English 293/380, Winter 2012 Office Hours: Monday & W 10-12:30 & by appt.Dr. Deborah Miranda, mirandad@wlu.edu Meeting room: Payne 212Office: Payne 305, x 8755 Meeting time: 1:25-2:50

AMERICAN STORYTELLING:

M A D E I N T H E U. S. A.

"I will tell you something about stories ... They aren't just entertainment.

Don't be fooled."

Leslie Marmon Silko, Laguna Pueblo

COURSE DESCRIPTION: This course focuses on ethnic 'minority' literature (material written by men and women of non-dominant cultures in the U.S.), moving it from the edges (or margins) of your world into the center.

Realistically, this class can only give you an introduction to the literatures of ethnic groups in the U.S., and our semester is actually far too limited a time frame to include all ethnicities within U.S. borders. Therefore, we’re keeping class discussions focused on six groups: African American, Native American, Mexican American (or Chicana/o), Japanese American, Appalachian, and Jewish. As you can see, defining “ethnicity” is complex, and we’ll discuss this as we go. We will be studying stories, poems, narratives, autobiographies, music and visual art from these communities in depth as a class. There is no way to do this in a way that addresses all the diverse voices in American ethnic literatures, but we’ll complicate the issue of labels by looking also at gender relationships and histories within these communities, using a relatively small handful of texts. We'll start by asking these questions: What is 'American' storytelling? What stories do Americans tell? Is there one American story? How do ethnicity and gender affect stories told about our lives in the United States? What does they allow? What do they not allow? What do they make possible? What do they disrupt? How are ethnic literatures different from canonical American Literatures? How are ethnic literatures important to the overall history of the United States? Why are these stories important for you?

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English 293FDR: HL Credits: 3Prerequisite: Completion of the FW requirement. Studies in American literature, supported by attention to historical contexts. Versions of this course may survey several periods or concentrate on a group of works from a short span of time. Students develop their analytical writing skills in a series of short papers. May be repeated for degree credit with permission and if the topics are different. 

1. write clear, persuasive analytical essays driven by arguments about texts; 2. read closely, recognizing subtle and complex differences in language use; 4. derive pleasure and edification from a broad range of texts.

English 380FDR: HL Credits: 3Prerequisite: Six credits in 200-level English.Literary study aims to understand the human condition and experience as expressed by the individual imagination through language. Through such study, students acquire an aesthetic interest to pursue throughout their lifetime. Courses may focus on literature written in English, in a foreign language, or in translation. In literature courses, students will:

1. write clear, persuasive analytical essays driven by arguments about texts; 2. read closely, recognizing subtle and complex differences in language use; 3. seek out further knowledge about literary works, authors, and contexts, and document research appropriately, adhering to the highest standards of intellectual honesty; 4. derive pleasure and edification from a broad range of texts.

REQUIRED MATERIALSInvisible Man, by Ralph EllisonTracks, by Louise ErdrichBastard out of Carolina, byDorothy AllisonKindred, by Octavia ButlerOnly What We Could Carry, ed. by Lawson FunadaThe Complete Maus: A Survivor's Tale, by Art Spiegelman Woman Hollering Creek, by Sandra CisnerosWinter’s Bone, by Daniel WoodrellSakai Readings

You’ll also need: A style guide/handbook (must contain MLA guidelines for papers & citations; I also suggest using the paragraph and

thesis statement sections as a review) access to the Internet and Sakai, as well as a reliable printer, where articles, relevant websites, and other information

will be posted throughout the course a mini-stapler to carry with you (no joke: I do not accept unstapled or paper-clipped assignments. Binder clips

are okay.)

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“Art and literature and storytelling are at the epicenter of all that an individual or a nation intends to be. And someone more profound than most said that a nation which does not tell its own stories cannot be said to be a nation at all.” Elizabeth Cook Lynn, Crow Creek Sioux, in “Life and Death in the Mainstream of American Indian Biography.”

COURSE REQUIREMENTS

For English 293 students:

Attendance, discussion (including Rosalind Bell’s reading on Feb. 29) 10%

Reading & Definition Quizzes. We will have a reading quiz at the end of every 2 weeks; basically, after reading 2 books, you’ll answer basic who/what/where/when/why/how questions about those books, and give definitions of common terms used in discussion. If you miss a quiz, you may make it up the same week (i.e., by Friday); there will be no make-ups after that. You will be given 10 minutes per quiz; either you know the answers, or you don’t. These same questions will form the basis of the final objective exam. 10%

Concept Journal. Each Monday for weeks 2-9, you will bring in a typed, single-spaced, 300 word journal entry based on a concept or issue in that week’s reading that you feel warrants further discussion. Be prepared to read your piece in class as a jump-start to the discussion. These discussion journals ask questions and try out analyses about the text: they are not a summary. Your discussion journal can be based on words or concepts that you don't understand, political issues, a question about character development, literary technique, close readings of themes, symbols, motifs, etc., provide historical context, make comparisons between stories we’ve read previously and current reading … the possibilities are endless. I’ll give you examples, but feel free to find your own voice. These are graded assignments. 15%

