe, with emphasis on those that produced modern American conceptions of the afterlife and contemporary ghostlore.

ENG 418 Sr Sem: 5cr

Notes and Prereqs: Senior status; ENG 313 or ENG 314; and one course from: ENG 307, ENG 308, ENG 309, ENG 310 or ENG 311.Important note: ENG 418 is not repeatable & cannot be used as an elective for the literature major. Juniors may register starting on Monday, February 28th, at 10:30am. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20437 Day/Time: MWF 04:00-05:20pm Instructor: Lester, Mark M.

This seminar will concentrate on twentieth-century literary works in which the modern city is negotiated in such way as to subvert bourgeois thinking and the promotion of idealistic or utopian futures. In addition to works of fiction and poetry, we will read and discuss a variety of pertinent philosophical, historical, and political texts.

In 2007, for the first time in history, more people resided in cities than in non-urban areas, and it has been projected that by 2050, two thirds of the world’s population (some seven billion people) will live in cities. Currently, one third of urban dwellers live in what are commonly referred to as slums.* Given such statistics, as well as the concomitant challenges of climate change and extensive ecological degradation, the city has become the focus of increased environmental activism and critical analysis. The advancement of urban forests and of more “biophilic” cities, drawing on E.O. Wilson’s “Half-Earth” concept, and the examination of “defuturing” in the theoretical and political writing of Tony Fry are examples.

In “The End of the End” (Planet City 2021), the filmmaker and architect Liam Young announces that “All cities are fictions…shaped like stories,” forever in the process of being rewritten. His assertion echoes that of Tadeusz Peiper, a Polish writer and artist who declared in 1922 that cities (modern cities in particular) are continually reshaping themselves and that their “innovatory nature” ensures their being always “in conflict with the inherited ways of thinking.” The thesis informing English 418, Negotiating the City, is that literature and textual analysis are uniquely situated to provide a rigorous assessment of possible urban futures.

Topics include: the flâneur (Baudelaire); the zone (Apollinaire); the situationist movement (the dérive, the situationist city); biopolitics; and noopolitics (the intersection of architecture, design, technology, and neurology).

Texts will include: Philippe Soupault, Last Nights of Paris; Bruno Jasieński, I Burn Paris; Julio Cortézar, 62: A Model Kit; Georges Perec, An Attempt at Exhausting a Place in Paris; Jacques Roubaud, The Great Fire of London.

*Ritchie, H., and Roser, M. 2018 (Revised 2019). “Urbanization.” Ourworldindata.org.

CRN: 20447 Day/Time: TR 02:00-03:50pm Instructor: Rivera, Lysa

N. Katherine Hayles begins her ground-breaking text, How We Became Posthuman, with the claim that 20th-century technological innovation has begun “transforming the liberal subject, regarded as the model of the human since the Enlightenment, into the posthuman.” Beginning with a brief but necessary introduction to Enlightenment thinking and humanist philosophy, this course traces how U.S. writers at the turn of the twenty-first century imagined and interrogated the posthuman. After an informed consideration of what many consider to be canonical posthuman texts in U.S. literature, we will turn our attention to the ways in which Latinx and African American writers also began to situate themselves in relation to the posthuman at this time. The texts we will study engage a wide range of issues central to this the late twentieth and early twenty-first centuries, including the state of global capitalism, cyberculture, postmodern theories of identity, and critical theories of race as it intersects with the posthuman. Authors include William Gibson, PK Dick, Octavia Butler, NK Jemisin, and Sesshu Foster.

CRN: 20436 Day/Time: MWF 08:30-09:50 am Instructor: Prichard, Tony Alan

“Just because people throw it out and don’t have a use for it doesn’t mean it’s garbage”--Andy Warhol

“They go the their homes and I go to mine...which happens to be a dump. And when I say a dump I don’t mean like a shabby place, I mean an actual dump where the garbage goes and a bunch a bricks and smashed building parts. That’s what I call home..”--Wreck-It Ralph

“GEOLOGY, n. The science of the earth's crust — to which, doubtless, will be added that of its interior whenever a man shall come up garrulous out of a well. The geological formations of the globe already noted are catalogued thus: The Primary, or lower one, consists of rocks, bones or mired mules, gas-pipes, miners' tools, antique statues minus the nose, Spanish doubloons and ancestors. The Secondary is largely made up of red worms and moles. The Tertiary comprises railway tracks, patent pavements, grass, snakes, mouldy boots, beer bottles, tomato cans, intoxicated citizens, garbage, anarchists, snap-dogs and fools.” -- Ambrose Bierce

“But it’s garbage!” --Rey

“I love trash” --Oscar the Grouch

This senior seminar looks at the discourses around disposal and waste. Instead of simply adopting the dominant and well-worn tropes placed in endless circulation (recycled) by neo-liberal ideological systems such as capitalism and environmentalism, we will practice reading against these systems to consider waste and its consequences, toxic and otherwise. We will look at how discourses frame what is disposed and inquire into how the consequences of waste remain a fertile area of human activity that resists being easily explained away.

