This foundational course in literary studies will require students to read closely and analyze carefully a representative variety of prose, poetry, and drama; master key literary and critical terms; and explore a variety of core critical approaches to the analysis and interpretation of literature. This course will also explore important conceptual questions about literature and its study, to help students develop the skills of analysis and interpretation needed to approach literature in a sophisticated manner.

Our course focus will be literature about home/homes. Our readings will raise questions such as: How do we define “home”? What does home do for us, and what does it do to us? How can conceptions of home change? What happens when we leave one home for another? What is the relationship between notions of home and domestic space, and systems of oppression? Our course texts will be drawn primarily but not exclusively from multiethnic twentieth- and twenty-first-century American literature. Course requirements will include active reading, written homework and quizzes, class participation, written literary analysis, and a final exam.

Section: 003 #4093
Instructor: M. Bradshaw
3.0 credit hours lecture
MWF 8:15-9:05 AM LSC

In this section of Loyola’s foundational course in literary studies we will focus on literature written in and about Chicago, from the 19^th century to the present. We will focus on how literature represents and portrays the city, from helping us remember key moments in Chicago history, to grappling with social and cultural issues, to capturing what makes this city unique among American cities.

Section: 004 #4094
Instructor: TBD
3.0 credit hours lecture
MWF 8:15-9:05 AM LSC

Section: 005 #4095
Instructor: M. Bradshaw
3.0 credit hours lecture
MWF 9:20-10:10 AM LSC

Section: 006 #4096
Instructor: E. Bayley
3.0 credit hours lecture
MWF 10:25-11:15 AM LSC

This is a foundational course that explores a variety of critical approaches to the analysis and interpretation of literature. In particular, we will be looking at the concepts of vulnerability in the midst of illness or a pandemic. We will discuss how these concepts are depicted in a number of different poems, plays and short stories. These topics are often difficult topics to discuss and yet, they are inevitable realities in each of our lives. Thus, we will use texts, by a number of different American authors, such as Jane Kenyon, Mary Oliver, Annie Proulx, Moises Kaufman, Essex Hemphill and more. The method of assessment will include pop quizzes, classroom participation, an in-class writing on poetry, a midterm and a final.

Section: 007 #4097
Instructor: K. Quirk
3.0 credit hours lecture
MWF 10:25-11:15 AM LSC

This is a foundational course in literary studies in which we will read works that are about crossing boundaries. We will read works of poetry, drama, and fiction that address boundary crossings and trouble different sorts of boundaries: boundaries between nations, between genders, between the human and the non-human, between the magical and the real, between fiction and non-fiction, and between stories and poems. Readings may include a Greek Tragedy or two, Mary Shelley’s Frankenstein, Toni Morrison’s Beloved, David Henry Hwang’s M. Butterfly, Claudia Rankine’s Citizen, Mohsin Hamid’s The Reluctant Fundamentalist. Our goals will be to develop a better critical vocabulary and analytical approach to the three genres of poetry, drama, and fiction. The course writing assignments (both formal and informal) will emphasize literary analysis but will also seek to improve general writing skills. More broadly, however, I hope we will all learn to approach literature in a more attentive, engaged, and ultimately pleasurable manner. Ideally, we will not only learn about literature and hone our interpretive skills but will also try to relish the pleasure of reading literature.

Section: 008 #4098
Instructor: J. Fiorelli
3.0 credit hours lecture
MWF 12:35-1:25 PM LSC

Section: 009 #4099
Instructor: L. Goldstein
3.0 credit hours lecture
MWF 12:35-1:25 PM LSC

Utopias and Dystopias

In this course, we will read, discuss and write about how texts and film that create utopias and dytopias form astute social commentary on the present state of the world. The units in the course have a special focus on social ecologies based in racial and gendered hierarchies. We will be reading short stories, poetry and viewing films. You will be introduced to multiple strategies that approach and interpret challenging texts through lecture, class discussion, group work and short responses. Materials include: short stories by Octavia Butler, the film Pumzi by African filmmaker Wanuri Kahiu, a novel by Richard Brautigan, and the poetry of Harryette Mullen, Khadijah Queen, Douglas Kearney, Hala Alyan and Timoth Yu.

Section: 010 #4100
Instructor: L. Goldstein
3.0 credit hours lecture
MWF 1:40-2:30 PM LSC

Utopias and Dystopias

Section: 011 #4101
Instructor: B. Molby
3.0 credit hours lecture
MWF 1:40-2:30 PM LSC

After our experiences of the pandemic, this course will challenge literature to put its money where its mouth is. If literature is understood to be a unique mode of transmitting and interpreting knowledge and human experience through creative linguistic expression, then literature can make a uniquely valuable contribution to our own understanding and experience of times of plague, illness, and loss.

We will read and examine texts such as Daniel Defoe’s A Journal of A Plague Year, Edgar Allen Poe’s “The Masque of the Red Death,” and Ling Ma’s Severance, and in the process discuss how past texts have presented plague, contagion, illness, isolation, and social fragmentation, but also how they provide opportunities for finding consolation and community through the shared experience of narrative.

Section: 012 #4102
Instructor: K. Quirk
3.0 credit hours lecture
MWF 1:40-2:30 PM LSC

Section: 013 #4103
Instructor: I. Cornelius
3.0 credit hours lecture
MWF 2:45-3:35 PM LSC

Speaking out

What power does a voice have? In this course we study defiant, bold, despondent, and expressive voices that speak out from the pages of literary verse, prose, and drama. Readings include Gloria Anzaldúa’s “How to Tame a Wild Tongue,” Sophocles’s Antigone, Shakespeare’s The Tempest, Plato’s Apology of Socrates, Margery Kempe’s Book, The Wife of Bath’s Prologue and Tale (from Geoffrey Chaucer’s Canterbury Tales), and short poems by Anna Letitia Barbauld, Judith Ortiz Cofer, Paul Laurence Dunbar, Edna St. Vincent Millay, Alexander Pope, Dudley Randall, and Percy Bysshe Shelley. Through these readings we gain experience of forms of English different from the modern standard and we develop heightened and sharpened powers of attention to literary creations and the “many kinds of voices” carried within them. Assessment is by quizzes, short writing assignments, a class presentation, and a final project.

Section: 014 #4104
Instructor: C. Macon
3.0 credit hours lecture
MWF 2:45-3:35 PM LSC

Little Magazines of Chicago

The Little Magazine of Contemporary America notes that “editors characteristically establish new magazines in reaction to and usually out of dissatisfaction with the literary status quo.” In this spirit of rebellion, little magazines have long contained much of the most cutting-edge, experimental literature in the English canon. Typically printed in small batches, independently edited, and locally distributed, little magazines can give writers and editors permission to get vulnerable and try something new. In this foundational interpreting literature course, we’ll read and discuss what makes the prose, poetry, and drama from Chicago-based literary magazines so special—from the turn of the 20th century to the here and now.

Section: 015 #4106
Instructor: J. Hansen
3.0 credit hours lecture
TuTh 8:30-9:45 AM LSC

Frozen Gothic: Environment and Power in Horror Literature, 1798-2021

This foundational course in literary studies will examine instances of “horror” literature across the genres of prose, poetry, and drama from the publication of Samuel Taylor Coleridge’s The Rime of the Ancyent Marinere to our present decade. For the purposes of this course, “horror” literature refers to both traditional Gothic forms and literature whose subject matter is intended to be horrifying to its audience. Specifically, the readings selected will deal with horror derived from the natural (and often icy) environment, horror derived from the enactment of the Euro-American colonial project, and horror derived from the confluence of the two. We will read works from British, Euro-American, Euro-Canadian, indigenous American (Kiowa, Mohawk), and indigenous Canadian (Inuit) authors that, one way or another, feature different (or similar) incarnations of ice, snow, and cold temperatures.

Our anchor will be, quite literally, frozen as we consider how each author’s historical, geopolitical, racial, and gendered position informs the way they write about the environment and untimely death. How is the hypothermia Victor Frankenstein succumbs to related to the hypothermia experienced by the Kiowa boys of Momaday’s The Indolent Boys? This is just one of the questions we will ask ourselves as we learn the foundations of interpreting literature. Texts will most likely include but not be limited to Mary W. Shelley’s Frankenstein, H.P. Lovecraft’s At the Mountains of Madness, N. Scott Momaday’s The Indolent Boys, Colleen Murphy’s The Breathing Hole, Samuel Taylor Coleridge’s The Rime of the Ancyent Marinere, and Joan Naviyuk Kane’s Dark Traffic.

Section: 016 #4107
Instructor: E. Horst
3.0 credit hours lecture
TuTh 8:30-9:45 AM LSC

This introductory University Core Literature course, entitled “Understanding the Aesthetic in Literature and Culture,” will contemplate what the aesthetic means in literature from 1800 to today. We will discuss topics ranging from beauty and sensation to modern day Instagram aesthetics, all the while practicing the skills of literary interpretation, analysis, and argument. We will read poetry, prose, and fiction by nineteenth-century authors like Edgar Allan Poe, Oscar Wilde, and Alice Dunbar Nelson, as well as contemporary writers and texts such as Gillian Flynn’s Gone Girl. Together, we will consider how different authors think about the aesthetic, and interrogate the concept, discussing questions like: Why do aesthetics matter? What is problematic about the aesthetic? And what factors influence our aesthetic judgements?

