2024 Spring English Courses

ENG 107 001-004 INTRODUCTION TO CREATIVE WRITING
Crystal Wilkinson
MW 10:00, F varies

Course description forthcoming. UK Core: Arts & Creativity

ENG 107 005-008 INTRODUCTION TO CREATIVE WRITING
Erik Reece
MW 11:00, F varies

Course description forthcoming. UK Core: Arts & Creativity

ENG 107 009 INTRODUCTION TO CREATIVE WRITING
Michael Carter
TR 9:30

This introductory course in creative writing will explore the various genre: we will play with poetry, fiddle with fiction and nonfiction, as well as grace our souls with other genre. The class will read and discuss literature in various delightful forms to help us understand technique and voice, and practice writing and critiquing our own writing. We will often work in small groups (depending on the number enrolled) as a workshopping method for finding our voices as writers, and for helping our classmates find theirs. By the semester’s end, we will have a mini portfolio of writing. UK Core: Arts & Creativity

ENG 107 011-014 INTRODUCTION TO CREATIVE WRITING
John Duncan
MW 1:00, F varies

 Course description forthcoming. UK Core: Arts & Creativity

ENG 107 017 INTRODUCTION TO CREATIVE WRITING
Julian Long
Section 201 9:30 AM online synchronous
Section 202 11:00 AM online synchronous

Course description forthcoming. UK Core: Arts & Creativity

ENG 130 LITERARY ENCOUNTERS:  Possible Futures 
Andrew Thibaudeau
Section 001 TR 9:30
Section 002 TR 11:00

What does tomorrow look like? If the past is any indication, there is no way to predict the future completely. One day seems to welcome a new Roaring Twenties, the next a deadly virus. However, this unpredictability has not prevented people from trying to peek past the curtain of time. Visions of the future have populated fictions for centuries. This class features a selection of books, poetry, films, and television, especially across the past century, that presents such visions: possible futures. Possible futures include not only what is still possible now but also what humanity has previously imagined to be possible. We will observe those that are good (utopia), bad (dystopia), and otherwise. We will pay special attention to imagined transformations of race, gender, (social) media, politics, and even pandemics in these possible futures before finally devising our own. UK Core: Arts & Creativity

ENG 130 LITERARY ENCOUNTERS:  The Big Questions
Carter Johnson
Section 003 TR 12:30
Section 004 TR 2:00

Your dog never asks you, “Who am I?” But this is an unavoidable question for every human being. Along with this fundamental question of identity, we also wrestle with a sundry of other philosophical questions: Are we free? Is there meaning to life? What is death? Although questions such as these are unavoidable, there is no equation or calculation that can answer them. We must turn elsewhere. Across cultures and centuries, these “Big Questions” have prompted some of the greatest works of literature and art. In this course, we’ll study novels, poems, short stories, and films that engage such questions. Furthermore, we’ll not only explore these issues, but we’ll also investigate how literature presents and participates in philosophical thinking. UK Core: Arts & Creativity

ENG 130 005 LITERARY ENCOUNTERS: Get Rich Quick! From Rags to Riches in Late Capitalism  
Jap-Nanak Makkar
PART OF TERM COURSE STARTING MARCH 4^th, 2023
MW 12:00-1:40, F asynchronous

Make a million by 30! Master the mindset of wealth! Rich AF in 10 quick steps! Everybody wants financial prosperity, and get-rich-quick books tell us how to achieve it. They are an appealing subgenre of the self-help book, because they make wealth seem attainable to anyone that can follow a recipe. In this course, we explore novels in which the hero ascends from slum to mansion, experiencing the trajectory promised by self-help books. Often these novels, including The White Tiger Aravind Adiga and How to Get Filthy Rich in Rising Asia by Mohsin Hamid, mimic the get-rich-quick genre, replicating its rhetoric and formulas. Their heroes are committed young men, intent on getting ahead, no matter the cost. But these novels also challenge the idea that it is possible to succeed in capitalism—especially since you have to scam to win, steal to save up, and kill to loot. Thus they end up offering a damning critique of a society that confuses wealth for freedom. Lectures and discussions will focus on themes such as: colonialism and capitalism; slums, cities and uneven development; class, race and gender; literary representations of poverty; the history of the novel.  UK Core: Arts & Creativity

ENG 130 007 LITERARY ENCOUNTERS: Sports in Literature and Film
Andy Doolen
MWF 10:00