Required Texts

Guattari, Felix. The Three Ecologies
Laporte, Dominique. History of Shit
Morton, Timothy. Spacecraft
Parikka, Jussi ed. Medianatures: The Materiality of Information Technology and Electronic Waste (online)
Quifan, Chen. Waste Tide
Serres, Michel. Malfeasance: Appropriation Through Pollution?
VanderMeer, Jeff. Hummingbird Salamander

ENG 423 Maj Auth: 5cr

Notes and Prereqs: ENG 202; plus three from: ENG 307-311, ENG 313, ENG 314, ENG 317-321, ENG 331, ENG 332, ENG 333, ENG 334, ENG 335, ENG 336, ENG 338, ENG 339, ENG 341, ENG 342, ENG 343, ENG 347, ENG 364, ENG 371. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20266 Day/Time: MWF 10:00-11:20 am Instructor: Anderson, Katherine J.

Although many 21st-century readers don’t even know her name, George Eliot (Marian Evans) is considered by some critics to be one of the best writers not only in nineteenth-century Britain or the Western literary canon, but in all of literary history. Eliot was the godmother of literary realism, honing its preeminent technique of free indirect discourse and subsequent psychological depictions of selfhood with a masterly touch that far surpassed that of her contemporaries. She was also an editor, a translator, a theorist, and a literary critic.

For Eliot, the body – marked by experiences of gender, class, violence, sexuality, race and ethnicity, and so much more – was essential not only to formulating consciousness, but also to understanding “real” life and social (in)justice. In this class, we’ll consider Eliot’s depictions of human consciousness and interiority alongside her depictions of the human body, attending to the importance of embodiment and physical sensation as it manifests across her work and within her own life. Along the way, we’ll tangle with the political, theological, moral, epistemological, and phenomenological philosophies that fascinated her, meditating with Eliot on what we do to bodies (both our own and other people’s); what bodies do to us; and how bodies factor into the ethical and practical ways we live our lives.

Course Objectives:

This course provides deep analysis of the writing and life of major Victorian author George Eliot, accompanied by analysis of relevant cultural issues and developments in nineteenth-century Britain. You’ll exit the class with a more sophisticated understanding of Eliot’s contributions to literature, including her versions of psychological realism and the Gothic, as well as a firmer grasp of nineteenth-century cultural and literary history. Assignments emphasize critical analysis and research skills.

Student Learning Outcomes (what you’ll get from your work in this class):

Advanced ability to analyze nineteenth-century literature and to relate its concerns and modes of expression to its historical context as well as the current contemporary moment.
Advanced capacity to compare and contrast texts, making connections while noting evolutions in form, style, and content over an author’s oeuvre.
Advanced ability to perform and then apply proactive research in relation to both nineteenth-century periodicals and literary scholarship.
Advanced ability to write cogent literary criticism.
Increased autonomy in assessing literary texts and critical arguments.
Increased ability to participate in an ongoing academic conversation.

Required Texts:

Middlemarch
Daniel Deronda
Additional required short texts and secondary readings available on Canvas.

CRN: 20508 Day/Time: MWF 01:00-02:20pm Instructor: Lester, Mark M.

Few writers are as intensely focused on the act of thinking, on the movement of thought, or on the very process of writing as Samuel Beckett. And the difficulty—but also the beauty—of his writing in large part derives from the urgency that marks the endeavor to formulate "a new image of thought" (to borrow a phrase from Gilles Deleuze) or to re-imagine (as Andrew Gibson remarks in a more recently published study of Beckett) "the human thing." The view of the world and of thought presented in Beckett's writing is stark, and much of his work will undoubtedly seem strange, even repulsive, to the first-time reader; but Beckett's more experimental work can also have a profound impact, and the fiction and dramatic work can be extremely funny. Many of his characters appear to be overwhelmed by events, either paralyzed or caught up in seemingly pointless activities. Others are marginalized, in some sense "socially deficient"; they are misunderstood and often abused, subjected to ridicule, beaten up, or taken advantage of by those who are generally regarded as "normal." They nevertheless possess an astonishing aptitude for observation and a capacity to elicit in us a renewed sense of wonder with respect to the world. Beckett's writing exposes the habitual (and impoverished) manner in which we for the most part negotiate life; it opens up and thus encourages us to confront an unknown or unexplored potential vis-à-vis our being in the world.

In this section of English 423, we will read a selection of Beckett’s short fiction, novels, and longer and shorter plays. Though the course will emphasize as much as possible the value of a direct encounter with Beckett’s writing, a number of more contemporary evaluations of his work will also be taken into account.

Texts: The Selected Works of Samuel Beckett. Additional material will be distributed in class or posted on Canvas.

ENG 427 Queer Studies 5cr

Notes and Prereqs: One course from: ENG 227, ENG 313, ENG 314, ENG 351, ENG 353, ENG 354 or equivalent prerequisite coursework and instructor approval; and junior status. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 23698 Day/Time: MWF 11:30-12:50pm Instructor: Shipley, Ely

This course explores the wave of poetry by trans and gender nonconforming poets published primarily within the past decade. We will read trans poets whose work spans diverse embodiments of sexual, racial, national, class-based, and familial experience. Some questions we’ll consider include: What is trans and/or gender nonconforming about these poems? What is the trans poet’s relationship to content and to form, whether “traditional” or “innovative”? How and what poetic techniques do trans poets use and to what end? Ultimately, what is form’s relationship to the body?