Section: 018 #4110
Instructor: D. Olszewska
3.0 credit hours lecture
TuTh 8:30-9:45 AM LSC

This section of Loyola’s foundational course in literary studies will focus on the portrayal of college and university life in fiction, drama, and poetry. Our class will be centered on representations of student life, but we will also look at some works told from the perspectives of narrators who are professors, would-be students, or former students. This version of UCLR 100E will analyze writings by Elif Batuman, F. Scott Fitzgerald, Thomas Gray, Stephen King, David Mamet, Philana Imade Omorotionmwan, Lucia Perillo, ZZ Packer, Tommy Pico, Erika Sánchez, and Wendy Wasserstein.

Section: 019 #4111
Instructor: L. Durnell
3.0 credit hours lecture
TuTh 10:00-11:15 AM LSC

Reclaiming the Narrative

Literature’s art and craft demonstrates how language braided with voice creates beautiful and resonant literary art. While enjoying literature’s imagery and music, we also must acknowledge that literature is often a powerful form of resistance for marginalized writers. This resistance allows them to reclaim their narrative

Our course will address the poetry, fiction, and creative non-fiction by twentieth and twenty-first century women, men, and non-binary writers who come from various positionalities and marginalized backgrounds -- race, sexuality, disability, gender, religion – and challenge the dominant narrative. Our authors include Zora Neale Hurston, Chrystos, James Baldwin, Akwaeke Emezi, Nicola Griffith, Josefina López, Amanda Gorman, Joy Harjo, Erica Jong, Flannery O’Connor, Audre Lorde, Barry Jenkins, Toni Morrison, Tony Kushner, Z.Z. Packer, Sylvia Plath, and Anne Sexton. In addition to discussing and writing analyses centered on these authors’ works, students will learn about and use literary theory and literary criticism in their written and group presentation assignments. In addition to reading our authors’ varied creative works, students will read some supplemental texts with various works.

Section: 020 #4112
Instructor: C. English
3.0 credit hours lecture
TuTh 10:00-11:15 AM LSC

This foundational course in literary studies will address global ecologies and environmental justice through close reading and careful analysis of a representative variety of fiction, poetry, and drama that feature, among other things, pet elegies, apocalyptic tales, and folklore about seals, bees, and other non-human animals. Students will be expected to master key literary terms and to explore a variety of core critical approaches to the analysis and interpretation of literature including ecofeminist, ecogothic, and postcolonial ecocritical approaches. How do literary texts represent the natural world and how do these representations inform our relationship to the land, to the sea, to non-human animals, and to one another?

We will examine texts from the early nineteenth-century and from the present day to see what literature can tell us about environmental crises, race, gender, social class, global capitalist economies, and animal rights. Authors may include John Clare, Anna Laetitia Barbauld, Seamus Heaney, Jesmyn Ward, and Edwidge Danticat.

Section: 022 #4879
Instructor: E. Hopwood
3.0 credit hours lecture
TuTh 11:30-12:45 PM LSC

Murder, Mystery, and Misfits

In this foundational core course in literary studies, we will investigate representations of crimes and criminality in prose, fiction, poetry, and drama from the 19th century to today. How does race, gender, class, and culture inform how we demarcate between the “guilty” versus the “innocent”? How has criminality been constructed and legislated? And why are we so attracted to consuming stories about true crime, who-dun-its, murder, and detectives?

We will read authors such as Edgar Allen Poe, Agatha Christie, Oyinkan Braithwaite, Cornelius Eady, William and Ellen Craft, and David Heska Wanbli Weiden. We’ll also investigate literature’s connection to broader cultural issues, from analysis of sites like the Eastern State Penitentiary, to digital prison records, to narrative study of true crime podcasts and crime media. Students will be introduced to key literary terms and critical approaches to close reading and analysis. Students are expected to communicate insights about each text through writing, creative projects, and in-class discussion.

Section: 023 #4880
Instructor: M. Reddon
3.0 credit hours lecture
TuTh 1:00-2:15 PM LSC

Dreams, Visions, and Fantasies

“From dreams we talk to each other about reality,” writes Jean Toomer in his collection of aphorisms Essentials (1931). Using “dreams” as a thematic bridge, this course will introduce students to poetry, drama, and prose that explores the relationship between literary representation and subjectivity. We will consider questions such as how does literature define and mediate our experiences of the world? How does fiction, like the dream, express our desire for a better future? Alternatively, how does fiction represent our ambivalence to the past and our frustration with the present? Throughout the course our class will foreground issues around gender, race, sexuality, nationality, place, and spirituality in our readings. Course texts may will include experimental poetry, plays, and prose from a range authors and historical periods. Students who take this course will be introduced to a variety of approaches for reading literature in its cultural, historical, and political contexts, develop close writing and analytic skills through literary analysis and essay writing, and gain critical vocabulary to describe figurative language and genre.

Section: 024 #4881
Instructor: C. English
3.0 credit hours lecture
TuTh 2:30-3:45 PM LSC

Section: 025 #4882
Instructor: S. Bost
3.0 credit hours lecture
MW 4:15–5:30 PM LSC

“What does reading do for us?"

This foundational course in literary studies will require students to read closely and to interpret carefully a variety of literary genres, including poetry, short story, drama, novel, and nonfiction. As we explore important questions about how literature works, this section of UCLR will focus on how literature moves us. What do we learn from reading? Are we supposed to like what we read? Are we supposed to identify with characters and authors? Why should we spend our time reading literature when the world is falling apart around us? Thinking about questions like these will help students to develop analytical skills and empathy for approaching literature in a more complex manner. I have chosen, for this semester, three novels from different historical and cultural contexts: Charlotte Brontë’s Jane Eyre (1847, British), Chinua Achebe’s Things Fall Apart (1958, Nigerian), and Han Kang’s The Vegetarian (2005, South Korean). We will also read some of Carl Sandburg’s Chicago Poems (1916) in juxtaposition with contemporary poems by Joshua Bennett. Short stories and plays by Latinx and African American writers will focus on race, gender, and colonialism from different perspectives. All texts will be considered in their larger social and cultural contexts. Assignments will include regular written responses to the readings, collaborative projects, and two open book exams.

Section: 026 #4883
Instructor: E. Steuber
3.0 credit hours lecture
M 7:00-9:30 PM LSC

Interrogating Misogyny and the Gender Binary: 1375-Present

This foundational course in literary studies will require students to read closely and analyze carefully a representative variety of prose, poetry, and drama, master key literary and critical terms, and explore a variety of core critical approaches to conceptual questions about literature and its study. What is literature? Why does it matter? How has it been conceived in different times and places? Where does meaning come from in literature? What is literary interpretation and what role does it have in the production of literary meaning? How are literary works related to culture and society and how do they reflect—and reflect on—questions of value and the diversity of human experience?

Thematically, we will focus on ideas concerning gender as understood across a large swath of time in England and America (1375 to 2005). We’ll see how ideologies concerning gender (and its intersection with issues of race, sexuality, etc.) have been used as tools to dominate and subjugate women and other marginalized groups (propagating various forms of violence), as these ideas have the intentional and/or unintentional result of naturalizing abusive and unequal relationships. We’ll see how literature often pushes these problematic ideas as well as critiquing them, and how it offers us unique ways to understand this problem and many others.

Section: 027 #4884
Instructor: R. Gilbert
3.0 credit hours lecture
Tu 7:00-9:30 PM PM LSC

“Visiting Fictional Worlds”

Writers are world-builders: they create new worlds, and their stories are an invitation to play in their worlds. In this course we will read plays, poems, and short fiction and we will examine the ways in which writers construct fictional worlds and tell stories within them. The course will introduce some of the most useful ways of analyzing literature and some of the essential vocabulary of literary study, which will help us become comfortable discussing the works we are reading.

You will be required to write a few short response papers, and there will be a midterm and a final.

ENGL 210   Business Writing

Section: 01W #1417
Instructor: J. Chamberlin
3.0 credit hours lecture
TR 2:30–3:45 PM LSC

Business Writing will train you to approach any professional writing task by first assessing the rhetorical situation. You will learn to analyze genres and styles of writing commonly used in business (such as job ads, memos, letters, proposals, reports, and instruction) and compose your own writing based on your assessment of audience and persuasive goals. Collaboration and working effectively in groups are essentials skill to mastering professional communication; assignments and class activities therefore will text your ability to incorporate and respond to your peers’ ideas and work in class.

ENGL 210-01W is a writing intensive course.

Section: 210-02W #3190
Instructor: J. Hovey
3.0 credit hours lecture
MW 4:15-5:30 PM LSC

This course provides students training and practice in various forms of business writing, such as resumes, cover letters, memos, instructions, reports, and proposals. Students will learn to express themselves clearly in a professional context, with an understanding of audience and tone across different forms of internal and external communication. Students will work individually as well as in pairs and teams to strengthen their writing, proofreading, editing, and presentation skills so they can function as ethical, literate agents in a competitive world.

