Bread Loaf EXPLORyour inner potentialE School of English n Engage in a six-week intensive summer graduate degree program

n Study literature, creative writing, pedagogy and literacy, and theater arts Summer 2014 Course Catalog n Find rigorous and innovative courses particularly beneficial for K–12 English and language arts teachers

CONTACT US Bread Loaf School of English Middlebury College Middlebury, VT 05753 www.middlebury.edu/blse E-mail: [email protected] Telephone: 802.443.5418 Fax: 802.443.2060 Bread Loaf EXPLORyour inner potentialE School of English n Engage in a six-week intensive summer graduate degree program

n Study literature, creative writing, pedagogy and literacy, and theater arts Summer 2014 Course Catalog n Find rigorous and innovative courses particularly beneficial for K–12 English and language arts teachers

CONTACT US Bread Loaf School of English Middlebury College Middlebury, VT 05753 www.middlebury.edu/blse E-mail: [email protected] Telephone: 802.443.5418 Fax: 802.443.2060 ADMINISTRATION STAFF Ronald D. Liebowitz, President of Karen Browne, Assistant to the Director, Middlebury College Coordinator of the New Mexio campus

Michael E. Geisler, Vice President for Elaine Lathrop, Office Manager, Language Schools, Schools Abroad, and Administrative Associate, Coordinator of Graduate Programs, Middlebury College the Vermont campus

Emily C. Bartels, Director of the Bread Sandy LeGault, Director of Admissions Loaf School of English Melissa Nicklaw, Administrative Bread Loaf EXPLORyour inner potentialEEXPAND your outer limits Django Paris, Associate Director of the Associate “I go to be reminded Bread Loaf School of English of what it means to be a student, Dana Olsen, Budget and School of English n Engage in a six-week intensive n Work with distinguished faculty Dixie Goswami, Director of the Bread Communications Manager, summer graduate degree program so I can be a better teacher.” Loaf Teacher Network, Coordinator of Coordinator of the Oxford campus n Experience the cultures of Vermont, the Writing Curriculum n Study literature, creative writing, New Mexico, or Oxford, England pedagogy and literacy, and theater arts Beverly Moss, Coordinator of the Ken ummer 2014 Sheldon Sax, Director of Technology S n Engage in top-quality professional Macrorie Writing Centers Course Catalog n Find rigorous and innovative courses development Caroline Eisner, Director of BreadNet particularly beneficial for K–12 English Brian McEleney, Director of the Program and language arts teachers in Theater and the Bread Loaf Acting Ensemble

Tom McKenna, Director of the Bread Loaf Teacher Network Communications

CONTACT US Bread Loaf School of English Middlebury College Middlebury, VT 05753 The Bread Loaf School of English, a graduate program of Middlebury College, is accredited by the New England Association of Schools and Colleges. www.middlebury.edu/blse Middlebury College complies with applicable provisions of state and federal law that prohibit E-mail: [email protected] discrimination in employment or in admission or access to its educational or extracurricular Telephone: 802.443.5418 programs, activities, facilities, on the basis of race, color, ethnicity, national origin, religion, sex, Fax: 802.443.2060 sexual orientation, age, marital status, place of birth, Vietnam veteran status, or against qualified individuals with disabilities on the basis of disability. Because of varying circumstances and legal requirements, such provisions may not apply to programs offered by the College outside the United States. This is consistent with the College’s intent to comply with the requirements of application law. Individuals with questions about the policies governing such programs should direct inquiries to the Bread Loaf director, Emily Bartels.

Printed on Mohawk Loop Inxwell Vellum Eco White 110 dtc and Smooth Eco White 80 text. 100% post-consumer waste recycled paper, made with windpower and carbon neutral. ADMINISTRATION STAFF Ronald D. Liebowitz, President of Karen Browne, Assistant to the Director, Middlebury College Coordinator of the New Mexio campus

Michael E. Geisler, Vice President for Elaine Lathrop, Office Manager, Language Schools, Schools Abroad, and Administrative Associate, Coordinator of Graduate Programs, Middlebury College the Vermont campus

Emily C. Bartels, Director of the Bread Sandy LeGault, Director of Admissions Loaf School of English Melissa Nicklaw, Administrative EXPANDyour outer limits Django Paris, Associate Director of the Associate “I go to be reminded Bread Loaf School of English of what it means to be a student, Dana Olsen, Budget and n Work with distinguished faculty Dixie Goswami, Director of the Bread Communications Manager, so I can be a better teacher.” Loaf Teacher Network, Coordinator of Coordinator of the Oxford campus n Experience the cultures of Vermont, the Writing Curriculum New Mexico, or Oxford, England Beverly Moss, Coordinator of the Ken Sheldon Sax, Director of Technology n Engage in top-quality professional Macrorie Writing Centers development Caroline Eisner, Director of BreadNet Brian McEleney, Director of the Program in Theater and the Bread Loaf Acting Ensemble

Tom McKenna, Director of the Bread Loaf Teacher Network Communications

The Bread Loaf School of English, a graduate program of Middlebury College, is accredited by the New England Association of Schools and Colleges.

Middlebury College complies with applicable provisions of state and federal law that prohibit discrimination in employment or in admission or access to its educational or extracurricular programs, activities, facilities, on the basis of race, color, ethnicity, national origin, religion, sex, sexual orientation, age, marital status, place of birth, Vietnam veteran status, or against qualified individuals with disabilities on the basis of disability. Because of varying circumstances and legal requirements, such provisions may not apply to programs offered by the College outside the United States. This is consistent with the College’s intent to comply with the requirements of application law. Individuals with questions about the policies governing such programs should direct inquiries to the Bread Loaf director, Emily Bartels.

Printed on Mohawk Loop Inxwell Vellum Eco White 110 dtc and Smooth Eco White 80 text. 100% post-consumer waste recycled paper, made with windpower and carbon neutral. Welcome to BREAD LOAF Established in 1920, Bread Loaf School of English is an academically rigorous summer graduate program of Middlebury College, offering a diverse and innovative curriculum in the fields of literature and culture, pedagogy and literacy, creative writing, and theater arts. While tailored to K-12 English and language arts teachers, the program also enrolls students from a variety of backgrounds. Bread Loaf faculty come from eminent colleges and universities across the United States and U.K.

SUMMER 2014 5 t Bread Loaf, we engage and inspire which held its first session in1920 , with the innovative thinkers who, through aim of providing graduate education in the Athe interpretation of literary and crit- fields of English and American literatures, ical texts, contribute creative thought, write public speaking, creative writing, dramatic persuasive and original arguments, and use production, and the teaching of English. relevant emerging technologies to develop effective teaching and learning practices. MISSION STATEMENT Students can enroll for one or more sum- The Bread Loaf School of English (BLSE) mers of continuing graduate education, or is a summer residential graduate program of pursue a Master of Arts or Master of Letters Middlebury College, providing education degree in English. A typical course load is in British, American, and world literatures two units per summer: each unit carries three and the allied fields of pedagogy, literacy, semester hours of graduate credit (the equiv- creative writing, and theater arts to a popu- alent of 30 class hours). Degree candidates lation comprised primarily of K–12 English must attend Bread Loaf/Vermont at least and language arts teachers. The program once, but are encouraged to attend all three offers Master of Arts and Master of Letters campuses. All Bread Loaf students can join degrees in English as well as opportunities the nationally recognized Bread Loaf Teacher for continuing education and sustained, tech- Network, which supports innovative peda- nology-rich professional development. BLSE gogical collaboration. draws its faculty from leading institutions in the U.S. and U.K. and maintains three cam- HISTORY puses, two domestic and one in England, with In 1915, Joseph Battell, a former Middlebury a curriculum tailored to each site. The school College student and a longtime Middlebury aims to create a diverse and dynamic learning businessman, willed to Middlebury College community that fosters innovative, culturally an inn, a collection of cottages, and 31,000 responsive thinking, teaching, and profes- acres in the heart of Vermont’s Green Moun- sional development both during the summer tains. These lands and residences became and throughout the year. home to the Bread Loaf School of English,

2014 Session Dates & Fees

Vermont New Mexico Oxford Arrival for first- Arrival and Arrival ...... June . 30 year students . . . . . June 23 registration . . . . June . 14 Registration . . . . . July 1 Arrival and Classes begin . . . . June 16 Classes begin . . . . . July 2 registration . . . .June . 24 Classes end . . . . July. 24 Classes end . . . August. 8 Classes begin . . . . . June 25 Commencement . . July. 26 Commencement . . August 9 Classes end . . . August. 5 Tuition ...... $5,005 Commencement . . August 9 Tuition ...... $5,005 Room and Board . . .$2,730 . Room and Board . . . $4,950 Tuition ...... $5,005 Facility Fees ...... $325 Facility Fees ...... $365 Room and Board . . . $2,690 Total ...... $8,060 . Total ...... $10,320. . Total ...... $7,695 .

6 BLSE ACADEMICS Bread Loaf provides all its students with a rigorous and innovative curriculum of courses well suited to the needs of K–12 English and language arts teachers.

CONTINUING GRADUATE EDUCATION the Seventeenth Century; Group 3. British Students may enroll for continuing graduate Literature since the Seventeenth Century; education for one or more summers at the Group 4. American Literature; Group 5. normal course load of two units per summer. World Literature; Group 6. Theater Arts. Students receive a Certificate in Continuing Degree candidates are required to take one Graduate Education after the successful com- unit from Group 2, one from Group 3, one pletion of each summer term. Continuing from Group 4, one from Group 5, and one education students may take advantage of all additional unit from any of these groups; the that Bread Loaf offers, including membership remaining five units are electives. in the Bread Loaf Teacher Network, and may Candidates entering before 2013 may elect elect to pursue a degree, as long as they are in to follow the requirements above by notifying good academic standing. the Bread Loaf office (by February1 , 2014), or they may continue to fulfill the following: THE MASTER OF ARTS (MA) DEGREE four electives, plus two units from Group 2, The Bread Loaf Master of Arts program gives two from Group 3, one unit from Group 4, students a broad familiarity with the fields and one from Group 5, with the option of of British, American, and world literatures. replacing any one of these six group require- Candidates must complete 10 units, receiving ments with an elective, pending permission of a grade of B- or better in each; no thesis is the director. required. Though students have 10 years to complete the degree, most take two units per THE MASTER OF LETTERS summer and finish the degree in four to five (MLITT) DEGREE summers. The Master of Letters program allows students The curriculum is divided into six to achieve mastery of a specialization within groups: Group 1. Writing, Pedagogy, and the fields of literature, pedagogy, and/or the Literacy; Group 2. British Literature through creative arts. Candidates must complete 10

SUMMER 2014 7

“To be surrounded by so many thoughtful, intelligent, vibrant, curious individuals is a heartening experience.”

units, receiving a grade of B- or better in each. TRANSFER CREDITS Though students have 10 years to complete Students may transfer up to two graduate the degree, most take two units per summer courses (credit equivalent of six semester and finish the degree in four to five summers. hours or nine quarter hours) from other MLitt candidates design their own fields accredited institutions to count toward the of concentration, in consultation with Bread Bread Loaf MA or MLitt degree. The asso- Loaf’s associate director. Seven of the 10 ciate director must approve each course for required units must be in the field. Although transfer, and students are urged to request pre- no thesis is required, in the final summer each approval before enrolling in outside courses. degree candidate must pass a comprehensive To receive transfer credit, students must earn examination or produce a final project repre- a grade of B or better in the course. Courses senting the course work done in the field. cannot be counted for degree credit elsewhere and must be taken within the 10-year period CREDITS of the Bread Loaf degree. Each unit at Bread Loaf is equivalent to three Credits earned at the Bread Loaf School semester hours or four and one-half quarter of English are generally eligible for transfer hours of graduate credit. Classes at the U.S. to other graduate institutions as long as the campuses are valued at one unit each; Oxford courses are not to be counted toward a Bread classes are valued at two units each, one of Loaf degree. which is constituted by independent study. Although the normal course load is two units, INDEPENDENT READING PROJECTS students with a stellar academic record may With approval from the associate director request permission to take an Independent and an appropriate Bread Loaf faculty mem- Reading Project, an Oxford Independent ber, a qualified student may undertake an Tutorial, or an additional one-unit course. Independent Reading Project (IRP), which No course counted toward a degree elsewhere is carried out during the academic year and can be counted toward a Bread Loaf degree. brought to completion the following summer in consultation with a faculty member. An IRP serves as the equivalent of a one-unit Bread Loaf course and involves comparable reading, research, and writing. Students Classes are designed to be small to facilitate discussion, and all three campuses provide space must develop the IRP from work done in for quiet study, such as the Lincoln College, a Bread Loaf course in which they have Oxford, library, lower right. received an A- or higher, and they may draw

SUMMER 2014 9 on professional fieldwork done in conjunc- tion with the Bread Loaf Teacher Network. Writing Centers Proposals are due at the end of the summer session before the research year, and the proj- Each of the Bread Loaf campuses runs a writing center, staffed by trained ect culminates in a 35-page essay or portfolio Bread Loaf students, and established submitted in early spring of the research in honor of Ken Macrorie, a leader year. IRPs may be taken as part of the MA in the field of writing and education. and MLitt degree and may fulfill group or Peer readers at each center offer field requirements. A tuition fee of$2 ,503 is students rich opportunities to develop discipline-specific writing skills in the charged for an IRP taken as a third course. context of their course work.

INDEPENDENT SUMMER PROJECTS IN THEATER ARTS Students who want to pursue independent acting or directing projects may design an Independent Summer Project, which is COURSE REGISTRATION carried out during the summer session. Like Course registration begins in mid-February. the IRP, the Independent Summer Project is Detailed registration instructions will be sent worth one unit of credit and must build on to students who are enrolled for summer 2014. work done in a Bread Loaf course in which the student has received an A- or higher. TEXTS Proposals are due by February 1 and must be Texts for each course are listed with each approved by the director of the program in course description (in this catalog) in the theater as well as by Bread Loaf’s director or order in which they will appear on the syl- associate director. A tuition fee of $2,503 is labus. Students should complete as much charged for an Independent Summer Project reading as possible before their arrival in order taken as a third course. to have more time during the session for rereading, research, and writing. Required OXFORD INDEPENDENT TUTORIALS texts for courses at Bread Loaf/Vermont Exceptional students attending Bread Loaf/ (only) can be purchased in advance online Oxford may pursue an independent tutorial through the Middlebury College bookstore in addition to their primary course. These at www.middlebury.edu/blse/students/ tutorials receive one unit of credit and should bookorders. Faculty may elect to post course require an amount of reading and writing materials online before the session, and any similar to a one-unit Bread Loaf course. affected students will be notified in the spring. Students design their own courses of study. Students should bring the required texts Proposals are due February 1 and must be to Bread Loaf. There is a small campus book- approved by Bread Loaf’s director and a store, with limited numbers of course texts, at member of the Bread Loaf/Oxford faculty, Bread Loaf/Vermont, and no campus book- who will supervise the student’s work during store carrying Bread Loaf texts at the New the summer. Students should register for the Mexico and Oxford campuses. tutorial when they register for their primary Bread Loaf/Oxford course. A tuition fee of $2,503 will be charged for the tutorial.

10 BLSE EXPLORE & Expand Whether it’s a lifelong connection through resources like the Bread Loaf Teacher Network, or a one-time chance to hear a favorite writer read from a new work, Bread Loaf is all about creating opportunity.