Team Presentation And Explication of a Close Reading: with a partner, you are responsible for developing a close reading (of a passage, scene, symbol, motif) from one of our texts, & presenting and facilitating discussion of that close reading (no more than 20 minutes for total). Sign ups begin the second week of class, so take a look at your choices. See the attached handout for more information on how to do this presentation. 15%

Midterm: consisting of a short answer objective exam in-class and a take-home paper of 2000 words about themes, symbols, patterns, issues etc. of any two of our texts to date. 20%

Final Exam: consisting of a short answer objective/definition exam and a take-home paper of 3000 words on a topic to be determined. 30%

For English 380 students - All of the 293 requirements, minus midterm & final exam, plus:

Attendance at one additional literary event (I suggest Natasha Tretheway’s reading) 10%

Midterm/ Spotlight on Poets: You will prepare a “blog spotlight” on one American Ethnic poet (sign up week 1; each person must spotlight a separate poet). I will start the blog and give you the information; it’s a good idea to start working with the blog early in the term to work out any technical aspects. This assignment may include photos, biographical material, film clips, audio clips, and other multi-media; however, at its heart is a 2000 word analysis of a theme or pattern in that poet’s work (either in one poem, or in 2-3 poems). This mini-research project counts as your Midterm and has a firm deadline for final posting online. Note: you may use some or all of this analysis as part of your final research project materials. 20%

Presentation & Explication of an Article: Research, read, teach and facilitate discussion of an article on one of our texts (see schedule) Summarize the thesis and main points of evidence; help us see how the article may be used to better understand the novel.

Final Research Project & Cumulative Objective ExamEnglish 380 is a research-based course. You will need to identify and define what your research topic will be, create a paper proposal, thesis statement, annotated bibliography, outline, and rough draft by the due dates listed on the Course Calendar (see attached) for a 3500-4000 word final essay. Remember, the assigned readings, articles and media presentations serve as excellent research materials, so take advantage of our discussions! Your research essay must utilize at least one of our course texts in fiction, drama or autobiography as a focal point for your discussion about a specific aspect of American Ethnic Literatures. We’ll

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generate ideas and brainstorm possibilities as we go; read ahead in our texts in order to begin thinking about a project focus that excites you. See handout for specific requirements for essay. I will schedule conferences with you to discuss the various stages of your project, working with groups of 2-3 people in a workshop atmosphere, and you will make use of peer reviews as well. However, you should also make an individual

appointment with me. This project, together with a final objective reading exam (drawn directly from quizzes), constitute your final exam for this course. 30%

Attendance & Participation. I assume that you will attend class and participate in regular, stimulating discussion. Court dates, interviews, sporting events, etc. are unexcused absences but will be excused if you arrange make-up work with me prior to the absence. Documented illness or family tragedy excuses an absence. Take one cut for any reason; after that, I will dock your final grade by one-third for each unexcused absence. E-mail me when you will be absent. Our reading materials demand that you read course assignments actively and carefully before coming to class, listen respectfully to others, and respond with thoughtful, informed in-class writing and work, or take-home writing assignments. This course has a typical reading load for an upper-division literature section; doing that reading and discussing it during each class meeting, is part of your participation grade.

A Word About MotivationSelf-motivation is an essential part of this course. The old saying 'you can lead a horse to water, but you can't make her drink ..." ~ is never more true than in education. I can 'make' you study for a midterm, once, but I can't force knowledge, understanding, information, or perspective into your heads or your hearts! What I can do, however, is present you with opportunities and materials for you to learn how to educate yourselves. Or, as the Chinese say, 'give a man a fish and he is sustained for the day; teach him to fish, and he sustains himself for his whole life.' Thus, each assigned reading is crucial, but you must make the effort to do active, careful, close readings of these 'texts' (books, articles, videos, music, photographs, artwork, etc.) and take part in the discussion in order for your education to be truly useful to you.

A Word About Plagiarism - What it is, How to Avoid it!Plagiarism is using others' ideas and words without clearly acknowledging the source of that information. Plagiarism is turning in work that you yourself did not write in order to receive credit for that work. To avoid plagiarism, you must give credit whenever you use another person's idea, opinion, or theory that is not common knowledge. This includes facts, statistics, graphs, drawings, photographs, quotations of another person's actual spoken or written words; or direct paraphrase of another person's spoken or written words.

Specific Strategies to avoid plagiarism:

1. Put in quotations everything that comes directly from the text, especially when taking notes.2. Paraphrase, but be sure you are not just rearranging or replacing a few words. Instead, read over what you want to paraphrase carefully; cover up the text with your hand, or close the text so you can't see any of it (and so aren't tempted to use the text as a "guide"). Write out the idea in your own words without peeking.3. Check your paraphrase against the original text to be sure you have not accidentally used the same phrases or words, and that the information is accurate.4. Ask me; someone at the Writing Center; another professor!

