ENGLISH 2307
INTRODUCTION TO LITERATURE AND CREATIVE WRITING
Spring 2017
Literature adds to reality, it does not simply describe it. It enriches the necessary competencies that daily
life requires and provides; and in this respect, it irrigates the deserts that our lives have already become.
C.S. Lewis, author of The Lion, the Witch, and the Wardrobe
The writer interweaves a story with his own doubts, questions, and values. That is art.
Naguib Mahfouz
INSTRUCTOR: Dr. Chris Ellery
OFFICE: A021B
PHONE: 486-6142
HOURS: 9-10 MWF. 2-3 MW; 8:30-9:15 and 2-3 TR
EMAIL: [email protected]
CATALOGUE DISCRIPTION
“A sophomore literature course also serving as an introduction to creative writing with structured
practice in the reading, analyzing, and responding to literature, as well as the production of short
fiction and poetry.” Prerequisite: English 1301 and 1302 or credit by exam or transfer for these
courses.
LEARNING OUTCOMES
The most important objective is that students learn to read and respond to literature with pleasure
and insight, practicing techniques in literary analysis that will enable them to find meaning in
sophisticated texts. In addition, students should
 understand and articulate the role of literature as an expression of values and an
interpretation of human experience;
 understand and articulate the interactive relationship among history, culture, and
literature;
 understand and articulate the form, function, scope, and variety of literature, including
specialized literary terminology;
 understand and apply various methods of responding to literature analytically;
 understand and practice the craft of literary production, specifically the writing of short
fiction and poetry.
RERQUIRED TEXTBOOKS
Gardner, Janet E. et al. Literature: A Portable Anthology. 4th ed. Boston and New York:
Bedford/St. Martin’s, 2017.
Sellers, Heather. The Practice of Creative Writing: A Guide for Students. 3rd ed. Boston and
New York: Bedford/St. Martin’s, 2017.
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GRADING
Daily Work
Writing Projects
Exam 1
Exam 2
Exam 3
20%
20%
20%
20%
20%
Daily work includes reading quizzes, responses, group activities, workshops, writing practices.
Writing Projects are based on the concepts and strategies in The Practice of Creative Writing.
Use the “Practices” and the “Writing Projects” at the end of each chapter to generate ideas for
writing. Exams are a mixture of objective and essay. The literary terminology and creative
writing principles covered on the midterm will be included on the final exam.
PERSONAL CONDUCT AND RESPONSIBILITIES
In this and all college courses, you should conduct yourself with professionalism and collegiality,
and you should take responsibility for your own learning and performance. Excellent students are
motivated, dedicated, and self-reliant; they have a positive attitude and a good work ethic. You
will improve your chances of succeeding in this class by following these rules:
 Stay focused. Attend class and be actively involved. Pay attention and participate in
discussions. Ask questions when you have them and consult your professor when you
have concerns.
 Be prepared every day. Critically read all assignments. Conscientiously complete
homework and class activities. Keep up with your work.
 Follow instructions carefully, especially those on assignment prompts, and prepare
assignments according to the guidelines provided.
 Encourage learning and collaborate with classmates and support the instructor in the
goal of learning.
 Be courteous. To avoid distracting others, arrive on time and leave when class is
dismissed.
 Avoid talking in class except when appropriate. While it is sometimes acceptable and
even desirable to question opinions and even facts offered by others (including the
teacher), you should do so respectfully and thoughtfully, with learning goals in mind.
 Silence and put away cell phones. Do not use any personal electronic devices unless
invited to do so as part of the lesson. If you believe your smartphone or tablet would be
helpful to you during class, ask permission to use it.
 Take good care of your body and mind. Keep yourself nourished and rested.
ATTENDANCE AND MAKE-UP POLICY
The following attendance policy is consistent with University OP 10.04 (“Academic Regulations
Concerning Student Performance”).
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This is a face-to-face class. Regular attendance is essential for success in the class. I take
attendance (usually at the beginning of the period) every day. I realize that school trips,
sickness, or emergencies can make attending class impossible. I hope that such absences
will not occur for any student more than six times this semester. Students with absences
beyond this will no longer be eligible for a passing grade in the course.
Be on time. Arriving late disrupts the class; nevertheless, it is better to arrive late than not
at all. If you do arrive, be sure to check with me after class to be sure you are counted
present. Students who arrive during a quiz will receive a zero on the quiz. Every two late
arrivals to class will constitute one absence. Leaving early without a valid reason (see
me) will constitute an absence.
Be prepared for class each day. An absence does not excuse the student from being
prepared for the next class. Thus, students who miss class should contact a classmate or
the instructor to be sure of the assignment for the next class.
All assignments are due when called for. Being permitted to submit work after the
deadline gives students an advantage over those who turn work in on time. The penalty
for a late essay is 5% (one-half letter grade) for each day late.
Daily grades for quizzes and other in-class activities cannot be made up. Two 10point daily grades will be dropped at the end of the term.
E-mailed assignments will be accepted only at my request.
I do not differentiate between “excused” absences and “unexcused absences,” so please do not
bring me doctor’s notes with the expectation of having an absence excused. You get six free
absences – two whole weeks of class – to use for occasions when something prevents you from
coming to class. That’s it. If you expect that you will need to be absent from this class more
than six times over the semester – even for ASU sports – I strongly recommend that you enroll
in a different section of this class.
ACCOMMODATIONS FOR DISABILITIES
The Dean of Student Life has issued the following statement: “Persons with disabilities that may
warrant academic accommodations must contact the Student Life Office, Room 112 University
Center, in order to request such accommodations prior to any being implemented. You are
encouraged to make this request early in the semester so that appropriate arrangements can be
made.”