THE BREAD LOAF TEACHER NETWORK meet weekly at each campus and then work Established in 1993, the Bread Loaf Teacher together on classroom projects during the Network (BLTN) is a year-round nationally academic year. recognized professional development network open to all Bread Loaf students, faculty, and PROGRAM IN THEATER staff. According to the U.S. Department of The Bread Loaf curriculum includes courses Education website at connectededucators. in theater and performance, directing, play- org, “members of BLTN are developing writing, and acting, and their relation to and implementing innovative approaches to teaching and critique. meeting student needs, sharing approaches, At Bread Loaf/Vermont, the program conducting shared inquiries, building com- provides opportunities for students to engage munity partnerships, and designing widely with theater firsthand. Professional actors in accessible Web-based resources.” the acclaimed Bread Loaf Acting Ensemble BLTN’s primary goal is to encourage work closely with the faculty to bring per- year-round collaboration among Bread Loaf formance into Bread Loaf classrooms as a teachers and their students on a range of powerful vehicle for interpretation. The media-rich projects designed to promote cul- ensemble also works alongside students to turally responsive literacy. stage a major theatrical production every BLTN publishes a digital journal and a summer. Rehearsals are open. Recent produc- bibliography documenting teacher activities tions include William Shakespeare’s Hamlet, and research at www .middlebury .edu/blse/ Tennessee Williams’s A Streetcar Named Desire, bltn and is taking the lead in using social and Thornton Wilder’s Our Town. The 2014 media for innovative educational purposes. production will be Shakespeare’s Troilus and During the summer session, members Cressida, directed by Brian McEleney.

SUMMER 2014 11 12 BLSE “I stand amazed, once again, that six exhausting weeks of intellectual work and play can feel so strangely rejuvenating.”

The Bread Loaf/Oxford curriculum includes a performance-based course on some area of British drama and gives students a Past Speakers Include chance to study the plays both in production Julia Alvarez Shirley Jackson and on the page. The Oxford program also John Ashbery Tony Kushner offers students a rare opportunity to see some Nancie Atwell Sinclair Lewis of the best theater in the world, in London, C . L . Barber Archibald MacLeish Stratford-upon-Avon, and in Oxford. Saul Bellow J . Hillis Miller Cocurriculuar offerings at the New Mexico campus include a workshop centered John Berryman N . Scott Momaday on a performance at the renowned Santa Fe Willa Cather Howard Nemerov Opera. Sandra Cisneros Dorothy Parker Billy Collins Carl Sandburg COCURRICULAR ACTIVITIES Martin Espada Leslie Marmon Silko Throughout the summer, each campus hosts Robert Frost Charles Simic a number of lectures and readings that com- Northrop Frye Allen Tate plement and enrich the academic curriculum. Stephen Greenblatt Natasha Tretheway Speakers include distinguished poets, nov- Seamus Heaney Richard Wilbur elists, critics, and teachers, from within and Jean Howard William Carlos Williams outside the Bread Loaf community. Students at all campuses also have opportunities to give readings from their own work. In addition to all the cocurricular activities and events, the community life at each cam- by Bread Loaf students, faculty, and alums. pus includes a number of social opportunities, Students also actively organize discussion including weekly film showings and dances, groups on topics of interest throughout the hikes or outings to unique cultural sites, stu- summer. dent-generated sports events or tournaments, coffee houses, and musical performances

When you need a break from your studies, sometimes a simple walk in the great outdoors will do, and there is almost always a speaker to catch or performance of some sort to see.

SUMMER 2014 13

WHEREWe ARE Bread Loaf has campuses in three culturally distinctive locations: the Green Mountains of Vermont; Santa Fe, New Mexico; and the historic city of Oxford, England. Each year, students choose where to spend their summers, though degree candidates are required to spend at least one summer in Vermont.

BREAD LOAF/VERMONT accommodations, with the help of a list of is located on Middlebury College’s Bread rentals supplied by the Bread Loaf office. Loaf mountain campus in Ripton, Vermont. The Davison Memorial Library on campus It is the largest of the programs and enrolls has a small collection, supplemented by reserve roughly 250 students each summer. In addi- readings for summer courses. Middlebury tion to its diverse selection of courses on College’s Davis Family Library on the main British, American, and world literatures, it campus is open to Bread Loaf students. offers courses in pedagogy, literacy, creative Bread Loaf/Vermont offers hiking and writing, and theater arts. other outdoor excursions. The rural campus Bread Loaf/Vermont is also home to the sits within the Green Mountain National acclaimed Bread Loaf Acting Ensemble, an Forest, with access to trails, mountain lakes, integral part of the summer experience. and rivers, as well as the Long Trail, which Students typically are housed on cam- extends from southern Vermont to the pus, most in double rooms, and share Canadian border. Playing fields and tennis meals in the Bread Loaf Inn. Students with courts are right on campus, and students can families arrange their own off-campus also use the athletic facilities at Middlebury College.

Clockwise from top left: the Chapel at Lincoln College, Oxford, built in 1630; the iconic bell tower BREAD LOAF/NEW MEXICO at St. John’s College, Santa Fe; the sheltering Green takes place at St. John’s College, stretched out Mountains of Bread Loaf/Vermont. below the Sangre de Cristo Mountains. The

SUMMER 2014 15 “The joys of creativity and intellectual pursuit constitute the very fabric of this place. What a gift.”

program enrolls approximately 70 students, A limited number of rooms are available on and the curriculum emphasizes the texts and site for students with partners, and some off- cultures of the Southwest, including Native site semiprivate accommodations are available American and Latino/a literatures. for students with families. Students are lodged in double rooms and Students have access to both the Lincoln eat together at St. John’s College. Students College Library and the 400-year-old with families must find their own off-campus Bodleian Library, one of the finest research housing. libraries in the world. Students may take The program includes use of the library advantage of course-related field trips to such of St. John’s College, supplemented by books places as London, Stratford-upon-Avon, from the University of New Mexico and Canterbury, and the Lake District. The city Middlebury College. of Oxford is home to parks, museums, shops, The program offers field trips to important restaurants, and places of historical and con- natural and cultural sites such as Albuquerque, temporary interest. Acoma Pueblo, Taos, the Santa Fe Opera, Tent Rocks National Park, and several arche- ological sites.

BREAD LOAF/OXFORD is based at Lincoln College, Oxford, and is centrally situated within the city. The pro- gram enrolls approximately 80 students and offers a curriculum centered on British and world literatures. Students take one two-unit course (six semester-hour credits), half of which is devoted to independent research. Classes are small (six students each), and most include individual tutorials in addition to seminar meetings. Students have single accommodations in Lincoln College or its annex in Lincoln House, most with bathrooms en suite.

16 BLSE Fees, Financial Aid & ADMISSION

ELIGIBILITY space is available. The application form and Candidates must hold a bachelor’s degree instructions for the submission of supporting from an accredited college to be eligible for materials are available on the Bread Loaf admission to the Continuing Education or website at www .middlebury .edu/blse/ MA program. MLitt candidates must hold an admissions/apply/onlineapp. MA in English. MLitt candidates will be evaluated pri- In addition, exceptional undergraduates marily on the basis of their prior graduate are eligible for admission after the completion course work and writing. Applicants holding of three years toward a BA. The Bread Loaf a Bread Loaf MA are encouraged to apply by course credits may be transferred to the stu- December 1. dents’ home institutions or counted toward a Applicants who are accepted but are unable Bread Loaf MA. to attend Bread Loaf in the summer for which Bread Loaf is especially committed they applied may defer admission for two to increasing diversity in its community; years. To reactivate an application, applicants minority candidates are encouraged to apply. should submit the online application form; no Members of Bread Loaf’s Students of Color additional application fee or supporting mate- Group are available as mentors for students of rials are required. Reactivated applications color, both before and during the session. are accepted between July 15 of the summer deferred and May of the following year. NEW STUDENT APPLICATIONS New students are admitted on a rolling RE-ENROLLMENT basis from January through May, as long as Returning students should fill out the online re-enrollment form by early fall. Re-enrollments will be processed starting in December. To be eligible for re-enrollment, Forms Available Online students must be in good academic standing, www .middlebury .edu/blse/admissions/ with all grades B or better. Students who earn apply/onlineapp a B- in a Bread Loaf course may re-enroll but www .middlebury .edu/blse/admissions/ will be placed on academic probation for that finaid session. While on probation, students must earn grades of B or better in all courses or they may not be permitted to return. Students

SUMMER 2014 17 who earn more than one B- or receive a FEES failing grade (C+ or lower) may be denied See page 2 for 2014 session dates and fees. re-enrollment. Students with outstanding bills The tuition includes a fee for accident insur- due to Middlebury College will not be able ance with limited coverage. The cost for to re-enroll until the bills are paid. Returning taking an additional unit (an independent students who have not attended Bread Loaf in project, tutorial, or course) is $2,503. the past 10 years must submit new application Accepted applicants must pay a $400 non- materials. refundable enrollment deposit. Students will not be officially enrolled in the program or assigned rooms until this deposit is received. The deposit will be applied to the student’s Student Profile 2013 total bill. States represented . . . . . 39. . Students who do not intend to live on Countries represented . . . . 13. campus must notify the Bread Loaf office by Student-faculty ratio . . . . .9:1 . April 1. Otherwise, they will incur a non- Students who are teachers . . . 74% refundable fee of $300. Students receiving Final bills are mailed mid-April and financial aid awards . . . . .56% . are payable upon receipt. A late fee will be charged for bills not paid by June 1, except in cases of late admission.

18 BLSE “I am in constant communication with friends, teachers, and colleagues during the academic year, improving teaching techniques, exchanging stories, and stimulating my intellectual growth.”

REFUNDS of Student Financial Services (see Bread Loaf Students who withdraw for medical reasons website). or serious emergencies forfeit the enrollment deposit but may receive refunds for any addi- FELLOWSHIPS AND AWARDS tional amounts paid as follows: Students may be eligible for special fel- n before the end of the first week of classes: lowships provided by outside funders. 60 percent of tuition and 60 percent of board Information on available fellowships is posted n before the end of the second week of classes: on the Bread Loaf website. Outstanding 20 percent of tuition plus 20 percent of board students who are receiving financial aid and n after the end of the second week of classes: attending the Oxford campus for the first no refunds time will be considered for the Paul Epply- Schmidt Award, which covers a portion of FINANCIAL AID & OPTIONS travel and school-related expenses for one Middlebury College financial aid is available Oxford student each summer. to new and returning Bread Loaf students in the form of outright grants. Aid is awarded on the basis of financial need and scholastic achievement. To be considered for aid, a student must file a Bread Loaf Financial Aid Form with the Middlebury Office of Student Financial Services. For more information, downloadable forms, and the link to the online financial aid application, go to www. middlebury.edu/blse/admissions/finaid. Financial aid is dispensed on a first-come, first-served basis: submit applications and aid materials as soon as possible. A limited number of on-campus student jobs are available at the Vermont and New Mexico campuses. Students may also apply for loans through the Middlebury College Office

SUMMER 2014 19 STUDENTSupport

STUDENT HANDBOOK Bread Loaf/Oxford, student rooms have either The 2014 Bread Loaf Student Handbook, wireless or direct Internet connections. posted on the Bread Loaf website, and the All Bread Loaf students receive a free Middlebury College Handbook, posted on account on BreadNet, Bread Loaf’s commu- the Middlebury website, provide important nications network. Because BreadNet serves sources of information about the academic as the primary means of contact among Bread program, policies governing student life and Loaf staff, students, and faculty during the conduct, research resources, and other forms summer, we urge all students to use their of financial, medical, and student support. BreadNet accounts. The computer staff can All students are responsible for knowing the give instruction. policies and procedures articulated in these Bread Loaf faculty and students may also handbooks. Questions about the handbook take advantage of a range of additional digital policies or program resources should be resources, including the Course Hub. routed to the director. TRANSCRIPTS MENTORING Official transcripts from the Bread Loaf During the year, current Bread Loaf students School of English are issued by Middlebury are available to answer questions from new College for a fee of $5 each. Requests for applicants. On each campus, a Students of transcripts must be made by the student Color group meets weekly throughout the in writing (not by e-mail or fax) to the summer and also provides mentoring for Registrar’s Office, Forest Hall, Middlebury incoming students. Please contact Sandy College, Middlebury VT 05753. Students can LeGault in the Bread Loaf office if you would download a form from the website. Students like to be connected to a mentor. who are financially indebted to the College will not be issued transcripts until satisfac- TECHNOLOGY AND tory arrangements have been made with the RESEARCH RESOURCES Middlebury Controller’s Office. Computer facilities are available at each cam- pus, but, if possible, students should bring their LETTERS OF REFERENCE own computers. At Bread Loaf/Vermont, Requests for letters of reference should be most dorms and common spaces have wireless made to the associate director via the Bread capabilities; at Bread Loaf/New Mexico and Loaf office, and not to Bread Loaf faculty.

20 BLSE BREAD LOAF FACULTY 2014

ADMINISTRATION and Digital Studies, University Professor of English, Tufts Emily Bartels, Director, of Kentucky; 2014 Rocky University. BA, Yale College; MA, PhD, Gooch Visiting Professor, Bread Harvard University. Professor of Loaf School of English. Jennifer Green-Lewis, MA, English, Rutgers University. University of Edinburgh; PhD, Angela Brazil, BA, California University of Pennsylvania. Django Paris, Associate State University at Chico; MFA, Associate Professor of English, Director, BA, University of University of Iowa. Instructor, George Washington University. California at Berkeley; MA, Clark University and University PhD, Stanford University. of Rhode Island; Actor, Trinity Amy Hungerford, BA, MA, Assistant Professor of Language Repertory Company. PhD, Johns Hopkins University. and Literacy, Michigan State Professor of English, Yale University. Dare Clubb, BA, Amherst University. College; MFA, DFA, Yale AT BREAD LOAF/ School of Drama. Associate Douglas A . Jones Jr ,. BFA, VERMONT Professor of Playwriting, New York University; PhD, Isobel Armstrong, FBA, BA, Dramatic Literature, and Stanford University. Assistant PhD, University of Leicester. Theory, University of Iowa. Professor of English, Rutgers Emeritus Professor of English, University. Geoffrey Tillotson Chair, and Tyler Curtain, BSc, University Fellow, Birkbeck College, of Colorado at Boulder; PhD, Michael R . Katz, BA, Williams University of London, and Johns Hopkins University. College; MA, DPhil, University Senior Research Fellow, Associate Professor of English of Oxford. C. V. Starr Professor Institute of English Studies, and Comparative Literature, Emeritus of Russian and East University of London. University of North Carolina at European Studies, Middlebury Chapel Hill. College. Michael Armstrong, BA, BPhil, University of Oxford. Stephen Donadio, BA, Andrea Abernethy Lunsford, Formerly Head Teacher, Brandeis University; MA, PhD, BA, MA, University of Florida; Harwell Primary School, Columbia University. John PhD, Ohio State University. Harwell, Oxfordshire. Hamilton Fulton Professor Louise Hewlett Nixon Professor of Humanities, Middlebury of English Emerita; Claude and Damián Baca, BA, West College. Louise Rosenberg Jr. Fellow, Texas A&M University; MA, Stanford University; 2014 Rocky Northern Arizona University; Jonathan Freedman, BA, Gooch Visiting Professor, Bread PhD, Syracuse University. Northwestern University; MA, Loaf School of English. Assistant Professor of English, PhD, Yale University. Professor University of Arizona. of English and American Alan MacVey, BA, MA, Studies, University of Michigan. Stanford University; MFA, Adam Banks, BA, Cleveland Yale University. Professor and State University; MA, PhD, John M . Fyler, AB, Dartmouth Director of the Division of Pennsylvania State University. College; MA, PhD, University Performing Arts, University of Professor of Writing, Rhetoric, of California at Berkeley. Iowa.

