Following are the courses being offered in the upcoming Spring semester. Please check the online class schedule listing for the most accurate scheduling information.

200-Level Courses

EH 203-ZO: Writing in Birmingham

Instructor: McComiskey

EH 203: Writing in Birmingham provides an introduction to academic, professional, and public writing within the geographical context of Birmingham, Alabama. In this course, students write essays that draw from the rich rhetorical resources in Birmingham, while simultaneously learning about the fundamental disciplinary principles of rhetoric and composition, including invention, revision, and audience. Students in EH 203 Writing in Birmingham write four essays on different themes, including meaningful places, significant histories, controversial issues, and public problems. Each essay includes invention, peer review, and revision.

EH 213-1A: Ideas in Lit: Sequels, Prequels & Remakes

Instructor: Sellers

We will look at classic works that have been given sequels or completely reworked by different artists. What is it that fascinates authors and readers about these classic works? And why do they want to add to or revise these stories? This will include written works and some film.

EH 213-1D & 213-1EB: Ideas in Lit: Sweet Home Alabama?

Instructor: Major

Lynyrd Skynyrd’s “Sweet Home Alabama” was written in response to two songs by Neil Young—“Southern Man” and “Alabama”—that deal with themes of racism and slavery in the American South. The song’s lyrics, which call Neil Young out by name in a rebuke of his Yankee criticisms in some places and are problematically vague in other places, are controversial—heralded by some as admirable, defiant pride and criticized by others as a strutting defense of old Confederate values. In many ways, the tensions and complexities embodied within this song reflect conversations that are still very much alive today about pride, identity, and the ways in which Alabama’s troubling past continues to manifest itself in the present.

This class will begin by placing a question mark after the Southern rock anthem’s title: “Sweet Home Alabama?” What is this place and its people about? What are the different narratives that contribute to Alabama’s mythology? What does it mean to call Alabama home? What, if anything, is sweet about that experience? We’ll attempt to answer these questions by examining the contemporary literature of the place. Our approach will be kaleidoscopic: we’ll read a wide range of texts from a diverse group of authors who are from (or who spent significant time in) various places in Alabama and whose writing was deeply influenced by and directly responds to that experience. We’ll read this material critically and in the context of the cultural ethos from which it comes, and we’ll discuss and write about texts both individually and in relation to each other. As we do this, we’ll consider significant themes of contemporary Alabama writing and explore how this complicates, deepens, or explodes our understandings of place and identity—and why that matters in both historical and current political and social contexts.

This course is appropriate for anyone interested in Alabama, contemporary Southern literature, Alabama history, the Civil Rights Movement, social justice, or theories of place and identity.

EH 213-1EA & 213-1F: Ideas in Lit: Monsters and the Monstrous, Medieval to Modern

Instructor: Clements

From Grendel feasting on Danish warriors in Beowulf to John Gardner’s twentieth-century retelling of that epic from Grendel’s perspective, authors (and readers) have long been fascinated by the monstrous. In this course, we will read a variety of genres from the early Middle Ages to the modern period to explore how the seemingly discrete categories of “humanity” and “monstrosity” are defined and challenged in these texts.

Among the questions we will ask are how these authors imagine the physical, geographical, and ideological boundaries of the human and the monstrous, and the way those distinctions are mapped onto not only the characters’ bodies and behaviors, but the landscapes and settings of these stories. We will also consider how the boundaries between human and monster are blurred through hybridized characters and marvelous acts—characters and feats that defy categorization.

To begin thinking about what is at stake with the creation (and permeability) of these boundaries, this course also introduces the basic tenets of Monster Theory, which we will use as a lens for our readings. With a focus on close reading and a series of writing assignments that apply the theories we are exploring, we will investigate how language constructs monstrosity and how these monster texts ultimately reflect back on the cultures that produced them.

EH 213-2A: Ideas in Lit: The Memoir: Personal Voices

Instructor: Tipton

An examination of memoirs, non-fiction reflections, shaped by time, place, and people.