ENG 437 LitHist:IrishLit-Emigrat/Immig 5cr

Notes and Prereqs: Faculty-Led Global Learning Program: Ireland. Website: https://studyabroad.wwu.edu/global-learning-programs. Self-Sustaining tuition is $280 per credit which is not included in 10-18 credit tuition costs. Program dates: March 29 - June 3, 2022. Travel dates: April 19 - May 23, 2022

CRN: 23654 TBD TBD Staff

what roles do ethnicity and race play in determining membership in a country characterized by waves of colonization, emigration, and immigration?
how is Irish identity expressed abroad, through emigrant cultural expressions?
how is Irish identity affected by immigrants to Ireland?

ENG 437 Natl.Lits:IrishPoetry&Politics 5cr

Notes and Prereqs: Faculty-Led Global Learning Program: Ireland. Website: https://studyabroad.wwu.edu/global-learning-programs Self-Sustaining tuition is $280 per credit which is not included in 10-18 credit tuition costs. Program dates: March 29 - June 3, 2022. Travel dates: April 19 - May 23, 2022.

CRN: 23652 TBD TBD Staff TBA

ENG 441 Language and the Sec Classroom 5cr

Notes and Prereqs: ENG 301, ENG 302 or ENG 371; ENG 347; ENG 350, ENG 351, ENG 353 or ENG 354; two from: ENG 307, ENG 308, ENG 309, ENG 310, ENG 311, ENG 317, ENG 318, ENG 319, ENG 320 and ENG 321. Co-requisite: ENG 443. Major restrictions never lift.

CRN: 23064 Day/Time: MWF 11:30-12:50pm Instructor: Hardman, Pam

This course will explore language structure and use in the Secondary Language Arts classroom, including cultural and equity issues, dialect and discourse style bias, ESL learners, and the challenges of standard grammar and conventions. We’ll spend some time addressing linguistic fundamentals as a means of understanding language diversity. This methods course requires the same kind of individual initiative, dedication, and professionalism that you will apply to your future work as a teacher.

This course must be taken concurrently with English 443 unless the instructor approves otherwise.

TEXTS: May include: Crovitz and Devereaux, Grammar to Get Things Done; Devereaux and Palmer, Teaching Language Variation in the Classroom; George Yule, Study of Language 7th edition

ASSIGNMENTS: Teaching Plans; Dialect analysis; Research Project

ENG 443 Tch Eng Lang Arts in Sec Sch I 5cr

Notes and Prereqs: ENG 301, ENG 302 or ENG 371; ENG 347; ENG 350; and two courses from: ENG 307, ENG 308, ENG 309, ENG 310, ENG 311, ENG 317, ENG 318, ENG 319, ENG 320 and ENG 321. Co-requisite: ENG 441. Major restrictions never lift.

CRN: 20742 Day/Time: MWF 08:30-09:50 am Instructor: Staff

This course is the first of a two-quarter sequence that is designed to help you become a thoughtful, knowledgeable, and effective teacher of English language arts at the secondary level. In this first quarter, we emphasize the teaching of writing, though oral performance, literature, and media will be integrally linked. Through the frames of pedagogical theories, we will connect what we know about the diverse student population that secondary teachers face with what we know about ourselves as language arts learners and teachers in order to create useable teaching materials. This is a writing and reading intensive course. This methods course requires the same kind of individual initiative, dedication, and professionalism that you will apply to your future work as a teacher.

This course must be taken concurrently with English 441 unless the instructor approves otherwise.

TEXTS: May include: Kelly Gallagher, Write Like This and Teaching Adolescent Writers

ASSIGNMENTS: Writing Activities; Mini-lesson; Writing Assignment Plan

ENG 444 Tch Eng Lang Art in Sec Sch II 5cr

Notes and Prereqs: ENG 443

CRN: 20085 Day/Time: MWF 10:00-11:20 am Instructor: VanderStaay, Steven L.

This course is the second of a two-quarter sequence designed to help you become a thoughtful, knowledgeable, and effective teacher of English language arts at the secondary level. In 444 we emphasize the teaching of reading and literature with whole-class, small group, and individualized methods. This methods course requires the same kind of individual initiative, dedication, and professionalism that you will apply to your future work as a teacher.

ENG 451 Creative Wrtng Seminar:Fiction 5cr

Notes and Prereqs: ENG 351. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20150 Day/Time: MWF 08:30-09:50 am Instructor: Westhoff, Kami Dawn Marie

Welcome to English 451! This course is designed to encourage you to continue your exploration into the complex world of creating literary fiction. We will read the work of contemporary fiction writers and examine the ways in which they create compelling and innovative fiction through careful and unique attention to such elements as character development, setting, theme, format, and narrative focus. In addition to extensive fiction writing, you will be asked to engage with the literary world on a larger scale, including literary journal research, and taking part in the process of submitting your own work. Showcasing your knowledge and creativity, you will produce a chapbook or a reading of your work as your final project.

