Current Course Offerings

Spring 2026

ENGL 1363-001—Myths of the American West
TTh 3:30-4:50. Dallas Hall 306. Levy. 2012: CA1, HC1 2016: CA, HC CC: LAI, HD

This course explores ideas of the West as they first appeared in European culture during the so-called “age of discovery.” It then uses these ideas to focus more specifically on the American West as a zone of cross-cultural exchange between those groups peopling North America. The course raises questions about the primary myths that accompanied this peopling, including native American creation stories, European sagas of conquest and the idea of the “New World” as “Virgin Land,” Turner’s “Frontier Thesis,” “Custer’s Last Stand,” and the many stories and histories that sought to justify Manifest Destiny as a national policy of accumulation by dispossession. In other words, this course is about way more than “Cowboys and Indians,” although we explore the literary genre of “The Western” and the social dynamics that led to its creation.

ENGL 1380-001—Introduction to Literature: Monsters and Magic
MWF 2:00-2:50. Dallas Hall 306. Shields. 2012: CA1 2016: CA CC: LAI

Literature was full of magical and monstrous beings well before Harry Potter came along. This course will introduce you to some of the most famous of them, from Shakespeare’s Caliban to Mary Shelley’s nameless creature, whom we’ve come to know as Frankenstein. As we explore a range of literary genres and forms from Arthurian romance to speculative fiction, we will examine literature’s role in distinguishing the monstrous from the human, and the natural from the supernatural. We’ll pay particular attention to how the monstrous reflects historical and current anxieties about various forms of human difference—whether in terms of gender, race, sexual orientation, social class, or disability.

Readings: Readings will include Sir Gawain and the Green Knight, Robert Louis Stevenson’s Dr Jekyll and Mr Hyde, William Shakespeare’s The Tempest, and Mary Shelley’s Frankenstein, as well as short stories and poems by a variety of authors. This course is suitable for those who haven’t previously studied literature at the college level; however, it does require a willingness to engage with complex texts.

Assignments: You will be evaluated through short in-class writing exercises and a midterm and final exam.

ENGL 2302-001—Business Writing: Writing for Success in the Workplace, Business and Beyond
TTh 12:30-1:50. Hyer Hall 106. Dickson-Carr, Carol. 2016: IL, OC, W CC: W

This course introduces students to business and professional communication, including a variety of writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes active learning, which means students will attend events on campus and off and will conduct a detailed field research project at a worksite. Please note that this course may not be counted toward requirements for the English major, and that laptops are required.

Readings: Kolin, Philip C. Successful Writing at Work, 12th ed.

Assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written.

ENGL 2302-002— Business Writing: Writing for Success in the Workplace, Business and Beyond
TTh 2:00-3:20. Hyer Hall 106. Dickson-Carr, Carol. 2016: IL, OC, W CC: W

Readings: Kolin, Philip C. Successful Writing at Work, 12th ed.

Assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written.

ENGL 2303-001—Ethical Leadership and Language of Influence: Balancing
TTh 11:00-12:20. Hyer Hall 106. Dickson-Carr, Carol. CC: CIE

This course introduces students to the role of rhetoric in leadership, ethical decision-making, and persuasive communication across professional and civic contexts. The course covers rhetorical strategies, discourse analysis, and ethical reasoning, emphasizing how leaders establish credibility, inspire trust, and navigate ethical dilemmas. Through writing-intensive assignments and applied learning, students analyze speeches, corporate communications, and public discourse while refining their own ethical leadership philosophy.

Assignments: Writing assignments include rhetorical analyses, ethical argument essays, leadership narratives, business and civic communications, and a final persuasive writing project.

ENGL 2311-001—Poetry: Contemporary Black Poetry
MWF 10:00-10:50. Dallas Hall 138. Rivera. 2012: CA2 2016: LL, W, OC CC: LAI, W

Black poetry has always been central to American literature, though too often relegated to the margins of the canon. This course recenters contemporary Black poets as architects of American poetics—innovators whose work documents culture, resists erasure, and redefines the relationship between language and liberation. From lyric to spoken word, elegy to experiment, we will explore how Black poets engage in a call-and-response with history, transforming personal and collective memory into acts of witness, signifying, and restoration.

Guided by the theoretical lenses of intersectionality (Crenshaw), signifying (Gates), double consciousness, and erasure poetics, students will examine how diction, rhythm, cadence, tone, and imagery reshape the American imagination. We will consider the poet’s dual role as historian and visionary—how language becomes testimony, how form becomes resistance, and how joy and grief coexist as engines of creation.

Texts: This Is the Honey: An Anthology of Contemporary Black Poets (ed. Kwame Alexander, 2024) and Angles of Ascent: A Norton Anthology of Contemporary African American Poetry (ed. Charles Henry Rowell). Authors include Natasha Trethewey, Tracy K. Smith, Jericho Brown, Nikky Finney, Claudia Rankine, Ai, Rita Dove, Carl Phillips, Jayne Cortez, and Bob Kaufman. Supplementary readings feature critical essays on race, craft, orality, and the archive.

Assignments: Four quizzes, twelve analytical responses, four technical presentations, and a substantially revised final portfolio—each designed to refine analytical skills and deepen understanding of Black poetic traditions and their ongoing transformation of American poetics.

ENGL 2311-002—Poetry: Serious Word Games
TTh 2:00-3:20. Annette Caldwell Simmons Hall 225. Bozorth. 2012: CA2 2016: LL, W CC: LAI, W

Now carbon-neutral: how to do things with poems you never knew were possible, and once you know how, you won’t be able to stop yourself. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll understand the difference between free verse and blank verse and be glad you do. You’ll impress friends and family with metrical analyses of great poems and Christmas carols. You’ll argue about love, sex, roads in the woods, the sinking of the Titanic, teen-age rebellion, God, and Satan. You’ll satisfy a requirement for the English major and a good liberal-arts education. And you’ll understand why AI creates mediocre poetry (and mediocre academic writing).

Assignments: 12-15 pages of graded analytical writing taking various forms; oral presentation; leading discussion; midterm; final exam.

ENGL 2311-003H—Poetry: Introduction to Poetry
MWF 11:00-11:50. Dallas Hall 157. Caplan. 2012: CA2 2016: LL, W, OC CC: LAI, W

“Poetry is language that sounds better and means more,” the poet Charles Wright observed, adding: “What’s better than that?” This class will train the students to hear the many sounds and meanings that great poems articulate. We will gain the skills and the vocabulary to analyze poems more precisely by reading and discussing a wide range of poetry. Assigned poets will include Renaissance sonneteers, Robert Frost, and Ada Limón, the current poet laureate who will visit the SMU campus to give a reading and discuss her work. In short, we will spend the semester considering language that sounds better and means more, and, as the poet put it, what’s better than that?

Assignments: three in-class exams and a take-home final exam.

ENGL 2311-004—Poetry: Life Between the Lines
TTh 12:30-1:50. Dallas Hall 101. Wuest. 2012: CA2 2016: LL CC: LAI, W

The American poet Elizabeth Bishop once wrote about the effect a powerful poem had on her: "It is impossible to read it and see things exactly as they were before." Life Between The Lines is an opportunity to read poems written by a diverse array of poets whose work will help us see things in new ways. Poems have their origin in human emotions, and the long traditions of making poetry predate the invention of writing. Like other forms of art, poems are among the important ways that people make meaning from their lived experiences, and often they do so by giving us the sense that a poem's words mean more than the ways we usually use words. We will consider how the lines and other parts of a poem's design reflect these experiences, but we will also see, along with Bishop, ways that poems make new experiences, ones that enrich our lives.

In addition to reading a range of poems from an anthology, students will research the poems, give individual and group presentations, take two exams, and complete various writing projects. Through this work, we will discover that poetry enables our thinking to become more flexible, resilient, and nuanced.

ENGL 2312-001— Fiction: Being at Home in America
TTh 11:00-12:20. Caruth Hall 383. Dinniene. 2012: CA2 2016: LL, W CC: LAI, W

When you think of home, do you think of a building, a person, a nation, or something else? Perhaps you have more than one answer. American fiction shows us that home can be many things, including a place of freedom or of confinement, a solid reality or a fragile, tormenting dream. This course introduces students to the study of fiction with an emphasis on texts that complicate notions of home from feminist and queer perspectives, including Ira Levin’s The Stepford Wives, James Baldwin’s Giovanni’s Room, and Carmen Maria Machado’s In the Dream House. We will work together to understand how authors formally attend to and complicate representations of home, and how these representations engage us, trouble us, and make us question what we think we know. Some questions we will consider: what does “home” truly mean? What could it mean? What can learning to recognize who gets to belong (and who doesn’t) teach us about ourselves and our world?

Assignments: Assignments to include several short papers, a creative project, and a final exam.

ENGL 2312-002— Fiction: The Real Fake
MWF 10:00-10:50. Dallas Hall 120. Cassedy. 2012: CA2 2016: LL, OC, W CC: LAI, W

A typical American spends about 1,000 hours a year reading and watching made-up stories in books, TV, and movies. Why do we spend so much time with fake stories instead of true facts? This has never been an easy question to answer, and there have always been some people who think that fiction is bad, because it’s a lie. Yet we keep consuming it. Is fiction necessary because it’s pleasurable? Because it’s educational? Because it tells the truth — maybe a truer, darker, or broader truth than nonfiction will allow? In this class we’ll read fictional stories from the 14th to the 21st century that tackle the “why fiction?” question. We’ll study what these stories have to say about the purpose of fiction, and how they exemplify (or fail to exemplify) their own theories of storytelling.

Assignments: Three essays and two exams.

ENGL 2312-003— Fiction: Black Feminist Fictions
TTh 9:30-10:50. Dallas Hall 101. Donkor. 2012: CA2 2016: LL CC: LAI, W

What can wildness, friendship, grief, desire, music and more, teach us about Black feminisms? This course will explore various lenses of 20th and 21st century Black feminist thought, not as directly articulated through the voices of acclaimed feminist theorists themselves, but as reflected through fictive characters. Together we will explore how Black women and girls embrace, challenge, and redefine what it can mean to be a feminist, all while analyzing how fiction is uniquely equipped to help us answer this question.

Readings: Novel and short stories by Alice Walker, Dorothy West, Toni Morrison, Toni Cade Bambara and more.

Other Assignments: two short papers, two quizzes, two exams, creative assignment.

ENGL 2312-004— Fiction: Fictions of Home
TTh 9:30-10:50. Dallas Hall 156. Hook. 2012: CA2 2016: LL, W CC: LAI, W

Writers have a lot to say about home, and it’s usually positive. Jane Austen says that there “is nothing like staying at home, for real comfort.” Emily Dickinson proclaims, “Where thou art—that—is home.” T.S. Eliot describes home as the place “where one starts from.” Home is many things. It is comfort, it is people, it an origin. We like to imagine that home is, ultimately, stable. It is a place that will always be there for us. Yet, as many writers and readers know, this stability is itself a fiction. This course focuses on American works of fiction that explore the instability of our ideas about home. These works often establish home as something stable and constant, then disrupt it, pulling it out from under character and reader alike. Over the course of the semester, we will consider how narratives from a variety of genres and narrative modes (novels, graphic novels, science fiction, historical fiction, film) grapple with home and its instability to shape and question our imaginations and expectations regarding such things as life and community, race and gender, nationality and citizenship.

Possible texts: Bechdel, Fun Home;Butler, Kindred; Gipe, Trampoline;Robinson, Home.

Other assignments: weekly quizzes, two short essays, midterm, and final exam

ENGL 2313-001— Drama: (En)Gendering Representation
MWF 1:00-1:50. Dallas Hall 157. Mennella. 2012: CA1 2016: LL CC: LAI, W

The historical fact that women could neither legally write for professional theater companies nor legally perform on stage during the age of Shakespeare encapsulates the political vexations of the theater. The stage is a place where voices are heard, overheard, and silenced. This course will survey drama from antiquity through the present that raise questions of gender as well as how dramatic representation challenges our literary and philosophical ideas about representation, taking cues from Aristophanes, William Shakespeare, Aphra Behn, Lorraine Hansberry, August Wilson, Samuel Beckett, and others writing for the stage.

Assignments: Assignments include weekly discussion posts, a brief creative exercise, a short critical essay, and exams.

ENGL 2315-001—Introduction to Literary Study: Pomp and Circumstantial Evidence
MWF 2:00-2:50. Dallas Hall 157. Dickson-Carr, Darryl. 2012: CA2 2016: CA CC: LAI, W

ENGL 2315 is an introduction to the pleasing art of literary study and to the English major. We will read, contemplate, and discuss poetry, essays, plays, short stories, and novels from different nations and literary traditions to enjoy their many rich complexities. We will begin with different ways of defining literature and literary study, then proceed to examine how and why we read various genres. We will discuss frequently the roles that literature may play in shaping our world. In addition, we will discover and discuss a few of the more prominent issues in contemporary literary studies. By the end of the course, the student should be able to read and write critically about literary works. This skill will serve each student well in other courses in English, but will apply equally well in other disciplines.

Our topic, “Pomp and Circumstantial Evidence,” refers to the many moments in our readings in which individuals—whether poets, kings, fools, heroes, or villains—wrestle with and confront the same issues that we will discuss: the sublime; the gap between what we perceive and reality; facts versus fantasy, illusion, or delusion; the eternal and pleasurable challenge of interpretation.

ENGL 2315-002—Introduction to Literary Study: Sin and Sexuality

TTh 3:30-4:50. Dallas Hall 120. Brooks. 2012: CA2 2016: CA CC: LAI, W

What does literature tell us about sin and sexuality? Are the two terms necessarily intertwined? Can a sin be secular? This Intro to Literary Studies class will look at understandings of sin and sexuality in the Western world across centuries. We will examine the ways that poets, playwrights, and prose writers (fiction and nonfiction) talk about sexuality through time using methods of contemporary literary studies. We will also look at TV, popular music, and film to expand the language and terminology of literary criticism to media. In short—any “text” can be read. This course gives you an introduction to tools of reading like an English major and minor. Beyond the major, through, the tools of literary analysis apply to texts in all aspects of life, even watching Love Island!

Readings: Possible texts include selections from Shakespeare’s sonnets and Milton’s Paradise Lost, Mrs. Warren’s Profession by G.B. Shaw, Giovanni’s Room by James Baldwin, Sexing the Cherry by Jeanette Winterson, The Five by Hallie Rubenhold, poetry selections, short story selections, as well as selected music, TV, and films.

Assignments: Two short story papers; a presentation; reading responses; midterm and final exam.

ENGL 2315-003—Introduction to Literary Study: How to Read Deeply
TTh 2:00-3:20. Dallas Hall 157. Hermes. 2012: CA2 2016: CA CC: LAI, W

“We are not only what we read. We are how we read.”

—Maryanne Wolf

What does it mean to read deeply in an age of ever-present distraction, in which our media technology is designed for what the science historian D. Graham Burnett calls “attention fracking”? This course explores the pleasures and challenges of sustained literary reading across genres—fiction, poetry, and drama—alongside essays and recent research on how digital technologies and social media shape our attention. Students will practice the art of close reading, one of the discipline’s most essential tools of textual analysis, learning how to attend to not only to what a text says, but also how it says it. As we encounter classic and contemporary literature, we will consider why that literature matters, what deep reading can do for our interior lives, and how we might cultivate habits of attention in a culture that increasingly pulls us away from them. Assignments include reading journals, analytical essays, and a “letter to a future reader.” Readings include works by Henry David Thoreau, James Joyce, Samuel Beckett, Elizabeth Bishop, Toni Morrison, Tracy K. Smith, Camille Dungy, Ocean Vuong, and Maryanne Wolf.

ENGL 2390-001—Introduction to Creative Writing: Poetry Unleashed

M 2:00-4:50. Dallas Hall 137. Johnson. 2012: CA1 2016: CA, W CC: CA, CAC, W

This course invites students to think of poetry as a space of exploration, risk, and individuality. Designed to inspire play and discovery, students will study elements of poetic craft by close reading published poems and collections of poetry. In this workshop-focused class, students will write their own original poems and provide written and verbal feedback on the work of their peers. At the end of the course, students will have a portfolio of their own poems, including revised work, as well as a stronger understanding of their own unique voice and poetic instincts.

ENGL 2390-002—Introduction to Creative Writing
TTh 11:00-12:20. Dallas Hall 105. Smith. 2012: CA1 2016: CA, W CC: CA, CAC, W

This heavy workshop course focuses on the craft, structure, and thematic elements of developing short stories. Students will create and critique short literary narratives focused on the elements of fiction. By the end of the semester, students will complete group and individual short stories and a portfolio.

Assignments: Students will complete group and individual short stories and a portfolio.

ENGL 2390-003—Introduction to Creative Writing
TTh 12:30-1:50. Dallas Hall 105. Smith. 2012: CA1 2016: CA, W CC: CA, CAC, W

This heavy workshop course focuses on the craft, structure, and thematic elements of developing short stories. Students will create and critique short literary narratives focused on the elements of fiction. By the end of the semester, students will complete group and individual short stories and a portfolio.

Assignments: Students will complete group and individual short stories and a portfolio.

ENGL 2390-004—Introduction to Creative Writing: Them Changes | Transformation as Creative Engine
Th 2:00-4:50. Dallas Hall 138. Debris. 2012: CA1 2016: CA, W CC: CA, CAC, W

“i am trying to tell you something about how
rearranging words
rearranges the universe”

—Marwa Helal

In this multi-genre course, we will read and write fiction in which the status quo is upended, poetry in which identity slips between the self and the other, and shortform drama exploring Suzan-Lori Parks’ Rep & Rev method of jazz-tinged playwriting. Throughout the course, we will explore the transformative possibilities of persona and wordplay, of negative capability and radical revision, of cryptozoology and urban mythmaking, while traversing boundaries of—and grey areas between—prose, verse, and performance.

ENGL 2390-005—Introduction to Creative Writing: The Writer's Toolkit
TTh 11:00-12:20. Dallas Hall 138. Hermes. 2012: CA1 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

― Anton Chekhov

This course will explore the fundamentals of creative writing in poetry and fiction. Together, we’ll identify the various tools of craft that great writers rely on, and we’ll practice incorporating them in our own short stories and poems. We’ll also discuss your original writing in a whole-class review commonly referred to as a workshop. Students will benefit from these conversations as both writer and reader, because each story or poem will present challenges that all of us face in our work. With engaged participation, we’ll sharpen our creative, critical, and communication skills.

Readings will include chapters from the textbooks Writing Fiction and The Poet’s Companion, as well as individual stories and poems. Authors include Danielle Evans, Julie Orringer, Mary Gaitskill, Sharon Olds, Kevin Young, and Porsha Olayiwola. Major assignments include a short story, portfolio of poems, regular workshop response letters to your peers’ work, and a final portfolio of revisions with a reflection essay on your own process.

ENGL 2390-006—Introduction to Creative Writing: The Creative Act
MWF 11:00-11:50. Dallas Hall 120. Rivera. 2012: CA1 2016: CA, W CC: CA, CAC, W

Poetry is an act of attunement—a process of listening, refining, and allowing meaning to emerge through the interplay of image, language, and silence. Inspired by Rick Rubin’s The Creative Act: A Way of Being, this course invites students to approach poetry as both an intuitive and intellectual practice. Through close readings, workshops, and digital annotations, students will craft poems that evoke rather than explain, creating space for risk-taking, reflection, and artistic discovery.

Throughout the semester, students will build a portfolio of original work, honing their craft through iterative revision and critical discussion. Maintaining a craft journal will be essential for tracking creative evolution and navigating questions of voice, identity, and poetic imagination. Workshops will foster creativity, community, compassion, and technical mastery, examining how a single image can unfold into a fully realized poem through instinct and introspection. Students will engage deeply with poetic form and language, sharpening their ability to “show, not tell” while expanding their creative range.

Texts: The New Census: An Anthology of Contemporary American Poetry (Gonzalez and Shapiro) and The Creative Act (Rick Rubin).

Assignments: A minimum of ten original poems, ten critical journal responses, five campus event analyses, two digital humanities presentations, a craft journal, and a substantially revised portfolio with an artist statement.

ENGL 2390-007—Introduction to Creative Writing: The Writer's Toolkit
TTh 9:30-10:50. Dallas Hall 120. Hermes. 2012: CA1 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

― Anton Chekhov

ENGL 2390-008—Introduction to Creative Writing: The Triggering Town
MWF 12:00-12:50. Dallas Hall 137. Rivera. 2012: CA1 2016: CA, W CC: CA, CAC, W

"We must channel fear into creativity through introspection and imagination." — R. Flowers Rivera

This creative writing course offers an immersive exploration of the craft of poetry, designed to help students push their expressive and imaginative boundaries. Using Richard Hugo’s The Triggering Town as a foundational text, we will investigate how imagery functions as more than a visual device—serving instead as a catalyst that ignites emotion, intellect, and discovery. Students will learn to recognize the “triggering subject” as only the beginning of a poem’s journey into language, structure, and form. Through critical analysis and creative practice, we will examine how an image evolves, expands, and transforms—revealing what lies beneath the surface and within the self.

Students will produce a portfolio of original poems and refine their aesthetic and efferent voices through workshops, recitations, digital annotations, and close readings of contemporary and canonical poets. A craft journal will serve as a reflective tool for exploring questions of voice, identity, and imagination while cultivating a daily poetic practice that unites the personal with the universal.

Texts: 44 Poems on Being with Each Other (Pádraig Ó Tuama) and The Triggering Town (Richard Hugo).

ENGL 3310-001—Research and Critical Writing for Literary Studies
MWF 11:00-11:50. Dallas Hall 106. Dickson-Carr, Darryl.

This course explores several key questions: What is literature? What is a text? What are some of the critical approaches that scholars and students used in recent years to analyze texts and to expand literary studies as a discipline? We as readers will work together to make sense of texts, of these critical approaches, and why they matter. How, in practice, do we progress from the reading to the written analysis of texts, including poetry, stories, novels, film, and other media?

We will explore these questions through three or four central texts (TBD), two shorter papers, and one longer essay or project that employs secondary sources and library research. Collaboration will be encouraged for the longer project.

Texts: A Handbook to Literature; How to Interpret Literature; three to four literary texts, including Morrison, “Recitatif” and the film Sinners, the others TBD.

Assignments: two shorter papers; occasional exercises and/or discussion-board posts; a mid-term exam, longer (8-10 pages) final essay or project employing secondary sources.

ENGL 3318-001— Literature as Data
TR 12:30-1:50. Dallas Hall 138. Wilson. 2016: LL, TM, W CC: LAI, W

What does it mean to think about literature as a type of data? What new types of literary interpretation might that open up, and what pitfalls might we need to beware of? In this course we will encounter a range of theories and technologies that treat literature as data, from text mining and digital mapping to methods used in creating digital editions of books. During the semester we will work hands-on with rare archival materials to create our own digital edition of a book, thinking about what the benefits are of doing so, but also all of the factors we need to consider as digital creators and curators of literary data.

Our primary texts for the course will be renaissance literary works including epic poetry by John Milton and his contemporaries as well as some shorter poems and some prose works from the period which have not been republished since the 1600s - - we will be amending that gap by creating our own online edition of one or more of these texts! We will also be working with modern theoretical academic articles touching on issues such as the ownership of digitized archival or literary data, how digitization and digital analysis of literary artefacts affects diverse communities, best practices for managing digital projects and for collaborating in digital projects, the use of technology to make literary materials accessible to people using adaptive technologies, and the new types of research findings that we might be able to make using digital analytical approaches in literary studies.

During the course you will learn several digital methods for analyzing literary texts, and in keeping with the public spirit of digital humanities, we will aim for you to “learn one, teach one”, sharing the skills you learn with the wider community through an educational outreach event.

ENGL 3344-001—Transatlantic Encounters II: Stories of Slavery & Freedom
MWF 12:00-12:50. Dallas Hall 156. Shields. 2012: CA2, W 2016: HFA

This class explores representations of slavery and freedom from the sixteenth-century origins of Britain’s slave trade to the post-emancipation or reconstruction era in the late nineteenth-century United States. We will explore slavery in an Atlantic world context, drawing on the works of British, American, Caribbean, and West African writers from William Shakespeare to Yaa Gyasi. However, we will center works by enslaved writers from including Ukawsaw Gronniosaw, Mary Prince, Robert Wedderburn, Frederick Douglass, and Harriet Jacobs. As we examine the similarities and differences in the narratives told by enslaved writers from around the Atlantic world, we’ll pay particular attention to what their visions of freedom looked like. Course requirements will include short, in-class writing assignments; two short resource reports; and a longer final paper.

ENGL 3362-001—African American Literature: Introduction to African American Literature
TTh 2:00-3:20. Dedman Life Sciences Bulding 132. Donkor. 2012: CA2 2016: HFA, HD, W CC: LAI, HD, W

This course is a study of African American writers and their works amidst various social and historical influences and contexts. We will orient our study of these authors and their texts around “moments” in African American literature across six mini units. Moments may be chronological in nature, as they occur in a particular space in time, but moments may also be recurrent. Our study of moments in African American literature will be framed within and outside of formalized literary movements. This frame of analysis will help students to understand thematic, stylistic, and formal recurrence in the African American literary tradition.