EH 213-2B & 213-2C: Ideas in Lit: Minding Make Believe

Instructor: Santiago

In “Minding Make Believe” we’ll examine what constitutes children’s literature and how the genre has evolved over time. What topics are or have been considered appropriate subject matter for work written for or about children, and who are the gatekeepers who decide? Should children’s literature consist of pretend worlds of fantastical, low-stakes fun, or should it impart no-nonsense wisdom and guide children into adulthood?

In this class, we will explore, through close reading, discussion, and writing, a broad range of works written primarily for children and adolescents (with a foray or two into young adult territory). We will encounter multiple genres of classic and contemporary texts—from picture books to novels—while examining their historical and social contexts as well as the beliefs about childhood and children that inform them.

EH 213-2EA & 213-2F: Ideas in Lit: Post-humanism in Science Fiction Literature and Film

Instructor: Guthrie

Over the course of the semester, we will discuss what it means to be human in the 21st century by analyzing science fiction short stories and films from both past and contemporary authors and directors. We will also read several nonfiction pieces, including news stories, to give context to the fictional readings and movies.

During the first half of the semester, we will look at works focused on robotics and artificial intelligence with an eye toward the possible ramifications of giving machines “human” rights or imposing laws to control them, especially if they become self-aware. During the second half of the semester, we will focus on cyborgs by examining how society has already adapted and will have to adapt even more to people who are both human and machine in light of the predictions made by speculative fiction and film.

This course will require considerable reading, writing, and classroom discussion. Students should be aware that some of the texts and films include uncomfortable and controversial subject matter such as prejudice and discrimination, religion, sex, drug use, and violence.

EH 213-QLA & 213-QLB: Ideas in Lit: Our Voices Now: Contemporary Women Writers

Instructor: Slaughter

Remember those heavy literature anthologies from high school full of canonical works written by, mostly, dead white dudes? Well, that is what this class is NOT. This introductory literature course will look at the daring, funny, dark, weird, beautiful, challenging literature being composed by women writers alive and working today. While we will occasionally cast our lens to years past to understand the origin of the women poets, novelists, essayists, and short story writers we will encounter, it’s likely that most of the writers we will read have websites, as well as Instagram and Twitter.

As we read, we will study secondary and background materials which will supply the specialized vocabulary we will use in our informal (online discussion) and formal (reading responses, essays, etc.) written discussion of the works we encounter. Upon completing the course, students will understand the conventions of literary genres and will have developed their analytical skills through close reading, critical thinking, and scholarly writing about literary texts. What do “our voices” sound like now? Let’s find out together.

EH 213-QLC: Ideas in Lit: Queer Worlds

Instructor: Reich

Here are some lines from José Esteban Muñoz: “Queerness is not yet here. Queerness is an ideality…we can feel it as the warm illumination of a horizon imbued with potentiality…beyond the quagmire of the present.” Muñoz is focusing here on the ways “queerness” is not only a collection of identity structures that encompass lesbian, gay, bisexual, asexual, pansexual, intersex, genderqueer, transgender, transsexual, polyamorous, and many other people who identify somewhere outside sex, sexual, or gender norms. Queerness also refers to a way of seeing the world. In fact, identifying as queer requires seeing the world differently than many other people. Seeing different worlds.

In this course, we will read literature and film that depict queerness in both its identity and worldview senses. We will cross several genres to understand the myriad ways queerness has been captured in these arts and what that means to a history of queerness and queer people. We will also learn about the vocabulary of queerness and how to write about queer representation effectively.

You do not need to be queer to take this course! Anyone with a keen interest in learning more about how queer people and queerness have been depicted in literature and film is welcome to join.

Assignments will include weekly response papers to the readings and several formal literary analysis essays.