For examples of acceptable/unacceptable paraphrasing, see the website on plagiarism at: http://www.indiana.edu/~wts/pamphlets/plagiarism.shtml

General Assignment Guidelines

This is an English course: your assignments must utilize Modern Language Association format (see their website at www.mla.org for brief overview, or a good writing handbook, also available in the Writing Center). Your papers should be typed, double-spaced, and stapled -- no loose pages, no paperclips! Use black ink, fonts set at 12 point, with 1" margins. Be sure to put page numbers and your name on each page of your paper. I strongly recommend that you use the Writing Center (open to all students by appointment), to develop your essays and responses. I also reserve the right to require a student to use the Writing Center if the circumstances make that necessary.

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Never turn in your only copy of a paper! Make sure you save a hard copy as well as a disk copy. And finally: Make sure to back up all your writings (journals, drafts of your paper, group presentations) with both hard copy and cloud copies (email them to yourself or save on the common drive) – computer disasters do not substitute for the assignment.

Special learning circumstances: If you have a special learning circumstance that requires any accommodation (extra time on tests, for example), you’ll need a letter from the Dean – get this to me as soon as possible.

Internal Benchmarking Standards for 200/300-level Essays(Miranda based on Braunschneider)

Most students encounter a significant shift in grading standards when moving from 200-level courses to 300-level courses for majors. Grading in 300-level literature courses for majors assumes successful completion of English 299, in which students master the research paper process, including independent paper topic formation, research, and revision for coherence and good style. The following guidelines are intended to clarify the significance of the letter grades used in this class.

unsuccessful F: This essay is unacceptable college work. It indicates a gross lack of preparation for the assignment. This grade also applies to a plagiarized essay.

weak, poor D: This essay resembles an unrevised draft. It does not clearly articulate or develop a focused thesis; it makes illogical, unsupported claims; the organization is confusing or obscures lines of logic. It may jump from topic to topic without apparent reason. The diction is likely to be repetitive and imprecise. There may be serious, distracting mechanical or grammatical errors.

fair, ok, adequate C: This essay has potential but falls short, struggling with one or more of the areas in which the B paper succeeds. It fulfills the assignment, staying on its chosen topic, but does not offer a clear analysis of that topic. Its thesis may be clear but not focused or not debatable (too obvious). The argument may be vague, inconsistent, simplistic, or self-contradictory; ideas may be buried and the connections between them obscure. Paragraphs may be lacking development, and the organization may hinder effective development of the thesis. Transitions may be missing. This essay may contain several grammatical and mechanical errors or a pattern of error. When secondary sources appear, they may be treated uncritically or, worse, as unacknowledged sources of the essay’s main ideas., making the work derivative.

(B-: pretty good )

B: This is a strong essay that demonstrates careful thought and planning. It fulfills the assignment and its original topic’s demands well. It coherently argues a clearly stated, compelling thesis, offering sufficient supporting evidence and attending to the complexities of the object of analysis. Throughout the paper, the claims are insightful and well substantiated, and the diction is precise and thoughtful. Paragraphs are well developed, transitions clearly mark the direction of the argument, and the organization serves to elucidate the thesis. It contains few mechanical or grammatical errors. Secondary sources appear in a supportive role, always critically evaluated and properly acknowledged.

(B+: very good)

A: This essay is outstanding, excelling in all of the areas in which the B paper succeeds. It successfully takes risks and pushes the bounds of its chosen topic, which may make an entirely original contribution to criticism of its subject. The thesis is complex, focused, and insightful; the argument is persuasive and thoughtfully elaborated, using especially well-chosen evidence; and the writing style is lucid, engaging, and smooth. This essay contains very few mechanical errors and no ungrammatical sentences. Secondary sources appear as participants in a reasoned, lively, critical conversation about an area of shared concern, and the essay may indeed extend the application of ideas from those sources, or refine them through critical engagement.

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SPECIFIC ASSIGNMENT GUIDES:

293/380: TWO EXAMPLES OF A DAILY CONCEPT JOURNAL ENTRY

Notice what these concept journals do: they asks questions, analyze objects and people for symbolic meanings, notice themes across a larger work, and make “educated guesses” about what all this might mean about a piece of literature. It does NOT do much summary, re-tell the story, or list characters. It engages with the text, rather than simply reflecting the text. Aim for 300 words per assignment (single-spaced is fine). Make every word count.

1. Leah WashingtonEnglish 380A [title of class]Journal #1 [help me keep track of your entries accurately]

Ghosts and Disappearing in Woman Warrior [titles announced your focus]

Throughout Maxine Hong Kingston’s novel The Woman Warrior, the characters obsessively describe their interactions with (and sightings of) ghosts. Still, the definition and purpose of a “ghost” remains unclear; are they good or bad? Do they represent some immaterial part of man or are they a completely alien form? Perhaps these manifestations symbolize the ultimate border crossing; to be trapped between life and death, reality and superstition, substance and nothingness? Are ghosts stripped of any and all identity and damned to a fate worse than that of the immigrants? Is ghost-ness what happens to immigrants who don’t hang on to their culture?

