College Writing II: Writing and Literary Study
ENWR 106.##: T, F ____ - ____
Room: _______
Spring 2013
[Created by Dylan Winchock, Fall 2012]
Faculty – the information in red ink contains notes for your use only. These notes may
offer options or outline program policy. Please make sure you remove these before
finalizing your syllabus. Remember that the policies you include in your syllabus that
are required (attendance, grading, plagiarism) are parts of a contract between you and
your students. These cannot be changed once the course begins.
Prof. _____________
Instructor Email: _____________
[Individual instructor information should include: name; office location and hour; email address; section
number and semester identifier, class meeting times and location(s)]
Required Texts:
• Schakel, Peter and Jack Ridl. Approaching Literature: Writing + Reading + Thinking. 3rd ed.
Boston: Bedford/St. Martin’s 2012. (ISBN-13: 978-0-312-64099-6).
• Hacker, Diana and Nancy Sommers. A Writer's Reference. Montclair State University custom 7th
ed. Boston: Bedford/St. Martin’s, 2012. (ISBN-13: 978-1-4576-0348-8).
Helpful Websites
English Department Web Site: http://www.montclair.english.edu
First-Year Writing Program: http://www.montclair.edu/chss/english/first-year-writing/
CWE Digital Dashboard: http://www.montclair.edu/cwe/az/index-dd.html
Course Aims
This course has two principal purposes. As a writing course, it aims to help students improve their
abilities to write well: to develop focused, thoughtful, and analytic essays. As a literature course, it aims
to develop students’ abilities to respond to, interpret, and analyze complex literary works and to
appreciate literature as both art and representation.
More specifically, as a writing course students will continue with many of the methods with
which they became familiar in College Writing I. For instance, they will write multiple drafts, give and
receive peer critique, and carefully edit their formal work. They will further develop their abilities to cite
and incorporate others' work, and they will learn some of the methods that college students use to write
about literature. As a literature course, it will not only develop students’ abilities to interpret-- make
meaning of--literary texts, but it will also help students think and write about the context in which literary
texts are written and read. In particular, students will consider the social, cultural, historical and political
contexts that bear upon the production--the writing, publishing and disseminating--and reception of
literary texts. Finally, students and instructors will ask basic questions about the role of literature: How
does it function in individuals' lives? How does it function in school? And perhaps most importantly, how
does it function in the culture at large?
For the full course description of ENWR106 College Writing II, see pages 21 through 24 of the
prefatory chapter of A Writer’s Reference.
The Specifics: What Classes Will Do
Over the course of the semester, students will read a range of different literary genres, including
fiction, poetry, and drama, written by a fairly diverse group of writers. They will approach these texts in
four units. Each unit will begin with reading of literary texts and end with a sequence of essay drafts,
culminating in a final essay, due at the end of each unit. During the reading portion of each unit, students
will have homework and in-class activities aimed at developing their abilities of interpretation. They will
receive feedback on their writing from peers and from their instructor, and will be offered opportunities to
revise their work based on this feedback. The final unit will be the creation of the portfolio.
COURSE REQUIREMENTS/GRADING
•
•
•
Class Participation, In-Class Writing, Homework, and Activities
Papers
o Critical Essay 1
(10%)
o Critical Essay 2
(15%)
o Critical Essay 3
(15%)
o Documented Essay
(20%)
Portfolio
(20%)
(20%)
Class Participation, In-Class Writing, Homework, and Activities (20%)
Homework is due, even when a student must be absent from class. Students are expected to come to class
prepared: willing to be an active discussants and listeners, and willing to read from their own writing,
occasionally. During class, students will be asked to write, respond to their peers' writing, and participate
in small group and full class discussion.
Papers (60%)
Four papers, with a minimum length of five pages each, are to be written over the course of the semester.
In these papers students are expected to draw out some aspect of the literature that interests them and then
develop a short, cogent response. For some essays students will have specific writing assignments; for
others they will be expected to develop their own questions and arguments. Students may not submit book
reports or plot summaries. They should focus on argument, interpretation, and analysis of the literary
text(s). Paper four will be a documented essay, requiring some research and appropriate integration of
secondary texts. Failure to hand in a paper assignment or the portfolio will result in a failing grade for
the course.