ENGL 210-02W is a writing intensive course.

Section: 210-60W #1993
Instructor: J. Janangelo
3.0 credit hours lecture
Tu 7-9:30 WTC

Our course covers the rhetorical principles of effective writing, focusing on specific types of discourse practiced in business and professional settings. You will gain experience reading and writing texts pertinent to business communication including press releases, customer reviews, and resumes.

Our course is writing intensive. We will use a process approach to writing, emphasizing problem-solving, prewriting strategies, and editing and revision skills. You will plan and share some of your writing with me in draft conferences. That gives you a chance to raise ideas, ask questions, get assistance, and receive feedback on your work.

ENGL 210-60W is a writing intensive course.

Section: 61W #5961
Instructor: L. Parzefall
3.0 credit hours lecture
Th 7:00–9:30 PM WTC

ENGL 210 offers students who want to improve their professional writing, or are considering careers in business, training and practice in various forms of business writing, such as memos, instructions, letters, resumes, proposals, and reports. Business Writing will train you to approach any professional writing task by first assessing the rhetorical situation. You will learn to analyze genres and styles of writing commonly used in business (such as job ads, memos, letters, proposals, reports, and instruction) and compose your own writing based on your assessment of audience and persuasive goals. Collaboration and working effectively in groups are essential skills to mastering professional communication; assignments and class activities therefore will test your ability to incorporate and respond to your peers’ ideas and work in class.

ENGL 210-61W is a writing intensive course.

ENGL 211  Writing for Pre-Law Students

Section: 60W #1418
Instructor: D. Gorski
3.0 credit hours  lecture
M  7:00–9:30 PM WTC

In this course, students will learn to develop the writing skills used by law school students and attorneys to prepare case briefs, office memoranda, and pre-trial motions. Students will also learn how to answer essay examination questions of the type given in law school and on a state bar examination. In class, students will develop the verbal abilities necessary to take a legal position and defend it with statements of fact and conclusions of law. Realistic hypothetical fact patterns will be analyzed using the IRAC method: issue, rule, application, and conclusion. Learning how to cite to legal authorities is a central part of the course. Readings include judicial opinions, state and federal statutes, and law review articles. The course is taught by a practicing attorney, and assumes no prior legal studies by the students.

ENGL 211-60W is a writing intensive course.

Section: 61W #2377
Instructor: D. Gorski
3.0 credit hours  lecture
W  7:00–9:30 PM WTC

ENGL 211-60W is a writing intensive course.

ENGL 220   Theory/Practice Tutoring

Section: 1WE #1994
Instructor: B. Molby
3.0 credit hours lecture
MW  4:15-5:30 PM LSC

English 220 is a seminar designed to prepare students to serve as tutors in the Loyola University Chicago Writing Center. This course is open to students from all majors who have a passion for clear written communication. We will explore the theory and practice of peer tutoring through reading and discussion of research as well as through practical experience. In this course you will learn how to help others become better writers while improving your own writing and critical thinking skills. You will become part of a community of fellow peer tutors and gain experience that will benefit you in a variety of careers. The service-learning component consists of approximately 20-25 hours of observation and tutoring in the Writing Center. The writing intensive component includes several short essays and a group research paper. Students who wish to be enrolled in this course must obtain a short recommendation from a faculty who can speak to the student’s writing ability and interpersonal skills. Recommendations should be emailed to Brandiann Molby (bmolby@luc.edu). Those who excel in the course will be eligible to work as paid writing tutors.

ENGL 220-1WE is a writing intensive course.

Section: 2WE #6673
Instructor: A. Kessel
3.0 credit hours lecture
TuTh 10-11:15 AM LSC

English 220 is a seminar designed to prepare students to serve as tutors in the Loyola University Chicago Writing Center. This course is open to students from all majors who have a passion for clear written communication. We will explore the theory and practice of peer tutoring through reading and discussion of research as well as through practical experience. In this course you will learn how to help others become better writers while improving your own writing and critical thinking skills. You will become part of a community of fellow peer tutors and gain experience that will benefit you in a variety of careers. The service-learning component consists of approximately 20-25 hours of observation and tutoring in the Writing Center. The writing intensive component includes several short essays and a group research paper. Students who wish to be enrolled in this course must obtain a short recommendation from a faculty who can speak to the student’s writing ability and interpersonal skills. Recommendations should be emailed to Amy Kessel (akessel@luc.edu). Those who excel in the course will be eligible to work as paid writing tutors.

ENGL 220-2WE is a writing intensive course.

ENGL 271   Exploring Poetry

Section: 001 #3642
Instructor: K. Lecky
3.0 credit hours lecture
TuTh 10:00-11:15 AM LSC

This course frames itself around a simple question: what is poetry? This question has generated a wealth of surprisingly complicated answers, and throughout the semester we will survey the responses given by past and present poets while creatively formulating our own. In the process, we will practice discussing, analyzing, and even writing poetry individually and in groups. Ultimately, this course is designed to foster confidence in students who perhaps do not feel comfortable engaging with difficult (and at times intimidating) texts by offering a broadly applicable set of hermeneutic tools foundational to humanistic ways of thinking and reading.

Section: 002 #3643
Instructor: A. Baker
3.0 credit hours lecture
TuTh 1:00–2:15 PM LSC

Why does anybody read, write, study, or even (imagine this!) love poetry? In an era when film, television, music, and social media dominate the cultural landscape, what relevance does poetry still have? In this class, as we familiarize ourselves with the history of poetry and some of its most significant works, we will also attempt to ask and answer a very fundamental question: why does this artform even exist? What are its roots in human psychology? Why has it persisted for thousands of years? Why do we turn to it in times of crisis? When we're in love? When we grieve? How might poetry help us to understand the world and ourselves in deeper and more essential ways? In this class you'll read, discuss, analyze, and even write poems.

Section: 01W #3644
Instructor: P. Sorenson
3.0 credit hours lecture
MWF 12:35–1:25 PM LSC

This course will act as an introduction to poetry in English, from Romanticism to the contemporary period. We will discuss the conventions and patterns poets often follow, and I will provide you with the standard terminology used to describe these conventions, such as line, stanza, measure, rhythm, lyric, etc. More importantly, you will learn how to approach these texts critically. We will discuss how these poems work, what they might be arguing, what they suggest about the historical moment in which they were written, and how they relate to or comment on other texts. Finally, our course’s theme is “Retelling and Untelling.” Borrowing these concepts from our first two readings, “The Rime of the Ancient Mariner” and Zong!, we will explore the methods by which poems manifest their contents. This exploration will raise questions, in turn, about speakers, readers, forms, and arguments. In other words, we will investigate the relationships between these poems’ outer shapes and their inner “tellings,” which will help us to understand how poems contain, mask, or even “untell” themselves.

ENGL 271-01W is a writing intensive course.

Section: 02W #3645
Instructor: S. Lepak
3.0 credit hours lecture
TuTh 2:30-3:45 PM LSC

This foundational course in literary studies will serve as an introduction to poetry in English in which we will ask the question - why should we care about poetry? We will cover conventions and patterns involved in the crafting of poetry, dive deeply into imagery and poetic meaning, and closely examine poetry from a variety of time periods and poetic schools. As a writing-intensive course, students will be required to submit weekly writing assignments and complete journal prompts in order to become more thoroughly engaged with the material. In addition to analyzing poetry, students will create their own creative work. As we discuss how poems work and what kinds of work language does, students will participate in these traditions and projects themselves as we write alongside those that we study. Eras of study include epic poetry, lyric poetry, Romanticism, confessional poetry, found poetry, and spoken word, among others. Our goal in this class will be to understand convention and use it to understand why it is used and, perhaps more importantly, when and why great poets abandon convention in their work. Graded work will be largely based in papers and response-writings, and creative assignments will be mandatory but low-value.

ENGL 271-02W is a writing intensive course.

Section: 03W #6579
Instructor: B. Molby
3.0 credit hours lecture
MWF 1:40-2:30 PM LSC

This foundational class will give students a set of tools for reading, interpreting, and writing about poetry. The class will empower students to demystify, analyze, and enjoy poems in English from the medieval period to contemporary texts, and we will read a diverse range of poetic styles, forms, and voices. As a Writing-Intensive course, the class will also include process-based writing assignments.

ENGL 271-03W is a writing intensive course.

Section: 04W #6580
Instructor: B. Mornar
3.0 credit hours lecture
TuTh 8:30-9:45 AM LSC

Poetry is the oldest and most mischievous of literary genres, eternally reinventing itself, challenging conventions, bucking traditions. In this second-tier literature course, we will begin with the idea of form in poetry and learn about the complex histories of traditional forms such as the sonnet, sestina, villanelle, and ballad and of forms derived from non-Western sources such as the ghazal, the pantoum, and Japanese tanka. Our focus, however, will be on how modern and contemporary poets engage in a transhistorical dialogue with these traditions by adapting, appropriating, and/or subverting the forms for their own ends. We will read the sonnet sequences of Renaissance poet Lady Mary Wroth alongside the work of Modernist sonneteer Edna St. Vincent Millay, and we will read Terrance Hayes’s recent Sonnets for My Past and Future Assassin. The recent BreakBeat Anthology series features many contemporary poets working with traditional forms, and we will focus on the most recent of these anthologies, the Latinext collection, where we will find Latinx poets playfully engaging with and transforming poetic traditions. At the end of the semester, we will consider poems in “open forms” as well, by way of “proto-modernist” and innovative poet Emily Dickinson, Modernists Mina Loy and Gertrude Stein, and postwar poets such as Gwendolyn Brooks and Frank O’Hara. Along the way, I will provide you with a vocabulary of key poetic terms so that you can describe what you see, hear, and feel happening in poetry. By the end of this course, you will be able to interpret a variety of formal and open poetries and convey these interpretations in writing. The work for this course will include regular annotations and reading responses, a poetic terms test, an analysis essay, a self-constructed exam, and a creative project or an exploratory essay project.