SUMMER 2014 21 BREADCOURSES LOAF 2014 FACULTY 2014

Paul Muldoon, B.A., Queen’s Margery Sokoloff, BA, MA, AT BREAD LOAF/ University, Belfast. Howard PhD, Yale University. Visiting NEW MEXICO G.B. Clark ’21 University Lecturer, Wellesley College. Cheryl Glenn, on-site direc- Professor in the Humanities; tor, BS, MA, PhD, Ohio Professor of Creative Writing, Michele Stepto, BA, Stanford State University. Liberal Arts Lewis Center for the Arts, University; MA, San Francisco Research Professor of English Princeton University. State University; PhD, and Women’s Studies; John University of Massachusetts. Moore Teaching Mentor, William Nash, BA, Centre Lecturer, Department of Pennsylvania State University. College of Kentucky; MA, PhD, English, Yale University. University of North Carolina Jesse Alemán, BA, MA, at Chapel Hill. Professor of Robert Stepto, BA, Trinity California State University at American Studies and English College, Hartford; MA, PhD, Fresno; PhD, University of and American Literatures, Stanford University. Professor Kansas. Professor of English, Middlebury College. of English, African American University of New Mexico. Studies, and American Studies, Rae Paris, BA, University Yale University. Kate Flint, BA, MA, DPhil, of California at Berkeley; University of Oxford; MA, MFA, University of Arizona. Robert Sullivan, AB, University of London. Professor Assistant Professor of English Georgetown University. Author. of English and Art History, and Creative Writing, Michigan University of Southern State University. Sam Swope, BA, Middlebury California. College; MA, University of Margery Sabin, BA, Radcliffe Oxford. Founder and President, Ruth Forman, BA, University College; PhD, Harvard Academy for Teachers; Dean, of California at Berkeley; University. Lorraine Chiu Wang Cullman Center Institute for MFA, University of Southern Professor of English, Wellesley Teachers, New York Public California. VONA/Voices College. Library. Writing Workshop.

Jeffrey Shoulson, BA, Jennifer Wicke, BA, Carol Elliott MacVey, MA, Princeton University; MPhil, University of Chicago; MA, Middlebury College. Lecturer University of Cambridge; MA, PhD, Columbia University. in Theatre Arts, University of PhD, Yale University. Professor Professor of English, University Iowa. of Literatures, Cultures, and of Virginia. Languages; Professor of English, Jeffrey Nunokawa, BA, Konover Chair in Judaic Studies, Michael Wood, BA, MA, PhD, Yale College; PhD, Cornell University of Connecticut. Cambridge University. Charles University. Professor of English, Barnwell Straut Professor of Princeton University. Tracy K . Smith, BA, Harvard English and Comparative University; MFA, Columbia Literature Emeritus, Princeton Patricia Powell, BA, Wellesley University. Professor of Creative University. College; MFA, Brown Writing, Lewis Center for the University. Associate Professor Arts, Princeton University. of English, Mills College.

22 BLSE 2013 Faculty at Bread Loaf/Vermont Front row (left to right): Cheryl McFarren, John Shuman, Margery Sabin, Cindy Rosenthal, Julia Proctor, Isobel Armstrong, Michael Armstrong. Middle row (left to right): Django Paris (associate director), Rae Paris, Ruth Forman, Caroline Bicks, Jonathan Fried, Emily Bartels (director), Holly Laird, Lars Engle, Jennifer Wicke, Dare Clubb, Sam Swope, Michele Stepto. Back row (left to right): Will Nash, Ralph Johnson, David Huddle, Carol MacVey, Alan MacVey, Robert Watson, John Fyler, Amy Hungerford, Jonathan Freedman, Damian Baca, Robert Stepto.

Simon J . Ortiz, Regents Drama. Chair, Lewis Center for Jeri Johnson, BA, Brigham Professor of English and the Arts, Princeton University. Young University; MA, MPhil, American Indian Studies, University of Oxford. Sub- Arizona State University. Lars Engle, AB, Harvard Rector and Peter Thompson College; MA, Cambridge Fellow in English, Exeter Bruce R . Smith, BA, Tulane University; PhD, Yale College; Lecturer in English, University; MA, PhD, University. James G. Watson University of Oxford. University of Rochester. Professor of English, University Professor of English, University of Tulsa. Holly Laird, AB, Bryn Mawr of Southern California. College; PhD, Princeton Stefano Evangelista, BA, East University. Frances W. AT BREAD LOAF/ Anglia; MA, London; M.St. O’Hornett Professor of OXFORD and DPhil, Oxford; Fellow Literature, University of Tulsa. Emma Smith, on-site direc- and Tutor in English, Trinity tor, BA, MA, DPhil, University College; Lecturer in English, Peter McCullough, BA, of Oxford. Fellow and Tutor University of Oxford. University of California at in English, Hertford College; Los Angeles; PhD, Princeton Lecturer in English, University Christine Gerrard, BA, DPhil, University. Sohmer Fellow in of Oxford. University of Oxford; MA, English Renaissance Literature, University of Pennsylvania. Lincoln College; Professor of Michael Cadden, BA, Yale Fellow and Tutor in English, English, University of Oxford. College; BA, University of Lady Margaret Hall; Lecturer in Bristol; DFA, Yale School of English, University of Oxford.

SUMMER 2014 23 COURSES 2014

BREAD LOAF/VERMONT n 7000c Poetry Workshop T. Smith/T, Th 2–4:45 Group 1 (Writing, Pedagogy, and Literacy) In this workshop, we will explore ways that the n 7000b Poetry Writing reading and writing of poems can shape and P. Muldoon/M, W 2–4:45 enlarge our sense of lived experience. We’ll A workshop devoted to close readings of poems examine how and why we are moved, surprised, by the participants, the course will be augmented and sometimes changed by the poems we read, by readings of, and formal assignments based on, a and participants will be encouraged to enact wide range of contemporary poets from Ashbery similar strategies in their own work. Logistically to Ali, Dickey to Dove, Larkin to Levertov, Olson speaking, this course will focus equally on the to Olds. Participants will be expected to have a discussion of published poems and the critique firm grasp of poetic terms, and of prosody, and to of student work. Students will complete weekly be able and willing to discuss poetry with acumen exercises designed to generate new writing and and aplomb. Though the workshop will be at the will submit a final portfolio of revisions at the end heart of the course, two conferences will also be of the term. scheduled with each poet. Texts: Elizabeth Bishop, Poems (Farrar, Straus and Texts: The Norton Anthology of Contemporary Poetry, Giroux); Jack Gilbert, The Great Fires (Knopf); Vol. 2, ed. Jahan Ramazani, Richard Ellmann, Brenda Shaughnessy, Our Andromeda (Copper and Robert O’Clair (Norton); The New Princeton Canyon). Additional readings will be provided Handbook of Poetic Terms, ed. T. V. F. Brogan during the session. (Princeton).

24 BLSE n 7005b Fiction Writing for example, at the work of Nancy Holt and her VERMONT R. Paris/T, Th 2–4:45 husband, Robert Smithson. Students will be In this workshop, we’ll read, write, revise, and required to keep a weather log and to compose critique stories. As we do this, we’ll consider ele- weathergrams. ments commonly associated with craft (plot, point of view, character development, dialogue, setting). Texts: Henry David Thoreau, Walden and Other We’ll also consider how our identities (race, eth- Writings (Modern Library); Virgil, Virgil’s Georgics, nicity, class, gender, sexual orientation, religion, trans. Janet Lembke (Yale); Susan Howe, My language) are entangled with craft—how who Emily Dickinson (New Directions). A course packet we are may impact the types of stories we tell and of additional texts will be available for purchase the ways we tell them. While writing, reading, online through the Middlebury College bookstore and responding to fiction are crucial in develop- and from the on-site Bread Loaf bookstore. ing craft, perhaps also critical is articulating our reasons for writing. With this in mind, students n 7008 Critical Writing will also write a statement of aesthetics about their J. Wicke/M–Th 11–12:15 writing: What stories do we want to tell and why? This course follows the format of Bread Loaf’s At the end of the course, students will organize workshops in writing poetry and fiction by giving their writing into a portfolio. the same attention to the single genre of writing we all practice here: critical writing. In fluid and Texts: Junot Díaz, Drown (Riverhead); Danielle open-ended assignments, we’ll explore what the Evans, Before You Suffocate Your Own Fool Self word “critical” means as a mode that isn’t about (Riverhead); Charles Baxter, The Art of Subtext mere criticism, but instead about what matters (Graywolf). Additional readings will be provided most, what is most critical to an idea, a work of art, during the session. an unfolding truth; and we will develop strategies for how to write that. The course is designed for n 7006b Creative Nonfiction those who want to hone the power, subtlety, and R. Sullivan/M–Th 9:35–10:50 reach of their critical writing; who are eager to Do we write the world or does the world write explore the exciting possibilities and hybrid forms us? This class will examine creative nonfic- emerging in the “new critical writing”; who teach tion through a consideration of place. Students critical writing and want to learn about it as the will be asked to consider their place in various best avenue to critical thinking; and who want landscapes—in the Green Mountains, in New to be part of the expanding arena of public writ- England, in the East Coast, as well as wherever it ing. This workshop will build on short written is they call home. We will study different modes passages, critical conversations and comments, of creative nonfiction (memoir, travel writing, individual tutorials, and the reading of examples personal narratives and reportage, among others), of dazzling critical prose to work toward personal but we will focus especially on the calendar, the critical writing goals for each class member: devel- almanac, and the diary, each as a method of exam- oping a critical voice, making a foray into public ining the landscape as it relates to time. Readings writing, crafting a specific critical writing project, will include the Georgics, Walden, selections from or gaining a deeper understanding of critical writ- J. B. Jackson’s Landscapes, and My Emily Dickinson, ing as empowerment, engagement, and exchange by Susan Howe. We will consider connections in order to teach it. between the visual arts and nonfiction, looking,

SUMMER 2014 25 COURSES 2014

Texts: Herman Rapaport, The Literary Theory Texts: Roald Dahl, The Witches (Puffin); The Toolkit: A Compendium of Concepts and Methods Juniper Tree and Other Tales from Grimm, trans. (Wiley-Blackwell); Constance Hale, Sin and Lore Segal and Randall Jarrell, illus. Maurice Syntax: How to Craft Wicked Good Prose (Three Sendak (Farrar, Straus and Giroux); A. A. Milne, Rivers). Exemplary essays will be available elec- The House at Pooh Corner (Puffin); James Barrie, tronically and in library reserves. Peter Pan (Puffin); Janet Schulman, You Read to Me & I’ll Read to You (Knopf); William Steig, n 7018 Playwriting Sylvester and the Magic Pebble (Aladdin); Margaret D. Clubb/M, W 2–4:45 Wise Brown, Goodnight Moon (HarperCollins); This course concerns itself with the many ways we Molly Bang, The Grey Lady and the Strawberry express ourselves through dramatic form. An ini- Snatcher (Aladdin); Dr. Seuss, Horton Hatches tial consideration of the resources at hand will give the Egg (Random); Maurice Sendak, Where the way to regular discussions of established structures Wild Things Are and In the Night Kitchen (both and techniques. Members of the class are asked to HarperCollins); Vivian Paley, Wally’s Stories write a scene for each class meeting. Throughout (Harvard); Nathaniel Hawthorne, A Wonder the course we will be searching for new forms, Book: Heroes and Monsters of Greek Mythology new ways of ordering experience, new ways of (Dover); Carlo Collodi, The Adventures of Pinocchio putting our own imaginations in front of us. (Puffin); Neil Gaiman, The Graveyard Book (HarperCollins); E. B. White, Charlotte’s Web n 7019 Writing for Children (HarperCollins), I. B. Singer, Zlateh the Goat, and M. Stepto and S. Swope/M, W 2–4:45 Other Stories (HarperCollins). Stories for children, like stories for adults, come in many colors, from dark to light, and the best n 7119 Writing, Technologies, and have in common archetypal characters, resonant Digital Cultures/A. Lunsford and A. Banks plots, and concise, poetic language. Using new M–Th 11–12:15 and classic texts as inspiration, we will try our This course, a combination of seminar and hands writing in a variety of forms. The first half workshop, will ask you to inquire into, and think of the course will be workshop-intensive. In the critically about, what it means to write with second half, in the light of critical reading and technologies, in digital landscapes. It will also with an eye to shaping a final project, students provide you with daily practice and opportuni- will revise what they have written. Among the ties to experiment with your own writing—and critical questions to be considered: How do you conceptions of writing—in these landscapes. We write authentically for a child? What is a children’s will consider several large-scale questions such as, story, and what is it for? What view of the child What does digital literacy entail? What is digital and childhood do children’s stories take? How can culture and what does it mean to live, play, and the children’s story be made new? Students should work within it? What ecological forces shape our come to the first class having read The Witches and own engagements of technology? What abilities these stories from The Juniper Tree collection: “The are most important for us as writers and teachers Three Feathers,” “The Fisherman and His Wife,” of writing? Along with these critical, big-picture “Hansel and Gretel,” “Rapunzel,” and “The concerns, we will work consistently at developing Juniper Tree.” The artistically inclined should multimodal writing capabilities in a wide range bring their art supplies with them to campus. of genres and spaces. How do we create not only content, but community and engagement

26 BLSE in our social media use? How do we write for a who may not always be recognized as Indigenous. VERMONT landscape that is not about old or new media, but We will employ comparative approaches to constant, confusing, collisions of many different various models of alphabetic and nonalphabetic types of media? How can we develop skills, abil- Indigenous inscriptions, deriving examples ities, practices, and understandings to use genres from the Nahua and Maya of Central America, and technologies of the moment (blogs, zines, the Amayra of South America, as well as “the games, fan fiction, videos, audio essays, and pre- Peoplehood Matrix” from American Indian stud- sentations) and be prepared for the constant shifts ies. We will also consider Mexican mixed-blood/ in tools, technologies, and writing spaces that Indigenous experiences with theories from the are sure to come? Our class sessions will be both Metis people of Canada. The class will forward physical and virtual, using various online commu- new perspectives on approaches to alphabetic, nity spaces for our daily discussions and activities. pictographic, and nonverbal writing practices We will compile and share resources from that support historically sound accounts of how exemplars to tutorials, demo new tools, work recorded information changes across cultures and on weekly digital + writing challenges, explore time. We will investigate “new” ways of reading, multiple digital spaces for collaborative work, and writing, and learning, with the aim of fundamen- host at least two “digital open mic” sessions for tally altering the character of twenty-first-century the BLSE community. Finally, we will combine education. these skills, practices, tools, and big-picture exam- inations to develop our own digital writing voices, Texts: Moctezuma’s Mexico: Visions of the Aztec personae, and strategies for both production and World, ed. David Carrasco and Eduardo Matos teaching. Moctezuma (Colorado); Gloria Anzaldúa, Borderlands/La Frontera: The New Mestiza (Aunt Texts: Howard Rheingold, Net Smart: How to Lute); Patrisia Gonzales, Red Medicine: Traditional Thrive Online (MIT); Lesson Plans for Developing Indigenous Rites of Birthing and Healing (Arizona); Digital Literacies, ed. Mary Christel and Scott Guillermo Gómez-Peña, Codex Espangliensis: Sullivan (NCTE); Henry Jenkins, Convergence From Columbus to the Border Patrol (City Lights); Culture: Where Old and New Media Collide (NYU); Comparative Indigeneities of the Americas: Toward a selections from Multimodal Composition: A Critical Hemispheric Approach, ed. M. Bianet Castellanos, Sourcebook, ed. Claire Lutkewitte (Bedford/St. et al. (Arizona). A course pack, including work Martins); Race after the Internet, ed. Lisa Nakamura, by Curtis Acosta, Yolanda Chavez Leyva, Alondra Nelson, et al. (Routledge). Reid Gómez, Andrea Hernández-Holm, Inés Hernández-Avila, Scott Lyons, E. A. Marez, n 7122 Indigenous Intersections: American Simon Ortiz, and Domino Renee Perez, will Indian and Chicana/o Writing Practices be available for purchase online through the D. Baca/M–Th 8:10–9:25 Middlebury College bookstore and from the Alliances, literary, spiritual, and other, have been on-site Bread Loaf bookstore. Students should also created and sustained in part through Indigenous read Damián Baca, Rhetorics of the Americas, which and Chicana/o inscription practices. This course will be on reserve at Bread Loaf. will examine how these widely diverse practices intertwine and challenge each other, and how these traditions impact writers who have original relationships to the continent, including those