Women seem more susceptible to these supernatural occurrences than men, perhaps as a result of their lack of authority and agency in Chinese society. One of the few to break gender-stereotypes, Brave Orchid, the narrator’s mother, confronts a ghost haunting a room at her medical school. “’I do not give in,’ she said. ‘There is no pain you can inflict that I cannot endure. You’re wrong if you think I’m afraid of you. You’re no mystery to me. I’ve heard of you Sitting Ghosts before… You have no power over a strong woman,’” she shouts at it while she physically struggles against the suddenly corporeal being (70). Even in the heart of the all-female medical school, women struggle against oppressive authority-figures as this ghost pins Brave Orchid to the bed and robs her of her weapon, a knife.

It turns out that this surreal being gains strength and material presence from the fear of the women around it; but Brave Orchid’s strength of language throughout this battle, shown by her naming and taunting of the figure, allows the mother to rally those around her to battle the ghost too. Maybe the ghost serves as a catalyst, demonstrating the ways in which women can use language to empower other females in the face of the unknown. (317 words)

2. George LeeEnglish 380A [title of class]Journal #1 [help me keep track of your entries accurately]

What’s Up with Telenovelas? [titles announced your focus]

“Telenovela” is a word that occurred in our reading this week. My dictionary simply describes it as “a Latin American soap opera usually in a miniseries format.” The term is important for our reading because telenovelas

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help form women’s beliefs about what their lives as women “should” be like. I viewed excerpts of a few on Youtube. They seem similar to soap operas in the United States, or even popular primetime relationship dramas. Obviously, people should not try to gain relationship advice from these programs. So why does Cisneros include Cleofilas’ love of telenovelas in “Woman Hollering Creek,” this story about a disastrous marriage?

I think that Cisneros uses telenovelas in the story as a symbol of how NOT to have a relationship. Cleofilas compares her husband to the romantic male characters from telenovelas. She says, “He is not very tall, no, and he doesn’t look like the men on the telenovelas. His face is scarred from acne. And he has a bit of a belly from all the beer he drinks. Well, he’s always been husky.” Still, despite his flaws, Cleofilas ends with this bitter promise: “this husband till kingdom come,” because having a man, ANY man, is crucial to her telenovela-based fantasy – he might not be perfect, but he is a necessary device for the role she sees women meant to play. In fact, because of her husband’s violence against her, Cleofilas imagines her life becoming like a telenovela, “the episodes got sadder and sadder … and no happy ending in sight” (49) – so why resist?

The same pattern can be seen in the story “Barbie-Q,” when the very young girl narrator acts out what she imagines a romantic relationship to be: “Every time the same story…my Barbie’s boyfriend comes over and your Barbie steals him, okay? … You dumbbell! he’s mine. Oh no he’s not you stinky!” This little girl has absorbed information about relationships between men and women from the adults and larger culture around her, no doubt including telenovelas and women raised on them. (339 words)

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380: TEAM PRESENTATION AND EXPLICATION OF AN ARTICLE

In teams of 2 - 3, you will choose, read, and present to class one critical article about Chican@ Literature from materials listed on the Reading Schedule (attached). Your team will guide us in exploration of that reading and how it relates to a text or issue that we are reading about in our class texts. Sign ups for articles will be held during our second meeting in Week 1 of class. Key points:

1. As teachers of this article, your team must make clear the article’s thesis, argument, evidence, and conclusion.

2. Teaching strategies include: summary or outline of the article’s main points, close readings of particular paragraphs or ideas, definitions of unfamiliar terms, non-English words, or cultural symbols/icons. You might also want to provide illustrations (or blow-ups of illustrations used in the texts) of historical events, maps of important geographic points, and/or brief summaries of unfamiliar theories used by the author to construct his/her argument.

3. A crucial section of your presentation will focus your teaching on specific ways readers of Chican@ lit can use this article to help analyze portions of our text not covered by the article. In other words, test out the author’s thesis on a section of our text that the article’s author didn’t cover and provide us with your analysis.

4. You may use handouts, PowerPoint, or other techniques to summarize and illustrate. You may use up to 5 minutes of video or audio clips that relate directly to your article. Be inventive about encouraging participation by your classmates: have them read sections aloud for you, provide time for Q & A, present them with problems from our text to discuss, etc.

5. Each team member will also turn in an individual, written summary of the article, due the same day as your presentation. Your summary should be a maximum of 1000 words, and at minimum, must identify the author’s thesis, the author’s main argumentative points, and the evidence that the author provides to support his/her thesis.

6. You may meet with me as a team to discuss the article as part of your preparation plans. Just make an appointment!

This is a graded project. 50% of the grade is the team presentation itself (I look for equal participation

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and research, inclusion of the above elements 1-4, and smooth, efficient use of time); 50% is the individual summary of the article (I look for clear, efficient writing that includes identification of the author’s thesis, the author’s main argumentative points, and evidence that the author provides to support his/her thesis). Note: 380 students, you may use some or all of this analysis as part of your final research project materials. Credit your team members as necessary.