Course Text: Norton Anthology of African American Literature

Assignments: Two exams, two quizzes, two course papers, and a creative assignment.

ENGL 3363-001H—Chicana/Chicano Literature: The Cultural Politics of Race and Ethnicity
MWF 2:00-2:50. Dallas Hall 156. Sae-Saue. 2012: CA2 2016: HFA CC: LAI, HD, W

This course will take US annexation of northern Mexican lands (now the US Southwest) as its point of departure. It will address various forms of violence that have expressed themselves in the region and then turn to literature in order to examine how writers have 1.Articulated problems in the region (largely through an ethnic perspective) 2. Negotiated political, cultural, economic, social, and environmental dilemmas and 3. Turned to the imagination in order to attempt to resolve these issues. With particular emphasis on Chicanx novels and Mexican American cultural history, we shall learn to recognize how each text on our syllabus engages issues of race, class, citizenship and gender within a diverse set of social circumstances. As such, we shall attend to how the selected texts articulate the Chicanx imagination not as something “essential,” but rather as the means by which to conceive of community within disparate and complex social-historical situations. In this regard, this class will examine how Chicanx literature negotiates racial injustice, legal disenfranchisement, economic exploitation, and cultural eradication, among other topics.

ENGL 3370-001—Special Topics: The Business of Literature: Publishing as Art and Practice
TTh 11:00-12:20. Dallas Hall 115. Evans.

What does publishing mean in the digital 21st century? This course delves into the rapidly evolving publishing industry, and offers students hands-on experience within publishing industry roles through Deep Vellum.

In this course, we will look at what publishing means in the broadest sense, examine what the publishing industry is, how it has evolved, and how it works today, while drilling down into the specifics of how Deep Vellum publishes literary books. We will discuss the digital revolution in reading, writing, printing, and distribution technologies that have shaken up the publishing industry in the past two decades, and how these advances shape the reading public and the broader world. By the end of the semester, students will be familiar with a range of publishing issues and processes—editing, marketing, intellectual property, copyright, financing, business models, bookselling, future literary and book technologies—and how these issues all contribute to the hundreds of career paths available within the publishing industry.

With readings that complement the hands-on work of publishing, we will examine how books are conceived, made, sold, and discussed. Students will acquire and hone some of the basic skills demanded by the publishing industry: editing and copyediting, technical and copy writing, industry history, design and production, ethical and artistic and financial choices, and more. The course is tailored to each student’s personal goals within the class, complementing their major and their vision for life post-university, offering an in-class experience that will contribute to their prospective careers, no matter what field.

Readings: Texts include Dan Sinykin's Big Fiction: How Conglomeration Changed the Publishing Industry and American Literature and Literary Publishing in the Twenty-First Century, by Travis Kurowski, Wayne Miller, Kevin Prufer, eds.

ENGL 3390-001—Creative Writing Workshop: Totally Epic Poetry Workshop

MWF 1:00-1:50. Dallas Hall 137. Condon. 2012: CA2 2016: HFA, W CC: W

Before podcasts, before movies and sitcoms, before the novel and novella, the narratives of human triumph and tragedy took the shape of epic poetry. In this creative writing workshop, we will read and learn from classic and contemporary epics alike, such as Dante’s Divine Comedy and Anne Carson’s Autobiography of Red. We will draft and structure our own epic poems according to the generic conventions we gather from the masters we read. This course will focus on how to craft a narrative that thrives in the pressurized quarters of the poetic line. At the semester’s end, students will hand in a final portfolio comprised of the final draft of their epic poem as well as a revision statement.

ENGL 3390-002— Creative Writing Workshop: Listen Up! I'm Talking to You! Lyric Address and Apostrophe
MWF 10:00-10:50. Annette Caldwell Simmons Hall 225. Condon. 2012: CA2, W 2016: HFA, W CC: W

In this course we will study and write poetry that employs lyric address and apostrophe. We will discover how directly addressing our worst enemy or our secret crush, the West Wind or a Wendy’s drive-thru, transforms poems from monological recollections into active dialogues. We will practice the poetic forms that spotlight lyric address and apostrophe, such as odes, elegies, and epistles. You will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. At the end of the semester, students will hand in a final portfolio of 8-10 poems accompanied by revision statements. All reading provided on Canvas.

ENGL 4330-001—Early Modern Writers: Spenser and Milton
TTh 9:30-1-:50. Dallas Hall 102. Moss. 2012: CA2 2016: HFA, W CC: W

You could spend next spring surrounded by the usual people staring at their phones, or you could introduce yourself to the enchanters, witches, dragons, giants, monsters, satyrs, nymphs, robots, angels, devils, hermaphroditic gods, manic depressive knights, and beauteous lady paladins of Edmund Spenser’s 1590 masterpiece, The Faerie Queene.

Similarly, you could throw hours of your time and buckets of your money into planning a spring break somewhere expensive, crowded, and intellectually deadening, or you could read John Milton’s incredible 1667 epic, Paradise Lost, winning yourself a free tour of Heaven, Hell, and the Garden of Eden, with God, Satan, and Adam and Eve as your guides.

Totally up to you. But if you choose the latter options, you’ll learn all about early modern romantic and epic poetry, classical mythology and the religious strife of the Reformation, Renaissance painting and sculpture, 16th–17th-century politics and war, the literary magic of allegory and exegesis, and the psychological and cosmic consequences of love, despair, sin, and salvation.

Assignments include two papers (one short, one less short), a creative project, a presentation, and building a virtual art museum.

ENGL 4360-001—Studies in Modern American Literatue: Literature of the US Southwest
MWF 12:00-12:50. Dallas Hall 153. Sae-Saue. 2012: CA2 2016: HFA

“For any dweller of the Southwest who would have the land soak into him, Wordsworth's ‘Tintern Abbey,’ ‘Ode: Intimations of Immortality,’ ‘The Solitary Reaper,’ ‘Expostulation and Reply,’ and a few other poems are more conducive to a ‘wise passiveness’ than any native writing.”

- J. Frank Dobie, A Guide To Life and Literature of the Southwest

Long regarded as the pre-eminent expert of Southwest culture, J. Frank Dobie has emerged as a controversial figure because of his tendencies to underestimate the power of “native writings” to generate meaningful expressions of local life. Whereas Dobie suggests that residents of the Southwest may properly regard this geography by reading the Anglo European canon (what he calls “good literature”), this class seeks to understand how local writers have used narrative forms in order to structure their own perceptions of social and cultural life in the region. This course will also locate how key southwestern texts challenge their common categorization as a “provincial literature.” We will examine how local writers cognitively map the Southwest and the regions of the US-Mexico border as a transnational cultural geography that engages historical and social dilemmas on both hemispheric and global scales. As such, we will investigate how literatures of the border generate competing visions of cultural identity, national history, and how they constitute a transnational sense of space while also engaging issues of regional memory, race, citizenship, gender, and globalization.

ENGL 4369-001—Transatlantic Studies III: The Last Time the World Ended
TTh 11:00-12:20. Dallas Hall 102. Bozorth. CC: OC

Dystopian future may be hot right now, but the end of the world has been happening or about to happen for more than a century. Focusing on the period of “High Modernism” in the early 20th century, we’ll read and discuss how British, Irish, and American writers like W. B. Yeats, Wilfred Owen, T. S. Eliot, Virginia Woolf, E. M. Forster, and W. H. Auden imagined and confronted “the end of the world” and adapted their writing accordingly—sometimes shockingly, sometimes comically. World Wars, the collapse of European dominance in the world, a loss of faith in Judeo-Christian perspectives on history and humanity, the Holocaust and the Bomb: the 20^th century was replete with dark turning points that generated arguably unprecedented literary innovations. We may supplement our reading with some attention to music (Igor Stravinsky, Benjamin Britten) and painting (Paul Nash, Francis Bacon). And if there’s time, we’ll see how Thomas Pynchon and Tony Kushner use comedy to imagine the apocalypse in the latter part of the 20^th century.

Assignments: leading discussion; writing short papers and a longer research paper totaling 15-20 pages.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Black Speculative Fiction and Satire
TTh 2:00-3:20. Dallas Hall 157. Dickson-Carr, D., 2012: CA2 2016: HFA

Speculative Fiction is a literary genre that comprises several other genres, including science fiction, historical fiction, fantasy, fairy tale, and horror, among others. From some of the earliest days of the African American literary tradition, numerous authors have

written works that fit within one or more of these genres, frequently with the express purpose of imagining possible or alternative futures to help shape the present. Some works reimagine the past to offer insight about the present. Many—but not all—of these works have a satirical bent, using irony and humor to criticize forms of oppression, and to argue for futuristic visions defined by freedom and equality.

In the past thirty years in particular, many Black authors have shown an interest in writing speculative fiction, thereby expanding and transforming the genre’s possibilities. In this course, we will survey some of the most remarkable works from the 19th century until the present, showing how the genre has developed over time and reflected America’s complex history. We will read short stories and novels by such authors as Octavia Butler, Martin Delany, Samuel R. Delany, W.E.B. Du Bois, Tananarive Due, Sutton Griggs, N.K. Jemisin, Toni Morrison, George S. Schuyler, Rivers Solomon, and Colson Whitehead, among others. Requirements include regular attendance and participation, two critical papers, a final collaborative project, and a final exam.

ENGL 6310-001—Graduate Literary Studies
Th 2:00-4:50. Dallas Hall 137. Moss.

Research portfolios! Seminar papers! Conference presentations! Abstracts! Article drafts! Exam rationales, lists, and essays! Book reviews! Dissertation prospectuses! Curricula vitae! Fellowship applications! Job docs! Book proposals! Oh my!

Welcome to the SMU English Ph.D. Program, which observed from the most practical angle is a series of unfamiliar, initially intimidating documents for you to master over a little more than half a decade. This course is designed to prepare you for the successful composition and refinement of these vital documents. To that end, each class session will focus on one of grad school’s key genres, and over the course of the semester, each student will be responsible for true expertise in two chosen genres, along with burgeoning facility with all of them. While in-person and virtual visits from established scholars, both in our own department and in wider Academia, will assist us in our task, ultimately gaining a working knowledge of these indispensible genres will be up to us.

Readings include copious examples of the above genres in an online coursepack, along with professionalizing how-to chapters and essays by scholars in our discipline. Written work includes some combination of a research portfolio, a conference presentation, an abstract, an exam list, an articlized paper, a CV, a book review, a fellowship application… you get the idea.

ENGL 6330-001—Early Modern British Literature: The Art of Memory
T 2:00-4:50. Dallas Hall 137. Wilson.

In this course we will study the art of memory from its awakenings in classical antiquity to the ways in which it is revived and reimagined by scholars and rhetoricians in the Renaissance and early modern period. By reading texts including treatises about training the mind and the memory, theories of the psyche and how we learn how to feel, and literary works invoking the art of memory and the importance of knowing when to remember and how to forget, we will think about how peoples' relationship with the arts of the mind evolves in tandem with the rise of print. The course will include working with texts about the memory in archives to think about how memory is conceptualized and applied, and how studying it can allow us to recover otherwise lost or missing stories. The art of memory is not a purely retrograde one: by understanding different methods of memory and recall we will think about how authors use the art of remembering to forge new creative works, leveraging this understanding to trace connections from Renaissance and early modern literature both back to the classical world and forward to modernist poetry.

ENGL 7311-001—Seminar in Literary Theory: Narratology and Narrative Theory
W 2:00-4:50. Dallas Hall 138. González.

How do stories hijack our brains? Why can a few sentences make us weep for fictional characters or reshape how we see reality? This course investigates the hidden machinery of narrative—the structural and cognitive mechanisms that make stories work across every medium from ancient epic to Netflix algorithms. We'll trace narrative theory from Aristotle to cutting-edge cognitive science, mastering analytical tools from Barthes, Genette, Herman, Fludernik, Ryan, Phelan, Warhol, Bal, Richardson, and others. But this isn't just theory for theory's sake. These frameworks will unlock how narratives manipulate time, consciousness, and empathy in ways that matter far beyond literature—from digital storytelling to how we construct identity itself. Our primary texts push narrative boundaries across three distinct media: Emil Ferris's My Favorite Thing is Monsters transforms the graphic novel through its notebook-diary format and nested stories of trauma and art; Mohsin Hamid's Exit West uses magical realist "doors" to revolutionize migration narrative and challenge how fiction handles global crisis; and Denis Villeneuve's Arrival makes temporal structure and linguistic theory central to its alien contact story, creating a circular narrative that questions how language shapes thought and memory. Each text will sustain a semester-long investigation across multiple theoretical approaches while testing how narratological concepts function across different media. You'll lead seminar discussions, write analytical essays testing theory against practice, and develop a substantial research project aimed at publication or dissertation work. The course culminates with a late-March campus visit from Mohsin Hamid himself—a chance to engage directly with a master storyteller about the craft decisions you've been analyzing all semester. By semester's end, you'll see narrative everywhere—and understand exactly how it works.

ENGL 7340-001—Seminar in British Literature: The New Enlightenment
M 2:00-4:50. Dallas Hall 138. Sudan.

This course addresses the relationship between transnational electronic technology and its contemporary mining practices to an early modern moment when mining and technology coincided with such force that it altered the landscape of global economy. Using economic theories addressing sustainability—in particular, Herman Daley’s ecologically informed “steady state economics”—we will examine models of economic growth and the democratization of affluence that supposedly contribute to human happiness, but it is precisely this model that has produced ecological global problems like climate change. The language generated by electronic technology in order to address the ways in which they contribute to a “greener” form of knowledge exchange mimics the language of economic growth defining colonial and imperial exchanges of knowledge. We will examine four themes of extraction, inflation, ecology, and work in this linguistic nexus. We will also examine the ways in which British fantasized about inexhaustible troves of bullion in the Americas that would supply their economic aggrandizement through technologies of extraction in spite of the fact that scarcity rather than profusion creates value. Ideologies of abundance championed managerial expertise, promoted the fiction of wealth in excess of labor, and displaced an aristocratic ethos onto a putatively sustainable venture capitalist economy. In the face of Spain’s command of New World bullion—pieces of eight, fashioned from bullion mined from their holdings in Central and South America, were the first example of global currency—Britain created the South Sea Company that gambled on the fiction of inexhaustible troves of gold and silver, and eventually collapsed as a bubble, to the economic ruin of many. Imperial ideologies of mining and its language of lode, extraction, and work also define global electronic technology, particularly computers and other forms of wireless exchange. We will identify the knowledge systems coming out of technologies of colonialism that inform the putative digital revolution that allegedly address problems of climate change.

ENGL 7350-001—Seminar in American Literature: Print Culture of the Atlantic World
F 12:00-2:50. Dallas Hall 120. Cassedy.

In this course, we will study the spread of print and other new communication technologies in Britain and North America during the eighteenth and nineteenth centuries — a “media shift” that anticipated the electronic communications revolution that we are living through now. How did people who lived through the early modern communications revolution make sense of it? How did new media technologies affect the emergence of new national, racial, and American identities? Topics will include print culture, the histories of reading and writing, authorship, material texts, archival recovery, diaries, literacy, and print commerce.

Readings: Readings will include major texts thematizing reading, writing, and authorship from British and American literary canons c. 1700–1860; lesser-known primary materials; and secondary readings in literary, media, and cultural history.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1363	001	Myths of the American West	Levy	TR	3:30 PM	4:50 PM	DALL 306	2012: CA1, HC1 2016:CA, HC	LAI, HD
1380	001	Introduction to Literature: Monsters and Magic	Shields	MWF	2:00 PM	2:50 PM	DALL 306	2012: CA1 2016: CA	LAI
2302	001	Business Writing	Dickson-Carr, C.,	TR	12:30 PM	1:50 PM	HYER 106	2016: IL, OC, WRIT	W
2302	002	Business Writing	Dickson-Carr, C.,	TR	2:00 PM	3:20 PM	HYER 106	2016: IL, OC, WRIT	W
2303	001	Ethical Leadership and Language of Influence:Writing for Success in the Workplace, Business and Beyond	Dickson-Carr, C.,	TR	11:00 AM	12:20 AM	HYER 106		CIE
2311	001	Poetry: Contemporary Black Poetry	Rivera	MWF	10:00 AM	10:50 AM	DALL 138	2012: CA2 2016: LL, OC, WRIT	LAI, W
2311	002	Poetry: Serious Word Games	Bozorth	TR	2:00 PM	3:20 PM	ACSH 225	2012: CA2 2016: LL, WRIT	LAI, W
2311	003H	Poetry: Introduction to Poetry	Caplan	MWF	11:00 AM	11:50 AM	DALL 157	2012: CA2 2016: LL, OC, WRIT	LAI, W
2311	004	Poetry: Life Between the Lines	Wuest	TR	12:30 PM	1:50 PM	DALL 101	2012: CA2 2016: LL	LAI, W
2312	001	Fiction: Being at Home in America	Dinniene	TR	11:00 AM	12:20 AM	CARU 383	2012: CA2 2016: LL, WRIT	LAI, W
2312	002	Fiction: The Real Fake	Cassedy	MWF	10:00 AM	10:50 AM	DALL 120	2012: CA2 2016: LL, OC, WRIT	LAI, W
2312	003	Fiction: Black Feminist Fictions	Donkor	TR	9:30 AM	10:50 AM	DALL 101	2012: CA2 2016: LL	LAI, W
2312	004	Fiction: Fictions of Home	Hook	TR	9:30 AM	10:50 AM	DALL 156	2012: CA2 2016: LL, WRIT	LAI, W
2313	001	Intro to Drama: (En)Gendering Representation	Mennella	MWF	1:00 PM	1:50 PM	DALL 157	2012: CA1 2016: LL	LAI, W
2315	001	Intro to Literary Studies: Pomp and Circumstantial Evidence	Dickson-Carr, D.	MWF	2:00 PM	2:50 PM	DALL 157	2012: CA2 2016: CA	LAI, W
2315	002	Intro to Literary Studies: Sin and Sexuality	Brooks	TR	3:30 PM	4:50 PM	DALL 120	2012: CA2 2016: CA	LAI, W
2315	003	Intro to Literary Studies: How to Read Deeply	Hermes	TR	2:00 PM	3:20 PM	DALL 157	2012: CA2 2016: CA	LAI, W
2390	001	Intro to Creative Writing: Poetry Unleashed	Johnson	M	2:00 PM	4:50 PM	DALL 137	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	002	Intro to Creative Writing	Smith	TR	11:00 AM	12:20 PM	DALL 105	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	003	Intro to Creative Writing	Smith	TR	12:30 PM	1:50 PM	DALL 105	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	004	Intro to Creative Writing: Them Changes \| Transformation as a Creative Engine	Debris	R	2:00 PM	4:50 PM	DALL 138	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	005	Intro to Creative Writing: The Writer's Toolkit	Hermes	TR	11:00 AM	12:20 PM	DALL 138	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	006	Intro to Creative Writing: The Creative Act	Rivera	MWF	12:00 PM	12:50 PM	DALL 137	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	007	Intro to Creative Writing: The Writer's Toolkit	Hermes	TR	9:30 AM	10:50 AM	DALL 120	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	008	Intro to Creative Writing: The Triggering Town	Rivera	MWF	12:00 PM	12:50 PM	DALL 137	2012: CA1 2016: CA, WRIT	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Dickson-Carr, D.	MWF	11:00 AM	11:50 AM	DALL 106
3318	001	Literature as Data	Wilson	TR	12:30 PM	1:50 PM	DALL 138	2016: LL, TM, W	LAI, W
3345	001	Transatlantic Encounters II: Stories of Slavery & Freedom	Shields	MWF	12:00 PM	12:50 PM	DALL 156	2012: CA2 2016: HFA
3362	001	African American Literature: Introduction to African American Literature	Donkor	TR	2:00 PM	3:20 PM	DLSB 132	2012: CA2 2016: HFA, HD, WRIT	LAI, W, HD
3363	001H	Chicana/Chicano Literature: The Cultural Politics of Race and Ethnicity	Sae-Saue	MWF	2:00 PM	2:50 PM	DALL 156	2012: CA2 2016: HFA	LAI, W, HD
3370	001	Special Topics: The Business of Literature: Publishing as Art and Practice	Evans	TR	11:00 AM	12:20 PM	DALL 115
3390	001	Creative Writing Workshop: Totally Epic Poetry Workshop	Condon	MWF	1:00 PM	1:50 PM	DALL 137	2012: CA2 2016: HFA, WRIT	W
3390	002	Creative Writing Workshop: Listen Up! I'm Talking to You! Lyric Address and Apostrophe	Condon	MWF	10:00 AM	10:50 AM	ACSH 225	2012: CA2 2016: HFA, WRIT	W
4330	001	Early Modern Writers: Spenser and Milton	Moss	TR	9:30 AM	10:20 AM	DALL 115
4360	001	Studies in Modern American Literature: Literature of the US Southwest	Sae-Saue	MWF	12:00 PM	12:50 PM	DALL 153	2012: CA2 2016: HFA
4369	001	Transatlantic Studies III: The Last Time the World Ended	Bozorth	TR	11:00 AM	12:20 PM	DALL 102		OC
6310	001	Advanced Graduate Studies	Moss	R	2:00 PM	4:50 PM	DALL 137
6330	001	Early Modern British Literature: The Art of Memory	Wilson	T	2:00 PM	4:50 PM	DALL 137
7311	001	Seminar in Literary Theory: Narratology and Narrative Theory	González	W	2:00 PM	4:50 PM	DALL 138
7340	001	Seminar in British Literature: The New Enlightenment	Sudan	M	2:00 PM	4:50 PM	DALL 138
7350	001	Seminar in American Literature: Print Culture in the Atlantic World	Cassedy	F	12:00 PM	2:50 PM	DALL 120

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
2312	003	Fiction: Black Feminist Fictions	Donkor	TR	9:30 AM	10:50 AM	DALL 101	2012: CA2 2016: LL	LAI, W
2312	004	Fiction: Fictions of Home	Hook	TR	9:30 AM	10:50 AM	DALL 156	2012: CA2 2016: LL, WRIT	LAI, W
2390	007	Intro to Creative Writing: The Writer's Toolkit	Hermes	TR	9:30 AM	10:50 AM	DALL 120	2012: CA1 2016: LL,CA	CA, CAC, W
4330	001	Early Modern Writers: Spenser and Milton	Moss	TR	9:30 AM	10:50 AM	DALL 115		OC
2311	001	Poetry: Contemporary Black Poetry	Rivera	MWF	10:00 AM	10:50 AM	DALL 138	2012: CA2 2016: LL, OC, WRIT	LAI, W
2312	002	Fiction: The Real Fake	Cassedy	MWF	10:00 AM	10:50 AM	DALL 120	2012: CA2 2016: LL, OC, WRIT	LAI, W
3390	002	Creative Writing Workshop: Listen Up! I'm Talking to You! Lyric Address and Apostrophe	Condon	MWF	10:00 AM	10:50 AM	ACSH 225	2012: CA2 2016: HFA, W	W
2303	001	Ethical Leadership: Balancing Professionalism with Ethical Communication	Dickson-Carr, C.	TR	11:00 AM	12:20 PM	HYER 102		CIE
2311	003H	Poetry: Introduction to Poetry	Caplan	MWF	11:00 AM	11:50 AM	DALL 157	2012: CA2 2016: LL, OC, W	LAI, W
2312	001	Fiction: Being at Home in America	Dinniene	TR	11:00 AM	12:20 PM	CARU 383	2012: CA2 2016: LL, WRIT	LAI, W
2390	002	Intro to Creative Writing	Smith	TR	11:00 AM	12:20 PM	DALL 105	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	005	Intro to Creative Writing: The Writer's Toolkit	Hermes	TR	11:00 AM	12:20 PM	DALL 138	2012: CA1 2016: CA,WRIT	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Dickson-Carr, D.	MWF	11:00 AM	11:50 AM	DALL 106
3370	001	Special Topics: The Business of Literature: Publishing as Art and Practice	Evans	TR	11:00 AM	12:20 PM	DALL 115
4369	001	Transatlantic Studies III: The Last Time the World Ended	Bozorth	TR	11:00 AM	12:20 PM	DALL 102		OC
2390	006	Intro to Creative Writing: The Creative Act	Rivera	MWF	11:00 AM	11:50 AM	DALL 120	2012: CA1 2016: CA, WRIT	CA, CAC, W
2390	008	Intro to Creative Writing: The Triggering Town	Rivera	MWF	12:00 PM	12:50 PM	DALL 137	2012: CA1 2016: CA, WRIT	CA, CAC, W
3345	001	Transatlantic Encounters II: Stories of Slavery & Freedom	Shields	MWF	12:00 PM	12:50 PM	DALL 156	2012: CA2 2016: HFA
4360	001	Studies in Modern and Contemporary American Lit: Literature of the US Southwest	Sae-Saue	MWF	12:00 PM	12:50 PM	DALL 153	2012: CA2 2016: HFA
7350	001	Seminar in American Literature: Print Culture in the Atlantic World	Cassedy	F	12:00 PM	2:50 PM	DALL 120
2302	001	Business Writing: Writing for Success in the Workplace, Business and Beyond	Dickson-Carr, C.	TR	12:30 PM	1:50 PM	HYER 106	2016: OC, W, IL	W
2311	004	Poetry: Life Between the Lines	Wuest	TR	12:30 PM	1:50 PM	DALL 101	2012: CA2 2016: LL	LAI, W
2390	003	Intro to Creative Writing	Smith	TR	12:30 PM	1:50 PM	DALL 105	2012: CA1 2016: CA, W	CA, CAC, W
3318	001	Literature as Data	Wilson	TR	12:30 PM	1:50 PM	DALL 138	2016: LL, TM, W	LAI, W
2313	001	Intro to Drama: (En)Gendering Representation	Mennella	MWF	1:00 PM	1:50 PM	DALL 157	2012: CA1 2016: LL	LAI, W
3390	001	Creative Writing Workshop: Totally Epic Poetry	Condon	MWF	1:00 PM	1:50 PM	ACSH 225	2012: CA2 2016: HFA, W	W
2315	001	Intro to Literary Study: Pomp and Circumstantial Evidence	Dickson-Carr, D.	MWF	2:00 PM	2:50 PM	DALL 157	2012: CA2 2016: CA	LAI, W
1380	001	Introduction to Literature: Monsters and Magic	Shields	MWF	2:00 PM	2:50 PM	DALL 306	2012: CA1 2016: CA	LAI
3363	001H	Chicana/Chicano Literature: The Cultural Politics of Race and Ethnicity	Sae-Saue	MWF	2:00 PM	2:50 PM	DALL 156	2012: CA2 2016: HFA	LAI, HD, W
2302	002	Business Writing: Writing for Success in the Workplace, Business and Beyond	Dickson-Carr, C.	TR	2:00 PM	3:20 PM	HYER 106	2016: IL, OC, W	W
2311	002	Poetry: Serious Word Games	Bozorth	TR	2:00 PM	3:20 PM	ACSH 225	2012: CA2 2016: LL, WRIT	LAI, W
2315	003	Intro to Literary Studies: How to Read Deeply	Hermes	TR	2:00 PM	3:20 PM	DALL 157	2012: CA2 2016: CA	LAI, W
2390	001	Intro to Creative Writing: Poetry Unleashed	Johnson	M	2:00 PM	4:50 PM	DALL 137	2012: CA1 2016:CA, W	CA, CAC, W
2390	004	Intro to Creative Writing: Them Changes \| Transformation as Creative Engine	Debris	R	2:00 PM	4:50 PM	DALL 138	2012: CA1 2016: CA, WRIT	CA, CAC, W
3362	001	African American Literature: Introduction to African American Literature	Donkor	TR	2:00 PM	3:20 PM	DLSB 132	2012: CA2 2016: HFA, HD, W	LAI, HD, W
6310	001	Advanced Graduate Studies	Moss	R	2:00 PM	4:50 PM	DALL 137
6330	001	Early Modern British Literature: The Art of Memory	Wilson	T	2:00 PM	4:50 PM	DALL 137
7311	001	Seminar in Literary Theory: Narratology and Narrative Theory	González	W	2:00 PM	4:50 PM	DALL 138
7340	001	Seminar in British Literature: The New Enlightenment	Sudan	M	2:00 PM	4:50 PM	DALL 138
1363	001	Myths of the American West	Levy	TR	3:30 PM	4:50 PM	DALL 306	2012: CA1, HC1 2016:CA, HC	LAI, HD
2315	002	Intro to Literary Study: Sin and Sexuality	Brooks	TR	3:30 PM	4:50 PM	DALL 120	2012: CA2 2016: CA	LAI, W

