FALL 2017 Courses

MA ENGLISH LITERATURE

MA LANGUAGE & LITERACY

MFA CREATIVE WRITING

FALCITY CLOLLEGE OF2 NEW0 YORK1 GRA7DUATE ECNGLISH oPROGuRAMSrses GENERAL INFORMATION FALL 2017 GRADUATE ENGLISH COURSES MONDAYS ENGLISH DEPARTMENT, City College of New York 4:45-6:35 Professor Keith Gandal, Department Chair, Fall 2017 B1937 - Studies in the Politcal Novel [LIT] (Reg. Code: 31593) Richard Braverman English Department Graduate Programs Ofce 6:45-8:35 NAC 6/210 B2020 - Baroque and Neo-Baroque [LIT] 160 Convent Ave. (Reg. Code: 36143) Harold Veeser New York, NY 10031 B3400 - Workshop in Drama [CW] (212) 650-6694 (Reg. Code: 31600) Marc Palmieri ccny.cuny.edu/english TUESDAYS GRADUATE PROGRAM ADVISORS 4:45-6:35 MFA in CREATIVE WRITING B1775 - Jane Austen and Her Contemporaries [LIT] Michelle Valladares, Director ([email protected]) (Reg. Code: 31592) Daniel Gustafson C0910 - Reading and Writng the Short Story in the Americas MA in ENGLISH LITERATURE [CP] (Reg. Code: 31605) Lyn Di Iorio Harold Veeser, Director ([email protected]) 6:45-8:35 B6000 - Introducton to Language Studies [L&L] MA in LANGUAGE & LITERACY (Reg. Code: 31602) Barbara Gleason Barbara Gleason, Director ([email protected]) B3000 - Workshop in Ficton [CW] (Reg. Code: 31596) Salar Abdoh NOTES ON REGISTRATION PLEASE NOTE: All students must be advised by their respectve program director WEDNESDAYS prior to registraton. 4:45-6:35 C0862 - Teaching of Compositon and Literature [CP] All students are required to use their City College EMAIL accounts in order to get (Reg. Code: 31604) Tom Peele emails from the college. If you have your CCNY email forwarded to another ac- B1957 - NOVEL NOW [LIT] count, these emails may randomly be fltered into a JUNK folder. Questons about (Reg. Code: 31594) Robert Higney email can be addressed to the Help Desk: (212) 650-7878.To fnd your email and 6:45-8:35 set up your account, please visit the CITYMAIL FAQ [citymail.ccny.cuny.edu/faqs. B3002 - Craf of the Novel [CP] html] (Reg. Code: 31598) Keith Gandal B3600 - Workshop in Non-Ficton [CW] All STOPS (e.g. Financial Aid, Bursar, Library, GPA, Immunizaton) must be cleared (Reg. Code: 31601) David Grof prior to course registraton and bill payment. To avoid de-registraton, all students B2007 - American Women’s Experimental Writng [LIT] are required to pay the total in full by the DUE DATE listed on your bill. Due (Reg. Code: 62143) Laura Hinton dates are staggered depending on registraton appointments. To fnd out your due date, please view your bill online via CUNYfrst. To fnd out if you are eligible THURSDAYS for a tuiton payment plan, please visit the FAQ on the website of the Ofce of 4:45-6:35 Financial Aid. B6400 - Theories and Models of Literacy [L&L] (Reg. Code: 31603) Barbara Gleason Please Note: The English Department is not notfed when a student has been B3001 - Novel Workshop [CW] de-registered for non-payment and seats made available may be flled. (Reg. Code: 56383) Nicole Dennis-Benn 6:45-8:35 B3000 - Workshop in Ficton [CW] REGISTERING FOR THESIS*** (Reg. Code: 31597) Mark Mirsky In order to register for the Thesis Tutorial, students must have the full-tme B2601 - Wild Animals in U.S. Literature [LIT] faculty member who has agreed to act as thesis advisor/mentor send an email (Reg. Code: 31595) Carla Cappet confrming this agreement to [email protected] The English Department will then submit paperwork to the Scheduling Ofce and THESIS TUTORIAL*** shortly thereafer, the Thesis Tutorial should appear on the student’s schedule B2800 Thesis: Literature and bill as a 3-credit course. B3800 Thesis: Creatve Writng Please note: The Scheduling Ofce CANNOT enroll students in SUMMER SESSION: Thesis Tutorial if the student has any STOPS or JUNE: B6402 - Critcal Experimental Writng: Navigatng/Negotatng HOLDS on their CUNYfrst account. Voices [L&L] (Reg. Code: 10381) Mark McBeth

