Course Descriptions (as of 23 February 2004)
The following course descriptions have been written by individual instructors
to provide more detailed information on specific section sthan that found
in the General Catalog. When individual descriptions are not available,
the General Catalog descriptions [in brackets] are used. (Although we try
to have as accurate and complete information as possible, this schedule
remains subject to change.)
Add Codes
English classes, 300-level and above, require instructor
permission for registration during Registration Period 3 (beginning
the first day of classes). If students have not registered for a class
prior to the first day, they should attend the first class meetings and/or
contact the instructor to obtain the necessary add codes.
First Week Attendance
Because of heavy demand for many English classes, students
who do not attend all reguarly-scheduled meetings during the first
week of the quarter may be dropped from their classes by the department.
If students are unable to attend at any point during the first week,
they should contact their instructors ahead of time. The Department requests
that instructors make reasonable accommodations for students with legitimate
reasons for being absent; HOWEVER, THE FINAL DECISION RESTS WITH
THE INSTRUCTOR AND SPACE IS NOT GUARANTEED FOR ABSENT STUDENTS EVEN IF
THEY
CONTACT THE INSTRUCTOR IN ADVANCE. (Instructors' phone numbers
and e-mail addresses can be obtained by calling the Main English Office,
(206) 543-2690 or the Undergraduate Advising Office, (206) 543-2634.)
Upper Division (400-level) creative
writing courses
Admission to 400-level creative writing courses is by
instructor permission. To receive an add code, prospective
students must fill out an information form available in the Creative
Writing office (B-25 PDL), present copies of their transcripts verifying
that they have taken the appropriate prerequisite classes, and turn
in a writing sample for instructor screening.
Senior Seminars
ENGL 497 (Honors Senior Seminar) and ENGL 498 (Senior
Seminar) are joint-listed courses; students choose which number
to sign up for depending on their individual status. ENGL 497 is
restricted to senior honors English majors taking the additional
senior seminar required for the departmental honors program. Add
codes for ENGL 497 are available in the English Advising
office, A-2B Padelford. All other senior English majors should
sign up for ENGL 498. Neither ENGL 497 nor ENGL 498 can be taken more
than once for credit.
471 A (The Composition Process)
TTh 9:30-11:20
Bawarshi
bawarshi@u.washington.edu
This course, through reading and fieldwork, introduces students to the various
approaches that guide the study and teaching of writing. In it we will
explore the different methods of teaching writing that have emerged in
the last forty years, ranging from methods for teaching students how to
produce texts to methods for assessing these texts. We will also examine
the theories that underscore these methods, starting with the emergence
of the process movement in the 1960s and then inquiring into its various
manifestations (and critiques of these manifestations) in the years since.
Along the way, I hope we can begin to think critically about the various
practices that inform the teaching of writing, in particular, what values
and assumptions guide these practices so that we all can become more self-reflective
readers, writers, and teachers. Most of all, though, I would like this
course to give us all a chance to think about what it means to teach writing,
to develop and share our own goals for teaching writing, and to generate
and articulate practices that will help us achieve these goals. Course
work will include keeping a reading journal, conducting a brief teaching
ethnography, preparing a bibliography and presentation, and creating a
teaching portfolio. Add codes: A-2B PDL. Texts: Joseph Harris, A
Teaching Subject: Composition since 1966; Wiley, Gleason & Phelps, Composition
in Four Keys: Inquiring into the Field.
478 A (Language and Social Policy)
MW 1:30-3:20
Tollefson
tollefso@u.washington.edu
This course examines the great linguistic paradox of our times: that societies
dedicate vast resources to language teaching and learning, but are often
unable – or unwilling – to remove linguistic barriers to education,
employment, and political power. Focusing especially on the spread of English
and other international languages, this course examines language policies
in a range of contexts worldwide, including Hong Kong, Japan, India, Yugoslavia,
Canada, Australia, the United States, and elsewhere. The course will be
of interest to students in English, Education, Anthropology, Sociology,
Political Science, and languages. Because the course pays particular attention
to language policies in education, teachers and future teachers will find
the course of special interest. Texts: Tollefson, ed., Language
Policies in Education: Critical Issues; Corson, Language Policy in Schools.