Portfolio (20%)
The portfolio assignment is intended as an opportunity for students to re-revise two of their papers. In
addition, they will be required to write a two to three page reflective essay. The portfolio will be due on
the date of the final exam, and will serve in lieu of an in-class exam.
Drafts
Students will write four formal essays. Drafting and revision are critical to success in this class, and to
that end, students must keep all drafts and feedback from the instructor, their classmates and from the
Center for Writing Excellence (CWE). Because revision is such a central focus of this course, any
missing drafts when the final paper is handed in will result in a grade no higher than a D.
Reading
Student reading load will vary a little depending on what is being read, but students should expect to read
between 50 and 75 pages a week during the reading portion of units. If students are not keeping up with
the reading, as will be evident from class discussion and in-class writing, quick quizzes may be given.
Substantial work between drafts must also be evident. If students were given notes during a peer review,
their effect on the student’s writing should be apparent. Spell-checking and format changes are not
enough to constitute a new draft.
Attendance: Regular attendance is expected. In-class writing, discussion, and occasional lectures
provide information and processes essential to understanding the texts and writing strong essays.
Students are allowed two absences in this class: excuses are neither needed nor accepted. Every absence
after the allowed two results in a half letter reduction of the final grade. Any student who enters the
classroom after class has begun will be marked as ‘late’. Two ‘lates’ equals one absence. More than five
absences will result in a failing grade for the class.
Plagiarism: The First-Year Writing Program at Montclair State University values students’ honest efforts
in the classroom and as writers. Plagiarism is strongly discouraged and this class will educate you about
what it is and how to avoid it. Should you choose to plagiarize—turning in written work as your own that
you have copied from some other source, whether a website, print media, or even another student—
[Your professor/I] will submit your plagiarized paper and the source materials from which you have
plagiarized to the Student Conduct office and you will face disciplinary action from the University. [Your
professor, I] additionally reserve(s) the right, when plagiarism is proven with documentation, to fail you
for the semester. Should you be accused of plagiarism, you have the right to appeal the decision and also
to request a meeting with your professor and the First-Year Writing program director, Dr. Jessica
Restaino. In an effort to avoid this serious offense, please visit the First-Year Writing Program website to
learn more about plagiarism and how you can avoid it, and be certain to ask [your professor/me] about
any aspects of the issue that you do not understand.
Accommodations: Reasonable accommodations are available for students with a documented disability.
If students require accommodations to fully participate in this class, they should visit the Disability
Resource Center (DRC) to receive a letter for their instructor requesting accommodation. All requests
must be approved by the DRC:
(Morehead Hall 305, x5431, https://www.montclair.edu/health/drc/faculty.html)
Class Cancellation: If a class must be canceled due to an emergency, students will be contacted through
a Blackboard announcement. It is important to frequently check email and Blackboard to remain
informed on any class changes.
Live Lit: Students are required to attend one Live Lit! event this semester. For more information, see
Live Lit link at http://www.montclair.edu/writing/. You will receive further information about the dates
available to you and your responsibilities.
Formatting: See page Montclair-6 of A Writer's Reference, and sample student essays found therein, for
proper formatting.
The rest of the syllabus can be found in the prefatory chapter of A Writer's Reference or under Course
Documents on Blackboard. Students are responsible for reading that chapter carefully, paying particular
attention to:
• The Purpose of First Year Writing Courses and College Writing II
• Guidelines and Expectations for First-Year Writing Courses at MSU including what constitutes a
First, Second and Final draft.
• Essay Criteria and Essay Grades: A – F papers
• The Center for Writing Excellence located in the Sprague Library behind Café Diem (655-7442).
Essay Criteria
A detailed description of the First-Year Writing Essay Criteria can be found in the A Writer's Reference,
pages Montclair-8-9. The criteria are: Central claim, development, organization, analysis, and clarity of
prose.
The Center for Writing Excellence (CWE)
Students are encouraged to take advantage of the services offered by the Center for Writing Excellence,
located on the first floor of the Library. More information about the CWE can be found in The Hacker
handbook on pages 13-14. Their website can be found at: http://www.montclair.edu/cwe/
Course Outline
[*Red writing designates notes to the instructor to aid in any personal revisions of this syllabus]
Unit 1: Race and Ethnicity
Class 1
Introduction to the class, syllabus review, warm up exercises
Class 2
ZZ Packer: “Brownies” (512)
Ralph Ellison: “Battle Royal” (402)
“Reading” (AL 7-9; 107-111) / “Guidelines for Active Reading” (WR 68) /
“Writing in the Margins” (AL 21-22) / “Journal Writing” (AL 24-25)
[*Many of the concepts in the ‘secondary’ readings are discussed in conjunction
with the literary texts rather than separately.