During the frst semester in which they’re eligible to apply for graduaton, stu- JULY: B3200 - Poetry Workshop: AGAINST ERASURE [CW] dents will receive an email from the Registrar’s Ofce containing (Reg. Code: 8246) Cynthia Cruz a link to APPLY FOR GRADUATION through CUNYfrst.

1 CREATIVE WRITING WORKSHOPS

Workshop in Ficton ENGL B3000 Workshop in Ficton ENGL B3000 Mark Jay Mirsky Salar Abdoh Thursday 6:45-8:35 Tuesday 6:45-8:35 The focus of my class is on the writng of the individuals in the This course is a standard graduate workshop. Each student is seminar, not on reading assignments or any exercises atached expected to submit (depending on class size) one tme or two to them. The course will try to identfy the specifc and unique tmes during the semester. Submissions can be parts of a novel voice of each writer, and encourage students to develop and en- or short stories. I will ask you to submit an additonal copy of the rich this voice. This strategy is based on classes I conducted year critques that you write for each writer’s work to me as well. My at Stanford University in the novelist John Hawkes’ Voice Project. focus in the workshop is entrely on the students’ own pieces. I will discuss possible reading assignments both in class and in While there is no minimum requirement on the number of pages conference, if I feel that individual students are apt to proft submited, there is indeed a maximum. What I pay atenton to is from them. Students who wish to explore the writers of modern the nuts and bolts of the text at hand. My style is not to do para- fcton and the surreal who experimented in their work may fnd graph by paragraph edits of a work. Rather, I look at the overall these exercises, helpful. Three short exercises of a paragraph or arc of a piece, and address the fundamental elements of fcton more are required of all students who are taking a class with me within it – pacing, character, voice, dialogue, prose, etc. Another for the frst tme (a joke, an anecdote, a personal narratve). All aspect of my style of workshop is to not be overly intrusive. In new work that is handed in can count toward the page require- other words, I try to work within the context and formulatons ment of sixty pages. I will lecture on methods of narratve in that the writer has created; I don’t believe in ‘hard intrusion’ into the course of the semester both in relaton to the manuscripts a writer’s intent, style and executon, unless on very rare occa- submited and in regard to stories and novels that I regards as sions it is absolutely called for. Finally, my own focus and area of “classics” of fcton, Miguel de Unamuno’s Mist, Henry James, interest is usually strict realism. In other words, my forte is not Turn of the Screw and “The Jolly Corner,” Isak Dinesen’s, “Sorrow experimental fcton, nor have I much read fantasy or children/YA Acre,” Donald Barthelme’s Snow White, short stories by Cynthia literature. (Reg. Code: 31596) Ozick and Grace Paley. I will explore the techniques and strategies of the writers whose texts I assign as they may apply to writng submited in the course. Readings are rotated from year Workshop in Drama ENGL B3400 to year, and depend in part on the interest and needs of stu- Marc Palmieri dents in each class. The requirement for the class is sixty, typed, Monday 6:45-8:35 double-spaced pages of new writng. All writng done during the This is a creatve writng workshop in the playwritng form. You semester; stories, excerpts of novels, memoir that crosses over will write a play—short, long or in-progress. These plays must be into fcton—will count toward this number. The instructor is the either original works or adaptatons of your own prose. We will Editor-in-chief of the magazine, FICTION, published from the En- be reading your scenes aloud in class, and evaluatng the work glish Department at City College, and he invites students to apply on our own in preparaton for sharing feedback in the workshop. for training on the editorial staf. (Reg. Code: 31597) The course welcomes experienced playwrights as well as writers who have yet to experiment with the form. We will spend the frst meetng reading a full-length play together, and I will also bring in short plays and scenes I feel are excellent and inspiring examples. You will be given an ofcial playwritng manuscript format example, and you will be expected to present your work in this format Whether you are a poet, a fcton writer, screenwriter, or what- ever, an experience in writng for the stage can be a huge boon to your maturaton as a creatve writer. Here we are in New York City, the theatre capital of the world, amidst its wonderful opportunites for literary educaton and inspiraton in plays—classic and contemporary. My goal is to reinforce the importance of this as part of your creatve writng training. The greatest writer in the English language, and the creator of some of the most profoundly important fctonal characters in our civilizaton was a playwright. The stage is a freeing, fexible and powerful medium. You will have the pleasure and discovery of hearing your dialogue aloud, of witnessing in elemental origin the coming to life of living, breathing human beings of your concepton, and it may very well afect and deepen your writng beyond any of your expectatons. (Reg. Code: 31600)

