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DARK DAYS of PANDEMIC DARK DAYS of PANDEMIC “E at your heart out, ction fan Truly the truth's the stranger document” - El-P [Context] For the past four years, D ark Days of Future Past has operated as an exploration of dystopian ction, Gothic literature, the foundational texts of each, and countless works inspired (in some way) by these genres. Moreover, the course has promoted discussion about textual hierarchies, as that which is initially dismissed as mere “genre ction” often later comes to be accepted as having “literary” merit. However, perhaps the most palpable aspect of D ark Days has been its use of dystopian and Gothic texts as a springboard for drawing parallels between the ctional worlds of the authors’ imaginations and the real worlds of the readers’ experiences. At the risk of being reductive, this means that D ark Days has encouraged students to use the texts at hand to ask questions about their own lives. In the Gothic realm, this has meant inquiring, “Is it possible that I could experience the same psychological distress as these characters?” On the dystopian front, the emerging questions have been, “How likely is it that this dark vision of the future might come to pass? Is this future possible?” While the original goals and the questions they inspire are still worthwhile, it would be disingenuous to suggest that members of the D ark Days 2020-2021 squadron are in the same position as their predecessors -- we are, after all, in a year that continues to be plagued by environmental disaster, political unrest, and a global pandemic. As such, Dark Days of Future Past must be reconsidered, revised, and reframed so as to explicitly address the fact that many of us feel as though we are actually living under the psychological duress and dystopian conditions presented by the course materials. [UNIT 1: WELCOME TO THE GOTHIC DYSTOPIA] [Overview] The opening unit of the 2020 school year will introduce students to the most salient characteristics of Gothic & dystopian ction, respectively. This will be accomplished via lectures, readings, and discussions. Students will be asked to consider how we might draw parallels between texts and our own lives, and how we might contemplate course materials if we operate under the presumption that we are currently living in a dystopian moment. [Guiding Question] If we presume that we are currently living in a dystopian moment of history, what might the elements from this story represent in our own world? [Introductory Texts] - “Why Science Fiction?” (Bradbury) - “The Spider Women” (Atwood) - “A Dark And Stormy Night: Why We Love The Gothic” (Valentine) - “The Real Reason Dystopian Fiction Is Roaring Back” (Locke) - “Will the Coronavirus Create a More Progressive Society or a More Dystopian One?” (Cassidy) [Primary Texts] - “There Will Come Soft Rains” (Teasdale) - “The Masque of the Red Death” (Poe) - “The Lottery” (Jackson) - “‘The Lottery’ Letters” (Franklin) [UNIT 2: SEEKING A MARTIAN OASIS] [Overview] Students will dive into a reading of T he Martian Chronicles by Ray Bradbury. Now having a working understanding of how Gothic and dystopian narratives might be used to assess our own lives, students will explore how a single text can employ characteristics found in both genres. During this unit, students will examine how Th e Martian Chronicles uses genre elements to explore social issues that existed at the time it was written, and how readers might use the novel as a lens for exploring social issues of their time. Moreover, students will also be encouraged to consider the novel’s ultimate argument for maintaining a sense of hope in the face of annihilation, for n ot adopting a defeatist mentality, for persevering even in light of overwhelming obstacles. [Guiding Question] How might the Gothic and dystopian elements of T he Martian Chronicles help us explore the issues we face today? [Primary Texts] - The Martian Chronicles (Bradbury) - “The Cask of Amontillado” (Poe) - “Dream Within a Dream” (Poe) - “Alone” (Poe) [Supplemental Texts] - Lies My Teacher Told Me - “Columbus Excerpt” (Loewen) - “Reality as a Grotesque Deception” (Nevins) [SUBSEQUENT UNITS] [DESTINATIONS DURING PANDEMIC] [Overview] Quite frankly, the thought of mapping out the rest of Dark Days for this particular school year seems a bit foolish at this moment; doing so would be like trying to return a punt for a touchdown while blindfolded and shrouded in fog. Instead, cues will be taken at the beginning of the year so as to gure out how to best proceed; sticking with the football metaphor, this is like taking o the blindfold, taking the knee for a fair catch, and then making the most of the rst-and-ten moment. While it is not currently possible to know how the D ark Days students of 2020-2021 will best be served, there