ENGL 2130-01: American Literature (MW 5:30-6:45, Pafford 308)

Dr. Joshua Masters, TLC 2244

Phone and Email: 678-839-4862 jmasters@westga.edu and mastersjosh@yahoo.com

Office Hours: Mon 1-5, Tues 1-5, Wed 3-5, and by appointment.

Graduate Teaching Fellow: Matthew Sherling

Email and Office: msherli1@my.westga.edu, matthewsherling@gmail.com, Pafford 304

 

“American Literature, Backwards and Forwards”

This honors survey of American literature traces the development of such themes as nature, nationhood, law, gender, race, and identity in our national culture, from first contact to the present day. However, rather than marching across the centuries with the mission of conquering our nation’s literary history, we will “light out for the territories” in a somewhat unconventional fashion. The subtitle of the course, “American Literature, Backwards and Forwards,” is meant to suggest both the intertextual and the transhistorical nature of the class. The writers and texts we will examine speak to shared concerns that reach across American history, and we will imagine the writers engaged in a dialogue and exchanging ideas through their literary works. Section One of the course, “Inventing America,” will examine the idea of American nationhood, from its Puritanical origins to its postmodern reformulations, in the poetry and prose of William Bradford, Anne Bradstreet, Benjamin Franklin, Walt Whitman, Langston Hughes, John Berryman, and Yusef Komunyakaa. Section Two, “Americans in Chains,” will consider the legacy of slavery in the American imagination, featuring an eighteenth-century autobiography by Olaudah Equiano, a nineteenth-century short story by Herman Melville, the mid-twentieth century fiction of Flannery O’Connor, and a late twentieth century novel by Toni Morrison. Section Three, “The First American Other,” will explore the role Native Americans have played in shaping American history and literature, beginning with short works by Christopher Columbus, Bernal Diaz, and George Catlin, and culminating in a postmodern novel by the Laguna Pueblo writer Leslie Marmon Silko. Finally, in Section Four, “The Questing American,” we will consider the Romantic tradition of the American quest narrative—rooted in the need to flee from the America we have collectively invented. Edgar Allan Poe’s 1838 novel Arthur Gordon Pym, Scott Bradfield’s 1986 novel The History of Luminous Motion, and Sean Penn’s 2007 film Into the Wild all feature an American youth in search of an alternative American self.

 

Required Texts (in order of appearance):

Selection of Readings for Second Class, available through Course Reserves
Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano
Herman Melville, Benito Cereno
Toni Morrison, Sula
Leslie Marmon Silko, Ceremony
Edgar Allan Poe, The Narrative of Arthur Gordon Pym of Nantucket
Scott Bradfield, The History of Luminous Motion (not available through bookstore)

 

Requirements

Students are expected to complete the day’s reading assignment in advance and come to class prepared to participate in discussion. Students must maintain a reading-quiz average of 65% or higher and miss no more than four classes in order to pass the class. Other requirements include a series of short responses and process-based writing assignments, a five-page paper, an oral presentation, and a ten-page final project. Students in this class must complete the day’s reading assignment in advance and come to class prepared to participate in discussion. If you cannot keep up with the reading, you will fail the class.

 

Explanation of Course Requirements

 

Final Grade: To pass the course, students must turn in all assigned written work, have no more than four absences, and earn a passing quiz grade. If you average less than 65% on quizzes, you will not pass the course. Your final grade is comprised of the following: Final Paper (30%); Quizzes (20%); Process-Based Writing Assignments (20%); Midterm essay (15%); Midterm Exam (15%). Note: I am always happy to discuss your progress in the class with you and explain my evaluation of your work. You can expect to receive the grade you earn in this class; please refrain from telling me what grade you “need” in the class (for Hope, for athletics, to fulfill a dying relative’s final request, etc.), or what grade you “really want” (presumably an A).

 

Essays: Your basic task for each paper is to produce a well-written, coherent essay whose central argument is both interesting and significant. Your essays will be thesis-driven, argumentative papers, and your grade will be determined by the complexity of your central argument, the structure of your paragraphs, the logic of your organization, and the strength of your prose (i.e. your writing). Your papers, especially your final research project, will also be evaluated in terms of their use of secondary sources and the originality of your scholarship. Emailed papers will not be accepted; you must turn in a hard copy of the paper, along with all process-based writing assignments, in a two pocket folder.