2 CREATIVE WRITING WORKSHOPS (cont’d) CREATIVE WRITING CRITICAL PRACTICE

Workshop in Non-Ficton ENGL B3600 Craf of the Novel ENGL B3002 David Grof Keith Gandal Wednesday 6:45-8:35 Wednesday 6:45-8:35 Telling the truth can make for terrifc writng. This workshop Descripton: In this Critcal Practce course, we will comprehen- will focus on the power and potental of the personal essay, the sively analyze or break down novels from the writer’s point of lyric essay, the memoir, the reported story, the op ed, various view. We will not be concerned, as in literature courses, with New Journalism strategies, and other adventurous forms of meaning or historical context, but rather with the constructon creatve nonfcton, all of which are taking an ever-larger place of a novel. We will look at a select number of novels as we in our literature. Nonfcton has been around ever since human analyze all aspects of the novel-writng craf: plot and acton; beings began to write and record, but “creatve nonfcton” as confict and suspense, promises and questons; setng a scene; a distnct genre is a relatvely new arrival on the literary scene. openings, climaxes, and endings; issues of pacing; issues of style; In our workshop we will orient ourselves to the history of the characters; fashbacks, background informaton, and reveal; genre as well as its various forms. We will also ask ourselves dialogue and descripton; sense of place and tme; interior what exactly we mean when we say “creatve” and “nonfc- monologue, and so on. The focus will be on dramatc structure, ton”—terms that summon us to exploraton, inquiry, and which involves many of these elements—and whose efectve debate. achievement makes a book excitng to read—and we will use the You’ll be asked to write at least 3000 words, present two pieces analytc “textbook” that I feel is the best on the subject. for discussion in workshop over the course of the semester, Regarding the choice of novels: Iris Murdoch is a Britsh novelist; and revise one of your works for potental submission for pub- the novels we’ll be reading were published in the 60s and 70s. licaton by the end of the term. In additon to your writng your She has won a number of prizes, including the most prestgious nonfcton, you’ll respond in writng to the work by the other Britsh award for a novel, the Booker Prize, and she is arguably writers in the class. In each workshop session, we’ll also discuss one of the great novelists in English in the second half of the nonfcton by published authors of diverse styles, profession- 20th century. al and creatve approaches, natonalites, races, ethnicites, This course is a response to student requests, as is the use of genders, and sexualites, while exploring how nonfcton can my own novel, Cleveland Anonymous, of whose constructon I communicate our various stories and respond to the challeng- obviously have full insider knowledge—and so provides a special es of our tmes. Our workshops will also include discussions opportunity for students to get an example of how a publishable of—and some exercises around—various issues in nonfcton, novel gets conceived, put together, and edited. To insure that from questons of form and strategy to how we can write there is no confict of interest in using my own novel, I will lend arrestng sentences, how and where we can get our nonfcton students copies free of charge. published, and the other distnctve demands of a genre that Requirements: Class partcipaton, leading the class in one requires we stck to the facts while distlling them into art. (Reg. discussion; short papers analyzing aspects of novel constructon Code: 31601) and functoning; fnal project. Tentatve Texts: Jack Bickham, Writng Novels That Sell Novel Workshop ENGL B3001 Iris Murdoch, A Fairly Honorable Defeat, A Severed Head Nicole Dennis-Benn Keith Gandal, Cleveland Anonymous (Reg. Code: 31598) Thursday 4:45 - 6:35 The novel is a vast landscape. But despite the liberal space, a good novel requires structure—directon, motve, and dynamic characters that will take readers through the terrain. Through reading, writng, and discussion, this intensive workshop will challenge students to expand on ideas, using the tools given to make the novel work as a unifed, compelling whole. This course may be more benefcial for students who already have a novel in progress; however, is open to those who are just getng started. Each student will have the opportunity to workshop twice, up to Twenty-fve (25) pages. Following their in-class critques, students will meet with the instructor for individual conference. We will be reading the published works of Toni Morrison, Chi- mamanda Adichie, Zadie Smith, Jacqueline Woodson, Elizabeth Strout, NoViolet Bulawayo, and more. We’ll discuss selected works for our craf talks where we will discuss diferent storytelling technique/elements in relaton to shaping your novel. Excerpts of other books and stories will be listed as we go along to beter aid your individual storytelling process. Secondly, prompts will be given at the beginning of the workshop to get your creatve juices fowing. (Reg. Code: 56383) 3 CREATIVE WRITING CRITICAL PRACTICE (cont’d)