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n 7182 Describing the Imagination poem, Troilus and Criseyde. Chaucer is primarily M. Armstrong/M–Th 8:10–9:25 a narrative rather than a lyric poet: though the In this collaborative workshop we examine analogy is an imperfect one, the Canterbury Tales the growth of imagination, from infancy to is like a collection of short stories, and Troilus like adulthood. Our focus is on the creative work a novel in verse. We will talk about Chaucer’s of children and young adults: their writing, art, literary sources and contexts, the interpretation of music, dance, drama, photography, and film. We his poetry, and his treatment of a number of issues, observe, record, describe, and interpret creative especially gender, that are of perennial interest. work in many ways, visually as well as verbally. You should read Shakespeare’s Troilus and Cressida We study accounts of the imagination by writers, ahead of time, since it will be staged in Vermont artists, critics, and philosophers. We examine the this summer, and since we’ll be thinking about critical role of the imagination in education, and Chaucer’s poem in its literary contexts. we consider how to recognize, promote, support, document, and value imaginative achievement. Texts: The Riverside Chaucer, ed. L. D. Benson A guiding text will be John Dewey’s Art as (Oxford or Houghton Mifflin); Boethius,The Experience. Class members are expected to bring Consolation of Philosophy, trans. Richard Green with them examples of the creative work of their (Martino); Woman Defamed and Woman Defended, students or of their own children. Of particular ed. Alcuin Blamires (Oxford); Chaucer, Troilus interest is work that combines different art forms. and Criseyde, ed. Stephen Barney (Norton We keep a class journal in which we document Critical). our own imaginative journey, day by day. Class members will contribute regularly to the journal, n 7260 Shakespeare on the Stage: write reflections on class discussions, and conduct Supernatural Soliciting their own inquiry into a chosen aspect of the class A. MacVey/T, Th 2–4:45 theme. In this course, we will explore three plays in which supernatural forces affect characters in Texts: John Dewey, Art as Experience (Perigee); powerful and very different ways. In A Midsummer Vivian Gussin Paley, The Girl with the Brown Night’s Dream, the forces are constructive and Crayon (Harvard); Reggio Children, Shoe and lead characters to self-discovery. In Macbeth, the Meter (Buy through www.learningmaterialswork. forces are destructive and tear people apart. In The com/store/shoe_and_meter); John Keats, Selected Tempest, they could go either way, and the strug- Letters, ed. Jon Mee (Oxford); Adam Phillips, The gle between them is at the heart of the play. By Beast in the Nursery (Vintage); Elliot Eisner, The exploring a comedy, a tragedy, and a romance as Arts and the Creation of Mind (Yale). they take shape on stage, we will come to appre- ciate Shakespeare’s skills as a practical playwright Group 2 (British Literature through and his unique ability to touch earth, heaven, and the Seventeenth Century) hell with words and images. (Students who have n 7210 Chaucer studied any of these plays with Mr. MacVey in the J. Fyler/M–Th 8:10–9:25 past should not enroll in this course.) This course offers a study of the major poetry of Geoffrey Chaucer. We will spend roughly two- Texts: William Shakespeare, A Midsummer Night’s thirds of our time on the Canterbury Tales and Dream, Macbeth, and The Tempest (all Arden). the other third on Chaucer’s most extraordinary

28 BLSE n 7270 Jews, Turks, and Moors in Early peace, the Bible can just as readily be cited for its VERMONT Modern English Literature extensive accounts of violence in the service of, J. Shoulson/M–Th 9:35–10:50 prompted by, or attributed to God. It is difficult This course examines how early modern English to think of an English writer more profoundly society grappled with its increasingly fraught, influenced by and engaged with the scriptural intimate, and prolonged encounters with religious tradition than John Milton. It is also difficult to and ethnic Others. Our focus will be on the var- imagine a period in English history characterized ied representations of Jews, Muslims (identified by more religiously motivated violence than the as “Turks” during the period, despite the impre- years between 1637 and 1667, precisely the same cision of this ethno-geographic designation), and time that Milton wrote nearly all of his extensive Africans (often misnamed “Moors”) in English oeuvre. From his earliest lyrics to his monumental writings of the period. We shall examine these final poems and throughout his extensive forays depictions in relation to popular stereotypes and into prose polemics, Milton’s career is charac- beliefs about these groups (and their historical terized by an intensive reading and rewriting of roots). The course will address questions such as, biblical texts, many of them fraught with violence. To what extent did early modern writers—dra- This course will read extensive selections from matists, poets, polemicists, travel writers, and Milton’s poetry and prose in tandem with portions others—undermine or support stereotypical con- of the Hebrew Bible and the New Testament. ceptions of the English Other? In what ways are We shall consider the representations of violence the conflicting representations of these different in biblical texts (including portions of Genesis, religious and ethnic minorities interrelated and Numbers, Judges, 1 and 2 Samuel, Psalms, Daniel, mutually constitutive? How do the multiple dis- Mark, Matthew, Galatians, and Revelation) in courses of alterity constitute essential components their own right, as well as in light of their pres- of the evolving sense of (masculine, bourgeois) ence within Milton’s writings. Some secondary Englishness in the early modern period? readings will accompany these texts, but we will have our hands full enough with Milton and the Texts: Christopher Marlowe, Tamburlaine, Parts Bible. Students wishing to get a head start would One and Two, ed. Anthony Dawson (Methuen); do well to read at least some of Paradise Lost and William Shakespeare, The Merchant of Venice, ed. Samson Agonistes in advance. (This course can be used Lawrence Danson (Longman); Piracy, Slavery, and to satisfy either a Group 2 or a Group 5 requirement.) Redemption: Barbary Captivity Narratives from Early Modern England, ed. Daniel Vitkus (Columbia); Texts: The Complete Poetry and Essential Prose of John Three Turk Plays, ed. Daniel Vitkus (Columbia); Milton, ed. William Kerrigan, et al. (Random); Shakespeare and Elizabeth Carey, Othello and The The Bible: King James Version with the Apocrypha, Tragedy of Mariam, ed. Clare Carrol (Longman). ed. David Norton (Penguin). Other editions of Since these editions include essential additional the King James Bible will serve, but please be sure readings, it’s important that you obtain these specific they offer the 1611 translation and are not a mod- versions of the texts. Supplementary materials will be ern revision or The New King James Bible. available at Bread Loaf. n 7299 Order and Disorder in the Human n 7295 Milton, the Bible, and Cultures of Sciences/T. Curtain/T, Th 2–4:45 Violence/J. Shoulson/M–Th 11–12:15 To make sense of literary texts, we use her- Though it can be cited for its celebrations of meneutical tools that were forged in the great

SUMMER 2014 29 COURSES 2014 experiments in knowledge making of the seven- Laurence Sterne, A Sentimental Journey and Other teenth and early eighteenth centuries. This course Writings (Oxford); Emily Brontë, Wuthering will provide students with a working knowledge Heights (Oxford); Charles Dickens, Great of the historical emergence of the study of lit- Expectations (Oxford); Robert Louis Stevenson, erature by examining its precursors: linguistics, Kidnapped (Penguin); Henry James, Daisy Miller biology, and political economy. We will examine and An International Episode (Oxford); Joseph how those disciplines have been brought to bear Conrad, “Amy Foster” in Typhoon and Other Tales on the “problem” of the literary arts. What is a (Oxford). novel? How do poems mean? What tools do we use to “unpack” the meaning of a book, a chapter, n 7311 Romantic Poetry: Vision and Optical a paragraph, or a word? (This course can be used to Culture/I. Armstrong/M–Th 8:10–9:25 satisfy either a Group 2 or a Group 3 requirement.) Light, darkness, shadows, phantoms, phantasma- goria, magic lanterns, the spectrum, telescope, Texts: Please buy these editions of each text even if microscope, rainbows, stars, optical illusions, you own some other edition. Michel Foucault, reflections, refractions: New optical technologies The Order of Things (Vintage); Charles Darwin, released images for the nature of images them- On the Origin of Species: A Facsimile of the First selves, and poets explored the nature of vision and Edition (Harvard); Jean-Jacques Rousseau and the visionary in this period. The course addresses Johann Gottfried Herder, On the Origin of key poems of vision in poems by men and women Language (Chicago); Adam Smith, The Theory of from 1790–1830. We will study prose texts that Moral Sentiments, ed. Ryan Patrick Hanley, intro. brought vision into question by Isaac Newton, Amartya Sen (Penguin; the paperback is out of Immanuel Kant, William Herschel, and Joseph print; students should purchase the Kindle edition, Priestley, among others, as context. To prepare, readable on any laptop or computer). Additional read Blake’s The Tyger; Wordsworth’s Prelude, short stories and poems will be available at Bread Book 1; Shelley’s Prometheus Unbound, Act 1; Anna Loaf. Barbauld’s “Summer Evening’s Meditation”; Charlotte Smith’s “Beachy Head.” Written work Group 3 (British Literature since will be a short and a long essay. Teaching modes the Seventeenth Century) will be formal presentations and discussion, dra- n 7299 Order and Disorder in the Human matization, movement, drawing, all of which will Sciences/T. Curtain/T, Th 2–4:45 require your imagination and analytical powers. See description under Group 2 offerings. This course can Join the course if you are comfortable with these be taken for either Group 2 or Group 3 credit. methods. n 7308 Displaced Persons: Studies in English Texts: William Blake, Songs of Innocence and Fiction from Defoe to Conrad of Experience, ed. Geoffrey Keynes (Oxford); S. Donadio/T, Th 2–4:45 William Wordsworth, The Prelude: A Parallel Text, This course is an exploration of states of disloca- ed. J. C. Maxwell (Penguin); The Norton Anthology tion, estrangement, and exile in a range of works of English Literature, Vol. 2 D, The Romantic Period, produced by major authors between 1719 and 1901. ed. Stephen Greenblatt, et al. (Norton).

Texts: Daniel Defoe, Robinson Crusoe (Penguin); Jonathan Swift, Gulliver’s Travels (Oxford);

30 BLSE n 7405 Wit and Terror in Modern Irish Doors (Penguin/Viking); Martin McDonagh, VERMONT Literature/M. Sabin/T, Th 2–4:45 The Beauty Queen of Leenane in McDonagh Plays: 1 There hasn’t been much to laugh about in the (Methuen); Green and Mortal Sound: Short Fiction modern Irish situation: the nineteenth-century by Irish Women Writers, ed. Louise DeSalvo, et al. famine and its aftermath in death and emigration; (Beacon). the grinding poverty that the creation of the Irish Free State did not alleviate; the repressiveness of n 7430 Woolf and the Movement of colonial and religious authorities; the violence Modernism/J. Green-Lewis/M, W 2–4:45 of civil war; the depredations of alcoholism that While modernism represents movement of all somehow increased rather than relieved these kinds, including spatial, mnemonic, and temporal, woes; the short-lived economic flourishing of ambivalence about movement is also one of its the Celtic tiger. Yet modern Irish writing is also constants. In fact, some of the most memorable famous for its wit: from the subversive hijinks of scenes in modernist works are those in which Oscar Wilde and James Joyce to the bleak humor movement ceases completely. In this course, we of Samuel Becket and the macabre comedy of will focus on the representation of both movement Martin McDonagh. In theater, especially, but also and stasis during the early decades of the twentieth in prose narratives, films, and poems, Irish writers century, and we will consider how Virginia Woolf have found ways of transforming grim realities makes use of each to conceptualize and make into unaccountably cheering if also controver- visible the experiences of memory and the passage sial performances. This course will explore the of time. For the first class, please read and bring intriguing combination of woe and wit in twenti- James Joyce’s short story “The Dead.” eth-century Irish literature, often a self-conscious reaction against the stereotyped melancholy of the Texts: James Joyce, “The Dead” (any edition); Celtic school popular at the turn of the century. Virginia Woolf, Selected Essays (Oxford); A Writer’s What social and psychological function does wit Diary (Harvest); Jacob’s Room (Mariner); Mrs. serve as a substitute for gentle melancholy? How Dalloway and To the Lighthouse (both Harvest; both have religious and political authorities both sup- out of print, but used copies are available from pressed and inadvertently fostered Irish wit? How online sources); The Waves (Harvest). has a special relationship to the English language shaped Irish humor? In addition to the required n 7437 Trauma and the Literature of texts, some reading of poems and excerpts from Survival/M. Sokoloff/M–Th 9:35–10:50 longer works as well as some readings in psycho- Hardly a day goes by in which we don’t hear or logical and cultural analysis will be distributed read about the struggles of American soldiers during the session. Selected films and visits from returning home. This current obsession with the Bread Loaf Acting Ensemble will supplement veterans and their readjustment to civilian life has the written texts and bring out the performative reawakened an interest in homecomings and the nature of this material. dynamics of survival that has preoccupied artists and writers since ancient Greece. In this course, Texts: Oscar Wilde, The Importance of Being Earnest we will examine the relationship between trauma (Avon); Modern and Contemporary Irish Drama, ed. and representation by examining the archetypal John P. Harrington (Norton Critical); Samuel figure of survival, the returned soldier. Our study Beckett, Malone Dies in Three Novels (Grove); begins with the First World War, when the term Roddy Doyle, The Woman Who Walked into “shell shock” was coined, and extends to more