EH 214-1F: Special Topics: Harry Potter: Human and Nonhuman Identities and Relationships

Instructor: Bach

In this class, students will read the Harry Potter books in order. Class discussions will focus on how J. K. Rowling grows as a writer, how she develops characters, and how she creates individual and group identities. We will also talk about all the creatures in the books. This class is appropriate for those who have never read the books as well as for experienced Harry Potter fans. We will ask new questions about how the books function as literary texts and how they confront our world though Rowling’s created world.

Students will keep a commonplace book and write three short papers.

300-Level Courses

EH 301-1D: Reading/Writing/Research for Lit Classes

Instructor: Quinlan
  1. Read poetry, drama, fiction, and criticism closely & confidently;
  2. do research using UAB databases;
  3. write thesis-driven essays in an informed scholarly context;
  4. demonstrate competence with writing style and MLA format;
  5. show familiarity with literary terms & theoretical approaches to literary analysis; and
  6. become familiar with departmental offerings & career opportunities

This is “literature slow” with lots of opportunities to see how interpretations are arrived at by careful analysis of a limited range of texts.

EH 301-2F: Reading/Writing/Research for Lit Classes

Instructor: Hutchings

This course—basically an Introduction to Writing as an English Major--is designed to teach students to write clearly organized, well supported, cogently argued analyses of literary works, both with and without documented evidence from secondary sources (i.e., literary criticism). The emphasis in the course is on developing those skills that are needed—and expected—in upper-level English courses and graduate school.

Students will learn MLA documentation, library research techniques, and an overview of different types of critical approaches to literature; there will also be much emphasis on developing the skill(s) of “close reading” of prose, poetry, and drama.

EH 309-7P: Beginning Fiction Writing Workshop

Instructor: Braziel

We will look at contemporary short stories, craft and style. Then students will write stories for the workshop.

EH 315-1E: Intro to Professional Writing

Instructor: Wells

Students will explore professional writing as a discipline and learn how to compose professional documents that are common to the workplace. These documents include instructions, proposals, memos, brochures, newsletters, and handouts. We will also study and practice how to pitch ideas and collaborate during professional meetings. As successful professional writing involves effective composing processes, we will take documents through processes of invention, audience analysis, document design, drafting, revision and editing. Finally, students will not only learn genres and practical skills, but will also think about the rhetoric and ethics of professional writing and information design.

EH 324-2B: African American Lit: Intro to African American Literature

Instructor: Dunbar

This course will examine the significance of the African American literary tradition in shaping both the identities and the histories of people of African descent in the United States. The fiction of the writers featured in this course spans such periods as the New Negro Movement or the Harlem Renaissance of the 1920s; the fiction of post WWII or the "indignant generation"; The Black Arts Movement of the 1960s, and contemporary African American fiction which is defined by what some scholars term a Renaissance in fiction by African American women. Throughout the course we will focus upon the historical and cultural contexts that shape the artistic development of African American writers as well as the manner in which they experiment with forms of fiction.

The purpose of the course is not only to serve as an introduction to the fiction of major writers within the African American literary tradition and the eras which in part defined them, but, equally as important, to provide the skills and background that will enable you to identify and examine the most salient themes, forms and patterns that define their fiction. Together these themes, forms and patterns constitute a shared symbolic geography from which emerges the dynamic and evolving tradition of African American literature.

  • W. E. B. Du Bois, The Souls of Black Folk
  • Nella Larsen, Passing
  • Richard Wright, Native Son
  • Ralph Ellison, Invisible Man
  • Leroi Jones, The Dutchman
  • Toni Morrison, The Bluest Eye
  • Trey Ellis, New Black Aesthetic

400/500-Level Courses

EH 409/509-9H: Advanced Fiction Writing Workshop

Instructor: Braziel

We will read contemporary short story collections. Then students will be asked to come up with ideas for their own collections and write stories for those collections in the workshop.

EH 415/515-2C: Forms of Fiction

Instructor: Vines

We will aspire to write sentences and paragraphs like these from Lydia Davis:

I prune the plants in my windowbox as though I were alone in the world, and she, with the same air of preoccupation, pinches the tomatoes that sit in a row on her windowsill and untangles a sprig of parsley from the bunch that stands yellowing in a jar of water. We are both so quiet that the scratching and fluttering of the pigeons in the eaves above seem very loud. Our hands tremble, and that is the only sign we are aware of each other.