Reading and Writng the Short Story in the Americas Teaching of Compositon and Literature ENGL C0862 ENGL C0910 Tom Peele Lyn Di Iorio Wednesday 4:45-6:35 Tuesday 4:45-6:35 This course will help to prepare you to teach introductory Students will read resonant short stories writen by writers college writng and humanites classes; it also provides support from the Caribbean, Latn America, and the United States, and for newly hired CCNY instructors. We will study approaches to partcipate in class discussions exploring links and diferences teaching compositon, learning theory, course design, writng among them. Some commonalites that we may discuss are: assignments, instructonal strategies, writng assessment, and gothic tendencies, magical realism, gender roles, the uses of classroom management. We will also consider the impact that violence, and how slavery and the colonial past haunt the pres- teaching a wide variety of students, with variable needs, mo- ent. Students will also write short stories or exercises focused on tvatons, cultural and social backgrounds, and abilites, has on technical aspects of the story or, if they prefer, short analytcal classroom practces and philosophy. We will also examine print essays. By the end of the semester, I expect each class member and online resources for college writng instructors. to have writen at least one short story or analytcal essay as Course Learning Outcomes a fnal project and to have worked on exercises leading to the Students who complete this course will be able to completon of future short stories. Some writers we might read • Design a course and prepare a syllabus are: Daniel Alarcón, Isabel Allende, Sherman Alexie, Roberto • Develop and write assignments for college students Bolaño, Jorge Luis Borges, Poppy Brite, Charles Chestnut, Denis • Use Web-based platorms to facilitate teaching and learning Cooper, Julio Cortázar, Junot Díaz, Ralph Ellison, Rosario Ferré, • Respond to frst and second drafs of frst-year students’ essays William Faulkner, Mavis Gallant, Gabriel García Márquez, Alice • Facilitate college students’ reading development Munro, Charlote Perkins Gilman, Joyce Carol Oates, Guadalupe • Plan class sessions, organize workshops, and lead discussions Netel, Flannery O’Connor, Alejandra Pizarnik, Edgar Allan Poe, • Meet the learning and literacy needs of diverse students Olive Senior, Horacio Quiroga, Alice Walker, Amy Tan, and others. • Use professional resources for college writng instructors (Reg. Code: 31605) Required Texts Bullock, Richard. The Norton Field Guide to Writng. 3rd ed. Nor- ton. 2013. (Provided.) Glenn, Cheryl, and Melissa Goldthwaite. The St. Martn’s Guide to Teaching Writng. 7th ed. Bedford. 2013. *For MFA Creatve Writng students, this course counts as a Critcal Practce course. (Reg. Code: 31604)

