English Courses

Professor: Stephanie Newell
TTh 11.35pm-12.50pm

An introduction to creative writing published in South Africa from the end of Apartheid in 1994 to the present. Close readings of contemporary fiction with additional material drawn from popular culture, including films, magazines, and music. Enrollment limited to first-year students.

Preregistration required; see under First-Year Seminar Program.

Also AFAM 016, AFST 015

Freshman Seminars
WR, Hu
Term: Fall
Professor: Anastasia Eccles
MW 1:00pm-2:15pm

Exploration of suspense as a significant narrative mode and a historically conditioned feeling. Readings trace an arc from the rise of suspense in sentimental and Gothic fiction in the eighteenth century, through its preeminence in the nineteenth-century novel, to its consolidation as a marketable genre in the twentieth century. With brief supplemental readings in the philosophy of aesthetics and narrative theory.Enrollment limited to first-year students.

Preregistration required; see under First-Year Seminar Program.

Freshman Seminars
WR, Hu
Term: Fall
MW 11:35am-12:50pm

Exploration of literary texts from South Asia, 1857 to the present. Close reading of literary texts from India, Pakistan, Bangladesh, and Sri Lanka, alongside political speeches, autobiographies, and oral narratives. Topics include colonialism, history writing, migration, language, caste, gender and desire, translation, politics and the novel. Enrollment limited to first-year students.

Preregistration required; see under First-Year Seminar Program.

Also LITR 023, SAST 059

Freshman Seminars
WR, Hu
Term: Fall
Professor: Heather Klemann
TTh 11:35am-12:50pm

This section takes place in the Beinecke Rare Book and Manuscript Library where we’ll explore Yale’s holdings of children’s toys, books, and images. How do these artifacts construct cultural concepts of children? What are they doing in a university archive?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
MW 2:30pm-3:45pm

What inspires rebellion? How do discourses of resistance legitimate marginalized national, racial, sexual, or gender identities? Examining topics that include colonialism, civil rights, and contemporary social movements, this course investigates the relationship between dissent and the formation of identity.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Rasheed Tazudeen
MW 11:35am-12:50pm

What makes a work of art grotesque? How do grotesque works function socially and politically? We will explore the concept of the grotesque across various disciplines including literature, music, philosophy, visual art, and psychoanalysis.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Jami Carlacio
MW 1:00pm-2:15pm

In a democratic society, the media are expected to create an informed citizenry able to debate issues in the public sphere. Are they doing their job? We will investigate how the media shape public opinion in the digital age.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Alison Coleman
MW 1:00pm-2:15pm

What is family? And how do external forces, ranging from war to social media to the economy, affect families around the globe? Through scholarly lenses including economics, history, law, and sociology, this seminar explores today’s rapidly changing definitions of family.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: David M. deLeon
MW 2:30pm-3:45pm

When do play, games, and improvisation become part of survival? How do things like jazz, hip-hop, theater, and gaming work to frame identity, overcome trauma, or preserve culture? Are we playing around? Or are we playing for keeps?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Margaret Deli
TTh 11:35am-12:50pm

Are celebrity gossip and scandal fundamentally frivolous?  Or do they protect the less powerful?  And what are the ethics of using gossip to police human behavior?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Craig Eklund
MW 9:00am-10:15am

What is the self? Paradoxically, the closest thing to us is the most obscure of all. This course explores the seminal questions of selfhood (free will, subjectivity, consciousness) and novel insights offered by neuroscience, artificial intelligence, and, yes, selfies.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Craig Eklund
MW 2:30pm-3:45pm

What is the self? Paradoxically, the closest thing to us is the most obscure of all. This course explores the seminal questions of selfhood (free will, subjectivity, consciousness) and novel insights offered by neuroscience, artificial intelligence, and, yes, selfies.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Greg Ellermann
TTh 4:00pm-5:15pm

This course considers time as a social and political category. Time determines the value of our work, shapes our habits, and even constrains our desires. Can we imagine new ways to live in (or outside of) the measure of time?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: James Ensley
MW 4:00pm-5:15pm

This course asks you to contemplate and write about what makes a book materially, textually, and communally across a broad historical span, from medieval manuscripts and Victorian serial novels to Harry Potter and steamy romances.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Emily Glider
TTh 11:35am-12:50pm

What do we mean when we say that digital media “shrinks,” “flattens,” and “connects” the globe? Do digital communications facilitate social awareness or stoke international tensions?  Do they bridge global inequalities or exacerbate them?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Anna Hill
MW 2:30pm-3:45pm

How does nostalgia shape the present? Can one feel nostalgic for the future, or for a past that never existed? When can nostalgia become dangerous? This course explores the vexed histories and ongoing role of nostalgia in contemporary American culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Samuel Huber
TTh 2:30pm-3:45pm

Feminist and transgender interrogations of the man/woman binary long predate today’s anxieties about bathrooms, hormones, and government IDs. Taking our title question seriously, this course will consider the role of binary gender categories in struggles for gender justice.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Suzanne Young
MW 11:35am-12:50pm

Do we discover the world or create it? Can we know the world directly? What can we know about other minds? We will explore these questions through texts such as The Matrix and debates about animal and machine minds.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Seo Hee Im
MW 1:00pm-2:15pm

What you eat is what you are, in ways both literal and figurative. Topics include the politics of food consumption, the ethics of meat eating, and cannibalism.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Arthur Wang
TTh 2:30pm-3:45pm

How does physical pain becomes visible, audible, and tangible in the world? This course explores possibilities for expressing and responding to bodily suffering in politics, literature, art, and medical ethics.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Jakub Koguciuk
TTh 1:00pm-2:15pm

To what extent is our vision of landscape reflective of our knowledge of nature? How does landscape communicate human interventions in the environment?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Timothy Kreiner
TTh 11:35am-12:50pm

Why is there so much disagreement among scholars concerning the quickening pace of climate change alongside the emergence of supposedly post-industrial economies? What can we do about that pace today?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Stephen Krewson
TTh 9:00am-10:15am

Experts and amateurs alike now frame well-being in terms of dopamine and serotonin regulation. How did reward circuit manipulation and the need to optimize one’s own biochemistry become common knowledge?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
MW 4:00pm-5:15pm

This course aims to engage you in reflection about the institution of college—about the purpose of your own time spent at Yale as well as the diverse roles that institutions of higher education have played in American society.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Isabel Lane
TTh 2:30pm-3:45pm

From textile production to ICBMs, how does technology shape our world and our lives? More importantly, is it a good thing? This seminar asks what technologies are, how we interact with them, and if it’s O.K. to rebel against them.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
MW 2:30pm-3:45pm

What is memory and can it be trusted? We will explore what the concept of memory has meant in historical contexts ranging from antiquity to the present day and how it is used in disciplines ranging from neuropsychology to law.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Scarlet Luk
TTh 9:00am-10:15am

How deep is the relationship between the food we eat and the people that we become? This course will explore how colonial, sexual, and anthropocentric politics form our eating practices and attitudes, and how we can begin to challenge them.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
TTh 2:30pm-3:45pm

Gwyneth Paltrow, faith healers, and the inventor of graham crackers: their unconventional approaches to health and wellness are more similar than you’d think. This course investigates connections between science, religion, ethics, and modern health and wellness movements.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Yahel Matalon
TTh 1:00pm-2:15pm

This class will explore sensationalism, the news, and the rise of true crime as modern phenomena, from the Gilded Age’s major print shockers to more recent media events like the OJ Simpson trial and the death of Princess Diana.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
MW 1:00pm-2:15pm

Is US democracy uniquely strong or durable? How has America’s imperial history (slavery, settler colonialism, US global power) shaped American democracy and its limits? This course examines central questions surrounding the discourse of American exceptionalism.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Margaret McGowan
TTh 1:00pm-2:15pm

Sometimes visiting an art museum or reading a novel thrills us. Sometimes it bores us. This course explores contemporary art movements from the 1960’s to the present—including conceptual art, minimalism, and pop art—that seem designed to bore us.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Pamela Newton
TTh 1:00pm-2:15pm

Our travel experiences shape the way we see the world and understand our place within it. What motivates us to travel? What do we gain as travelers and/or tourists, and what do we lose?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Barbara Riley
MW 11:35am-12:50pm

What is “the truth”? How do we determine the credibility of information? Drawing on politics, journalism, psychology, history and ethics, this seminar examines the idea of objectivity in a “post-truth world.”