Be prepared to peruse and to critically investigate in writing and discussions contemporary flash fiction collections, to compose and revise flash fiction according both to my draconian restrictions and to your dictates, and to critique your peers' flash during workshop.

EH 424/545-2D: African American Lit: The Indignant Generation

Instructor: Dunbar

The Great Depression of the 1930s worsened the already bleak economic situation of African Americans. They were the first to be laid off from their jobs, and they suffered from an unemployment rate two to three times that of whites. In early public assistance programs African Americans often received substantially less aid than whites, and some charitable organizations even excluded blacks from their soup kitchens.

As it was becoming increasingly evident that the democratic project was not working to the benefit of black Americans, many began to look for alternative forms of governance that might close the widening gap between black and white Americans. By the 1930s African Americans had become increasingly intrigued by the Bolshevik Revolution, turning to communist rhetoric as a possible solution to the socio-economic issues confronted by black communities.

In this course, we will examine the geo-political conditions that lead black writers and artists to shift their discourses from the relative safety of Harlem Renaissance respectability to the increasingly radical ideological approaches of the indignant generation (1930-1964). We will begin with a brief overview of the literary periods that preceded the stock market crash of 1929, including the slave narrative and the new negro renaissance. We will then read the works of canonical black writers from the realism/naturalism and modernist era. Finally, we will close with a text that marks the move from indignation to black power.

The purpose of the course is not only to serve as an introduction to the fiction of major writers within the African American literary tradition and the eras which in part defined them, but, equally as important, to provide the skills and background that will enable you to identify and examine the most salient themes, forms and patterns that define this particular era.

EH 436/536-2F: Writing for Young People Workshop

Instructor: Madden

This workshop will focus specifically on writing stories for young people. Students will be presented with a range of children's authors from picture book to early reader to middle grade to young adult. From Maurice Sendak to James Marshall to Kwame Alexander to Judy Blume to Jaqueline Woodson to Linda Sue Park to Rainbow Rowell to Laurie Halse Anderson to Gary Paulson to Irene Latham to Pam Muñoz Ryan, students will read a range of stories and styles and learn about writing for children.

Students will write three picture books, including a fractured fairy tale, one chapter of a middle grade novel and one chapter of a young adult novel. They will also be expected to revise their work based on feedback in the workshop. A visiting author will come to the workshop during the semester to discuss writing and children's literature. The class will culminate in a visit to Epic Magnet or Glen Iris School near campus for UAB students to read their stories developed in the workshop to the children in grades K-5 at Epic.

EH 442/542-1D: Literary Theory and Criticism: 20th Century to the Present

Instructor: Bach

In this class, we will read some of the greatest hits of literary theory. We will start with Psychoanalytic Theory and Marxist Theory, and move on to Feminism, Queer Theory, Critical Race Theory, Animal Studies, Postcolonial Theory, and Ecocriticism and Science Studies. That trajectory will help students to understand both the history of literary theory, and the ground on which current theorists are building their texts. Students will learn how to take apart difficult theoretical texts and use their insights to read in new ways.

Students will keep a reading journal and take three exams.

EH 453/553-1C: History of the English Language

Instructor: Clements

Have you ever wondered where English came from, how it is related to languages like German or Latin, or why American pronunciation is different from British English? This course traces the history of English from its ancient past to the present, including changes in its sound, spelling, and use over time. Central to our discussions in each historical unit is the perceived function of language within human culture and how language responds to or reflects social, political, and technological changes, from contact with Old Norse in the Viking Age to the creation of Twitter.

This course aims to help students appreciate the nature of English in earlier periods and to gain familiarity with the original language of several literary works—such as letters, poems, speeches, plays, and novels—and includes working closely with Old and Middle English texts. This focus on primary sources fosters a stronger sense of the value of linguistic inquiry in composition, creative writing, and the study of literature.

