Offered as ENG 135wp and WRT 135wp. In the 20th century, as literacy rates rose, images disappeared from literature. Pictures were relegated to children’s books; only words were fit for adults. But the situation is changing. The internet and new printing technologies have allowed serious stories to again be told with words and images. This course examines creative nonfiction in graphic novels, hybrid and artist’s books, art labels, zines, digital platforms and more. Students need not be an artist to take this class!

Offered as ENG 135oi and WRT 135oi. Inspiration is the first question any writer faces. What moves the writer to face the blank page and inspires them to make art out of language? Does a piece of creative nonfiction start with an idea, a question, a story, a sentence? It can be any of those things, but sometimes the most surprising writing comes when one approaches a project a bit sideways, starting not with language or feeling but with shape.

Michael Pollan writes in Omnivore’s Dilemma that the U.S. suffers from a “national eating disorder”—that essentially, we don’t know what to eat. This course examines that confusion, considering which of the many diets available to us—vegan, slow food, locavore—is truly healthy; what roles ethnicity, gender and class play in our choices; and how pervasive hunger is in the United States. Students read from the spectrum of food writing and hone their own writing in a variety of genres ranging from academic essays to restaurant reviews. Prerequisite: One WI course.

People have all kinds of beliefs about language: Women talk more than men. Sign languages aren’t real languages. Texting ruins people's spelling. Termed “linguistic folk beliefs” or “language myths,” these beliefs are not informed by linguistic research yet are frequently and widely accepted. They even appear in the media and can perpetuate harmful cultural stereotypes. However, most of them are false. This course uses the writing process to investigate popular language myths.

This class explores the contemporary “remix culture” to ask pressing questions about creativity, originality and identity. Students explore the remix as a necessary tool for cultural transformation and look at their own experience of race, gender, sexual orientation, class and ability as an opportunity to reimagine and transform old ideas. Students make a case for the remix as a place for critical updates to the culture and discuss the possibilities of how remixing contributes to a richer production of cultural ideas.

Nietzsche called maturity the rediscovered seriousness of a child at play. What is the meaning of comedy in light of this “seriousness of the child at play?” Why do people laugh, at what and in what way? How does one distinguish silly comedy from serious comedy? This course examines such questions on comic platforms including film, music, videos, short stories and cartoons.

In a series of seven lectures, writers-creative nonfiction authors, playwrights, novelists, screenwriters, documentarians and short story writers-provide an overview of the practice of creating narratives from specific disciplinary perspectives. Editors, publishers, agents and producers reflect on the publication and production process. Speakers discuss researching, revising, publishing and producing texts and read from their work to provide examples. They also explore questions of style, voice and genre. S/U only. Only meets during the first half of the semester.

Offered as WLT 330 and TSX 330. The capstone seminar brings together a cohort of concentrators to discuss a final translation project that each student undertakes with the guidance of their adviser in the concentration and to situate the project within the framework of larger questions that the work of translation elicits. The readings focus on renowned practitioners’ reflections on the challenges, beauties and discoveries of translating.

A study of South African literature and film with a focus on adaptation of literary texts to the screen. The course pays particular attention to the ways in which the political, economic and cultural forces of colonialism and apartheid have shaped contemporary South African literature and film: for what purposes do South African filmmakers adapt novels, biographies and memoirs to the screen? How do these adaptations help us visualize the relationship between power and violence in apartheid and post-apartheid South Africa?

What is a Holocaust story? How does literature written in extremis in ghettos, death camps or in hiding differ from the vast post-war literature about the Holocaust? How to balance competing claims of individual and collective experience, the rights of the imagination and the pressures for historical accuracy? Selections from a variety of genres (diary, reportage, poetry, novel, graphic novel, memoir, film, monuments, museums) and critical theories of representation. All readings in translation. No prerequisites.