CRN: 20576 Day/Time: TR 08:00-09:50 am Instructor: Colen, Elizabeth Jane

In this advanced workshop in fiction writing, students will closely read and analyze books of short stories written in the last year, engage in weekly writing exercises and imitations, and hone their storytelling skills through the production of at least one fully revised story. The final project will be a portfolio that includes a story of 10-15 pages of fully revised, well-crafted work.

ENG 453 Creative Wrtng Seminar: Poetry 5cr

Notes and Prereqs: ENG 353. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20438 Day/Time: TR 10:00-11:50 am Instructor: Wong, Jane

“Poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of the light within which we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action.” - Audre Lorde

English 453 offers you an opportunity to delve deeper into your creative skills and spend dedicated time close reading the work of other poets – particularly your fellow poets in class. This course asks you to experiment with different craft moves through generative writing, delve deeper into the particularities of a poet’s work, reflect on rigorous revision and feedback, and articulate your own poetics. You will be writing lots of poems, offering feedback for your peers, exploring the work of single authors in-depth, and crafting a poetics essay of your own. Some questions we will wrestle with throughout the quarter include: where is the “heart” of the poem? What formal techniques do poets employ (or break) to achieve a particular experience and why? What is the relationship between form and content? What are the stakes of poetry today? When someone asks you the question “what do you write about?” (and they always will!), how will you respond? We will examine the craft of poetry (inherited and invented forms, lineation, rhythm, repetition, word play, image, metaphor, hybrid forms, etc.) in the larger context of poetics: why poems exist, how they create and resist meaning, how they create different experiences for readers and why.

In addition to writing our own poems, we will engage critical essays on poetics as helpful frameworks (i.e. essays and letters from poets such as Audre Lorde, Federico Garcia Lorca, Emily Dickinson, Ross Gay, Aimé Césaire, Solmaz Sharif, and more), focus on the work of rising/prominent contemporary poets, and craft a chapbook collection as a culmination of our creative risk-taking. English 453 seeks to consider poetry not as a dusty old book, but as something alive, current, and full of potential today.

ENG 454 Creative Wrtg Sem: Nonfiction 5cr

Notes and Prereqs: ENG 354. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20274 Day/Time: MWF 11:30-12:50pm Instructor: Pagh, Nancy

Students in this advanced creative writing seminar and workshop explore the expressive power of memoir. We begin the quarter by reviewing and sharing the expertise we bring—from the foundational 354 “introduction to creative nonfiction” course and from our own experiences as readers and writers of memoir—into the space of this workshop. We move then toward discovering and writing four forms of personal essay: the epistolary essay, ekphrastic essay, object essay, and community memoir.

Required Texts:

Karl Ove Knausgaard, Autumn (978-0399563300)
Mary-Louise Parker, Dear Mr. You (978-1501107832)
Claudia Rankine, Citizen: An American Lyric (978-1555976903)
Lawrence Sutin, A Postcard Memoir (978-1555973049)
Recommended: Miller & Paola, Tell It Slant (3rd edition)

Class will be conducted asynchronously, with the exception of infrequent selected dates for zoom writing workshop. Please hold 11:30-12:50 MWF in your schedule for now; exact zoom meeting dates will be posted on the course syllabus, available on Canvas by the week before classes begin.

CRN: 21501 Day/Time: TR 12:00-01:50pm Instructor: Yeasting, Jeanne Ellen

This creative writing seminar will focus on creating and revising original creative nonfiction in a variety of forms (memoir, lyric, hybrid). We’ll read and study the work of some earlier practitioners of creative nonfiction, as well as contemporary authors. Class will be a mixture of discussion of assigned writing models, writing exercises, and workshops. Students may be required to complete a collaborative project, write critical reviews, conduct research, and/or attend a local literary event.

EVALUATION: Based primarily on active and attentive class participation and fulfillment of assignments, including a Final Project.

REQUIRED TEXTS:

Alison Bechdel, The Secret to Superhuman Strength. Mariner Books. 2021.
Hardback ISBN: 978-0544387651; also available in e-book
Mark Doty, Still Life with Oysters and Lemon. Beacon Press. 2002.
Paperback ISBN: 978-0807066096; also available in Kindle
Maggie Nelson, Bluets. Wave Books. 2009.
Paperback IBSN: 978-1933517407
Zadie Zmith. Intimations: Six Essays. Penguin Random House. 2020.
Paperback: ISBN 978-0593297612. e-book: Penguin: ISBN 978-0593297629
Selected texts on Canvas

ENG 455 Living Writers 5cr

Notes and Prereqs: One from: ENG 351, ENG 353, ENG 354. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 23699 Day/Time: MWF 10:00-11:20 am Instructor: Steele, Samara Hayley

In this multi-genre course, we will engage with the work of living writers, exploring contemporary and hyper-contemporary movements in creative writing, often that blend genres and media. We will read, discuss, and write new work based on fiction, creative nonfiction, poetry, larp, screen drama, and netprov of living writers, often engaging with the work of faculty here at WWU. Throughout the course, we will also work to map and articulate our own "situatedness" within the contemporary as we search for material that is uniquely ours, while exploring how we, as writers, can responsibly leverage language and narrative to bring attention to issues within and beyond our own communities and networks of kin.

