ENGL 215

Contemporary Literature
growing up

section 5 | tth 2:00 – 3:15 | 405 daniel

The Basics The Vibe

professor | Will Gray disabilities :: Clemson provides, on a flexible and personalized basis,
office :: strode 302 phone :: 864.656.5391 reasonable accommodations to students with disabilities. Please
email :: gray9@clemson.edu contact Student Disability Services to discuss your needs or find more
office hours :: TTh 8:15 – 9:30, 1:00 – 2:00 and by appointment information at www.clemson.edu/asc/sds_student_guide.html

prerequisite :: ENGL 102 or 103
description :: Introduction to major contemporary cultural movements
via selected authors in 20th- and 21st-century literature, primarily
American and British, with attention to poetry, fiction, and drama
since World War II.
goals :: We will explore a variety of genres, authors and movements,
beginning to answer these questions:
What is the value of literature?
How can I become a more perceptive listener?
How can I become a better communicator?
attendance :: Learning always results from collaboration, and the bulk
of this course’s value will take place in class. The flip side of that coin,
the dark and daunting of it is that attendance is expected and you are
allowed absences from only six class periods (that includes official
absences). The short version? Plan ahead. Since tardies also distract
everyone, two of them will equal one absence. Each absence beyond
six will decrease your final grade by ½ letter. The good news is that,
even though you may not be used to it, attending class is actually
quite doable and can even be strangely enjoyable. If you have an
extended illness or personal crisis, let your professor know ASAP, as
there may be other options. On a related note, be prepared to wait 15
minutes into the class hour if your professor is running late.

grading :: Notice that projects become more and more valuable. courtesy :: Your classmates are interested in learning from and
Exams cover anything discussed in class and include written-response participating in class discussions, but cell phones & other mobile
questions only; no study guide or terms list will be provided. Essays & devices distract everyone. This class will be most valuable to you
the group report will have their own explanation sheets. A quiz can when you are the most engaged with it. You are asked to use a laptop
come at any time, especially if your class has not done its reading. only when requested by your professor.
Your grades will be kept relatively current on Blackboard.
Participation = class involvement + Blackboard + group report and plagiarism :: Clemson University is committed to Thomas Green
essentially answers the question, “How was this class different Clemson’s vision of this institution as a
because I was a part of it?” ‘high seminary of learning.’ Fundamental to this vision is a mutual
commitment to truthfulness, honor, and responsibility, without
15% Essay 1 + revision 15% Exam 1 which we cannot earn the trust and responsibility, without which we
20% Essay 2 20% Exam 2 (final) cannot earn the trust and respect of others. Furthermore, we
30% Participation recognize that academic dishonesty detracts from the value of a
Clemson degree. Therefore, we shall not tolerate lying, cheating, or
A 90-100% C 70-79% F 0-59% stealing in any form.
B 80-89% D 60-69% I incomplete Any plagiarism – failing to document someone else’s ideas or words
W withdrew
in your work – will be dealt with on a case-by-case basis and may
result in a failing grade for the course, as well as a formal report sent
discussion board :: You are required to submit one Blackboard post to the university. For more information, see
per week responding to the reading or discussion for that week. You www.cs.clemson.edu/html/academics/academic_integrity_2002.html
might receive partial credit for late posts.
FAQs Road Map