Fall 2025

ENGL 1330-001—World of Shakespeare
MWF 1:00-1:50. Dallas Hall 306. Moss. 2012: CA1 2016: LL CC: LAI

Time to (re-)introduce yourself to our language’s greatest writer. In this course, you will meet Shakespeare’s princes, tyrants, heroes, villains, saints, sinners, lovers, losers, drunkards, clowns, outcasts, fairies, witches, and monsters. You’ll watch and listen as they love, woo, kiss, charm, hate, curse, mock, fool, sing to, dance with, get drunk with, sleep with, fight with, murder, and haunt each other. You will visit Renaissance England, a place and time as strange, troubled, exciting, delightful, fearful, thoughtful, prejudiced, political, magical, bloody, sexy, and confused as your own. You will read poetry you will never forget.

Our introductory survey will read 6 plays covering all of the major Shakespearean genres—comedy, tragedy, history, and romance—as well as a dozen sonnets. Coursework includes frequent short quizzes, midterm and final exams, four posts to a discussion board, and a recitation. No papers.

ENGL 1330 satisfies the Literary Analysis and Interpretation requirement for the Common Curriculum and counts toward the English major and minor.

ENGL 1363-001—Myths of the American West
TTh 11:00-11:50. Dallas Hall 306. Levy. 2012: CA1, HC1 2016: CA, HC CC: LAI, HD

Texts and films include: Wister, The Virginian; Austin, The Land of Little Rain; Proulx, Brokeback Mountain; Everett, God’s Country; Viramontes, Under the Feet of Jesus; Portis, True Grit; Ford, The Searchers; Hawks, Red River and others.

Assignments: Quizzes, Midterm and Final exam.

ENGL 2302-001—Business Writing
TTh 12:30-1:50. Dallas Hall 153. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written.

Text: Kolin, Philip C. Successful Writing at Work, 12th ed.

ENGL 2302-002— Business Writing
TTh 2:00-3:20. Dallas Hall 153. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written.

Text: Kolin, Philip C. Successful Writing at Work, 12th ed.

ENGL 2303-001—Ethical Leadership and Language of Influence: Balancing Professionalism with Ethical Communication
TTh 3:30-4:20. TBC. Dickson-Carr, Carol. CC: CIE

This course incorporates active learning, requiring students to engage with case studies, leadership simulations, and public advocacy writing. Please note that this course does not count toward requirements for the English major, and laptops are required. Writing assignments include rhetorical analyses, ethical argument essays, leadership narratives, business and civic communications, and a final persuasive writing project.

ENGL 2311-001H—Poetry: Finding the Greatest Inventors
TTh 8:00-9:20. Dallas Hall 101. Wilson. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

What does it mean to invent something? To “be creative”? In classical rhetoric, the first part of the creative process was called “invention” which derives from the Latin word meaning “to find something” - - in this course, we’ll be encountering our poets as they “invent” their poems, catching them mid-flight during their writing processes to understand how and why they crafted their words into never-before-seen shapes and ideas. Today the word “inventors” conjures images of scientists in laboratories or computer scientists writing mind-bending code, but in this course we’ll be seeing how poets, too, play a crucial role in inventing our universe, giving us new ways of seeing, imagining, and interacting with our world.

From epic tales from ancient worlds to Instagram poets reimagining the relationship which poetry can forge between words and images, war poets whose words changed the course of history, songwriters creating new antiheroes and poets at the start of the scientific revolution experimenting with new empirical knowledge in verse, we will encounter a whole world of inventors imagining and creating beautiful, bewitching, challenging and sometimes confrontational words, and we will find new ways to interact with all of that creative output.

Poetry can sometimes seem bewildering or, indeed, purposefully abstruse and difficult – and it can be! But by understanding our poems as “inventions” that are created with specific technical tools and techniques, and learning how to identify those tools and techniques and to talk about them, over the course of the semester we will become comfortable and familiar with our poets and the things they have invented for us – we will get to know these inventors, to understand and appreciate their ingenuity and their methods and to revel in the pleasure that great poetry (or sometimes even bad poetry!) can bring.

Today’s inventors live largely in the digital environment, so to add in some workplace skills we will be creating an exhibition about “Inventing Poetry”. I look forward to finding the inventors with you this semester (that means learning to read lots of interesting poems with you!).

ENGL 2311-002—Poetry: Contemporary American Poets
MWF 10:00-10:50. Dallas Hall 120. Rivera. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

Most students in the United States have traditionally encountered poetry as fixed forms or works by long-established writers within the American literary canon. However, contemporary American poetry is an ever-expanding field, embracing voices from the margins, poets within academia, and workaday journey poets who challenge conventions of style, form, and content. These poetic efforts engage in a call-and-response dialogue that redefines notions of inclusivity—an evolution that some find unsettling, yet necessary. In this course, we will interrogate the shifting landscape of American poetry by closely annotating, reading, discussing, and debating its merits and failures. We will develop a shared critical vocabulary to engage deeply with the work of poets reshaping the field. As we immerse ourselves in contemporary American poetry's dynamic and unending font, we will attempt a radical reimagining of what poetry is and can be. Our primary text, Autumn House of Contemporary Poetry, edited by A. Polin and Michael Waters, will serve as a foundation for these explorations. Coursework includes four quizzes, twelve analytical writer responses, four technical presentations, and a substantially revised portfolio, all designed to refine your analytical skills and expand your understanding of poetry’s role in capturing the complexities of the human experience.

ENGL 2311-003—Poetry: A Poet-Guided Tour
MWF 9:00-9:50. Annette Caldwell Simmons Hall 225. Moss. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

In this course, the poets themselves guide us through the formal elements and literary-historical evolution of English and American poetry. During the first half of the semester, each week will emphasize a different technical or generic aspect of poetry, focusing on a representative poet in each case. We will learn rhythm with William Blake, rhyme with Emily Dickinson, sonnet-form with William Shakespeare, persona with Langston Hughes, free verse with Walt Whitman and Allen Ginsberg. The second half explores perennial themes: poets addressing and questioning God; poets protesting social injustice; poets in love; poets struggling with age and loss; poets pondering nature, art, and poetry itself. Guest speakers include John Donne, Aphra Behn, John Keats, Christina Rossetti, Robert Frost, W.H. Auden, Elizabeth Bishop, Sylvia Plath, Gwendolyn Brooks, Yusef Komunyakaa, Seamus Heaney, and many more. Who knew there were so many great poets? Come meet them.

Course requirements: two papers (one short, one less short), regular posts to an online discussion board, midterm exam, final exam, brief recitation, and the dreaded-at-first-later-beloved creative exercise.

Course text: The Norton Anthology of Poetry, 6th edition.

ENGL 2311 satisfies the Literary Analysis and Interpretation and Writing proficiency requirement for the Common Curriculum, and is a Gateway course for the English major and minor.

ENGL 2311-004—Poetry: The Word Distillery: Sipping Poems
TTh 12:30-1:50. Dallas Hall 156. Brownderville. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

Life goes down in sips and swigs of language, and poets, being the best distillers around, serve words that quicken our sense of wonder and play and meaning. Unlike some other inebriants, poetry actually improves our thinking—critical thinking, sure, but that’s not the best of the buzz: when we open ourselves to poems, we get better at beautiful thinking and thereby turn our minds into amazing places to live. That’s what this course is really about. We’ll visit the imaginary distillery together, enjoy the liquor of language, and try to figure out how the magic is made and why we crave it. Course requirements: one short paper, one longer paper, one creative exercise, one recitation, regular participation, midterm, and final. Course text: packet assembled by the instructor including poems from the medieval period to the present.

ENGL 2312-001— Fiction: The Global Novel
MWF 1:00-1:50. Clements Hall 126. Hermes. 2012: CA2, OC, W 2016: LL, OC, W CC: LAI, W

This course will consider fiction that reflects and responds to the increasing interconnectedness of our globalized world—stories and novels written about, from, and across places outside the U.S. and Britain, including South and Southeast Asia, sub-Saharan Africa, and the Caribbean. How do writers of global literature balance precise, local specificity with the imperative to connect to a “universal” audience? What is the work’s relation to a shared cosmopolitan ethos? To recent anti-globalist movements? What do terms like globalization, cosmopolitanism, postcolonialism, and world literature mean in the first place?

With these texts and concepts as our foundation for discussion, we will build a set of tools for analyzing and writing about literature, including close reading, awareness of genre, and familiarity with important elements of fiction. We will think deeply about not just what texts say, but how they say it. Finally, reading these works of fiction will help us see our contemporary world in new ways, and better understand our place in it. Readings may include Jean Rhys, Teju Cole, Mohsin Hamid, Han Kang, and Pitchaya Sudbanthad.

ENGL 2312-002— Fiction: The Future is ~~Clear~~ Queer
MWF 12:00-12:50. Dallas Hall 156. Shaughnessy. 2012: CA2, W 2016: LL, W CC: LAI, W

This course explores the intersection of queer storytelling and speculative fiction, looking at genres such as sci-fi, horror, and fantasy across narrative mediums such as prose fiction, comic books, film, and television. Through the lens of queer and speculative authors, this class examines how their narratives challenge the present, imagine bold futures, and reframe history. Together, we’ll discover how queer narratives push the boundaries of what’s possible, offering fresh perspectives that reshape how we define queerness within the context of contemporary American society and how we read speculative fiction.

Possible texts: Alison Bechdel, Fun Home; N.K. Jemisin and Jamal Campbell, Far Sector; Christopher Isherwood, A Single Man;Barry Jenkins, Moonlight; Carmen Maria Machado, In the Dream House;Annie Proulx, Brokeback Mountain;Ridley Scott, Blade Runner; Ocean Vuong, On Earth We’re Briefly Gorgeous; selected episodes of Watchmen, Pose, and RuPaul’s Drag Race.

Likely assignments: two short papers, a final project, and a final exam.

ENGL 2312-003— Fiction: The Gothic Novel
TTh 12:30-1:50. Dallas Hall 105. Sudan. 2012: CA2, OC, W 2016: LL, OC, W CC: LAI, W

Gothic novels were wildly popular in nineteenth-century Britain. Starting with Horace Walpole’s The Castle of Otranto, published in 1764, and continuing almost unabated until about 1820, the Gothic novel, characterized by gloomy landscapes, graveyards, secrets, ghosts, damsels in distress, mysterious heroes, bleeding nuns, and the like, became the most eagerly consumed of its genre. Not necessarily restricted by gender—almost as many (and arguably more) women published gothic novels as men—these novels represent not only the taste of the literate public but also reflect with an uncanny exactitude the social and cultural milieu of the late-eighteenth through late-nineteenth centuries. We will explore these contexts and, in the process, will learn about the process of textual and cultural analysis.

ENGL 2312-004— Fiction: The Manic Pixie Dream Girl
MW 3:00-4:20. Dallas Hall 120. Dinniene. 2012: CA2, OC, W 2016: LL, OC, W CC: LAI, W

Although film critic Nathan Rabin coined the term “manic pixie dream girl” in 2007, this stock character and her permutations have seemingly been around for much longer. Quirky, cute, and a little anxiety-inducing, the manic pixie dream girl violates just enough social norms to attract and transform her straight-laced, cynical male beau. This course will examine literary and filmic representations and refutations of the manic pixie dream girl, considering the ways that this figure might affirm (or resist) whiteness, binary gender, and neuronormativity. We will supplement our fictional readings and viewings, which include Ernest Hemingway’s The Sun Also Rises, Toni Morrison’s Sula, Chuck Palahnuik’s Fight Club, and Jon Favreau’s film, Elf, with scholarly arguments from the fields of fat studies, feminist film theory, and disability studies. Some questions we will consider: what does this trope really do? How might we situate her alongside concepts like the “pick-me girl” and internalized misogyny? Is this dream girl nothing but a sexist fantasy, or do we still have something to learn from her?

Assignments to include a collaborative podcast episode, several short papers, and a final exam.

ENGL 2312-006— Fiction: Ghost Stories
MWF 10:00-10:50. Dallas Hall 138. Shields. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

How do we tell stories about feelings or experiences we don’t fully understand? This class will examine how the ghost story emerged as a genre for addressing both dramatic social changes and deeply personal trauma. We will survey a range of short stories written between the Victorian period and our contemporary moment by authors including Margaret Oliphant, Charles Dickens, Viet Thanh Nguyen, and Carmen Maria Machado before turning to three novels: Charlotte Bronte’s Jane Eyre, Toni Morrison’s Beloved, and Sarah Waters’ The Little Stranger.

Students will build on short, informal response papers to develop three 4-5-page essays.

ENGL 2312-007— Fiction: Going Native
TTh 3:30-4:20. Dallas Hall 101. Cassedy. 2012: CA2, W 2016: LL, W CC: LAI, W

This course is about two related narratives that have proven very popular over the past 300 years: the narrative of being taken captive, and the narrative of “going native.” Stories along these lines have taken many different forms, including stories of white people abducted by Indians, women imprisoned by nefarious men, free people kidnapped into slavery, and sailors stranded in strange lands and waters. Some of those captives resist captivity. Others embrace it, “going native” and finding that their solitude or captivity allowed them to access parts of themselves that their home societies do not.

Readings: Defoe, Robinson Crusoe; Swift, Gulliver’s Travels; Winkfield, The Female American; Twain, Huckleberry Finn; Thoreau, Walden; possible others TBA.

Other assignments: Three essays and a final exam.

ENGL 2315-001—Introduction to Literary Studies: Cities and the City
MWF 11:00-11:50. Dedman Life Science Building 132. Bozorth. 2012: CA2, W 2016: CA, W CC: LAI, W

We’ll look at drama, fiction, and poetry from Shakespeare’s time to the present in which a city—and the idea of a city—is central: Renaissance Venice, London and New York in the 19^th and 20^th centuries, and Los Angeles and San Francisco in the 1960s, among others. While learning the basics of literary analysis of fiction, poetry, and plays, we’ll explore how cities represent places to make (or lose) a fortune, to find or to lose yourself; places that signify the greatness—or decline—of national ideals; and places where the meaning of “citizenship” is explored and contested.

Texts: Shakespeare’s The Merchant of Venice, Virginia Woolf’s Mrs. Dalloway, Thomas Pynchon’s The Crying of Lot 49; selected poetry by William Blake, Walt Whitman, T.S. Eliot, Frank O’Hara, Adrienne Rich, Lorna Dee Cervantes, and others.

Short response papers and one or two longer papers totaling 12-15 pages of analytical writing; midterm and final exam; leading class discussion.

ENGL 2315-003—Introduction to Literary Studies: Sin and Sexuality
MWF 2:00-2:50. Fondren Science Center 157. Brooks. 2012: CA2, W 2016: CA, W CC: LAI, W

What does literature tell us about sin and sexuality? Are the two terms necessarily intertwined? Can a sin be secular? This Intro to Literary Studies class will look at understandings of sin and sexuality in the Western world across centuries. We will examine the ways that poets, playwrights, and prose writers (fiction and nonfiction) talk about sexuality through time using the methods of contemporary literary studies. We will also look at TV, popular music, and film to expand the language and terminology of literary criticism to media. In short—any “text” can be read. This course gives you an introduction to the tools of reading like an English major or minor. Beyond the major, though, the tools of literary analysis apply to texts in all aspects of life, even watching Love Island!

Possible texts include selections from Shakespeare’s sonnets and Milton’s Paradise Lost, Mrs. Warren’s Profession by G.B. Shaw, Giovanni’s Room by James Baldwin, Sexing the Cherry by Jeanette Winterson, The Five by Hallie Rubenhold, poetry selections, short story selections, as well as selected music, TV, and films.

Assignments: two short papers; a presentation; reading responses; midterm and final exam

ENGL 2315-004—Introduction to Literary Studies: Home Sweat Home: Labor and Place in America
MWF 8:00-8:50. Dallas Hall 102. Hook. 2012: CA2, W 2016: CA, W CC: LAI, W

If you could totally sever your work life from your home life, would you? Contemporary American work ethics seem to suggest that this is what we should aspire to. But historically, this has not always been the case; in fact, in some contexts just the opposite is true. Even today, we are witnessing a shift in workplace values as more people are now permitted to work from home. This course focuses on American literary texts that explore ideas of home, and particularly the ways in which our imagination of home is so often shaped by the kind of work that we do. Over the course of the semester, we will consider how contemporary and historical notions of class, race, and gender work to entangle our ideas about work and home, and how novelists, poets, and playwrights have depicted those entanglements throughout much of American literary history. More specifically, we will consider the variety of literary tools and tropes that writers have at their disposal in the creation of such depictions, and the poetic force that these tools bring to bear upon our imaginations.

Possible texts: Crevecoeur, Letters from an American Farmer;Hawthorne, The House of the Seven Gables; Miller, Death of a Salesman; Butler, Kindred; Ma, Severance.

Other assignments: weekly quizzes, two short essays, midterm, and final exam.

ENGL 2318-001—Literature & Digital Humanities: An Introduction
TTh 11:00-12:20. Protho Hall 205. Wilson. 2012: W 2016: LL, TM, W CC: LAI, W

What are digital humanities? What is the relationship between technology and the humanities? How can technology advance our understanding of language, literature, and culture? These are some of the large-scale questions that we will explore in this course. We rely on technologies such as digital maps, e-books, search engines, and databases every day, and understanding them and being able to work with them is a vital part of preparing for professional life. This course offers a hands-on introduction to using these technologies in academic research to analyze literature, and as well as enhancing your skills in academic work, the skills you learn are of immediate value to employers in the job market.

There have been major advances in the application of digital tools to analyze literature, resulting in the creation of online resources for literary study such as the Milton Reading Room and the Walt Whitman Archive, as well as new research into large-scale patterns of language, ideas, sounds, and images within huge bodies of literary texts. In this course you will have the opportunity to learn the technologies that make this literary scholarship possible, from digitization to creating metadata, making digital maps of literary works, and text mining novels to detect patterns of thoughts, words, phrases, sounds, ideas, and more. We will also think about the theoretical implications of using digital technologies to analyze, advance, and promote the humanities. What are we to make of these advances? What kinds of intellectual questions do they open up? What does it mean to be a digital humanist?

ENGL 2390-001—Introduction to Creative Writing
M 2:00-4:50. Dallas Hall 106. Johnson. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

To be confirmed – please check the Department of English website for a course description.

ENGL 2390-002—Introduction to Creative Writing
TTh 9:30-10:50. Dallas Hall 102. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

This workshop-heavy course focuses on the craft, structure, and thematic elements of developing short stories. Students will create and critique short literary narratives focused on the elements of fiction. By the end of the semester, students will complete group and individual short stories and a portfolio.

ENGL 2390-003—Introduction to Creative Writing: The Creative Act
MWF 11:00-11:50. Dallas Hall 120. Rivera. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Poetry is an act of attunement—a process of listening, refining, and allowing meaning to emerge through the resonant interplay of image, language, and silence. This course, inspired by Rick Rubin’s The Creative Act: A Way of Being, invites students to explore poetry as both an intuitive and intellectual practice. Through close readings of contemporary poets, workshops, and digital annotations, students will work toward poems that evoke rather than explain, creating space for

discovery within their work. Students will build a portfolio of original poems throughout the semester, honing their craft through iterative revision and critical discussion. Maintaining a craft journal—a reflective tool for tracking creative evolution—will be essential in navigating questions of voice, identity, and the poetic imagination. Workshops will encourage risk-taking and experimentation, demonstrating how a single image can unfold into a fully realized poem through instinct, introspection, and technique. Students will engage deeply with poetic form and language, sharpening their ability to "show, not tell" while expanding their creative range. Core texts include The New Census: An Anthology of Contemporary American Poetry and The Creative Act. Assignments: at least ten original poems, ten critical journal responses, five campus event analyses, two digital humanities presentations, a craft journal, and a substantially revised portfolio with an artist statement.

ENGL 2390-004—Introduction to Creative Writing: The Moves Writers Make
MWF 11:00-11:50. Dallas Hall 138. Hermes, R., 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

― Anton Chekhov

This course will explore the fundamentals of creative writing in poetry and fiction. Together, we’ll identify the “moves” successful pieces of writing make and practice incorporating them in our own short stories and poems. We’ll also discuss your original writing in a whole-class review commonly referred to as a workshop. Students will benefit from these conversations as both writer and reader, because each story or poem will present challenges that all of us face in our work. With engaged participation, we’ll sharpen our creative, critical, and communication skills.

ENGL 2390-005—Introduction to Creative Writing
TTh 12:30-1:50. Dallas Hall 138. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-006H—Introduction to Creative Writing: Notice How You Notice – Poetry Workshop
TTh 9:30-10:50. Dallas Hall 106. Condon. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Writing poetry renders our attention to the world more acute. This poetry workshop will teach you to notice how you notice the world, as well as the essential craft tools needed to translate your perceptions to the page. To learn these tools, we will read and discuss the work of poets who have mastered them, focusing on how their formal decisions communicate something fundamental about the ways we perceive our world.

Course assignments include creative in-class and homework assignments, reading responses, and a final portfolio. All reading supplied on Canvas.

ENGL 2390-007—Introduction to Creative Writing: The Moves Writers Make
MWF 9:00-9:50. Dallas Hall 120. Hermes. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

― Anton Chekhov

ENGL 2390-008—Introduction to Creative Writing
TTh 11:00-12:20. Prothro Hall 205. Debris. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

To be confirmed – please check the Department of English website for a course description.

ENGL 3310-001—Research and Critical Writing for Literary Studies
TTh 11:00-12:20. Fondren Science Center 157. Sae-Saue.

Note to English majors: this course is intended to prepare you for 4000-level courses. Please do not put this off if you have taken your 2000s and the time works for you.