ENG 459 Editing and Publishing 5cr

Notes and Prereqs: ENG 351, ENG 353 or ENG 354. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20492 Day/Time: MWF 10:00-11:20 am Instructor: Westhoff, Kami Dawn Marie

Welcome to English 459: Editing and Publishing. This class will ask you to engage in various exercises, activities, research, and projects related to the world of the writing, editing, and publishing of literary work. By the end of this course, you will have gained a more complex understanding some of its nuances, complications, opportunities, and rewards. Though we will cover an array of publishing elements, this course is tailored toward publishing in literary journals, which is often a writer’s first interaction with the publishing world.

ENG 460 MultiGenre: 5cr

Notes and Prereqs: ENG 351, ENG 353 or ENG 354. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 20736 Day/Time: TR 10:00-11:50 am Instructor: Colen, Elizabeth Jane

Our stories are Not (Only) Our Own: Autotheory, Autoethnography, and Collective Memoir

Course Description: Our lives are not (only) our own. What does it mean to exist at a given moment in time? Autotheory and autoethnography exist in the intersection between the self and the outside world. Autotheory is a hybrid work that negotiates the spaces between autobiography, essay, and critical theory and relies on analyses of other texts in order to ground one’s own experience. Autoethnography is a form of research and writing in which the author explores personal experience in connection with wider cultural, political, and social contexts. In this workshop-based class, we will examine our place in the world through our connections to our own cultural and social contexts. How we are connected to and implicated in the history of the world and our contemporary moment, the history and contemporary moment of our country, our town, our various identities and families. We will read closely (as closely as possible, given the constraints of a 10-week quarter) several works of nonfiction that utilize research and reach outside of self in order to understand one’s place in the world. We will delve into our own exercises in imitation, culminating in a project proposal and final, fully revised work of 10-15 pages.

CRN: 20414 Day/Time: MWF 02:30-03:50pm Instructor: Pagh, Nancy

This multi-genre workshop combines the study and practice of both poetry and memoir. It’s an advanced course for growing writers—background in both poetry and creative nonfiction is helpful, but not prerequisite. As a student in 460, you will expand your understanding of genre and craft; hone your capabilities as a thoughtful and analytical reader; extend your experience with inventing, revising, and polishing literary forms of self-expression; and continue to grow as a collaborator—facilitating the engagement of classmates by selecting writing to share and designing discussion and creative writing prompts.

Together we’ll focus on analyzing and emulating some of the moves made by memoirists who first established themselves as poets. Through virtual discussion and creative expression, we’ll explore questions such as: What conventions have distinguished poetry from memoir? What formal and ethical expectations do we bring to poetry and to memoir, as readers and as writers? Why do poets choose to attempt memoir? Do poet memoirists use language differently than other memoirists? Can poetry and memoir combine? What happens to the representation of self, when articulated through poetry and through memoir?

Required textbooks include Lorna Crozier’s Small Beneath the Sky, Michael Ondaatje’s Running in the Family, and a pair of books (a memoir and a volume of poems) by one of the following authors: Yrsa Daley-Ward, Toi Derricote, Camille Dungy, Ross Gay, bell hooks, Saeed Jones, and Natasha Tretheway.

This course is planned in asynchronous format for Spring 2022. Students need access to a camera + mic for recording occasional videos, and internet access for uploading and streaming peer videos. There will be no required synchronous zoom meetings, but Nancy is available for zoom office hours.

ENG 461 Interns in Eng: Prof Identity 5cr

Notes and Prereqs: Senior status (135 credits) and instructor approval.

CRN: 23700 Day/Time: MWF 10:00-11:20 am Instructor: Brown, Nicole

This course is structured around your experience interning as a writer in a professional context and participating in weekly discussions and group meetings that guide and call upon you to reflect upon that experience. Course meetings, readings, and assignments are designed to contribute to your internship experience by providing you with opportunities to discuss observations, challenges, and accomplishments that arise for you in your internship. Weekly readings and discussions also offer professional development insights and reflections about: transitioning from academic to nonacademic contexts, approaching problem-solving, developing a professional identity as a writer, and other topics relevant to your personal internship experience. In addition, you will have the opportunity to share strategies and activities from your internship as well as articulate and develop your professional identity as a writer.

Writing is a fundamentally social activity. The most effective and most valued writers in professional contexts are those who are able to use social knowledge for two purposes: to recognize the key aspects of an organizational culture and to contribute effectively to the organizational culture, such as influencing and improving the culture and work practices of the organization.

In English 461, you will develop skills in “reading”(or recognizing and analyzing) the culture of your particular organization, and you will apply this knowledge to contribute to the organization’s work and eventually identify possibilities for innovation. As the quarter proceeds, you will have opportunities to think in terms of a social perspective when working on writing tasks in your organization and will be better prepared to develop and apply social knowledge and analytic abilities in future professional and community-based experiences.

ENG 462 Prof Wrtg 5cr

Notes and Prereqs: One course from ENG 301, ENG 302, ENG 371; or equivalent experience and instructor approval. Major restrictions lift on Friday, February 25th, at 4:30pm.

