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ENGL 360 Office Hours : TR 12:00-1:00 and MTRF 2:30-3:20PM ENGL 360 Office Hours: TR 12:00-1:00 and MTRF 2:30-3:20PM by appointment: 5242 or 654-5178 Newton 212 [email protected] Welles 225A Post-Colonial Literature: Black British Literature Fall 2014 Maria Helena Lima Course Description: "The imperial English may have carried British passports--as did the Scots, Welsh, and some of the Irish--but they really didn't need to think too hard about whether being 'English' was the same as being 'British': the terms were virtually interchangeable" (Jeremy Paxman, The English: A Portrait of A People, vii). Due to successive waves of immigration by commonwealth peoples, only 80% of the population of England and Wales have called themselves “White: British” on the last census (2011). But Black presence in Britain dates to as far back as the invading Roman army. Steve Martin, the historian who runs the “London Black Heritage Walking Tours,” claims that “you can throw a dart at any area of London and find a black contribution to its history.” We will only have time to explore Black British literature and culture from 1948 to the present however. While Black in the US refers mostly to peoples of African descent—whatever their countries of origin—in Britain it is a political category grounded on shared ex-colonial origins and/or social marginalization. Unlike writers of the first wave of post-colonial migrants to Britain, such as Sam Selvon, who have lived the contradictions of being Black and British, a younger generation finds itself less conflicted as it attempts to (re)create identities within more global paradigms. According to Stuart Hall, “Black British culture is today confident beyond its own measure in its own identity—secure in a difference which it does not expect, or want to go away. We are fully confident in our own difference, no longer caught in the trap of aspiration which was sprung on so many of us who are older, as part of the colonial legacy described in Fanon’s famous phrase as Black skins, white mask.” Some of the texts we’ll be reading even allow for a more fluid, transnational and transcultural model for both the production and consumption of art. Required Readings: James Procter, Ed. Writing Black Britain, 1948-1998: an Interdisciplinary Anthology. U of Manchester Press, 2000. [ISBN# 071905382x] Sam Selvon. The Lonely Londoners. Longman, 1956. [ISBN # 978-0582642645] Meera Syal. Anita and Me. Harper Collins, 1996. [9780006548768] Andrea Levy. Small Island. Review, 2004. [9780312424671] Bernardine Evaristo. Mr. Loverman. Hamish Hamilton, 2013. [ISBN #9780241145784] Ade Solanke. Pandora’s Box. Oberon Books, 2012. [ISBN: 9781849434973] Kwame Dawes, Ed. Red: Contemporary Black British Poetry. Peepal Tree Press, 2010. [ISBN# 9781845231293] 1 Intended Learning Outcomes: With this class students will hopefully 1. Understand the complex interactions of gender, sexuality, religion, race, and class permeating the cultures within Britain today; 2. Understand the various negotiations Black British writers make when they choose to write within/against traditionally western genres. 3. Demonstrate the oral ability to present their individual ideas to the class and persuasively discuss the complexity of the texts and cultures under discussion and, consequently, their different interpretations. 4. Demonstrate the ability to write sustained, coherent, analytical, and persuasive arguments, following the conventions of Standard English. 5. Demonstrate the ability to develop research skills, including the ability to search data bases, evaluate published materials, and incorporate information gleaned from articles of literary criticism, source texts, and works of historical/social background into their own critical writing skills to produce a final research paper. Teaching Assistants We’re really lucky to have Hannah Pruch working with our class this term. She will teach when I’m away at a meeting (or two), help me with group work and class discussions, and hold office hours to answer your questions about the readings and/or the writing you will be doing. Hannah can be reached at 585-808-3648 [like me only until 9 p.m.] and preferably by email at hcp3@geneseo. edu. We will decide on the time for her office hour together. Portfolio Grading: The writing assignments you turn in are first drafts. While they should be free of spelling errors and grammatical mistakes (i.e. not rough drafts), they won’t be finished products. Think of them as work-in-progress—not graded until revised and reworked to “perfection.” Your portfolio will be an extension and development of your work during the semester. Do not lose any version of your essays because I do not have a grade book. Keep all your writings in a folder because I will collect everything