4 LITERATURE

Jane Austen and Her Contemporaries ENGL B1775 Wild Animals in U.S. Literature ENGL B2601 Daniel Gustafson Carla Cappet Tuesday 4:45-6:35 Thursday 6:45-8:35 In this course, we will explore the novels of Jane Austen and Our literary safari explores the numerous tracks that whales and their relaton to the contexts of eighteenth- and early nine- marlins, deer and bears, apes and wolves have carved in Ameri- teenth-century Britain, specifcally the works of other novelists, can literature. We will broadly focus on wild nature and wildlife, poets, politcal philosophers, and dramatsts who either infu- paying special atenton to menacing animals or “animal-like” enced Austen or produced writng contemporaneous with her human protagonists. The wild beast might be demonic or heav- own. We will read a few of Austen’s major novels, including enly, a captve of the zoo or hunted in the wilderness. Like the Sense and Sensibility, Pride and Prejudice, Mansfeld Park, and ghost and the monster in gothic literature, it frequently marks Emma. Some of the questons that the class will pursue are: the boundary between human self and inhuman other. On the what was Austen’s relaton to Regency literature and culture? fronters of race, gender and class, it discloses what is hidden or How did she afect the development of the novel in England? invisible. In tmes of war, intolerance and persecuton, the beast How did she afect the development of a traditon in female au- voices what is unspoken or unspeakable. thorship and feminist critcism? How has she achieved her well- We will start with some general questons. Why are wild animals known status in today’s popular and academic culture? Along so plentful in American literature? What is their role? Do they with the novels, we will read some of Austen’s juvenilia, leters, make us more human or more inhuman? Through critcal read- and additonal literary works by Frances Burney, Alexander Pope, ings by animal studies scholars, by ecological literary critcs and William Cowper, Elizabeth Inchbald, Mary Wollstonecraf, and by post humanist critcs, we will consider how American writers Maria Edgeworth. (Reg. Code: 31592) have used wild nature and wildlife to give artstc shape, visibil- ity and voice to some of the most contentous conficts of their tmes. (Reg. Code: 31595) Studies in the Politcal Novel ENGL B1937 Richard Braverman Monday 4:45-6:35 Baroque and Neo-Baroque ENGL B2020 In “The Politcal Novel,” we will explore the reciprocal relaton- Harold Veeser ship between literature and politcs through a range of works Monday 6:45-8:35 from the mid-nineteenth century to the present. Though we will Baroque poets including Shakespeare favored the rich, the primarily address how these works challenge politcal thought strange, even the bizarre. Early Modern Poet John Donne com- and practce, we will also examine the ways they invest individ- pared a young girl to a gory beheading, love to a feabite, God to uals’ lives, locales, and beliefs with broad politcal signifcance. a rapist, a hermaphrodite to an inside-out glove. “The most het- In the course of our discussions, we will explore the historical erogeneous objects are yoked by violence together,” complained underpinnings of the novels as well as touch upon a number an early critc. This course begins with Early Modern shocks and of topics, such as the formaton of ideologies, revoluton and outrages (Donne, Milton, Crashaw, Anne Bradstreet, Amelia reform, exiles and intellectuals, gender and class, and alternatve Lanyer, Margaret Cavendish). We then proceed to new American histories. Readings in Forster, Koestler, Endo, Coetzee, Doctorow, radical neo-baroque interventons: the Flarf school of (chiefy Dantcat, Hamid, and others. (Reg. Code: 31593) women’s) poetry; neo-metaphysicals (Edward Hirsch’s “Stll Life: An Argument” and Djuna Barnes’s great novel, Nightwood); classics of neo-baroque such as Marianne Moore, Severo Sarduy, and John Ashbery. These writers have one thing in common: they defy expectatons, exceed all limits, and explode poetc conventons. One presentaton and two short papers are required. (Reg. Code: 36143)