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Timothy Robinson
TTh 4:00pm-5:15pm

What right does any authority have to control expression?  This writing seminar will treat legal and critical debates from recent times, as well as various arguments concerning politics, artistic freedom, and religion, ranging from those of Plato to Tipper Gore.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Barbara Stuart
TTh 11:35am-12:50pm

Ever wonder how the food we eat in this country is produced? This course will answer this and other important questions as we study the impact of the Farm Bill on our food and the environment in which we live.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Ryan Wepler
MW 11:35am-12:50pm

Can reading good literature make you a good person? Does encountering art that challenges your certainties, broadens your experience, and probes the limits of existence make you more sensitive to your own personhood and the humanity of others? In this course we will consider what makes literature good and how good literature moves us. Our collective goal will not just be to produce a theory of good literature, but to experience its goodness, to develop your capacity to be moved by a literary work and reflect on what happened to you during that process. Readings range from popular successes to great masterpieces and include: Mrs. Dalloway (Woolf), Absalom, Absalom! (Faulkner); short fiction and excerpts by Sir. Arthur Conan Doyle, Mark Twain, Flannery O’Connor, O Henry, Jorge Luis Borges, Kurt Vonnegut, Karen Russell, George Saunders, and E. L. James; selected poetry; and one of the Harry Potter films.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Andrew Brown
TTh 1:00pm-2:15pm

We tend to imagine nostalgia or homesickness as a temporary, harmless experience—the bittersweet feeling of missing a favorite meal, a childhood TV series, or the streets where we grew up. But many authors have argued that clinging to the past can be dangerous. One nineteenth-century writer even claimed that nostalgia could literally kill, describing it as a ghoulish creature that “fastens upon the breast of its prey, and sucks, vampyre-like, the breath of his nostrils.” This course asks: how have literary works explored both the comforts and the psychological and political hazards of yearning for distant places, people, things, and times? How do they negotiate the tensions between what novelist Carson McCullers calls “a nostalgia for the familiar and an urge for the foreign and strange?” How is a longing to return to “the good old days” linked with questions of race, gender, and sexuality? And how might recent trends in migration and globalization inform future representations of homesickness? The class will consider literary works alongside philosophical, historical, and critical reflections on the concept of nostalgia. Our readings will include selections from The Odyssey; William Shakespeare’s Pericles; poems by Phillis Wheatley, William Blake, and Samuel Taylor Coleridge; novels, essays, and stories of the American Civil War and its long aftermath; and contemporary engagements with nostalgia on a global scale by Viet Thanh Nguyen (The Refugees), Saidiya Hartman (Lose Your Mother), and Caridad De La Luz (“Nuyorico”).

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Ann Killian
MW 2:30pm-3:45pm

Each of us will live through the death of someone we love. Facing such a loss compels us not only to confront our own mortality, but also to rebuild a life around the absence of the person who has died. Although such experiences are universal – even commonplace – the intimacy and particularity of loss renders it nigh inexpressible. And yet, in literature from the ancient Middle East to present day America, writers have attempted to reckon with sudden death, analyze grief’s bewildering effects, remember lost time, and bear witness to tragedy and injustice. They stretch language to its limits to explore how humans assimilate the horror of death and find the will to keep living.

Through works of various genres, we will encounter the ravages of disease, political treason, and governmentally sanctioned murder. But these stories also tell of love, desire, and survival – even return to life. Taking up their invitation to experience bereavement vicariously, we will ask: Does writing about dying brace us for our own end? Can literature help us “work through” loss and continue on with life? In cases of political injustice, can reading about a tragic death motivate us to take political action? How do we mourn as a nation in an age of social media and celebrity?

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Timothy Kreiner
TTh 4:00pm-5:15pm

Few social issues are more pivotal today than those that animate the Black Lives Matter movement. Those issues have a long history, however, in art as well as politics. Indeed, the historical devaluation of black life casts a long shadow over the formation of American literature. From the era of slavery to what many theorists view as the racialized expansion of the US prison system in recent decades, black life has been a major if often marginalized force shaping literary history. At the same time, literature has often been a proving ground for competing forms of antiracist politics. This course explores that force and those forms through a broad overview spanning from Narrative of the Life of Frederick Douglass to recent writings by Toni Morrison, Fred Moten, and Claudia Rankine. Along the way we will also take up work by writers such as Phillis Wheatley, Paul Laurence Dunbar, James Weldon Johnson, Langston Hughes, Claude McKay, Zora Neale Hurston, and Amiri Baraka.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Katja Lindskog
MW 9:00am-10:15am

Game of Thrones tells us that winter is coming – but why is it coming? What causes an entire world’s climate to change? In this seminar, we will read literary texts that provide thought-provoking answers to that question. Moving across a variety of genres, we will see student protesters, coal miners, and post-apocalyptic scavengers work with, and struggle against, their environments in ways that reflect changing attitudes to how we should relate to nature. From Ursula Le Guin and Charles Dickens to recent bestsellers and disaster movies, fiction helps us see that structured labor – the way we organize different forms of work – plays a huge part in shaping our environment.
 
It often seems as if our jobs and prosperity are separate from that of our planet. But what happens to our work when the planet can no longer support us? Do we change how we make our living, in order to save ourselves? With the sinking cities and burning plains of yesterday’s science fiction becoming tomorrow’s reality, can literature help us figure out where to go from here? In class we will ask these questions – and many more – while moving through literary, cinematic, theoretical, and historical texts. We will disagree, agree, persuade, and generally wander in and around these materials to better understand how they are put together. These conversations will provide a model for what literary arguments can look like. We’ll see how fiction bears witness to the ecological emergency produced by our systems of labor – but the works we read will also offer hope; for survival, and for a more just and resilient future.
 
Though the object of our investigation is literature, this is a writing course above all. We will work together on strategies for pre-writing, drafting, revising, and editing. We will also discuss methods of source interpretation, research, and documentation. We will refine the skills inherent in critical writing through a process of radical revision, in which you will learn to read your own and your classmates’ writing with a critical eye, transforming it into a sophisticated, refined, and persuasive final product.

Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Alexandra Reider
TTh 11:35am-12:50pm

Can reading literature make us better, more successful people? How might it? Should it? This course looks at literature that encourages its characters (and its readers) to draw lessons from its pages — as well as literature that, conversely, seems ambivalent about or even discourages that same process. We will think extensively about the rhetorical strategies — such as understatement, humor, and sentiment — that these texts deploy to deliver (or obscure) a message; we will also constantly be questioning who the intended audience, and what the intended message, really is. This is a course about how our approach to reading a work of literature determines the effect it has on us, the readers, and what the stakes are of a work failing to “deliver.” In so doing, we will participate in a larger conversation about what the “point” of literature is and what different “kinds” of reading there are. Readings include Samuel Beckett’s Waiting for Godot; Leslie Jamison’s The Empathy Exams; Zadie Smith’s On Beauty; and the Old Norse poem Hávamál and the Old English epic Beowulf. We will also watch the films Clueless (dir. Amy Heckerling) and Funny Games (dir. Michael Haneke).

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
Term: Fall
TTh 2:30pm-3:45pm

If life is indeed a journey, how does one master the art of travel? Poets and writers throughout history have offered us many a model: the hero’s adventure, the prodigal son’s return, the woman confined in the house, the migrant looking for a new home. In this course, we will read about actual and imaginary journeys in literature from Homer’s Odyssey to recent science fiction. As we consider different types of travel – voyages of conquest, leisure tours, road trips, exile, time travel, intergalactic exploration – we will debate a range of questions: How does place influence our sense of identity, and how does traveling disrupt and reshape it? What happens in encounters with worlds and peoples we do not know? What role does global imperialism play in this experience of travel, displacement, and cross-cultural contact? Can we imagine a journey that is truly open-ended? Texts and screenings include: Shakespeare’s Tempest, Joseph Conrad’s Heart of Darkness, Soloman Nothup’s Twelve Years a Slave, Nella Larsen’s Quicksand, E.M. Forster’s Passage to India, Ursula Le Guin’s Left Hand of Darkness, and Ridley Scott’s film Thelma and Louise.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Kim Shirkhani
TTh 11:35am-12:50pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
MW 11:35am-12:50pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Margaret Deli
MW 9:00am-10:15am

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Derek Green
TTh 2:30pm-3:45pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Susan Hartman
MW 2:30pm-3:45pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Rosemary Jones
MW 1:00pm-2:15pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Pamela Newton
TTh 2:30pm-3:45pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Barbara Riley
TTh 1:00pm-2:15pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
TTh 11:35am-12:50pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Adam Reid Sexton
TTh 1:00pm-2:15pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Shifra Sharlin
MW 9:00am-10:15am

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Shifra Sharlin
MW 11:35am-12:50pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

_

Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Barbara Stuart
TTh 4:00pm-5:15pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Rasheed Tazudeen
MW 2:30pm-3:45pm

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

_

Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Emily Ulrich
TTh 9:00am-10:15am

Close reading of great nonfiction prepares students to develop mastery of the craft of powerful writing in the humanities and in all fields of human endeavor, within the university and beyond. Study of some of the finest essayists in the English language, including James Baldwin, Joan Didion, Leslie Jamison, Jhumpa Lahiri, George Orwell, David Foster Wallace, and Virginia Woolf. Assignments challenge students to craft persuasive arguments from personal experience, to portray people and places, and to interpret fundamental aspects of modern culture.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Andrew Ehrgood
MW 11:35am-12:50pm

Law has an intellectual structure of its own, and the lawyers and judges who make law and interpret it have peculiar ways of imagining and talking about the world, habits of thought and expression that can mystify the nonlawyer.  In this course, you will begin to learn to read and speak and write the lawyer’s language: you will learn to reason and argue in distinctively lawyerly ways about the sorts of problems that lawyers are paid to attend to.  And as you acquire and become adept at this odd language, you will also evaluate it, assessing its appeal and usefulness to you as a thinker, writer, and citizen.