 

Late Essays: I will accept late essays, but always with a penalty. A paper will be considered one day late if I do not receive it at the beginning of (or before) class. For each weekday that a paper is late, 1/3 of a letter grade will be deducted from the final grade. For instance, if the paper is due on Tuesday and you turn it in before 5 p.m. on Wednesday, you will lose 1/3 of a grade (i.e. a C+ becomes a C). If you turn it in on Thursday, 2/3 of a grade is deducted (a C+ becomes a C-). Although I do not accept emailed papers, a student who needs to establish a date and time of completion can send an attachment. However, the student, not the teacher, is responsible for any computer or internet problems.

 

Reading Assignments: Consult the online syllabus for the schedule of reading assignments, which can be found on Dr. Masters’ website (http://www.westga.edu/~jmasters/). All reading will be due on Monday, and you can expect to read about 100-150 pages each week. All quizzes are open note (but not open book), so you should always assemble some reading notes once you’ve completed the assignment—names of characters, important events, central ideas, etc. (Slight changes and modifications are always a part of the semester, so plan to consult the online syllabus regularly. All changes will be announced in class.) There will also be a short supplemental piece of reading for each week (typically between two and five pages) that you will receive via email.

 

Quizzes: At the beginning of each Monday class, you will take a comprehensive, fact-based quiz on the week’s reading assignment. If you arrive late, you will not be allowed to take the quiz, and you must wait outside until the quiz is completed. If you are absent for whatever reason, you will not be allowed to retake a quiz. Under no circumstances will I give make-up quizzes. However, each student can arrange to take one quiz in advance. If at anytime during the semester it becomes mathematically impossible for a student to earn a passing quiz score (at least a 65%), he or she will be told to stop coming to class. This policy is absolutely and utterly inflexible. Each quiz is worth 10 points, and at the end of the semester, assuming that you've earned the required 65%, I will then drop your lowest quiz score when determining your quiz average and quiz grade. All quizzes are open note (but not open book), and you are encouraged to bring notes based on the reading to class.

 

Process-Based Writing Assignments: At the beginning of each week, I will post Wednesday’s writing assignment at the bottom of the online syllabus. All writing in this class submitted for credit must be typed. Your papers for this class will be written over a period of weeks rather than in one, long sleepless night. Expect Wednesday assignments to be fairly involved affairs that take you through the process of writing a thesis-driven, critical essay. These assignments will be graded on a ten, twenty, or thirty-point scale (depending on how involved they are), and the grade will be based on their level of completeness and the degree to which they follow my directions. Late assignments will be penalized three points for each weekday that they are late.

 

Discussion and Preparation: Students are expected to attend every class and arrive on time, prepared, and eager to discuss the day’s reading. Your participation grade is based upon your performance in the class in terms of group work, discussion, and attendance habits. You are expected to demonstrate genuine engagement with the material, actively contribute to discussion topics, show adequate preparation for each class, and respect the ideas of your classmates. You must bring the text under discussion to every class, including a print-out of any reserve reading.

 

Cellphones and Sleeping: Don’t ever, ever fall asleep in this class, and I never want to see a cellphone. As soon as you see me, get the thing out of sight. If you fall asleep or use your cellphone in class (such as text-messaging and/or message checking), you will be asked to leave class and considered absent for that day.

 

Email: All official email correspondence must take place through UWG accounts; however, I will also be establishing a class list using your preferred email address for other forms of communication. Your emails should be proofread and written in full sentences.

 

Tardiness and Leaving Early: If you arrive at class late or have to leave early, it counts as ½ of an absence. On Mondays, after quizzes are collected, the doors will be opened and late arrivals will be allowed to find a seat. If you are more than three minutes late, you will be marked as tardy.

 

Absences: I understand that illnesses and emergencies are a part of life, and therefore you are allowed to miss four classes. However, there are consequences for missing more than one class, such as missing quizzes or having assignments counted as late. (Note: Wednesday writing assignments can be sent to me in advance to avoid a late penalty, and I will allow each student to take one quiz early, but remember, no make-ups.) I do not distinguish between excused and unexcused absences unless the absence is due to participation in an official University activity (such as band, sports, debate, etc.). Students will be administratively withdrawn from class based on the following attendance policy. Once a student exceeds four absences—even if that occurs at the end of the semester—the student will be withdrawn. If the withdrawal occurs prior to the withdrawal date (Oct. 6), the student will receive a grade of W. If the withdrawal occurs after the withdrawal date, the student will receive a grade of WF.

* If you add the class after the first day of class, you will not be counted as absent. However, you are responsible for contacting me and being prepared for the next class.

 

My Plagiarism Policy: If a student is caught plagiarizing (and this includes short writing assignments) or cheating on a quiz, he or she will automatically fail the course. No exceptions. Also, I consider Cliffnotes, Sparknotes, and other similar “resources” out of bounds. You must complete the reading on your own and do your own thinking in the class. Quizzes will be designed in such a way that these “sources” will be of no use to you.