This course focuses on storytelling in the world of sports.  Students don’t have to be athletes or even sports fans to take (and enjoy) this course. The sports world is an arena where social and political struggles play out and are hotly debated and fought over in public life—think Billie Jean King’s win against Bobby Riggs, Muhammad Ali’s refusal to fight in Vietnam, and Colin Kaepernick’s taking a knee. Through class discussions and their own writing, students will tell their own stories about the sports world and share their insights and ideas about the intersections between sports and culture in America. UK Core: Arts & Creativity

ENG 142 001 GLOBAL SHAKESPEARE
Joyce MacDonald
TR 12:30

Course description forthcoming. UK Core:  Global Dynamics OR Intellectual Inquiry in the Humanities

ENG 171 001 GLOBAL LITERATURE IN ENGLISH
Jap-Nanak Makkar
PART OF TERM COURSE STARTING MARCH 4^th, 2023
MW 2:30-4:10, F asynchronous

This course focuses on several canonical texts of postcolonial and global literature, analyzing them through the lenses of morality and crime, law and lawlessness, right and wrong. You will explore literature’s potential to shape moral principles, taking as a case study the special relationship between morality and the novel. You’ll learn that because novels ask us to sympathize with the main character, they were helpful in establishing the following moral principles and laws: bans on violence, physical abuse and torture; beliefs in the sanctity of the human body; beliefs in the ability of each individual to determine their own life; and the notion that suffering in a fellow human is a reason for empathy.

But you’ll also learn that the novel’s account of right and wrong is tied up with a single  individual’s perspective—usually the narrator’s or the main character’s perspective. That is, the reader gets only “one side” of the story, not the “full” or objective story. (Think of heist or crime novels: usually, you want the criminals to get away with their crime, don’t you?) Given that this is the case, we’ll ask: what if our sympathy with the main character leads us to inadvertently condone a heinous crime? How can we be sure that we have been told the truth in a novel, or that characters are as right as they seem? Each of the novels or poems we read will include a crime of some sort: the crime of colonialism, perhaps, or the crimes committed in order to win independence.  A central issue for the class will be to discuss whether we should sympathize with the crime or condemn it, and how to decide either way. 
 UK Core: Global Dynamics

ENG 180 002 GREAT MOVIES:  Anime through the Ages
Akhira Umar
MWF 11:00

Anime has been around for over 100 years but has only recently become more mainstream in Western media. This course aims to foster a deeper appreciation for the artistic merits and socio-cultural significance of anime while also encouraging students to engage in thoughtful analysis, discussion, and creative endeavors. Students will explore the history of anime as a distinct genre, the growing influence anime has from Japan to the international stage, and the visual aesthetics and storytelling techniques that define anime films. By studying a diverse range of anime films, students will develop the skills to critically analyze and interpret the artistic choices made by directors, animators, and writers to better inform their own creative work. UK Core: Arts & Creativity

ENG 180 005 GREAT MOVIES: Transformational Technology in Film
RESTRICTED TO LEWIS HONORS STUDENTS
Pearl James 
TR 12:30

There are three main elements that influence which films get made and what forms they take: technology, art, and commercial/industry considerations.  This course will look at some great movies that emerged at and are emblematic of the technological innovation part of that triad.  We will consider several key technological pivot points: the invention of moving pictures (Lumière, Mélies, and others), the transition to sound (Jazz Singer, Singin’ in the Rain, The Artist), the use of color (Wizard of Oz), the development of handheld cameras (Don’t Look Back and Cleo de Cinq à Sept), and the invention of CGI (Jurrasic Park, Jurassic Punk).  Students will work in groups to produce short films that comment on our own unique technological moment.    UK Core: Arts & Creativity

ENG 191 001 LITERATURE AND THE ARTS OF CITIZENSHIP
Jeff Clymer
MWF 11:00

In this course, we will use literature to help us think about what “citizenship” has meant in the United States. Citizenship is a term with a legal meaning, of course, and we will use that to incite a good deal of thinking about what citizenship has really meant as an inclusionary/exclusionary idea for Americans over the last two centuries. The books that we will read all feature heroes and heroines who quest for something better, who feel a restless pull toward freedom or a better life just around the corner. Our readings will combine some of the most famous and worth-reading-again books in American literature (for example, Nathaniel Hawthorne’s The Scarlet Letter, F. Scott Fitzgerald’s The Great Gatsby, Toni Morrison’s Beloved) and other books that are equally amazing, but which you are less likely to have read, or perhaps even to have heard of previously (Amy Waldman’s The Submission, Emily St. John Mandel’s Station Eleven). UK Core: U.S. Citizenship or Intellectual Inquiry in the Humanities. Part of the Law & Justice major.