Prerequisites: ENGL 114, 115, 120, or another writing-intensive course at Yale.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Kim Shirkhani
TTh 1:00pm-2:15pm

An examination of how exemplary critics, such as David Foster Wallace, Joan Didion, Eula Biss, Kelefa Sanneh, Ariel Levy, Ian Frazer, Kyoko Mori, Adam Gopnik, Henry Louis Gates, Louis Menand, Ted Conover, Amitava Kumar, Wesley Yang, Malcolm Gladwell, Roxane Gay, Eric Schlosser, and Elizabeth Kolbert, and others, use elements of style—diction, tone, narrative structure—as both a mode of investigation and a means of persuasion. Our close attention to how these writers use style as argument will help students develop crucial rhetorical skills especially in light of recent social scientific studies that have affirmed that when it comes to persuading readers on cultural issues, the emotional and experiential are at least as important as the rational or factual.

Units will be organized around readings that highlight a particular stylistic approach—critique via personal narrative, artful analyses of cultural framing (society’s narrative instinct), and more in-depth critiques that interweave personal narrative or perspective with research and analysis. Students will close read model essays for craft, research cultural objects that interest them, and craft their own cultural critiques designed to question and persuade not merely with style but by way of style.

Prerequisites: ENGL 114, 115, 120, or another writing-intensive course at Yale.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR
Term: Fall
Professor: Danielle Chapman
TTh 11:35pm-12:50pm

Introduction to the writing of fiction, poetry, and drama. Development of the basic skills used to create imaginative literature. Fundamentals of craft and composition; the distinct but related techniques used in the three genres. Story, scene, and character in fiction; sound, line, image, and voice in poetry; monologue, dialogue, and action in drama.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
Hu
Term: Fall
Professor: Richard Deming
TTh 11:35pm-12:50pm

Introduction to the writing of fiction, poetry, and drama. Development of the basic skills used to create imaginative literature. Fundamentals of craft and composition; the distinct but related techniques used in the three genres. Story, scene, and character in fiction; sound, line, image, and voice in poetry; monologue, dialogue, and action in drama.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
Hu
Term: Fall
Professor: Derek Green
TTh 11.35am-12.50pm

Introduction to the writing of fiction, poetry, and drama. Development of the basic skills used to create imaginative literature. Fundamentals of craft and composition; the distinct but related techniques used in the three genres. Story, scene, and character in fiction; sound, line, image, and voice in poetry; monologue, dialogue, and action in drama.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
Hu
Term: Fall
Professor: Emily Skillings
TTh 11:35pm-12:50pm

Introduction to the writing of fiction, poetry, and drama. Development of the basic skills used to create imaginative literature. Fundamentals of craft and composition; the distinct but related techniques used in the three genres. Story, scene, and character in fiction; sound, line, image, and voice in poetry; monologue, dialogue, and action in drama.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
Hu
Term: Fall
Professor: Ben Glaser
MW 1:00pm-2:15pm

Introduction to the English literary tradition through close reading of select poems from the seventh through the seventeenth centuries. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the many varieties of identity and authority in early literary cultures. Readings may include Beowulf, The Canterbury Tales, Middle English lyrics, The Faerie Queene, Paradise Lost, and poems by Isabella Whitney, Philip Sidney, William Shakespeare, Amelia Lanyer, John Donne, and George Herbert, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
MW 11:35am-12:50pm

Introduction to the English literary tradition through close reading of select poems from the seventh through the seventeenth centuries. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the many varieties of identity and authority in early literary cultures. Readings may include Beowulf, The Canterbury Tales, Middle English lyrics, The Faerie Queene, Paradise Lost, and poems by Isabella Whitney, Philip Sidney, William Shakespeare, Amelia Lanyer, John Donne, and George Herbert, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
TTh 1:00pm-2:15pm

Introduction to the English literary tradition through close reading of select poems from the seventh through the seventeenth centuries. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the many varieties of identity and authority in early literary cultures. Readings may include Beowulf, The Canterbury Tales, Middle English lyrics, The Faerie Queene, Paradise Lost, and poems by Isabella Whitney, Philip Sidney, William Shakespeare, Amelia Lanyer, John Donne, and George Herbert, among others.

_

Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
TTh 4:00pm-5:15pm

Introduction to the English literary tradition through close reading of select poems from the seventh through the seventeenth centuries. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the many varieties of identity and authority in early literary cultures. Readings may include Beowulf, The Canterbury Tales, Middle English lyrics, The Faerie Queene, Paradise Lost, and poems by Isabella Whitney, Philip Sidney, William Shakespeare, Amelia Lanyer, John Donne, and George Herbert, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Michael Warner
TTh 9:00am-10:15am

Introduction to the American literary tradition in a variety of poetic and narrative forms and in diverse historical contexts. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the place of race, class, gender, and sexuality in American literary culture. Authors may include Phillis Wheatley, Henry David Thoreau, Herman Melville, Walt Whitman, Emily Dickinson, Frederick Douglass, Gertrude Stein, Langston Hughes, Ralph Ellison, Flannery O’Connor, Alan Ginsberg, Chang-Rae Lee, and Toni Morrison, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Alanna Hickey
MW 1:00pm-2:15pm

Introduction to the American literary tradition in a variety of poetic and narrative forms and in diverse historical contexts. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the place of race, class, gender, and sexuality in American literary culture. Authors may include Phillis Wheatley, Henry David Thoreau, Herman Melville, Walt Whitman, Emily Dickinson, Frederick Douglass, Gertrude Stein, Langston Hughes, Ralph Ellison, Flannery O’Connor, Alan Ginsberg, Chang-Rae Lee, and Toni Morrison, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Alanna Hickey
MW 2:30pm-3:45pm

Introduction to the American literary tradition in a variety of poetic and narrative forms and in diverse historical contexts. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the place of race, class, gender, and sexuality in American literary culture. Authors may include Phillis Wheatley, Henry David Thoreau, Herman Melville, Walt Whitman, Emily Dickinson, Frederick Douglass, Gertrude Stein, Langston Hughes, Ralph Ellison, Flannery O’Connor, Alan Ginsberg, Chang-Rae Lee, and Toni Morrison, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
American Lit
WR, Hu
Term: Fall
Professor: R. John Williams
MW 4:00pm-5:15pm

Introduction to the American literary tradition in a variety of poetic and narrative forms and in diverse historical contexts. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic and social histories; and the place of race, class, gender, and sexuality in American literary culture. Authors may include Phillis Wheatley, Henry David Thoreau, Herman Melville, Walt Whitman, Emily Dickinson, Frederick Douglass, Gertrude Stein, Langston Hughes, Ralph Ellison, Flannery O’Connor, Alan Ginsberg, Chang-Rae Lee, and Toni Morrison, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Jill Richards
TTh 9:00am-10:15am

An introduction to the literary traditions of the Anglophone world in a variety of poetic and narrative forms and historical contexts. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic, cultural and racial histories; and on the politics of empire and liberation struggles. Authors may include Daniel Defoe, Mary Prince, J. M. Synge, James Joyce, C. L. R. James, Claude McKay, Jean Rhys, Yvonne Vera, Chinua Achebe, Ngũgĩ wa Thiong’o, J. M. Coetzee, Brian Friel, Amitav Ghosh, Salman Rushdie, Alice Munro, Derek Walcott, and Patrick White, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Jill Richards
TTh 1:00pm-2:15pm

An introduction to the literary traditions of the Anglophone world in a variety of poetic and narrative forms and historical contexts. Emphasis on developing skills of literary interpretation and critical writing; diverse linguistic, cultural and racial histories; and on the politics of empire and liberation struggles. Authors may include Daniel Defoe, Mary Prince, J. M. Synge, James Joyce, C. L. R. James, Claude McKay, Jean Rhys, Yvonne Vera, Chinua Achebe, Ngũgĩ wa Thiong’o, J. M. Coetzee, Brian Friel, Amitav Ghosh, Salman Rushdie, Alice Munro, Derek Walcott, and Patrick White, among others.

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Timothy Robinson
TTh 2:30pm-3:45pm

The genre of tragedy from its origins in ancient Greece and Rome through the European Renaissance to the present day. Themes of justice, religion, free will, family, gender, race, and dramaturgy. Works include Homer’s Iliad and plays by Aeschylus, Sophocles, Euripides, Seneca, Shakespeare, Racine, Ibsen, Chekhov, Brecht, Beckett, and Soyinka. Focus on textual analysis and on developing the craft of persuasive argument through writing.

Also LITR 168

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Katja Lindskog
MW 2:30pm-3:45pm

The genre of tragedy from its origins in ancient Greece and Rome through the European Renaissance to the present day. Themes of justice, religion, free will, family, gender, race, and dramaturgy. Works include Homer’s Iliad and plays by Aeschylus, Sophocles, Euripides, Seneca, Shakespeare, Racine, Ibsen, Chekhov, Brecht, Beckett, and Soyinka. Focus on textual analysis and on developing the craft of persuasive argument through writing.