AL = Approaching Literature, WR = A Writer’s Reference.]
Class 3
Katherine Min: “Courting a Monk” (247)
Eduardo Machado: “Crossing the Border” (909)
“Handling Quotations” (AL 41; 53-54) / “Step 3: Prewriting” (AL 33-36) /
“Plot and Character” (AL 116-125)
Class 4
Etheridge Knight: “Hard Rock Returns to Prison from the Hospital for the
Criminal Insane” (831)
Sekou Sundiata: “Blink Your Eyes” (607)
Pat Mora: “La Migra” (617)
Cathy Song: “Heaven” (589)
“Reading Poetry” (AL 565-569) / “Writing About Literature” (WR L3 – L22)
Class 5
Exploratory Draft Workshop / Peer Review
Class 6
Middle Draft Workshop / Peer Review
[*Peer review days are also used throughout the semester to discuss and engage
in exercises regarding MLA citation, paper formatting, and other structural
issues.]
Class 7
Thematic Break: Haruki Murakami’s “Birthday Girl” (471)
[*I always provide students with a full week between the middle and final drafts.
On the day between the two drafts, I have students read a single story that departs
from the themes of the course (for this semester, I have chosen stories that are a
bit more fantastical). This day is also used to provide further advice on paper
writing, such as drafting, reverse outlining, citation, and quotation integration.
The reading could easily be removed in order to provide a full class on these
topics.]
Unit 2: Class and Conflict
Class 8
Paper #1 Final Draft Due
James Baldwin: “Sonny’s Blues” (362)
John Updike: “A&P” (552)
“Summary/Analysis” (WR 72-74) / “Setting and Symbol” (AL 200-205; 207-208)
Class 9
Toni Cade Bambara: “The Lesson” (208)
Ha Jin: “The Saboteur” (347)
Class 10
“Point of View and Theme” (AL 161-168) / “Tone, Style, Irony” (AL 235-241)
Philip Levine: “What Work Is” (834)
Luis J. Rodriguez: “Running to America” (858)
Martín Espada: “Latin Night at the Pawnshop” (628)
Robert Pinsky: “Shirt” (850)
“Words and Images” (AL 570-579) / “Voice, Tone, Sound” (AL 595-613)
Class 11
Exploratory Draft Workshop / Peer Review
Class 12
Middle Draft Workshop / Peer Review
Class 13
Thematic Break: Gabriel Garcia Marquez’ “A Very Old Man With Enormous
Wings” (413)
Unit 3: Gender and Sexuality
Class 14
Paper #2 Final Draft Due
John Steinbeck: “The Chrysanthemums” (320)
Tim O'Brien: “The Things They Carried” (493)
Class 15
Helena Viramontes: “The Moths” (557)
Kelly Stuart: “The New New” (899)
Class 16
“Figurative Language”(AL 627-641)/“Character, Conflict, Action”(AL 904-908)
Jamaica Kincaid: “Girl” (317)
Julia Alvarez: “How I Learned to Sweep” (647)
Judith Ortiz Cofer: “The Changeling” (725)
Mark Doty: “Tiara” (794)
“Rhythm” (AL 652-654) / “Free Verse, Internal Form” (AL 684-689)
Class 17
Exploratory Draft Workshop / Peer Review
Class 18
Middle Draft Workshop / Peer Review
Class 19
Thematic Break: Joyce Carol Oates’ “Where Are You Going, Where Have You
Been?” (481)
Unit Four: The Documented Essay
Class 20
Paper #3 Final Draft Due
Sherman Alexie: “This is What it Means to Say Phoenix, AZ” (282)
Alexie: “The Lone Ranger and Tonto Fistfight in Heaven” (291)
“Approaching Critical Theory” (AL 1445-1468)
“Using Secondary Sources” (WR L22-25)
Class 21
Sherman Alexie: “Superman and Me” (4)
Alexie: “Good Hair” (poets.org)
Alexie: “The Powwow at the End of the World” (poetryfoundation.org)
Alexie: “How to Write the Great American Indian Novel” (poetryfoundation.org)
[*These three Alexie poems are found online at poetryfoundation.org and
poets.org. Both sites have legitimately and legally posted these poems!]