By the end of this course students should be able to describe the characteristics of English in the different stages of its history and identify these features in textual examples; explain the historical and sociolinguistic aspects of language change; and discuss the ideological stakes of standardization in the present and the future of English.

EH 455/555-2E: Digital Publishing

Instructor: Bacha

Beginning with the shift from print to digital publication, students in this course analyze how the act of text production is changing and learn rhetorical strategies necessary to publish information in newer communication contexts. Specifically, students explore how newer trends and technologies for digital communication are influencing how people read, write, interact with, and share publicly available information.

Students in this course are also introduced to a variety of industry standard communication technologies designed to help them prepare and publish interactive information (including web-based and video productions) designed to function in a number of different communication contexts. No prior experience with any type of technology is required for this course.

EH 457/557-9I: Writing and Medicine

Instructor: Ryan

In this course, we will examine how medical knowledge and practice are “written”—or constructed—according to particular socio-historical values. Overarching institutional assumptions and norms as well as specific texts and practices will be considered in our study of medical discourse, including:

  • an examination of historical influences on the biomedical model privileged in Westernized medicine
  • the analysis and critique of “mediated” medicine, identifying frames and other presentation devices that influence how health, illness, and medicine are represented to various stakeholders
  • an evaluation and composition of texts situated in particular cultural contexts (e.g., health campaigns)
  • an introduction to working terminology in the investigation of medical discourse

Required Texts

  • Arntfield, Michael, and Johnston, James. Healthcare Writing: A Practical Guide to Professional Success.
  • Skloot, Rebecca. The Immortal Life of Henrietta Lacks.
  • Additional assigned readings available through Sterne and Lister databases.

Assignments and Percentages

EH 457 Students:

  • Short Paper (4-5 double-spaced pages) Medical Discourse Analysis and Critique: 20%
  • Final Project (10-12 double-spaced pages) Approved Writing and Medicine Topic of:
    • Student’s Choice
    • Written Paper: 30%
    • Oral Presentation (5-7 minutes): 10%
  • Final Exam (assessment of comprehension and application of course material): 25% In-Class and Take-Home Writing Exercises, Reading Quizzes 15%

EH 557 Students:

  • Short Paper (6-8 double-spaced pages) Medical Discourse Analysis and Critique: 15%
  • Final Project (14-16 double-spaced pages) Approved Writing and Medicine Topic of:
    • Student’s Choice
    • Written Paper: 30%
    • Oral Presentation (8-10 minutes): 10%
  • Discussion Leader Assignment 10%
  • Final Exam (assessment of comprehension and application of course material, with 557 students completing an additional section): 20%
  • In-Class and Take-Home Writing Exercises, Reading Quizzes 15%

For more information, contact Dr. Cynthia Ryan, This email address is being protected from spambots. You need JavaScript enabled to view it..

EH 461/561-1B: American Literature before 1820: England, America, and the 18th-Century Atlantic World

Instructor: Bellis

In this course, we’ll look at the intersections between English and American culture during the 18th century. For most of this period, of course, “Americans” thought of themselves as Englishmen, and many figures moved back and forth across the Atlantic, writing, speaking, and working in both London and the colonies.

We’ll begin with a pair of troublemaking journalists, Daniel Defoe and Benjamin Franklin, but we’ll also talk about poetry by Alexander Pope and essays by Addison and Steele. Throughout the century, American writers drew from and defined themselves against such British models, whether in gothic fictions—The Castle of Otranto and Edgar Huntly—or theatrical comedy—The School for Scandal and The Contrast.

Atlantic trade was not just intellectual, however: England and America were connected economically by slavery and the exploitation of the West Indies—we’ll also discuss both Olaudah Equiano’s Interesting Narrative and the poetry of Phillis Wheatley.

Over the course of the term, I’ll ask you to complete three papers totaling 20-25 pages and make an in-class presentation.