5 LITERATURE (cont’d)

American Women’s Experimental Writng ENGL B2007 NOVEL NOW ENGL B1957 Laura Hinton Robert Higney Wednesday 6:45-8:35 Wednesday 4:45-6:35 This course focuses upon the literary creatvity of an American In “The Novel Now,” we will read a set of very recent novels vanguard of women writers, partcularly those whose work with an eye to what they can show us about the literary world moves “of the page,” so to speak – in experimentaton with of the present. In part this means focusing not on a partcular hybrid literary and mult-media forms. These radical works ofen natonal literature but on “Anglophone literature,” and on some contain feminist elements, in that they critque not only form but of the problems and opportunites that this category presents. mainstream gendered social ideals and thought. From There- While the works themselves will be the focus of our discussions, sa Hak Kyong Cha’s video poems to Erica Hunt’s and Mei mei additonal issues to consider along the way will include: the rise Berssenbrugge’s artst book collaboratons, to Anne Waldman’s of the Anglophone or transnatonal novel and the breakdown chant and performance work, to the “spoken word” jazz poetcs of natonal categories for English-language writng; the shape of of Jayne Cortez, we will read, observe, and theoretcally consider the literary and publishing marketplace; the economy of literary the social critques as well as the hybrid forms and new aesthet- prizes; the representaton in narratve of the world city or global ics such writers have brought to the literary scene. city; literary novelists’ incorporaton of genres like the detectve This course will explore the way in which these “writngs” – in story, science fcton, or speculatve fcton; and the relevance of the experimental-writng French sense of the term “l’écriture” terms like “realism” and “modernism.” In the past, the syllabus – enunciate a “voice” of “disbelief,” from a creatve space of has included such texts as Tom McCarthy, Remainder; Teju Cole, non-narratve “exclusion,” “oppositon,” and/or “strangeness.” Open City, Zadie Smith, NW; China Mieville, The City & the City; We will analyze the interior of these texts’ wryly subversive poet- Arvind Adiga, White Tiger, Margaret Atwood, Oryx & Crake, and ics; and we will trace the historical diversity of voices / positon- related critcal and theoretcal sources (though please note that ings through which such feminist poetcs emerge. the reading list will be revised for Fall 2017). Requirements will In tandem with reading women writers’ artst statements and include a short midterm essay, a fnal research paper, and an a selecton of theory essays (by both female and male writers), informal reading journal. (Reg. Code: 31594) we will read and consider the importance of the “critcal lyric” of Barbara Guest, Rae Armantrout and Alice Notley. We also will study prose-poetry hybrid “autobiography” works by Lyn Hejinian and Bernadete Mayer. The classic anthology edited by Claudia Rankine and Juliana Spahr will be our startng point, in additon to handouts and several book-length texts. You will receive class “packets” to supplement purchased materials. Writng requirements include bi-weekly formal reading-journal entries two critcal essays, an oral presentaton, and a collabora- tve class bibliography assignment. (Reg. Code: 62143)