 

Departmental Plagiarism Policy: The Department of English and Philosophy defines plagiarism as taking personal credit for the words and ideas of others as they are presented in electronic, print, and verbal sources. The Department expects that students will accurately credit sources in all assignments. An equally dishonest practice is fabricating sources or facts; it is another form of misrepresenting the truth. Plagiarism is grounds for failing the course.

 

Reporting Procedures for Plagiarism:
Each incidence of plagiarism is subject to review and consideration by the instructor, and is subject to a range of penalties including but not limited to failing the assignment, failing the course, and referral to the disciplinary review board (which may ultimately result in the expulsion, suspension, or disciplinary removal of the student from the university). In order to facilitate the prevention and detection of plagiarism the Department of English and the University of West Georgia will maintain records of plagiarized assignments and those who prepare and/or submit them.

 

Course Goals

 

Students will develop the ability to recognize and identify significant achievements in American literature.

 

 

Program Goals

1. To develop the ability to recognize and identify achievements in literary, fine and performing arts;
2. To have an appreciation of the nature and achievements of the arts and humanities; and
3. To develop the ability to apply, understand, and appreciate the application of aesthetics criteria to "real world circumstances.

 

 

Students with disabilities should meet with me at the beginning of the semester, and we will make any necessary arrangements.

 


 

 

Schedule (Subject to Revision)

1/6: Introductions and the Syllabus

 

1/11: “The American”: Excerpts from William Bradford, Anne Bradstreet, Ben Franklin, Walt Whitman, Langston Hughes, John Berryman, and Yusef Komunyakaa (Note: Please buy a large exam Blue Book and bring it to this class.)

1/13: See online syllabus for writing assignment. (10 points)

 

1/18: No Classes for MLK Day

1/20: Chapters 1-5 (1-112) in Olaudah Equiano.

 

1/25: Finish Equiano (113-236).

1/27: See online syllabus for writing assignment. (10 points)

 

2/1:  Read all of “Benito Cereno” (37-104: this includes the court documents in smaller print).

2/3:  Paper Proposal for first essay due by 10 a.m. on Friday 2/4, submitted by email. (10 points)

 

2/8:  Mountain of Notes due. (20 points)

2/10:  Outline and Annotated Bibliography entry due. (20 points)

 

2/15: View Part One of Into the Wild.

2/17:  First Essay Due. View Part Two of Into the Wild.

 

2/22:  Part One of Sula (1-85).

2/24:   “Key Words” submission due (10 points, assignment forthcoming). Discuss Paper Revisions.

 

3/1:  Last day to Withdraw with “W.” Part Two of Sula (87-174).  Discuss Midterm Exam.

3/3:   Midterm Exam.

 

3/8: Ceremony to page 128 in the blue edition or 138 in the orange edition

3/10: No new writing assignment.

 

3/15: Finish Ceremony.

3/17: Revision of First Essay Due (voluntary)

 

3/22: Spring Break

3/24: Spring Break

 

3/29: Arthur Gordon Pym, Chapters 1-13 (to page 133 in Penguin or 90 in Oxford).

3/31: Finish Pym, skipping Chapters 14-17. (Read the final “Note” that begins, “The circumstances…”

 

4/5: The History of Luminous Motion, Chapters 1-16 (1-136 in most editions).

4/7: Cultural artifact on either Ceremony or Pym due. (20 points)

 

4/12: The History of Luminous Motion, Chapters 17-28 (137-274).

4/14: Prospectus for final research paper due. (20 pts)

 

4/19: Mountain of Notes due, at least four single spaced pages. (20 points)

4/21: Annotated Bibliography. (20 points)

 

4/26: Outline and at least three drafted pages. (20 points)

 4/28: Evaluations and Workshop.

 

5/5: Final Papers Due by 5 p.m.

 

 

Bradford.pdf

 

Bradstreet.pdf

 

Franklin.pdf

 

Whitman rtf.

 

Hughes.pdf

 

Berryman.pdf

 

Komunyakaa Poems.rtf

 

Works Cited, Bradford to Berryman

 

 

Writing Assignment for Wednesday, January 13

 

For Wednesday, write a carefully structured paragraph that focuses on a single poem from the reading (i.e. choose a poem by Bradstreet, Berryman, Hughes, Whitman, or Komunyakaa). I am not expecting a complete analysis of the poem or even a thesis about its larger meaning. Rather, imagine you are writing a body paragraph that offers a clear take on a specific image, thematic, motif, or idea in the poem. The only requirement is that you open the paragraph with an interesting, textually-specific claim or argument that you then need to prove through your analysis of the poem. Plan to include at least one quotation from the poem, but don't worry about your citation method--we'll cover MLA citation stuff next week. The paragraph should be between half to three-quarters of a page, double-spaced (and typed, of course). You must bring it to class with you. See you there!