Also LITR 168

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Students who wish to enroll in this seminar should participate in online preregistration, August 22 at 9:00 a.m. - August 27 at 5:00 p.m.

Introductory Classes
WR, Hu
Term: Fall
Professor: Adam Reid Sexton
MW 2:30pm-3:45pm

Fundamentals of the craft of fiction writing explored through readings from classic and contemporary short stories and novels. Focus on how each author has used the fundamentals of craft. Writing exercises emphasize elements such as voice, structure, point of view, character, and tone.

This course is open to all students, but freshmen and sophomores are especially welcome.

No application required prior to the first class.

Creative Writing
Hu
Term: Spring , Term: Fall
Professor: David Gorin
TTh 1:00pm-2:15pm

An introduction to reading and writing poetry. Classic examples from Shakespeare and Milton, the modernist poetics of Stein, Pound, Moore, and Stevens, and recent work in a variety of forms and traditions. Students develop a portfolio of poems and write an essay on the poetic craft of poets who have influenced their work.

This course is open to all students, but freshmen and sophomores are especially welcome.

No application required prior to the first class.

Creative Writing
Hu
Term: Fall
Professor: Emily Thornbury
TTh 2:30pm-3:45pm

An introduction to the literature and culture of earliest England. A selection of prose and verse, including riddles, heroic poetry, meditations on loss, a dream vision, and excerpts from Beowulf, all read in the original Old English.

Also LING 150

Seminars
Medieval Lit
Hu
Term: Fall
Professor: Langdon Hammer
TTh 10:30am-11:20am, 1 HTBA

Poets and poetic movements from the second half of the twentieth century in the United States, England, Ireland, and the Caribbean. Authors include Bishop, Lowell, O’Hara, Ginsberg, Plath, Ashbery, Merrill, Larkin, Gunn, Hill, Heaney, Muldoon, and Walcott.

Lectures
20/21 C Lit
WR, Hu
Term: Fall
Professor: Caleb Smith
MW 1:30pm-2:20pm, 1 HTBA

An introduction to the literature and culture of the American South, a region of the mind identified with the former Confederate States of America and fabricated from a mix of beautiful dreams and violent nightmares, including: histories of slavery and settler colonialism, gothic fiction, the Delta blues, Hollywood movies, evangelical sermons, The Confessions of Nat Turner, love poems, protest poems, prison songs, The Adventures of Huckleberry Finn, country music, photographs, “Strange Fruit,” folk tales, memoirs, cookbook recipes, and other fantasies. Close reading, cultural analysis, and historical context. Literary works by Capote, Faulkner, Hurston, Jacobs, O’Connor, Poe, Twain, Toomer, Walker, Welty, Wright. Music, film, and other media.

Also AMST 239

Lectures
18/19 C Lit with permission, 20/21 C Lit with permission
Term: Fall
Professor: Lawrence Manley
MW 10:30am-11:20am, 1 HTBA

Love, sex, gender, society, and theater practice in Shakespeare’s comic genres, from the early farces and romantic comedies to the problem plays and late romances.

Lectures
Renaissance Lit
WR, Hu
Term: Fall
Professor: James Bundy
F 1:30pm-3:20pm

A practicum in acting verse drama, focusing on tools to mine the printed text for given circumstances, character, objective, and action; noting the opportunities and limitations that the printed play script presents; and promoting both the expressive freedom and responsibility of the actor as an interpretive and collaborative artist in rehearsal. The course will include work on sonnets, monologues, and scenes.

Admission by audition. Preference to seniors and juniors; open to nonmajors.

Also THST 315

Seminars
Renaissance Lit
Hu
Term: Fall
Professor: Karin Roffman
F 1:30pm-3:20pm

This course on 20th and 21st century poetry studies the non-symbolic use of familiar objects in poems. We meet alternating weeks in the Beinecke library archives and the Yale Art Gallery objects study classroom to discover literary, material, and biographical histories of poems and objects. Additionally, there are scheduled readings and discussions with contemporary poets. Assignments include both analytical essays and the creation of online exhibitions.

Also AMST 346, HUMS 252

Seminars
20/21 C Lit
WR, Hu
Term: Fall
Professor: Alan Burdick
Th 1:30pm-3:20pm

Exploration of ways in which the environment and the natural world can be channeled for literary expression. Reading and discussion of essays, reportage, and book-length works, by scientists and non-scientists alike. Students learn how to create narrative tension while also conveying complex—sometimes highly technical—information; the role of the first person in this type of writing; and where the human environment ends and the non-human one begins.

No application required prior to the first class.

Also EVST 224

Creative Writing
WR
Term: Fall
Professor: Amity Gaige
M 3:30pm-5:20pm

An intensive introduction to the craft of fiction, designed for aspiring creative writers. Readings and experimental exercises will lead to the completion of a short story. This course is a workshop, centered around in-depth discussion of both published literature and student-written fiction.

In this fiction writing course, students will be assigned weekly writing exercises designed to teach new techniques as well as generate short stories.  A full short story (and optional second) will be peer reviewed by the class.  Requirements also include weekly reading assignments.  Aspects of fiction to be explored include choice of narrator, structure, language, and meaning.

Fall application due by noon on August 15.

APPLICATION FORM

 
Creative Writing
Term: Fall
W 3:30pm-5:20pm

An intensive introduction to the craft of fiction, designed for aspiring creative writers. Focus on the fundamentals of narrative technique and peer review.

Fall application due by noon on August 15.

APPLICATION FORM

Creative Writing
Term: Fall
Professor: Louise Glück
T 1:30pm-3:20pm

A seminar workshop for students who are beginning to write poetry or who have no prior workshop experience at Yale. Preference given to freshmen and sophomores.

Admission to writing courses is by application and is based chiefly on work submitted by the student.

Fall application due by noon on August 15.

APPLICATION FORM

Special application instructions: Students should submit a sample of their own work, if it exists; in addition, all applicants should submit a paragraph on a literary work of any kind, any period: the choice should reflect personal admiration.

Creative Writing
Term: Fall
TTh 11:35am-12:50pm

A workshop on journalistic strategies for looking at and writing about contemporary paintings of the human figure. Practitioners and theorists of figurative painting; controversies, partisans, and opponents. Includes field trips to museums and galleries in New York City.

No application required prior to the first class.

Also HSAR 460, HUMS 185

Creative Writing
WR, Hu
Term: Fall
Professor: Aaron Tracy
M 3:30pm-5:20pm

This course focuses on crafting television drama with a strong emphasis on creating and developing an original concept from premise to pilot. Much has been written about the current “golden age” of dramatic television; the course takes as one of its precepts that the finest television dramas being created today aspire to literary quality. Our aim this term is to demystify the process of creating and writing serious television drama, for students of all levels, from beginners to more experienced writers of drama and fiction.
 
We will approach the writing of television drama like any other form of fiction writing, as a craft. To that end, we will closely read original scripts of critically-acclaimed series from a diverse range of creators. By the end of the course, students will be responsible for creating a series document which will include formal story and world descriptions, orchestrated character biographies, a detailed pilot outline, and two or more acts of an original series pilot.

No application required prior to the first class.

Creative Writing
Term: Fall
Professor: Leslie Brisman
MW 11:35am-12:50pm

Introduction to the work of Blake, Coleridge, Wordsworth, Shelley, and Keats, with some attention to Byron, to the poets’ own problematic revisions, and to the minor poets of this rich period of poetic innovation and revolutionary spirit.

Graduate students would participate in the seminar with undergraduates, but also have some opportunities to explore in sessions exclusive to them (as well as in essays) the rich critical tradition and its most recent configurations. How many such sessions we would have would depend on the number of students interested.

Also ENGL 774

Seminars
18/19 C Lit
WR, Hu
Term: Fall
Th 1:30pm-3:20pm

A course on the craft of fiction writing for young adult readers. At the start of the semester, we read widely in the genre to identify the principles of craft at the sentence—and narrative—level, with the aim of creating a style that is original and a story narrative that is powerful. In the second half of the semester, students read and critique one another’s fiction. Open to writers of all levels and abilities.

No application required prior to the first class.

Creative Writing
Term: Fall
Professor: Stefanie Markovits, Professor: Stuart Semmel
MW 11:35am-12:50pm

British historical narratives in the nineteenth century, an age often cited as the crucible of modern historical consciousness. How a period of industrialization and democratization grounded itself in imagined pasts—whether recent or distant, domestic or foreign—in both historical novels and works by historians who presented programmatic statements about the nature of historical development.

Also HIST 262J, HUMS 410

Seminars
18/19 C Lit
WR, Hu
Term: Fall
Professor: Ruth Yeazell
TTh 11:35am-12:25pm, 1 HTBA

A selection of nineteenth-century novels, with particular attention to questions of gender, class, and narrative form. Authors chosen from the Brontës, Gaskell, Dickens, Collins, Eliot, Trollope, and Hardy.