6 LANGUAGE & LITERACY

Introducton to Language Studies ENGL B6000 Theories and Models of Literacy ENGL B6400 Barbara Gleason Barbara Gleason Tuesday 6:45-8:35 Thursday 4:45-6:35 This course provides an introducton to linguistc topics import- This course will introduce historical, cognitve, sociological, ant for language teachers. We will begin with an introducton cultural and technological perspectves on contemporary literacy to major linguistc theories, profles of infuental linguists, and concepts and practces. We will begin by exploring historical questons about grammar, language authority, and standardized reading/writng practces, the shif from scribal literacy to print language. We will then review traditonal sentence grammar literacy, and the rise of mass literacy. Our focus will then shif paterns and rules, along with discussion of potental applica- to 20th and 21st century scholarship, framed by New Literacy tons to teaching and learning literacy. Drawing on phonetcs, research and three models (cognitve skills, sociocultural models, phonology, and morphology, we will study the English language and community literacy). In light of these literacy models, we sound system, word formaton processes, and word structures will consider questons about how children learn to read and along with implicatons for child language acquisiton and learn- why some people grow into adulthood with low literacy levels. ing to read phonemic writng systems. We will conclude with an Variaton in literacy practces will be considered in relaton to introducton to sociolinguistcs, regional and social varietes of home & school communicaton practces, urban vs. rural regions, American English, heritage languages and multlingualism in con- multlingualism, access to print & digital materials, educatonal temporary U.S. culture. Required books include The Elements of opportunites and literacy sponsors. Large-scale studies such as Style by William Strunk, Jr. (Classic Editon Updated and Edited the Program for the Internatonal Assessment of Adult Compe- by Richard De A’Morelli, Spectrum Ink Publishing © 2017), The tencies (2011-2012) will be examined alongside ethnographic McGraw-Hill Handbook of English Grammar and Usage, 2nd research, case study research and pedagogical research. Among editon: With 160 Exercises by Mark Lester and Larry Beason the authors whose publicatons we will read are Albert Manguel (McGraw-Hill © 2013), and Language and Linguistc Diversity (A History of Reading [2014]), Alistair McGrath (In the Beginning: in the US: An Introducton by Susan Tamasi & Lamont Anteau The Story of the King James Bible and How It Changed a Naton, (Routledge © 2015). (Reg. Code: 31602) a Language, and a Culture [2001]), Terrence G. Wiley (Literacy and Language Diversity in the United States [2005]), Deborah Brandt (Literacy and Learning: Refectons on Writng, Read- ing and Society [2009]), Victoria Purcell-Gates (Other People’s Words: The Cycle of Low Literacy [1995]), Klaudia M. Rivera & Ana Huerto-Macías (Adult Biliteracy: Sociocultural and Program- matc Responses [2008]), The New London Group (“A Pedagogy of Multliteracies” [1995]), and Cynthia Selfe (“The Movement of Air, The Breath of Meaning: Aurality and Multmodal Compos- ing” [College Compositon and Communicaton Vol. 6 No. 4 June 2009]). (Reg. Code: 31603)

7 ADDITIONAL INFORMATION

APPLYING TO THE PROGRAMS AWARDS AND PRIZES All Graduate Degree Program applicatons and supportng ma- Each Spring, the English Department hosts the Annual Awards terials (leters of recommendaton, transcripts, writng samples, & Prizes, a merit-based competton which ofers prizes ranging etc.) are to be submited to the Ofce of Graduate Admissions from $100-$10,000 for creatve writng (fcton, non-fcton, poet- online. Please note: The English Department DOES NOT accept ry, drama), academic writng, teaching, and general excellence. any applicaton materials or fees directly from applicants.

EDUCATIONAL ENRICHMENT GRANTS APPLICATION DEADLINES The Department is also ofering Educatonal Enrichment Grants to provide funding assistance to students who are presentng at MFA in CREATIVE WRITING academic conferences or who have been accepted to natonally FALL Admission: February 1 recognized writng residencies. Calls for writen grant proposals SPRING Admission: October 1 will be sent prior to the start of each semester.

MA in ENGLISH LITERATURE For informaton about Financial Aid, please visit the CCNY Ofce FALL Admission: May 1 of Financial Aid located in Room A-104 of the Willie Administra- SPRING Admission: November 15 ton Building.