SUMMER 2014 31 COURSES 2014 recent times when the broken-down World War measure, that he wanted to be a minor poet. The I soldier and his descendants continue to animate course will explore this diffidence, the ways in the literary imagination. In his own historical which it is represented, cheated, compensated for, context, the shell-shocked soldier was an extraor- and the degree to which it may after all be imag- dinary figure, unraveling traditional notions inary. The course will also look at a whole lot of of war, social class, manliness, and sanity. As a individual poems for their own interesting sake. literary figure, he becomes a site for contesting (This course can be used to satisfy either a Group 3 or a fundamental assumptions about ordinary experi- Group 4 requirement.) ence: home, memory, loss, identity, and literary representation itself. The course will provide Texts: Wallace Stevens, Selected Poems (Knopf); opportunities for us to juxtapose historical/med- W. H. Auden, Selected Poems (Vintage); Elizabeth ical representations of traumatized soldiers with Bishop, Poems (Farrar, Straus and Giroux); Robert poetic/literary ones, to explore the differences Lowell, Life Studies and For the Union Dead (Farrar, between works written by combatants and non- Straus and Giroux); Philip Larkin, Collected Poems combatants, and to probe the similarities among (Farrar, Straus and Giroux); Seamus Heaney, the literatures of various wars. While we will Opened Ground (Farrar, Straus and Giroux); Anne focus primarily on representations of World War Carson, Autobiography of Red (Vintage). I soldiers, we will necessarily find echoes of “shell shock” in the PTSD syndromes of the Vietnam Group 4 (American Literature) era and today. n 7452 The Age of Hitchcock J. Freedman/T, Th 2–4:45 Texts: Erich Maria Remarque, The Road Back Foregrounding ostensibly “perverse” forms (Random); Pat Barker, Regeneration (Penguin); of sexuality, blurring the lines between these Rebecca West, The Return of the Soldier (Random); psycho-sexual inclinations and the “normal,” Virginia Woolf, Mrs. Dalloway (Harcourt); raising questions about the nature of specta- Toni Morrison, Sula (Vintage); Tim O’Brien, torship (cinematic and other) and surveillance The Things They Carried (Penguin); Harriet alike, placing entertainment in a larger context Scott Chessman, The Beauty of Ordinary Things of social practices and perversities, the films of (Atelier26). Recommended Texts: Paul Fussell, The Alfred Hitchcock have extended the ways we Great War and Modern Memory (Oxford); Jonathan think not only about film as film but also about Shay, Achilles in Vietnam: Combat Trauma and the the cultural and historical institutions that shaped Undoing of Character (Simon & Schuster); Jonathan the film industry and that the industry has shaped Shay, Odysseus in America: Combat Trauma and the in turn. Hitchcock films to be viewed include Trials of Homecoming (Scribner). The Lodger, The 39 Steps, The Lady Vanishes, Notorious, Spellbound, Rear Window, Vertigo, North n 7453 Modern British and American by Northwest, Psycho, The Birds. We’ll also consider Poetry/M. Wood/M–Th 11–12:15 Almodovar’s Broken Embraces, Atom Egoyan’s Later modern poetry in English shows a curious Exotica, Jonathan Demme’s Something Wild, and diffidence, as if the heyday of Yeats, Eliot, and Ferzan Ozpetek’s Facing Windows as providing Pound had been the great last gasp of a confidence consequential variations on Hitchcock’s themes. that would not come again. We might think just I’ll ask students to read some essays, but the main of the tone of Auden and Bishop, independently of work of the course will be viewing and respond- anything they say—and Auden did say, for good ing in an adult and critical manner to the films

32 BLSE themselves. To that end, students will be required to Gertrude Stein’s cubist-inspired poetry and VERMONT to keep a viewing journal, as well as to write one Robert Frost’s rural monologues in the 1910s, paper at the end of the summer. through the defining works of modernism’s high point in the 1920s, ending with Alison Bechdel’s Text: A Hitchcock Reader, ed. Marshall Deutelbaum reflections on the contemporary uses of modernist and Leland Poague (Blackwell). storytelling and aesthetics. We will look at how modernist aesthetic forms shaped how writers n 7453 Modern British and American represented American social life at the small and Poetry/M. Wood/M–Th 11–12:15 large scales. We will track how those forms drew See the description under Group 3 offerings. This course on the international provenance and stature of can be used to satisfy either a Group 3 or a Group 4 modernist works in other media. Readings exem- requirement. plify multiple genres: short and long-form fiction; lyric, epic, and prose poetry; graphic narrative; and n 7576 Henry James criticism. Students will prepare two papers and a J. Freedman/M, W 2–4:45 presentation, choosing between critical and peda- We’ll be reading together selected fictions by gogically oriented options. The pace will be brisk, Henry James. James was a master of varied forms and so it will be helpful for you to read some of the and genres; his short short stories, long short sto- longer and denser material (especially James, Stein, ries, and novels are models of formal perfection Anderson, and Eliot) a first time before you arrive as well as embodiments of a wide variety of the- in Vermont. matic obsessions and interests. Much of his prose is difficult; and much that he writes about—the Texts: Henry James, The Turn of the Screw (1898; power of erotic obsession, the facts of financial Dover Thrift); Gertrude Stein, Three Lives (1909) and class exploitation, the quiet savagery of social and Tender Buttons (1914; together in Digireads. life, the force of visuality and its alternately tran- com); Robert Frost, North of Boston (1914) in A scendent and pernicious human effects—is more Boy’s Will and North of Boston (Dover Thrift); difficult still. That said, working together with Sherwood Anderson, Winesberg, Ohio (1919; and through these various difficulties can prove Signet); T. S. Eliot, The Annotated Waste Land with remarkably rewarding. Course requirements are Elliot’s Contemporary Prose, 2nd ed., ed. Lawrence one short paper, one long paper, lots of reading. Rainey (1922; Yale); Jean Toomer, Cane, new ed. (1923; Liveright); Ernest Hemingway, In Our Time Texts: Henry James, Selected Tales (Penguin), (1925; Scribner); F. Scott Fitzgerald, The Great The Portrait of a Lady (Oxford), The Ambassadors Gatsby (1925; Scribner); Thornton Wilder, The (Penguin), The Wings of the Dove (Penguin), The Bridge of San Luis Rey (1928; Harper Perennial); Golden Bowl (Penguin). Alison Bechdel, Fun Home (2004; Mariner). Supplemental readings, including poems from n 7588 Modernist American Literature Wallace Stevens, will be put online for students A. Hungerford/M–Th 8:10–9:25 during the session. This course explores the modernist literary inno- vations of the early twentieth century, focusing n 7591 Faulkner on American writers. We will take a long view S. Donadio/M, W 2–4:45 of modernism, one that stretches from a late This course offers an intensive reading of the nineteenth-century ghost story by Henry James major works, for those interested in securing

SUMMER 2014 33 COURSES 2014 a comprehensive grasp of this author’s artistic personal essay employing one of the strategies dis- achievements during the most important phase of cussed in the course. Students will also contribute his career. regularly to the class journal and participate in one or more presentation groups. Texts: William Faulkner, The Sound and the Fury; Sanctuary; As I Lay Dying; Light in August; Absalom, Texts: Readings by Mary Rowlandson and Absalom!; The Wild Palms; Go Down, Moses; John Marrant will be available at Bread Loaf. Collected Stories. Except for the Collected Stories (If you wish to read in advance, both narratives (Vintage paperback), these works are all included are in Held Captive by Indians [1973], ed. R. in the Library of America volumes devoted VanDerBeets, and other volumes.) All of the fol- to William Faulkner: Novels 1926–1929; Novels lowing titles are in paperback: The Autobiography 1930–1935; Novels 1936–1940; Novels 1942–1954. of Benjamin Franklin (Dover Thrift); Frederick (There is also a fifth volume that includes works Douglass and Harriet Jacobs, Narrative of the Life of published in the author’s final years.) Throughout Frederick Douglass, an American Slave and Incidents the session, all of our detailed discussions will in the Life of a Slave Girl (Modern Library); Mary refer to the first four Library of America volumes, Antin, The Promised Land (Penguin); Maxine which students are expected to purchase—new Hong Kingston, The Woman Warrior (Vintage); or used—in advance. These durable hardbound Richard Wright, Black Boy (Harper); Peter volumes are available at discount from numerous Balakian, Black Dog of Fate (Basic); Yoshiko sources, and, in addition to containing extremely Uchida, Desert Exile (Washington); Jeannette useful chronologies and notes, they represent a Walls, The Glass Castle (Scribner); Leslie Marmon significantly more economical investment than Silko, Storyteller (Penguin); Richard Rodriguez, any paperback editions. Hunger of Memory (Bantam); Alison Bechdel, Fun Home (Mariner). n 7660 Autobiography in America R. Stepto/M–Th 9:35–10:50 n 7666 Black/Performance/Theory This discussion-oriented course offers two D. Jones/M–Th 11–12:15 approaches to the study of American auto- What was Miley Cyrus thinking during the 2013 biography: the study of classic American MTV Music Video Awards? Why is it that some autobiographical forms and the study of prevailing of our most contentious conversations about autobiographical strategies. The classic forms to race emerge from discussions of Halloween cos- be discussed include the Indian captivity narrative tumes? How do we account for the recent spate (Rowlandson and Marrant), the nation-building of blackface incidents on college and university narrative (Franklin), slave narratives (Douglass campuses? In this seminar, we will trace a histor- and Jacobs), immigrant narratives (Antin and ical trajectory and hone a critical vocabulary with Kingston), and the cause narrative (Balakian). The which to address these questions and to consider, strategies to be studied include photographic strat- more broadly, why concerns of race and perfor- egies (Uchida), writing another (Walls), the self in mance remain inextricably linked in American translation (Silko and Rodriguez), autobiography life. Specifically, we will use an archive of black and place (Wright), the self and gender identity cultural performances from the time of slavery (Bechdel), and the graphic memoir (Bechdel). through the contemporary moment to explore Students will be expected to complete two writ- how race, as a category of identity in American ing assignments, the second of which can be a society, is not so much what someone is as it is

34 BLSE the effect of what someone does. Thus, this course fusion and fissure of Mesoamerican and Spanish VERMONT introduces students to key concepts in both critical cultures? Because Mexican American writing eas- race theory and performance theory in an effort to ily weaves between Western configurations such account for the centrality of both bracketed cul- as fiction, autobiography, poetry, pictography and tural performances (e.g., theater, dance, oratory, art, what counts as Mexican American literature? music) and everyday ones (e.g., doll play, costum- How do Mexican American literatures respond ing and masking, impersonation) to the formation to dominant presumptions of universal hegemony of racial subjectivity. Throughout the course, we over intellectual inquiry, cultural meaning, histor- will make sure to think about how to impart our ical narrative, and social transformation? objects and terms of study to classrooms of all levels. Texts: Gloria Anzaldúa, Borderlands/La Frontera: The New Mestiza (Aunt Lute); Guillermo Gómez- Texts: Daphne A. Brooks, Bodies in Dissent: Pena, Codex Espangliensis: From Columbus to the Spectacular Performances of Race and Freedom, 1850- Border Patrol (City Lights); Sandra Cisneros, 1910 (Duke); Robin Bernstein, Racial Innocence: Woman Hollering Creek (Vintage); Paul Martinez Performing American Childhood from Slavery to Civil Pompa, My Kill Adore Him (Notre Dame); Rights (NYU); E. Patrick Johnson, Appropriating Demetria Martínez, Mother Tongue (One World/ Blackness: Performance and the Politics of Authenticity Ballantine); Reyna Grande, The Distance between (Duke); Shane Vogel, The Scene of Harlem Cabaret: Us (Washington Square); Luis Alberto Urrea, Race, Sexuality, Performance (Chicago). In addi- The Devil’s Highway (Back Bay). Students should tion to these scholarly monographs, we will read also read Damián Baca, Mestiz@ Scripts, Digital William Wells Brown’s The Escape (Cosimo Migrations, and the Territories of Writing (Palgrave Classics), Zora Neale Hurston’s Color Struck, Macmillan), which will be on reserve at Bread Amiri Baraka’s The Dutchman, and Young Jean Loaf. Lee’s The Shipment, among other primary texts; we will also watch Song of the South, Coonskins, n 7679 Reading America Passing Strange, and clips from Saturday Night Live W. Nash/T, Th 2–4:45 and Chappelle’s Show, among others. Students In this course, we will explore fiction by authors should purchase the texts up to and including of various ethnicities that examines the issues of Wells Brown’s The Escape. The other materials interaction with and integration into “American will be available via an online course site or as life.” Under that broad rubric, we will discuss a evening screenings. range of topics including the processes of indi- vidual and group identity erasure and formation; n 7673 Mexican American Literature experiences of intergenerational conflict; consid- D. Baca/M–Th 11–12:15 erations of the burden and promise of personal This class examines the production of Mexican and communal histories; examinations of varied American literature, with a focus on how English- understandings of race, class, and gender; and language texts respond to dominant power interrogations of “Americanness.” Grounding our structures and perform cultural subjectivities, both discussions in a common historical text, Ronald accommodating and resistant. Mexican American Takaki’s A Different Mirror, we will examine works literature is a dynamic aesthetic intervention that by Sherman Alexi, Arturo Islas, Philip Roth, Julie structures our guiding inquiries: What are the lit- Otsuka, Jhumpa Lahiri, Junot Diaz, and Dinaw erary possibilities of “mestizaje,” the transnational Mengestu.

SUMMER 2014 35 COURSES 2014

Texts: Ronald Takaki, A Different Mirror: A n 7751 Tolstoy and/or Dostoevsky Multicultural History of America (Back Bay/Little, M. Katz/M, W 2–4:45 Brown); Sherman Alexie, The Lone Ranger and In his study of the novel E. M. Forster wrote: Tonto Fistfight in Heaven (Grove); Arturo Islas, “No English novelist is as great as Tolstoy—that The Rain God (Avon); Philip Roth, The Human is to say, has given so complete a picture of Stain (Vintage); Julie Otsuka, The Buddha in the man’s life, both on its domestic and heroic side. Attic and When the Emperor Was Divine (both No English novelist has explored man’s soul as Knopf); Jhumpa Lahiri, The Namesake (Mariner); deeply as Dostoevsky.” Our inquiry begins with Junot Diaz, The Brief Wondrous Life of Oscar Wao Dostoevsky’s first literary offering, Poor Folk (Riverhead); Dinaw Mengestu, How To Read the (1846). Then we turn to his philosophical treatise- Air (Riverhead). Students should read Takaki’s cum-novel Notes from Underground (1864), viewed history before arriving in Vermont. as a prelude to his five major works. We study two novels: Crime and Punishment (1866), his first and Group 5 (World Literature) arguably best work; and Devils (1871-72), his most n 7295 Milton, the Bible, and Cultures of profound political tract and a study of atheism. Violence/J. Shoulson/M–Th 11–12:15 Then we turn to Leo Tolstoy: his early works, See description under Group 2 offerings. including “Three Deaths” (1859), followed by a This course can be taken for either Group 2 close reading of his masterpiece Anna Karenina or Group 5 credit. (1875-77). Finally we survey his late fiction, con- centrating on “The Kreutzer Sonata” (1889). n 7715 Dante and Vergil J. Fyler/M–Th 9:35–10:50 Texts: Fyodor Dostoevsky, Notes from Underground, This course will focus on two major texts in the 2nd ed., ed. Michael Katz (Norton Critical); European literary tradition, Vergil’s Aeneid and Crime and Punishment, ed. George Gibian (Norton Dante’s Commedia. The two are linked because Critical); Devils, ed. Michael Katz (Oxford); “Virgil” is Dante’s guide on his journey into Hell Leo Tolstoy, Tolstoy’s Short Fiction, 2nd ed., ed. and up the mountain of Purgatory; he is the guide and trans. Michael Katz (Norton Critical); Anna because Aeneid 6 describes an earlier trip to the Karenina, ed. George Gibian (Norton Critical). underworld, but even more because Dante has the whole Aeneid very much in mind throughout his n 7777 Borges, Calvino, Beckett own great poem. We will also look at a number M. Armstrong/M–Th 11–12:15 of allusions to these texts in English and American In this workshop, we will explore the fictional literature. Although we won’t be discussing worlds of Jorge Luis Borges, Italo Calvino, and Brucker, I highly recommend it as advance Samuel Beckett. Our attention will focus on the reading. critical scrutiny of their work. We will examine the interrelationship of the three writers, study Texts: Vergil, Aeneid, trans. Robert Fitzgerald their works in their political, philosophical, and (Vintage); Reading Vergil’s Aeneid, ed. Christine ethical contexts, consider their literary means Perkell (Oklahoma); Dante, Inferno, Purgatorio, and and values, and take account of their own critical Paradiso, ed. Robert Hollander and Jean Hollander commentary. A major theoretical starting point (all Anchor); Gene Brucker, Florence: The Golden will be Calvino’s late critical essays, Six Memos for Age, 1138–1737 (California). the Next Millennium. Class members will contrib- ute regularly to a class journal, which will be kept

