In this course, we will be reading the work of a select and eclectic group of artists whose writings range from a retelling of a Shakespearean tragedy to a memoir that bills itself as a “tragicomic.” We will be exploring the ways in which texts that are often cast outside of literary canons – speculative fictions, autobiographies, comics – enable us to assess the critical, cultural, and political processes that create the very notions of margin and center. We will focus on how such works revise literary canons and canonical literary texts, challenge conventional narratives of gender and development, and transform normative visions of individual, sexual, religious, and national bodies. Our discussions will be framed by the following questions: How do these texts contend with the standard scripts accorded to women in canonical texts and cultural contexts? How do constructions of gender inflect individual or communal perspectives on what kinds of narratives are worthy of being told, written, read, and reinterpreted? How do we develop our own standards for critiquing texts; what criteria do we employ in determining a work’s value? How do we respond to works that break through/break down our aesthetic sensibilities?
Book list: (may be subject to change)
Lynda Barry, One! Hundred! Demons!
Alison Bechdel, Fun Home
Joy Harjo, How We Became Human
Maxine Hong Kingston, The Woman Warrior
Toni Morrison, The Bluest Eye
Suzan-Lori Parks, Getting Mother’s Body
William Shakespeare, King Lear
Jane Smiley, A Thousand Acres
Helena Maria Viramontes, Under the Feet of Jesus
Karen Tei Yamashita, Through the Arc of the Rainforest
In addition, we will be reading selections from the work of Jessica Abel, Samuel Delany, Audre Lorde, Cherrie Moraga, Alicia Ostriker, Adrienne Rich, Francesca Royster, Mab Segrest, Leslie Marmon Silko, Art Spiegelman, and Julia Watson
English 278a satisfies the “Introductory Emphasis” requirement for the Haverford English Major.