ENGL 271-04W is a writing intensive course.

ENGL 272   Exploring Drama

Section: 01W #3395
Instructor: R. Gilbert
3.0 credit hours lecture
MW  4:15-5:30 PM LSC

Plays are both like and unlike other forms of literature. Some of the ways we study plays will be familiar from other literature courses, but some will be unique to drama. In this course we will read and watch a selection of different plays from different times and places and we will explore how plays work. We will also spend some time learning about how plays are produced and what goes into staging them. This is a writing intensive course and you will write three essays about plays we have seen or read.

ENGL 272-01W is a writing intensive course.

ENGL 273   Exploring Fiction

Section: 001 #4118
Instructor: C. Walton
3.0 credit hours lecture
TuTh 1:00-2:15 PM LSC

This course focuses on the understanding, appreciation, and criticism of prose fiction. Students will be able to demonstrate understanding of fiction as a means of exploring human experience and understanding the creative process, and they will be able to use the technical vocabulary necessary for understanding fiction. This course will explore the theme of imprisonment in various African American texts. Potential authors may include James Baldwin, Octavia Butler, and Zora Neale Hurston.

This course meets the multicultural requirement.

Section: 002 #34929
Instructor: A. Aftab
3.0 credit hours lecture
TuTh 2:30-3:45 PM LSC

Identity, Power and Resistance in Fiction

What is the function of literature in challenging or reinforcing dominant ideologies about race, class, nation, gender, sexuality and religion? How do writers use fiction to reveal the intricacies of interpersonal and systemic oppression? How do different modes and forms of fiction – such as the bildungsroman or the speculative short story – represent structures of power and strategies of resistance? These questions will guide our class as we delve into contemporary fiction by writers of color. In this course, we will use an intersectional lens to analyze fictional representations of social identity, power and privilege, and resistance and oppression. We will read novels and short stories by writers such as Tsitsi Dangarembga, Ocean Vuong and Nnedi Okorafor. Towards the end of the semester, students will be able to examine how different systems of oppression –such as racism, sexism, and classism – interact and intersect to create unique experiences for marginalized communities. In addition to sharpening their literary analysis, students will learn about current debates in the studies of race and gender, consider the burden of representation for minoritized writers, and examine the relationship between literary aesthetics and politics.

This course meets the multicultural requirement.

Section: 01W #4122
Instructor: L. Le-Khac
3.0 credit hours lecture
MWF 12:35-1:25 PM LSC

Asian American Fiction: Routes, Horizons, and Places of Belonging

Where do Asian Americans belong? This question is urgent in today’s era of resurgent anti-Asian racism, but it has long been a problem for Asian Americans. The disparate routes Asian migrants took to the U.S. tie their stories “here” to a “there” overseas. Meanwhile, their places in the U.S. have been contradictory: embraced as model minorities but also excluded as racial others, foreigners, and threats. Out of this history comes fiction that wrestles with the problem of place and setting. This course will introduce us to the range of Asian American fiction and to the diversity of Asian American identities and histories. We’ll explore how Asian Americans have imagined their routes, horizons, and places of belonging when their places in the nation and the world are unclear. And we’ll stretch our ideas of what Asian American identity can be and where it can travel.

ENGL 273-01W is a writing intensive course and meets the multicultural requirement.

Section: 02W #4123
Instructor: P. Warren
3.0 credit hours lecture
MW 4:15-5:30 LSC

What is speculative fiction? Is it a pretentious re-branding of sci-fi to make this oft snided at genre more palatable to the literati, or - as Robert Heinlein codified it in “On the Writing of Speculative Fiction” in 1947 – that science fiction focuses upon fictional technology, wherein speculative fiction focuses upon the societal implications and impacts of such technologies? Or is it at best futile and at worst toxic to try to define speculative fiction at all, as Ursula K. Le Guin writes: “…that genre is A) an unpronounceable French word; B) a very useful descriptive tool; and C) a pernicious instrument of prejudice.” Perhaps this ever-evolving debate about the genre of speculative fiction can serve as the best meta-description of the art form itself: never settling nor being settled, but rather continuously questioning and being questioned by and with new perspectives.

To read speculative fiction, then (no matter how or if you categorize it) is possibly to enter in to its ongoing interrogatively curious dialogue and add your voice to its interminable, insatiable conversation. Octavia Butler once said: “These novels are not prophetic. These novels are cautionary tales. These novels are, if we are not careful, you know, if we carry on as we have been, this is what we might wind up with. You have to think about what kind of world you want to live in, and I don't think there's a person alive who would want to live in the world that I've written about. But we can arrange it. The problems that I write about are problems that we can do something about. That's why I write about them.” If you want to speculate about what words mean and can do, what kind of world you want to live in and what we can do about the problems we can do something about, then take this course. Texts: Bloodchild and Other Stories, Love after the End…, Octavia's Brood…, New Suns…, Speculative Fiction for Dreamers…. ENGL 273-02W is a multicultural class.

ENGL 273-02W is a writing intensive course and meets the multicultural requirement.

Section: 03W #4124
Instructor: TBD
3.0 credit hours lecture
TuTh 11:30 AM - 12:45 PM LSC

ENGL 273-03W is a writing intensive course.

Section: 600 #4911
Instructor: J. Janangelo
3.0 credit hours lecture
Th 7-9:30 PM WTC

We will explore major critical approaches and apply them to a range of literary texts, including novels and short stories, with a focus on what comprises and compromises social class and wealth. These critical approaches will include psychology, race, social class, and gender. Our course will help refine our critical thinking and analytic abilities. To that end, we will work on close reading, focused discussion, and effective writing. Our readings include “Butterfly’s Revenge” and The Postman Always Rings Twice. There will be two papers, two exams, a reading journal, and a presentation.

ENGL 274    Exploring Shakespeare

Section: 001 #3646
Instructor: K. Zhorne
3.0 credit hours lecture
TuTh 2:30-3:45 PM LSC

ENGL 274 introduces students to the major conventions of Shakespearean comedies, tragedies, and romances, which were written and performed in the late sixteenth and early seventeenth centuries. Special attention is given to the religious, political, and social matters that influenced Shakespeare’s leading works as well as the rich and profound dialogue that permeates them.

This section, in particular, provides students an opportunity to not only learn about the various stages of textual transmission—from creating playscripts and performing them on stage to printing playtexts and editing them today—but also interrogate some of the conflicting versions of Shakespeare’s plays that survive from the period. Students might be surprised to learn, for example, that the version of Hamlet’s famed soliloquy—“To be or not to be”—that we are taught is startlingly different than how it was initially performed and printed. Among others, we will study works such as A Midsummer Night’s Dream, King Lear, and The Merchant of Venice, and we likely will take a trip to the Newberry Library to see some of the original, printed texts up close.

ENGL 282   African-American Literature

Section: 01W #3646
Instructor: A. Jochaniewicz
3.0 credit hours lecture
MWF 12:35-1:35 PM LSC

In this writing intensive course, students will receive training in the understanding, appreciation, and criticism of African American writers, and students will also practice and refine writing skills in a workshop environment, including researching, prewriting, drafting, peer reviewing, and revising. This course will survey the development of the African American literary tradition from the emergence of the slave narrative to the contemporary present, and different genres of literature will be studied, including slave narratives, essays, fiction, and poetry. Individual interpretations will be emphasized through a slow-and-close reading of the literature. By paying particular attention to the evolving social and political challenges faced by African Americans in U.S. history, students will learn to evaluate how literature, via its distinctive formal features, both enacts and reflects the efforts of individuals and groups to negotiate the political, social, and cultural context in which they live. Students will explore the issues of racial and cultural diversity that these works often raise. Prerequisites include the successful completion of UCWR and UCLR.
ENGL 282-01W is a writing intensive course.

ENGL 282-001 is a writing intensive course.

ENGL 282B   African-American Literature (1700-1900)

Section: 01W #4125
Instructor: F. Staidum
3.0 credit hours lecture
TuTh 11:30 AM - 12:45 PM

While the activist movement, Black Lives Matter, has garnered national attention since its inception in 2013, African American literature has long been concerned with asserting the value of Black lives since the late 18th century. African and African descendant peoples in the United States have used the written word to express their desires for freedom and its various iterations (i.e., equality, citizenship, self-determination, justice) and to represent the full humanity and beauty of Black peoples and their cultures. This course surveys this diverse literary tradition of autobiographies, pamphlets, essays, short stories, novels, poetry, and plays. We will especially study the artistic and socio-political context of this literature for what they reveal about the ever-changing status of the Black condition and Blackness within the US.

