Black Women S Literature in the Post-Civil Rights Era

ENG 220 Derek Adams Spring 2013 [email protected] Writing as Resistance: Black Women’s Literature in the Post-Civil Rights Era Tuesday & Thursday (Friends 301), 1:10pm-2:25pm Office Hours (Muller 304): Tuesday, 2:30-4:00 & Wednesday 12:00pm-1:00pm

Course Description:

The end of the global Civil Rights era of the 1960s led many to consider issues of race, gender, sexuality, and social class closed. Civil rights legislation enacted in the United States, they believed, served as an armistice between governing institutions and those groups who had been traditionally marginalized by discriminatory practices. For them, this “resolution” made it unnecessary to ever again re-litigate issues of identity and marginalization in the realm of public discourse. Black women across the African Diaspora immediately saw through the superficiality of this resolution, and in the years following the final moments of the era, used their writing to continue resisting the marginalization they experienced in their daily lives. As writers they flourished, publishing extensively through a variety of venues and mediums. Their written work functioned as one of the most powerful and stable engines in challenging a socially- determined politics of identity that still failed to acknowledge their equal rights. It also proved instrumental in helping catalyze the formation of Gender & Women’s Studies programs in academic institutions across the nation, transforming discourses of feminism and women’s liberation for a new generation of activists and scholars. In essence, they radically redefined womanhood, particularly for black women, through their writing. Their success raises important questions, though. As the definition of womanhood (and manhood, presumably) changes through their literature, what precisely are they resisting? What form does their resistance take considering that the signs of overt discrimination have been removed? What does resistance look like in a changing national, and increasingly global landscape?

This class will explore these questions through a collection of texts by black women of the Diaspora that represent various forms of resistance in a post-Civil Rights era. To make this exploration as comprehensive as possible, we will consider texts across multiple genres – (auto)biography, novel, short story, essay, and poetry. Since this is such a diverse collection of texts, we will formulate a series of questions that will help frame our discussions and develop a set of parameters for considering the similarities and differences between them.

Because of the controversial themes and plots at work in many of these texts, we must establish ground rules for how to discuss them. First, studying literature is not an exact science, so we must be receptive to the many different textual interpretations you and your classmates will arrive at. Our unique life experiences will inevitably lead us all to distinct readings of a particular text, especially as it applies to racial and gender identities. Second, although there is no single “correct” reading of the texts under discussion, there are ways of casually misreading them. Therefore, we will ground all of our discussions and interpretations in close readings of the things an author incorporates in her piece of literature. This means you must read a text, and read it thoroughly, to understand how these elements come together to create meaning. Third, we will discuss racial and gender stereotypes when they are apparent in, or relevant to, the literature we are analyzing. This may result in moments of cognitive dissonance likely shared by your classmates, and I hope they become part of our productive class discussions. However, we will not unnecessarily impose racial and gender stereotypes on a work or its author. Last, you must give the literature a chance. I do not expect you to share my wild enthusiasm for the texts we are reading, but you mustn’t be dismissive of them without having read them.

Required Texts:

A Rain of Words ed. Irene Assiba d’Almeida Davis, Angela. The Meaning of Freedom Hopkinson, Nalo. Report from Planet Midnight Lorde, Audre. Sister Outsider. Naylor, Gloria. The Women of Brewster Place Raboteau, Emily. The Professor’s Daughter Walker, Alice. Meridian  A course packet with additional short readings will be available for purchase from the Administrative Assistant, Kenesha Vick, in Muller 309.

Other Required Materials:

- Hard copies of all reading assignments with you in class. o Some critical, theoretical, and literary materials will be made available to you via our course website. Please print those out and bring them with you to class. You are expected to have a printed (not electronic) copy of all reading assignments in class on the day that we are examining them. - Writing utensils and paper for notes - Your full attention

Course Assignments and Grading:

1. Four short response papers [40%] 2. Group presentation [25%] 3. Annotated bibliography [30%] 4. Attendance/Participation [5%]

Standard Percentage Equivalencies for the course: 100 – 90% = A, 89 – 80% = B, 79 – 70 = C, 69 – 60 = D, 60> = E

A final grade of Incomplete (I) can be awarded only in very special circumstances that you have discussed with the instructor ahead of time.

Short response papers: These assignments are meant to keep you in the practice of articulating argumentative theses cogently and concisely as you engage the literature for the course. Your analyses will NOT exceed 750 words (roughly 2 full pages), and must offer a unique interpretation of a text that is not immediately obvious to any generic reader. Stick to the text! I am interested in how you are reading specific lines and passages. Group presentation: You will be partnered with one of your classmates and charged with putting together an in-class presentation. This 20-minute oral presentation will elaborate on an author’s larger body of work, providing the class with a greater context for understanding the assigned text. Feel free to use things like notes, outlines, and handouts, but do NOT simply read from a piece of paper or from PowerPoint slides. All group members must contribute equally to (and during) the presentation. A sign-up sheet will be circulated at the beginning of the second week of class. As part of the presentation, you will write a short reflective essay (no more than 1000 words) that illustrates the “behind-the-scenes” thought and effort that went into it. This is not a textual analysis of an author’s work, but rather a reflection on what you learned through the presentation process, both within and outside of class.