CRN: 23274 Day/Time: TR 12:00-01:50pm Instructor: Brown, Nicole

ENG 464 Topics in Film Studies 5cr

Notes and Prereqs: ENG 364 or instructor permission. All major restrictions are removed on Tuesday, March 1, by 9am.

CRN: 23701 Day/Time: TR 10:00-11:50 am Film viewing: Tuesdays, 4:00-6:50 Instructor: Dietrich, Dawn Y.

Specifically, the movies experiment with film form and conventions to develop material metaphors that demonstrate a form of visual argumentation, mediated relationships between human and non-human actors, and the extension of the human sensorium into virtual strata. Moving beyond the optical sensation of film, many of these movies highlight the affective experience of watching film, including the haptic responses that come from an embodied perspective of a historically situated subject. We will look at reception spaces in an expanded sense—from physical spaces dependent upon projectors and screens to “virtual spaces” that come from fluid immersion in TV, laptop, or handheld devices. Highly attuned to the embodied experience of diverse viewers, these films privilege the body, senses, perceptive modalities, and tactile, affective, and sensory motor perceptions in deeply creative ways. Thus, the course focuses on new films in the context of affective and new materialist theories.

Content Warning: Some of the films in the course deal explicitly with physical violence, sexual assault, racism, abortion, and sexism. Feel free to talk with me ahead of registering if you want to know what to expect with each film and whether this course will work for you. I will post content notes in the module of each film as well.

Course Expectations and Evaluation

In this course, I will be teaching you how to perform media-specific analysis of film and digital video within the post-millennial context. We will be reading contemporary film theory, which attempts to situate our current cultural moment in the larger stream of cinema history; and you will be working with the films closely to provide readings of their content and form. I ask that you come to class having viewed the film critically and having read the assigned reading—and then to be willing to share your thoughts, questions, and comments. This is especially important for those parts of the film that may seem difficult, puzzling, or provocative. It is okay not to have answers. In fact, it is much more useful to explore a film’s complexity or indeterminacy from different and multivalent perspectives than it is to reduce it to a single narrative. I’m organizing the course like an intimate movie club that gathers regularly for film discussions, which I hope you enjoy! My goal is to create an informal discussion format where any questions and comments can be asked of the group. This only works, of course, if you’re willing to share your perceptions and your experience of viewing the films, openly--and if you practice active listening when others speak about their interpretations.

In terms of course assignments, you’ll have the opportunity to write three multi-modal blogs and lead a group discussion/presentation.

Film Screening

Our film screening is tentatively scheduled on Tuesdays at 4:00, but this will depend on the where the pandemic is in spring. I am also planning to get streaming services for the movies through Western Library. Though we have a three-hour slot reserved, most films will be around two hours or less. You are welcome to bring food to the screening and to invite friends!

Selected films from among the following:

Her, Spike Jonze (2013)
Locke, Stephen Knight (2013)
Portrait of a Lady on Fire, Céline Sciamma (2019)
Get Out, Jordan Peele (2017)
Tim’s Vermeer, Raymond Teller (2013)
The Rider, Chloë Zhao (2017)
Under the Skin, Jonathan Glazer (2013)
13th, Ava DuVernay (2016)
Ex Machina, Alex Garland (2015)
Only Lovers Left Alive, Jim Jarmusch (2013)
Nightcrawler, Dan Gilroy (2014)
Mad Max: Fury Road, George Miller (2015)

Required Texts

“The Oppositional Gaze: Black Female Spectators,” bell hooks (PDF)
Film Theory: An Introduction Through the Senses, Thomas Elsaesser and Malte Hagener
“Sex in Public,” Lauren Berlant and Michael Warner (PDF)
Carnal Thoughts: Embodiment and Moving Image Culture, Vivian Sobchack

Graduate Courses: 500-Level English Courses

ENG 502 Seminar in Writing of Fiction 5cr

CRN: 23702 Day/Time: TR 04:00-05:50pm Instructor: Magee, Kelly Elizabeth.

MAs may register starting on Monday, February 28th, at 10:30am.

This will be, simply, a seminar in the writing of fictional narratives. It’s a class about storytelling, with all the shapes and styles stories can take. Together, we’ll examine the power of genre, the parts of genre (and sub-genre) that can be generative, the ways in which genres can be combined through crossover technique, as well as the limitations of some categories. We’ll discuss characterization and the representation of the extant world, including identity, but we’ll peer into the future, too, to see what kinds of worldbuilding techniques might bring into light entirely new ways of existing. I’m interested in motivation, both of your characters and of yourselves, as writers—what brings you to the page, what drives your desire to express yourself through this medium, what audiences do you want to connect with, how is writing an extension of yourself? This class will be focused as much on process as on product—you’ll turn in stories or novel excerpts, and we’ll have a conversation with you about them that includes craft elements, for sure, but also addresses the unique ambition and audience for your individual work. Writers will be supported on longer projects, such as theses-in-progress, as well as single, shorter, and/or experimental pieces. You’ll also develop a list of “comps,” or mentor texts, and publication/performance venues. A secondary part of the class will be dedicated to opportunities for writers outside the classroom, including discussions in publication, editing, teaching, and performing.