This course introduces students to some of the central debates in cultural and literary studies through foundational texts that formulate our understanding of research methods. It is geared towards developing skills of close-reading and critical writing. Students will learn how to write and speak about theoretical texts and how to recognize the theoretical assumptions that underlie acts of interpretation. Theoretical approaches include structuralism, poststructuralism, Marxism, psychoanalysis, feminist and queer theory, postcolonial theory, and affect theory. We will ground our analyses within particular literary, visual, and theoretical works, learning how to read cultural production as theory, rather than merely applying theory to selected texts.

ENGL 3331-001— British Literary History I (Chaucer to Pope): “Ah, Who Can Love the Worker of Her Smart?”
TR 9:30-10:50. Mennella. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

Although canonical, male authors have often been given the last and the only word in this survey, this course will give a vibrant voice to women, pairing authors such as William Shakespeare and Aphra Behn or Alexander Pope and Lady Mary Wortley Montagu. This course surveys major authors writing between the Middle Ages and the Enlightenment with a serious consideration of transformative forces shaping literature and drama of the Renaissance/Early Modern period. Students who take this course will encounter memorable characters demonstrating chivalry, seeking refuge from plague, achieving heroic fame, donning elaborate costumes, justifying the ways of God, and infiltrating boudoirs.

Assignments include weekly discussion posts, brief creative exercises, a critical essay, and exams.

ENGL 3346-001—American Literary History I: This is America
TTh 11:00-12:20. Dallas Hall 152. Cassedy. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

“America”: it’s not just a place, but also a set of concepts and ideas. The place has always been here; the concepts and ideas had to be invented. This course is an introduction to the texts and stories in which the meanings of America and Americans were invented, from the first European contact to the Civil War. Readings include texts by Benjamin Franklin, Susanna Rowson, Frederick Douglass, Edgar Allan Poe, Phyllis Wheatley, Nathaniel Hawthorne, Herman Melville, Harriet Beecher Stowe, Horatio Alger, Emily Dickinson, and Walt Whitman. Three essays, a midterm, and a final.

ENGL 3347-001—Topics in American Literature in the Age of Revolutions: Déjà vu or Something New? Permutations and Innovations of the Slave Narrative
MWF 11:00-11:50. Dallas Hall 357. Donkor. 2012: CA2, W 2016: HFA, W CC: LAI, W

As both autobiography and a tool in the fight for abolition, slave narratives of the eighteenth and nineteenth centuries detail life under enslavement, chronicle the journey to freedom, and provide a commentary on the system of slavery itself. Twentieth century neo-slave narratives and cinematic representations widen that window by revisiting established elements of the slave narrative, with a greater attention to psychic trauma and the afterlives of slavery. Twenty-first century representations reveal the slave narrative resurrected in a host of new forms, ranging from the graphic novel to musical expressions, all of which present an even more complex view of this history. This course will investigate how narratives of enslavement have been rewritten and reimagined across centuries in their journey through both first-hand experience and fantasy, while attending to the following questions: Why does the story of enslavement continue to be retold and how does each iteration/imagining render the slave narrative anew? How do these narratives speak to audiences still struggling to make sense of this historical moment, especially as they contend with slavery’s afterlives? How do/must our critical reading practices shift as we study these narratives across genres?

Proposed course texts include, but are not limited to the following examples: William Still’s The Underground Railroad, Sherley Anne Williams’s Dessa Rose, and Damian Duffy’s Kindred: A Graphic Novel Adaptation. Other course media include, but are not limited to the following: Clipping’s The Deep (a hip-hop, sci-fi song), Underground (streaming series), and artist Dread Scott’s Slave Rebellion Reenactment.

Assignments: PechaKucha presentation, 2 exams, 2 quizzes, 1 course mini paper, 1 course paper.

ENGL 3355-001—Transatlantic Encounters III: Possible Futures: Feminist Theory and Speculative Fiction.
TTh 9:30-10:50. Dedman Life Science Building 132. Boswell. 2012: CA2 2016: HFA CC: LAI, HD, W

Examines a variety of speculative texts alongside works of feminist theory and explores the underlying systems that have shaped the concepts of sex, gender, race, and other categories. By making our world and assumptions strange to us, these speculative fictions offer a testing ground for many ideas in feminist theory.

ENGL 3365-001—Jewish American Literature
TTh 2:00-3:20. Dedman Life Science Building 132. Levy. 2012: HD, W 2016: LL, KNOW, HD, W CC: LAI, HD, W

Through close readings of literature, non-fiction, poetry and other cultural forms (music, comedy, film, etc.) this course examines the development of Jewish American culture from the earliest days of the republic to the present. Special emphasis is placed on questions of “otherness,” assimilation, anti-Semitism, Jewish-African American relations, and issues facing American Jewry in the twenty-first century.

Readings include, The Melting Pot (Zangwill), Yekl (Cahan), Tell Me a Riddle (Olsen), Goodbye, Columbus (Roth), Films include, The Jazz Singer, Gentleman’s Agreement, A Real Pain, etc.

In addition to some in-class assignments, and a final exam, students will have the choice of writing 3 short papers (1000-1,250 words) or a longer research/analysis paper on a topic of their choosing.

ENGL 3377-001—LGBTQ+ Writing After Stonewall: Finding Your Tribe
MWF 2:00-2:50. Dallas Hall 152. Bozorth. 2012: CA2, W 2016: HFA, W

The June 1969 riots outside the Stonewall Inn in Greenwich Village mark a key moment in the birth of the modern movement for LGBTQ+ rights. This course explores literary texts from before and after Stonewall, with an emphasis on how LGBTQ+ people have used writing for “finding their tribe”: discovering, exploring, and taking ownership of their gender and sexual identities. Starting with Walt Whitman, Oscar Wilde, Gertrude Stein, and W.H. Auden, we will see how writers pushed back against censorship and cultural repression from the late 19^th to the mid 20^th century. We’ll think about the roles of language and literary form—poetry, drama, fiction—for this cultural history in the decades since Stonewall, with particular attention to the power of coming-of-age stories and how intersections between sexuality, gender, and race. We’ll also see how LGBTQ+ literature responded to the threat of the AIDS crisis in the 1980s and 90s, whose legacy remains.

Probable texts will also include poetry by Allen Ginsberg, Audre Lorde, and Adrienne Rich; novels like E.M. Forster’s Maurice, Rita Mae Brown’s Rubyfruit Jungle, Randall Kenan’s A Visitation of Sprits, and Jeanette Winterson’s Frankissstein; Alison Bechdel’s graphic memoir Fun Home; Tony Kushner’s two-part drama Angels in America.

Requirements: collaborating with other students to lead discussion, 12-15 pages of graded writing, final exam.

ENGL 3390-001—Creative Writing Workshop: You Are What Your Read: Poetry Workshop
TTh 12:30-1:50. Dallas Hall 120. Condon. 2012: CA2, W 2016: HFA, W CC: W

When we read poetry by other people, we consume and internalize not only their ideas but also their methods. In this sense even history’s greatest poets were apprentices all their lives, constantly learning from the aesthetic choices of other writers. We will continue our own apprenticeship in this advanced poetry workshop by cultivating a daily reading and writing practice. At the center of our practice is the day book, a large sketchbook that modernist writers often used for their daily musings, doodles, and drafts. We will use our daybooks in much the same way, with the added step of transcribing and then imitating a poem by master contemporary poets.

Course assignments include creative in-class and homework assignments—including day book entries—and a final portfolio. All reading supplied on Canvas.

ENGL 3390-002— Creative Writing Workshop: The Magic Ink Club: Poetry Workshop
W 2:00-4:50. Dallas Hall 343. Brownderville. 2012: CA2, W 2016: HFA, W CC: W

Describing the writing process, Barry Hannah once said, “You engage a facility that is close to magic when you’re good … I’m courting that.” And Wallace Stevens wrote, “One must read poetry with one’s nerves.” A poem is not an argument with a gist you can paraphrase, although arguments occur in poems. A poem is not a string of lexical meanings, though studying definitions and etymologies of words can be crucial to good reading. Take a moment to imagine the intense engagement suggested by the quotes above from Hannah and Stevens. You are here, I hope, to court that.

In this workshop-intensive course, students will write, revise, and analyze poems. Each student will accumulate ideas in a journal and will write ten to fifteen pages of poetry. Readings will include three to five volumes of verse (e.g. A Church in the Plains by Rachel Rinehart and Actual Air by David Berman). This course will invite students to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary poetry.

ENGL 4323-001—Chaucer: Fun and Games in Chaucer’s Canterbury Tales
TTh 11:00-12:20. Dallas Hall 120. Wheeler. 2012: IL, OC 2016: IL, OC

Dead. White. Men. Why would any of us want to spend time reading such guys? In this course, we join the FUN of Chaucer and his literary GAMES in the Canterbury Tales. Let’s figure out together how older poetry sparkles and can enthrall us. Games can be exciting as well as cruelly competitive. So can storytelling. Think about making stories with Chaucer rattling around in our heads and hearts.

Reading: The Norton Chaucer and readings in earlier texts, esp. Ovid and Vergil.

Assignments: Weekly structured reading comments, in-class presentations, mid-term and succinct final paper.

ENGL 4332-001—Studies in Early Modern British Literature: Sex and the City

TTh 2:00-3:20. Dallas Hall 152. Sudan. 2012: IL, OC 2016: IL, OC

In September of 1666, a few short years after the restoration of Charles II to the throne in England, the Great Fire destroyed four-fifths of the commercial and topographical center of London in three days, and, in the process, destroyed everything that had represented London to Londoners. The social, historical, commercial, cultural, and physical city that had been in place for them was simply gone, and the task of rebuilding, re-imagining, and re-conceptualizing the “city” became the major task of Restoration London. Among the many tasks of social reconstruction Londoners had to face was the changing face of sexual identity: building the modern city on the ruins of the medieval city worked in tandem with building a modern sense of self, including a sexualized and gendered self, on older forms of social and national identity. Charles II, fresh from the French court in Paris, brought with him an entirely different concept of fashion, sense, sensibility, and sexual identity. This course examines the ways in which concepts of sexual—or, perhaps, more accurately, gendered—identities developed as ideologies alongside the architectural and topographical conception of urban life in England. And although the primary urban center was London, these identity positions also had some effect in shaping a sense of nationalism; certainly the concept of a rural identity and the invention of the countryside were contingent on notions of the city. Urbanity, in both senses of the word, is an idea that we will explore in various representations stretching from the late seventeenth-century Restoration drama to the Gothic novel of the late eighteenth century.

ENGL 4340-001—Romantic Writers: Was Jane Austen a Romantic?
MWF 1:00-1:50. Dallas Hall 152. Shields. 2012: IL, OC 2016: IL, OC

This class asks the question “was Jane Austen a Romantic?” The term “Romantic” has two meanings, both of which we’ll explore. On one hand, a Romantic is someone who believes in true love and happily-ever-after endings. On the other hand, it describes the writers active during Austen’s lifetime who believed that imagination, nature, and were central to human experience. To determine whether Austen was “Romantic” in either of these senses, we’ll read three of Austen’s novels—Sense and Sensibility, Pride and Prejudice, and Northanger Abbey—along with the poems and prose of Romantic-era writers including William Wordsworth, Percy Shelley, Mary Wollstonecraft, Edmund Burke, and Ann Radcliffe. We will also look at the afterlives of Austen’s novels as they have been adapted for film and TV to consider how they shape our current ideas about romance.

Assignments will include an oral presentation, a short (3-4-page) literary analysis, and a longer (8-10-page) research paper.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Black Speculative Fiction and Satire
TTh 2:00-3:20. Dallas Hall 157. Dickson-Carr, D., 2012: CA2 2016: HFA

ENGL 4397-001—Distinction Seminar
W 6:00-8:50. Dallas Hall 120. Caplan. 2012: CA2 2016: HFA

Open by invitation

This seminar is designed for students pursuing Distinction in English and serves as the foundation for developing your final project—whether a critical or creative work—to be completed in the spring semester. Your Distinction project will likely be the most ambitious and expansive endeavor of your undergraduate career, requiring significant planning, research, and revision.

In this course, you’ll engage with advanced research methods and project management strategies used by professional writers and scholars. Through frequent discussions, workshops, and peer feedback, you’ll refine your ideas and develop a comprehensive plan for your spring research and writing under the guidance of a faculty mentor. The syllabus will be partly shaped by the class, incorporating scholarship and creative works relevant to individual projects. By the end of the semester, you will have a clear roadmap for executing your Distinction project with confidence and purpose.

ENGL 6311-001—Survey of Literary Criticism and Theory
Th 2:00-4:50. Dallas Hall 138. Sae-Saue.

This course serves as an introductory survey of literary criticism and theory, with an emphasis on modern and contemporary ideas and critiques. Theoretical approaches include: structuralism, poststructuralism, Marxism, psychoanalysis, feminist and queer theory, postcolonial theory; critical race studies, and posthumanism. The purposes of the course are to provide the theoretical background necessary for understanding the discipline of literary study, and to provide students with an opportunity to engage in theorizing literary objects. The course will require regular critical responses analyzing both our theoretical materials and primary literary texts. Although this course is a reading survey, we will engage heavily in theoretical application and literary interpretation, mainly during the tail end of the course.

ENGL 6312-001—Teaching Practicum

F 12:00-2:50. Dallas Hall 120. Stephens.

English 6312 (Teaching Practicum) is a year-long course designed to prepare graduate students in English seeking a Ph.D. to teach first-year writing at the college level and, in a larger sense, to design, prepare for, and teach college English classes at any level. During the fall semester, in addition to all of the texts assigned on the WRTR 1312 syllabus, students will read and write critical responses to composition theory and the classroom. These texts will provide an overview of the history of rhetoric and methods for fostering critical thinking and writing. Students will also critically assess and review contemporary criticism of rhetorical pedagogy. As part of the practicum, students will be observed in their teaching roles at least twice during the semester.

ENGL 7340-001—Seminar in British Literature: The Lure of the Middle Ages
T 2:00-4:50. Dallas Hall 137. Wheeler.

The Middle Ages and its various literatures are alluring. Chivalry, romantic love, religious passion, tournaments and courtly life, monsters (their spillovers and repressions): all continue to fascinate readers, writers, and composers of new literary forms. How do these literatures of the past creep into our current aesthetic lives? What shapes and modes dominated medieval poetry and prose? We study some representative modes of medieval literature to penetrate its valences in its own time and in its postmedieval manifestations.

How are such representations culturally embedded and historically expressed? Have we continued to impress medieval notions of gender roles on subsequent literature—and if not, how have these changed? I remain captivated by medieval textual representations of emotions—especially passion, grief, and desire—in the context of some current theories of emotions that help us ponder expressions of (especially) male honor, shame, humiliation, and recuperation. You’ll find and share your own fascinations as you discern some historical, material, and aesthetic contexts of the works we bring to our collective meetings.

ENGL 7374-001—Problems in Literary History: How to Read a Poem

W 2:00-4:50. Dallas Hall 138. Caplan.

This class will teach students how to read poetry with scholarly expertise. It is designed for all graduate students, regardless of their familiarity with poetry. All should gain a deeper appreciation of poetry and the current scholarship about it. We also discuss how to teach poetry, with class sessions devoted to pedagogical technique and goals.

We will start by reading several recent poetry collections, including Ada Limón’s The Hurting Kind, Rowan Ricardo Phillips’s Silver, Jenny Molberg’s The Court of No Record, and Adrian Matejka’s The Big Smoke. Stephanie Burt’s Don't Read Poetry: A Book About How to Read Poems and Jahan Ramazani’s Poetry and Its Others: News, Prayer, Song, and the Dialogue of Genres will introduce us to the broader theoretical and critical conversation. Ben Lerner’s polemic, The Hatred of Poetry will deepen the argument.

Ada Limón, Rowan Ricardo Phillips, Jenny Molberg, Adrian Matejka, Ben Lerner, Stephanie Burt, and Jahan Ramazani will visit SMU for the second SMU Symposium on Poetic Form, when we will meet them in person and hear them discuss their work. We also will have a Zoom with several of the assigned scholars and poets. Each student will deliver a brief reception history of one of the assigned books, write a lesson plan to teach an assigned poem, participate in a mock conference, and write a final essay, which will expand the mock conference presentation.

ENGL 7376-001—Seminar: Special Topics: African American Print Culture
M 2:00-4:50. Dallas Hall 138. Donkor.

This course will explore the tradition of Black Print Culture in the United States during the long nineteenth century. We will cover the tradition broadly: from its overt political demands of abolition, African American citizenship, and voting rights; to its establishment of the early African American literary tradition and various forms of cultural expression and influence. This course encourages inquiry beyond questions of authorship and proposes more complex interrogations of readership, circulation, collaboration, dissemination, innovation, and representation. Our archival materials will be numerous and varied: ranging from African American newspapers, magazines, and almanacs to friendship albums, scrapbooks, and convention records. The nature of this course is deeply collaborative, meaning that you, the graduate students, will have a significant role in selecting and framing the material that we work with during the course.

ENGL 7376-002—Seminar: Special Topics: The Harlem Renaissance and Its Legacy
TR 11:00-12:20. Dallas Hall 105. Dickson-Carr, D..

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1330	001	World of Shakespeare: The Righteous and the Wicked	Moss	MWF	1:00 PM	1:50 PM	DALL 306	2012: CA1 2016: LL	LAI
1363	001	Myths of the American West	Levy	TR	11:00 AM	11:50 AM	DALL 306	2012: CA1, HC1 2016: CA, HC	LAI, HD
2302	001	Business Writing	Dickson-Carr, C.,	TR	12:30 PM	1:50 PM	DALL 153	2012: IL, OC, WRIT 2016: IL, OC, WRIT	W
2302	002	Business Writing	Dickson-Carr, C.,	TR	2:00 PM	3:20 PM	DALL 153	2012: IL, OC, WRIT 2016: IL, OC, WRIT	W
2303	001	Ethical Leadership and Language of Influence: Balancing Professionalism with Ethical Communication	Dickson-Carr, C.,	TR	3:30 PM	4:50 PM	TBC		CIE
2311	001H	Poetry: Finding the Greatest Inventors	Wilson	TR	8:00 AM	9:20 AM	DALL 101	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2311	002	Poetry: Contemporary American Poets	Rivera	MWF	10:00 AM	10:50 AM	DALL 120	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2311	003	Poetry: A Poet-Guided Tour	Moss	MWF	9:00 AM	9:50 AM	ACSH 225	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2311	004	Poetry: The Word Distillery: Sipping Poems	Brownderville	TR	12:30 PM	1:50 PM	DALL 156	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	001	Fiction: The Global Novel	Hermes	MWF	1:00 PM	1:50 PM	CLEM 126	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	002	Fiction: Queer Speculations	Shaughnessy	MWF	12:00 PM	12:50 PM	DALL 156	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2312	003	Fiction: The Gothic Novel	Sudan	TR	12:30 PM	1:50 PM	DALL 105	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	004	Fiction: The Manic Pixie Dream Girl	Dinnienne	MW	3:00 PM	4:20 PM	DALL 120	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	005	Fiction: American Short Fiction (1970-Present)	Rivera	MWF	1:00 PM	1:50 PM	DALL 138	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2312	006	Fiction: Ghost Stories	Shields	MWF	10:00 AM	10:50 AM	DALL 138	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	007	Fiction: Going Native	Cassedy	TR	3:30 PM	4:20 PM	DALL 101	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2315	001	Intro to Literary Studies: Cities and the City	Bozorth	MWF	11:00 AM	11:50 AM	DLSB 132	2012: CA2, WRIT 2016: CA, WRIT	LAI, W
2315	003	Intro to Literary Studies: Sin and Sexuality	Brooks	MWF	2:00 PM	2:50 PM	FOSC 157	2012: CA2, WRIT 2016: CA, WRIT	LAI, W
2315	004	Intro to Literary Studies: Home Sweat Home: Labor and Place in America	Hook	MWF	8:00 AM	8:50 AM	DALL 102	2012: CA2, WRIT 2016: CA, WRIT	LAI, W
2318	001	Literature & Digial Humanities: An Introduction	Wilson	TR	9:30 AM	10:50 AM	DALL 101	2012: WRIT 2016: LL, TM, WRIT	LAI, W
2390	001	Intro to Creative Writing	Johnson	M	2:00 PM	4:50 PM	DALL 106	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	002	Intro to Creative Writing	Smith	TR	9:30 AM	10:50 AM	DALL 102	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	003	Intro to Creative Writing: Poetry: Lyrical Gestures	Rivera	MWF	11:00 AM	11:50 AM	DALL 120	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	004	Intro to Creative Writing: The Moves Writers Make	Hermes	MWF	11:00 AM	11:50 AM	DALL 138	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	005	Intro to Creative Writing	Smith	TR	12:30 PM	1:50 PM	DALL 138	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	006	Intro to Creative Writing: Notice How You Notice - Poetry Workshop	Condon	TR	9:30 AM	10:50 AM	DALL 106	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	007	Intro to Creative Writing: The Moves Writers Make	Hermes	MWF	9:00 AM	9:50 AM	DALL 120	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	008	Intro to Creative Writing	Debris	TR	11:00 AM	12:20 PM	PRTH 205	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Sae-Saue	TR	11:00 AM	12:20 PM	FOSC 157
3331	001	British Literary History I-Chaucer to Pope: "Ah Who can Love the Worker of Her Smart?"	Menella	TR	9:30 AM	10:50 AM	DALL 156	2012: HC2, CA2, WRIT 2016: HSBS, HFA, WRIT	LAI, W
3346	001	American Literary History I: This is America	Cassedy	TR	11:00 AM	12:20 PM	DALL 152	2012: HC2, CA2, WRIT 2016: HSBS, HFA, WRIT	LAI, W
3347	001	Topics in American Literature in the Age of Revolutions: Déjà vu or Something New? Continuations, Permutations, and Innovations of the Slave Narrative	Donkor	MWF	11:00 AM	11:50 AM	DALL 357	2012: CA2, WRIT 2016: HFA, WRIT	LAI, W
3355	001	Transatlantic Encounters III: Possible Futures: Feminist Theory and Speculative Fiction	Boswell	TR	9:30 AM	10:50 AM	DLSB 132	2012: CA2 2016: HFA	LAI, W, HD
3365	001	Jewish American Literature	Levy	TR	2:00 PM	3:20 PM	DLSB 132	2012: HD, WRIT 2016: LL, KNOW, HD, WRIT	LAI, W, HD
3377	001	LGBTQ+ Writing After Stonewall: Finding Your Tribe	Bozorth	MWF	2:00 PM	2:50 PM	DALL 152	2012: CA2, HD, WRIT 2016: HFA, HD, WRIT	LAI, W, HD
3390	001	Creative Writing Workshop: You Are What You Read: Poetry Workshop	Condon	TR	12:30 PM	1:50 PM	DALL 120	2012: CA2, WRIT 2016: HFA, WRIT	W
3390	002	Creative Writing Workshop: The Magic Ink Club: A Poetry Workshop	Brownderville	W	2:00 PM	4:50 PM	DALL 343	2012: CA2, WRIT 2016: HFA, WRIT	W
4323	001	Chaucer: Fun and Games in Chaucer's Canterbury Tales	Wheeler	TR	11:00 AM	12:20 PM	DALL 120	2012: IL, OC 2016: IL, OC
4332	001	Studies in Early Modern British Literature: Sex and the City	Sudan	TR	2:00 PM	3:20 PM	DALL 152	2012: IL, OC 2016: IL, OC
4340	001	Romantic Writers	Shields	MWF	1:00 PM	1:50 PM	DALL 152	2012: IL, OC 2016: IL, OC
4360	001	Studies in Modern American Literature: Black Speculative Fiction and Satire	Dickson-Carr, D.,	TR	2:00 PM	3:20 PM	DALL 157	2012: CA2 2016: HFA
4397	001	Distinction Seminar	Caplan	W	6:00 PM	8:50 PM	DALL 120
6311	001	Survey of Literary Criticism and Theory	Sae-Saue	R	2:00 PM	4:50 PM	DALL 138
6312	001	Teaching Practicum	Stephens	F	12:00 PM	2:50 PM	DALL 120
7340	001	Seminar in British Literature: The Lure of the Middle Ages	Wheeler	T	2:00 PM	4:50 PM	DALL 137
7374	001	Problems in Literary History: How to Read a Poem	Caplan	W	2:00 PM	4:50 PM	DALL 138
7376	001	Special Topics: African American Print Culture	Donkor	M	2:00 PM	4:50 PM	DALL 138
7376	002	Seminar: Special Topics: The Harlem Renaissance and Its Legacy	Dickson-Carr., D.	TR	11:00 AM	12:20 PM	DALL 105