ENG 207 001 BEGINNING WORKSHOP IN CREATIVE WRITING: Poetry
Deidra White
TR 11:00

Course description forthcoming. 

ENG 207 002 BEGINNING WORKSHOP IN CREATIVE WRITING: Creative Nonfiction
Akhira Umar
MWF 12:00

Creative nonfiction employs literary styles and skills to craft real, personal, and engaging narratives from our own lives and the lives of those around us. In this class, students will explore different types of creative nonfiction and learn to shape their experiences into works of art meant for audience consumption. This is a beginning workshop in the craft of writing, reading critically, and revising works in progress. Reading assignments will focus on exploring the variety and techniques of creative nonfiction as a genre while writing assignments will allow students to employ those techniques in crafting their own unique stories. Students will read, write, share their writing, and talk about what they have read in each class.

ENG 207 003 BEGINNING WORKSHOP IN CREATIVE WRITING: Fiction
Nicholas Ruma
MWF 1:00

Course description forthcoming. 

ENG 230 001 INTRO TO LIT:  Jewish Literature
Sheila Jelen
TR 11:00

In this course we journey from the Bible to today, exploring the different genres, languages, and locales of Jewish literature. UK Core: Inquiry in the Humanities

ENG 230 002 INTRO TO LIT: British Mythology and Folklore
Jonathan Allison
MWF 11:00

A course on Mythology and Folklore, including classic myths and legends from Great Britain and Ireland. Focus will be on modern adaptations of older tales, including the legends of King Arthur, Merlin, and the Adventure of the Holy Grail; Welsh tales from The Mabinogion, and the Irish heroic legend of Cuchulain and the Red Branch of Ulster as retold by Lady Gregory and William Butler Yeats. We will read excerpts from Tolkien's Fall of Arthur and Tennyson's Idylls of the King and several contemporary novels inspired by Arthurian legend, including Kazuo Ishiguro, The Buried Giant, Susan Cooper’s, YA classic The Dark Is Rising, the Monty Python musical Spamalot, and a graphic novel, Camelot 3000. Course credit counts towards A&S Folklore and Mythology Minor. UK Core: Inquiry in the Humanities

ENG 230 004 INTRO TO LIT:  Love Stories
Emily Shortslef
MWF 1:00 

Who doesn’t love a love story? In this class we’ll explore a selection of love stories from antiquity to the present from a range of genres, including plays, novels, short stories, poetry, songs, nonfiction, and film. In talking about love we will inevitably be talking and thinking critically about self-discovery and identity, gender and sexuality, and betrayal and loss, and our discussions about these texts will also serve as points of entry to the practices—and the delights—of literary analysis and interpretation.   UK Core: Inquiry in the Humanities

ENG 241 001 SURVEY OF BRITISH LITERATURE I
Joyce MacDonald
TR 9:30

English 241 is a survey of the development of British (not just “English”) literature from its beginnings through the early seventeenth century. Obviously, we will not be able to cover all literary developments in a period of more than a thousand years in equal depth. Instead, the course will have four major goals: 1)To give students an overview of the major modes of writing, significant texts, and important authors in the English language over this long period; 2) To trace a history of the development of the English language over time; 3) To help students build a critical vocabulary for discussing and analyzing pre-modern literature; 4)To introduce students to important research tools for studying and writing about literature. ENG 241 counts toward the survey requirement for the English major and may fulfill other requirements for other majors in and out of Arts and Sciences. 