This particular version of the course focuses on material within the time period 1700-1900. Authors will include Phillis Wheatley, Frederick Douglass, William Wells Brown, Harriet Wilson, Paul Laurence Dunbar, and Pauline Hopkins.

ENGL 282B-01W is a writing intensive course and meets the multicultural requirement.

ENGL 283    Women in Literature

Section: 01W #4126
Instructor: R. Peters
3.0 credit hours lecture
MW 4:15–5:30 PM LSC

This course explores the representation of women in literature through a selection of complex works. Picking up on a theme of Travel, Place, and Identity, this section of ENGL 283 will likely include tests by Jhumpa Lahiri, Sana Krasikov, Annie Proulx, Cristina Garcia, and many others. While we will study a variety of texts, this class will feature a heavy focus on the short story literary form. Students will be able to demonstrate an understanding of the representations of women in various periods of literary history and diverse cultural contexts.

ENGL 283-01W is a writing intensive course.

Section: 02W #4127
Instructor: V. Bell
3.0 credit hours lecture
TuTh 1:00-2:15 PM LSC

English 283 focuses on the representation of women in literature in diverse cultural contexts. In section 03W, we will focus on the exploration of women-identified writers who use “borrowed forms” to dialogue powerfully with other texts, forms, discourses, and ideas. Poets and writers often “borrow” non-literary forms such as magazine quizzes, recipes, border interrogations, job applications, etc., and transform them into poems, essays, and stories. Like hermit crabs, they steal these homes and re-purpose them for their own needs, desires, questions, and arguments. This literary “shell game” produces a powerful examination of identity in relation to the body, history, nationality, ethnicity, and constructions of race, socio-economic class, sexual orientation, and gender identity. Course texts may include work by Layli Long Soldier, Fatimah Asghar, Laura Esquivel, Patricia Lockwood, Lucia Berlin, Harryette Mullen, Octavia Butler, and more. As a writing intensive section, course requirements include 3-4 critical essays, midterm and final exams, and asynchronous discussions.

ENGL 283-02W is a writing intensive course.

Section: 03W #4126
Instructor: T. Betts
3.0 credit hours lecture
TuTh 1:00-2:15 PM LSC

ENGL 288    Nature in Literature

Section: 288-01W #2483
Instructor: E. Bayley
3.0 credit hours lecture
MWF 11:30 AM–12:20 PM LSC

In this course we will use a number of different Ecocritical approaches, with a particular focus on Ecofeminism to explore and interpret pieces of fiction. This course is cross-listed with WSGS and is writing intensive. Literature provides a vast account of how the natural world is represented, treated, understood, and further, misused or abused. In response to this, we will explore the question: is there is a direct correlation between the treatment of nature and the treatment of humans? Therefore, this course will focus heavily on the connections between the treatment and abuse of humans and nature. Assignments in the semester will include writing papers, reading reflections, and classroom participation.

ENGL 288-01W is a writing intensive course.

Section: 02W #3647
Instructor: E. Bayley
3.0 credit hours lecture
MWF 1:40-2:30 PM

ENGL 288-02W is a writing intensive course.

ENGL 290    Human Values in Literature

Section: 001 #3397
Instructor: H. Mann
3.0 credit hours Lecture
TuTh 1:00-2:15 PM LSC

This course fulfills the multicultural requirement.

Section: 022 #6581
Instructor: S. Sleevi
3.0 credit hours Lecture
MWF 8:15-9:05 AM LSC

As human beings, who we are and what we value differs radically based on our distinct positionalities. How do factors of time, place, and identity affect our outlooks on the world around us? How do our individual experiences of being human lead us to have differing—and even conflicting—perspectives and judgements regarding the “same” situations and events, whether interpersonal or historical? In this section of Human Values in Literature, we will explore these questions and more within a variety of narrative texts that range from the nineteenth century to the present, looking closely at both their thematic content and formal features. Authors likely to appear on the syllabus are William Faulkner, Edward P. Jones, Julie Otsuka, and George Saunders, and work for the course will include reading quizzes, written response and analysis assignments, and a final exam.

Section: 01W #3398
Instructor: P. Jacob
3.0 credit hours lecture
TuTh 11:30-12:45 PM

Human Values in Literature: Hoards and Other Stuff

Tablets, trinkets, pompoms, puzzle pieces, and plastic bags. We use objects to encode memories, reflect our identities, signal social status, and order our world. But we are also utterly overwhelmed by things: collections devolve into hoards, and the ocean spins trash through its currents. In order to better understand human values and systems, we will examine the many categories of object—relic, commodity, rubbish, keepsake, and fetish—as they appear in literature. We will discuss how we attribute meaning to things, but also how things escape our attempts at meaning-making. What do objects signify, if anything? How do things help us remember, and what do they allow us to forget? Why do we accumulate so much, and how has that tendency transferred into the digital age? Readings will include: Ruth Ozeki’s novel, The Book of Form and Emptiness; nonfictional essays by Karl Ove Knausgaard, Teju Cole, and Brian Thill; psychological case studies of hoarders; Marie Kondo’s bestselling decluttering guide; the films Wall-E and Finding Vivian Maier; and Julio Torres’s televised comedy special My Favorite Shapes. This course is writing intensive. Assignments will include creative exercises, close analysis of the readings, and literary critical papers, as well as workshopping one another’s writing in class.

ENGL 290-01W is a writing intensive course and fulfills the multicultural requirement.

Section: 02W #6578
Instructor: J. Hovey
3.0 credit hours Lecture
W 7:00-9:30 PM LSC

Zombies R Us

This class looks at one cultural myth—the zombie-- that appears in the West in the collision of slavery and the Industrial Revolution, as a figure representing stolen wages, stolen bodies, and stolen lives. The Zombie appears first as the “monstrous Eve,” of Mary Shelley’s Frankenstein, then as a figure of slavery, racist fears, and unrelenting labor. Reworked as a creature of devouring 1970s consumerism, then figured as the dispossessed New Orleans underclass after hurricane Katrina, zombies now suggest the faceless horde of forgotten workers under late capitalism, marking the end of individualism, citizenship, and “civilization” as we know it. Recent manifestations of the zombie highlight issues of identity and survival, race, gender, sexuality, and disability. What can zombie survival teach us about being human, and about the changes we need to make in our world and in ourselves?

ENGL 290-01W is a writing intensive course.

ENGL 293    Advanced Writing

Section: 01W #2845
Instructor: L. Goldstein
3.0 credit hours lecture
MW 4:15-5:30 PM LSC

The Essay and The Experiment

The focus of this Advanced Composition class is a discussion of the essay form from its history as an experiment in freeform writing to current hybrid forms that challenge and innovate its standardization. We will discuss the advantages and disadvantages of how traditions of the essay have become codified by academia and how contemporary writers are rethinking, experimenting with, and revising the form. Our readings will include: Bashō, Frederick Douglass, James Baldwin, Susan Sontag, Maxine Hong Kingston, Angela Davis, Robin Wall Kimmerer and Suzan-Lori Parks.

ENGL 293-01W is a writing intensive course.

ENGL 300    English Language History

ENGL 001 #4913
Instructor: I. Cornelius
3.0 Credit hours lecture
MWR 1:40-2:30 PM LSC

The English language originated in migration and settlement. The area of settlement was subsequently named “England,” a region with a complex linguistic ecology where English developed into a kaleidoscope of local dialects. In the seventeenth and eighteenth centuries the language began to spread beyond the British isles; during the same period the language contracted into a standard written form. Today, after a long period of standardization, English is diversifying again, on account of its worldwide use by some 2 billion people, most of whom are multilingual.

In this seminar we study the development of the English language from Indo-European to the internet and Loyola’s own Literacy Center. Topics include speech sounds and writing systems; words as units of meaning and structure; concepts of variation, standardization, dialect, and register; diachrony and synchrony; language contact and multilingualism; socio-linguistic status and domains of use; technologies of communication (writing, print, audio broadcast, messaging apps); and tools for language study (the International Phonetic Alphabet, the Oxford English Dictionary, the Historical Thesaurus of English, linguistic corpora). Assessment is by regular short written assignments, midterm and final essays, and a class presentation.

ENGL 303    Grammar Principles and Pedagogy

Section: 001 #1686
Instructor: E. Stogner
3.0 credit hours lecture
MWF 2:45-3:35 PM LSC

What is a passive verb? Why is this a fragment? Does a comma go here? We use the English language, but do we really understand how it works? The goal of English 303 is to analyze the structure of the English language, to learn and appreciate its intricacies, quirks, and demands. We will explore English grammar not only as a list of rules and principles that govern language use but also as a means of clearly conveying meaning. This course will examine the most important elements of English grammar from parts of speech and how they function in a sentence to punctuation and how it enhances clear and precise prose. Course requirements include reading all assigned materials, doing all assigned exercises, taking regular quizzes and tests, and giving a short teaching presentation. This course is required for students planning to teach high school English, but it is open to others and recommended for anyone who studies texts written in English.