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
2311	001H	Poetry: Finding the Greatest Inventors	Wilson	TR	8:00 AM	9:20 AM	DALL 101	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2315	004	Intro to Literary Studies: Home Sweat Home: Labor and Place in America	Hook	MWF	8:00 AM	8:50 AM	DALL 102	2012: CA2, WRIT 2016: CA, WRIT	LAI, W
2311	003	Poetry: A Poet-Guided Tour	Moss	MWF	9:00 AM	9:50 AM	ACSH 225	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2390	007	Intro to Creative Writing: The Moves Writers Make	Hermes	MWF	9:00 AM	9:50 AM	DALL 120	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2318	001	Literature & Digial Humanities: An Introduction	Wilson	TR	9:30 AM	10:50 AM	DALL 101	2012: WRIT 2016: LL, TM, WRIT	LAI, W
2390	002	Intro to Creative Writing	Smith	TR	9:30 AM	10:50 AM	DALL 102	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	006	Intro to Creative Writing: Notice How You Notice - Poetry Workshop	Condon	TR	9:30 AM	10:50 AM	DALL 106	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
3331	001	British Literary History I-Chaucer to Pope: "Ah Who can Love the Worker of Her Smart?"	Menella	TR	9:30 AM	10:50 AM	DALL 156	2012: HC2, CA2, WRIT 2016: HSBS, HFA, WRIT	LAI, W
3355	001	Transatlantic Encounters III: Possible Futures: Feminist Theory and Speculative Fiction	Boswell	TR	9:30 AM	10:50 AM	DLSB 132	2012: CA2 2016: HFA	LAI, W, HD
2311	002	Poetry: Contemporary American Poets	Rivera	MWF	10:00 AM	10:50 AM	DALL 120	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	006	Fiction: Ghost Stories	Shields	MWF	10:00 AM	10:50 AM	DALL 138	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
1363	001	Myths of the American West	Levy	TR	11:00 AM	11:50 AM	DALL 306	2012: CA1, HC1 2016: CA, HC	LAI, HD
2315	001	Intro to Literary Studies: Cities and the City	Bozorth	MWF	11:00 AM	11:50 AM	DLSB 132	2012: CA2, WRIT 2016: CA, WRIT	LAI, W
2390	008	Intro to Creative Writing	Debris	TR	11:00 AM	12:20 PM	PRTH 205	2012: CA2, WRIT 2016: CA, WRIT	CA, CAC, W
2390	003	Intro to Creative Writing: Poetry: Lyrical Gestures	Rivera	MWF	11:00 AM	11:50 AM	DALL 120	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	004	Intro to Creative Writing: The Moves Writers Make	Hermes	MWF	11:00 AM	11:50 AM	DALL 138	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Sae-Saue	TR	11:00 AM	12:20 PM	FOSC 157
3346	001	American Literary History I: This is America	Cassedy	TR	11:00 AM	12:20 PM	DALL 152	2012: HC2, CA2, WRIT 2016: HSBS, HFA, WRIT	LAI, W
3347	001	Topics in American Literature in the Age of Revolutions: Déjà vu or Something New? Continuations, Permutations, and Innovations of the Slave Narrative	Donkor	MWF	11:00 AM	11:50 AM	DALL 357	2012: CA2, WRIT 2016: HFA, WRIT	LAI, W
4323	001	Chaucer: Fun and Games in Chaucer's Canterbury Tales	Wheeler	TR	11:00 AM	12:20 PM	DALL 120	2012: IL, OC 2016: IL, OC
7376	002	Seminar: Special Topics: The Harlem Renaissance and Its Legacy	Dickson-Carr, D.,	TR	11:00 AM	12:20 PM	DALL 105
2312	002	Fiction: Queer Speculations	Shaughnessy	MWF	12:00 PM	12:50 PM	DALL 156	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
6312	001	Teaching Practicum	Stephens	F	12:00 PM	2:50 PM	DALL 120
2302	001	Business Writing	Dickson-Carr, C.,	TR	12:30 PM	1:50 PM	DALL 153	2012: IL, OC, WRIT 2016: IL, OC, WRIT	W
2311	004	Poetry: The Word Distillery: Sipping Poems	Brownderville	TR	12:30 PM	1:50 PM	DALL 156	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	003	Fiction: The Gothic Novel	Sudan	TR	12:30 PM	1:50 PM	DALL 105	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2390	005	Intro to Creative Writing	Smith	TR	12:30 PM	1:50 PM	DALL 138	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
3390	001	Creative Writing Workshop: You Are What You Read: Poetry Workshop	Condon	TR	12:30 PM	1:50 PM	DALL 120	2012: CA2, WRIT 2016: HFA, WRIT	W
1330	001	World of Shakespeare: The Righteous and the Wicked	Moss	MWF	1:00 PM	1:50 PM	DALL 306	2012: CA1 2016: LL	LAI
2312	001	Fiction: The Global Novel	Hermes	MWF	1:00 PM	1:50 PM	CLEM 126	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2312	005	Fiction: American Short Fiction (1970-Present)	Rivera	MWF	1:00 PM	1:50 PM	DALL 138	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
4340	001	Romantic Writers	Shields	MWF	1:00 PM	1:50 PM	DALL 152	2012: IL, OC 2016: IL, OC
2302	002	Business Writing	Dickson-Carr, C.,	TR	2:00 PM	3:20 PM	DALL 153	2012: IL, OC, WRIT 2016: IL, OC, WRIT	W
2315	003	Intro to Literary Studies: Sin and Sexuality	Brooks	MWF	2:00 PM	2:50 PM	FOSC 157	2012: CA2, WRIT 2016: CA, WRIT	LAI, W
2390	001	Intro to Creative Writing	TBC	M	2:00 PM	4:50 PM	DALL 106	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
3365	001	Jewish American Literature	Levy	TR	2:00 PM	3:20 PM	DLSB 132	2012: HD, WRIT 2016: LL, KNOW, HD, WRIT	LAI, W, HD
3377	001	LGBTQ+ Writing After Stonewall: Finding Your Tribe	Bozorth	MWF	2:00 PM	2:50 PM	DALL 152	2012: CA2, HD, WRIT 2016: HFA, HD, WRIT	LAI, W, HD
3390	002	Creative Writing Workshop: The Magic Ink Club: A Poetry Workshop	Brownderville	W	2:00 PM	4:50 PM	DALL 343	2012: CA2, WRIT 2016: HFA, WRIT	W
4332	001	Studies in Early Modern British Literature: Sex and the City	Sudan	TR	2:00 PM	3:20 PM	DALL 152	2012: IL, OC 2016: IL, OC
4360	001	Studies in Modern American Literature: Black Speculative Fiction and Satire	Dickson-Carr, D.,	TR	2:00 PM	3:20 PM	DALL 157	2012: CA2 2016: HFA
6311	001	Survey of Literary Criticism and Theory	Sae-Saue	R	2:00 PM	4:50 PM	DALL 138
7340	001	Seminar in British Literature: The Lure of the Middle Ages	Wheeler	T	2:00 PM	4:50 PM	DALL 137
7374	001	Problems in Literary History: How to Read a Poem	Caplan	W	2:00 PM	4:50 PM	DALL 138
7376	001	Special Topics: African American Print Culture	Donkor	M	2:00 PM	4:50 PM	DALL 138
2312	004	Fiction: The Manic Pixie Dream Girl	Dinnienne	MW	3:00 PM	4:20 PM	DALL 120	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2303	001	Ethical Leadership and Language of Influence: Balancing Professionalism with Ethical Communication	Dickson-Carr, C.,	TR	3:30 PM	4:20 PM	TBC		CIE
2312	007	Fiction: Going Native	Cassedy	TR	3:30 PM	4:20 PM	DALL 101	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
4397	001	Distinction Seminar	Caplan	W	6:00 PM	8:50 PM	DALL 105

Summer 2025

MAY & SUMMER SESSION 2025 COURSES

Cat #

Sec

Session

Course Title

Instructor

Days

Start

End

Room

UC Tags

CC Tags

1363

001

May

Myths of the American West

Levy

M-F

9:00

1:00

HYER 106

2012: CA1, HC1
2016: CA, HC

LAI, HD

3362

001

May

African-American Literature

Donkor

M-F

9:00

1:00

DALL 142

2012: CA2
2016: HFA

LAI, HD, W

3385

001

May

Literature of the Holocaust

Mueller

M-F

11:00

3:00

DALL 157

2012: HFA, HD, OC, W
2016: CA2, HD, OC, W

LAI, HD, OC

2302

0011

S1

Business Writing

Dickson-Carr, C.,

M-F

2:00

3:50

DALL 106

2012: IL, OC, WRIT
2016: IL, OC, WRIT

W

2311

0011

S1

Poetry

Condon

M-F

10:00

11:50

DALL 138

2012: CA2, WRIT
2016: LL, WRIT

LAI, W

2390

0011

S1

Intro to Creative Writing: Flash Fiction

Hermes

M-F

1:00

2:50

DALL 138

2012: CA1, WRIT
2016: CA, WRIT

CA, CAC, W

3362

0011

S1

African-American Literature

Dickson-Carr, D.,

M-F

12:00

1:50

DALL 137

2012: CA2
2016: HFA

LAI, HD, W

SUMMER 2025 SESSION

COURSE DESCRIPTIONS

ENGL 2302-0011—Business Writing

M – F 2:00-3:50. Dallas Hall 106. Dickson-Carr, C. 2012: IL, OC, W 2016: IL, OC, W CC: W

Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. Text: Kolin, Philip C. Successful Writing at Work, 12th ed.

ENGL 2311-0011—Poetry
M – F 10:00-11:50. Dallas Hall 138. Condon. 2012: CA2, WRIT 2016: CA, WRIT CC: LAI, W

Poetry introduces us to the unexpected beauty and strangeness in the ordinary landscapes, people, and emotional situations we encounter every day. Yet, the famous stereotype of poetry suggests that the genre doesn’t reveal anything without a lot of tedious decoding on a reader’s part. In this course, we will explode this stereotype by learning about poetic characteristics and devices that are meant to delight readers, not confuse them. Each week we will focus on a different poetic technique or form—image, alliteration, aubades—and discuss how contemporary poets have used them to bring us pleasure, making something as mundane as grass seem suddenly breathtaking and strange.

Course assignments include a midterm poetry presentation, a final exam, and analytical reading responses. All readings supplied on Canvas.

ENGL 2390-0011—Intro to Creative Writing: Flash Fiction
M – F 1:00-2:50. Dallas Hall 138. Hermes. 2012: CA1, WRIT 2016: CA, WRIT CC: LAI, W

“If you haven’t surprised yourself, you haven’t written.” —Eudora Welty

“I would have written a shorter letter, but I didn’t have the time.” —Blaise Pascal

This course will offer an in-depth study of the craft of writing flash fiction, or very short stories. Living somewhere between the realms of the traditional-length short story and the poem, flash fiction presents its own unique opportunities for the writer, as well as formidable challenges. We will embrace these challenges through a study of the basic aspects of fiction writing in general and a consideration of flash fiction’s sub-genres in particular. To prepare ourselves to write our own collection of flash pieces, we will read published examples of the genre along with a number of chapters of instructional writing on craft. These readings will stimulate discussion about what makes a good story and provide models for your own creative work.

We’ll also discuss your original writing in a whole-class review commonly referred to as a workshop. Students will benefit from these conversations as both writer and reader, because each piece will exemplify craft challenges that all of us face in our work. With engaged participation, we’ll sharpen our creative, critical, and communication skills.

ENGL 3362-0011—African-American Literature
M – F 12:00-1:50. Dallas Hall 157. Dickson-Carr, D,. 2012: CA2 2016: HFA CC: LAI, HD, W

This version of African American Literature is focused specifically on the Harlem or "New Negro" Renaissance, a major literary and cultural movement that spanned the period from the end of World War I through the 1930s. Our goal in this course will be to explore, discuss, and interpret the movement's major authors and their works. Most of our attention will be on essays, stories, and poems, but we will also listen to the music that defined the era, and review some of the artwork produced within it. Complex and often controversial, the Harlem Renaissance nevertheless transformed Black art for the twentieth century and beyond. It continues to inspire. Our course is part of current celebrations of the movement's centennial. We will discuss the movement's meaning and influence throughout the course.

Requirements: Regular attendance and participation; two (2) collaborative projects; quizzes; in-class and take-home writings.

Spring 2025

ENGL 1363-001—Myths of the American West
TTh 3:30-4:50. Dallas Hall 306. Levy. 2012: CA1, HC1 2016: CA, HC CC: LAI, HD

Readings and films: Wister, The Virginian; Austin, The Land of Little Rain; Proulx, “Brokeback Mountain” ; Everett, God’s Country; Viramontes, Under the Feet of Jesus; Portis, True Grit; Ford, The Searchers; Hawks, Red River.

Other assignments: In-class reading quizzes, midterm, and final exam.

ENGL 1380-001— Introduction to Literature: Monsters and Magic
MWF 10:00-10:50. Fondren Science 153. Shields. 2012: CA1 2016: CA CC: CA, CAA, LAI

Literature was full of magical and monstrous beings well before Harry Potter came along. This course will introduce you to some of the most famous of them, from Shakespeare’s Caliban to Mary Shelley’s nameless creature, whom we’ve come to know as Frankenstein. As we explore a range of literary genres and forms from Arthurian romance to speculative fiction, we will examine literature’s role in distinguishing the monstrous from the human, and the natural from the supernatural. We’ll pay particular attention to how the monstrous reflects anxieties about various forms of human difference, including gender, race, sexual orientation, social class, and disability.This course is suitable for those who haven’t previously studied literature at the college level; however, it does require a willingness to engage with complex texts.

Readings: Sir Gawain and the Green Knight; Shakespeare, The Tempest; Shelley, Frankenstein; Butler, Parable of the Sower, short stories and poems by Edgar Allan Poe, Charlotte Perkins Gilman, Christina Rosetti, Tennyson, among others.

Other assignments: short written exercises (1-2 paragraphs each); three exams.

ENGL 2102-001—Spreadsheet Lit: Excel
W 3:00-3:50. Dallas Hall 152. Dickson-Carr, Carol.

An introduction to Excel as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate results of their analyses in clear, readable prose. Laptops required.

Software for spreadsheet assignments used: ExPrep ()

ENGL 2102-002—Spreadsheet Lit: Excel
M 3:00-3:50. Dallas Hall 152. Dickson-Carr, Carol.

Software for spreadsheet assignments used: ExPrep ()

ENGL 2302-001—Business Writing
TTh 12:30-1:50. Virginia-Snider 203. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

Text: Kolin, Philip C. Successful Writing at Work, 12th ed.

ENGL 2302-002— Business Writing
TTh 2:00-3:20. Virginia-Snider 203. Dickson-Carr, Carol. 2012: IL, OC, W 2016: IL, OC, W CC: W

Text: Kolin, Philip C. Successful Writing at Work, 12th ed.

ENGL 2311-001—Poetry: Lifting the Veil
MWF 1:00-1:50. Dallas Hall 157. Condon. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

A famous stereotype of poetry suggests that the genre doesn’t reveal anything without a lot of decoding on a reader’s part—that the poem is a kind of veil that hides a complicated message. In this course, we will explode this stereotype by learning about poetic characteristics and devices that are intended to delight readers, not confuse them. Each week we will focus on a different poetic technique or form—image, repetition, the sonnet—and discuss how poets across the centuries have used them to bring us pleasure, making something as mundane as grass seem suddenly breathtaking and strange.

Readings (to be provided on Canvas): poems by Emily Dickinson, Terrance Hayes, John Keats, Rita Dove, William Wordsworth, and Eileen Myles.

Other assignments: two short papers, midterm & final exam, poetry presentation, and regular participation in class.

ENGL 2311-002—Poetry: American Poetry Since 1970
MWF 10:00-10:50. Dallas Hall 138. Rivera. 2012: CA2, W 2016: LL, W CC: LAI, W

Immerse yourself in the innovative works of acclaimed poets who challenge conventional notions of poetry. Through journal responses, quizzes, essays, digital humanities tools, and technical presentations, you’ll investigate poets’ backgrounds as they relate to their aesthetics; annotate poems from online literary journals; create a digital archive of underrepresented poets; explicate poems for general audiences; craft video analyses, and review a collection of poems for a podcast.

Text: McClatchy, The Vintage Book of Contemporary American Poetry

Other assignments: five quizzes, five journal responses, five campus events analyses, two group technical presentations, one poetry recitation, one creative project, and a substantially revised and edited portfolio with a process statement.

ENGL 2311-003—Poetry
TTH 9:30-10:50. Dallas Hall 102. Wilson. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

Poetry can sometimes seem bewildering or, indeed, purposefully abstruse and difficult. In this course we will learn the specific technical tools and methods that poets use, and in doing so we will aim to demystify the poetic process so that we can become comfortable with poetry. We will read short selections of a wide range of poetry, from wild ancient epics and stomping dramatic declamations to transcendent sonnets about the meaning of life, devastating World War One poems, and more. We will revel in the pleasure that great poetry (or sometimes even bad poetry!) can bring.

Written work: 2-3 short papers, plus a podcast and work on a public exhibit about poetry at SMU.

ENGL 2312-001— Fiction: Going Native
MWF 11:00-11:50. Dallas Hall 157. Cassedy. 2012: CA2, W 2016: LL, W CC: LAI, W

This course is about two related narratives that have proven very popular over the past three centuries: the narrative of being taken captive, and the narrative of “going native.” Stories along these lines have taken many different forms, including stories of white people abducted by Indians, women imprisoned by nefarious men, free people kidnapped into slavery, and sailors stranded in strange lands and waters. Some of those captives resist captivity. Others embrace it, “going native” and finding that their solitude or captivity allowed them to access parts of themselves that their home societies do not.

Readings: Defoe, Robinson Crusoe; Swift, Gulliver’s Travels; Aubin, Charlotta Du Pont; Winkfield, The Female American; Twain, Huckleberry Finn; Thoreau, Walden; possible others TBA.

Other assignments: Three essays and a final exam.

ENGL 2312-002— Fiction: The Gothic Novel
TTh 2:00-3:20. Clements Hall 325. Johnson. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

ENGL 2312-003— Fiction
MWF 12:00-12:50. Dallas Hall 137. Sae-Saue. 2012: CA2 2016: LL CC: LAI, W

This Fiction emphasizes U.S. ethnic novels. Students will learn to recognize a range of narrative elements and see how they function in key texts. We will ask: how does fiction articulate political, social, and cultural dilemmas? And how does it structure our understandings of social interaction? As these questions imply, this course will explore how fiction creates and then navigates a gap between art and history in order to remark on U.S. social relationships.

Readings: Diaz, This is How You Lose Her; Plascencia, The People of Paper; Fajardo-Anstine, Sabrina & Corina: Stories; others TBD.

Other assignments: Quizzes, midterm, short response papers, final essay.

ENGL 2312-005— Fiction: Imagining America
TTh 9:30-10:50. Dallas Hall 156. Barber 2012: CA2, W 2016: LL, W CC: LAI, W

What is America? What are Americans? This course focuses on texts that depict changing conceptions of “America” in fictional works. Together we will consider how writers negotiate what “America” is—both theoretically and in practice—and who is considered part of the American body politic. Over the course of the semester, we will discuss how contemporary social, political, and historical debates about immigration, race, gender, and sexuality inform how texts depict what it means to be American. We will also consider how authors continue to speculate about how ideas of the nation will shift in the future, criticizing or reasserting normative understandings of “America” and “Americans.”

Likely texts: Paredes, George Washington Gómez; Highsmith, The Price of Salt; Morrison, Home; Chan, The School for Good Mothers.

Other assignments: Two short papers, a final project, and a final exam.

ENGL 2312-006— Fiction: The Campus Novel
TTh 2:00-3:20. Dallas Hall 157. Hermes, R. 2012: CA2, W, OC 2016: LL, W, OC CC: LAI, W

What is “the true nature of the university?” asks a brilliant but cynical graduate student in John Williams’ 1965 novel Stoner. It’s a question that literary fiction has taken up time and again, often in satirical fashion. In this class, we’ll ask what the “campus novel” says about the changing nature of the modern university, as both the center and frequent subject of literary production. We’ll also ask how literary representations of college life reflect dynamics of social class, gender, sexuality, race, and economic mobility in society at large.

Readings/other works: novels by Don DeLillo, Julie Schumacher, and Sarah Henstra; the films Dead Poets’ Society, Dear White People, and The Holdovers; and the TV series The Chair.

Other assignments: a presentation, regular reading responses, a literary analysis essay, and a final exam.

ENGL 2312-007— Fiction: Fiction and Beliefs
TTh 12:30-1:50. Dallas Hall 138. McClure. 2012: CA2, W 2016: LL, W CC: LAI, W

We will explore the various ways authors have grappled with varieties of “belief” in their fictions. We will consider what it means to “believe in” something. We will also consider what it means for something to be a “fiction.” What is the relationship between believing and knowing? What is the relationship between fiction and reality? How can we understand belief itself, a concept so capacious that it encompasses physical, philosophical, and spiritual perception?

Probable readings: Stoker, The Snake’s Pass; Corelli, A Romance of Two Worlds; Yan, Life and Death are Wearing Me Out; Orwell, 1984; Butler, The Parable of the Sower; a selection of shorter works.

Other assignments: weekly short written responses; two papers (one shorter, one longer); one project; one presentation.

ENGL 2312-008— Fiction: Adaptation and Storytelling
MWF 12:30-12:50. Dallas Hall 156. Morrow. 2012: CA2, W 2016: LL, W CC: LAI, W

We will explore fiction by studying adaptations from one mode of storytelling to another, such as a novel made into a film, or a play performed on stage, or a board game. We will ask about the differences between versions of the same basic story, about why these changes might be necessary. We will also consider the role that we play as the audience or reader in making sense the stories we read, watch, or otherwise enjoy.

Readings: Austen, Pride and Prejudice; Zoboi, Pride; Agatha Christie, Appointment with Death (play and novel versions); Conan Doyle, various Sherlock Holmes stories; a board game from the Sherlock Holmes, Consulting Detective line.

Other assignments: Four short response papers, a short research project, and an in-class presentation.

ENGL 2390-001H—Introduction to Creative Writing: Introduction to Fiction Writing
M 2:00-4:40. Dallas Hall 137. Rubin. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

An introductory workshop that will focus on the fundamentals of craft in the genre of fiction writing. Students will learn the essential practice of "reading like a writer" while developing their own work and discussing their classmates'.

ENGL 2390-002—Introduction to Creative Writing
TTh 11:00-12:20. Dallas Hall 105. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-003—Introduction to Creative Writing
TTh 12:30-1:50. Dallas Hall 105. Smith. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

ENGL 2390-004—Introduction to Creative Writing: The Moves Writers Make
TTh 11:00-12:20. Dallas Hall 138. Hermes, R., 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”
― Anton Chekhov

This course will explore the fundamentals of creative writing in poetry and fiction. Together, we’ll identify the “moves” successful pieces of writing make and practice incorporating them in our own short stories and poems. We’ll also discuss your original writing in a whole-class review (that is, a workshop). Students will benefit from these conversations as both writer and reader, because each story or poem will present challenges that all of us face in our work. With engaged participation, we’ll sharpen our creative, critical, and communication skills.

Readings: chapters from the textbooks Writing Fiction and The Poet’s Companion, plus stories and poems by Danielle Evans, Julie Orringer, Mary Gaitskill, Sharon Olds, Kevin Young, and Porsha Olayiwola.

Major assignments: a short story, a portfolio of poems, regular workshop response letters to your peers’ work, and a final portfolio of revisions with a reflection essay on your own process.

ENGL 2390-005—Introduction to Creative Writing: The Moves Writers Make
TTh 9:30-10:50. Dallas Hall 120. Hermes, R., 2012: CA1, W 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”
― Anton Chekhov

This course will explore the fundamentals of creative writing in poetry and fiction. Together, we’ll identify the “moves” successful pieces of writing make and practice incorporating them in our own short stories and poems. We’ll also discuss your original writing in a whole-class review (that is, a workshop). Students will benefit from these conversations as both writer and reader, because each story or poem will present challenges that all of us face in our work. With engaged participation, we’ll sharpen our creative, critical, and communication skills.

Major assignments: a short story, a portfolio of poems, regular workshop response letters to your peers’ work, and a final portfolio of revisions with a reflection essay on your own process.

ENGL 2390-006—Introduction to Creative Writing: Poetry - The Creative Act
MWF 12:00-12:50. Dallas Hall 153. Rivera. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

Students will learn to craft poems that create meaning from subtle images and moments rather than relying on explanation. They will build a portfolio of original poems, refining their aesthetic and critical voices through workshops, recitations, digital annotations, and close readings of contemporary and classical poets. Maintaining a craft journal, a tool to help students reflect on their creative process and track their growth as poets will be an integral part of the course. Students will use poetic forms to sharpen their ability to "show, not tell," developing a more nuanced creative writing practice.

Texts: Gonzalez and Shapiro, The New Census: An Anthology of Contemporary American Poetry; Ruben, The Creative Act

Other assignments: at least ten original poems created during the semester, ten critical journal responses, five campus events analyses, two digital humanities presentations, a craft journal, and a substantially revised portfolio with an artist statement.

ENGL 2390-007—Introduction to Creative Writing: Telling it Slant in Creative Nonfiction
TTh 3:30-4:50. Dallas Hall 120. Farhadi. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

To write nonfiction means to write the truth. But creative nonfiction does not simply present a list of facts; it borrows techniques from fiction in order present the reader an experience grounded in the author’s perspective or “slant” on the truth. In this course, we’ll develop our own “slant” by reading and writing a mix of creative nonfiction subgenres—the personal essay, the lyric essay, the research-based essay, etc.

Readings: a contemporary anthology TBD.