Lectures
18/19 C Lit
Hu
Term: Fall
Professor: Anastasia Eccles
MW 4:00pm-5:15pm

Reading of selected works by Jane Austen and Walter Scott—the preeminent novelists of the Romantic period—with special attention to reception and the formation of the related concepts of “history” and “manners.”  Readings include: Sense and Sensibility, Mansfield Park, Persuasion, Waverley, and Ivanhoe.

Seminars
18/19 C Lit
WR, Hu
Term: Fall
Professor: Michael Warner
TTh 1:00pm-2:15pm

Introduction to writing from the period leading up to and through the Civil War. The growth of African American writing in an antislavery context; the national book market and its association with national culture; emergence of a language of environment; romantic ecology and American pastoral; the “ecological Indian”; evangelicalism and the secular; sentimentalism and gender; the emergence of sexuality; poetics.

Also AMST 281

Seminars
18/19 C Lit
WR, Hu
Term: Fall
Professor: R. John Williams
MW 2:30pm-3:45pm

A survey of literature’s role in anticipating and constructing potential futures since 1887. Early Anglo-American and European futurism during the years leading up to World War I; futures of speculative fiction during the Cold War; futuristic dreams of contemporary cyberpunk. What literature can reveal about the human need to understand both what is coming and how to respond to it.

Seminars
18/19 C Lit with permission, 20/21 C Lit
WR, Hu
Term: Fall
MW 2:30pm-3:45pm

Exploration of the life of English literature in the colonial and postcolonial world, from the nineteenth century to the present. Close reading of literary texts, publishing statistics, school textbooks, film, and postcolonial theory. Topics include canon formation, education reform, colonial publishing, gender and education, global Shakespeare.

Also LITR 261

Seminars
18/19 C Lit with permission, 20/21 C Lit
WR, Hu
Term: Fall
Professor: Joseph Cleary
MW 2:30pm-3:45pm

A broad overview of Irish culture and literature between roughly 1890 and the end of World War II. The efforts of Irish writers to end Ireland’s long-standing cultural subordination to England and to create a distinctive and distinguished Irish national literature. Discussion of recent postcolonial, Marxist, and world literature critical approaches to the period. Authors include Oscar Wilde, W. B. Yeats, James Joyce, Elizabeth Bowen, and Samuel Beckett.

Seminars
18/19 C Lit with permission, 20/21 C Lit
Hu
Term: Fall
Th 1:30pm-3:20pm

This course is designed to look at issues of faith through the lens of poetry. With some notable exceptions, we will concentrate on modern poetry—that is, poetry written between 1850 and 2017. Inevitably we will also look at poetry through the lens of faith, but a working assumption of the course is that a poem is, for a reader (it’s more complicated for a writer), art first and faith second. You may want to challenge this assumption. The entire course may end up being a challenge to this assumption.

“Faith” in this course does not necessarily mean Christianity, though that will inevitably be the context for reading many of the poems, given that Christianity is so important to the history of poetry in English. But we will also engage with poems from other faith traditions, as well as with poems that are wholly secular and even adamantly anti-religious.

The reading in this course is intensive rather than extensive. You will need to read every poem many times. You will need to memorize at least one of them and parts of others. We will read a wide variety of poets but usually only 1-3 poems from each of them.

You will also be expected to read select critical pieces, all by poets. These are primarily to serve as examples of some of the ways that recent poets have thought about their art in relation to faith and culture, but they are also intended to give you some models for your final paper. I will explain this carefully in class.

Also HUMS 253, RLST 233

Seminars
18/19 C Lit with permission, 20/21 C Lit with permission
Hu
Term: Fall
Professor: Marc Robinson
T 1.30pm-3.20pm

Study of the drama, performance, and dance theater created in the last ten years, with special attention to work produced in 2017-2018. Readings from both published and unpublished American and British plays, contemporary criticism and theory, interviews, and essays by the artists themselves. Video of works created by companies such as Elevator Repair Service and the Nature Theater of Oklahoma. May include attendance of productions at performance spaces in and around New York City.

Also THST 329

Seminars
20/21 C Lit
Hu
Term: Fall
Professor: Margaret Homans
TTh 11:35am-12:50pm

Historical survey of works of fiction that have shaped and responded to feminist, queer, and transgender thought from the late eighteenth century to the present. Authors include Wollstonecraft, C. Bronte, H. Jacobs, C. P. Gilman, R. Hall, Woolf, Wittig, Walker, Anzaldua, Morrison, Kingston, Winterson, and Bechdel.

Also WGSS 339

Seminars
18/19 C Lit with permission, 20/21 C Lit with permission
WR, Hu
Term: Fall
Professor: Leslie Brisman
MW 2:30pm-3:45pm

Study of the Bible as a literature—a collection of works exhibiting a variety of attitudes toward the conflicting claims of tradition and originality, historicity and literariness.

The course should not be taken concurrently with RLST 145a and is not open to first year students; but it is open to non-majors who have taken a prior WR course or others who are eager to profit from the progress possible from one to another of the five writing assignments.

Also LITR 154

Seminars
18/19 C Lit with permission
WR, Hu
Term: Fall
Professor: Jessica Brantley
T 9:25am-11:15am

The course offers a contextual study of four of the greatest (and most enigmatic) Middle English poems—Pearl, Patience, Cleanness, and Sir Gawain and the Green Knight. At its center is British Library MS Cotton Nero A.x, the single medieval book that contains them all. In addition to reading the poems closely in their manuscript context, we examine associated artworks, from the twelve illustrations in the Cotton MS, to St. Erkenwald, a poem preserved elsewhere that some argue was written by the same author. Finally, we think about the modern reception of the poems through a serious engagement with scholarly debate surrounding them, and also through comparative work with translations.

Also ENGL 537

Senior Seminars
Medieval Lit
Hu
Term: Fall
Professor: Caryl Phillips
M 1:30pm-3:20pm

A study of literature that responds to a changing post–World War II Britain, with attention to the problem of who “belongs” and who is an “outsider.” Authors include William Trevor, Kazuo Ishiguro, Jean Rhys, Samuel Selvon, Ruth Prawer Jhabvala, and John Osborne.

Senior Seminars
20/21 C Lit
WR, Hu
Term: Fall
Professor: Joseph Cleary
T 1:30pm-3:20pm

Drawing on recent scholarship on modernist studies, postcolonial studies, and literary world-systems, this seminar explores how some leading Anglophone writers produced bold new works that engaged with conceptions of European civilizational crisis, the transfer of political power and cultural capital from Europe to the United States, and a rapidly-changing world order. Readings include Pascale Casanova, Alexis de Tocqueville, Henry James, Ford Maddox Ford, Ezra Pound, James Joyce, D. H. Lawrence, T. S. Eliot, W. B. Yeats, Gertrude Stein, and F. Scott Fitzgerald.

Also LITR 412

Senior Seminars
20/21 C Lit
WR, Hu
Term: Fall
Professor: Stephanie Newell
Th 9:25am-11:15am

Introduction to experimental African novels that challenge realist and documentary modes of representation. Topics include mythology, gender subversion, politics, the city, migration, and the self. Ways of reading African and postcolonial literature through the lenses of identity, history, and nation.

Also AFAM 449, AFST 449

Senior Seminars
20/21 C Lit
WR, Hu
Term: Fall
Professor: Donald Margulies
T 2:30pm-5:00pm

A seminar and workshop in writing for the stage. Readings include modern American and British plays by Pinter, Mamet, Churchill, Kushner, Williams, and Wilder. Emphasis on play structure, character, and conflict. In addition to weekly exercises, students write a one-act play.

Fall application due by noon on August 15.

APPLICATION FORM

Special application instructions: Your Writing Sample may be in any genre; there is no limit to the length of your Statement of Purpose.

Also THST 320

Creative Writing
Term: Fall
Professor: Robyn Creswell
MW 2:30pm-3:45pm

This course combines a seminar on the history and theory of translation with a hands-on workshop. The readings will lead us through a series of case studies comparing, on the one hand, multiple translations of given literary works and, on the other, classic statements about translation—by translators themselves and prominent theorists. We’ll consider both poetry and prose from the Bible, selections from Chinese, Greek, and Latin verse, classical Arabic and Persian literature, prose by Cervantes, Borges, and others, and modern European poetry (including Pushkin, Baudelaire, and Rilke). Students will be expected to prepare short class presentations, participate in a weekly workshop, try their hand at a series of translation exercises, and undertake an intensive, semester-long translation project. Proficiency in a foreign language is required. May be taken for graduate credit by permission of the student’s department.

No application required prior to the first class.  

Also HUMS 427, JDST 316, LITR 348

Creative Writing
Hu
Term: Fall
T 9:25am-11:15am

An upper-level non-fiction writing seminar in which students will learn how to tell stories about science, medicine, and the environment for a broad public audience.  Admission to the course is by application only.

Applications for Fall 2018 are due by noon on Wednesday, August 15, 2018.

In this course, we will read exemplary pieces by the likes of Oliver Sacks, Elizabeth Kolbert, Rachel Carson, and Atul Gawande. We will learn from them how to translate complex subjects into compelling prose. Writers will visit as guest speakers, and the class will go on a reporting field trip. Students will report and write a series of stories, culminating in a magazine-length feature. I will meet individually with students to discuss and edit their work, and each student’s work will be discussed in class workshops.