Texts may include:

  • Addison and Steele, essays from The Spectator
  • Brown, Edgar Huntly
  • Defoe, Robinson Crusoe
  • Equiano, The Interesting Narrative
  • Franklin, Autobiography and Other Writings
  • Pope, Selected Poetry
  • Sheridan, The School for Scandal
  • Tyler, The Contrast
  • Walpole, The Castle of Otranto
  • Wheatley, Poems

EH 464/564-1F: American Literature 1914-1945

Instructor: Quinlan

“Make it New!” was the mantra of American literary culture at the beginning of the 20th century. Following a conflict in social and religious outlooks between the older and younger generations—compellingly depicted in Willa Cather’s My Antonia and Eugene O’Neill’s Long Day’s Journey into Night—the era presented a startling degree of experimentation in all of the arts. This experimentation was intertwined with other innovations of the age—cars, skyscrapers, radio, and movies (resulting in several of the writers working for Hollywood studios). At the same time, the Great War served as yet another disruptive marker between the coherent past and the fragmented present and indirectly provoked renewed calls for racial and gender equality.

We will explore these issues in texts by Cather, O’Neill, T. S. Eliot, Gertrude Stein, Ezra Pound, William Faulkner, Langston Hughes, Ernest Hemingway, F. Scott Fitzgerald, Nella Larsen, and others as we reel our way through the Jazz Age and the bewilderments that followed.

EH 476/576-7M: Shakespeare: Page and Stage

Instructor: Bach

Shakespeare wrote his poems and plays before standardized spelling and English dictionaries. In this course we will learn to attend to the multiple meanings available to Shakespeare as a writer. We will look at Shakespeare’s texts before they were edited, and we will see how Shakespeare has been edited and read over the centuries. Students will also read current research on Shakespeare’s plays on the Renaissance stage.

Students will write one short paper and complete a final research project. For undergraduate students, this includes an annotated bibliography and an eight-page paper. Graduate students will write a 12-15 page research paper.

EH 481/581-2C: 18th Century Literature and Culture

Instructor: Grimes

This course will explore some of the canonical literature from the “long 18th century,” including works by Dryden, Behn, Pope, Swift, Johnson, Haywood, Fielding, Gray, Goldsmith, and others.

EH 487/587-1C: Nineteenth-Century British Novel

Instructor: Siegel

What are novels for? The nineteenth century is considered the great age of the novel, an age when fiction had reached its maturity as an art form and prospered, blissfully unscarred by the formal abrasions of modernism. English bookstands, libraries, and parlors were flooded with novels; everybody—nearly everybody—read them. But what were they for? While the pedigree of fiction was established and its profits were undeniable, its purpose was an open question. Should a novel be a manifesto, an argument dressed up as a story? Ought it to be romantic or realistic? Should it feed and exploit the crass hysteria of a mass audience? Or should it instead be obscure, difficult? Was the novelist a scientist, recording the vicissitudes of social behavior? Was she an artist, painting with words? Or was the plot the thing?

We’ll approach these questions through an array of the century’s great British novelists, including Charlotte Brontë, Charles Dickens, and others. Only take this class if you like to read long novels: we’ll be covering about 200 pages a week (sometimes more), with regular quizzes. Other work includes two shorter essays and a final research paper.

EH 488/588-2D: British Novel: The Modern Age

Instructor: Hutchings

Primary emphasis in the course will be on changes in the form, style, narrative techniques, and subject matter of British fiction in the 20th century, examined through novels which are, in one way or another, about radical changes (in status, insight, personality, etc.) that the characters undergo.