36 BLSE in the Davison Library and which will act as a Texts: Joseph Conrad, Under Western Eyes VERMONT continuation of the daily class meeting in written (Penguin); Walter Benjamin, Illuminations terms. This journal will include reflections on (Schocken); Virginia Woolf, Between the Acts class discussions, critical notes on particular texts, (Mariner); Alain Resnais/Marguerite Duras, and creative responses to the stories we read. Class Hiroshima mon amour (DVD, Criterion); Martin members will explore some aspect of our story- Heidegger, On the Way to Language (HarperOne); tellers’ work in a final project. Hannah Arendt, Eichmann in Jerusalem (Penguin); Giorgio Agamben, Homo Sacer (Stanford); Andrei Texts: Italo Calvino, Six Memos for the Next Tarkovsky, Stalker (DVD, Kino). The two DVDs Millennium (Vintage); Jorge Luis Borges, Fictions will be shown at Bread Loaf; they are listed here (Penguin); The Aleph (Penguin); Calvino, for students who wish to view them before the The Complete Cosmicomics (Penguin); Invisible summer session. Cities (Harvest); If on a Winter’s Night A Traveler (Harvest); Mr. Palomar (Mariner); Samuel Beckett, n 7791 Horror The Expelled/The Calmative/The End/ First Love; T. Curtain/M–Th 9:35–10:50 Company/Ill Seen/Ill Said/Worstward Ho/Stirring The world is filled with terror and horror. We Still; How It Is; Texts for Nothing and Other Shorter need literature to tell us this? Shouldn’t we be Prose 1950-1976 (all Faber & Faber; out of print in reading works that offer roadmaps to right action? U.S., but they will be ordered from the U.K. by In times like these, shouldn’t teachers of literature the Middlebury College bookstore and available be discussing great works that offer solace in the for purchase through their online site and from midst of cultural decline—give us moral direction the on-site Bread Loaf bookstore). in times of corruption and toxic self-interest? Since you mention it, yes. The great works of n 7788 The End of Experience literature are frequently horror stories—and deeply M. Wood/M–Th 8:10–9:25 moralistic stories at that. We will discuss horror “As for experience,” Nietzsche wrote in 1887, as a genre form that asks readers and viewers to “who among us is serious enough for that? Or evaluate what is meant by “morality.” Be prepared has time enough?” Walter Benjamin thought the on day one to discuss two short stories: Shirley very idea of experience expired some time during Jackson’s “The Lottery” and Ursula K. Le Guin’s World War I. It is easy to make sensible replies to “The Ones Who Walk Away from Omelas.” The these desperate or mocking claims. Experience opening topic: Does social stability demand spilled gets to us even if we don’t have time; experience blood? Read the stories. Come prepared to reason. doesn’t die, it just changes with history. But the sensible answers don’t catch the anxiety of the Texts: Shirley Jackson, Novels and Stories (Library more extreme propositions, and it is the truth of of America); Joyce Carol Oates, Zombie: A Novel the hyperbole that this course seeks to explore. (Ecco); Stephen King, Carrie and The Shining What have artists and thinkers made of experience (both Anchor); Mark Danielewski, House of in the last 150 years? What do they make of it Leaves (Pantheon); John Ajvide Lindqvist, Let the now? And why has it so long seemed to be in cri- Right One In (St. Martin’s Griffin); Bret Easton sis? This is what we shall try to find out through Ellis, American Psycho (Vintage); Susan Hill, The a variety of readings in literature, philosophy, Woman in Black: A Ghost Story (Vintage). We will and film. have a weekly screening of movies, including Roman Polanski’s Rosemary’s Baby (1968); Brian

SUMMER 2014 37 COURSES 2014 de Palma’s Carrie (1976); Stanley Kubrick’s The Texts: Akimitsu Takagi, The Tattoo Murder Case Shining (1980); Hideo Nakata’s Ringu (1998); (Soho); Arthur Upfield, The Bone is Pointed John Carpenter, Halloween (1978); David Lynch, (Scribner); Maj Sjöwall and Per Wahlöö, Roseanna Eraserhead (1977); Alfred Hitchcock, Psycho (1960); (Vintage/Black Lizard); Walter Mosley, Little Larry Yust, The Lottery (1969); Tomas Alfredson’s Scarlet (Vision); Henning Mankell, Sidetracked Låt den rätte komma in (Let the Right One In (2008); (Vintage); Jakob Arjouni, Kismet (Melville); George Romero’s Night of the Living Dead (1968); Natsuo Kirino, Out (Vintage); Alexander Sam Raimi, The Evil Dead (1981), among other McCall Smith, The Kalahari Typing School for works. Men (Anchor); Stieg Larsson, The Girl with the Dragon Tattoo (Vintage/Black Lizard); Sherman n 7796 Global Detective Fiction Alexie, Indian Killer (Grove); Arnaldur Indridason, J. Wicke/M, W 2–4:45 Voices (Picador); Diane Wei Liang, Paper Butterfly Global detective fiction written from around the (Simon & Schuster); Subcomandante Marcos and world has exploded as a literary form in the last Paco Ignacio Taibo II, The Uncomfortable Dead fifty years, and the contemporary detective genre (Akashic); Tana French, Broken Harbor (Penguin); has become a central site for making visible the Ruth Ozeki, A Tale for the Time Being (Penguin). problems of globalization and the interdependence The play Oedipus and Edgar Allen Poe’s Murders of world culture by tracing the intersections of in the Rue Morgue are online e-texts; the Sherlock peoples, places, and politics on a “map” of detec- Holmes story “The Speckled Band” will be avail- tion. These often highly literary mysteries are like able at Bread Loaf. maps: the mystery to be solved is less important than the journey through the unexplored cul- Group 6 (Theater Arts) tural territory the mystery reveals, as it uncovers n 7800 Directing Workshop evidence of what the world is truly like, explores A. MacVey/M, W 2–4:45 otherwise unheard voices, and unmasks new This course is a study of the problems a director ways to understand others in relation to ourselves. faces in selecting material, analyzing a script, and Global detective fiction builds on the detection staging a theatrical production. Some consider- motif of modern literature to track how hidden ation will be given to the theater’s place in society forces have shaped global realities of inequality and the forms it can take. Each student will direct and oppression; it also crosses the borders of popu- two dramatic pieces for presentation before the lar culture and high art, of gender and genre, and class. This class is also a good introduction to the of race, ethnicity, and identity as it creates new wide spectrum of activities that theater includes: kinds of detective heroes and heroines. We inves- script analysis, acting, design, staging, etc. The last tigate the genre from the earliest detective story in class will run until 11 pm on the final Tuesday of Sophocles’ tragedy Oedipus the King to the global the session. elements in the first modern detective fiction of Edgar Allan Poe and A. Conan Doyle, explore Texts: Peter Brook, The Empty Space (Touchstone). questions of globalization in relation to literature Additional articles will be available on reserve. as global detective fiction begins in the aftermath of WW II, and trace important issues of global n 7807 Using Theater in the English audiences and the politics of reading. Global Classroom/A. Brazil/T, Th 2–4:45 detective fiction is also a cinematic genre, and we Theater can offer students the opportunity to vis- will watch several key films. cerally enter and deeply understand—and own—a

38 BLSE text. In the tradition of the Bread Loaf Acting and the relationship between one’s motives for VERMONT Ensemble, this course will explore ways to use choice and that choice’s consequences. Though performance to excavate a text, its end goal being performance is central to the course, the emphasis for students to have the tools to do this work with is not on acting; no previous acting experience is their own students in their year-round classrooms. required. Students must be available to rehearse a Working collaboratively as actors, we’ll employ great deal outside of class. choral readings, work with the rhythm of lan- guage, find and theatricalize events, find where a Texts: Eileen Landay and Kurt Wootton, A Reason piece hits us emotionally, and create its physical to Read: Linking Literacy and the Arts (Harvard). life from there. We’ll be working with a variety A course packet containing all other texts will of texts; all will be available as a course packet. be available for purchase online through the Taking our cue from this summer’s production Middlebury College bookstore and from the of Troilus and Cressida, all texts we encounter will on-site Bread Loaf bookstore. examine the theme of selfishness vs. selflessness

Bread Loaf School of English staff Melissa Nicklaw, Emily Bartels, Django Paris, Dana Olsen, Sandy LeGault, Dixie Goswami, Elaine Lathrop, and Karen Browne.

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The Santa Fe Opera

BREAD LOAF/NEW MEXICO Texts: Lucille Clifton, Blessing the Boats (BOA); Martín Espada, Alabanza (Norton); Patricia Smith, Group 1 (Writing, Pedagogy, and Literacy) Blood Dazzler (Coffee House); Kim Addonizio, n 7000a Poetry Workshop Ordinary Genius: A Guide for the Poet Within R. Forman/T, Th 2–4:45 (Norton); Tao Te Ching: A New English Version, In this workshop, we will explore poetry of trans. Stephen Mitchell (Harper Perennial). humanity and hope while incorporating tai chi, qi Additional readings will be provided during the gong, and communal principles to bring a focused session. energy of flow to one’s writing life. Each session starts with centering, engages deep discovery, n 7005a Short Fiction Workshop and ends with a clearer understanding of writing S. Ortiz/M, W 2–5:00 technique. We’ll examine how and why we “Stories, stories, stories are the stuff of life,” an old are moved and—in the best of cases—changed friend named Doogie used to say. He was a man of by the poems we read, and participants will be stories who deserted the U.S. military in Mexico encouraged to enact similar strategies in their own in 1915 and thereafter joined Pancho Villa’s revo- work. Logistically, this course focuses on energetic lutionary army. Writing stories is an outgrowth of flow and what this can bring to the page, the telling stories. Personal experience and the stories discussion of published poems, and critique of we tell about it are the resource for fiction, but student work. Students will complete weekly writing fiction requires more than that: it’s the use exercises designed to generate new writing and of our imagination, that wonderful, creative men- will submit a final portfolio of revised poems at tal facility we all have that creates and empowers the end of the term. fiction. We’ll read stories by several leading figures of American short fiction—Sherman

40 BLSE Alexie, Simon J. Ortiz, Ralph Salisbury, and Ray Alexie (fallsapart.com), and Alison Bechdel Carver—but mainly we’ll focus on writing our (dykestowatchoutfor.com). Students will study own short fiction. By the end of the course, we’ll both digital and print texts as they develop rhe- have an anthology of short fiction by Bread Loaf torical and digital expertise, which they will apply students. to the analysis and production of their own texts and pedagogies. Students will read across genres Texts: Sherman Alexie, Blasphemy (Grove); and media, gleaning ideas from various authors NEW MEXICO Simon J. Ortiz, Men on the Moon (Arizona); for developing an experimental essay or classroom Ralph Salisbury, The Indian Who Bombed Berlin project, one that includes text, visuals, video, (Michigan State); Ray Carver, Where I’m Calling hyperlinks, and other forms of multimedia. From (Vintage). Texts: Adrienne Rich, The Arts of the Possible n 7006a Creative Nonfiction (Norton); Lynda Barry, What It Is (Drawn and P. Powell/T, Th 2–4:45 Quarterly); Cheryl Glenn, The Harbrace Guide This course will explore the techniques and to Writing: Comprehensive, 2nd ed. (distributed at characteristics of creative nonfiction. Writers will Bread Loaf); Romy Clark and Roz Ivanicˇ, The workshop their works of autobiography, memoir, Politics of Writing (Routledge); Alison Bechdel, family history, biography, personal essay, writing Fun Home: A Family Tragicomic (Mariner); bell about travel and place, and letters. Particular hooks, Teaching Critical Thinking: Practical Wisdom attention will be placed on research, historical (Routledge); Sherman Alexie, The Absolutely reconstruction, truth versus memory, and the True Diary of a Part-Time Indian (Little, Brown); development of voice. Laura Tohe, No Parole Today (West End); Jimmy Santiago Baca, A Place to Stand (Grove); Malala Text: Brenda Miller and Susanne Paola, Tell It Yousafzai, I Am Malala (Little, Brown). Slant (McGraw-Hill). Group 2 (British Literature through n 7116 Rhetoric, Writing, and Possibility: the Seventeenth Century) Digital and Print/C. Glenn/M, W 9–11:45 n 7255 Shakespeare’s Comedies Writing—whether digital or print—holds pos- B. Smith/M, W 9–11:45 sibility and power. It enables us to investigate Shakespeare wrote great tragedies, but he began issues; to challenge unjust systems; to cultivate and his career writing comedies (The Two Gentlemen participate in a way of life that we believe in; to of Verona and The Taming of the Shrew are reck- (re)invent ourselves as educated, engaged citizens; oned by most scholars to be Shakespeare’s earliest and, most important, to mobilize a future we all scripts), and he ended his career with a series of want to share. Writers have realized such personal, romances that wrest happy endings out of tragic social, and pedagogical possibilities for millennia, circumstances. This seminar will survey some using all of the available means at their disposal: of the highlights of Shakespeare’s journey from the spoken and written word, visuals, images, comedy through tragedy to comedy: The Comedy sound, music, and digital media. We will explore of Errors, A Midsummer Night’s Dream, the failed the pedagogical, political, literary, rhetorical, and comedy Romeo and Juliet, As You Like It, Twelfth marketing power of digital media employed by Night, Measure for Measure, The Winter’s Tale, and several influential writers, including Lynda Barry The Tempest. For purposes of comparison, we (thenearsightedmonkey.tumblr.com), Sherman will also read and discuss a satiric comedy of

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the sort that Shakespeare did not write: Thomas n 7360 The Social Character of the Middleton’s A Mad World, My Masters. To help us Victorian Novel/J. Nunokawa/M, W 2–4:45 get our bearings in the entire enterprise, we will In this course, we will read a range of more or less refer throughout the term to John Morreall’s criti- familiar works in a variety of theoretical, histor- cal study Taking Laughter Seriously. ical, and critical contexts. Our general aim will be to study the social character of the Victorian Texts: William Shakespeare, The Norton novel in ways that take full measure of literary Shakespeare (one-volume complete works), 2nd form and affect. We will be guided by big and ed., ed. Stephen Greenblatt, et al. (Norton); little questions such as these: How do Victorian Thomas Middleton, A Mad World, My Masters, novels transform the pursuit of economic interests and Other Plays, ed. Michael Taylor (Oxford); into dramas of romantic and erotic desire? How John Morreall, Taking Laughter Seriously (SUNY). do they transform dramas of romantic and erotic desire into stories of economic interest? How n 7290 Teaching, Reading (and Enjoying) are fascinations and anxieties about foreign races Poetry/B. Smith/T, Th 9–11:45 brought home to the domestic scene? How are Anyone who likes music ought to like poetry; yet questions of social class and individual character students (and sometimes, secretly, their teachers) handled? What is the relation between verbal often approach poetry with anxiety, if not down- facility and social class in the Victorian novel, right hostility. This course is designed to change and how is this relation represented? How does such attitudes. We will begin by locating sound the form of the Victorian novel extend, intensify, and rhythm in the body. Grounding ourselves in and expose the systems of social surveillance that those physiological sensations, we will proceed, developed in the nineteenth century? Why and period by period, to read, discuss, and enjoy some how does the Victorian novel labor to produce of the English language’s greatest designs on bodily discomfort, both for those who inhabit it our bodies and imaginations. Participants in the and for those who read it? How does the culture seminar will be asked to carry out three writing of capitalism haunt the Victorian novel? How does projects: an essay in criticism, a plan for teaching the Victorian novel imagine its relation to other one or more of the poems, and some poetry of fields of knowledge, for example, to the social their own devising. (This course can be used to satisfy sciences emerging at the same period and, like the either a Group 2 or a Group 3 requirement.) novel, taking society itself as their object?