This course has no prerequisites, either in terms of courses or experience in journalism. Each year’s class is typically made up of students from a range of backgrounds: pre-med students who want to learn how to communicate effectively as doctors, aspiring journalists interested in reporting on science, fiction writers seeking to expand their range, environmental studies majors who want to prepare for careers in policy-making, and science majors who want to become scientists who can fully participate in public conversations about the place of science in society.

Enrollment is limited to undergraduates, but graduate students can request to audit the course. Freshmen should wait to apply after taking other writing courses or writing for student publications. While most accepted students are juniors and seniors, I sometimes accept sophomores.

Please email applications directly to me at carl@carlzimmer.com

Your application should include the following:

  1. Your name, year, major, and email address.
  2. A note in which you briefly describe your background and explain why you’d like to take the course. Include the writing courses, if any, that you’ve already taken, and publications you’ve written for. Also indicate which other writing courses, if any, you’re applying to for Fall 2018.
  3. One or two pieces of nonacademic, nonfiction writing. (No fiction or scientific papers, please.) Indicate the course or publication (including url) for which you wrote each sample. Unpublished work that you didn’t write for a class is also acceptable; please note if this is the case on your piece. Your writing samples should total 5-15 pages double spaced. It’s okay if they’re longer than that, but please add a note about the pieces to explain why you want to use them. I will use these samples to decide whether to admit students to the class, so they should demonstrate strengths in some of the skills this kind of writing calls for, such as engaging style, a strong narrative, and deep reporting skills.

If you have any questions about whether this is the right class for you, please email me. If you’d like to talk to a former student about their experience, contact Sonia Wang sonia.wang@yale.edu or Erin Wang erin.wang@yale.edu

A detailed syllabus for this fall will be available online this summer when the course is listed in the Yale catalog. A class reporting trip to a lab at Yale on Thursday, September 6 at 4 pm will be mandatory.

Admitted students will be notified within a week after the application deadline. Be prepared to respond promptly to an offer for a spot in the class, so that I can fill any open spaces with students on the wait-list. Please also note that with very rare exceptions, the English Department does not allow students to take more than one writing seminar in a semester. If you are admitted to more than one writing seminar, including college seminars, you must notify both instructors and choose only one.

Students on the final accepted list will receive a notification from me, along with brief reading and writing assignments to be completed for the first class on Tuesday September 4.

Also EVST 215, MB&B 459

Creative Writing
WR
Term: Fall
Professor: Louise Glück
M 3:30pm-5:20pm

A seminar and workshop in the writing of verse.

May be repeated for credit with a different instructor.

Fall application due by noon on August 15.

PLEASE NOTE: this class will meet for the first time on Labor Day, Monday, September 3, and NOT on Friday, August 31.

APPLICATION FORM

Creative Writing
Term: Fall
Professor: Caryl Phillips
T 1:30pm-3:20pm

An advanced workshop in the craft of writing fiction.

May be repeated for credit with a different instructor.

Fall application due by noon on August 15.

APPLICATION FORM

Creative Writing
Term: Fall
Professor: Cynthia Zarin
T 3:30pm-5:20pm

A seminar and workshop in the contemporary essay. Public versus private voice, the responsibilities of the essayist, and the evolution of writing in the first person. Readings include essays by Joan Didion, Jonathan Lethem, Jenny Diski, Zadie Smith, M. F. K. Fisher, Bruce Chatwin, John Berger, and Oliver Sacks.

Fall application due by noon on August 15.

APPLICATION FORM

Creative Writing
Term: Fall
Professor: Steven Brill
M 9:00-10:50

ENGLISH 467A: JOURNALISM
Steven Brill ● sb@brillbusiness.com ● (212) 332-6301
Fall 2018

DESCRIPTION:  This seminar – the core course for Yale Journalism Initiative – is for those interested in understanding the changing role of journalism, in coming to grips with the challenges and opportunities related to the business model of journalism in a digital, global age, and in learning the practice of journalism. Grades will be based on participation and written work, with an emphasis on the final project.

We will focus on both imaginative and critical thinking as it applies to reporting and to creating ways and forms of telling a story so that it has maximum impact in a world cluttered with media and experiencing profound challenges to making journalism economically viable.
But this is not a theoretical exercise. We will be dealing with the hard core questions of how good and “bad” journalism happens – from understanding how Harvey Weinstein was unmasked (and why it took so long) to uncovering the workings or failings of some obscure but vital government agency (and getting people to care about it) to understanding the modern economic challenges of journalism. This is also a course about the nuts and bolts of effective writing and presentation.

One or perhaps two extra (and voluntary) sessions will take place in New York City, so that students can meet with working journalists there.

I will meet with each student individually during the term as often as necessary in order to provide feedback, help with the final project, and (if requested) provide career guidance.

Guest instructors during two of the sessions will be Bob Woodward and a variety of successful journalists who took this seminar in prior years.

Successful completion of this course and other aspects of the Yale Journalism Initiative will qualify students to be designated Yale Journalism Scholars. For more information on the Yale Journalism Initiative, see https://ocs.yale.edu/get-advice/yale-journalism-initiative.

INSTRUCTOR: Steven Brill, a graduate of Yale College and Yale Law School, worked as a writer for New York Magazine, Esquire, and Harpers while in Law School. In 1978, he was the author of a best-selling book on the Teamsters Union. A year later, he launched The American Lawyer Magazine and later expanded it into ten legal publications across the country. In 1991 Brill launched Court TV and, in 1998, Brill’s Content Magazine. In 2009, he founded Journalism Online, LLC, to enable newspapers, magazines, and online publishers to earn revenue from the journalism they publish online. In the last six years, he has also written feature articles for The New Yorker, the New York Times Magazine, The Atlantic, Fortune, and TIME. In 2011, he wrote Class Warfare: Inside the Fight To Fix America’s Schools. In 2013, he authored a special edition of TIME Magazine – “Bitter Pill: How Medical Bills Are Killing Us” – about healthcare prices and profits. His book about American healthcare and the fight over Obamacare, also a best-seller, was published in early 2015 by Random House. His latest book – TAILSPIN: The People and Forces Behind America’s Fifty-Year Fall – and Those Fighting to Reverse It – was published by Knopf in May of 2018 and also became a best seller.

Brill currently serves as the co-founder and co-CEO of NewsGuard, a company dedicated to rating the reliability of online news sites.

MEETINGS: Mondays, 9:00 – 10:50 a.m. in LC 103

ENTRANCE REQUIREMENTS: The seminar is open to all sophomores, juniors, and seniors. In general, we are looking for a range of students – some with demonstrated commitment to and experience in journalism, others without that background but who can write well, want to learn, and perhaps have an added dimension to offer in class discussions (such as an intense interest in politics, the arts, law, or economics), which they might want to apply to journalism.

Admission:

Each student must submit the following simple, two-part application package to sb@brillbusiness.com. Please submit the package by the evening of Monday, August 13, 2018.

I will post with the English Department the final list of those accepted by Friday, August 17, if not earlier. I will also email all accepted students. There will be a short wait list, too.

The two-part application should consist of:

  1. No more than two double-spaced pages: A written statement explaining your interest in the class and in the Yale Journalism Scholars program. This should also include your Yale class year, any previous writing courses that you have taken, a brief description of your extra-curricular activities and a description of your journalism experience.
  2. One writing sample – either an article that you have published in an on- or off- campus publication or something that you submitted for a class.

READINGS: The syllabus provides an outline of what we will cover in the course.  The course packet is available at TYCO, and all books are available at the Yale bookstore. Most of the reading will be from the “Other Reading” materials described below, supplemented by these books:

BOOKS: John Hersey, Hiroshima
    James Stewart, Follow the Story: How to Write Successful Non-Fiction
    Gay Talese, The Gay Talese Reader
    Steven Brill, TAILSPIN – to be handed out in class.

OTHER READING: Various newspaper articles, magazine pieces and online postings intended to illustrate different forms and methods (and successes and failures of) journalism, ranging from Woodward and Bernstein’s original Watergate reporting, to celebrity profiles, to bulletins on Supreme Court decisions, to data-centric journalism at ProPublica. (All assembled in the course packet.)

ASSIGNMENTS:

  • Biographical profile – 2,000 words – of the person sitting next to you in this seminar.
  • Critiquing and editing of several published articles from time to time.
  • Critiquing and editing your fellow students’ work from time to time.
  • Coming to class with one original story idea every other week.
  • Writing a two-page strategic outline for an interview with a potentially hostile source.
  • Creating, with two partners, a journalism enterprise that does well and is financially self-sustaining.
  • Final Assignment: 3,500-4,000 word publishable magazine (or e-magazine) feature story or three-part newspaper series – to be edited by one of your classmates before final submission to me.

ADDITIONAL NOTE: Because we will regularly discuss current journalism, all participants in the program should be prepared to bring a laptop or tablet to class.