ENG 525 Studies in Fiction 5cr

CRN: 23069 Day/Time: TR 02:00-03:50pm Instructor: Araki-Kawaguchi, Kiik

As a participant in this course, you will learn through reading, writing, discussing, teaching, collaborating and reflecting. This will be a project-based course and workshop. Together, we will develop a resource (e.g. wiki, craft guide) that explores the interests, concerns and challenges of a fiction writer. Our resource will also provide an environment for examining the foundational characteristics, history, uses and criticism of fiction.

Alongside our collaborative project, we will write and workshop fiction. Above all, we will privilege our writing process and development.

Expect this to be an exciting and challenging course. We will ask big questions and discuss the practical benefits of a creative life. We hope you will develop new ways of thinking, working, writing and communication. We hope you will take risks. You do not have to write “magnificent” works to do well in this course. You just have to be brave, respectful, and a hard worker.

Required learning materials include Wonderbook by Jeff VanderMeer, Craft in the Real World by Matthew Salesses, and course handouts. I am also asking that you find access to a portable electronic device that will allow you to listen to a podcast and move simultaneously (e.g. walk or dance).

ENG 550 Studies in American Literature 5cr

CRN: 23703 Day/Time: TR 12:00-01:50pm Instructor: Warburton, Theresa Anne

Using the frameworks provided through both critical and queer Indigenous studies, this course examines how contemporary Native authors are using a variety of literary genres to explore the connections between colonialism, imperialism, gender, sexuality, and feminism. We will be guided by the premise that Native and Indigenous literatures produce, rather than respond to, theoretical concepts and method. Knowing this, we will then ask: “what theories, concepts, and methods do these texts produce and how?”

Specifically eschewing a model that takes an anthropological approach to the study of Native literatures as descriptive narratives of experience, we will explore how such texts and authors are challenging foundational assumptions of gender, sexuality, feminist, and queer studies and asserting frameworks for addressing core questions of power, sovereignty, identity, and politics that are both long-standing and innovative. Focusing on texts published after 2000, we will examine such works within the context of Native literary history as well as the intersection of queer and Native studies.

Students can expect a high reading load that spans both critical theory and literary texts across genres, accompanied by written assignments that familiarize them with techniques and skills useful in graduate-level literary studies

ENG 580 Studies in Film 5cr

CRN: 23071 Day/Time: TR 10:00-11:50 am Instructor: Film viewing: Mondays, 4:00-6:50 Instructor: Youmans, Greg

This foundational seminar centers on major writings in film and media theory from the silent era to the digital present, and is designed as an introduction to the practice of film and media scholarship at the graduate level. Students will write an essay in which they apply one or more of the theories we explore in class to an original analysis of a particular film or other audiovisual media text of their choosing. Time and Covid allowing, everyone will also design and create a media project that elucidates, complicates, or challenges one of the works of theory we read together. A screening session each week will enrich our understanding of the material.

ENG 598 Sem Tch Eng: 5cr

CRN: 21878 Day/Time: TR 08:00-09:50 am Instructor: Qualley, Donna

In this iteration of Research in the Teaching of English, you’ll have the opportunity to research and design a general education course that introduces students to some disciplinary practices for reading and writing common to inquiry in the Humanities.***

Together, we’ll examine recent rhetorical and pedagogical scholarship in reading, writing, and information literacy. Over the quarter, you’ll develop an idea for a theme-based course on a topic likely to engage students taking a100/200-level humanities-style research and writing class. You’ll select readings, construct a syllabus and schedule, and design information documents, writing projects, and class activities.

Interestingly, the English Department just happens to offer such a course: Writing in the Context of the Humanities! There’s a strong possibility that several returning graduate students will have an opportunity to teach the course that they designed in 2022-23! Graduating students who are considering teaching or further graduate study in their future will also find this course really useful for extending their own pedagogical repertoires.

***Western defines the Humanities GURs like this:

Whenever you tell a story, see a film or a work of art, or ponder an ethical question, you are encountering the humanities. The humanities include academic disciplines that use critical, historical, and aesthetic approaches to explore how people experience and document their lives, examine, and question the values of their societies, and creatively engage with their world.

Spring 2022 Course Descriptions

Table of Contents

100-Level English Courses

200-Level English Courses

300-Level English Courses

400-Level English Courses

Graduate English Courses

100-Level English Courses

ENG 101 Writing Your Way Through WWU

200-Level English Courses

ENG 202 Writing About Literature 5cr

CRN: 20135 Day/Time: MWF 10:00-11:20 am Instructor: Instructor: Bell, Michael

CRN: 20263 Day/Time: MWF 01:00-02:20pm Instructor: Instructor: Bell, Michael

CRN: 20734 Day/Time: MWF 02:30-03:50pm Instructor: Heim, Stefania F.

CRN: 20741 Day/Time: TR 10:00-11:50 am Instructor: McGuire, Simon Leonard

CRN: 21216 Day/Time: TR 12:00-01:50pm Instructor: Yu, Ning

CRN: 22193 Day/Time: TR 02:00-03:50pm Instructor: McDonald, Catherine

ENG 214 Shakespeare 5cr

CRN: 20421 Day/Time: TR 10:00-11:50 am Instructor: Metzger, Mary J.