MA in LANGUAGE & LITERACY FALL Admission: May 1 SPRING Admission: November 15 TEACHING IN THE ENGLISH DEPARTMENT Each Spring, the English Department invites matriculated graduate students who have completed at least two semesters of graduate coursework and will be contnuing their studies to RETURNING TO CITY COLLEGE apply for a limited number of adjunct teaching positons for the Returning CCNY graduate students who have been out of school following Fall semester. Applicants are expected to enroll in, or for one or more semesters must complete a READMISSION to have already completed, ENGL C0862: The Teaching of Com- APPLICATION (to be signed by Migen Prifi, Graduate Advisor in positon and Literature (ofered each Fall). the Ofce of the Dean of Humanites and the Arts, NAC 5/225) at least three months prior to the frst day of classes in order to enroll.

Graduate degree students who have been absent from the Col- lege for more than fve years must reapply for admission to the graduate program.

Graduate students whose grade point average falls below 3.0 must submit a leter of appeal addressed to the Dean of Humanites and the Arts along with the READMISSION APPLICA- TION.

For more informaton and forms, visit the Admissions web site. [www.ccny.cuny.edu/admissions]

8 SUMMER SESSION 1 (JUNE 5 - JUNE 30) SUMMER SESSION 2 (JULY 5 - AUGUST 1) [ccny.cuny.edu/registrar/academic-calendar] [ccny.cuny.edu/registrar/academic-calendar]

Critcal Experimental Writng: Navigatng/Negotatng Voices Poetry Workshop: AGAINST ERASURE ENGL B3200 ENGL B6402 Cynthia Cruz Mark McBeth Tuesday & Thursday 6:00-9:15 Tuesday & Thursday 6:00-9:15 Teaching literature is teaching how to read. How to notce things Academic writng ofen prescribes stringent parameters of in a text that a speed-reading culture is trained to disregard, tenor and voice according to its traditons, its disciplines, and its overcome, edit out, or explain away; how to read what the lan- genres. Yet, increasingly, the intellectual labor and the means guage is doing, not guess what the reader was thinking; how to by which authors express their ideas take on alternatve forms take evidence from a page, not seek a reality to substtute for it. through the integraton of multple genres, the textures of language, and the usage of multmodal technology. In this course, —Barbara Johnson, Teaching Deconstructvely we investgate and analyze these conventons, yet also explore how contemporary writers push the boundaries of their intellec- Ofen in workshops, we are unable to see one another because tual work and creatve expression: how they integrate multple we can’t step into the shoes of other students. When this hap- talents and sensibilites into the act of composing for partcular pens, we don’t allow ourselves to fully enter the work we are audiences and rhetorical situatons. reading and are thus unable to truly see and read one another. In this workshop we will practce writng about everything in Partcipants in this course also practce and produce these exper- our lives that needs being said—regardless of how complicat- imental genres of composing. Writng in this course becomes an ed this might be. At the same tme, we will practce reading as exercise in discovering what voices lie within us, what registers Barbara Johnson encourages: to read the text and stay with the of prescriptve grammars “control” us, and how we navigate the text—pushing against the grain. Though these practces are not complex negotatons of self-expression, identty, and collectve necessarily politcal, the result of performing these practces is. exchange. Additonally, we collectvely evaluate what we’ve If we truly practce writng from our own lives and resistng the been told about writng (and literacy), what audiences we want impulse to conform by simplifying so that others have an easier to reach with our writng, and how to communicate (and teach) tme understanding, and if we stay with a text, pushing through in innovatve ways. (Reg. Code 10381) complicatons and our inability to understand—the result is politcal in that we will have the opportunity to be our true selves while at the same tme being seen. In the safe space of this poetry workshop, we will practce resistng our own erasure and the erasure of others by complicatng rather than editng or simplifying or otherwise “erasing” what we fear to write. (Reg. Code 8246)