ENG 260 001 INTRO TO BLACK WRITERS
Peter Kalliney 
MWF 10:00

Emerging in the latter part of the eighteenth century in the Atlantic world, slave narratives were the most powerful documents of the abolitionist movement. Formerly enslaved people used this literary form to protest against kidnapping, forced labor, sexual violence, and racism; and equally they used this literary form to insist on their right to bodily sovereignty, their intellectual capacities, and their solidarity with oppressed peoples. Although we may think of the slave narrative as a literary form that ought to have become obsolete with the legal abolition of slavery around the world, this course will show how the genre is as alive and necessary as it was when Frederick Douglass, Olaudah Equiano, and Harriet Jacobs were writing their testimonials. Neo-slave narratives, as they are sometimes known, are an important part of contemporary Black Atlantic literature. We’ll consider what “traditional” narratives about the experiences of enslaved people can teach us about contemporary narratives that rely on many of the same conventions of the genre. We’ll also consider how the discourse of human rights has shifted in the intervening years, and what particular role people of African descent continue to play in the fight for social justice. UK Core: Intellectual Inquiry in the Humanities

ENG 260 201 INTRO TO BLACK WRITERS
Nazera Wright
Section 201 TR 11:00, online synchronous
Section 202 TR 2:00, online synchronous

Meets on Tuesdays synchronously and on Thursdays asynchronously.

Course description forthcoming. UK Core: Intellectual Inquiry in the Humanities

ENG 266 001 SURVEY OF AFRICAN AMERICAN LITERATURE II
Geronimo Sarmiento Cruz
TR 12:30

Course description forthcoming.

ENG 280 001 INTRO TO FILM
Jordan Brower
TR 11:00

Course description forthcoming. UK Core: Inquiry in the Humanities

ENG 280 002-005 INTRO TO FILM
Frederick Bengtsson
MW 2:00, F varies

Course description forthcoming. UK Core: Inquiry in the Humanities

ENG 280 006 INTRO TO FILM
Alan Nadel
PART OF TERM COURSE STARTING MARCH 5^th, 2023
TR 5:00

The great trick of narrative film is its ability to make viewers forget they are watching a movie and believe, instead, that they are seeing a story. We will analyze this illusion by examining how the elements of the moving picture experience (nothing in film is accidental)—from pre-production and shooting through post-production and distribution—reflect the thematic and stylistic aspects of popular films’ specific historical and cultural circumstances. Exemplary films will include American Movie, Citizen Kane, The Wizard of Oz, The Searchers, Singin’ in the Rain, The Graduate, and Fresh. The textbook is Film Art. UK Core: Inquiry in the Humanities

ENG 280 007 INTRO TO FILM
Jordan Brower
TR 9:30

Course description forthcoming. UK Core: Inquiry in the Humanities

ENG 280 008 INTRO TO FILM
Frederick Bengtsson
MWF 11:00

Course description forthcoming. UK Core: Inquiry in the Humanities

ENG 290 001 INTRO TO WOMEN'S LIT
Caitlin Coulter
Section 001 MWF 1:00
Section 002 MWF 2:00

 Our society and media are filled with phrases that rely on shared and particular understandings of femininity – “Hi Barbie!”, “Stop being such a b*tch!”, and “You hit like a girl!”  But what does it mean to be or act “like a girl”? For centuries, women and girls in literature and popular culture have been subject to a wide array of stereotypes from the damsel in distress to the mammy to the femme fatale and the Blonde. In this class, we will focus on how women in literature resist these stereotypes, and female authors write and revise the perceived roles of women throughout the twentieth and twenty-first centuries. From Charlotte Perkins Gellman’s short story, The Yellow Wallpaper (1892) to Greta Gerwig’s revolutionary oeuvre, we will examine how women in literature and film over the past century have challenged social, cultural, and political prescriptions of women’s roles through both the form and the content of their literature. We will explore various forms of resistance – from the audacious expression of self in Gellman and Woolf’s works to the outspoken political poetry of Adrienne Rich and Carol Ann Duffy and the mysterious plots and characterizations of Patricia Highsmith Barbara Neely. In this course, we will read both canonical and non-canonical women writers across various genres. Assignments will include close reading essays, a presentation, and reading quizzes. UK Core: Inquiry in the Humanities

ENG 330 001 TEXT AND CONTEXT:  Hamlet
Emily Shortslef
MW 3:30

Few texts have had afterlives as long and rich as Shakespeare’s Hamlet. In this course we’ll explore some of Hamlet’s many reappearances in literary criticism, philosophy, theatre, and film. We’ll also look at some of the primary sources that Shakespeare drew on to create the play and discuss its relationship to various late sixteenth-century religious and socio-political contexts. We’ll also read a few other plays from the same period that take up similar issues (e.g. Kyd’s Spanish Tragedy, Middleton’s Revenger’s Tragedy). This course will introduce students to Shakespeare’s work in its historical and dramatic contexts; foster the development of a critical vocabulary and set of strategies for analyzing complex texts; and help students to develop close reading and critical writing skills.  

