We are meeting at Patricia Smith’s poetry reading, held at the Godwin-Ternbach Museum in Klapper Hall (right above our classroom). The reading begins at 6:30 and I would appreciate it if you came on time for the reading–we can leave class a little early as a result.
Here is a link to the event: https://www.pw.org/literary_events/patricia_smith_at_queens_college
I will post the course reading for the week on Friday.
Here is a link to my favorite online version of the story. Read it and discuss irony in the text. We will also discuss some elements of the text as a class.
- Read this very short excerpt from Walden and get a sense of this canonical American text about living in attunement with the nonhuman world at a time of industrial expansion.
- Write an essay (1500-2000 words) that discusses the following two topics:
- Discuss Raymond J. Mallie’s footnotes in the 2014 “Complete” edition of Black Elk Speaks. Do these footnotes merely provide historical context, do they assist John G. Neihardt’s purported “sacred obligation to be true to the old man’s meaning and manner of expression” (xxvii)? Or, does Mallie have his own agenda?
- Use details from the main text and its footnotes to explain how Black Elks Speaks can be read as an extensive footnote to Sherman Alexie’s On the Amtrak from Boston to New York City.
Your essay is due by email on April 11 by 9:30pm. USE MS WORD, provided by Queens College, and save your document with your name. Example: lastname_Essay1.doc.
Also, a note on the Midterm Zine: all students have been granted an extension. Your zine is due at our next meeting, April 18th.
Have a good break!
The new syllabus isn’t easy to load, so I’m going to try to paste it here:
- This course follows the argument that there is so much great American literature, even if we merely accept the synecdoche that American literature is written by or for U.S. citizens that we will not be able to survey all of them and have fun conversations about literature and have lives. We are, instead, exploring great works of American literature that give us an opportunity to explore and reflect on the “literaturization” of American experience and national aesthetics.
- Capacity to read interpretively in order to attend to imaginative claims on “America,” and over what it means to be a person in several literary genres over different periods of United States literature.
- Knowledge of rhetorical conventions (e.g., voice, tone, figures of speech, narration) for thinking about literature in a few genres.
- Familiarity with some conventional disciplinary language from literary studies and its use to think about how texts work.
- Uses of reading, discussion, informal writing, and out-of-class essay writing as opportunities to discover one’s own interpretive ideas in conversation with the ideas of others.
- Produce critical and creative compositions.
- Communicate complex ideas to a public audience.
|W 1/31||The Invitation: Syllabus and Trickster tale|
|Homework:||Comp book, journal about breathing, read Whitman|
|W 2/7||Song of Myself and Intro to Leaves of Grass|
|Homework: Exquisite Corpse Revision|
|W 2/14||Emerson, “Nature,” and “Experience.” Share 3 annotations, journal reading reflections.|
|Homework: Image collection and comments|
|W 2/21||Black Elk Speaks. Hand in Comp Books.|
|Homework: Continue class exercise in journal.|
|W 2/28||Black Elk Speaks|
|Homework: Images and connections journal entry|
|W 3/7||Black Elk Speaks|
|Homework: Synthesis journal entry|
|W 3/14||William Carlos Williams and American Moderns, annotation exercise.|
|Homework: poetry exercise, paste in journal.|
|W 3/21||Class Cancelled: Snow Day|
|Homework: Annotations in Howl book.|
|W 3/28||Howl and Supermarket in California. In-class reading includes “Crossing Brooklyn Ferry,” some excerpts by William Carlos Williams, and “Thirteen Ways of Looking at a Blackbird.”|
|Homework: flesh out annotations into a page of notes and reflections, following this general model:
“Pg. (#) intriguing. Lots of imagery. There’s a fullness here, like the poet is overwhelming my senses, and it mixes gross and appealing images. Seems ironic that he’s praising both.”
On another page, reflect on an aspect of “Howl” or “Supermarket in California.” Include details and analysis of the text as well as some reflection on how your background knowledge and experience, or lack of it, are brought to bear on what you notice and how you interpret Ginsberg’s poem.
|SPRING BREAK – NO CLASS 4/4||
Finish midterm zine and submit in next class.
Complete essay on Black Elk Speaks and submit by April 11th at 9:30pm.
|NO CLASS W 4/11 – classes on F sched.||Read “Bartleby the Scrivener” in preparation for our next class, held Wednesday April 18th.
Journal entry: in your composition book, draw a portrait of the two central characters in “Bartleby the Scrivener,” and draw an “anatomy” of their character, pointing out two or three of their characteristics. Example.
|W 4/18||In class with rhetorical analysis:
Ralph Waldo Ellison, “Living with Music.”
|Homework: journal writing.|
|W 5/2||Beloved. Hand in comp books.|
|Homework: Images and reflections|
|W 5/16||Final project zine due by 11:59pm|
|Final Exams 5/17-5/24|
Bring your copy of Howl to class, with the poems “Howl” and “Supermarket in California” annotated, and bring your copy of Whitman’s “Song of Myself.”
Annotations: in order to get credit for this part of your annotation assignment, your annotations should include:
- Three things that you have looked up, such as literary references, historical detail, or terms/vocabulary.