Other assignments: a series of short writings; a twelve-page workshop essay; and a final revision.

ENGL 2390-008—Introduction to Creative Writing: Poetry - The Triggering Town
MWF 11:00-11:50. Dallas Hall 357. Rivera. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

We will investigate how imagery serves not merely as a visual device but as a “trigger”—the spark that ignites layers of meaning, emotion, and intellectual discovery. Closely reading both contemporary and canonical poems, we will explore the way an image can evolve, expand, and transform into something beyond itself, challenging the poet to explore what lies beneath the surface and within the self. Students will keep a craft journal to grapple with questions of voice, identity, and imagination as they develop a poetic practice that engages both the personal and the universal.

Readings: Poulin et al, Modern American Poetry; Hugo, The Triggering Town.

Other assignments: a minimum of ten original poems created during the semester, ten critical journal responses, five campus events analyses, two digital humanities presentations, a craft journal, and a substantially revised edited portfolio with an artist statement.

ENGL 2390-009—Introduction to Creative Writing
TTh 2:00-3:20. Annette Caldwell Simmons Hall 225. Hawkins. 2012: CA1, W 2016: CA, W CC: CA, CAC, W

This introductory workshop in the art of fiction emphasizes the craft (the how more so than the what of a short story--though we’ll certainly discuss the what [theme, plot, etc.] as well!). We will read and discuss contemporary short fiction by writers like George Saunders and Ottessa Moshfegh. We’ll also complete several in class creative writing activities that should help inspire you when you sit down to write your own short stories later in the term.

Workload: read 3-4 short stories and prepare 3-4 pages of critical and/or creative writing per week, resulting in two original short stories of 7-15 pages apiece. In lieu of a final exam, a revision of one of your short stories and a 2-page reflection letter.

ENGL 3310-001—Research and Critical Writing
MWF 10:00-10:50. Dallas Hall 120. Pergadia.

Note to English majors: this course is intended to prepare you for 4000-level courses. Please do not put this off if you have taken your 2000s and the time works for you.

Likely primary texts: Eliza Haywood’s “Fantomina,” Toni Morrison’s “Recitatif,” Shailja Patel’s migritude, and Jordan Peele’s Get Out.

Other assignments: in-class workshops, mid-term exam, group presentations, and final essay.

ENGL 3318-001—Literature as Data
TTh 11:00-12:20. Dallas Hall 102. Wilson. 2012: W 2016: LL, TM, W CC: LAI, W

What does it mean to think about literature as a type of data? How can we breathe new life into renaissance writing by using computational approaches? During the semester we will work hands-on with rare archival materials to create our own digital edition of a book which used to be insanely popular when it was first published but which hasn't been printed in over 250 years! We will take a field trip to the Harry Ransom Center Library in Austin, TX, to work directly with unique rare books for this project, and we will think carefully about the best practices when working with literary texts in a digital environment. You will learn several digital methods for analyzing literary texts, from social network analysis to digital mapping, and in keeping with the public spirit of digital humanities you will share your new skills through an educational outreach event. You will also meet some experts joining us in guest class sessions who will help you bring your work to life in this new research arena.

Primary texts: epic poetry by John Milton and his contemporaries, plus some short works from the period. Secondary readings: modern scholarship about the theoretical, social, and ethical issues raised by digital work in literary studies.

Required work: one theoretical essay, a digital edition of an otherwise-unavailable renaissance book, a final digital project shared via roundtable presentation.

Note: for English majors, this course will satisfy, by petition, one of the two required courses for literature before 1775.

ENGL 3331-001— British Literary History I: Chaucer to Pope: Invention and Experimentation
TTh 9:30-10:50. Dallas Hall 101. Roudabush. 2012: CA2, HC2, W 2016: HFA, HSBS, W CC: LAI, W

This course will survey early British literature from Medieval England to the Enlightenment. We will read texts in the context of historical and technological inventions, such as the printing press and the commercial theater, as well as inventions and innovations in literary forms, such as the sonnet and mock epic. We will also experiment ourselves by writing in imitation of, and in response to, the authors we study.

Readings: drawn from Geoffrey Chaucer; Philip Sidney; Mary Sidney; William Shakespeare; Christopher Marlowe; John Donne; George Herbert; Lady Mary Wroth; Andrew Marvell; John Milton; Aphra Behn; Olaudah Equiano; Jonathan Swift; Alexander Pope.

Other assignments: creative writing exercises in specific literary forms; an interpretive essay; midterm and final exams.

ENGL 3362-001—African American Literature: The Harlem Renaissance and Civil Rights Eras
MWF 11:00-11:50. Junkins Engineering Building 112. Dickson-Carr, D., 2012: CA2, HD, W 2016: HFA, HD, W CC: LAI, HD, W

We will focus on two important periods in African American Literature. The Harlem or "New Negro" Renaissance spanned the period from the end of World War I through the 1930s, and the course is part of current celebrations of the movement's centennial. We will then turn to the modern Civil Rights Era, from the 1950s through the early 1970s, when African American literature and culture were undergoing a second transformation. We will conclude with some recent works by major authors. Most of our attention will be on essays, short stories, poems, and novels, but we will also listen to the music that defined these eras, and review some of the artwork and films produced within them. Complex and often controversial, the literature of the Harlem Renaissance and Civil Rights Eras nevertheless transformed Black art for the twentieth century and beyond, and continue to inspire.

Readings drawn from the following authors: Baraka; Cullen; Du Bois; Ellison; Garvey; Giovanni Hughes; Hurston; Helene Johnson; JW Johnson; Jones; Larsen; A. Locke; Lorde; Madhubuti; Marshall; Morrison; Reed; Schuyler; Thurman; Wright.

Other assignments: Regular in-class writing; three papers, including a final collaborative project; a midterm, and a final exam.

ENGL 3376-001—Literature of the Southwest
MWF 2:00-2:50. Dallas Hall 156. Sae-Saue. 2012: CA2, W 2016: HFA, W

“For any dweller of the Southwest who would have the land soak into him, Wordsworth's ‘Tintern Abbey,’ ‘Ode: Intimations of Immortality,’ ‘The Solitary Reaper,’ ‘Expostulation and Reply,’ and a few other poems are more conducive to a ‘wise passiveness’ than any native writing.”

- J. Frank Dobie, A Guide To Life and Literature of the Southwest

Readings: McCarthy, Blood Meridian; Paredes, George Washington Gomez; Cisneros, Woman Hollering Creek; Valdez Quade, The Five Wounds, and others TBD.

Other assignments: quizzes, midterm, final essay, final exam

ENGL 3390-001—Creative Writing Workshop: Poetry Workshop: The Art of the Voice
MWF 10:00-10:50. Annette Caldwell Simmons Hall 225. Condon. 2012: CA2, W 2016: HFA, W CC: W

Find your voice! the old writer says to the young writer, as if a signature artistic sound were as simple to locate as a spare house key hidden inside of a ceramic toad. But what if I told you that it is that easy? In this course, we think of poetic voice, quite simply, as a poem’s personality. Throughout the semester, we will experiment with voices that range from colloquial to authoritative with the goal of creating speakers who are interesting enough to captivate our audience.

Text: Hoagland, The Art of Voice

Assignments: 3-4 reading responses, workshop participation, final portfolio.

ENGL 3390-002— Creative Writing Workshop: Screenwriting Workshop
Th 2:00-4:50. Dallas Hall 138. Rubin. 2012: CA2, W 2016: HFA, W CC: W

In this course students will present their own screenwriting as well as critique that of their classmates. Alongside these workshops we will analyze exemplary models of the form and study film clips to understand the ways compelling dialogue is written and satisfying scenes are structured. Readings will include such classics as Casablanca and Chinatown as well as newer scripts like Lady Bird and Get Out.

ENG 2390 is a prerequisite for this course although Meadows students with a background in dramatic arts are encouraged to seek the permission of the instructor.

ENGL 4332-001—Studies in Early Modern British Literature: Sex and the City in the 18th Century
TTh 11:00-12:20. Dallas Hall 115. Wuest. 2012: IL, OC 2016: IL, OC

In September of 1666, a few short years after the restoration of Charles II to the throne in England, the Great Fire destroyed four-fifths of the commercial and topographical center of London in three days, and, in the process, destroyed everything that had represented London to Londoners. The social, historical, commercial, cultural, and physical city that had been in place for them was simply gone, and the task of rebuilding, re-imagining, and re-conceptualizing the “city” became the major task of Restoration London. Among the many tasks of social reconstruction Londoners had to face was the changing face of sexual identity: building the modern city on the ruins of the medieval city worked in tandem with building a modern sense of self, including a sexualized and gendered self, on older forms of social and national identity. Charles II, fresh from the French court in Paris, brought with him an entirely different concept of fashion, sense, sensibility, and sexual identity. This course examines the ways in which concepts of sexual—or, perhaps, more accurately, gendered—identities developed as ideologies alongside the architectural and topographical conception of urban life in England. And although the primary urban center was London, these identity positions also had some effect in shaping a sense of nationalism; certainly, the concept of a rural identity and the invention of the countryside were contingent on notions of the city. Urbanity, in both senses of the word, is an idea that we will explore in various representations stretching from the late seventeenth-century Restoration drama to the Gothic novel of the late eighteenth century.

ENGL 4349-001—Transatlantic Studies II: The White Whale
MWF 2:00-2:50. Dallas Hall 152. Cassedy. 2012: IL, OC 2016: IL, OC

This course is about obsessive pursuits of elemental evil hidden in plain sight. It’s about characters who become convinced that something must be hunted out and excised from the world: characters who cannot tolerate a world in which that thing exists, and who drive themselves to increasingly extreme ends to root it out. The course will center on two large-scale narratives about such quests: Herman Melville’s novel Moby-Dick (1851) and Nic Pizzolatto’s HBO teledrama, True Detective (2014). Other readings will help us place Moby-Dick and True Detective within pertinent historical, generic, and thematic contexts: southern gothic, noir, detective fiction, gender, buddy narratives, seduction and captivity narratives, Mardi Gras, procedurals, horror, and cults.

Other assignments: Weekly response papers and a final project.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Contemporary African American Novels and Stories
MWF 1:00-1:50. Dallas Hall 137. Dickson-Carr, D., 2012: CA2 2016: HFA

The contemporary period in African American literary history is rich and diverse, reflecting a broad transformation of the literature after the modern Civil Rights Era. Black authors writing since the 1970s have pushed creative boundaries and tackled subjects that challenge and delight their audiences. Contemporary authors comment on the Civil Rights Movement’s legacy, on the breadth of African American history, and on issues of region, gender, sexuality, cultural differences, new struggles for Civil Rights, speculation about the future; and more. This course will look at a selection of short stories and novels by contemporary Black writers, with most published in the last thirty years.

Readings from Octavia Butler; Samuel R. Delany; Tananarive Due; Percival Everett; Gayl Jones; Mat Johnson; Audre Lorde; Toni Morrison; Claudia Rankine; Danzy Senna; Jesmine Ward; Colson Whitehead; John Edgar Wideman; and more.

Other assignments: In-class writing (journaling; discussion boards), three papers, including Other final collaborative project; regular quizzes, and a short final exam.

ENGL 6310-001—Advanced Literary Studies
W 2:00-4:50. Dallas Hall 138. Pergadia.

This professionalization seminar prepares doctoral students for advanced work in literary studies. We will evaluate various genres of professional writing – the book review, the journal article, the conference paper, the abstract, the fellowship proposal, the CV, the book proposal. We will also grapple with some current debates around the methods and objectives of literary study: the archival turn, the digital humanities, postcritique, the environmental humanities. Students will produce and workshop genres of academic writing, gaining experience in the collegial art of giving and receiving editorial feedback. The course will culminate in a mini graduate conference and an article draft.

ENGL 6340-001—British Literature in the Age of Revolutions: Reimagining Romanticism
M 2:00-4:50. Dallas Hall 138. Shields.

Although the Romantic era (roughly 1770-1830) is associated with revolutionary ideals of liberty, equality, and fraternity, the field of Romantic literary studies for a long time centered on the work of six relatively elite English poets (Wordsworth, Coleridge, Byron, Shelley, Keats, and Blake). However, in the past 10-15 years, a new generation of Romanticists have drawn on ecocritical, transnational, decolonial, disability studies, indigenous studies, and critical race theory methodologies to questions the central place of the Big Six, and the model of autonomous, individual genius on which their fame rests. The introduction of these perspectives and methodologies into Romantic literary studies has facilitated new readings of canonical works and drawn attention to previously overlooked authors and genres. Through these new methodologies and perspectives, literary scholars have begun to reimagine what Romanticism is, as well as when and where it happened.

This class will introduce you to some of the methodologies, authors, and works that have re-imagined the field of Romanticism. We will also take the transformation of Romanticism as a case study to explore some of the questions and challenges facing literary studies as a discipline. What work does the organization of literary study into historical periods and movements (like Romanticism) do for us? What other forms of organization might we use, and how might they facilitate different ways of thinking? Must the discipline of English literature necessarily center upon Anglo-American writing and Eurocentric ideologies? If not, how do we responsibly equip ourselves to challenge these disciplinary tendencies? How can each of us most effectively address our own positionality in relation to our fields of study?

Don’t worry if you’re not very familiar with old-school Romanticism, let alone recent trends in the field. We will be exploring some of Romanticism’s grand narratives and canonical works along with the new research that challenges them. You don’t need extensive prior knowledge of Romantic literature to succeed in this class, and there will be opportunities to connect what you learn to your intended field(s) of specialization. Assignments for the course will vary somewhat depending on students’ goals and interests but will include several short response papers, an annotated bibliography, and a 12–15-page final project.

ENGL 7350-001—Seminar in American Literature: The Forms of Contemporary American Poetry
Th 2:00-4:50. Dallas Hall 137. Caplan.

This class will consider the forms that contemporary American poets choose and transform. To gain a sense of the field, we will examine ten recent collections that primarily use an old form (the sonnet) or a new one (erasure) or feature a variety of forms (such as the villanelle, sestina, ballad, nonce forms, and free verse).

Five of the assigned authors will discuss their work with us. Terrance Hayes will visit our class. (He will also give a campus poetry reading and participate in a creative conversation with Rita Felski.) We will enjoy Zoom conversations with Henri Cole, Ange Mlinko, and Megan Pinto. Via Zoom, the class also will discuss the art of poetry reviewing with Stephanie Burt. (A sixth assigned poet, Srikanth Reddy will visit the campus for the 2026 SMU Symposium on Poetic Form).

Finally, we will study the art of writing about poetry, including the modes of poetry reviewing and scholarship. Pleiades will provide the students with a selection of recent poetry collections the editors would like to be reviewed. Each student will submit a review of one of these books, participate in a mock conference, and write a final essay, an expansion of the mock conference presentation.

ENGL 7376-001—Seminar: Special Topics: The Business of Literature: Publishing as Art and Practice
T 2:00-4:50. Dallas Hall 137. Evans.

What does publishing mean in the digital 21st century? This course delves into the rapidly evolving publishing industry, and offers students hands-on experience within publishing industry roles through Deep Vellum.

Grade will be determined by 25% attendance, 50% participation (weekly responses and attending 2 literary events in DFW through the semester), and 25% final project.

ENGL 7376-002—Seminar: Special Topics: A History of Metatheater in Three Acts
F 12:00-2:50. Dallas Hall 120. Moss.

Why does stage-drama, that most expressive of genres, so often and so obsessively prove introspective? Why is so much theater devoted to showing us how theater is made? We might expect playwrights to reflect on their own art, of course, as Sophocles, Shakespeare, or Beckett routinely do, but what drives theater troupes or for that matter theater audiences to commit to metatheatrical display? Indeed, what are we to make of metatheater, since after all it is a dramatized account of dramatic production, never dramatic production itself? To what extent is metatheater merely a version of the self-regard we find in all the arts, or does drama’s fundamental obsession with performativity and audience response generate a distinct variety of aesthetic introspection? Which of the many critical and theoretical approaches to dramatic authorship, performance, and reception best suit this odd but persistent tendency of the stage to stage itself?

Our efforts to answer this question will not be confined to any particular literary-historical period, dramatic genre, or national origin (though the plays studied are Western, primarily European). Instead, we will approach issues of metatheater or dramatic introspection through three of its aspects: plotting, staging, and acting. Each phase of the course will proceed roughly chronologically, though we will not be bound by chronology; rather, the first few class sessions of each phase provide a necessarily partial history/genealogy (with Shakespeare featuring prominently in each instance) of theatrical self-regard according to that phase’s aspect. The penultimate class in each phase treats 20th-century experimental approaches to the metatheatrical aspect under discussion, while each of the three final classes reflects on theatrical making via an alternative genre (novels and film). Key theoretical texts and secondary readings will be scattered through the course, but the emphasis will be on primary reading (two or three plays per week) to encourage our own accounts of the phenomena of metatheater.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1363	001	Myths of the American West	Levy	TTh	3:30	4:50	DALL 306	2012: CA1, HC1 2016: CA, HC	LAI, HD
1380	001	Introduction to Literature: Monsters and Magic	Shields	MWF	10:00	10:50	FOSC 153	2012: CA1 2016: CA	CA, CAA, LAI
2102	001	Spreadsheet Lit: Excel	Dickson-Carr, C.	W	3:00	3:50	DALL 152
2102	002	Spreadsheet Lit: Excel	Dickson-Carr, C.	M	3:00	3:50	DALL 152
2302	001	Business Writing	Dickson-Carr, C.	TTh	12:30	1:50	VSNI 203	2012: IL, OC, WRIT 2016: IL, OC, WRIT	W
2302	002	Business Writing	Dickson-Carr, C.	TTh	2:00	3:20	VSNI 203	2012: IL, OC, WRIT 2016: IL, OC, WRIT	W
2311	001	Poetry: Lifting the Veil	Condon	MWF	1:00	1:50	DALL 157	2012: CA2, OC, WRIT 2016: LL, OC, WRIT	LAI, W
2311	002	Poetry: American Poetry Since 1970	Rivera	MWF	10:00	10:50	DALL 138	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2311	003	Poetry	Wilson	TTh	9:30	10:50	DALL 102	2012: CA2, WRIT, OC 2016: LL, WRIT, OC	LAI, W
2312	001	Fiction: Going Native	Cassedy	MWF	11:00	11:50	DALL 157	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2312	002	Fiction: The Gothic Novel	Johnson	TTh	2:00	3:20	CLEM 325	2012: CA2, WRIT, OC 2016: LL, WRIT, OC	LAI, W
2312	003	Fiction	Sae-Saue	MWF	12:00	12:50	DALL 137	2012: CA2 2016: LL	LAI, W
2312	005	Fiction: Imagining America	Barber	TTh	9:30	10:50	DALL 156	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2312	006	Fiction: The Campus Novel	Hermes	TTh	2:00	3:20	DALL 157	2012: CA2, WRIT, OC 2016: LL, WRIT, OC	LAI, W
2312	007	Fiction: Fictions and Beliefs	McClure	TTh	12:30	1:50	DALL 138	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2312	008	Fiction: Adaptation and Storytelling	Morrow	MWF	12:00	12:50	DALL 156	2012: CA2, WRIT 2016: LL, WRIT	LAI, W
2390	001H	Introduction to Creative Writing: Fiction Writing	Rubin	M	2:00	4:50	DALL 137	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	002	Introduction to Creative Writing	Smith	TTh	11:00	12:20	DALL 105	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	003	Introduction to Creative Writing	Smith	TTh	12:30	1:50	DALL 105	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	004	Introduction to Creative Writing: The Moves Writers Make	Hermes	TTh	11:00	12:20	DALL 138	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	005	Introduction to Creative Writing: The Moves Writers Make	Hermes	TTh	9:30	10:50	DALL 120	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	006	Introduction to Creative Writing: Poetry - The Creative Act	Rivera	MWF	12:00	12:50	DALL 153	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	007	Introduction to Creative Writing: Telling it Slant in Creative Nonfiction	Farhadi	TTh	3:30	4:50	DALL 120	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	008	Introduction to Creative Writing: Poetry - The Triggering Town	Rivera	MWF	11:00	11:50	DALL 357	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
2390	009	Introduction to Creative Writing	Hawkins	TTh	2:00	3:20	ASCH 225	2012: CA1, WRIT 2016: CA, WRIT	CA, CAC, W
3310	001	Research and Critical Writing	Pergadia	MWF	10:00	10:50	DALL 120
3318	001	Literature as Data	Wilson	TTh	11:00	12:20	DALL 102	2012: WRIT 2016: LL, TM, WRIT	LAI, W
3331	001	British Literary History I - Chaucer to Pope: Invention and Experimentation	Roudabush	TTh	9:30	10:50	DALL 101	2012: CA2, HC2, WRIT 2016: HFA, HSBS, WRIT	LAI, W
3362	001	African American Literature: The Harlem Renaissance and Civil Rights Eras	Dickson-Carr, D.	MWF	11:00	11:50	JKN 112	2012: CA2, HD, WRIT 2016: HFA, HD, WRIT	LAI, HD, W
3376	001	Literature of the Southwest	Sae-Saue	MWF	2:00	2:50	DALL 156	2012: CA2, WRIT 2016: HFA, WRIT
3390	001	Creative Writing Workshop: Poetry Workshop: The Art of the Voice	Condon	MWF	10:00	10:50	ASCH 225	2012: CA2, WRIT 2016: HFA, WRIT	W
3390	002	Creative Writing Workshop: Screenwriting Workshop	Rubin	Th	2:00	4:50	DALL 138	2012: CA2, WRIT 2016: HFA, WRIT	W
4332	001	Studies in Early Modern British Literature: Sex and the City in the 18^th Century	Wuest	TTh	11:00	12:20	DALL 115	2012: IL, OC 2016: IL, OC
4349	001	Transatlantic Studies II: The White Whale	Cassedy	MWF	2:00	2:50	DALL 152	2012: IL, OC 2016: IL, OC
4360	001	Studies in Modern and Contemporary Literature: Contemporary African American Novels and Stories	Dickson-Carr, D.	MWF	1:00	1:50	DALL 137	2012: CA2 2016: HFA
6310	001	Advanced Literary Studies	Pergadia	W	2:00	4:50	DALL 138
6340	001	British Literature in the Age of Revolutions: Reimagining Romanticism	Shields	M	2:00	4:50	DALL 138
7350	001	Seminar in American Literature: The Forms of Contemporary American Poetry	Caplan	Th	2:00	4:50	DALL 137
7376	001	Seminar: Special Topics: The Business of Literature: Publishing as Art and Practice	Evans	T	2:00	4:50	DALL 137
7376	001	Seminar: Special Topics: A History of Metatheater in Three Acts	Moss	F	12:00	2:50	DALL 120

Fall 2024

ENGL 1330-001—World of Shakespeare

MWF 2:00-12:50. Dallas Hall 306. Moss. 2016: LL CC: LAI

Texts: 6 plays covering all of the major Shakespearean genres—comedy, tragedy, history, and romance—as well as a dozen sonnets.

Assignments: frequent short quizzes, midterm and final exams, four posts to a discussion board, and a recitation. No papers.

ENGL 1363-001—Myths of the American West

W 6:00-8:50. Dallas Hall 306. Levy. 2016: CA, HC CC: LAI, HD

Texts and films: Wister, The Virginian; Austin, The Land of Little Rain; Proulx, Brokeback Mountain; Reed, “Yellow Radio Broke-Down”; Hawthorne, “The Maypole of Merry-Mount”; Buntine, Dime Novels; Didion, The White Album; Ford, The Searchers; Hawks, Red River; possible others.

Assignments: Frequent quizzes; midterm and final exams.

ENGL 2102-001—Spreadsheet Lit: Excel

M 3:00-3:50. Owen Fine Arts 1050. Dickson-Carr, Carol.

This course introduces Excel 2019 as it is commonly used in the workplace. Students will learn to organize and analyze data, use and link worksheets, create tables & charts, and communicate the results of their analyses in clear, readable prose. Laptops required real-time in the classroom with the latest version of Excel. Students will take the Excel Associates Exam for certification by the end of the semester.

ENGL 2102-002—Spreadsheet Lit: Excel

W 3:00-3:50. Owen Fine Arts. Dickson-Carr, Carol.

ENGL 2302-001—Business Writing

TTh 12:30-1:50. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2016: IL, OC, W CC: W

This course introduces students to business and professional communication, including various writing and speaking tasks. It covers the observation and practice of rhetorical strategies, discourse conventions, and ethical standards associated with workplace culture. The course includes active learning, which means students will attend events on campus and off and conduct a detailed field research project at a worksite. Please note that this course may not count toward the English major requirements and that laptops are required in class. Writing assignments: summaries, analyses, evaluations, letters, reports, memoranda, and individual and collaborative research reports, both oral and written. The priority goes to Markets & Cultures majors. The second and third priorities are graduating seniors and Dedman students, respectively. Text: Kolin, Philip C. Successful Writing at Work, 11th ed. or later.