ENG 330 004 TEXT AND CONTEXT: Dracula
Michael Trask
MW 3:00

Since its publication in 1897, Bram Stoker’s Dracula has continually enraged and engaged its readers. In this class we’ll study not only the most famous horror novel ever written but a sampling of its vast array of spinoffs, reboots, and adaptations in film and print.  Dracula has been a frequent subject of literary critics, who have treated it as everything from a critique of empire and its corruptions to an allegory of homosexuality and its corruptions. Our course will consider why this genre novel from the late nineteenth century has occasioned so much high-level interpretation even as the raw material of Stoker’s novel has spawned a massive and seemingly unending franchise industry in Hollywood. We’ll watch a selection of the best movie adaptations of Dracula (Murnau’s Nosferatu [1922], Coppola’s Bram Stoker’s Dracula [1992]), book and comic treatments (Kim Newman’s Anno Dracula (1992), Kikuchi’s Vampire Hunter D (1985), and some other versions. We’ll be interested in why horror is an enduringly gripping emotion, how Dracula qua character defies the limits of any particular medium, and the peculiar connection between the fictional malady of vampirism and the real-world epidemic of seriality (the sequel, the remake), arguably the prevalent form of cultural production in modern society. 

ENG 337 001 LIT & GENRE:  Native American Literature
Michael Carter
TR 11:00

Whether through films, historical texts, stereotypes, or even sport team mascots, Native Americans have been viewed through the lens of European Americans. In this course, Native Americans will speak through their own mythologies, novels, short stories and poetry. Beginning with early myths and continuing up to the 21st century, this class will listen to these voices, see the Native Americans’ own literature, and begin to know better America’s first settlers. With a focus primarily on 20th century Native American writers: Leslie Silko, Scott Momaday, Louise Erdrich, James Welch, Sherman Alexie and many others, we will explore these distinct voices as they tell their stories. The course will include daily readings, research, essays, quizzes and exams. 

ENG 345 001 BRITISH POETRY: Murder, Madness, Love, & Loss in the 19th Century
Jill Rappoport
TR 2:00

Course description forthcoming. 

ENG 349 001 MODERNISM
Jonathan Allison
MWF 1:00

A course on Modernist Literature, including British, Irish, and American writing from the first half of the twentieth century. Virginia Woolf once wrote “On or about December 1910 human character changed.” Much of the writing of this period might be read as an attempt to represent, express, and understand that process of change. We will read a wide range of literature written during the First World War and before the Second World War, exploring the many ways in which writers sought to find new forms and “make it new.” Reading may include fiction by authors such as Woolf, James Joyce, Joseph Conrad, D.H. Lawrence, and Wyndham Lewis, poetry by T.S. Eliot, W.B. Yeats, Hilda Doolittle, Ezra Pound, Marianne Moore, Mina Loy, Langston Hughes, and plays by Samuel Beckett among others.

ENG 384 001 LITERATURE AND FILM
Jordan Brower
TR 2:00

 Course description forthcoming. 

ENG 407 002 INTERMEDIATE WORKSHOP IN CREATIVE WRITING:  Experiments in Fiction
Andrew Milward
TR 5:00

This is a course focused on the art and craft of fiction writing and available only for those students who have already satisfactorily completed ENG 207 (Beginning Workshop in Fiction Writing). This course assumes that students have a solid foundation for understanding the basic elements of fiction writing, and over the course of the semester we will look to enhance and challenge that understanding. Students will write more intensively and extensively than previously, testing out narrative forms that are both traditionally linear and nontraditionally modular. We will examine how various craft elements are at work in the stories of professional writers, and very often these texts will serve as templates and inspiration. However, this class will primarily follow the workshop model, and therefore student work, and the discussion of same, will be our main focus. To that end, over the course of the semester students will be required to produce two complete stories, as well as a revision and a paper about the revision process. Additional requirements include reading responses, writing thoughtful and constructive critique letters, and frequent participation.    

