Instructor: Gabrielle Civil, Ph.D. Office: Whitby 206 (651) 690-8797 (St. Kate’s office) Office Hrs: T 3:30-5 + by appt E-mail: [email protected] Fall 2012 W 6-9:15 (4 credits)

English 3265 Global Literature in English Creating Dangerously: Diasporic Literature & the Zone

Welcome to the zone! This upper-level course, intended for English majors / minors, will approach global literature through close analysis of works from the Haitian literary diaspora and the Caribbean zone. More than merely geographical, this zone will be understood as a nexus of critical questions. Must all be written by Haitians? Do all Haitians live in ? What is or should be Haitian literary languages? How does Haitian literature relate to other literature from the Caribbean?

We will read Haitian authors based in Haiti, the US and Canada as well as other Caribbean authors from Cuba, St. Lucia, Antigua, Puerto Rico and Trinidad & Tobago. In this class, national boundaries will blur as we reckon with migration, tourism, citizenship and globalization. Haiti will emerge as a site and source of world class literature.

As burgeoning scholars of global literature, we will reckon with issues of literary production and circulation, genre and translation, history and culture. We will negotiate intersections of race, class, gender and sexuality. We will continue our practice of literary theory and sharpen our critical thinking. Inspired by , the best known Haitian writer in the U.S.—and arguably the world—we will aim to “create dangerously” as global readers, writers and thinkers. Enjoy!

C O U R S E R E Q U I R E M E N T S

Required Texts (available in SCU bookstore) Open Gate-ed. Paul Laraque & Jack Hirschmann A Small Place-Jamaica Kincaid The Book of Emma-Marie- Célie Agnant Heading South-Dany Laferrière The Haitian Trilogy-Derek Walcott I Am a Japanese Writer-Dany Laferrière The Kingdom of this World-Alejo Carpentier Sirena Selena-Mayra Santos Febres The Farming of Bones-Edwidge Danticat No Language is Neutral-Dionne Brand Brother I’m Dying-Edwidge Danticat Recommended Texts Culture and Customs of Haiti-J. Michael Dash Create Dangerously-Edwidge Danticat Edwidge Danticat: A Reader’s Guide-ed. Martin Munro

1 Required Assignments

Participation / Class Preparation: (10%) These books have crossed oceans to reach you. Honor them enough to meet them well. Each student should come to class having completed the reading and ready and eager to share fire—comments, questions, concerns, and ideas.

Opening Presentation: (10%) Each student will have an opportunity to begin class with brief opening observations about the text at hand, leading to a starting question for class discussion. This presentation will feature relevant, accurate information about the author and should be grounded in one specific passage in the text. A written copy of this presentation with the key quotation and question should be turned into the instructor. * Note—if an assignment is due the day of your opening presentation, you will have until Friday to turn it in.

Two Theory Papers (20% @ 10% each) To sustain and expand knowledge from the prerequisite English 2200 Introduction to Literary Theory & Critical Research course, each student will write two 1-2 page critical analyses of a text, using an established theoretical approach.

Critical Essay (15%) Each student will write a 3-5 page critical essay. Topics will be provided, but students can also pursue their own topics (pending instructor approval).

Abstract & Research Bibliography (10%) In preparation for the Research Essay, each student will submit an abstract & compile a (working) bibliography of 7-10 sources. Students will not be required to use all these sources, but this assignment will allow students to practice their research skills and gather a pool of credible resources for critical discernment.

Research Essay (25%) Each student will write an 8-10 page essay that will connect course texts and concepts with current literary critical discourse and outside literary and cultural research.

Final Response (10%) Each student will offer a 2-3 page final response to the zone of literature encountered in this class. This final critical or creative “guide” will address 1-2 final course texts as well as your overall growth and learning in this class.

C O U R S E O B J E C T I V E S

 To gain exposure to diverse global literature  To gain knowledge about Haitian diasporic and  To practice reading multiple genres (poetry, fiction and drama)  To practice applying literary theory on diverse texts  To gain experience doing literary research  To enhance critical reading, writing, speaking and thinking skills  To consider English as a global literary language  To engage the politics of literary language  To build greater political consciousness as readers and critics  To build a dynamic and rigorous literary critical community  To have fun and revel in fantastic books!

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C O U R S E P O L I C I E S

Attendance Policy These wonderful works of literature have been neglected long enough! You simply must come to class to discuss them! Due to the intense pace and breadth of our syllabus, attendance is crucial. Moreover, please arrive on time! The Formula: Three times late = one absence. Three absences = 1 final grade deduction. Five absences = F

Plagiarism Policy Plagiarism will not be tolerated in writing for assignments. (You have great words and ideas! You don’t need any one else’s language.) If you have any questions or concerns about citation, please feel free to consult me, the MLA Guide for Writers of Research Papers and /or the O’Neill Center for clarification before turning in an assignment. If caught plagiarizing, appropriate action will be taken in accordance with college-wide policy. Additionally, no credit will be received for the assignment. In case of repeated class plagiarism, a student will be unable to pass the course.