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293: CLOSE READING OF A PASSAGE, SCENE, MOTIF, SYMBOL IN OUR TEXT

To do a close reading, you choose a specific passage and analyze it in fine detail, as if with a magnifying glass. But how to choose the right passage? Here are some tips:

How to Identify a Passage Ripe for a Close Reading

First of all, don’t be fooled by these two look-alikes:

A. Emblematic PassagesAn emblematic passage is a passage that summarizes the main ideas of the text. These kinds of passages are useful for remembering key ideas about texts and are the kinds of passages that would be on a quote test. They also make great epigraphs – a quote at the top of your essay that sets the tone for the entire piece – as well as good spotlights for an academic title. Here is an example from Greg Sarris' Mabel McKay:

“I saw clearly. Things came together. It wasn't just her story she had wanted me to know. While trying to help Mabel tell her story, I traced my own.”

This would look great at the top of a paper that analyzes the connections between Greg Sarris’ life story, and the life story of Mabel McKay. It would also serve as a strong foundational quote in a title, such as:

“It wasn’t just her story”: Parallels Between Tribal and Personal Identities in Mabel McKay

This passage as a whole summarizes the main idea of the book and, not too surprisingly, comes at the end of Sarris's work. Emblematic passages can come at the beginning of texts as well (e.g. to set up a main idea): for example, I would consider "In the beginning was the Word, and the Word was with God, and the Word was God" an emblematic quote for the Gospel of John since it raises the crucial issues of the text's main source of authority and could be used to summarize the main differences between John and the Synoptic Gospels.

B. A Launch Pad PassageA "launch pad" quote is a passage that points to an issue which you would like to discuss but which doesn't actually give you clues to address that issue. On some level, a launch pad quote has more to do with HOW you use a passage than its actual qualities. Launch pad quotes are like epigrams--they are witty or intriguing thoughts that get us going, but usually are not analyzed in great detail in the argument we are constructing. For example, if I wanted to begin a discussion on postmodern anthropology I might use a quote from Clyde Holler's Black Elk's Religion which says: The only invalid interpretation is one that claims to be right. I am really just using Holler's phrase to introduce an issue which interests me. While this is certainly a valid way to use a quote (and a popular one) it is not a close reading of the quote. Moreover, the sort of catchy passage that makes for a good epigram is not necessarily the kind of passage that is useful for a close reading – it simply doesn’t have enough material to unpack.

Look for the Real Thing: lots of information, strong possibilities for supporting your thesis

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C. A Rich Passage for Doing a Close ReadingWhen you are asked to do a "close reading" of a passage you are basically being asked to explicate it. To "explicate" comes from a Latin word meaning to unfold. Thus, the purpose of an explication is to unfold or “unpack” the significance of a text. Explications pay close attention to the parts of a text in order to support a larger argument about its overall impact. The following are some of the most common attributes people look for in passages and how they might use a close reading of such details.

1. Figurative Language (e.g. metaphors, similes): Metaphors and similes usually try to explain an abstract idea by comparing it to something concrete. By trying to decide why two things are being compared, you can unpack fundamental themes and associations in the book. For example, in Leslie Marmon Silko’s Ceremony, look at the phrase "The gray stone was streaked with powdery yellow uranium, bright and alive as pollen" (246). The use of “as” cues us to look for the simile, and ask, Why are uranium and pollen being compared? Isn’t uranium deadly, and pollen a sign of fertility? Teasing out an explanation will help us answer our real question: why Yellow Woman (a symbol of fertility and creativity in Pueblo tribal mythology) is in a story about nuclear destruction. Sometimes, discrepancies like this, the moment when you stop and say “What the heck?!” are places in the text with valuable close-reading material.

2. Character Sketch: Sometimes people use close readings of passages to get at the essential attributes of a character. Thus, if you wanted to get more information about a character, you might look closely at a passage which gives you detailed information about him or her, such as this scene from Louise Erdrich’s Tracks:

Fleur was in the next room, boiling heads. Her green dress, drenched, wrapped her like a transparent sheet. A skin of lakeweed. Black snarls of veining clung to her arms. Her braids were loose, half unraveled, tied behind her neck in a thick loop. She stood in steam, turning skulls through a vat with a wooden paddle. (22)

This description of a main character is meant to give us information not just about her identity, but what she symbolizes in the story, her connections to others, what her strengths and weaknesses might be, where she fits into the power structure. – what words are used to describe this woman? what is the tone? are these words associated with destruction, death, pain, or creation, growth, delight? What is she compared to? what are her habits? how does she look? what are representative actions? all these things tell you something, like a detective putting clues together.

3. Style and Diction: sometimes a passage stands out because of a particular phrasing, a “style of speaking or writing which is dependent on a particular choice of words.” This can mean dialect, or the style of writing (choppy, long and flowing sentences, italics, punctuation, repetition, exclamations).

For example, in Greg Sarris' Keeping Slug Woman Alive, Sarris recounts Mabel telling a story; it becomes very clear how different Mabel's style of storytelling is from Greg Sarris'. For example, Mabel says:

"What happened, a man poisoned. See, them girls' grandmother, Trudy's mother, she got fixed that way. How it happened, a man poisoned her" (25).