 

Writing Assignment for Wednesday, January 20th

 

Keeping in mind today's discussion of "thematic elements," citing textual evidence, and analyzing evidence (Mountain of Notes style), for Wednesday you will be turning in two assignments (worth 20 points total). First, you will need to identify a thematic element that interests you in Equiano's text, then you will need to identify a passage from this week's reading that speaks to that element (or, you can reverse the process and start with a passage that really interests you and then identify the thematic element contained within it). You will then construct a "mountain of notes" entry about the passage. Typos, fragments, half-baked ideas, and minor epiphanies are all acceptable. The key is to investigate the language of the passage, seek out connections, and push yourself towards some conclusions. The entry should be typed and single-spaced and should ideally be at least a half a page. Below you will find the entry we did in class as a group in class yesterday.

 

Next, you will construct a paragraph based on your notes. Begin with a complex, original opening claim that introduces an argument about your thematic element. (Note: Avoid referring to it as a thematic element, i.e. "The thematic element I have chosen is x, which is significant because y." Just jump right in: "In his narrative, Equiano idealizes the sea as a..." "While Equiano begins his narrative by celebrating his African heritage..." "On land, Equiano's status is x, but at sea it seems to be y because..." "The acquisition of literacy in Equiano's narrative...")

 

Your paragraph must be typed and double-spaced and meet the following guidelines: 1) Make sure you keep it to one paragraph, and that you put some thought into its structure and organization. 2) Open the paragraph with an idea, argument, or interpretive position of your own design that explains the significance of your thematic element within OE's narrative. 3) Introduce and then cite your passage (not as a block quote) using MLA citation and punctuation rules (see "MLA Template" on my website, and go over pages two and three). 4) Analyze the passage in a way that backs up the paragraph's central claim.

 

So, plan to turn in two separate documents. Your "Mountain of Notes" entry (the passage quoted at the top; your notes, thoughts, ideas below) and your actual paragraph.

 

Mountain Entry:

 

After we had discharged our cargo [in St. Eustatia], we took in a live cargo, (as we call a cargo of slaves.) Here I sold my goods tolerably well. (133)

 

Context (where are we in the narrative?)

-He’s not free yet, but he’s identifying with a “we,” his master and shipmates. He’s gained the trust to buy and trade. At this point, his goal is to gain his freedom.

 

Meaning and Significance

-My first thought is he’s the one selling the slaves—is this just me?

-conflict between “cargo” and “live”: he’s seeing them as living but also as a commodity.

-Without them he can’t travel; this “cargo” gives him the opportunity to make his money (and buy his freedom).

-He doesn’t spend much time thinking about this cargo—thinking of his freedom.

-He’s using his shipmate’s language; he’s fitting in with them. Culturized…acculturation/assimilation.

He identifies less with the cargo; he’s becoming superior.

-Gushing about his former captors, and the slaves are an afterthought.

Is his objectification of his former “countrymen” a survival mechanism, something that he simply has to do? Does he even know he’s doing this?

 

Connections

-Has he bought his Bible yet? He’s been baptized, sees himself as chosen. The Golden Rule?

-Look back to previous representations of his African “countrymen”?

 

Paper Proposal Due February 5th

 

The first step in this arduous journey towards a final draft is finding something you want to write about and convincing yourself that it truly matters. With that in mind, write a one page (double-spaced) narrative about the paper that you envision yourself eventually writing. This is a purely speculative endeavor, of course. What's your unique angle into the text you've chosen to write about? What do you want to investigate and explore in it? And for goodness sake, why? The writing can be fairly informal (although it should be proofread and edited); consider it a letter or memo to yourself that describes the project you're envisioning. This is also a good opportunity to define and shape some of the central questions you eventually hope to answer, so a series of questions might also be helpful. Please attach the document to an email you send by noon on Friday.

 

For next Monday, you will then be compiling at least three single spaced pages of notes, quotes, and ideas--your "Mountain of Notes." Most will be entries on specific passages you plan to use, though write some entries in between that help to distill your thoughts. You might label them "Big Ideas" or "Ideas for Introduction and Thesis." In other words, thinking through and writing down your analysis of specific passages should lead you toward what will become the central ideas of the paper.