ENGL 317    The Writing of Poetry

Section: 001 #1258
Instructor: A. Baker
3.0 credit hours lecture
Tu 2:45-5:15 PM LSC

In this class, we will give a great deal of attention to the unique challenges and opportunities facing beginning poets as we first seek to channel our ideas and life experiences into poetry, to find and then develop our own voices in relation to not only our own impulses but to "the tradition" and the aesthetically diverse and fascinating world of contemporary poetry. The poems you write will be carefully read and critiqued by both your classmates and the instructor. The culmination of the course will be to compile a portfolio of the work you have written over the term.

Section: 002 #1259
Instructor: P. Sorenson
3.0 credit hours lecture
F 2:45-5:15 PM LSC

This course centers poetry as an individual and collective project. Through outside reading, students will question their relationships to contemporary modes and cultures while also working to develop their own voices, styles, and methods of production. Thus, students will begin to situate their craft in a larger poetic conversation. Weekly class meetings will center on discussions and presentations of outside materials, in-class writing and writing experiments, discussions of student-generated poetry, and collaborative writing. In addition to regular writing assignments and in-class presentations, students will develop a twenty-page chapbook by semester’s end.

Section: 003 #5801
Instructor: L. Goldstein
3.0 credit hours lecture
Tu 4:15-6:45 PM

Basic (Experimental) Poetry Workshop

Writing poetry is a craft that requires reading, exploration, practice, and sharing. Each week we read a unique work of contemporary poetry, mostly by POC and queer writers, to form a framework for discussion about vulnerable points of view and innovative forms. From there, students are encouraged to find their own process, form and voice. In our sessions, we experiment with language together to discover and foster creativity and delight by creating work both as a group and on our own. Our work also includes prompts for writing in between sessions, and presentations of student poetry for review by the group. Finally, students spend several weeks compiling and reviewing their own final collections of poetry for a self-published chapbook, and give a reading of their work.

ENGL 318    The Writing of Fiction

Section: 001#1260
Instructor: N. Mun
3.0 credit hours  lecture
M 2:45–5:15 PM LSC

Five Beginnings, One Ending.

Starting a story or a novel is not unlike standing at the edge of a cliff. Both can be terrifying. There are many reasons to not dive into that project. My ideas are terrible, one might think. Or, I don’t know where to begin. Or, Is this really a good time to start something new? In this course, we’ll hold hands at the cliff for moral support but also to push each other off (gently). Some might tiptoe. Others might cannonball. And still others might swan dive into that abyss. But no matter our varying degrees of fear, we will, without a doubt, leave that ledge and land on our feet as better writers and better risk-takers. For the first five weeks, we’ll analyze notable beginnings and ask questions, such as: What propels the story forward? What stings us? What questions are being raised that can’t be easily answered? Then we’ll write five propulsive and perhaps unrelenting beginnings of our own. The goal isn’t only to practice the “art of diving” but to have five projects already in free-fall, so we’ll have things to work on, long after the course’s end. The final 10 weeks will be focused on developing one of those beginnings into a polished story or chapter. So the question is: Is this a good time to start something new? The answer is: always.

Section: 002 #1995
Instructor: V. Popa
3.0 credit hours  lecture
W 2:45–5:15 PM LSC

This course explores the art and techniques of writing fiction; how and why it succeeds in capturing the imagination of readers, and how those skills can be channeled successfully to craft new and original work. This course will include a combination of craft lessons and workshop critique. We will investigate the output of a diverse cast of authors, from Francois Rabelais and Laurence Sterne to Denis Johnson and Danyial Mueenuddin. From these works, we will then distill valuable lessons about the writing of fiction, such as character development, dialogue, plot, and tension, which students will then apply to their own compositions. Assignments include two original works of short fiction (either short stories or novel excerpts) and a final portfolio (which will include revisions of workshopped assignments).

Section: 003 #4914
Instructor: M. Hawkins
3.0 credit hours  lecture
Th 2:45-5:15 PM LSC

In this fiction writing workshop students will read, write, revise and critique short fiction with the aim of becoming better writers and readers. Workshops will be rigorous and respectful, with the understanding that analysis of other writers’ craft teaches us to hone our own.
Every week we will read and discuss short stories by master writers; most weeks students will read and discuss each others’ stories, too. Every week students will write. In addition to three completed stories assigned as homework, students will respond to in-class writing prompts designed to create momentum, generate ideas, and explore technique. Class discussions will focus on craft as well as concept, with attention to the following topics: structure, character, dialog, voice, tone and imagery. Again and again, we will ask each other and ourselves: What works, what doesn’t, why and how can it be made better?

Section: 600 #4915
Instructor: M. Meinhardt
3.0 credit hours  Seminar
T 7:00–9:30 PM LSC

The course presents an advanced exploration of the principles of fiction writing through a combination of brief lectures, craft and response exercises, targeted assigned reading, in-class reading, critical workshops and multiple opportunities for discussion. One must be a good reader to be a good writer, so accept the fact that we need to read everything assigned for the class! But this is a writing course; students will be writing both critically and creatively every day. The course is both aggregate and recursive, meaning we continue to use and understand earlier concepts and techniques even as we progress, most notably through student critical awareness and creative writing. The course first establishes a general critical sensibility of fiction writing, history, technique, and purpose using established writers’ work and perspectives on craft using Flash Fiction. This critical foundation prepares students to guide their own writing as well as to engage and constructively assess that of their fellow students. The course then establishes an advanced sense of genre, structure and style using both established and student writing using the Short Story. The final stage of the course focuses wholly on student fiction writing, drafting and work-shopping using the student’s choice of either a second Short Story or the beginning of a novel; the healthy and productive workshop atmosphere and etiquette is modeled and utilized to address creative development as opposed to simply appeasing the writer’s ego or comfort. The class will learn and prepare for publication potential, including viable outlets, contact protocols, and invaluable research tools. Topics include: recognition of fiction elements; recognition and prioritization of craft elements; appreciation for creative expectations and obstacles; stimulation of identity within drama and conflict; and attention to concrete sensory detail, plot or setting structural considerations, internal and standard dialogue, characterization, opening and ending considerations, revision considerations, and fiction stylistics expected of publication-worthy work.

ENGL 319    Writing Creative Nonfiction

Section: 319-001 #1687
Instructor: H. Axelrod
3.0 credit hours  lecture
Tu 2:45-5:15 PM LSC

This is a workshop course in creative nonfiction, the fastest growing genre in publishing. It’s thriving in personal essay columns in magazines and newspapers, in memoirs, and in new hybrid forms. We’ll focus on personal essay and memoir, learning how to write about moments, activities, and relationships in your lives that have given you pause, stayed with you, and left you with questions. Among other craft elements, you’ll learn the distinction between I-narrator and I-character, exposition and scene, and how to move from the situation—the facts of what happened—to finding insight and meaning through story.
In class, we’ll read, analyze, and discuss the works of creative nonfiction writers as models for your own writing. This is a workshop, so you’ll hear from each other what’s working on the page in your own writing and what isn’t—which will help develop your ear as you read and your instincts as you write. You’ll also learn to offer thoughtful commentary on the work of your classmates. The goal is for you to become a better reader and writer of creative nonfiction.

Section: 002 #3648
Instructor: S. Weller
3.0 credit hours  lecture
W 2:45–5:15 PM LSC

Over the course of our 15-week semester, we will explore a style and genre of writing known as creative nonfiction. While the words “creative” and “nonfiction” might seem at odds, the combination is rooted in a long tradition of telling stories, making personal observations, and employing a variety of literary techniques to communicate facts. Creative nonfiction writers don’t make things up. They just use facts creatively and interestingly. In this class, we will be reading and writing a wide range of creative nonfiction essays. We’ll discuss craft and narrative approaches, the use of setting, scenes, dialogue, description, and observation as well as point of view, tone, and style. You’ll read (a ton!), analyze, and discuss the works of contemporary creative nonfiction writers as models for your own writing. We will do in-class writing exercises to get you going on drafts of your own work. This is a workshop class, so we will also be responding to each other’s work, providing the writer with an attentive audience, and cultivating analytical skills and sensitivity as readers.

The goal of this class is to learn the building blocks of creative nonfiction, and how to put that knowledge into practice by crafting your own pieces of writing. You’ll also learn to offer thoughtful commentary on the work of your classmates. You’ll learn about research, structure, craft, and revision. Overall, the goal of this course will be to discover your own stories and interests, and to develop a lens, a style, and a voice with which to create art out of facts.

ENGL 327   Studies in Shakespeare

Section: 001 #3401
Instructor: J. Chamberlin
3.0 credit hours Lecture
TuTh 11:30-12:45 PM LSC

This variable topics course will be an intensive study of a particular issue or approach of interest to current Shakespeare Studies. Students will be able to demonstrate understanding of, to analyze, and to defend interpretations of a particular body of plays by Shakespeare, chosen by genre, theme, theoretical or historical context.

