Andy Grace

Each section of these first-year seminars approaches the study of literature through the exploration of a single theme in texts drawn from a variety of literary genres (such as tragedy, comedy, lyric poetry, epic, novel, short story, film and autobiography) and historical periods. Classes are small, offering intensive discussion and close attention to each student's writing. Students in each section are asked to work intensively on composition as part of a rigorous introduction to reading, thinking, speaking and writing about literary texts. During the semester, instructors assign frequent essays and may also require oral presentations, quizzes, examinations and research projects. This course is not open to juniors and seniors without permission of the department chair. Offered every year.

Each section of these first-year seminars approaches the study of literature through the exploration of a single theme in texts drawn from a variety of literary genres (such as tragedy, comedy, lyric poetry, epic, novel, short story, film and autobiography) and historical periods. Classes are small, offering intensive discussion and close attention to each student's writing. Students in each section are asked to work intensively on composition as part of a rigorous introduction to reading, thinking, speaking and writing about literary texts. During the semester, instructors will frequent essays and may also require oral presentations, quizzes, examinations and research projects. This course is not open to juniors and seniors without permission of the department chair. Offered every year.

This course begins with two premises: that students of the craft of poetry should be challenged to write in as many different ways as possible and that students are individual writers with different needs and goals. In this course, we study a variety of types of poetry. Regular writing exercises encourage students to widen their scope and develop their craft. The course emphasizes discovering the "true" subject of each poem, acquiring the skills needed to render that subject, understanding the relationship between form and content and, finally, interrogating the role and function of poetry in a culture. In addition to weekly reading and writing assignments, students submit a process-based portfolio demonstrating an understanding of the revision process and a final chapbook of eight to twelve pages of poetry. This counts toward the emphasis in creative writing and the creative practice requirement for the major. Admission is open, though students may not take this course in the first semester of their first year. Seats are reserved for students in each class year. Offered every year.

In recent years, there has been a renaissance of science writing for the common reader that combines literary and scientific merit, from Stephen Hawking's "A Brief History of Time" to Oliver Sacks' "The Man Who Mistook His Wife for A Hat," and from Dava Sobel's "Longitude" to Rebecca Skloot's "The Immortal Life of Henrietta Lacks." Such book explore scientific questions in a style that transcends the conventions of academic science writing or popular history, bringing important questions from physics, biology, chemistry, neuroscience, and mathematics to wider public attention. Short-form science journalism has become one of the most important areas of literary nonfiction, recognized both by annual awards from the American Association for the Advancement of Science and two different series of Best of American Science Writing anthologies. This interdisciplinary science writing course combines literary analysis of exemplary essays on scientific topics with a writing workshop that requires students to closely observe scientific processes, conduct independent research and interviews, interpret data, and present scientific information in highly readable form. Weekly readings are selected from prize-winning science essays and the Best of American Science and Nature Writing series. We may also read one book-length work of science writing. Weekly writing assignments include journals, observational accounts of science experiments, exercises in interpreting scientific data, interviews, narratives and a substantial research essay. This counts toward the creative practice and post-1900 requirement for the major. No prerequisite.

This course introduces students to the fundamentals of prosody and poetics. "Ecstasy affords the occasion" for poetry, Marianne Moore wrote, "and expediency determines the form." We read poems from a broad range of historical periods in a range of forms (sapphics, syllabics, sonnets, sestinas, etc.), as well as statements by poets, critics and theorists about the aims and effects of poetic form. In addition to a series of short critical analyses of poetry, students practice writing in the forms studied. This counts toward the creative practice or methods requirements for the major. Prerequisite: ENGL 103 or 104. Only open to first-year and sophomore students. Offered every two years.

Prerequisite: ENGL 103 or 104. Only open to first-year and sophomore students.

This course sets out to trouble your assumptions — both conscious and unrecognized — about poetry: writing it, reading it, responding to it; its purpose, its nature, its public and private selves. We explore revision in the fullest senses of the word, aiming not only toward compression and economy but also toward expansion and explosion, toward breaking down the boundaries between what constitutes — for the student as writer and reader — poem and not-poem. We reverse the usual order of things: Our workshopping focuses on canonized poems; students should expect to engage fully in the role of poet-critic when responding to classmates' work, approaching it as they approach texts in the literature classroom. We explore poetry's technologized face through blogs and webzines, even as, Luddite-like, we hand-write, cut, paste, find and memorize poetry. This class requires intensive reading (and attendant thoughtful response) in poetry and poetics; enthusiastic engagement with exercises in critique, revision and poem-making; and a final project, demonstrating advancement as both critic and poet during the course of the semester. Texts likely include several volumes of contemporary poetry, selected critical essays, manifestoes, writings on process and readings by visiting writers. This counts toward the creative writing emphasis and the creative practice requirement for the major. Prerequisite: ENGL 201 or 205 (or an equivalent introductory workshop) and permission of instructor via application. Consult the department for information on the application process and deadlines.

American poetry entered one of its most vibrant eras in the second half of the 20th century. Myriad threads of bold new poetic experimentation were formed in response to the vast social and cultural changes affecting Americans’ lives, including the legacy of World War II, the civil rights movement, the Vietnam War and second wave feminism. This course covers poetic movements such as Confessionalism, the Black Arts Movement, Deep Image, the New York School, the Black Mountain School and the Beats. We consider such poets as William Carlos Williams, Sylvia Plath, Allen Ginsberg, Etheridge Knight, June Jordan, James Wright, Frank O’Hara and Mei-Mei Berssenbrugge. This course concludes with a consideration of issues of canon-formation — and cracks in the canon. Topics may vary. This counts toward the post-1900 requirement for the major. Prerequisite: ENGL 210-291 or junior standing.

Students in this workshop undertake an extended creative project in poetry (18-25 pages), which may count as their Senior Capstone project. Students have the opportunity to workshop this project over the course of the semester, and study critical and creative readings chosen by the instructor. Prerequisites: ENGL 301 and permission of instructor, senior English majors only.

This seminar is required for English majors pursuing an emphasis in creative writing. The course involves critical work on a topic chosen by the instructor (such as "Reliable and Unreliable: Investigating Narrative Voice," "Beginnings and Endings," "The Little Magazine in America" and "Documentary Poetics") to provide context and structure for students' creative work. Students should check online listings for the specific focus of each section. Although not primarily a workshop, this seminar requires students to work on a substantial creative project (fiction, nonfiction or poetry). Senior English majors pursuing an emphasis in literature are required to take ENGL 410 instead. Students pursuing honors will take ENGL 497 rather than the senior seminar. Senior standing and English major.