  • Joseph Conrad, Heart of Darkness (Norton Critical Edition, 4th edition)
  • D. H. Lawrence, Sons and Lovers (Dover Thrift edition)
  • James Joyce, A Portrait of the Artist as a Young Man (Norton Critical Edition)
  • Ford Madox Ford, The Good Soldier (Norton Critical Edition, 2nd edition)
  • Virginia Woolf, The Mrs Dalloway Reader, ed. Francine Prose (Mariner Books)
  • Alan Sillitoe, Saturday Night and Sunday Morning (Plume Books)
  • John Fowles, The French Lieutenant’s Woman (Back Bay Books)
  • Anthony Burgess, A Clockwork Orange (Norton Critical Edition)
  • Samuel Beckett, How It Is (Grove Press)

Note: This is the ONLY course at UAB that can PROMISE that once you have read all of the books in the course you are GUARANTEED to know exactly HOW IT IS !!!! (Think how you will impress your friends—and astonish your parents!)

EH 496-QLA: English Capstone

Instructor: Bacha

This seminar will provide an opportunity for students to reflect upon and to use the knowledge, skills, and dispositions developed in previous English coursework.

600/700-Level Courses

EH 615-9I: Graduate Poetry Writing Workshop

Instructor: Vines

“The greatest part of a writer’s time is spent in reading, in order to write; a man will turn over half a library to make a book.” -–Samuel Johnson

“The writer is initially set going by literature more than life.”-- Flannery O’Connor

“The true artist is known by what he annexes, and he annexes everything.” –Oscar Wilde

“Without Tennyson’s reading of Keats, we would have almost no Tennyson.” –Harold Bloom

“No poet, no artist of any art, has his complete meaning alone. His significance . . . is the appreciation of his relationship to the dead poets and artists.” –T.S. Eliot

In this workshop, we will focus on investigating “the anxiety of influence.” Eliot said of Milton that a “man may be a great artist and yet have a bad influence.” We will look at poets who are by and large good artists, and we will try to discern what makes them effective/ineffective influence models for our poems.

Be prepared to peruse and to critically investigate in writing and discussions contemporary poetry collections, to compose and revise poems according both to my draconian prompts and to your dictates, and to critique your peers' poems during workshop.

I will also anticipate, as Padgett Powell articulates so well, "full efforts at writing well, at criticizing for the benefit of others, at attending religiously, at speaking cogently when you can, at surrounding yourself in a warm air of intelligent reticence when you can't."

Leading critic and poet William Logan complains that

Many younger poets . . . have no concern for the richness of words, the complication of expression, and rarely use what might be called the subsidies of sense (as opposed to plain, bread-and-butter prose meaning). These subsidies might include ambiguity, nuance, the right word, music of various sorts (alliterative, consonantal) patterns of adherence (meter, set form), thematic tangles, sensitivity to verb tense, timing and delay—in short, the ways that poets have traditionally put English on English.

In our drafts, we will show concern for all of these complex subsidies of sense.

EH 646-9H: Practicum in Teaching Writing

Instructor: Minnix

Writing is a complex act. You already know this because as writers you grapple with the complexities of argument, audience, and style every time you sit down to write. But, the teaching of writing in the university is often described as the teaching of a “basic skill” and often relegated just to courses in Freshman English. In EH 646 we will grapple with this description on both a theoretical and practical level and learn how composition studies has challenged prevailing contentions that writing in the university is basic, neutral, and monolingual. We will leave the course not only ready to teach our first composition course but also ready to engage others across the disciplines in conversations about the teaching of writing.

The course provides a thorough introduction and outline of the major concepts, theories, and conflicts that make up the field of composition studies, as well as opportunities to apply the insights from composition studies to the design of our own EH 101 courses. Our projects for the semester will include a literacy narrative, a portfolio of EH 101 course materials, a teaching praxis portfolio made up of students’ reflections on the observation of a composition classroom and their work with students, and a journal assignment that asks you to apply the insights of the composition research and theory we read to specific classroom situations.

EH 690-7M: Major Writers Seminar: Byron

Instructor: Grimes

This course will explore the major works of Byron, perhaps the most popular and culturally influential poet of the 19th century. Readings will include Childe Harold’s Pilgrimage, Manfred, Don Juan, and several of the lesser-known poems and plays.