ENGL 329   Milton's Place

Section: 001 #4916
Instructor: K. Lecky
3.0 credit hours lecture
TuTh 2:30-3:45 PM LSC

How did John Milton become one of England’s most enduring national authors? This course looks at the development of Milton's career as a poet and pamphleteer through the lens of the trope of the genius loci, or “spirit of place.” Milton taps into this trope to chart England's cultural, political, and religious conflicts onto the landscapes of A Maske, Paradise Lost, Paradise Regained, Samson Agonistes, and other works of prose and poetry. He also steps into the place of England’s genius in his imaginings of his nation’s relation to (and power over) its neighboring countries of Ireland, Scotland, and Wales as well as its growing colonial holdings. Throughout the semester, our attention to Milton’s spatial politics will be informed by his vibrant engagements with seventeenth-century technological developments in cartography, medicine, and the sciences, in both the elite and popular cultures of his day. Embedding Milton’s texts within these historical contexts will allow for a deeper understanding of the relation between the mechanics of nation-building and the spatial politics of exclusion in the century that set the foundations for the official establishment of the British Empire.

ENGL 355   Studies in Literary Criticism

Section: 001 #4134
Instructor: F. Stadium
3.0 credit hours lecture
TuTh  10:00-11:15 AM LSC

Intersectionality

Drawing on major theoretical writings and a selection of fiction, including an early Black feminist protest novel, the first English-language novel by a Latina, and a “confabulous” trans memoir, we will explore the meaning and evolution of “intersectionality” in literary and cultural criticism. The course asks: What is intersectionality? How should we interpret key components of intersectionality -- race, gender, class, sexuality? How do literature and culture represent the construction of intersectional systems and identities? How do interlocking social systems and identities influence literature and culture? We will also examine the challenges that intersectionality poses for our reading methods and some of the current debates surrounding intersectionality. The course foregrounds Black feminist scholarship from which the concept originally emerged, but we will also consider its relationship to other racial formations.

The goals of the course are to:

1. Survey the conventional theoretical approaches for reading race, class, and gender, and sexuality in literature and how intersectionality critiques and reconfigures those approaches.
2. Comprehend and apply intersectionality as a literary theory and method for recognizing and interpreting the complex operations of social positionalities (e.g., race, class, gender, sexuality) and systems of oppression/privilege (e.g., white supremacy, capitalism, patriarchy, heteronormativity) within literary works.
3. Chart how theorists and critics of postcolonial, queer, and trans studies have adapted and influenced the study of intersectionality.
4. Decipher critiques of intersectionality, particularly critiques coming from Black and other women of color feminisms.

The novels under study will be Ann Petry’s The Street (1946), María Ruiz de Burton’s Who Would Have Thought It? (1872), and Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir (2016).

This course fulfills the multicultural requirement.

ENGL 359C   High and Low Culture: True Crime Post-1900

Section: 001 #6631
Instructor: J. Glover
3.0 credit hours lecture
TuTh  10:00-11:15 AM LSC

“In America the law is King,” Thomas Paine once wrote. He might have added that breaking the law is also very popular. This course will consider the enduring appeal of true crime writing in American history from its inceptions in the colonial period to its popularity in the present. We will begin with early Puritan sermons, which held up criminals as a warning against sin even as they lingered on the details of wicked misdeeds. Our focus will then shift to the nineteenth century and the rise of cheap newsprint, which made true crime a commodity for lower- and middle-class readers and turned famous vagabonds into bigger celebrities than presidents. As we move into the twentieth century, we will pivot to the rise of prestige journalism and the reinvention of true crime as a literary art, a trend most famously embodied in Truman Capote’s In Cold Blood (1966). We will then conclude with a consideration of why true crime now dominates our multimedia landscape, supplying content for cable television, twenty-four-hour news networks, documentaries, podcasts, and more. Yet even as we range across historical eras and genres, we will keep one question in mind: why a country founded on the law is so obsessed with breaking it.

ENGL 363B   Emily Dickinson in Time

Section: 001 #4918
Instructor: M. Werner
3.0 credit hours lecture
MW: 4:15-5:30 PM LSC

“This me that walks and works must die”

Between 1858 and 1885 Emily Dickinson composed more than 1800 poems and 1050 letters as well as many fragments in prose and verse. In this seminar Dickinson’s manuscripts will be our lodestars, catalyzing and focusing our exploration of her poems and her radical C19 poetics. Through the close reading of her works, we will follow Dickinson’s evolution across what Edward Said has called the “three great problematics” of a life (in writing): the “moment of birth and origins,” the “dialectic of incarnation,” and “the untimely end.” In addition to applying the methods of literary, cultural, and textual critics to a reading of her work across time, we will seek out the poems of hers that speak most forcefully to us in our time. And, at last, we will explore the many ways in which Dickinson’s work has inspired the work of C20 and C21 poets and artists.

ENGL 372C   Studies in Fiction: Post-1900

Section: 001 #6632
Instructor: M. Reddon
3.0 credit hours lecture
TuTh 11:30-12:45 PM LSC

Indigenous Pop: Anticolonialism and Genre Fiction

This course will examine a range of contemporary genre fiction written by Indigenous authors, specifically looking at horror, detective fiction, and speculative fiction. Imagined as a "shared language," pop culture offers Indigenous writers a set of forms and figures for representing collective experiences of colonial violence across disparate and distinct transnational and tribal contexts. The conventions of genre fiction, for instance, provide Indigenous authors with common tropes and formulas that can be reworked to speak to their own desires, anxieties, and fears and to represent anticolonial futures. Central questions we will consider in this course include: how do Indigenous authors translate the conventions of horror, detective, and speculative fiction into Indigenous contexts and what are the politics of these translations? And how is "appropriation" used as an aesthetic strategy to represent community and cultural resurgence or express anticolonial critique? Students will be introduced to theoretical and literary discussions of genre to help support their readings of this work. We will also learn about Indigenous epistemologies, traditional stories, and languages to help build culturally specific frameworks for reading the material. Alongside a critical inquiry into fantastic, the speculative, and the imaginative in Indigenous genre writing, we will consider the importance of political histories such as treaty rights, dispossession, residential schooling, and resource extraction, for understanding these literary works.

ENGL 376   American Literature 1865-1914

Section: 376-001 #4920
Instructor: J. Kerkering
3.0 credit hours  lecture
MWF 11:30 AM – 12:20 PM LSC

This course examines fiction by selected U.S. writers from the Civil War to the First World War, paying particular attention to theories of Realism, to associated Regional forms, to literary Naturalism, and to the contribution of literary works to emerging notions of “the modern.” Readings will include works by Henry James, Mark Twain, Kate Chopin, Edith Wharton, Theodore Dreiser, James Weldon Johnson, and Willa Cather.

ENGL 382C   Studies in American Culture: Post-1900

Section: 001 #4921
Instructor: L. Le-Khac
3.0 credit hours lecture
MWF 2:45-3:35 PM LSC

Open Road, Open Land: Contested Ideas of Mobility in American Culture

The open road—a quintessential American image. This course explores the powerful stories of open space, social mobility, and renewed possibilities that pervade American literature, film, and culture. What accounts for the pull of the open road? What roles have these stories played in American identity? We’ll pursue and complicate these stories. We’ll examine how cherished ideas of open movement were founded on conquest and colonization. We’ll explore how differences of class, race, gender, and national origin shape freedoms of movement. Within national narratives of movement, how might we reconcile the coexistence of easy riders and migrant laborers, overseas adventurers and displaced refugees, open land and contested land? Ideas of open space and possibilities shaped the stories of immigrant opportunity that drew many to America’s shores. These ideas also justified U.S. empire across the continent and overseas. We’ll track the movements and actions of Americans in the world and the resulting migrations of the world into America. Our journey will range from the westward expansion of the 19th century to the highways, mass migrations, and U.S. global power that reshaped ideas of mobility in the 20th century. Authors/directors may include Carlos Bulosan, Dennis Hopper, Jack Kerouac, John Muir, Bharati Mukherjee, Tomás Rivera, Ridley Scott, and Zitkala-Ša.

This course meets the multicultural requirement.

ENGL 390   Advanced Seminar

Section: 01W #4137
Instructor: A. Aftab
3.0 credit hours  lecture
TuTh 1:00-2:15 PM LSC

Critical Theories of Colonialism, Race, and Gender

What is the relationship between colonialism and historical and contemporary constructions of gender and sexuality? This seminar takes a critical look at the intersections of colonialism, imperialism, nationalism, race, gender and sexuality by introducing students to foundational and current creative and theoretical writing in postcolonial feminist studies, woman of color feminism, queer of color critique, and Black trans studies. We will examine the major epistemic interventions and possible futures in the study of how empire and race mediate and shape the gender binary. Some key theorists we will read include C. Riley Snorton, Maria Lugones and Jasbir Puar. We will also read the creative literary works of Audre Lorde, Jackie Kay and Kai Cheng Thom.

ENGL 390-01W is a writing intensive course and fulfills the multicultural requirement. This class requires department consent. Please contact your English advisor for permission.

