Avant-garde poetry resists definition. In this class, we will explore poetry that defies convention, be it formal (exploding the poetic verse line), material (appearing outside of the conventional venues of the published, mass-produced book), or linguistic (using everyday language rather than poetic diction).  We will read widely from a range of twentieth- and twenty-first century poets as well as important nineteenth-century forebears.

(Offered as ENGL 422 and FAMS 433) Best known for her experiments with form and style in the modernist novel, Virginia Woolf was also deeply engaged with the literary and artistic currents of her time. This course addresses several of Woolf’s key texts alongside the work of lesser known women writers, both in the Bloomsbury Group and in overlapping activist circles.

(Offered as ENGL 422 and SWAG 422) Best known for her experiments with form and style in the modernist novel, Virginia Woolf was also deeply engaged with the literary and artistic currents of her time. This course addresses several of Woolf’s key texts alongside the work of lesser known women writers, both in the Bloomsbury Group and in overlapping activist circles.

[Before 1800] Although many people believe that they know themselves better than anyone else does, it is difficult to say exactly what a “self” is. Some people believe true selves only emerge in public or in relationships, while others believe that the true self is one we tend to keep private (or “to ourselves”). To try to define selfhood is to encounter a series of paradoxes.

(Offered as ENGL 388 and FAMS 240.)

(Offered as ENGL 372 and SWAG 365) Do people the world over love in the same way, or does romance mean different things in different cultures? What happens when love violates social norms? Is the “romance” genre an escape from real-world conflicts or a resolution of them? This course analyzes romantic narratives from across the world through the lens of feminist theories of sexuality, marriage, and romance.

(Offered as ENGL 369 and FAMS 369)

In Jenny Boully’s essay, “On the EEO Genre Sheet,” she writes, “I am sometimes called a poet, sometimes an essayist, sometimes a lyric essayist, sometimes a prose poet. My second book was published under the guise of fiction/poetry/essay. I find these categorizations odd: I’ve never felt anything but whole.” In this course we will read works by contemporary Asian-American authors that defy and/or exceed genre expectations and examine these texts’ relationship to wholeness and hybridity.

(Offered as ENGL 330 and EUST 330) [Before 1800] By many accounts, a concept of “race” does not emerge in the West until the colonizing of the New World in the Renaissance. Yet medieval people had many ways of identifying, exoticizing, excluding, and discriminating against “others.” This was often framed in terms of religion (e.g., Christianity vs. Islam), but it also manifests in terms of physiognomic description and ideas of monstrosity in medieval romances and quest narratives.

How do stories move? What are the uses and limitations of the term “plot” in describing movement or development in narrative? What culturally-specific assumptions and expectations about storytelling are bound up with conventional notions of plot, and how can we, as writers and readers, unravel them? In this advanced fiction writing course, students will explore these questions and more through writing, reading, sharing, and thoughtfully critiquing fiction that challenges, resists, or forgoes linear or sequential narrative.