ENG 470G 001 COMPARATIVE AND TRANSNATIONAL STUDIES IN LIT: Global Fiction in English
Peter Kalliney
MWF 11:00

Although we often think of slave narratives as something particular to the United States and the North American experience of enslavement and the abolitionist movement, slave narratives have been part of a transatlantic movement for social justice, racial equality, and human rights.  Likewise, although we often think of slave narratives as part of our history rather than the present, this course will show how narratives contesting enslavement and demanding equality under the law are an important literary genre in the contemporary moment. Emerging in the latter part of the eighteenth century in the Atlantic world, slave narratives were the most powerful documents of the abolitionist movement. Formerly enslaved people used this literary form to protest against kidnapping, forced labor, sexual violence, and racism; and equally they used this literary form to insist on their right to bodily sovereignty, their intellectual capacities, and their solidarity with oppressed peoples. Although we may think of the slave narrative as a literary form that ought to have become obsolete with the legal abolition of slavery around the world, this course will show how the genre is as alive and necessary as it was when Frederick Douglass, Olaudah Equiano, and Harriet Jacobs were writing their testimonials. Neo-slave narratives, as they are sometimes known, are an important part of contemporary Black Atlantic literature. We’ll consider what “traditional” narratives about the experiences of enslaved people can teach us about contemporary narratives that rely on many of the same conventions of the genre. We’ll also consider how the discourse of human rights has shifted in the intervening years, and what particular role people of African descent continue to play in the fight for social justice. And finally, we’ll think about the international dimensions of this literary tradition, wondering how the US perspective fits into the broader landscape of human rights narratives. 

ENG 492G 001 CULTURAL STUDIES: Funny People in Contemporary American Culture

Michael Trask
MW 4:30

This class will take a serious—but hopefully not too serious—look at humor in American letters of the last few decades. We’ll be interested in the various genres and styles through which humor manifests in contemporary literature: absurdism, camp, satire; fiction, nonfiction.  We’ll also be interested in how or whether humor can serve a political agenda, chiefly that of advancing the cause of marginalized communities. Western literary tradition understands the comic mode as a means of imagining cohesive social relations; from Shakespeare to Jane Austen to the Hollywood rom-com, comedy is the province of the love story and the marriage plot. We’ll be guided by the paradoxical fact that, in order to be effective, humor is quite frequently rather mean-spirited and even antisocial, pulling away from harmonious social ties. This governing tension in humor writing will also govern our inquiry.  Central to this tension is that what makes one person laugh might offend or leave another person stony-faced.  Texts to be read include David Trinidad’s Answer Song, George Saunders’s Tenth of December, David Sedaris’s Naked, Samantha Irby’s We Are Never Meeting in Real Life, Mike Albo and Virginia Heffernan’s The Underminer, Roxane Gay’s Bad Feminist, David Rakoff’s Fraud, Sara Levine’s Treasure Island!!!, Steve Hely’s How I Became a Famous Novelist, Kiley Reid’s Such a Fun Age, Anthony Veasna So’s Afterparties, and perhaps a screening of a standup routine or two. Written work will include two short papers and a longer final paper or take-home exam. 

ENG 495 001 MAJOR HONORS SEMINAR:  American Lit & the Stock Market
Jeff Clymer
MWF 1:00

Greed. Desire. Risk. Luck. Conspiracy. Rumor. Cheating. Money. Money. Money.

The gyrations and mysteries of money’s movement in the financial world have spurred some of our richest and most compelling novels in the American literary tradition, even as it’s a safe bet that many literature students tune out at the words “stock market.” Yet, our most intense emotions come into play in writers’ depictions of the financial world’s shenanigans, and, indeed, some of our most creative and provocative writers have taken money’s effect on us and our relationships as their theme. In this class, we will start with novels from the period of modern finance’s emergence at the turn of the twentieth century, and then pivot to books from the twenty-first century that depict America’s transformation into a fully financialized society hinging on credit, debt, and risk.

No advanced understanding of finance or economics is required – only an interest in how authors represented the social effects of money’s fascinating circulation in the United States.

We will likely read the following novels: Edith Wharton, The House of Mirth; Frank Norris, The Pit, Jonathan Dee, The Privileges, Adam Haslett, Union Atlantic, Don DeLillo, Cosmopolis; Hernan Diaz, Trust. 

ENG 507 002 ADVANCED WORKSHOP IN CREATIVE WRITING:  Autofiction & Personal Essay
Hannah Pittard
TR 2:00

This is a generative workshop. Students will be asked to read and write a variety of personal essays and works of autofiction. Over the course of the semester, we will seek to investigate the pros and cons, the possibilities and constraints, and the boundaries between fiction and non-fiction.