DEPARTMENTAL STATEMENT ON ACADEMIC HONESTY
Angelo State University expects its students to maintain complete honesty and integrity in their
academic pursuits. Students are responsible for understanding the Academic Honor Code, which
is contained in both print and web versions (www.angelo.edu/forms/pdf/honorcode5.pdf) of the
Student Handbook.
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TENTATIVE SCHEDULE
The following schedule lists readings, major assignments (exams and writing projects), and
discussion topics. Be sure to read the biographical notes for each assigned author in Literature: A
Portable Anthology, beginning on p. 1361. There may be some changes in the schedule, so if you
miss a class, always check with a classmate or with the instructor to make sure of the assignment.
PCW=Practice of Creative Writing
LIT=Literature: A Portable Anthology
D&P: =Discussion and Practice
Week 1
M 1/16
W 1/18
F 1/20
Week 2
M 1/23
W 1/25
F 1/27
Week 3
M 1/30
W 2/1
F 2/3
Week 4
M 2/6
W 2/8
F 2/10
Holiday
Introduction
PCW “Introduction” and Ch. 1, “Finding Focus”
D&P: Process and Ritual: “The Woodcarver”
PCW Ch. 2, “Creative Reading”
“Asking Critical Questions of Literature” (LIT 1226-1232)
D&P: Finding Meaning in Literature: Four Approaches
PCW Ch. 3, pp. 83-95 (Building Blocks: Parts of Narrative)
D&P: Plot
Richard Wright, “The Man Who Was Almost a Man” (LIT 180-190)
D&P: Close Reading
PCW Ch. 3, pp. 95-109 (“Building Blocks: Parts of Poems”)
William Stafford, “Traveling through the Dark” (LIT 539)
Walt Whitman, from Song of Myself, Section 6 (LIT 473-474)
D&P: Syntax, Lines, and Stanzas
PCW Ch. 7, pp. 280-291 (“Pattern: Pattern by Ear”)
William Butler Yeats, “Lake Isle of Innisfree” (LIT 499)
D&P: Fundamentals of Prosody
Literature and Values: A Brief Lecture
Writing Project 1 due
Henrik Ibsen, A Doll’s House Act 1 (LIT 827-851)
D&P: Literature and Society: The “Problem Play”
A Doll’s House Act 2 (LIT 851-870)
A Doll’s House Act 3 (LIT 870-888)
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Week 5
M 2/13
W 2/15
F 2/17
Week 7
M 2/20
W 2/22
F 2/24
Week 6
M 2/27
W 3/1
F 3/3
Week 8
M 3/6
W 3/8
F 3/10
PCW Ch. 4, “Images”
William Carlos Williams, “The Red Wheelbarrow” (LIT 511)
James Wright, “Lying in a Hammock” (LIT 554)
D&P: “No ideas but in things.”
PCW Ch. 7, pp. 291-299 (“Pattern: Pattern by Eye”)
D&P: Metaphor and Motif
Ernest Hemingway, “Hills Like White Elephants” (LIT 176-179)
D&P: The Iceberg Theory
Writing Project 2 due
Patricia Lockwood, “Rape Joke” (LIT 676-679)
Review
Exam 1
PCW Ch. 5, “Energy”
D&P: Persona and Point of View
Tobias Wolff, “Bullet in the Brain” (LIT 318-322)
PCW Ch. 6, “Tension”
D&P: Characterization and Conflict
Sophocles, Oedipus the King (LIT 685-691 [l. 224])
D&P: Irony
Oedipus Rex (LIT 691 [l. 225]-711 [l. 974])
Oedipus Rex (LIT 711 [l. 975]-727)
D&P: Tragedy
March 13-17 – Spring Break
Week 9
M 3/20
W 3/22
F 3/24
Week 10
M 3/27
W 3/29
F 3/31
Writing Project 3 due
Sherman Alexie, “The Lone Ranger and Tonto Fistfight in Heaven (LIT 382-387)
Anne Hillerman, excerpt from Spider Woman’s Daughter
ASU Writers Conference in Honor of Elmer Kelton
PCW Ch. 8, “Insight”
D&P: Theme as Exploration and Discovery
T.S. Eliot, The Love Song of J. Alfred Prufrock (LIT 1295-1299)
The Love Song of J. Alfred Prufrock
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Week 11
M 4/3
W 4/5
F 4/7
Writing Project 4 due
Flannery O’Connor, “A Good Man Is Hard to Find” (LIT 250-262)
“A Good Man Is Hard to Find”
TBA
Week 12
M 4/10
W 4/12
F 4/14
Review
Exam 2
Holiday
Week 13
M 4/17
W 4/19
F 4/21
Week 14
M 4/24
“Literary Criticism and Literary Theory” (LIT 1347-1360 [Part Four, Ch. 9])
D&P: Overview of Criticism and Theory
Jhumpa Lahiri, “A Temporary Matter” (LIT 388-402)
“A Temporary Matter”
W 4/26
F 4/28
Writing Project 5 due
Lynn Nottage, Ruined, Act One (LIT 1089-1128)
Ruined, Act Two (LIT 1129-1155)
Ruined
Week 15
M 5/1
W 5/3
F 5/5
TBA
Evaluation
Review
Final Exam
Section 005 (8 MWF)
Section 010 (10 MWF)
Section 020 (11 MWF)
8:00 a.m. – 10:00 a.m. Monday, May 8
10:30 a.m. – 12:30 p.m. Monday, May 8
10:30 a.m. – 12:30 p.m. Wednesday, May 10
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