ENG 216 American Literature 5cr

CRN: 23672 Day/Time: MWF 11:30-12:50pm Instructor: Prichard, Tony Alan

ENG 236 Asian American Literatures 5cr

CRN: 21877 Day/Time: TR 08:00-09:50 am Instructor: Wong, Jane

ENG 238 Society through its Literature 5cr

CRN: 23673 Day/Time: MWF 08:30-09:50 am Instructor: VanderStaay, Steven L.

300-Level English Courses

ENG 301 Wrtg Stds: 5cr

CRN: 20074 Day/Time: MWF 11:30-12:50pm Instructor: Weed, Katie

ENG 302 Technical Writing 5cr

CRN: 20147 Day/Time: TR 08:00-09:50 am Instructor: Sarkar, Rachel Diane

CRN: 20349 Day/Time: TR 08:00-09:50 am Instructor: Forsberg, Geri

CRN: 20424 Day/Time: TR 10:00-11:50 am Instructor: Bell, Michael Patrick

CRN: 20449 Day/Time: TR 10:00-11:50 am Instructor: Forsberg, Geri

CRN: 20481 Day/Time: TR 02:00-03:50pm Instructor: Forsberg, Geri

CRN: 20577 Day/Time: TR 02:00-03:50pm Instructor: Lewis, Justin A.

ENG 307 Seminar: Medieval 5cr

CRN: 23045 Day/Time: MWF 10:00-11:20 am Instructor: Vulic, Kathryn Rajam

ENG 309 Seminar: The Long 18th Century 5cr

CRN: 21492 Day/Time: MWF 10:00-11:20 am Instructor: Laffrado, Laura

ENG 310 Seminar: The Long 19th Century 5cr

CRN: 21493 Day/Time: MWF 08:30-09:50 am Instructor: Anderson, Katherine J.

ENG 311 Seminar: The 20-21st Century 5cr

CRN: 21494 Day/Time: MWF 01:00-02:20pm Instructor: Lee, Jean

ENG 313 Critical Theories & Prac I 5cr

CRN: 20075 Day/Time: TR 02:00-03:50pm Instructor: Yu, Ning

ENG 314 Critical Theories & Prac II 5cr

CRN: 23051 Day/Time: MWF 11:30-12:50pm Instructor: Heim, Stefania F.

ENG 317 Survey: Medieval 5cr

CRN: 23240 Day/Time: TR 12:00-01:50pm Instructor: Amendt-Raduege, Amy Michelle

ENG 318 Survey: Early Modern 5cr

CRN: 23055 Day/Time: TR 10:00-11:50 am Instructor: Forsythe, Jenny Marie

ENG 319 Survey: The Long 18th Century 5cr

CRN: 21495 Day/Time: MWF 08:30-09:50 am Instructor: Laffrado, Laura

ENG 333 Topics in Global Literature 5cr

CRN: 23678 Day/Time: MWF 02:30-03:50pm Instructor: Lee, Jean

ENG 334 TextsAcrossNAm&Eur: 5cr

CRN: 21912 Day/Time: TR 02:00-03:50pm Instructor: Dietrich, Dawn Y.

ENG 335 Global Texts Outside N.Am&Eur 5cr

CRN: 23679 Day/Time: MWF 10:00-11:20 am Film viewing: Mondays, 4:00-6:50 Odabasi, Eren

ENG 337 LitGenres:IrishPoetry&Politics 5cr

CRN: 23651 TBD TBD Staff

ENG 337 Sem/Survey:20/21CLit:Irish Lit 5cr

CRN: 23653 TBD TBD Staff

ENG 338 Women's Lit N Am and Europe 5cr

CRN: 20435 Day/Time: MWF 11:30-12:50pm Instructor: Giffen, Allison A.

ENG 343 Critical Childhood Studies 5cr

CRN: 23680 Day/Time: MWF 02:30-03:50pm Instructor: Giffen, Allison A.

ENG 347 Studies in Young Adult Lit 5cr

CRN: 20412 Day/Time: TR 10:00-11:50 am Instructor: Qualley, Donna

ENG 350 Intro to Creative Writing 5cr

CRN: 20148 Day/Time: MWF 08:30-09:50 am Instructor: Gulyas, Lee R.

CRN: 20488 Day/Time: MWF 10:00-11:20 am Instructor: McGuire, Simon Leonard

CRN: 23057 Day/Time: MWF 01:00-02:20pm Instructor: McGuire, Simon Leonard

CRN: 23058 Day/Time: TR 10:00-11:50am Instructor: Weed, Katie

CRN: 23681 Day/Time: TR 12:00-01:50pm Instructor: Araki-Kawaguchi, Kiik

ENG 351 Intro to Fiction Writing 5cr

CRN: 20326 Day/Time: MWF 02:30-03:50 pm Instructor: Trueblood, Kathryn R.

CRN: 20489 Day/Time: TR 02:00-03:50 pm Instructor: Westhoff, Kami

ENG 353 Introduction to Poetry Writing 5cr

CRN: 20076 Day/Time: MWF 02:30-03:50pm Instructor: Shipley, Ely