ENGL 2302-002— Business Writing

TTh 2:00-3:20. Virginia-Snider Hall 203. Dickson-Carr, Carol. 2016: IL, OC, W CC: W

ENGL 2311-001—Introduction to Poetry: Serious Word Games

TTh 2:00-3:20. Dallas Hall 152. Bozorth. 2016: LL, W CC: LAI, W

Now carbon-neutral: how to do things with poems you never knew were possible, and once you know how, you won’t want to stop. You’ll learn to trace patterns in language, sound, imagery, feeling, and all those things that make poetry the world’s oldest and greatest multisensory art form, appealing to eye, ear, mouth, heart, and other bodily processes. You will read, talk, and write about poems written centuries ago and practically yesterday. You will learn to distinguish exotic species like villanelles and sestinas. You’ll understand the difference between free verse and blank verse and be glad you glad. You’ll impress your friends and family with metrical analyses of great poems and Christmas carols. You’ll argue (politely but passionately) about love, sex, roads in the woods, the sinking of the Titanic, teen-age rebellion, God, and Satan, and learn the difference between “cliché” and “cliched.” You’ll satisfy a requirement for the English major and a good liberal-arts education.

Assignments: 15-20 pages of graded analytical writing taking various forms; oral presentation; leading discussion; midterm; final exam.

ENGL 2311-002—Introduction to Poetry: Finding The Greatest Inventors

TTh 8:00-9:20. Dallas Hall 101. Wilson. 2016: LL, W CC: LAI, W

Poetry can sometimes seem bewildering or, indeed, purposefully abstruse and difficult. But by understanding our poems as “inventions” that are created with specific technical tools and techniques, and learning how to identify those tools and techniques and to talk about them, over the course of the semester we will become comfortable and familiar with our poets and the things they have invented for us. We will get to know these inventors, to understand and appreciate their ingenuity and their methods, and to revel in the pleasure that great poetry (or sometimes even bad poetry!) can bring.

It wouldn’t be a very good course about making poetry if we didn’t do some of that ourselves, so we will imitate a variety of the poetic forms and to recite. And we live in a digital age, so to add in some workplace skills we will create an exhibition about “Inventing Poetry.”

ENGL 2311-003—Introduction to Poetry: Contemporary American Poets

MWF 11:00-11:50. Dallas Hall 120. Rivera. 2016: LL, W CC: LAI, W

Typically, most students in the United States view legitimate poetry as that of fixed forms or the work of established writers accepted into the traditional canon of American literature. However, contemporary American poetry continues to inundate readers with an ever-widening corpus that includes and celebrates writers from the margins, writers within academia, and workaday journey poets who experiment with form and content to document myriad lyrical impulses. These poetic efforts form a type of call-and-response dialogue that widens concepts of inclusiveness—which many view as threatening. In this course, we will annotate, read, discuss, and argue the merits and failures of the poems and acquire a system of shared language with which to discuss poets and their work. As we engage with the unending font of American poets, we will attempt a radical reimagining of what we consider poetry. We will embrace these newer voices—as we look for a more extensive understanding of the exigencies of the human condition.

Text: Polin and Waters, Contemporary American Poetry.

ENGL 2311-004—Introduction to Poetry

MWF 1:00-1:50. Dallas Hall 138. Caplan. 2016: LL, W CC: LAI, W

“Poetry is language that sounds better and means more,” the poet Charles Wright observed, adding: “What’s better than that?” This class will train the students to hear the many sounds and meanings that great poems articulate. We will gain the skills and the vocabulary to analyze poems more precisely by reading and discussing a wide range of poetry. Assigned poets will range from Renaissance sonnets to Maggie Millner’s Couplets: A Love Story, published in 2023. Finally, we will have the pleasure of hearing two leading poets visit our class, one in person and one via Zoom. In short, we will spend the semester considering language that sounds better and means more, and, as the poet put it, what’s better than that?

Texts: two recent poetry collections and a course pack provided by the professor.

Assignments: three in-class exams and a take-home final exam; several reading responses and formal imitations.

ENGL 2312-001—Introduction to Fiction: Introduction to Ethnic U.S. Fiction

TTh 11:00-11:20. Dallas Hall 120. Sae-Saue. 2016: LL, W CC: LAI, W

The primary goals of the class are that students learn to recognize a range of narrative elements by seeing how they function in key U.S. fictions. At the same time, it asks: how does a text construct a cultural identity, comment on a determinate historical moment, and organize human consciousness around social history? How does literature articulate political, social, and cultural dilemmas? And how does it structure our understandings of social interaction? As these questions imply, this course will explore how fiction creates and then navigates a gap between art and history. We will investigate how literary mechanisms organize our perceptions of the complex worlds that they imagine. Themes include: Citizenship; Migration; Capitalism; Race and Ethnicity; Feminism; Dictatorship; Labor; Patriarchy.

ENGL 2312-002H—Introduction to Fiction: Weird & Wonderful

TTh 9:30-10:50. Hyer Hall 102. Dickson-Carr, D. 2016: LL, W CC: LAI, W

This course is dedicated to learning how narratives function in all of their complexities: characters; plots; identities; ideologies; strategies. Our material will consist of mostly 20^th- and 21^st-century American stories and novels that are weird and wonderful. These works take turn conventions on their head in their approaches in their narrative elements, will instilling a sense of wonder at strange worlds, unusual readings of the past, and speculation about possible futures. We will read a mix of postmodern fiction, avant-garde works, speculative fiction (science fiction, historical fiction, horror, fantasy), and satire. How do these narratives shape themselves and therefore shape us?

Likely authors: Butler; Delany; DeLillo; Everett; Jemisin; Major; Morrison; Nguyen; Pynchon; Reed; Sterne; Toomer; Ward.

Requirements: Reading quizzes; weekly responses; two short papers; one research paper/project.

ENGL 2312-003—Introduction to Fiction: Literary Novellas by Women

TTh 10:00-10:50. Dallas Hall 120. Rivera. 2016: LL, W CC: LAI, W

This reading-intensive contemporary literature course introduces students to novellas by women through the paradigm of intersectionality. Through consistent, classroom-based dialogue, students will situate their feminist interrogations of novellas by Dura, El-Saadawi, Erdrich, Ferrante, Keegan, Lessing, Moore, Morrison, Okorafor, Otsuka, Rhys, and Winterson. Via journal responses, class-curated annotated bibliographies, close reading, literary analysis, and comparative literary synthesis, students will chart the throughlines of how women writers create fictive realities in this condensed narrative form as one possible mode of social commentary. We will attend to conventions and tropes of this genre—while we evaluate the centrality of one or two complex characters, the narrowing of conflict, the broad strokes used to structure aesthetic pacing, and the limitations of chronological locality. Further, students should expect to both consider and discuss the complex psycho-social beliefs and motives intrinsic to the identity politics of race, gender, class, ability, religion, gender, gender identity, sexuality, orientation, class, age, education, religion, and national origin vis-à-vis the historicity of women’s lives as we contextualize the aesthetic choices of these writers and the specific use of their voices to question and challenge the socio-political exigencies and oppressions of community.

Assignments: four quizzes, twelve analytical writer responses, four technical presentations, and a substantially revised portfolio.

ENGL 2312-004—Introduction to Fiction: The Campus Novel: The Changing University in Fiction and Film

MWF 1:00-1:50. Dallas Hall 152. Hermes. 2016: LL, W CC: LAI, W

What is “the true nature of the university?” asks a brilliant but cynical graduate student in John Williams’ 1965 novel Stoner. His answer may not be palatable to most academics. But with the increased importance of the university in American life since the 1950s and the explosion of creative writing programs over the same period, it’s a question that literary fiction has taken up time and again, often in satirical fashion. In this class, we’ll ask what the “campus novel” says about the changing nature of the modern university, as both the center and frequent subject of literary production. We’ll also ask how literary representations of college life reflect dynamics of social class, gender, sexuality, race, and economic mobility in society at large.

With these questions as our starting point for discussion, we’ll build a set of tools for writing about literature, including close reading, awareness of genre, and familiarity with the elements of fiction. We’ll think deeply about not just what texts say, but how they say it. Texts will be drawn from both fiction and film, including novels by Don DeLillo, Julie Schumacher, and Sarah Henstra, episodes from the TV series The Chair and Dear White People, and the film Dead Poets’ Society. Required work includes a presentation, regular reading responses, a literary analysis essay, and a final exam.

ENGL 2312-005—Introduction to Fiction: Season’s Hauntings

MWF 9:00-9:50. Annette Caldwell Simmons Hall 225. McClure. 2016: LL, W CC: LAI, W

What do Halloween and Christmas have in common? If you’d asked 150 years ago, a common answer would have been ghosts. While ghost stories are (lamentably) no longer a popular element of Christmas celebration, they flooded the papers and magazines that circulated the Western world in the nineteenth century, a turbulent period of religious doubt and renewed interest in folkloric practices. Christmas ghost stories gesture toward a broader phenomenon of holidays with ancient, pagan significance accruing Christian and moral layers of meaning, resulting in an often strange mix of symbols and festivities. We will explore literary works in which various holidays and supernatural forces mingle. We will consider the relationship between the natural world and human communities and the ways in which stories—either written or spoken aloud to a gathering of listeners—have molded our beliefs and customs. We will reflect on the celebratory practices, by turns strange and comforting, ghastly and cozy, that make us human.

Likely texts: Dracula, by Bram Stoker; Wuthering Heights, by Emily Brontë; A Christmas Carol, by Charles Dickens; Dubliners, by James Joyce; a selection of shorter works

Assignments: weekly responses; reading quizzes; two short essays; one longer research paper; one class project (choice of creative, critical, performative)

ENGL 2312-006—Introduction to Fiction: Race and Gender in U.S. Fiction

CANCELED

ENGL 2312-007—Introduction to Fiction: Film and Fiction

MWF 8:00-8:50. Dallas Hall 102. Morrow. 2016: LL, W CC: LAI, W

Almost from the beginning of film developing as a staple of entertainment, pre-existent novels have served as a vast source of inspiration for this other story-telling medium. Instead of flattening the narratives these films and books share, the transition from the one medium to the other is filled with differences. These differences are what will be the interest of the course. This course will explore why these differences happen; what changes in stories with changes in medium; and, of course, is the book actually better? The class will be made up of four units with one novel, two films, and a brief reflection PER UNIT. In addition to this work, there will also be a short, independent research project that will serve as the course final and a brief (10 minute) class presentation.

ENGL 2312-008—Introduction to Fiction: Race and Gender in U.S. Fiction

MWF 9:00-9:50. Dallas Hall 120. Barber. 2016: LL, W CC: LAI, W

This course will consider how we can read gender and race together in contemporary novels and short fiction written by multiethnic women. How do normative ideas around masculinity and femininity shift over time? How do narratives use race and gender as a means of responding to and critiquing their contemporary moment? Where, how, and why do race and gender matter? Students will learn to closely read and analyze our assigned texts to craft their own claims about the purpose, meaning, and significance of various texts.

Texts drawn from the following: Sylvia Plath, The Bell Jar, Toni Morrison, Sula; Leslie Marmon Silko. Ceremony; Emma Pérez, Forgetting the Alamo; R.F. Kuang, Yellowface, and various short fiction.

Assignments: weekly responses, quizzes, two short essays, one longer essay, and a final.

ENGL 2312-009—Introduction to Fiction: Southern Novels 1930-Present

MWF 2:00-2:50. Fondren Science 157. Rivera. 2016: LL, W CC: LAI, W

Embark on a captivating literary exploration in this reading-intensive course that traces the tapestry of Southern fiction from 1930 to the present. Rooted in the distinctive cultural, historical, and social contexts of the American South, our journey will unfold through works by renowned authors such as Dorothy Allison, Flannery O'Connor, Jesmyn Ward, Yaa Gyasi, William Faulkner, Cormac McCarthy, and Ernest Gaines. These novels will serve as a lens to scrutinize broader themes encompassing identity, morality, race, and societal change. As we analyze this literary landscape, we will unravel how these narratives intricately blend complex characterizations with the nuances of place, lyricism, and allusions to culture and collective memory. Through these texts, we will challenge stereotypes, weaving together themes of race, class, gender, and orientation to illuminate a Southern landscape that transcends clichés and offers a nuanced perspective on its complexities.

Assignments: four quizzes, twelve analytical writer responses, four technical presentations, and a substantially revised portfolio.

ENGL 2313-001—Introduction to Drama: All the World's a Stage

MWF 12:00-12:50. Dallas Hall 156. Moss. 2016: LL, W CC: LAI, W

From Antigone to Hamilton, the most memorable reflections on human nature and the most provocative critiques of social and political life have taken dramatic form, presented onstage before mass audiences. This trans-historical success is largely the result of the unique nature of drama, which alone fully unites the arts: writing, speech, gesture, and costume at a minimum, but often incorporating song, dance, and related arts, as in ancient Greece or the modern musical. Theaters and the troupes acting in them have always been at the heart of Western culture, from the choruses of the Festival of Dionysus to the Lord Chamberlain’s Men in London’s Globe to Broadway and its stars. At the same time, drama has lent its powerful voice to social protest and revolution, especially in the twentieth century.

The course is divided into three “Acts”: the rise of comedy and tragedy in ancient Greece, the ascendance of Shakespeare and his company in Renaissance England, and the radical left-wing theater of the mid-twentieth century. Smaller “Interludes” provide short introductions to medieval and eighteenth-century English drama, and we conclude with a brief glimpse of contemporary theater and film.

Assignments: weekly posts to the class discussion board, one shorter paper with a required revision, one longer paper incorporating secondary research, a review of a stage or film production, and a brief oral presentation or performance.

ENGL 2315-001—Introduction to Literary Study: Pomp and Circumstantial Evidence

TR 11:00-12:20. Dallas Hall 105. Dickson-Carr, D. 2016: CA, W CC: LAI, CAA, W

ENGL 2315 is an introduction to the pleasing art of literary study and to the English major. We will read, contemplate, and discuss poetry, essays, plays, short stories, and novels from different nations and literary traditions to enjoy their many rich complexities. We will begin with different ways of defining literature and literary study, then proceed to examine how and why we read various genres. We will discuss frequently the roles that literature may play in shaping our world. In addition, we will discover and discuss a few of the more prominent issues in contemporary literary studies. By the end of the course, the student should be able to read and write critically about literary works. This skill will serve each student well in other courses in English, but will apply equally well in other disciplines. Our topic, “Pomp and Circumstantial Evidence,” refers to the many moments in our readings in which individuals—whether poets, kings, fools, heroes, or villains—wrestle with and confront the same issues that we will discuss: the sublime; the gap between what we perceive and reality; facts versus fantasy, illusion, or delusion; the eternal and pleasurable challenge of interpretation. Assignments: regular writing (in class and on your own); two critical papers; several short benchmark reading exams. NOTE: We will watch a few selected films outside of regular class time.

Tentative texts: James, The Turn of the Screw; Best American Essays of the Century, ed. Joyce Carol Oates; Shakespeare, King Lear; Wisława Szymborska, Poems: New & Collected, 1957-1997; Derek Walcott, Omeros; selected poems by Gwendolyn Brooks, Caroline Crew, Kay Ryan, et al.

ENGL 2315-002— Introduction to Literary Study: Love Stories

MWF 11:00-11:50. Dallas Hall 357. Newman. 2016: CA, W CC: LAI, CAA, W

Who doesn’t love a good love story? We will read representations of different kinds of love, straight and queer, romantic and otherwise, in at least three genres—prose fiction, dramatic literature, and poetry. The point will be less to learn about love than to learn something about how literature works: how to think and write intelligently about it; how to use the terminology that helps us do so; and perhaps even how to love it.

Texts: Shakespeare, A Midsummer Night’s Dream; Jane Austen, Pride and Prejudice or Emily Brontë, Wuthering Heights (to be decided later, perhaps with your input?); short stories by James Joyce, Curtis Sittenfeld, Junot Diaz, and other modern and contemporary writers; poetry drawn from Shakespeare’s sonnets, Tennyson’s In Memoriam, and a variety of other poets, canonical and contemporary. Also required: Hamilton, Essential Literary Terms, 2nd edition.

Assignments: 3-4 short papers (between 750 and 1250 words); occasional quizzes and exercises involving skills and terminology; midterm and/or final exam covering terminology.

ENGL 2318-001— Literature and Digital Humanities

TTh 9:30-10:50. Dallas Hall 101. Wilson. 2016: CA, W CC: CA, CAA, W

What are digital humanities? What is the relationship between technology and the humanities? How can technology advance our understanding of language, literature, and culture? These are some of the large-scale questions that we will explore in this course. At the same time, we will become familisr with technologies such as digital maps, e-books, search engines, and databases, which we will use to analyze literature. These skills will also be valuable in other academic work and on the job market.

ENGL 2390-001—Introduction to Creative Writing: Introductory Poetry Writing

M 2:00-4:50. Dallas Hall 106. Brownderville. 2016: CA, W CC: CA, CAC, W

Percy Bysshe Shelley wrote that poetry “purges from our inward sight the film of familiarity which obscures from us the wonder of our being. It compels us to feel what we perceive, and to imagine that which we know.” Ezra Pound, more succinctly, instructed his fellow poets to “make it new!” Pound believed that poets should make the world new—and make poetry new—by presenting life in bold, original verse.

In this course, students will write and revise their own poems, respond both verbally and in writing to one another’s work, and analyze published poems. In-class workshops will demand insight, courtesy, and candor from everyone in the room, and will help students improve their oral-communications skills. The textbook, Writing Poems (Boisseau and Wallace), will be provided by the instructor. As this is an introductory course, prior experience in creative writing is not necessary.

ENGL 2390-002—Introduction to Creative Writing

TTh 12:30-1:50. Dallas Hall 120. Rubin. 2016: CA, W CC: CA, CAC, W

An introductory workshop that will focus on the fundamentals of craft in the genre of fiction. Students will learn the essential practice of "reading like a writer" while developing their own work and discussing their classmates'.

ENGL 2390-003—Introduction to Creative Writing: Notice How You Notice

TTh 11:00-12:20. Prothro Hall 205. Condon. 2016: CA, W CC: CA, CAC, W

Writing poetry has the potential to render our attention to the world more acute. This poetry writing workshop will teach you to notice how you notice the world as well as the essential craft tools needed to translate your perceptions to the page. To learn these tools, we will read and discuss the work of poets (such as Joy Harjo, Anne Carson, and Kevin Young) who have mastered them, focusing on how their formal decisions communicate something fundamental about the ways we perceive our world. In-class writing and homework prompts will help you generate your own original poetry. As the semester progresses you will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own. Requirements include a final portfolio of revised poems, weekly reading responses, and weekly creative assignments. All reading supplied on Canvas.

ENGL 2390-004—Introduction to Creative Writing

TTh 9:30-10:50. Dallas Hall 102. Smith. 2016: CA, W CC: CA, CAC, W

ENGL 2390-005—Introduction to Creative Writing: The Moves Writers Make

MWF 10:00-10:50. Dallas Hall 138. Hermes. 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

― Anton Chekhov

ENGL 2390-006—Introduction to Creative Writing: Telling it Slant in Creative Nonfiction

MW 3:30-4:50. Dallas Hall 157. Farhadi. 2016: CA, W CC: CA, CAC, W

ENGL 2390-007—Introduction to Creative Writing: Nature Poetry

CANCELED

ENGL 2390-008—Introduction to Creative Writing

TTh 12:30-1:50. Dallas Hall 138. Smith. 2016: CA, W CC: CA, CAC, W

ENGL 2390-009—Introduction to Creative Writing: The Moves Writers Make

MWF 11:00-11:50. Dallas Hall 138. Hermes. 2016: CA, W CC: CA, CAC, W

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

― Anton Chekhov

ENGL 3310-001—Research and Critical Writing for Literary Studies

MWF 2:00-2:50. Dallas Hall 152. Newman.

Note: this course is one of the English core courses and is intended especially for sophomore and junior English majors.

This course, which is required of all majors, explores several key questions: What is a text? What is the canon, and why does it provoke controversy? What are some of the approaches that thoughtful critics and scholars have brought in recent years to the analysis of texts and, more generally, to the literary studies as a discipline? How do we as readers make sense both of texts and of their critics? How, in practice, do we progress from the reading to the written analysis of texts?

We will explore these questions through three or four central texts (still to be determined), two shorter papers, and one longer essay or project that employs secondary sources.

Texts: Parker, How to Interpret Literature; Hamilton, Essential Literary Terms, plus 3-4 literary texts TBD.

Assignments: two shorter papers; occasional exercises and/or discussion-board posts; longer (8-10 pages) final essay or project employing secondary sources.

ENGL 3329-001—Courtly Cultures & King Arthur

TTh 9:30-10:50. Dallas Hall 156. Wheeler.

Study of Britain’s greatest native hero and one of the world’s most compelling and enjoyable set of narratives from the Middle Ages to the current day: the legends of King Arthur and the Knights of the Round Table. Weekly written comments, in-class debates, final paper.

ENGL 3347-001—Topics in American Lit Age Rev

TR 2:00-3:20. Dedman Life Science 132. Levy. 2016: HFA, W CC: LAI, W

This course considers “revolution” in several senses: social, political, economic, and technological. We will read canonical and non-canonical literature that reflects and confronts revolutionary moments in American life through form as well as content. Periods covered include the Early Republic, 1840’s through the Civil War, Reconstruction and the Gilded Age, the rise of American imperialism, the Progressive Era, the Harlem Renaissance and the Depression. Authors include Hannah Foster, George Lippard, Emerson, Thoreau, Whitman, Melville, Hawthorne. Margaret Fuller, George Lippard, Abraham Lincoln, Harriet Jacobs, Rebecca Harding Davis, Edward Eggleston, Zora Neale Hurston, Waldo Frank Twelve Southerners, Floyd Dell and others.

Assignments will include 2 papers, a final exam and weekly journals.

ENGL 3355-001C—Transatlantic Encounters III: Possible Futures: Feminist Theory and Speculative Theory

TTh 9:30-10:50. Dallas Hall 106. Boswell. 2016: HFA, HD, GE CC: LAI, HD, W

Combined with WGST 3370

This course examines a variety of speculative texts alongside works of feminist theory and explores the underlying systems that have shaped the concepts of sex, gender, race, and other categories. By making our world and assumptions strange to us, these speculative fictions offer a testing ground for many ideas in feminist theory.

ENGL 3362-001—African-American Literature

MWF 1:00-1:50. Clements Hall 126. Donkor. 2016: HFA, HD, W CC: LAI, HD, W

ENGL 3364-001—Women and the Southwest

CANCELED

ENGL 3377-001—LGBT Writing Before and After Stonewall

CANCELED

ENGL 3384-001—Literature and Medicine

TTh 3:30-4:50. Dallas Hall 152. Pergadia. 2016: HFA, HD, W CC: LAI, W

This course surveys the interdisciplinary field of the medical humanities through an exploration of the relationship between literature and medicine. How do medical genres of writing – from differential diagnosis to case studies – adopt literary forms? How might literary genres, such as the cancer memoir, inform medical practices? Students will gain familiarity with key debates in the field, including the distinction between the medical model of disability and illness and the social model.

Likely readings: Susan Sontag’s Illness as Metaphor and AIDS and its Metaphors, Ann Boyer’s The Undying, Audre Lorde’s The Cancer Journals, Charlotte Perkins Gilman’s “The Yellow Wallpaper,” Octavia Butler’s Wild Seed, Ling Ma’s Severance, Ruth Ozeki’s My Year of Meats, Christina Sharpe’s In the Wake, Zakiyyah Jackson’s Becoming Human.

Required work: discussion posts, in-class group presentation, and final project.

ENGL 3390-001—Creative Writing Workshop

T 3:30-6:20. Dallas Hall 149. Rubin. 2012: CA2, W 2016: HFA, W CC: W

Discussing the work of Katherine Porter, the writer Mary Gaitskill names an important advantage the form of the short story has over visual media: "Film, both movies and television," Gaitskill writes, "may accomplish something like this [moment in Porter's work], or try to. But it is precisely the medium's felicity to the seen world that so often makes its attempts to portray the unseen world buffoonish."

This class will explore the way great fiction evokes the world of the unseen. How is such a thing done? And what can make evocations of this unseen place so thrilling, consoling, and spooky? This course is a fiction-writing workshop with an emphasis on reading and craft.

ENGL 3390-002— Creative Writing Workshop: Poetry Workshop

W 2:00-4:50. Dallas Hall 343. Brownderville. 2016: HFA, W CC: W

In this workshop-intensive course, students will write, revise, and analyze poems. Each student will accumulate ideas in a journal and will write ten to fifteen pages of poetry. Readings will include three or four recent volumes of verse (e.g. A Church in the Plains by Rachel Rinehart and Portrait of Us Burning by Sebastián Paramo). This course will invite students to imagine how their own voices might contribute to the exciting, wildly varied world of contemporary poetry.

ENGL 3390-003— Creative Writing Workshop: Lyric Address & Apostrophe (Listen Up, I’m Talking to You!)

TTh 2:00-3:20. Dallas Hall 137. Condon. 2016: HFA, W CC: W

In this course we will study and write poetry that employs lyric address and apostrophe. We will discover how directly addressing our worst enemy or our secret crush, the West Wind or a Wendy’s drive-thru, transforms poems from monological recollections into active dialogues. We will practice the poetic forms that spotlight lyric address and apostrophe, such as odes, elegies, and epistles. You will be expected to discuss and analyze your peers’ poems and poetic choices, as well as your own.