Assignment Completion Everyone can turn in one writing assignment 24 hours late without penalty. Otherwise, the penalty for lateness is one half grade a day. E-mailed Assignments may be satisfactory pending instructor approval. (Ask me first!) If you are approved to turn in an assignment via e-mail, make sure to receive a confirmation of receipt from me. If you don’t receive this, there’s a good chance, your e-mail didn’t come through, so resend it.

Revision Policy Because this course is not writing intensive, the revision process is not directly incorporated into the course plan. Students will be allowed to revise one theoretical analysis and the critical essay and only if they receive lower than a B. The top grade for a revision will be no higher than a B. The final research essay cannot be revised (although earlier drafts can be reviewed and discussed.)

Incomplete Policy Incompletes will be allowed only in the most extreme circumstances of emergency. Make sure to assess your capacity to complete this course before the withdrawal deadline—and please feel free to come discuss any course concerns as soon as possible.

Professor Statement It’s an honor and pleasure for me to serve as your professor this term. Please let me know if you have any questions or concerns throughout the semester. I look forward to working with each of you and anticipate a rich term of rigor and joy!

3 English 3650 Projected Reading & Assignment Schedule

Sept 5 Introduction-“Create Dangerously”-Edwidge Danticat (in-class) Open Gate-ed. Paul Laraque & Jack Hirschman (please bring book)

Sept 12 What do we know about Haitian Diaspora & the Zone? finish Open Gate + first half of The Book of Emma-Marie-Célie Agnant Critical Presentation on The Book of Emma (K. Calvert) + Theory Paper #1 DUE + Opening Presentation Sign Up

Sept 19 finish The Book of Emma in class film on in-class start The Haitian Trilogy-Derek Walcott (please bring book)

Sept 26 The Haitian Trilogy-Derek Walcott—Everyone read “Drums & Colors” Half the class read “Henri Christophe;” Other Half “The Haytian Earth” + Any Revisions of Theory Paper #1 DUE

Oct 3 The Kingdom of this World-Alejo Carpentier + Theory Paper #2 DUE

Oct 10 The Farming of Bones-Edwidge Danticat)

Oct 17 Brother I’m Dying-Edwidge Danticat

Oct 24 A Small Place-Jamaica Kincaid + Critical Essay DUE

Oct 31 Heading South-Dany Laferrière (read at least the first half) Critical Presentation on Heading South (K. Calvert)

Nov 7 finish Heading South (read first half I Am a Japanese Writer) in-class film Heading South + Abstract & Preliminary Bibliography DUE

Nov 14 I Am a Japanese Writer-Dany Laferrière

Nov 21 HAPPY THANKSGIVING (No Class) Work on Research Essay & Read Sirena Selena

Nov 28 Discuss Sirena Selena-Mayra Santos Febres In-Class Workshop on Research Essay Rough Draft (Bring at least 5 pages and any questions & concerns)

Dec 5 No Language is Neutral-Dionne Brand

Dec 7 FINAL RESEARCH PAPERS DUE (in box at Whitby 206 by 10 PM)

Dec 12 Class Wrap Up & Evaluations + Final Class Celebration In-class-“Our Guernica”-Edwidge Danticat Possible In-Class: At Shadow Flight-Jacqueline Beaugé-Rosier (trans. G. Civil) + Final Response Due

4 English 3650 Global Literature in English Theory Paper Assignments #1 Due: Sept. 12 & #2 Due October 3

For this 1-3 page assignment, you will select and apply one particular literary critical approach to a specific literary text. For the first analysis, you will select a poem of your choice from the poetry anthology Open Gate. For the second analysis, you will pick a scene from one of Derek Walcott’s plays in The Haitian Trilogy.

Many of you have excellent grasp and experience with literary theories and critical approaches; others have more anxiety and trepidation. For both, I have provided this refresher on six major approaches as well as a précis for the assignment itself. Feel free to use the précis as an exact formula for your paper’s format—but this is not required. You can also use another approach not mentioned here. My aim is not to dictate your paper (in style or content), but to refresh your memory and demystify the assignment—break it into concrete specific parts. I hope this helps: enjoy!

Introduction: Name the author, poem & critical approach you are using Offer a brief (1-2 sentence) definition of this approach Say why it appeals to you for this poem / why you are using it Offer a thesis statement that makes a claim about the poem drawn from the conclusions of this specific approach

Body: Work through the argument of your thesis using specific quotations from the text. (You don’t need to cover every aspect / level of the poem, just what supports your thesis and what follows the logic of the approach). This is the part that tells us how you got to the thesis and for many this is the part that you write first to discover what your thesis actually is.