“Reading Critical Essays” (AL 1432-1444)
“Researching” (WR 329-357)
“MLA” (WR 373-388)
Class 22
A Literacy Information Session with the Sprague Library reference librarians
Class 23
Tomson Highway: “Interview with Sherman Alexie” (295)
Ase Nygren: “A World of Story-Smoke” (297)
Joseph L. Coulombe: “Sherman Alexie's Comic Connections and Disconnections” (300)
Jerome DeNuccio “Slow Dancing with Skeletons” (301)
James Cox: “Muting White Noise” (305)
Class 24
Exploratory Draft Workshop / Peer Review
Class 25
Middle Draft Workshop / Peer Review
Class 26
Thematic Break: Nathaniel Hawthorne’s “Young Goodman Brown” (337)
Unit 5: The Portfolio Project
Class 27
Paper #4 Due
Donald Murray: “The Maker’s Eye” (Blackboard)
Portfolio Revision Strategies & workshop
Class 28
Judith Ortiz Cofer: “And Are You a Latina Writer?” (738)
Mark Strand: “Eating Poetry” (867)
Reflective Essay Strategies & workshop
Portfolios will be due during our scheduled final examination date and time (TBA).
For instructors: link to final exam schedule for Spring 2013 is provided in order that you
include the date on the course schedule section of the syllabus for portfolio collection.
http://www.montclair.edu/search.php?cx=013071649588689602986%3Aoysu7zzbd1e&cof=
FORID%3A11&q=spring+2013+exam+schedule&sa=Go
The link to Registrar’s page for withdrawal dates, etc.: http://www.montclair.edu/registrar/
Note to Instructors:
I have included in this course a homework journal (set up on Blackboard, though it by no means
needs to be online) where students are expected to post responses to prompts that I provide them.
These prompts relate to the texts that are to be read for that day, thus helping to ensure that
students read and comprehend the texts for that day’s discussion, as well as helping to get
students to begin thinking about them in relation to the unit theme. This will also prepare
students for the theme-based papers that they must write. I assign a total of ten assignments.
Attending and writing about LiveLit! counts as one. Simply being present for the Library
Literacy Information Session counts as another homework. What follows is a list of sample
prompts that I used last semester:
1. Discuss conflicting racial identities in either “Crossing the Border” or “Courting a
Monk.” Each text is an argument between a young and old generation. Which generation
do you personally identify with more in the text? Why is their argument more convincing
to you? What exactly is it in the text that makes you feel this way?
2. Choose one of the following topics:
• Discuss the role of the other inmates (including the speaker) in “Hard Rock.”
• Discuss the title of the poem, “Blink Your Eyes.”
• Discuss the use of reversals (switched roles) in “La Migra.”
• Discuss the importance of generational differences in “Heaven.”
3. Choose either Bambara or Jin. Explain how the author’s story demonstrates ways in
which class is used in society to produce and maintain inequality. Go on to discuss ways
in which the stories demonstrate resistance to a conventional class structure.
4. What is work? What does it mean 'to work'? Choose the poem by Levine, Rodriguez, or
Pinsky to answer this question.
5. Choose one of the readings and discuss how it uses either the fantastic (“The Moths”) or
humor (“The New New”) to critique traditional gender roles in our society.
6. Choose one of the following topics:
• Looking at “Girl” and/or “How I Learned to Sweep,” write about the ways in which
femininity is reinforced in our society: what does it mean to be feminine, according to
these poems; how is this definition restricting?
• Looking at “The Changeling” and/or “Tiara” and write about the ways in which
masculinity is reinforced in our society: what does it mean to be masculine, according
to these poems; how is this definition restricting?
7. Write about Alexie's use of sarcasm in his poetry. Don't simply explain that there is
sarcasm; rather, explain why he uses it and what it does for his poems. You may focus on
one particular poem, or discuss all three.
8. Choose one of the critical essays about Alexie's work. Summarize the basic points of the
article. Follow this up by describing anything that stood out to you as particularly
interesting, as well as any questions that you may have about sections you found difficult.