If you were going to do a close reading of such a passage in order to get at how and why they differ you might want to consider their choice of words (academic, colloquial, pidgin, etc.) as well as the way that the words were put together. You probably noticed that Mabel is using nonstandard phrasing as well as non-standard word choice ("them girls" instead of "those girls"). Sarris uses such details to point out the hallmarks of Pomo storytelling. You might use such details to show how a character is speaking in "traditional" (or stereotypical)

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Indian English, indicating a more tribally-based, reservation, traditional back-ground – or, in other literatures, street-slang, Black English, Southern dialect, and so on. This information helps us unpack the quote and the character. Remember, the author’s use of language tells us much about the author’s intent and where sh/he wants your attention; it tells us what s/he wants us to know about a character.

So, now that you’ve chosen a good passage, you then comment on points of style and on your reactions as a reader. Close reading is important because it is the building block for larger analysis. Your thoughts evolve not from someone else's truth about the reading, but from your own observations. The more closely you can observe, the more original and exact your ideas will be. To begin your close reading, ask yourself several specific questions about the passage. The following questions are not a formula, but a starting point for your own thoughts. When you arrive at some answers, you are ready to organize and write. You should organize your close reading like any other kind of essay, paragraph by paragraph, but you can arrange it any way you like.

I. First Impressions: What is the first thing you notice about the passage? What is the second thing? Do the two things you noticed complement each other? Or contradict each other? What mood does the passage create in you? Why?

II. Vocabulary and Diction: Which words do you notice first? Why? What is noteworthy about this diction? How do the important words relate to one another? Do any words seem oddly used to you? Why? Do any words have double meanings? Do they have extra connotations? Look up any unfamiliar words. In American Ethnic Lit, this may mean using online translation services

in addition to a good English dictionary; search for “street Spanish” or “slang Yiddish” sites, etc. Be creative. You don’t have to know the meaning of every non-English word, but be sure to give it a try.

III. Discerning Patterns:

Does an image here remind you of an image elsewhere in the book? Where? What's the connection? How might this image fit into the pattern of the book as a whole? Could this passage symbolize the entire work? Could this passage serve as a microcosm--a little

picture--of what's taking place in the whole work? What is the sentence rhythm like? Short and choppy? Long and flowing? Does it build on itself or stay

at an even pace? What is the style like? Look at the punctuation. Is there anything unusual about it? Is there any repetition within the passage? What is the effect of that repetition? How many types of writing are in the passage? (For example, narration, description, argument, dialogue,

rhymed or alliterative poetry, etc.) Can you identify paradoxes in the author's thought or subject? What is left out or kept silent? What would you expect the author to talk about that the author avoided?

IV. Point of View and Characterization: How does the passage make us react or think about any characters or events within the narrative? Are there colors, sounds, physical description that appeals to the senses? Does this imagery form a

pattern? Why might the author have chosen that color, sound or physical description?

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Who speaks in the passage? To whom does he or she speak? Does the narrator have a limited or partial point of view? Or does the narrator appear to be omniscient, and he knows things the characters couldn't possibly know? (For example, omniscient narrators might mention future historical events, events taking place "off stage," the thoughts and feelings of multiple characters, and so on).

V. Symbolism: Are there metaphors? What kinds? Is there one controlling metaphor? If not, how many different metaphors are there, and in what order do

they occur? How might that be significant? How might objects represent something else? Do any of the objects, colors, animals, or plants appearing in the passage have traditional connotations

or meaning? What about religious or biblical significance? If there are multiple symbols in the work, could we read the entire passage as having allegorical

meaning beyond the literal level?

Examples:

1. Close Reading of Corn in Mean Spirit. In the beginning of part two in her novel Mean Spirit, Linda Hogan describes Belle Graycloud’s connection to corn and how this connection benefits her community. By elaborating on Belle’s ability to raise corn, Hogan emphasizes the still-vital need for Indian cultures and traditions in modern times.

Throughout Mean Spirit, Belle Graycloud represents “old” Indian ways. She is a steady and caretaking figure for other characters in the novel. Although she might embrace some “white” characteristics like collecting china, Belle is stubborn in sticking to traditional Indian ways, a trait that makes her a very honorable character. Hogan emphasizes Belle’s role as a representative of traditional Indian ways when she describes Belle’s method of planting corn. Belle “conditioned [her] fields with words and songs, first sprinkling sacred cornmeal that was ground from the previous year’s corn, to foster the new life” (209). The method by which Belle plants the corn is symbolic of Belle’s role in Watona; younger generations of Indians can grow and benefit from the wisdom of Belle. However, the Indian community in Watona is under pressure to modernize agriculture with Western ‘innovation,’ and in general, assimilate more to white culture. The introduction of modern technologies into their community tempts the younger generations of Indians, who have been to boarding schools and feel a strong disconnect from their Indian heritage. Hogan elaborates on this idea when she writes, “Some of the younger people made fun of [Belle]. They were embarrassed by the old ways and believed the old people were superstitious” (189). The white emphasis on Indian culture as “primitive” and “uncivilized” spreads to younger Indians, making them ashamed of their own ancestry.