Texts: All reading supplied on Canvas

Assignments: a final portfolio of revised poems, weekly reading responses, and weekly creative assignments.

ENGL 4323-001— Chaucer: Chaucer’s Experimental Poetry

TR 12:30-1:50. Dallas Hall 156. Wheeler. 2016: IL, OC

Encounters with the shorter poetry of Geoffrey Chaucer> Its pathos, philosophical depth, and humor is seen in relation to historical contexts and experimental poetics. Weekly written comments, in-class presentations, final paper.

ENGL 4332-001— Studies in Early modern British Literature: Shakespeare’s Contemporaries

CANCELED

ENGL 4339-001— Transatlantic Studies I: The Archives Workshop

TTh 11:00-12:20. Fondren Science 157. Cassedy. 2016: IL, OC

Archives are where people put stories that they want to preserve. They’re also where they bury stories that they hope will be forgotten. What could we learn about the past if we looked at literature alongside diaries, love letters, scrapbooks, and the other textual remains that ordinary people leave behind? This course is a hands-on workshop on using archival resources in literary studies. We’ll dig into the lives of obscure and not-so obscure individuals from the eighteenth, nineteenth, and twentieth centuries. We’ll try to see what the past looks like through their eyes, and we’ll compare that with what it looks like through the eyes of several canonical authors. Each student will undertake an archival research project, culminating in a narrative essay that uses archival evidence to understand cultural and literary history anew.

ENGL 4346-001— American Literature in the Age of Revolutions: Spirits of Resistance in Nineteenth Century African American Literature

MW 3:00-4:20. Dallas Hall 120. Donkor.

African American resistance to enslavement and the denial of Black personhood in the nineteenth century is most commonly associated with armed and violent rebellion. The plots of Nat Turner and David Walker are hallmark cases of conspired violent resistance and get represented in early texts like The Confessions of Nat Turner (1831) and David Walker’s Appeal to the Colored Citizens of the World (1829). But what about the more quotidian, subversive, and creative stratagems African Americans employed to resist racism and assert their humanity—how are these varieties of resistance represented in literature?

This course will trace dynamic forms of Black resistance present in African American writing. While we will read resistance in tales that reimagine classic slave revolts in fiction like Martin Delaney’s Blake or the Huts of America, we will also uncover more nuanced forms of resistance enacted through children’s play, sexual subversion, race play, and paranormal adventures in the work of authors including, but not limited to, Harriet Wilson, Harriet Jacobs, Charles Chesnutt, and Pauline Hopkins. Finally, we will be attentive to resistance at the narrative level, studying how nineteenth century texts challenge conventions of genre and push against classic literary tropes, all while establishing the African American literary tradition, which itself, is a mode of Black resistance.

Assignments: Peer-guided discussion, periodic close reading annotations, midterm exam, two shorter literary analysis essays, one longer research paper. Shorter papers in this course will undergo revision.

ENGL 4360-001—Studies in Modern and Contemporary American Literature: Postmodern American Fiction

CANCELED

ENGL 4360-002—Studies in Modern and Contemporary American Literature: Contemporary American Poetry

MWF 11:00-11:50. Dedman Life Science 132. Caplan. 2016: HFA, IL, OC

We will read the most interesting poetry written by contemporary American poets. Five of the assigned poets will visit our class via Zoom to discuss their work. A sixth will visit our class in person. In addition to these meetings with poets, we will discuss their work, compose formal imitations, and recite an assigned poem of our choice.

Our goal is twofold. First, we will develop our ability to read poetry carefully and attentively. We will learn to appreciate the art of poetry. Second, we will see how contemporary American poets understand our historical moment. Reading closely, we will examine the ambitions, doubts, and debates that inspire the poetry.

will include six recently published poetry collections. The students will take three in-class exams and a take-home final exam and write short reading responses and formal imitations.

ENGL 4397-001—Distinction Seminar

TTh 12:30-1:50. Dallas Hall 105. Pergadia

Open by invitation.

This course is required for students pursuing Distinction in English, and its purpose is to help you envision and design a critical or creative project that you will undertake in the spring semester to complete the Distinction program. Your Distinction project is the most extensive and ambitious project that you are likely to undertake in college — and whether a creative writing project or a literary critical project, it will involve considerable planning, research, and preparatory writing. This course will introduce you to advanced research and project management strategies employed by professional writers and critics; provide frequent opportunities for you to share your ideas in progress and draw on your classmates’ collective insights; and yield a detailed plan for the research and writing that you will undertake in the spring with a faculty member of your choice. The syllabus will be partly student-generated, using scholarship and creative writing located by members of the class and relevant to their projects

ENGL 6310-001—Advanced Literary Studies

CANCELED

ENGL 6311-001—Survey of Literary Criticism and Theory

M 2:00-4:50. Dallas Hall 138. González.

ENGL 6312: Teaching Practicum.

F 12:00 – 2:50. Dallas Hall 120. Stephens

This course prepares graduate students in English seeking a Ph.D. to teach first-year writing at the college level and, in a larger sense, to design, prepare for, and teach college English classes at any level. During the fall semester, in addition to all of the texts assigned on the WRTR 1312 syllabus, students will read and write critical responses to composition theory and the classroom (excerpts from Lindemann’s A Rhetoric for Writing Teachers). Students will also read and discuss Bean, Engaging Ideas: The Professor’s Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom; Kirschbaum, Toward a New Rhetoric of Difference; and excerpted chapters from Naming What We Know. These texts provide students with an overview of the history of rhetoric and methods for fostering critical thinking and writing. Students will also critically assess, review, and present contemporary criticism of rhetorical pedagogy. Finally, students will keep abreast of current issues in Composition Studies and Academia by reading recent online articles in The Chronicle of Higher Education.

ENGL 7340-001— Seminar in British Literature

W 2:00-4:50. Dallas Hall 138. Sudan

We will identify and analyze the material and figurative implications of “enclosure” from the late seventeenth century through to the virtual demise of the second British empire (including the effects of the idea that this demise is “virtual”). I have purposely used the plural form in order to engage the myriad of meanings this term evokes, particularly its oppositional definitions.

ENGL 7372-001— Seminar in Trans-Atlantic Literature: Archives Workshop

Th 2:00-4:50. Dallas Hall 138. Cassedy.

Archives are where people put stories that they want to preserve. They’re also where they bury stories that they hope will be forgotten. What could we learn about the past if we looked at literature alongside diaries, love letters, scrapbooks, and the other textual remains that ordinary people leave behind? This course is a hands-on workshop on the theories, practices, and methods of using archival resources in literary studies. Designed to be useful to students working in any national, period, or genre specialization, this course will survey recent work being done with archives by literary and cultural historians, introduce students to a variety of archival resources, and provide practical training in working with physical and digitized materials. Each student will develop and undertake an archivally driven research project, culminating in a narrative essay that uses archival evidence to understand cultural and literary history anew.

ENGL 7350-001— Seminar in American Literature: “US Ethnic Narratives and the Borderlands of Desire”

T 2:00-4:50. Dallas Hall 137. Sae-Saue

This course examines the textual politics of the US-Mexico border. With a particular focus on ethnic novels, students will explore how narrative forms communicate shifting cultural politics of the region. This means that the class will examine how the formal principles of ethnic narratives articulate the raw material of historical life in the area on one hand, and how they imagine political fantasies of national and cultural futures on the other. The class will also locate “desire” (understood broadly) as a key register in which ethnic narratives communicate political and cultural values. Students will also familiarize themselves with key works of literary criticism of borderlands theory and politics that form the basis of the field.

ENGL 7376-001—Seminar: Special Topic: Representing History in Queer Writing Since Wilde

TTh 11:00-12:20. Dallas Hall 152. Bozorth.

This seminar will examine some “canonical” and (“precanonical”?) works by LGBTQ+ people that share preoccupations with queer history and queer literary history. We will also consider how these preoccupations are embodied in a variety of written and visual media: theater (Wilde’s Salome, Kushner’s Angels in America), coming-of-age novel (Forster’s Maurice, Winterson’s Oranges Are Not the Only Fruit, Kenan’s A Visitation of Spirits), historical fiction (Woolf’s Orlando, Hollinghurst’s The Swimming-Pool Library, Merlis’s An Arrow’s Flight), memoir (Lorde’s Zami: A New Spelling of My Name, Bechdel’s Fun Home), and film adaptation (Isherwood’s A Single Man, Proulx’s Brokeback Mountain). Among our concerns: how and why the era of queer culture that began in the late 19^th century, with what Foucault famously called “the invention of homosexuality” was as interested in recovering a lost queer past as in imagining a queer future; how the past signifies differently for lesbians and queer people of color; and how the advent of HIV-AIDS in the 1980s and its legacy have shaped perceptions about queer history and the ways it can be embedded in literary and other forms. Leading discussion; conference paper-style presentation; seminar paper.

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
1330	001	World of Shakespeare	Moss	MWF	2:00	2:50	DH 306	2016: LL	LAI
1363	701	Myths of the American West	Levy	W	6:00	8:50	DH 306	2016: CA, HC	LAI, HD
2102	001	Spreadsheet Literacy: MS Excel	Dickson-Carr, C	M	3:00	3:50	OFAC 1050
2102	002	Spreadsheet Literacy: MS Excel	Dickson-Carr, C	W	3:00	3:50	OFAC 1050
2302	001	Business Writing	Dickson-Carr, C	TR	12:30	1:50	VSNI 203	2016: IL, OC, W	W
2302	002	Business Writing	Dickson-Carr, C	TR	2:00	3:20	VSNI 203	2016: IL, OC, W	W
2311	001	Poetry: Serious Word Games	Bozorth	TR	2:00	3:20	DH 152	2016: LL, W	LAI, W
2311	002	Poetry: Finding The Greatest Inventors	Wilson	TR	8:00	9:20	DH 101	2016: LL, W	LAI, W
2311	003	Poetry: Contemporary American Poets	Rivera	MWF	11:00	11:50	DH 120	2016: LL, W	LAI, W
2311	004	Poetry	Caplan	MWF	1:00	1:50	DH 138	2016: LL, W	LAI, W
2312	001	Fiction: Introduction to Ethic U.S. Fiction	Sae-Saue	TR	11:00	12:20	DH 120	2016: LL, W	LAI, W
2312	002H	Fiction: Weird & Wonderful	Dickson-Carr, D.	TR	9:30	10:50	HYER 102	2016: LL, W	LAI, W
2312	003	Fiction: Literary Novellas by Women	Rivera	MWF	10:00	10:50	DH 120	2016: LL, W	LAI, W
2312	004	Fiction: The Campus Novel: The Changing University in Fiction and Film	Hermes	MWF	1:00	1:50	DH 152	2016: LL, W	LAI, W
2312	005	Fiction: Season’s Hauntings	McClure	MWF	9:00	9:50	ACSH 225	2016: LL, W	LAI, W
2312	006	Fiction (CANCELED)	CANCELED
2312	007	Fiction: Film and Fiction	Morrow	MWF	8:00	8:50	DH 102	2016: LL, W	LAI, W
2312	008	Fiction: Race and Gender in U.S. Fiction	Barber	MWF	9:00	9:50	DH 120	2016: LL, W	LAI, W
2312	009	Fiction: Southern Novels, 1930 - Present	Rivera	MWF	2:00	2:50	FOSC 157	2016: LL, W	LL, W
2313	001	Drama: All the World's a Stage	Moss	MWF	12:00	12:50	DH 156	2016: LL, W	LAI, W
2315	001	Introduction to Literary Studies: Pomp and Circumstantial Evidence	Dickson-Carr, D	TR	11:00	12:20	DH 105	2016: CA, W	LAI, W
2315	002	Introduction to Literary Study: Love Stories	Newman	MWF	11:00	11:50	DH 357	2016: CA, W	LAI, W
2318	001	Introduction to Digital Lit	Wilson	TR	9:30	10:50	DH 101	2016: LL, TM, W	LAI, W
2390	001	Creative Writing: Introductory Poetry Writing	Brownderville	M	2:0	2:50	DH 106	2016: CA, W	CA, CAC, W
2390	002	Creative Writing	Rubin	TR	12:30	1:50	DH 120	2016: CA, W	CA, CAC, W
2390	003	Creative Writing: Notice How You Notice	Condon	TR	11:00	12:20	PRTH 205	2016: CA, W	CA, CAC, W
2390	004	Creative Writing	Smith	TR	9:30	10:50	DH 102	2016: CA, W	CA, CAC, W
2390	005	Creative Writing: The Moves Writers Make	Hermes	MWF	10:00	10:50	DH 138	2016: CA, W	CA, CAC, W
2390	006	Creative Writing: Telling it Slant in Creative Nonfiction	Farhadi	MW	3:30	4:50	DH 157	2016: CA, W	CA, CAC, W
2390	007	Creative Writing (CANCELED)	CANCELED
2390	008	Creative Writing	Smith	TR	12:30	1:50	DH 138	2016: CA, W	CA, CAC, W
2390	009	Creative Writing: The Moves Writers Make	Hermes	MWF	11:00	11:50	DH 138	2016: CA, W	CA, CAC, W
3310	001	Research and Critical Writing for Literary Studies	Newman	MWF	2:00	2:50	DH 152
3329	001	Courtly Cultures & King Arthur	Wheeler	TR	12:30	1:50	DH 156
3347	001	Topics in American Lit Age of Rev	Levy	TR	2:00	4:50	DLSB 132	2016: HFA, W	LAI, W
3355	001C	Transatlantic Encounters III: Possible Futures: Feminist theory & Speculative Theory	Boswell	TR	9:30	10:50	DH 106
3362	001	African American Literature	Donkor	MWF	1:00	1:50	CLEM 126	HD, HFA, W	LAI, HD, W
3364	001	Women and the Southwest (CANCELED)	CANCELED
3377	001	LGBT Writing Before and After Stonewall (CANCELED)	CANCELED
3384	001	Literature and Medicine	Pergadia	TR	3:30	4:50	DH 101	2016: HD, HFA, W	LAI, W
3390	001	Creative Writing Workshop: Fiction Workshop	Rubin	T	3:30	6:20	DH 149	2016: HFA, W	W
3390	002	Creative Writing Workshop: Poetry Workshop	Brownderville	W	2:00	4:50	DH 343	2016: HFA, W	W
3390	003	Creative Writing Workshop: Lyric Address & Apostrophe (Listen Up, I’m Talking to You!)	Condon	TR	2:00	3:20	DH 137	2016: IL, OC	W
4323	001	Chaucer: Chaucer’s Experimental Poetry	Wheeler	TR	9:30	10:50	DH 156	2016: IL, OC
4332	001	Studies in Early Modern British Lit (CANCELED)	CANCELED
4339	001	Transatlantic Studies I: The Archives Workshop	Cassedy	TR	11:00	12:20	FOSC 157	2016: IL, OC
4346	001	Amer Lit in Age of Revolutions: Spirit of Resistance	Donkor	MW	3:00	4:20	DH 120	2016: IL, OC
4360	001	Studies in Modern & Contemporary American Literature (CANCELED)	CANCELED
4360	002	Studies in Modern & Contemporary American Literature: Contemporary American Poetry	Caplan	MWF	11:00	11:50	DLSB 132	2016: HFA, IL, OC
4397	001	Distinction Seminar	Pergadia	TR	12:30	1:50	DH 105
6310	001	Advanced Literary Studies (CANCELED)	CANCELED
6311	001	Survey of Literary Criticism and Theory	González	M	2:00	4:50	DH 138
6312	001	Teaching Practicum	Stephens	F	12:00	2:50	DH 120
7340	001	Seminar in British Literature	Sudan	W	2:00	4:50	DH 138
7350	001	Seminar in American Literature: “US Ethnic Narratives and the Borderlands of Desire"	Sae-Saue	T	2:00	4:50	DH 137
7372	001	Seminar in Trans-Atlantic Literature: Archives Workshop	Cassedy	R	2:00	4:50	DH 138
7376	001	Seminar: Special Topic: Representing History in Queer Writing Since Wilde	Bozorth	TR	11:00	12:20	DH 152

Cat #	Sec	Course Title	Instructor	Days	Start	End	Room	UC Tags	CC Tags
2312	007	Fiction: Film and Fiction	Morrow	MWF	8:00	8:50	DH 102	2016: LL, W	LAI, W
2312	005	Fiction: Season's Hauntings	McClure	MWF	9:00	9:50	ACSH 225	2016: LL, W	LAI, W
2312	008	Fiction: Race and Gender in U.S. Fiction	Barber	MWF	9:00	9:50	DH 120	2016: LL, W	LAI, W
2312	003	Fiction: Literary Novellas by Women	Rivera	MWF	10:00	10:50	DH 120	2016: LL, W	LAI, W
2390	005	Creative Writing: The Moves Writers Make	Hermes	MWF	10:00	10:50	DH 138	2016: CA, W	CA, CAC, W
3364	001	Women and the Southwest (CANCELED)	CANCELED
2311	003	Poetry: Contemporary American Poets	Rivera	MWF	11:00	11:50	DH 120	2016: LL, W	LAI, W
2315	002	Introduction to Literary Study: Love Stories	Newman	MWF	11:00	11:50	DH 357	2016: CA, W	LAI, W
2390	009	Creative Writing: The Moves Writers Make	Hermes	MWF	11:00	11:50	DH 138	2016: CA, W	CA, CAC, W
4360	002	Studies in Modern & Contemporary American Literature: Contemporary American Poetry	Caplan	MWF	11:00	11:50	DLSB 132	2016: HFA, IL, OC
2313	001	Drama: All the World's a Stage	Moss	MWF	12:00	12:50	DH 156	2016: LL, W	LAI, W
2311	004	Poetry	Caplan	MWF	1:00	1:50	DH 138	2016: LL, W	LAI, W
2312	004	Fiction: The Campus Novel: The Changing University in Fiction and Film	Hermes	MWF	1:00	1:50	DH 152	2016: LL, W	LAI, W
3362	001	African-American Literature	Donkor	MWF	1:00	1:50	CLEM 126	2016: HD, HFA, W	LAI, HD, W
1330	001	World of Shakespeare	Moss	MWF	2:00	2:50	DH 306	2016: LL	LAI
2312	009	Fiction: Southern Novels, 1930 - Present	Rivera	MWF	2:00	2:50	FOSC 157	2016: LL, W	LL, W
3310	001	Research and Critical Writing for Literary Studies	Newman	MWF	2:00	2:50	DH 152
2390	006	Creative Writing: Telling it Slant in Creative Nonfiction	Farhadi	MW	3:30	4:50	DH 157	2016: CA, W	CA, CAC, W
4346	001	Amer Lit in Age of Revolution: Spirit of Resistance	Donkor	MW	3:00	4:20	DH 120	2016: IL, OC
2390	001	Creative Writing: Introductory Poetry Writing	Brownderville	M	2:00	4:50	DH 106	2016: CA, W	CA, CAC, W
6310	001	Advanced Literary Studies (CANCELED)	CANCELED
6311	001	Survey of Literary Criticism and Theory	Gonzalez	M	2:00	4:50	DH 138
2102	001	Spreadsheet Literacy: MS Excel	Dickson-Carr, C.	M	3:00:	3:50	OFAC 1050
3390	002	Creative Writing Workshop: Poetry Workshop	Brownderville	W	2:00	4:50	DH 343	2016: HFA, W	W
7340	001	Seminar in British Literature	Sudan	W	2:00	4:50	DH 138
2102	002	Spreadsheet Literacy: MS Excel	Dickson-Carr, C.	W	3:00	3:50	OFAC 1050
1363	701	Myths of the American West	Levy	W	6:00	8:50	DH 306	2016: CA, HC	LAI, HD
6312	001	Teaching Practicum	Stephens	F	12:00	2:50	DH 120
2311	002	Poetry: Finding the Greatest Inventors	Wilson	TR	8:00	9:20	DH 101	2016: LL, W	LAI, W
2312	006	Fiction (CANCELED)	CANCELED
2312	002H	Fiction: Weird & Wonderful	Dickson-Carr, D.	TR	9:30	10:50	HYER 102	2016: LL, W	LAI, W
2318	001	Intro to Digital Lit	Wilson	TR	9:30	10:50	DH 101	2016: LL, TM, W	LAI, W
2390	004	Creative Writing	Smith	TR	9:30	10:50	DH 102	2016: CA, W	CA, CAC, W
4323	001	Chaucer: Chaucer's Experimental Poetry	Wheeler	TR	9:30	10:50	DH 156	2016: IL, OC
3355	001C	Transatlantic Encounters III: Possible Futures: Feminist theory & Speculative Theory	Boswell	TR	9:30	10:50	DH 106
2312	001	Fiction: Introduction to Ethnic U.S. Fiction	Sae-Saue	TR	11:00	12:20	DH 120	2016: LL, W	LAI, W
2315	001	Intro to Literary Studies: Pomp And Circumstantial Evidence	Dickson-Carr, D.	TR	11:00	12:20	DH 105	2016: CA, W	LAI, W
2390	003	Creative Writing: Notice How You Notice	Condon	TR	11:00	12:20	PRTH 205	2016: CA, W	CA, CAC, W
3377	001	LGBT Writing Before and After Stonewall (CANCELED)	CANCELED
4332	001	Studies in Early Modern British Lit (CANCELED)	CANCELED				FOSC 157	2016: IL, OC
4339	001	Transatlantic Studies I: The Archives Workshop	Cassedy	TR	11:00	12:20	FOSC 157	2016: IL, OC
7376	001	Seminar: Special Topics: Representing History in Queer Writing Since Wilde	Bozorth	TR	11:00	12:20	DH 152
2302	001	Business Writing	Dickson-Carr, C.	TR	12:30	1:50	VSNI 203	2016: IL, OC, W	W
2390	002	Creative Writing	Rubin	TR	12:30	1:50	DH 120	2016: CA, W	CA, CAC, W
2390	008	Creative Writing	Smith	TR	12:30	1:50	DH 138	2016: CA, W	CA, CAC, W
3329	001	Courtly Cultures & King Arthur	Wheeler	TR	12:30	1:50	DH 156
4397	001	Distinction Seminar	Pergadia	TR	12:30	1:50	DH 105
2302	002	Business Writing	Dickson-Carr, C.	TR	2:00	3:20	VSNI 203	2016: IL, OC, W	W
2311	001	Poetry: Serious Word Games	Bozorth	TR	2:00	3:20	DH 152	2016: LL, W	LAI, W
3347	001	Topics in Am Lit in the Age of Rev	Levy	TR	2:00	3:20	DLSB 132	2016: HFA, W	LAI, W
3390	003	Creative Writing Workshop: Lyric Address & Apostrophe (Listen Up, I’m Talking to You!)	Condon	TR	2:00	3:20	DH 137	2016: HFA, W	W
4360	001	Studies in Modern & Contemporary American Literature (CANCELED)	CANCELED
2390	007	Creative Writing (CANCELED)	CANCELED
3384	001	Literature and Medicine	Pergadia	TR	3:30	4:50	DH 101	2016: HD, HFA, W	LAI, W
7350	001	Seminar in American Literature: "US Ethnic Narratives and the Borderlands of Desire"	Sae-Saue	T	2:00	4:50	DH 137
3390	001	Creative Writing Workshop: Fiction Workshop	Rubin	T	3:30	6:20	DH 149	2016: HFA, W	W
7372	001	Seminar in Trans-Atlantic Literature: Archives Workshop	Cassedy	R	2:00	4:50	DH 138

Summer 2024

MAY & SUMMER SESSION 2024 COURSES

Cat #	Sec	Session	Course Title	Instructor	Day	Start	End	Room	UC	CC
1380	011A	June A	Introduction to Literature	McConnell	M-F	9:00	12:50	DH 149
2302	0011	S1	Business Writing	Dickson-Carr, C.	M-F	2:00	3:50	VSNI 203	2016: IL, OC, W	W
2311	0011	S1	Poetry	Condon	M-F	10:00	11:50		2016: LL, W	LAI, W
2390	0011	S1	Intro to Creative Writing	Hermes	M-F	12:00	1:50		2016: CA, W	CA, CAC. W
2390	0012	S2	Intro to Creative Writing: Love Letter Poems (CANCELED)	CANCELED					2016: CA, W	CA, CAC. W
3362	0011	S1	African-American Literature	Dickson-Carr, D.	M-F	11:00	12:50

MAY & SUMMER 2024 SESSION

COURSE DESCRIPTIONS

ENGL 1380-0011A—Introduction to Literature

M – F: 9:00 - 12:50. Dallas Hall 149. McConnell.

ENGL 2302-0011— Business Writing

M – F: 2:00 - 3:50. VSNI 203. Dickson-Carr, C. 2016: IL, OC, W. CC: W

ENGL 2311-0011— Poetry

M – F: 10:00 - 11:50. Condon, Katie. 2016: IL, W. CC: LAI, W

ENGL 2390-0011— Introduction to Creative Writing

M – F: 12:00 - 1:50. Hermes, Richard. 2016: CA, W. CC: CA, CAC, W

ENGL 2390-0012— Intro to Creative Writing: Love Letter Poems

CANCELED

ENGL 3362-0011— African-American Literature

M – F: 11:00-12:50. Dickson-Carr, D.

Current Course Offerings