Texts: The Norton Anthology of Poetry, Shorter 5th Texts: Jane Austen, Emma (the one technically ed., ed. Margaret Ferguson (Norton); Robert non-Victorian novel); Charlotte Brontë, Jane Pinsky, The Sounds of Poetry (Farrar, Straus and Eyre; William Makepeace Thackeray, Vanity Giroux). Fair; Charles Dickens, Our Mutual Friend; Wilkie Collins, The Woman in White; George Eliot, Group 3 (British Literature since Middlemarch (all in Penguin editions). the Seventeenth Century) n 7290 Teaching, Reading (and Enjoying) Poetry/B. Smith/T, Th 9–11:45 See the description under Group 2 offerings. This course can be used to satisfy either a Group 2 or a Group 3 requirement.

42 BLSE Group 4 (American Literature) Velazquez, The Woman in Battle, ed. Jesse Alemán n 7505 Early American Autobiography (Wisconsin); selections from the Norton Anthology J. Alemán/T, Th 9–11:45 of American Literature, 6th ed., Vol. B, includ- Spanning the colonial period to the end of the ing Sarah Kemble Knight, “Private Journal,” nineteenth century, this course examines the Jonathan Edwards, “Personal Narrative,” and development of life writing in relation to the rise Samson Occom, “A Short Narrative of My Life.” of the U.S. We’ll begin by reading the form’s colo- (Electronic versions of these readings will be made NEW MEXICO nial emergence from subgenres such as captivity, available to enrolled students before the summer travel, and conversion narratives; we’ll then move session.) to its quintessential expression as an American genre with Benjamin Franklin; and, finally, n 7650 Contemporary American Short Story we’ll read its transformations via slave narratives P. Powell/T, Th 9–11:45 and self-referential texts that play fast and loose This course looks at the major trends in contem- with truth. We’ll work to understand the genre’s porary American short fiction, with particular rhetorical conventions and its significance for attention to the various strategies writers employ articulating a sense of individual identity, but we’ll when designing the short story and the collection. also focus on narratives that self-consciously con- struct the self in relation to the Indian question, Texts: Sherman Alexie, Ten Little Indians (Grove); U.S. independence, expansionism, slavery, and Andre Dubus, In the Bedroom (Vintage); Lan the Civil War, as a way to chart the simultaneous Samantha Chang, Hunger (Norton); Charles emergence of the genre and the nation. We’ll Johnson, The Sorcerer’s Apprentice: Tales and consider different theories of autobiography and Conjurations (Plume); Ron Rash, Burning Bright explore the expressive limitations and possibilities (Harper Collins); Mary Gaitskill, Don’t Cry of life writing. (Vintage); E. Annie Proulx, Close Range, Wyoming Stories (Scribner); Lydia Davis, Varieties Texts: Mary Rowlandson, Narrative of the Captivity of Disturbance (Farrar, Straus and Giroux). and Restoration of Mrs. Mary Rowlandson (any complete edition: Kindle, Dover, or in Norton n 7670 Indigenous American Literature: Anthology of American Literature, 6th ed., Vol. B); Fiction, Poetry, Memoir-Autobiography Benjamin Franklin, The Autobiography and Other S. Ortiz/M, W 9–12:00 Writings, ed. L. Jesse Lemish (Signet); Olaudah The course will focus on contemporary themes Equiano, The Interesting Narrative and Other dealing with Indigenous issues largely having Writings, rev. ed. (Penguin); William Apess, A Son to do with the liberation and decolonization in of the Forest, ed. Barry O’Connell (Massachusetts); the twenty-first century. By reading Indigenous David Crockett, A Narrative of the Life of David American literature, we’re going to look at the Crockett of the State of Tennessee (Nebraska); realities of the U.S.A. with its substantial history Frederick Douglass and Harriet Jacobs, Narrative of Manifest Destiny, discovery-invasion-occu- of the Life of Frederick Douglass, An American Slave pation, violence, and the present-day threat its & Incidents in the Life of a Slave Girl, ed. Kwame socio-industrial-political complex poses to the Anthony Appiah (Modern Library); Santiago world at large. Much seminar-style discussion and Tafolla, A Life Crossing Borders, ed. Carmen and dialogue will be conducted and expected. Two Laura Tafolla (Arte Publico); P. T. Barnum, eight-to-nine-page essays will be assigned. The Life of P. T. Barnum (Illinois); Loreta Janeta

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Texts: Leslie Marmon Silko, Ceremony (Penguin); Group 5 (World Literature) Sherman Alexie, Blasphemy (Grove); Simon J. n 7784 Writing and Photography Ortiz, Men on the Moon (Arizona); Esther Belin, K. Flint/M, W 2–4:45 From the Belly of my Beauty (Arizona); Ernestine Photographs are everywhere in daily life. This Hayes, Blonde Indian (Arizona); James Welch, course invites us to look critically at writing about Riding the Earthboy 40 (Penguin). photography, at the major debates that this mode of representation provokes, and at the imaginative n 7674 Southwestern Literature and Film treatments that it receives. We will look at some J. Alemán/T, Th 2–4:45 classic writings about photography by such critics This course focuses on environmentalism, as Walter Benjamin, Roland Barthes, and Susan environmental studies, and eco-criticism in Sontag; we will read fiction and poetry that take Southwestern literature and film. We’ll lift the photography and photographers as their subject, veil of painted landscapes and stunning sunsets to and we will watch several films that raise issues examine how the twentieth-century formation of about photography, representation, and the gaze. the region pressured and transformed the natural We will explore what it means to write about the environment, the distribution of water, the fall of history of photography and how one might cri- cattle culture, and the use and abuse of mining tique contemporary art photographs. Among our mineral and chemical resources. We’ll begin with general topics will be questions of authenticity and early forms of regional nature writing, move manipulation; identity, portraiture, and self-pre- through a body of radical environmental critiques sentation; documentary work; the shift to digital in fiction and film, and conclude with texts that and the role of photography in social media; news combine the personal element of nature writing photography and the paparazzi; narrative photog- with the critique of environmentalism to imag- raphy; photography, trauma, and loss; and the place ine ways of personal survival and environmental of the photograph within self-presentation, autobi- healing. Along the way, we’ll chart the rise of ography, and memory work. This is not a course in environmental studies and eco-criticism with key practical photography, but you should be prepared secondary readings by leading thinkers in the field to take, upload, and share photographs on occasion and learn to delineate among terms such as fron- during the course (a simple digital camera—even a tier, landscape, ecosystem, and the environment as decent cell-phone image—will be enough!). they operate in cinema and writing. Texts: Roland Barthes, Camera Lucida (Hill Texts: Mary Austin, Land of Little Rain (Modern & Wang); Charlotte Cotton, The Photograph Library); Fabiola Cabeza de Baca, We Fed Them as Contemporary Art (Thames & Hudson); Cactus, 2nd ed. (New Mexico); Edward Abbey, Annette Kuhn, Family Secrets: Acts of Memory and The Monkey Wrench Gang (Harper Perennial); Imagination (Verso); Fred Ritchin, Bending the Leslie Marmon Silko, Ceremony, anniversary ed. Frame: Photojournalism, Documentary, and the Citizen (Penguin); Terry Tempest Williams, Refuge, 2nd (Aperture); W. G. Sebald, Austerlitz (Modern ed. (Vintage); Jimmy Santiago Baca, Martín and Library); Susan Sontag, Regarding the Pain of Others Meditations on the South Valley and Spring Poems (Picador); Natasha Trethewey, Bellocq’s Ophelia along the Rio Grande (both New Directions). (Graywolf); Marianne Wiggins, The Shadow- Films: Them (1954); Hud (1963); Milagro Beanfield Catcher (Simon & Schuster); website: Click! War (1988); The Prophecy (1999); Gas Food Lodging Photography Changes Everything http://www.click. (1992). si.edu; also available as book, Photography Changes

44 BLSE Everything, ed. Marvin Heiferman (Aperture). Recommended Reading: Juliet Hacking, Photography: The Whole Story (Prestel); plus additional readings (which will be made available electronically) by Walter Benjamin, Julia Margaret Cameron, Italo Calvino, Julio Cortazar, Daphne du Maurier, Elizabeth Eastlake, Thomas Hardy, Ted Hughes, NEW MEXICO Rudyard Kipling, Philip Larkin, Adrienne Rich, George Szirtes, and others.

Group 6 (Theater Arts) n 7807 Drama in the Classroom C. MacVey/T, Th 2–4:45 This course is intended for teachers who want to use dramatic techniques in their English class- rooms. You will learn how to explore texts by getting your students involved in some kind of performance—process drama, theater games, choral work, improvs, monologues, scenes, teach- er-in-role—to name just a few. Every approach will involve being physical and being vocal. You’ll experience dramatic activities as both audience and actor and study approaches that will give you struc- ture, technique, experience, confidence, and a set of skills with which to develop strategies for teaching various literary genres. We’ll work on Shakespeare scenes from Hamlet, Macbeth, and Romeo and Juliet and on short stories, myths, poetry, nonfiction, and contemporary plays. Bring copies of texts you teach since you may want to include them in some of your activities. The final projects will be presenta- tions, and all students must be present for them. No previous theater training is necessary.

Texts: Keith Johnstone, Impro (Routledge); William Shakespeare, Macbeth, Hamlet, Romeo and Juliet (any ed.); Viola Spolin, Improvisation for the Theater, 3rd ed. (Northwestern); Tennessee Williams, The Glass Menagerie, intro. Tony Kushner (New Directions, deluxe; this ed. required because of important introductory essay); Oedipus in Ellen McLaughlin, The Greek Plays (Theater Communications Group).

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BREAD LOAF/OXFORD stages, first as a prospectus, then as a conference paper, and finally as a seminar paper. Group 2 (British Literature through the Seventeenth Century) Texts: Chrétien de Troyes, Arthurian Romances n 7909 Medieval and Renaissance Romance (Penguin); Geoffrey Chaucer, The Canterbury Tales, L. Engle ed. Jill Mann (Penguin, original spelling ed.) and This course offers an introduction to romance Troilus and Criseyde, ed. Stephen Barney (Norton narrative with some attention to its adaptation in Critical); Anonymous, Sir Gawain and the Green drama. We will read Arthurian romance, Chrétien Knight, trans. Marie Borroff (Norton Critical); Sir de Troyes through Malory, including Sir Gawain Thomas Malory, Le Morte D’Arthur: The Winchester and the Green Knight (in translation) and Chaucer’s Manuscript, ed. Helen Cooper (Oxford); Sir Wife of Bath’s Tale (in Middle English). We will Philip Sidney, The Countess of Pembroke’s Arcadia, also read Chaucer’s philosophical romances and ed. Katherine Duncan-Jones (Oxford); William parodies thereof: Troilus and Criseyde, The Knight’s Shakespeare, The Late Romances, ed. David Tale, and The Miller’s Tale (in Middle English). Bevington and D. Kastan (Bantam). We’ll then look at Renaissance romance in Sir Philip Sidney’s The Countess of Pembroke’s Arcadia n 7919 Shakespeare’s First Folio 1623 and at the development of romance as a dramatic E. Smith genre in Shakespeare’s The Winter’s Tale and The The collected edition of Shakespeare’s plays Tempest. Along with various in-class activities, gathered by his fellow actors in 1623 gives us including some reading aloud in Middle English, eighteen plays we wouldn’t otherwise have, as acting, a teaching segment, and weekly tutorial well as new versions of some of those previously notes, students will write a research paper in printed. It marks a landmark in the development

46 BLSE of drama as literature, and a new cultural status n 7933 Shakespeare & Co .: English for Shakespeare. This course gets under the skin Renaissance Drama/L. Engle of that iconic book. We’ll look at original copies This course will focus on the flowering of public in Oxford libraries and learn hands-on about how theater in London from 1585 to 1625. We will read it was printed in a series of practical sessions with selected plays by Shakespeare alongside similar a master printer. We’ll study the ways the printed plays by other major playwrights such as Thomas text gives us new insight into how the plays were Kyd, Christopher Marlowe, Ben Jonson, Thomas performed. This course approaches Shakespeare’s Middleton, and John Webster, with attention both plays, then, via the material conditions of their to the main genres and the peculiar institutions transmission, drawing on theories of performance, of Elizabethan and Jacobean theater. Along with of editing, of print technology, of book history, various in-class activities, including rehearsing and of literary criticism. and acting a scene, leading a class discussion, and weekly tutorial notes, students will write a research Texts: Although the course encompasses aspects of paper in stages, first as a prospectus, then as a all of the collected plays, there will be a particular conference paper, and finally as a seminar paper. OXFORD focus on A Midsummer Night’s Dream, Hamlet, Topics in order: revenge (Kyd’s The Spanish Macbeth, Romeo and Juliet, and Richard II. Students Tragedy, Shakespeare’s Hamlet, Middleton’s may read the plays in any modern edition or The Revenger’s Tragedy); gender and sexuality complete works; the first folio versions will be (Marlowe’s Edward II, Shakespeare’s Twelfth Night, available at Oxford. Jonson’s Epicene, Middleton and Dekker’s The Roaring Girl); love and service (Shakespeare’s n 7921 British Theater: Stage to Page Othello and The Winter’s Tale, Middleton and to Stage/M. Cadden Rowley’s The Changeling, Webster’s The Duchess This course will be based on theatrical pro- of Malfi); family dysfunction (Arden of Faversham, ductions we’ll attend in London, Stratford, and Shakespeare’s King Lear, Ford’s ’Tis Pity She’s a Oxford. Our focus will be on the relationship Whore); magic and theatricality (Marlowe’s Doctor between plays and theatrical institutions, past and Faustus, Jonson’s The Alchemist, Shakespeare’s The present—with an emphasis on current “institu- Tempest). (Students who have taken a U.S. version tions” such as the Royal Shakespeare Company, of course 7240 may not enroll in this course.) the National Theatre, the Royal Court, Shakespeare’s Globe, and the West End, as well as Texts: English Renaissance Drama, ed. David fringe groups. A reading list will be available (and Bevington, Lars Engle, et al. (Norton); a good circulated to enrolled students) once the season is modern complete Shakespeare (your choice). fully announced. With luck, we’ll be seeing work spanning the centuries and the world, as produced n 7934 John Donne for a twenty-first-century audience. As the second P. McCullough half of the course’s title suggests, we’ll be inter- This course will devote a full term to studying rogating the approach to performance that argues the remarkably varied works of one of the English that the “page” somehow precedes the “stage.” Renaissance’s greatest writers, John Donne. Enrolled students will be charged a supplemental Seminars will be devoted to exploring, in roughly course fee of $800 to cover the costs of tickets and chronological order, the amazing range of genres transportation. (This course carries one unit of Group 2 in which Donne wrote: love lyric, elegy, epi- and one unit of Group 3 credit.) thalamion, verse satire, verse epistle, obsequies,