Eventually, though, the younger people realize that using chemical fertilizers - the “white” way - is damaging their farmland, poisoning animals, and even affecting their own health. Hogan uses the fertilizers as a symbolic poison: not only are the younger Indians abandoning traditional planting and harvesting ceremonies (their faith and belief system) in favor of modern technology, but they are also causing physical harm to the earth and themselves. Corn becomes a contrasting symbol around which Hogan makes an argument for Indians maintaining Indian culture. Ultimately, the younger Indians “swallow their pride” and ask for Belle’s help (traditional knowledge and customs); only then do the younger Indians grow plenty of corn in their fields. Hogan asserts not only Belle’s role as a caregiver but also as a symbol of the importance of maintaining Indian traditions based on generations of experience and knowledge of ecologically sound practices.

2. Close Reading of the Native Women in Heart of Darkness. Joseph Conrad introduces the anonymous native woman at Kurtz's camp as a "wild and gorgeous apparition of a woman" (99). This woman steps out of a mass of "dark human shapes" that represent uncivilized natives at the "gloomy border of the forest" (98). She appears to Marlow as both feral and attractive, as bodily present yet otherworldly. This ambiguous presentation represents the conflict at the intersection of "savage" and "civilized.” The woman is associated by virtue of her bronze jewelry and by her skin with Natives (Marlow says earlier that the "savages" resemble "dark and

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glittering bronze") (97). At the same time, the lavish richness of her dress and jewels indicate an alliance (most likely as a mistress) with Kurtz, a European with power to acquire and distribute goods.

In this passage, each clause builds with adverbs and adjectives that layer one image upon another. The woman walks "with measured steps, draped in striped and fringed cloths, treading the earth proudly, with a slight jingle and flash of barbarous ornaments" (99). Her clothing is both fine and exotic with its stripes and fringe; in fact, the "fringe" that adorns the borders of her garments hints at her own association with a border state between "primitive" and "civilized." The "measured steps" of her gait indicate a "proudly" asserted sense of self-control. The "slight jingle" that results from the movement of her bangles accompanies a "flash of barbarous ornaments" suggestive of a warrior's armor: "She carried her head high; her hair was done in the shape of a helmet; she had brass leggings to the knee, brass wire gauntlets to the elbow, a crimson spot on her tawny cheek." The woman's "helmet" of hair, her brass leggings, and her "wire gauntlets" create an unmistakable air of challenge or threat.

The end of the passage adds an additional layer of complexity to the woman's description. Marlow acknowledges the woman's state as both "savage and superb, wild-eyed and magnificent," implying that the woman's failure to fit neatly into a "savage" or a "civilized" mold serves as one source of her attractiveness for him. Thus, the woman in this passage represents an intersection of boundaries between the natives, Kurtz's version of "civilization," and the "immense wilderness" of her home. Ultimately, however, her location in this intersection does not last: the woman passes out of Marlow's vision and his narrative to fade into the "dusk of the thickets," (100) much as many people believed all Native peoples would eventually disappear (die) in the wake of colonization. She is beautiful and desirable, but too savage to live in a civilized (European) world.

☼

380 MIDTERM: SPOTLIGHT ON POETS BLOG & 2000 word written analysis

THE PROJECT: You are responsible for giving us an introduction to one American Ethnic poet. If there were ONE poet you could bring to class, share his/her work with us, who would that be, and why? Be specific, be knowledgeable, and be creative.

a post for our course blog, focusing on one poet; think of it as a class presentation delivered to us via blog. be specific! (a theme or writing technique that appears in several poems, or close reading of one whole poem) include biographical, cultural and historical context for the poet and the poem(s) covered 2000 word written analysis: 1. A close reading of one poem or ongoing theme; 2. use that close reading to

answer these questions: how does this poet/poem fits into the larger American Ethnic Literature scene? what was his/her major contribution to American Ethnic literature or culture? What were some of the poet’s major themes? (is the poet one of the veterans of the early Civil Rights movement? a champion of migrant worker causes? making a case for feminism? questioning or reinventing religious iconography? exploring gender roles? sexual orientation? reclaiming indigenous roots? resisting assimilation?) What writing techniques does this poet use to maker his/her point? Be sure to point out any innovations, accomplishments, influences, legacies. Note: you may use some or all of this analysis as part of your final project material.

FAQ:Q. What is the criteria for choosing an author to focus on?A. You may choose any American Ethnic poet from any time period. The only other criteria are that 1) the author is

published (i.e., the author has produced a body of work which you can find, read, and analyze during the time we have), and 2) the author self-identifies as member of an under-represented community (i.e., due to ethnicity, economic status, religion, “racial” composition).

Q. What is a “close reading”? A. A close reading of a text means two things: one, a very brief summary of what the text is about, or what

material/subject it covers, tone, style, etc. Two, and most IMPORTANTLY, a close reading examines a work in detail, “unpacks” the text, looking for things like a certain kind of coding, repetitive themes, symbols, or writing strategies; check to see whether the author uses rhyme, free verse, or works in a form; look at historical events,

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personal events in the author’s life, linguistic strategies, issues of gender, class, or sexuality as the author is trying to represent them. Often, a close reading will bring in material from critical articles about the poet or the poet’s work in order to support your reading of the poem. See handout on Sakai, “How to Do a Close Reading of a Poem.”