Section: 02W #4138
Instructor: D. Chinitz
3.0 credit hours lecture
TuTh 4:15-5:30 PM

Our focus for this seminar will be that “furious flowering” of African American creativity known as the Harlem Renaissance. We will discuss a number of the key issues that preoccupied the participants in this 1920s-30s movement and shaped their works, including the debates of the time over the social function of literature, the role of the Black artist, and the appropriate way to represent African Americans and their lives in literary texts. Our topics will also include the vernacular tradition, the “New Negro,” racial authenticity, schemes for “uplift,” primitivism, and patronage. Authors will include Langston Hughes, Nella Larsen, Zora Neale Hurston, Jean Toomer, and Claude McKay, among others.

ENGL 390-01W is a writing intensive course and fulfills the multicultural requirement. This class requires department consent. Please contact your English advisor for permission.

ENGL 392  Advanced Creative Nonfiction

Section: 392-01W #4139
Instructor: H. Axelrod
3.0 credit hours  Seminar
M 2:45-5:15 PM LSC

In this advanced workshop in creative nonfiction, we’ll develop a keen sense of craft by reading each other’s work and the work of some of the finest writers in the genre, including Joan Didion, Vladimir Nabokov, Maggie Nelson, Eula Biss, Olivia Laing, and Leslie Jamison. We’ll pay particular attention to questions of voice, narrative distance, narrative immediacy, personal research, hybrids, concept essays, dialogue, and story. We’ll also have Skype visits from established authors working in the field, who will be willing to answer your questions about everything from writing habits to publishing. Through writing, reading, and workshopping, we’ll work to build a common vocabulary and orientation in the genre, and you’ll also be working to develop your own individual orientation, so that you become more comfortable and innovative as a writer.

ENGL 392-01W is a writing intensive course.

ENGL 393 Teaching English to Adults

Section: 01E #1278
Instructor: J. Heckman
1.0-3.0 credit hours  Seminar
MTWTh 5:30-7:30 PM LSC

Engage with Jesuit values and meet our adult neighbors who come from many cultures. This course offers an excellent opportunity for service learning and practical experience in tutoring adults in written and spoken English at the Loyola Community Literacy Center. We hope that in Fall 2022 we can return to our home in Loyola Hall, 1110 W. Loyola Avenue, as well as continue tutoring online as we have been doing since the pandemic year of 2020.

While the Literacy Center offers community adults an opportunity to improve their skills, it also gives student-tutors the chance to serve their community and to engage with their Jesuit education.

No previous tutoring experience is necessary. When taken for 3 credit hours, this course satisfies the Core Engaged Learning-Service Learning Internship requirement. It is open to second-semester freshmen, sophomores, juniors, and seniors. Incoming freshmen are always welcome to tutor as volunteers and take the course at a later date.

The Center is open for tutoring M-Th evenings during the fall and spring semesters from 7-9:30 pm when the university is in session. 1 credit hour students tutor one evening per week; 2 and 3 credit hour students tutor two evenings a week. In addition, there are 5 class meetings scheduled at 5:45 pm, just before tutoring hours; 3 credit/Core students meet for a 6^th session.

Students who have taken this course have found it to be a challenging and exciting experience, even life changing as they help neighborhood adults improve their skills. More information can be found at www.luc.edu/literacy. Follow the links to "tutoring" and then "course credit tutoring" for a complete description of English 393 and Honors 290.

More information can be found at www.luc.edu/literacy. Follow the links to "tutoring" and then "course credit tutoring" for a complete description of English 393 and Honors 290.

For permission to take this class, please contact Ms. Jacqueline Heckman at jheckma@luc.edu or at (773) 508-2330.

ENGL 394   Internship

Section: 01E #1544
Instructor: J. Cragwall
3.0 credit hours lecture

English 394 provides practical, on-the-job experience for English majors in adapting their writing and analytical skills to the needs of such fields as publishing, editing, and public relations. Students must have completed six courses in English and must have a GPA of 3.0 or higher before applying for an internship. Qualified second semester juniors and seniors may apply to the program. Interested students must arrange to meet with the Internship Director during the pre-registration period and must bring with them a copy of their Loyola transcripts, a detailed resume (which includes the names and phone numbers of at least two references), and at least three writing samples. Students may be required to conduct part of their job search on-line and to go out on job interviews before the semester begins. Course requirements include: completion of a minimum of 120 hours of work; periodic meetings with the Internship Director; a written evaluation of job performance by the site supervisor; a term paper, including samples of writing produced on the job.

This class requires department consent. Please contact Dr. Cragwall at jcragwall@luc.edu or (773) 508-2259 for permission.

ENGL 398   Advanced Writing Workshop: Fiction

Section: 01W #1282
Instructor: N. Mun
3.0 credit hours lecture
Th 2:30-5:00 PM LSC

The Art of Obsession. Much of writing is made up of obsessions.

We might use our obsession as catalyst and fuel—something that gets us writing and, if lucky, keeps us writing. And sometimes we write about our obsession directly, hoping (perhaps futilely) to be purged free of it, once and for all. Susan Sontag, while talking about writing and the writer’s life, said it simply: “You have to be obsessed. It’s not something you’d want to be—it’s rather something you couldn’t help but be.” In this advanced course we’ll explore “obsession” from two main angles: personally and textually. On the personal level, and as a way to get us started, we’ll discuss and identify subjects we keep returning to—from harmless infatuations to downright obsessions. Is Kendrick Lamar, Lizzo or the soundtrack from Mama Mia playing nonstop on your headphones, for example? Is there a painting you keep seeing in your mind’s eye? What exactly is your relationship with a well-made cheeseburger? What is the chronic conflict of your life? On a textual level, we’ll read stories, essays, and books that deal with obsession in one form or another or reveal the linguistic obsessions the

author held while writing them. Students will have the option to write a short story or the start of a novel. This class is for serious writers who are unafraid of taking risks, unafraid of re-writes, unafraid of working hard toward turning a good story into a great one.

ENGL 398-01W is a writing intensive class.

ENGL 399   Special Studies in Literature

Section: 001 #3119
Instructor: J. Cragwall
3.0 credit hours  Supervision
TBA

Students arrange for this course on an individual basis by consulting a faculty member who agrees to supervise the independent study. When the student and the faculty member have agreed on the work to be done, the student submits the plan to the director of undergraduate programs for approval and registration. Usually students will work independently and produce a research paper, under the direction of the faculty member.

This class requires department consent. Please contact Dr. Cragwall at jcragwall@luc.edu or (773) 508-2259 for permission.

Loyola University Chicago

Spring 2023 Courses

UCRL 100E Interpreting Literature

ENGL 210 Business Writing

ENGL 211 Writing for Pre-Law Students

ENGL 220 Theory/Practice Tutoring

ENGL 271 Exploring Poetry

ENGL 272 Exploring Drama

ENGL 273 Exploring Fiction

ENGL 274 Exploring Shakespeare

ENGL 282 African-American Literature

ENGL 282B African-American Literature (1700-1900)

ENGL 283 Women in Literature

ENGL 288 Nature in Literature

ENGL 290 Human Values in Literature

ENGL 293 Advanced Writing

ENGL 300 English Language History

ENGL 303 Grammar Principles and Pedagogy

ENGL 317 The Writing of Poetry

ENGL 318 The Writing of Fiction

ENGL 319 Writing Creative Nonfiction

ENGL 327 Studies in Shakespeare

ENGL 329 Milton's Place

ENGL 355 Studies in Literary Criticism

ENGL 359C High and Low Culture: True Crime Post-1900

ENGL 363B Emily Dickinson in Time

ENGL 372C Studies in Fiction: Post-1900

ENGL 376 American Literature 1865-1914

ENGL 382C Studies in American Culture: Post-1900

ENGL 390 Advanced Seminar

ENGL 392 Advanced Creative Nonfiction

ENGL 393 Teaching English to Adults

ENGL 394 Internship

ENGL 398 Advanced Writing Workshop: Fiction

ENGL 399 Special Studies in Literature

ENGL 210   Business Writing

ENGL 211  Writing for Pre-Law Students

ENGL 220   Theory/Practice Tutoring

ENGL 271   Exploring Poetry

ENGL 272   Exploring Drama

ENGL 273   Exploring Fiction

ENGL 274    Exploring Shakespeare

ENGL 282   African-American Literature

ENGL 282B   African-American Literature (1700-1900)

ENGL 283    Women in Literature

ENGL 288    Nature in Literature

ENGL 290    Human Values in Literature

ENGL 293    Advanced Writing

ENGL 300    English Language History

ENGL 303    Grammar Principles and Pedagogy

ENGL 317    The Writing of Poetry

ENGL 318    The Writing of Fiction

ENGL 319    Writing Creative Nonfiction

ENGL 327   Studies in Shakespeare

ENGL 329   Milton's Place

ENGL 355   Studies in Literary Criticism

ENGL 359C   High and Low Culture: True Crime Post-1900

ENGL 363B   Emily Dickinson in Time

ENGL 372C   Studies in Fiction: Post-1900

ENGL 376   American Literature 1865-1914

ENGL 382C   Studies in American Culture: Post-1900

ENGL 390   Advanced Seminar

ENGL 392  Advanced Creative Nonfiction

ENGL 393 Teaching English to Adults

ENGL 394   Internship

ENGL 398   Advanced Writing Workshop: Fiction

ENGL 399   Special Studies in Literature