 _____________________________________________________________________________

Printable version

SYLLABUS

Also PLSC 253

Journalism
WR
Term: Fall
Professor: Anne Fadiman
Th 2:30pm-5:20pm

A seminar and workshop with the theme “At Home in America.” Students consider the varied ways in which modern American literary journalists write about place, and address the theme themselves in both reportorial and first-person work.

Fall application due by noon on August 15.

APPLICATION FORM

Please read the description below, paying special attention to the boldface sections, some of which describe exceptions to the standard application procedure.

This class is part lecture, part seminar, part workshop. Its purpose is to examine and attempt good nonfiction writing through the microcosm of setting. How do we see America (whether urban or rural, east or west, rich or poor) as home? We will attempt to dismantle some of the traditional barriers between academic reading and pleasure reading as we discuss works by Ta-Nehisi Coates, Joan Didion, Ian Frazier, Adrian Nicole LeBlanc, John McPhee, and others. Students will write four pieces (two first-person, two reportorial), the last of which is a substantial profile reported in New Haven, outside the Yale campus, on someone found in the Greater New Haven Yellow Pages. They will also critique each other’s work both orally and via email. Each student will have at least six individual conferences with me, most of them an hour long, to discuss and edit his or her work.

English 469 has no prerequisites, which means that you may apply even if you have no reporting experience. I’m more interested in the grace of your writing style and the sound of your voice. The class is usually a mix of seasoned journalists and creative writers. Fiction writers, playwrights, and essayists bring valuable gifts to our table. Though most 469ers have been juniors and seniors, I have accepted an occasional sophomore. Graduate students shouldn’t apply (sorry); freshmen should wait.
 
Students who wish to apply to English 469 should submit the standard Application for Writing Courses (see https://english.yale.edu/courses/undergraduate-courses/creative-writing/creative-writing-and-journalism-course-application) by noon on Wednesday, August 15.  Please note the following special instructions for English 469 applications:

           1. The standard application specifies “a” writing sample. Ignore that! I can assess your work better if you submit two samples, totaling about 5-15 double-spaced pages. (The total length may exceed that, but if it does, please mark the sections to which I should pay particular attention.) You may even submit three samples if one is very short (for instance, a Daily Themes one-pager, in which case please note the prompt).

           2. If possible, your samples should belong to the same genre we’ll be reading and writing (“non-non”–nonacademic nonfiction). Essays, literary journalism, and personal essays would all be appropriate. (If fiction is your strength, one but not both of your samples may be a short story. Similarly, if you’re a playwright, one sample may be a scene from a play. The other sample should be non-non.) Be sure to choose pieces that give your literary style a thorough airing.

           3. Your “statement of purpose” should be a note to me that explains some things your samples don’t. The application suggests “a paragraph,” but you are welcome to write as long a note as you wish. For instance: Why do you want to take the class? What would you contribute to it? What writing experience and honors have you accumulated? (I’ll still consider you if the answer is None and None.) What are you majoring in? (English majors will receive no special preference.) Is there anything else that might help me understand you as a writer or a person? Your note need not be conventional; it should sound like you.

           4. When you list the writing classes you’ve taken, please include the class’s name and instructor, not just its number.          

If you have questions about English 469 before you apply, or after you hear about admission and are wondering if it’s the right class for you, you’re welcome to write me (anne.fadiman@yale.edu). Two veterans of last year’s class have also volunteered to field them. Anna Ayres-Brown (antonia.ayres-brown@yale.edu) came to 469 with reporting experience; Henry Reichard (henry.reichard@yale.edu) didn’t, but he survived unscathed.

Admitted students will be notified about a week before the first class. Please be ready to respond with a yea or nay so that wait-listers can be swiftly admitted. The roster will be complete (and brief reading assigned) before the first class on August 30.
 

Creative Writing
WR, Hu
Term: Fall
W 1:30pm-3:20pm

The writer’s work is making sentences. Everything else is secondary. But too often our intentions blind us to the sentences we are actually making, or we feel that, somehow, form or genre is more important than the sentence itself. This workshop will scrutinize your nonfiction prose, looking for the opportunities, the energy, the clarity that may be lying hidden there. We’ll be aided by many other writers—Auden, Didion, McPhee, Baldwin, Joseph Roth, Kapuscinski, Dillard, Oates, etc. We’ll be thinking about writing as an act of discovery and the sentence as the smallest unit of perception. That means we’ll be using your writing. I’ll expect you to be writing new each week for this course, and we’ll all be reading each others’ work every week as we go through the semester. The goal is quite simply to clarify the act of discovering sentences and, in doing so, discovering the better writer within you.

Not open to freshmen.

Fall application due by noon on August 15.

APPLICATION FORM

Creative Writing
Hu
Term: Fall
Professor: Deborah Margolin
MW 3:30-5:20

A seminar and workshop in playwriting. Emphasis on developing an individual voice. Scenes read and critiqued in class.

Admission by application, with priority to Theater Studies majors. A writing sample and statement of purpose should be submitted to the instructor before the first class meeting.

Also THST 321

Creative Writing
Term: Fall
Professor: Sarah Stillman
M 1:30pm-4:00pm

A feature-writing workshop in the reporting and writing of memorable long-form magazine narratives. Close readings of exemplary investigative works. Emphasis on reporting strategies and storytelling tools for interviewing diverse subjects, generating suspense, crafting scenes, and reconstructing events through use of human and non-human sources.

Fall application due by noon on August 15.

APPLICATION FORM

Special application instructions:

1. Writing Samples

I’ll be best equipped to assess your work if you provide two writing samples, rather than one. Ideally, your samples will amount to 5-15 pages in total, but if they exceed that length, please highlight specific sections on which you’d like me to focus. A third sample is permissible, if it is quite short – for instance, a Daily Themes one-pager.

What sort of work should you submit? Ideally, your samples will reflect the genre we’ll be covering in the class: non-fiction writing, of the sort that lets your reportorial passions and authorial voice stand out. You might consider offering up an example of journalistic work you’ve produced for a campus publication, but you needn’t be intimated if you don’t have published clips. (Fiction submissions are discouraged, but at least one sample can fall into the fictional camp, if you truly feel it’s your strong suit; prose poetry or some other creative form, too, could make for a brief third sample.)

2. Your “statement of purpose,” and pitches for work to write this term

In your “statement of purpose,” please feel free to disregard the suggested word count (“a short paragraph”); please write as much as you’d like. I’d love to learn about what draws you to this class on reporting and crafting narrative non-fiction; what you’re majoring in (and/or what topics constitute your obsessions); what kinds of reporting challenges excite you (stories you’ve pursued in the past, or ones you hope to chase in the future, or simply works of long-form reporting by journalists you admire); and anything else you want me to know about who you are as a reporter – or simply as a person – that informs your desire to take this class.

Most crucially: please offer a provisional pitch for a magazine-length story or two you might like to pursue this term, if anything comes to mind. (You can share your idea in several sentences, but please don’t go beyond a paragraph or two.) I promise I won’t hold you to these proposals! Nonetheless, I’d love a chance to hear about a feature story or two you’re keen to tackle in the months ahead; it can be an investigative idea (a company or entity or idea you’d like to interrogate); it can be a magazine-length profile you’d love to pursue; or it can be an event on the horizon, or in the archives, that you think would merit long-form coverage of at least 4,000 words.

3. “Writing Courses Previously Taken”

In this segment of your application, please provide not only the course number, but also the course name and instructor.

I look forward to reading your applications, and to getting acquainted with all of you as writers and thinkers!

Creative Writing
Term: Fall

A writing tutorial in fiction, poetry, playwriting, screenwriting, or nonfiction for students who have already taken writing courses at the intermediate and advanced levels. Conducted with a faculty member after approval by the director of undergraduate studies.

Students must apply in the previous term; deadlines and instructions are posted at https://english.yale.edu/undergraduate/applications-and-deadlines.

Prerequisite: two courses in writing.

Application Form

Creative Writing, Independent Projects
Term: Spring , Term: Fall

A writing tutorial in fiction, poetry, playwriting, screenwriting, or nonfiction for students who have already taken writing courses at the intermediate and advanced levels. Conducted with a faculty member after approval by the director of undergraduate studies.

Students must apply in the previous term; deadlines and instructions are posted at https://english.yale.edu/undergraduate/applications-and-deadlines.

Prerequisite: two courses in writing.

Application Form

Creative Writing, Independent Projects
Term: Spring , Term: Fall

Special projects set up by the student in an area of particular interest with the help of a faculty adviser and the director of undergraduate studies, intended to enable the student to cover material not otherwise offered by the department. The course may be used for research or for directed reading, but in either case a term paper or its equivalent is normally required. The student meets regularly with the faculty adviser. To apply for admission, a student must submit an application and prospectus signed by the faculty adviser to the office of the director of undergraduate studies.

Students must apply in the previous term; deadlines and instructions are posted at https://english.yale.edu/undergraduate/applications-and-deadlines.

Application Form

Independent Projects
Term: Spring , Term: Fall

A term-long project in writing, under tutorial supervision, aimed at producing a single longer work (or a collection of related shorter works). An application and prospectus signed by the student’s adviser must be submitted to the office of the director of undergraduate studies by November 16, 2018, for spring-term projects and by April 11, 2019, for fall-term projects. The project is due by the end of the last week of classes (fall term), or the end of the next-to-last week of classes (spring term).