yet one more time on the last day of class, to reach a final decision about your grade. This course is non-graded until the very end of the semester. You must complete ALL written work to pass the course. You are also responsible for ALL readings--whether or not we have time to fully discuss them. Your final grade will depend upon attendance, active and engaged class participation (25%), and progress in writing critically: a midterm essay and all its revisions (25%) and a final essay of literary criticism that incorporates recent scholarship (50% includes the oral presentation of your argument) will be assessed. Books need to come to class every day—readings done. It is the only way you will be ready to engage in class discussion meaningfully. I will give the class a quiz if the discussion is going nowhere. WRITING: Papers are to be typed, preferably Times New Roman 11’ font, with 1.5 spacing and one-inch margins at the top, bottom, and sides of your text; do not justify your text. Your name, the title of the course, my name, and the date the paper is turned in should be typed on the top-left of the page, single-spaced; the title should be centered on the page, two spaces below all that. There will a header with your last name and page number starting on page 2. No header on title page (yes, this is the only time we will not follow MLA conventions). The paper should be stapled together—never a fancy folder or cover page. 2 THE CENTER FOR ACADEMIC EXCELLENCE: Tutors at the Writing Learning Center (210 Milne Library) can help you with brainstorming ideas, organization, some grammar, and revision. For more information or to schedule an appointment, go to http: //www.geneseo.edu/english/writing_center. Do not wait until the paper is due to seek help. SUNY Geneseo will make reasonable accommodations for students with documented physical, emotional or learning disabilities. You should contact the Assistant Dean for Disability Services (Dr. Tabitha Buggie-Hunt, Erwin 106A, #245-5112) and also talk to me to discuss needed accommodations as early as possible in the semester (preferably the first week). SCHEDULE OF READINGS: This schedule may change at any time according to class needs and demands. When a teacher puts a syllabus together, she does not know what to expect, for each group is different. Even if it is a text she has taught before, some students may find different meanings in it and want to stay with the work longer than anticipated--I will allow this to happen. You need to be in class to note such changes or resort to the class list (our email addresses and phone numbers) to inquire about them. The class list is also a wonderful way to build community and make lasting friendships. Get to know one another PLEASE. Week One (8/25-29) – Introduction to the course and to “black” in Britain. Portfolio grading explained. Lemn Sissay’s “Colour Blind” and Louise Bennett’s “Colonisation in Reverse” (handout). Andrea Levy’s “Loose Change” (handout). Week Two (9/ 2- 5)— Sam Selvon. Lonely Londoners (1956) Week Three (9/ 8-12)— Read James Procter’s “General Introduction: 1948/1998, Periodising postwar black Britain” (1-12) and Part One: 1948 to late 1960s (13-54). I want to focus on Lord Kitchener, James Berry, Mervyn Morris, Kamau Brathwaite, and V.S. Naipaul, but may be persuaded otherwise Note a chronology of key moments, movements and publications (Procter 321-23). Read also Lamming’s “Journey to an Expectation,” C.L.R. James’ “Africans and Afro- Caribbeans: A Personal View,” Paul Gilroy’s “Blacks and Crime in Postwar Britain,” and Stuart Hall’s “Reconstructing Work: Images of Postwar Black Settlement.” [Procter, Ed. 57-93] Week Four (9/15-19)-- Read all of Procter’s Part Two: Late 1960s to mid-1980s I want to focus on Linton Kwesi Johnson’s “Five Nights of Bleeding” (1974), Grace Nichols’ “Skanking Englishman between Trains” (1983) and “The Fat Black Woman Goes Shopping” (1984), and Beryl Gilroy’s “Black Teacher” (1976); Sivanandan’s “Britain’s Gulags,” Dick Hebdige’s “Reggae, Rastas and Rudies” and Hall and others’ “Policing the Crisis.” 3 Week Five (9/22-26)– Read Procter’s Part Three: mid-1980s to late 1990s We’ll start with Caryl Phillips’ “Coming Over,: Fred D’Aguiar’s “Home,” Jackie Kay’s “In My Country,” Merle Collins’ “Visiting Yorkshire—Again” and “When Britain Had its GREAT, and Meera Syal’s “Finding My Voice.” Week Six (9/29-10/3)— Meera Syal. Anita and Me (1996) Week Seven (10/6-10)—Procter’s Part Three: mid-1980s to late 1990s: READ Hanif Kureishi’s “We’re Not Jews” (1997), Benjamin Zephaniah’s “What Stephen Lawrence Has Taught Us” (1998). Stuart Hall, “New Ethnicities” (1988), Isaac Julien and Kobena Mercer, “De Margin and de Centre” (1988), Kobena Mercer, “Back to My Routes: A Postcript to the 1980s” (1990).
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