SUMMER 2014 47 COURSES 2014 religious lyric, prose satire, letters, meditations, and class presentations. (This course carries one unit of and sermons. Students should first read the lively Group 2 credit and one unit of Group 3 credit.) Donne biography by John Stubbs; then it is crucial they read, before the session, the texts below in Texts: Andrew Marvell, The Poems of Andrew the order listed (in these editions). Marvell, ed. N. Smith (Longman/Routledge); John Milton, Paradise Lost (Penguin or Oxford); Texts: John Stubbs, John Donne: the Reformed Soul Restoration Literature: An Anthology, ed. Paul (Norton); The Complete Poems of John Donne, ed. Hammond (Oxford); Eighteenth-Century Poetry, Robin Robbins (Longman Annotated series, An Annotated Anthology, ed. David Fairer and Routledge); John Donne Selected Prose, ed. Neil Christine Gerrard (Blackwell). Also read Sir Rhodes (Penguin; out of print but used copies George Etherege, The Man of Mode, and William available online); John Donne Selected Letters, ed. P. Wycherley, The Country Wife in Restoration Drama, M. Oliver (Carcanet); John Donne’s Sermons on the An Anthology, ed. David Womersley (Blackwell). Psalms and Gospels, ed. Evelyn Simpson (California). Group 3 (British Literature since n 7935 Literature and Place, 1640–1740 the Seventeenth Century) P. McCullough n 7921 British Theater: Stage to Page This course will set major literary achievements of to Stage/M. Cadden the late seventeenth and early eighteenth centuries See description under Group 2 offerings. This course in the context of artists’ increasing engagement carries one unit of Group 2 credit and one unit of with both the built and the natural environment. Group 3 credit. We will consider the works of major and minor poets and dramatists, as well as diaries and the n 7935 Literature and Place, 1640–1740 emergent periodical essay. An emphasis will be P. McCullough placed on parallel features and influences in archi- See description under Group 2 offerings. This course tecture, garden design, and urban development, as carries one unit of Group 2 credit and one unit of Group well as changing views of the English countryside. 3 credit. Themes will include the inherited classical tradi- tions of georgic and pastoral; the English landscape; n 7941 Early Romanticism colonial expansionism and nationalism; the repre- C. Gerrard sentation of London before and after the Great Fire This course will chart the evolution of of 1666; the emergence of London’s fashionable romanticism by locating its origins in earlier “West End”; the contested relationship between eighteenth-century writing and by examining a the so-called “sister arts”; and the importance of number of key texts from the “first generation” “taste” to the expanding middle class. The course of romantic writers of the 1790s and early 1800s. will take advantage (through field trips, for which The course will explore early romanticism from students should allow a small budget of up to $165 a variety of perspectives—political, social, liter- for travel) of the architectural, landscape, and fine ary, aesthetic. We will focus in particular on the art legacies in Oxfordshire and London. Authors following topics: sensibility and sentiment, the will include Marvell, Milton, Pepys, Rochester, sublime, landscapes of the mind, rudeness and Dryden, Pope, Swift, Addison and Steele, and primitivism, and the role of women. The follow- Thomson, though students will be encouraged to ing list of texts is not comprehensive; students range beyond this canonical core in written work will be encouraged to pursue individual lines of

48 BLSE inquiry and to read widely for their written papers. borrowings, and clashes of verbal and visual cul- tures in this period. How did the Victorians talk Texts: Anne Finch, “A Nocturnal Reverie” about, enjoy, and collect art? How did artists and (1713); Alexander Pope, “Eloisa to Abelard” writers push the horizons of expectation of their (1717); Thomas Parnell, “A Night-Piece on contemporaries? We will try to answer these ques- Death” (1721); James Thomson, “Spring” (1730); tions by discussing issues that include Victorian Thomas Gray, Elegy Written in a Country Church museum culture, aestheticism, art for art’s sake, Yard (1751); Oliver Goldsmith, The Deserted the supernatural, gender and sexuality, symbolism, Village (1770); Anna Laetitia Barbauld, A Summer and decadence. Apart from regular seminars, the Evening’s Meditation (1773); William Cowper, The course will include museum visits in Oxford and Task (1785)—all in Eighteenth-Century Poetry: An London. Participants should budget approximately Annotated Anthology, 2nd ed., ed. D. Fairer and $100 for travel and tickets. C. Gerrard (Blackwell). William Wordsworth and Samuel Taylor Coleridge, Lyrical Ballads Texts: D. G. Rossetti, Collected Poetry and Prose, (1798); Wordsworth, the two-part Prelude (1799); ed. Jerome McGann (Yale); John Ruskin, Selected OXFORD Coleridge, “This Lime-Tree Bower My Prison,” Writings, ed. Diana Birch (Oxford); Walter Pater, “Frost at Midnight,” “Kubla Khan”; William Studies in the History of the Renaissance (Oxford); Blake, Songs of Innocence and Experience (1789-93) A. S. Byatt, The Children’s Book (any ed.); (the most convenient source for Wordsworth, Nathaniel Hawthorne, The Marble Faun (any Coleridge, and Blake is Romanticism: An Anthology, ed.); Henry James, Roderick Hudson (any ed.); ed. Duncan Wu (Blackwell)); Jane Austen, Vernon Lee, Hauntings and Other Fantastic Tales Sense and Sensibility (1811); Mary Shelley (1817), (Broadview); Oscar Wilde, The Picture of Dorian Frankenstein (both Oxford World’s Classics). Gray, “The Decay of Lying,” and “The Critic as Artist” (any ed.). Additional readings will be n 7950 Atlantic Crossings: Anglo-American available at Bread Loaf. Literary Relations, 1798–1900/C. Gerrard See description under Group 4 offerings. This course n 7975 James Joyce carries one unit of Group 3 credit and one unit of Group J. Johnson 4 credit. Students will engage in intensive study of Ulysses in its Hiberno-European, modernist, and Joycean n 7969 The Aesthetic Life: Art and Literature contexts. We will begin by reading both Dubliners in the Nineteenth Century/S. Evangelista and A Portrait of the Artist as a Young Man (and When Oscar Wilde wrote that “all art is quite Joyce’s poetry, critical essays, Stephen Hero, Exiles, useless,” he tried to provoke his contemporaries Giacomo Joyce, and Finnegans Wake will all be into seeing beyond didactic and ethical concerns incorporated into discussions), but the course will in art and literature. Wilde’s aphorism belongs be primarily devoted to the reading and study of within a wide-ranging debate on the meaning and Ulysses. This work’s centrality to, yet deviation value of art in the nineteenth century. This course from, the aesthetic and political preoccupations of explores the idea of the aesthetic life in Victorian modernism will be explored. Britain, from the birth of the Pre-Raphaelite movement to the decadence of the 1890s. We will Primary Texts: James Joyce, Dubliners (any ed.), study a mixture of literary texts and art objects, A Portrait of the Artist as a Young Man (any ed.), paying particular attention to the intersections, and Ulysses (H. W. Gabler edition, Vintage;

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Norton suggested but not required for the others). Everyone will be expected to read, independently, Supplementary Texts: Stephen Hero, Exiles, Giacomo at least two other novels from a longer list available Joyce, Finnegans Wake, and Poems and Shorter in Oxford. Secondary Text: The Narrative Reader, ed. Writings, ed. Richard Ellmann, A. Walton Litz, Martin McQuillan (Routledge). and John Whittier-Ferguson (Faber). (Students are not expected to buy the supplementary texts.) n 7994 Postwar Theories, Writing the World/H. Laird n 7980 The Modern(ist) Novel See description under Group 5 offerings. This course J. Johnson carries one unit of Group 3 credit and one unit of Group T. S. Eliot, reviewing Ulysses, hesitated to describe 5 credit. the book as a “novel”: “If it is not a novel, that is simply because the novel is a form which will Group 4 (American Literature) no longer serve; it is because the novel, instead n 7950 Atlantic Crossings: Anglo-American of being a form, was simply the expression of an Literary Relations, 1798–1900/C. Gerrard age which had not sufficiently lost all form to feel This course aims to explore the cross-currents the need of something stricter.” Victorian society between British and American literary cultures of had itself a “form” and so could make use of that the nineteenth century. By looking at key texts “loose baggy monster,” the novel. Modernity, across a wide variety of genres and modes, includ- being itself formless, needed something more. ing romance, the gothic, realism, and naturalism, Taking issue with Eliot’s diagnosis of the novel’s we will examine the sometimes tense and com- unfitness for modern purposes, the premise of this petitive relationship between American authors course will be that in the hands of the modernists and British cultural models. We will explore a the novel flourished. Ironically, the very unfitness variety of themes such as American innocence and of the Victorian novel for the expression of what European “sophistication”; landscape and nature; Hardy called “the ache of modernism” stimulated history; self-reliance and community; sin, guilt the modernists to experiment, adapt, innovate. and the “double self.” We will conduct seminars The result is one of the richest periods in the his- around key pairings or groupings of pivotal British tory of narrative fiction. We begin with Hardy’s and American texts, supplemented by other con- “ache” and end with the “—” of which its author temporary materials. (This course carries one unit of wrote, “I have an idea that I will invent a new Group 3 credit and one unit of Group 4 credit.) name for my books to supplant ‘novel.’ A new — by Virginia Woolf. But what? Elegy?” Texts: Samuel Taylor Coleridge, The Ryme of the Ancient Mariner (1798); Herman Melville, Moby Primary Texts: Thomas Hardy, Tess of the d’Urber- Dick (1851); William Wordsworth, The Prelude villes (1891; Norton Critical); Oscar Wilde, The (1799) and “Westminster Bridge” (1802); Henry Picture of Dorian Gray (1891; Norton Critical); David Thoreau, Walden; Walt Whitman, “Song of Henry James, The Ambassadors (1900; Norton Myself” from Leaves of Grass (1850), “As I ebb’d Critical); Joseph Conrad, The Secret Agent (1907; with the Ocean of Life,” and “Crossing Brooklyn any ed.); Ford Madox Ford, The Good Soldier (1915; Ferry”; Mary Shelley, Frankenstein (1818); Norton Critical); James Joyce, A Portrait of the Artist Charles Brockden Brown, Edgar Huntly (1799); as a Young Man, ed. H. W. Gabler (1916; Vintage); Edgar Allan Poe, Selected Tales (1837), especially D. H. Lawrence, Women in Love (1920; any ed.); “William Wilson” and “The Fall of the House of Virginia Woolf, To the Lighthouse (1927; any ed.). Usher”; Wordsworth, “The Thorn”; Nathaniel

50 BLSE Hawthorne, The Scarlet Letter; George Eliot, The Texts: Michel Foucault, The History of Sexuality, Mill on the Floss (1860); Edith Wharton, The House Vol. 1: An Introduction (any ed.); Sigmund Freud, of Mirth (1905). Most of these texts are readily “Delusions and Dreams in Jensen’s Gradiva” in available in Oxford World’s Classics editions. Three Essays on the Theory of Sexuality and “Beyond There is an Easy Read or a Hackett edition of the Pleasure Principle” (any ed.); Emile Zola, Nana Edgar Huntly, ed. Philip Barnard. (any ed.); Secret Lolita: The Confessions of Victor X, ed. and trans. Donald Rayfield (CreateSpace); Group 5 (World Literature) Mario De Sa-Carneiro, Lucio’s Confession n 7993 Sex and Literature in the Age (Dedalus); Leopold von Sacher Masoch, Venus of Freud/S. Evangelista in Furs (preferably in the Zone ed. with Gilles In the decades either side of 1900, Freud changed Deleuze, “Coldness and Cruelty”); Oscar Wilde the way we think of sex in the West. Far from and others, Teleny or The Reverse of the Medal (any being an isolated phenomenon, Freud’s psycho- ed.); Wilhelm Jensen, Gradiva: A Pompeiian Fancy analysis came into being within a period of intense (any ed.); Virginia Woolf, Orlando (any ed.); research into the workings of sexuality that spanned Radclyffe Hall, The Well of Loneliness (any ed.); OXFORD literature, science, and visual culture. The aim Andre Gide, If It Die (Vintage); E. M. Forster, of this course is to explore the rich networks of Maurice (any ed.). Additional materials will be writings and theories about sex that saw the light available at Bread Loaf. during Freud’s lifetime (1856 to 1939). We will read a number of literary and nonliterary texts n 7994 Postwar Theories, Writing the that were published in these years, in Britain and World/H. Laird across Europe, all of which explore sexuality from Through theory and literature, this course will different perspectives. In approaching these works consider how “the world” has been written from we will pay particular attention to the relation- World War II to the present; how modernity and ship among gender, sexuality, and sexual identity, globalization have affected contemporary thought and to the representation of non-normative and and narrative; and how these texts re-envisage the “queer” sexualities. We will ask questions such as, future as well as their historical pasts. (This course What is the relationship between sex and literature carries one unit of Group 5 credit and one unit of Group in this period? How do literary and nonliterary 3 credit.) texts understand and represent sexual difference, eroticism, and homoerotic desire? How do authors Texts: Norton Anthology of Theory and Criticism, 2nd negotiate the boundary between the normal and the ed., ed. Vincent Leitch, et al. (Norton); George perverse in literature? What are the links between Orwell, 1984 (Penguin); Chinua Achebe, Things science and literature in the age of Freud? In order Fall Apart (Anchor); Kurt Vonnegut, Slaughterhouse- to come to a historical understanding of psycho- Five (Dell); Ama Ata Aidoo, Our Sister Killjoy analysis within the wider culture of sex in this (Longman); Octavia Butler, Kindred (Beacon); J. period, reading for this course will comprise some M. Coetzee, Waiting for the Barbarians (Penguin); of Freud’s essays as well as some of the literary texts Keri Hulme, The Bone People (Penguin); Ana on which he specifically drew in his works. Foreign Castillo, The Mixquiahuala Letters (Random); Hanif works will be read in English translation. Apart Kureishi, The Buddha of Suburbia (Penguin); Louise from regular seminars, the course will comprise one Erdrich, The Antelope Wife (Harper); Andrea Levy, museum visit in London. Participants should budget The Long Song (Farrar, Straus and Giroux); Neil approximately $80 for travel and tickets. Gaiman, The Ocean at the End of the Lane (Morrow).

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ADMINISTRATION STAFF Ronald D. Liebowitz, President of Karen Browne, Assistant to the Director, Middlebury College Coordinator of the New Mexio campus

Michael E. Geisler, Vice President for Elaine Lathrop, Office Manager, Language Schools, Schools Abroad, and Administrative Associate, Coordinator of Graduate Programs, Middlebury College the Vermont campus

Emily C. Bartels, Director of the Bread Sandy LeGault, Director of Admissions Loaf School of English Melissa Nicklaw, Administrative EXPANDyour outer limits Django Paris, Associate Director of the Associate “I go to be reminded Bread Loaf School of English of what it means to be a student, Dana Olsen, Budget and n Work with distinguished faculty Dixie Goswami, Director of the Bread Communications Manager, so I can be a better teacher.” Loaf Teacher Network, Coordinator of Coordinator of the Oxford campus n Experience the cultures of Vermont, the Writing Curriculum New Mexico, or Oxford, England Beverly Moss, Coordinator of the Ken Sheldon Sax, Director of Technology n Engage in top-quality professional Macrorie Writing Centers development Caroline Eisner, Director of BreadNet Brian McEleney, Director of the Program in Theater and the Bread Loaf Acting Ensemble

Tom McKenna, Director of the Bread Loaf Teacher Network Communications

The Bread Loaf School of English, a graduate program of Middlebury College, is accredited by the New England Association of Schools and Colleges.

Middlebury College complies with applicable provisions of state and federal law that prohibit discrimination in employment or in admission or access to its educational or extracurricular programs, activities, facilities, on the basis of race, color, ethnicity, national origin, religion, sex, sexual orientation, age, marital status, place of birth, Vietnam veteran status, or against qualified individuals with disabilities on the basis of disability. Because of varying circumstances and legal requirements, such provisions may not apply to programs offered by the College outside the United States. This is consistent with the College’s intent to comply with the requirements of application law. Individuals with questions about the policies governing such programs should direct inquiries to the Bread Loaf director, Emily Bartels.

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SUMMER 2014 53 BreadBread Loaf Loaf EXPLOREXPLORyouryour inner inner potential potentialEE School School of ofEnglish English n Engagen Engagein a six-week in a six-week intensive intensive summersummer graduate graduate degree programdegree program

n Study nliterature, Study literature, creative creativewriting, writing, pedagogypedagogy and literacy, and literacy,and theater and artstheater arts SummerSummer 2014 2014 CourseC Courseatalog Catalog n Find rigorousn Find rigorous and innovative and innovative courses courses particularlyparticularly beneficial beneficial for K–12 forEnglish K–12 English and languageand language arts teachers arts teachers

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54 BLSE