Visit http://yalecreativewriting.yale.edu/writing-concentration for the complete program description, project guidelines, and application form.

Creative Writing, Independent Projects
Term: Spring , Term: Fall

A term-long project in writing, under tutorial supervision, aimed at producing a single longer work (or a collection of related shorter works). An application and prospectus signed by the student’s adviser must be submitted to the office of the director of undergraduate studies by November 16, 2018, for spring-term projects and by April 11, 2019, for fall-term projects. The project is due by the end of the last week of classes (fall term), or the end of the next-to-last week of classes (spring term).

Visit http://yalecreativewriting.yale.edu/writing-concentration for the complete program description, project guidelines, and application form.

Creative Writing, Independent Projects
Term: Spring , Term: Fall

The Senior Essay is an extended critical research and writing project undertaken with the guidance of a faculty advisor. For one-term senior essays, the essay itself is due in the office of the director of undergraduate studies according to the following schedule: (1) end of the fourth week of classes: five to ten pages of writing and/or an annotated bibliography; (2) end of the ninth week of classes: a rough draft of the complete essay; (3) end of the last week of classes (fall term) or end of the next-to-last week of classes (spring term): the completed essay. Consult the director of undergraduate studies regarding the schedule for submission of the yearlong senior essay.

Students wishing to undertake an independent senior essay in English must apply through the office of the director of undergraduate studies in the previous term; deadlines and instructions are posted at https://english.yale.edu/undergraduate/applications-and-deadlines.

Visit https://english.yale.edu/undergraduate/senior-essay for the complete program description, project guidelines, and application form.

Independent Projects
Term: Spring , Term: Fall

Second term of the optional yearlong senior essay. Students may begin the yearlong essay in the spring term of the junior year, allowing for significant summer research, with permission of the instructor.

Students must apply in the previous term; deadlines and instructions are posted at https://english.yale.edu/undergraduate/applications-and-deadlines.

Independent Projects
Term: Spring , Term: Fall
Professor: Emily Thornbury
Th 9:25am-11:15am

The essentials of the language and mastery of core vocabulary, then close study of a number of lovely short poems.

Also LING 500

Graduate Seminars
Medieval Lit
Term: Fall
Professor: Jessica Brantley
T 9:25am-11:15am

The course offers a contextual study of four of the greatest (and most enigmatic) Middle English poems—Pearl, Patience, Cleanness, and Sir Gawain and the Green Knight. At its center is British Library MS Cotton Nero A.x, the single medieval book that contains them all. In addition to reading the poems closely in their manuscript context, we examine associated artworks, from the twelve illustrations in the Cotton MS, to St. Erkenwald, a poem preserved elsewhere that some argue was written by the same author. Finally, we think about the modern reception of the poems through a serious engagement with scholarly debate surrounding them, and also through comparative work with translations.

Also ENGL 401

Graduate Seminars
Medieval Lit
Hu
Term: Fall
Professor: David Quint, Professor: Jane Tylus
Th 1:30pm-3:20pm

This course looks at Renaissance epic poetry in relationship to classical models and as a continuing generic tradition. It examines epic type scenes, formal strategies, and poetic architecture. It looks at themes of exile and imperial foundations, aristocratic ideology, and the role of gender. The main readings are drawn from Vergil’s Aeneid, Lucan’s De bello civili, Dante’s Purgatorio, Tasso’s Gerusalemme liberata, Camões’s Os Lusíadas, and Spenser’s Faerie Queene.

Also CPLT 684, ITAL 720, RNST 684

Graduate Seminars
Renaissance Lit
Term: Fall
Professor: Kathryn James
F 9:25am-11:15am

This course provides a detailed introduction to early modern English paleography and manuscript cultures. The primary objective is for students to acquire fluency in reading the main English hands encountered in the early modern archive. Students become familiar with the documentary forms and methods of production of early modern British manuscripts and with the techniques and terms by which these are understood and described. Topics include Anglicana, secretary, chancery, and italic hands; alphabets; writing techniques; abbreviations; numbers; shorthand and cipher; transcription; the forms and vocabulary associated with early modern letters, sermon-notes, diaries, annotations, inventories, and other documentary forms. The course meets in the Beinecke Library and is based on the library’s early modern English manuscript collections.

Also HIST 613

Graduate Seminars
Renaissance Lit
Term: Fall
Professor: Lawrence Manley
W 3:30pm-5:20pm

A study of the representation of history on the English stage in the reigns of Elizabeth I and James I. Plays by Shakespeare, Marlowe, Peele, Heywood, Ford, and others in relation to both nondramatic forms of historical writing and contemporary affairs.

Graduate Seminars
Renaissance Lit
Term: Fall
Professor: Leslie Brisman
MW 11:35am-12:50pm

Introduction to the work of Blake, Coleridge, Wordsworth, Shelley, and Keats, with some attention to Byron, to the poets’ own problematic revisions, and to the minor poets of this rich period of poetic innovation and revolutionary spirit.

Graduate students would participate in the seminar with undergraduates, but also have some opportunities to explore in sessions exclusive to them (as well as in essays) the rich critical tradition and its most recent configurations. How many such sessions we would have would depend on the number of students interested.

Also ENGL 250

Graduate Seminars
18/19 C Lit
WR, Hu
Term: Fall
Professor: Marta Figlerowicz, Professor: Jonathan Kramnick
W 1:30pm-3:20pm

What is literary theory today, and what is its history? The aim of the course is to introduce students to central concepts in theory and explore their relation to method. We examine the variety of approaches available within the field of literary studies, including older ones such as Russian formalism, New Criticism, deconstruction, Marxism, and psychoanalysis, as well as newer ones like actor-network theory and digital humanities research. We explore the basic tenets and histories of these theories in a way that is both critical and open-minded, and discuss their comparative advantages and pitfalls. The focus is on recurrent paradigms, arguments, and topics, and on transhistorical relations among our various schools of literary-theoretical thought. Readings might include work by René Wellek, Paul de Man, Jacques Derrida, Gayatri Spivak, Bruno Latour, Judith Butler, Northrop Frye, Fred Moten, and many others.

Also CPLT 881, WGSS 960

Graduate Seminars
20/21 C Lit
Term: Fall
Professor: Ben Glaser
T 1:30pm-3:20pm

This course explores current debates in poetics, historicism, and formalism through study of the poetry and criticism of the past century. We trace a history of the discipline by way of the poets and readers who helped make literary study what it is and isn’t. Special attention is paid to contemporary debates surrounding lyric theory, historical poetics, and recent models of “New Formalism” as they each converge with and diverge from earlier formalisms (e.g., New Criticism) and react against historicisms (e.g., cultural studies). We also explore the racial formations at work within the logic of poetic genres and the canons of twentieth-century poetry.

Graduate Seminars
20/21 C Lit
Term: Fall
Professor: Sunny Xiang
M 3:30pm-5:20pm

What might it mean to think from a position other to the “Western humanities”? This course takes the “Asian inhumanities” as neither a direct opposite nor even a direct challenge to the “Western humanities,” but as a heuristic device for self-conscious reflection about critical method, racial formation, knowledge production, and political action. The aim is not necessarily to decenter the human or the humanities—I suspect that we will talk a good deal about both. Rather, we juxtapose “Asia” to “human” with an openness to contemplating the idiosyncrasies that each reveals about the other. We start by surveying how scholars have posited “Asia as method” (to borrow Kuan-Hsing Chen’s formulation). From there, we pursue the “Asian inhumanities” in two movements. The first examines historically specific “inhuman” typologies (that is, stereotypes) arising from U.S.-Asian encounters: the yellow peril during the era of Asian exclusion, the model minority during the era of Asian inclusion, and the flexible citizen during the era of Asian globalization. The second tracks the relation between “Asian” and “human” at especially fraught scenes of contact: law, war, gender, biology, and technology. Finally, we approach the “Asian inhumanities” as a question of race-based politics, both within and beyond the university. What is at stake in taking the human as a political, ethical, and literary reference point—for example, in desiring well developed and emotionally nuanced characters or even in reading for character at all? How does race figure into alternative critical approaches circulating within the humanities—for example, surface reading, distant reading, new formalism, and weak theory? How does an attention to what is “Asian” impact our received critical frameworks for analyzing race?

Also AMST 840

Graduate Seminars
20/21 C Lit
Term: Fall
Professor: Heather Klemann
Training for graduate students teaching introductory expository writing. Students plan a course of their own design on a topic of their own choosing, and they then put theories of writing instruction into practice by teaching a writing seminar.
 
Prerequisite: open only to graduate students teaching ENGL 114.
Graduate Seminars
Term: Fall

Designed to help fill gaps in students programs when there are corresponding gaps in the department’s offerings. By arrangement with faculty and with the approval of the DGS.

Open to current students in the English graduate programs. Submit a completed Directed Reading Proposal Form to the department registrar by the end of the first week of classes.

Graduate Seminars
Term: Spring , Term: Fall