How should I take notes in this class? 1. Eyes open

Most of our classroom time will involve discussions rather than lecture. Listen for • Maile Meloy – “Liliana”
major concepts and terms and make sure you’ve written them down in a way that • Billy Collins – “Brightly Colored Boats …,” “Aubade”
you can understand later. Even more importantly, though, concentrate on the big • Ron Currie – Everything Matters
picture. Some other suggestions: take a picture of the chalkboard at the end of
class. &/or set aside some time after class to capture your take-aways.
2. Noticing
How should I study for the exams? • David Lindsey-Abaire – Rabbit Hole
• Sharon Olds – “Easter 1960,” “Self-Portrait, Rear View”
Look back over your notes during the week before the exam, and plan to study in • Billy Collins – “The Day Lassie Died”
a group. Inevitably, someone else will remember something you don’t, and vice • Sharon Olds – “War: 1. Woman with the Lettuce, 2. Legless Fighter Pilot”
versa. Explain the concepts and terms to each other. Ask each other questions. • Maile Meloy – “Two-Step”
Talk through a text we’ve studied. The exams test for understanding, so if you can
explain what we’ve discussed to someone else, you’ll do well on the exams too.
3. Working it out
I’m not sure if I’m getting this or not. What should I do? • Your report group will read one of the following:
• Life of Pi (Martel, 01) • The Road (McCarthy, 06)
Ask questions during class. This is designed to be a friendly atmosphere where we • Interpreter of Maladies (Lahiri, 99) • Wit (Edson, 99)
can be free to admit what we don’t understand. Sometimes none of us will have • Jackstraws (Simic, 99) • Corpus (Symmons Roberts, 04)
the answer, and that’s just as important to recognize. Also, feel free to talk to your
professor before or after class, or schedule an appointment. It may be that some
simple feedback can help you a great deal. Don’t be intimidated or feel stupid: 4. Coming to terms
several other students may feel just like you, and classes are for learning. So
• Billy Collins – “The Poems of Others”
whatever you need to learn, let’s make it happen!
• Sharon Olds – “Animal Dress”
• Maile Meloy – “O Tannenbaum”
I don’t like to talk in class. Is my participation grade in trouble? • Jonathan Safran Foer – Extremely Loud & Incredibly Close
• Eternal Sunshine of the Spotless Mind (dir. Michel Gondry)
Collaboration is a big part of the design for this class. However, it’s not meant to • David Bordwell & Kristin Thompson – “But what kind of art?”
be a talking contest. You may feel uncomfortable sharing your thoughts around
others, but remember a couple things. You can use this class as a safe place to
practice talking with others: you may be better at it than you thought. Also, you Required Texts
may feel freer writing, so use Blackboard as your discussion comfort zone and Billy Collins — Ballistics (2008)
make it a goal to be the standout there. Ron Currie — Everything Matters! (2009)
David Lindsey-Abaire — Rabbit Hole (2007)
Maile Meloy — Both Ways is the Only Way I Want It (2010)
How do I know if I’m participating enough? Sharon Olds — One Secret Thing (2009)
Jonathan Safran Foer — Extremely Loud and Incredibly Close (2005)
Ask your professor.
Report Text
I read slowly. Any ideas on how I can keep up with the class? You will be assigned to a group during class on 7 September. Texts are listed under the
Noticing section above, and you will purchase only the one assigned for your group.
Let your professor know right away. It may mean a greater time investment on
your part, but there may be other techniques that can help you, too. Also, use the
slow parts of this course’s semester to your advantage—read ahead!
Calendar Week 9
Tuesday, 12 Oct reports: Life of Pi, prepare for reports
Jackstraws
DATE IN-CLASS WORK ASSIGNMENTS Thursday, 14 Oct reports: Corpus, prepare for reports
Interpreter …
Week 1
Thursday, 19 Aug overview read syllabus Week 10
Tuesday, 19 Oct reports: The Road, Collins pgs 17-18,
Week 2 Wit Olds pg 54
Tuesday, 24 Aug why literature? Meloy pgs 121-138 Thursday, 21 Oct figure eight | Meloy pgs 199-219
Thursday, 26 Aug by its cover Collins pgs 7, 19-20 revision of essay 1

Week 3 Week 11
Tuesday, 31 Aug capture Currie (pgs 1-94) Tuesday, 26 Oct what do you mean?
Thursday, 2 Sept story time Currie (pgs 95-258) Thursday, 28 Oct writing workshop

Week 4 Week 12
Tuesday, 7 Sept showing & telling | Currie (pgs 259- Tuesday, 2 Nov FALL BREAK Foer (pgs 1-74)
report teams 302) Thursday, 4 Nov remembering Foer (pgs 75-107)
Thursday, 9 Sept major leagues
Week 13
Week 5 Tuesday, 9 Nov first impressions Foer (pgs 108-173)
Tuesday, 14 Sept writing workshop L-Abaire (Act 1) Thursday, 11 Nov politics Foer (pgs 174-207)
Thursday, 16 Sept the play’s the thing L-Abaire (Act 2)
Week 14
Week 6 Tuesday, 16 Nov genre Foer (pgs 208-284)
Tuesday, 21 Sept art vs life Thursday, 18 Nov ways of writing Foer (pgs 285-end)
Thursday, 23 Sept performance Olds pgs 43-4, 62-3
Week 15
Week 7 Tuesday, 23 Nov the end Bordwell
Tuesday, 28 Sept listening | essay due Collins pgs 50-51, Thursday, 25 Nov THANKSGIVING
Olds pgs 7-8
Thursday, 30 Sept thinking poetically Meloy pgs 89-102 Week 16
Tuesday, 30 Nov film showing [tbd]
Week 8 Thursday, 2 Dec film | bring laptop study
Tuesday, 5 Oct perspective study | essay due
Thursday, 7 Oct exam 1 prepare for reports
Week 17
Friday, 10 Dec exam 2 11:30am-2:00pm