is wisdom in outlining the units that may be explored in the course. Again, the texts covered (and the sequence in which they are covered) will be determined by the classroom dynamics, which will be especially unique in this era of Covid-19. Anticipated considerations include adjustments to the hybrid model, the interpersonal relationships within each cohort, and even student reactions to the ever-changing (and dicult to predict) sociopolitical climate of the nation. [1984] [Primary Text] - 1984 (Orwell) [Supplemental Texts] - “Huxley to Orwell” (Letter) - “Doublethink is Stronger than Orwell Imagined” (Packer) - “Wikileaks Dumps Shows CIA Could…” (Biddle) - “Why Orwell’s ‘1984’ matters so much now” (Charles) - “Why China banned a ton of words” (Zipp) - “E verybody Wants to Rule the World” (Tears For Fears) - “Run Away” (Real McCoy) - “1984” (David Bowie) - “Accidents Don’t Happen” (El-P) - “2+2=5” (Radiohead) [BRAVE NEW WORLD] [Primary Texts] - Brave New World (Huxley) - GATTACA (Niccol) - “Number 12 Looks Just Like You” (T he Twilight Zone ) [Supplemental Texts] - “Foreword” to A musing Ourselves to Death (Postman) - Brave New World Revisited (Huxley) - “List of quotes from Shakespeare in…” (Wikipedia) - “The dierence between...conditioning” (Ted-Ed) - “Aldous Huxley on Technodictators” (Blank on Blank) - “The New Gene Editing Technique [CRISPR]...” (Yong) - “This Man Claims… Genetically Edited Babies” (VICE) [DRACULA] [Primary Texts] - Dracula (Stoker) - What We Do in the Shadows (Clement & Waititi) [Supplemental Texts] - “Why Vampires Never Die” (Del Toro & Hogan) - “Pellagra and the origin of a myth…” (Hampl & Hampl) - “Ideals of the Victorian Woman as Depicted in ‘Dracula’” (Humphrey) - “Anti-Semitism in Bram Stoker’s Dracula” (Hansen) - “Nosferatu” - Blue Oyster Cult - “Forsaken” - Dream Theater - “Vampires Will Never Hurt You” (My Chemical Romance) - “Dracula” - Iced Earth - “Dracula’s Wedding” (Andre 3000) - “Vampire Blues” (Neil Young) [FAHRENHEIT 451] [Primary Text] - Fahrenheit 451 (Bradbury) [Supplemental Texts] - “The Hearth and the Salamander” - Intro - Annotations (Genius.com) - “Burning Bright” - Conclusion - Annotations (Genius.com) - “...Bradbury talks about love, 1968” (CBC) - “Ray Bradbury on Madmen” (Blank on Blank) - “The Arsonist” (Thrice) - “The Arsonist” - Lyrics - “The Obsolete Man” ( The Twilight Zone ) - “To the Chicago Abyss” (R ay Bradbury Theatre ) - “Metalhead” (B lack Mirror ) - Drinkwater Reads Bradbury - Playlist [FEED] [Primary Texts] - Feed (Anderson) - “Nosedive” (B lack Mirror) [Supplemental Texts] - “I Used to Be a Human Being” (Sullivan) - “The Binge Breaker” (Bosker) - “Fear and Loathing on Social Media” (Watercutter) - Twitter: A Retrospective in Two Videos - “B lack Mirror ’s ‘Nosedive’ Skewers Social Media” (Gilbert) [FRANKENSTEIN & BLADE RUNNER] [Primary Texts] - Frankenstein (Shelley) - Blade Runner (Scott) [Supplemental Texts] - “How Frankenstein’s Monster Became Human” (Prose) - “The Strange and Twisted Life of ‘Frankenstein’” (Lepore) - “The Mystery of Blade Runner” (Kermode) - Blade Runner 2049 - Trailer [MINORITY REPORT] [Primary Texts] - “The Minority Report” (PKD) - Minority Report (Spielberg) [Supplemental Texts] - “We May Already Be Living in… ‘Minority Report’” (Blichert) - “How Cops Are Using Algorithms to Predict Crimes” ( Wired) - “...Minority Report’s Future Isn’t Sci-Fi Anymore” (N BC News ) - “Philip K. Dick - A Day in the Afterlife” (B BC ) - “Blows Against the Empire” (Gopnik) [PSYCHO] [Primary Text] - Psycho (Hitchcock) [Supplemental Texts] - “Alfred Hitchcock’s Tour of the Psycho Set” ( Behind the Screams) - “How Alfred Hitchcock Manipulates an Audience” ( Discarded Image ) - “Bird Symbolism in P sycho: Women as Prey” (T he Take ) - “Understanding P sycho : The Uncanny” ( Is This Just Fantasy?) - “FILM REVIEW: PSYCHO…” (1998) / (Maslin) - “Steven Soderbergh mashes two versions…” (T he Verge) - Psychos (Soderbergh, Hitchcock & Van Sant) - Bates Motel Trailer - Psycho II Trailer - Psycho III Trailer - Psycho IV: The Beginning Trailer [SLAUGHTERHOUSE-FIVE] [Primary Text] - Slaughterhouse-Five (Vonnegut) [Supplemental Texts] - “NOW: A Tribute to Kurt Vonnegut” (PBS) - “Kurt Vonnegut on Man-Eating Lampreys” (Blank on Blank) - “Kurt Vonnegut on the Shapes of Stories” - “Kurt Vonnegut: ‘A Man Without a Country’” (Vonnegut/NPR) - “Kurt Vonnegut Remembered” ( Fresh Air) - “What Kurt Vonnegut’s S laughterhouse-Five Tells Us Now” (Rushdie) - Freewill Playlist [SOUTHERN GOTHIC] [Primary Text] - “A Rose for Emily” (Faulkner) [Supplemental Texts] - “A Rose for Emily” - Annotations (Genius.com) - “What to Do About William Faulkner” (Faust) - “‘A Rose for Emily’ -- and why it’s perfect for S-Town” (The Guardian) - “Chapter 1” of S -Town ( Serial & T his American Life)
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