Annotated bibliography: You will compile an annotated bibliography of 8-10 entries for texts by and about the author you are presenting on. No more than 2 of the entries will be about texts written by the author you are presenting on, and no more than 2 of them can be about texts from the other authors we are reading for the class. The purpose is to situate your author within a meta-discourse on the work of black women writers in the twentieth century. Entries will be no more than 1 page and need to 1) accurately summarize the key ideas, themes, and arguments an author makes in a text, and 2) explain the connections between the text and the body of work of the author you are presenting on.

Attendance/Participation: Your presence in the class is only a part of your participation in this course. In my experience, the most interesting classes are the ones in which students contribute more to class discussions than the instructor. Honestly, nobody wants to listen to me ramble on and on. You need to come to class having closely read the assigned material and prepared to discuss your analyses. Treat every class as though you will have to speak on a particular subject and/or text for at least a few minutes.

Course Policies:

Students with Documented Disabilities

In compliance with Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act, reasonable accommodation will be provided to students with documented disabilities on a case by case basis. Students must register with the Office of Student Disability Services and provide appropriate documentation to the college before any academic adjustment will be provided.

Attendance Your presence is required at every one of our scheduled class meetings. You are also expected to arrive on time. Arriving 10 minutes late for class will count as half an absence. Anything more the 10 minutes counts as a full absence. Both will result in a reduction in your overall grade. I am well aware of the unpredictable madness of everyday life taking place beyond the boundaries of Ithaca College. Therefore, you will be granted 3 excused absences over the course of the semester. Just be certain to inform me of your absence as early as possible. On your sixth absence from class (essentially three full weeks of class time), you will be administratively dropped from the course.

Classroom Conduct

This one is simple – use your manners. Be respectful of others. Absolutely no talking on the phone or texting! No Facebook. No MySpace. No YouFace. Be attentive. No food or drink.

Plagiarism

The theft of the intellectual property of another individual or entity, whether it be purposeful or unintentional, is a serious offense that carries with it severe consequences. The offender will immediately fail the assignment with no chance for resubmission and will have to meet with me outside of class to discuss the infraction. The circumstances behind the plagiarism may warrant even further action as outlined in the Student Handbook. Refer to the Student Conduct Code (http://www.ithaca.edu/policies/vol7/volume_7-70102/), the “Plagiarism” library tutorial, or visit me during office hours if you have further questions.

Course Schedule: Week One (1/22, 1/24) Tues - Introduction / Syllabus Review Thurs - Walker’s “The Civil Rights Movement: What Good Was It?”

Week Two (1/29, 1/31) Tues - The Meaning of Freedom Thurs - The Meaning of Freedom

Week Three (2/5, 2/7) Tues - Sister Outsider Thurs - Sister Outsider / Lorde’s “Power”

Week Four (2/12, 2/14) Tues - The Women of Brewster Place Thurs - The Women of Brewster Place *Essay One due at the beginning of class* Week Five (2/19, 2/21) Tues - The Women of Brewster Place Thurs - Meridian

Week Six (2/26, 2/28) Tues - Meridian Thurs - Meridian

Week Seven (3/5, 3/7) Tues - The Professor’s Daughter Thurs - The Professor’s Daughter *Essay Two due at the beginning of class*

*Spring Break* No class March 9 - 17

Week Eight (3/19, 3/21) Tues - The Professor’s Daughter Thurs - Report From Planet Midnight

Week Nine (3/26, 3/28) Tues - Report From Planet Midnight Thurs - Report From Planet Midnight *Essay Three due at the beginning of class*

Week Ten (4/2, 4/4) Tues - “Recitatif” – course packet Thurs - “Drinking Coffee Elsewhere” – course packet

Week Eleven (4/9, 4/11) Tues - “Drinking Coffee Elsewhere” – course packet Thurs - Selections from Rain of Words *Essay Four due at the beginning of class*

Week Twelve (4/16, 4/18) Tues - Selections from Rain of Words / Kincaid’s “Girl” Thurs - Richardson’s “She Was Workin Like Foreal” – Sakai hooks’ “Selling Hot Pussy” – course packet

Week Thirteen (4/23, 4/25) Tues - Erykah Badu & Lauryn Hill lyrics – course packet Thurs - Janelle Monae & Missy Elliot lyrics – course packet

Week Fourteen (4/30, 5/2) Tues - Lil’ Kim / Nikki Minaj lyrics – course packet Thurs - Semester wrap up *Annotated Bibliography due at the beginning of class*