Q. How is this assignment graded?A. You are graded on three main points.

1) depth and breadth of information (quality and quantity). Has your researched adequately? Have you looked at the aspects of a writer’s life in the ways we’ve done in class (historical, political, religious, health, cultural influences)? Have you provided a carefully written & edited close reading of the author’s work to demonstrate your understanding of it? Do you provide links to other quality internet sources about your poet?

2) originality and creativity in the presentation itself. Do you work to engage the audience via multiple ways to communicate your message (visual, audio, music, etc)? Are you taking risks, challenging yourselves to get out of your comfort zone, challenging US to get out of ours??

3) pacing & preparation. Does your blog presentation have a smooth, practiced pace? Are your materials efficiently presented? Are visual, audio, and print materials smoothly distributed throughout the blog? Overall, does the blog post represent your best research and critical thinking?

“Race” is an illusion.

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James Luna, “Half Indian and Half Mexican.”

READING/WRITING/ACTIVITY SCHEDULEENGLISH 293/380 Winter Term 2012

Do not plan to leave early for, or return late from, Washington Break.

Text abbreviations:Invisible Man - IMTracks – TRBastard out of Carolina - BOCKindred - KINOnly What We Could Carry - OWWThe Complete Maus: A Survivor's Tale - MAUS  Woman Hollering Creek - WHCWinter’s Bone - WB

JANUARYT 1/10 Intros, syllabus, some definitions

Reading: WB

TH 1/12 discussionReading: WB, Chapters 1-30Lesley Wheeler: Henry S. Fox Lecture, 4:30-5:30 Northen @ Leyburn)

T 1/17 Discussion, WB. Chapters 31-35TH 1/19 ODK Adjusted schedule: we meet 2:05 – 2:55!

Discussion, Quiz

T 1/24 TR, 1-164TH 1/26 TR 165-end

T 1/31 OWW, Appendix A, “Historical Documents,” and Appendix B “Chronology,” Parts I, II, III

FEBRUARY TH 2/2 OWW, Parts IV & V, plus “Afterword”

NATASHA TRETHEWAY READING, NORTHEN (LEYBURN) 4:30-5:30

T 2/7 BOC, Chapter 1-18TH 2/9 BOC, to end

T 2/14 MAUS, Part ITH 2/16 MAUS, Part II

WASHINGTON BREAK

T 2/28 “Tootie Pie” “New Orleans Monologues” by Rosalind BellROSALIND BELL READING, NORTHEN (LEYBURN) 7:00-8:00

MARCH14

TH 3/1 IN-CLASS RESEARCH WORKSHOP WITH YOLANDA MERRILL; BRING YOUR LAPTOPS IF POSSIBLE. Read ahead for Kindred!

T 3/6 KIN, 1-189TH 3/8 KIN, 190-3nd

T 3/13 IM, Ch. 1-15

TH 15 IM, Ch. 16-Epilogue

F 3/16 Ralph Ellison Symposium, March 16-17. Info: Prof. Conner, connorm@wlu.edu. Friday, March 16, 8 p.m.:Opening keynote lecture by Eric Sundquist, Andrew W. Mellon Professor of the Humanities, the Department of English at Johns Hopkins University

Sat 3/17 “Invisible Man 60 Years Later: Ellison’s Masterpiece in the 21st Century” (panel featuring Herman Beavers, Robert Butler, Brennan Maier, Ross Posnock, Patrice Rankin),

“Three Days Before the Shooting: Ellison’s Ongoing Epic of America” (panel featuring Marc Conner, Lena Hill, Timothy Parrish, Grant Shreve),

“Ralph Ellison and American Culture: Ellison Past, Present, and Future” (panel featuring Steven Ealy, Pamela Jensen, Lucas Morel, Peter Schramm).

Student roundtable, featuring invited papers on Ellison’s Work.

Closing dinner and concluding keynote: John Callahan, Morgan S. Odell Professor of the Humanities, Lewis and Clark College

T 3/20 IM discussionTH 3/22 IM discussion

T 3/27 WHC, “My Lucy Friend Who Smells Like Corn,” “Eleven,” “Mexican Movies,” “Barbie-Q,” My Tocaya,” “Woman Hollering Creek,” “The Marlboro Man,”

TH 3/29 WHC, “Remembering the Alamo,” “Never Marry a Mexican,” “Anguiano Religious Articles..” “Little Miracles, Kept Promises,” “Tin Tan Tan,” “Bien Pretty”

Regina Schwartz Shannon Clark Lecture, 8:00 p.m., Northen Auditorium

F 3/30 SHANNON CLARKE RETREAT @ HOUSE MTN. FOR ENGLISH MAJORS, 10-2

APRILThis week we’ll conference on final essay drafts. T 4/3 Winter’s Bone (film)TH 4/5 Winter’s Bone (film)

FINAL EXAMINATION

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