- Three places where you see a connection between Ginsberg’s poem and Whitman’s “Song of Myself.”
- Three personal reactions–interested, surprised, confused, disgusted, curious, etc. Give a little bit of detail about your reaction.
- One ambiguity in the text, where you feel uncertain how you should or want to interpret it.
What is a zine?
The answer, with any genre, is it depends on the context.
A genre is a combination of form and content created to suit a specific context or purpose. Essays, for example, may have similar form and content, but the differences depend on their contexts. Some essays have contexts that encourage writers to use “I,” for example, and some essays have contexts that forbit it.
A zine is a form (a self-published “magazine,” often made as a folded booklet) with content that is related to the zine’s author. Writers of zines combine visual and textual material, and often the material is a combination of stuff the writer made and stuff the writer took from sources In some contexts, zine writers are not expected to cite their sources. They just grab images and texts and reprint them, often adding text, drawing on top of them, and so on. In this context, the university, all writers are expected to cite their sources.
Zines are usually somewhat personal. This does not mean they cover intimate information about the author, express a bunch of the author’s feelings, or make everything “about” them. It means that the questions asked, and the ideas discussed, related “back” to the author’s process of making sense of things. Here are some of the “moves” that zine writers make:
“I have been exploring X. Here is a little bit of X (a picture or quotation, or full reprinting if it is a short poem). I think X about it. It makes me ask questions A and B.”
Sometimes “Questions A and B” make up the theme of the issue, and at other times they continue the line of inquiry that were introduced by another, previous question that determined the theme. Each entry in that issue, then, relates to the theme.
What have we established then, so far, about zines? Zines are self-published, mini-magazines in which writers combine collage and quotation with original writing and images. The writer ties them together by subject and theme, and relates its material to the writer’s process of thinking about the subject. Notice, also, that questions are just as important as assertions in a zine, because questions and assertions, in the form of reflections and arguments, are what drive the process of thinking about the subject.
In the case of this class, the subject of every zine should be the texts and theme of Great Works of American Literature. That said, your zine should have its own theme, one that reflects the way you read and consider the course texts and topics. All borrowed sources should be cited, on the page and in a “works cited” section in the back.
Zines can be made by copying material that is glued to a page, or they can be made using publishing softward like Adobe InDesign or Pages.
The layout and font each give writers an opportunity to share something about how they see the world, their tastes, and their creativity. These are all exciting decisions for you to make! Writers must balance creativity with function—material should be legible and relevant. Your zine will be an artifact of the class.
Your final project for this class will be a complete zine, with a relevant theme, reflections, images, a collage, samples of your more formal writing for this class, and selections from your composition book entries. To prepare you for this formal project, this assignment will walk you through the creation of your Midterm Zine.
Take a few pieces of card stock. This will serve as your art board. Fold the stack of cardstock in half to make up your imagined booklet, and go through and number your pages. This way, when you take the pages apart, you’ll have an idea of how they fit together. Please do not cover more than one page number per page side. Now you have the “canvas” for your zine. Let’s work on content! Remember: save the last page for your Works Cited. This is an important section for just about every genre in the university. You will also need a blank page in the front if you intend to have a Table of Contents (your choice). These are genres that invite a lot of creativity.
- Cut the poems from today’s stack out of their pages (see links below if you need to print out your own copy). Paste them in your artboard (your zine pages) in an order that makes sense to you. What is your organizing scheme? What kind of thinking does it reflect? Be sure to allow for space between poems, for your reflections, and be sure to include those reflections. Your reflections should take up roughly 1-2x the space of the poem itself.
- Reflect on the poems, including details such as word choice, tone, and imagery.
- As you discuss each poem with your peers, be careful to annotate the poems. This becomes part of your zine. Draw in the margins, and reflect on the poem and the way we talk about it. Your reflections can also be personal—what does this bring up for you and your life experience?
- By now, you should have some theme come up, some “bigger picture.” What has been your thematic focus? What pattern do you see in the way you read the texts? Write about that in your
- Your next job is to give it a title and a cover. Do this at home and bring your completed Midterm Zine to our next class meeting.
Here are links to the poems to include in your zine:
As I mentioned in our last class, I’ve decided to revise our course syllabus in order to give students more time to read and prepare for class. The reading will be divided so that a useful fraction of it is completed in class, in the context of the course discussion.
This week you will receive your composition books. Please note that you will be expected to copy pages of your book for your final project zine. With this in mind, it is vital that you make your writing legible. Your work will be shown to other students in the class.
All of the CUNY campuses are closed today, and we will not make a special exception for our class. Please see the course blog for a post about next week. I will also announce the new post via Blackboard.
Please read these poems three times each:
This Wednesday, we’re going to wrap up our discussion of Black Elk Speaks and discuss the revision of our “Exquisite Corpse” essay. Please bring your copy of Whitman’s “Song of Myself,” which I gave to you a couple of weeks ago, and bring Black Elk Speaks. We’ll discuss the staging of Black Elk’s visions. If you did not include a hard copy of your image of Americanness with your recent journal entry, please bring that as well.
Please note: after this class, you will not be able to submit the current journal entries for credit.