Don’t get too bogged down by jargon. If you’ve established from the beginning how you’re interpreting / applying a particular approach, then use the logic of your own definition to guide you.

Conclusion: Say what insights you gained from approaching the paper through the particular critical lens you selected—and what blindspots the poem points out to the approach (i.e. what you see in the poem that the approach doesn’t cover) and / or what new questions for poetry, for reading and / or for the world emerge through your analysis

5 Approach Emphasized elements : Possible things to write about:

New Criticism artistry / formal literary techniques specific literary techniques tension and resolution (metaphor, mood, setting, etc.) in a coherent literary object/ irony, ambiguity, paradox which the problem of industrialization are resolved on the level on/ alienation of nature / humanity through art the redemption of this alienation through art

Key Questions: What is this poem about? How is this poem made? How do its formal elements help illustrate its theme?

Deconstruction the instability / inextricability of of the instability text & world of oppositions of this text the problem of writing the role of contradiction the play between and within the presence / employment the structure of language of intertexuality how the Other is

Key Questions: What is this poem about? What are the main oppositions of this text? How does this text collapse / reverse these oppositions? How does this text destabilize our understanding of language / the world?

Psychoanalysis the configuration of language how the poem offers / illustrates as a condensation / disguise represents / negotiates of psyche / psychological psychoanalytic models processes (using characters, settings, the presence / applicability motivations, plot events, etc. of psychoanalytic models as stand ins for various aspects (Freud, Jung, Lacan) of the models i.e. id, ego, superego, the quixotic status of desire, or ur- Myth, archetype)

Key Questions: What is this poem about? How does it illustrate psychoanalytic models? [Just make sure not to psychoanalyze characters or authors—rather treat the poem as a patient.]

Marxism the way material conditions the status of objects, money, produce human experience currency in the poem, the implicit / the status / representation explicit presence of exploitation the of capital / classes, labor relationship between class and class supremacy (Marx, identity Althusser, Jameson)

Key Questions: What is this poem about? Show me the Money! How does this poem illustrate and / or repudiate a system of class or labor?

6 the representation how sex and / or gender Feminism of sex/ gender in literature appear in a poem the situation of women the representation of in literature and the society women, how that the construction of representation illustrates, sex / gender in and through challenges and / or literature /the possibility of transforms conventional a “woman’s sentence” notions, how a poem posits (Woolf) or écriture new possibility for féminine (Cixous) (women’s) writing, how it relates to / against a tradition of women’s writing how it intervenes on gender issues

Key Questions: What is this poem about? How does this poem comment on specific gender issues and / or the construction / representation of sex and / or gender?

Multicultural / Postcolonial

the identification / the status of race and / or investigation of ethnicity and/or how a work of literature nationality in a poem relates to / draws on a and how its particular racial / ethnic representation illustrates identity (African- / repudiates or American, Jewish, etc.) transforms conventional and / or national / mainstream notions tradition, the how a poem participates examination of in a particular tradition characters / language or tries to forge a new relative to this identity or one, how a poem tradition, the attempt to constructs or theorizes forge traditions race / ethnicity / national within / across majority / colonial / postcolonial tradition / discourse relations

Key Questions: What is this poem about? How does this poem comment on race / ethnicity? How does inform or challenge conventional notions? How does it forge a new tradition?

Clearly when working with other genres, replace the word poem with play, story, novel, (text, work), etc. Hope this helps!

7 A Note on Grading

It can sometimes be difficult to understand the parameters for grading in a particular course. What is satisfactory work, for example? What is excellent? In the realm of participation, just showing up would not be satisfactory. A student would have to speak, ask, share, etc. In the realm of written assignments, excellence, even more criteria come into play. Here are some guidelines.

An excellent paper would have a clear, rigorous and compelling thesis statement. It would correctly and effectively employ citations from the text. It would have no (or almost no) errors of grammar and punctuation or typographical errors.

A better than satisfactory paper would have a clear thesis, although it might not be as clear, rigorous or compelling as it could be. Often, it would merely be the most obvious point as opposed to something more profound, original or interesting. More damning would be its rushed quality, full of typos or hasty punctuation errors. (I know because I’ve been there!) Still, a glimmer of intellect would shine through and there would be some solid insight supported by key quotations

A satisfactory paper would gesture toward a thesis, but more likely have a topic or main idea. This paper would have difficulty staking a claim; instead, it would collage together ideas, opinions and quotations. Worse, this paper would have almost no specific quotations from the text and would survive merely on paraphrase. This paper would have shoddy thinking or unacceptable grammar, punctuation, etc.

Papers that fail to grasp the main aspects of the text or the assignment or would earn less than satisfactory grades. In many cases, however, lack of time management leads students to unsatisfactory papers.

* * * * * Please start your papers early and give yourself enough time to polish, proofread and seek feedback. Use all of your assign assignments as an opportunity to learn, grow, challenge yourself and express your ideas. Good luck and enjoy the process!

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