483 A (Advanced Verse Writing)
Wed. 3:30-6:20
--to be cancelled as of 2/18--
484 A (Advanced Short Story Writing)
MW 9:30-10:50
Shields
dshields@davidshields.com
Reading and writing very short stories – as a way to understand the
underlying structural principles of narrative. http://www.davidshields.com Application, add codes B-25 PDL. Prerequisite: ENGL 384, writing sample. Text: photocopied
course packet.
485 U (Novel Writing)
Tues. 4:30-7:10 pm
Bosworth
davidbos@u.washington.edu
[Experience in planning, writing, and revising a work of long fiction,
whether from the outset, in progress, or in already completed draft.]
By permission
of instructor only. Applications, add codes B-25 PDL. Prerequisite:
ENGL 384 or 484, writing sample. Text: Tolstoy, The Death of Ivan Ilych and
Other Stories.
491 A (Internship)
*arrange*
Supervised experience in local businesses and other agencies. Open only
to upper-division English majors. Credit/no credit only. Add codes available
in English Advising office, A-2B PDL.
492 A (Advanced Expository Writing Conference)
*arrange*
Tutorial arranged by prior mutual agreement between individual student
and instructor. Revision of manuscripts is emphasized, but new work may
also
be undertaken. Add codes available in English Advising office, A-2B PDL.
493 A (Advanced Creative Writing Conference)
*arrange*
Tutorial arranged by prior mutual agreement between individual student
and instructor. Revision of manuscripts is emphasized, but new work may
also
be undertaken. Add codes available in Creative Writing office, B-25 PDL.
494 A (Honors Seminar)
MW 10:30-12:20
Weinbaum
alysw@u.washington.edu
Stategies of Interpretation: History, Politics, and Form in the Work
of W. E. B. Du Bois. “Strategies of Interpretation” introduces
English Honors majors to a wide range of methods for interpreting literary
texts,
analyzing historical and political contexts, and addressing questions of
genre, form, and literary value. At the center of our inquiry will be The
Souls of Black Folk (1903), the monumental work by the African American
writer and activist W. E. B. Du Bois. In order to make meaning of this
complex and multifaceted text we will consider the moment in which it was
written, other period writings that treat similar issues, criticism written
on it both at the turn-of-the-century and more recently, biographical material
on Du Bois, and recent theoretical work on race and nation, racism and
nationalism. Even as Du Bois remains central to our discussion throughout
the quarter, we will always at the same time remain focused on the development
of a variety of strategies for interpreting literary texts. In the second
part of the course the interpretative tools that we have crafted while
reading Souls will be used to produce criticism on other works
by Du Bois including his romantic novel, Dark Princess (1928),
and his genre-busting assemblage of poetry, autobiography, and polemical
essays, Darkwater (1920).
The course will conclude with a discussion of the relationship of literary
form to political content, and will raise questions about our role as readers
and critics in shaping the literary canon and defining literary value.
Students will be expected to complete the course by writing original term
papers. Add codes A-2B PDL. Honors ENGL majors only. Texts: W.
E. B. Du Bois, Souls of Black Folk; Darwater; Dark Princess;
photocopied course packet.
496 A (Honors Writing Conference)
*arrange*
Allen
callen@u.washington.edu
Add codes A-2B PDL. Honors majors only.
497/8 A (Honors Senior Seminar/Senior Seminar)
MW 9:30-11:20
Reed
(W)
bmreed@u.washington.edu
Twenty-First-Century Literature. Where is literature today? The
New Economy of the 1990s is history; the internet has lost its luster; we
are living
in a post-September 11th world of warfare abroad and orange alerts at home. “Postmodernism,” whatever
it was, seems to be over, gone the way of deconstruction, poststructuralism,
and other late twentieth-century intellectual preoccupations. This seminar
will be asking, in open-ended fashion, whether today’s young, innovative
writers are offering us a new, meaningful vision of literature and tis
place in the world. We will be reading both prose writers (Rabih Alameddine,
Mark Danielewski, Dave Eggers, Michelle Tea) and poets (Christian Bök,
Kenneth Goldsmith, Susan Howe, Harryette Mullen). http://faculty.washington.edu/bmreed/ 497:
Senior honors majors only (add codes A-2B PDL); 498: Senior majors only. Texts: Alameddine, I,
the Divine; Bök, Eunoia; Danielewski, House of Leaves;
Eggers, A Staggering Work of Heartbreaking
Genius; Goldsmith, Soliloquy;
Howe, The Midnight; Mullen, Sleeping with the Dictionary;
Tea, Valencia.
497/8 B (Honors Senior Seminar/Senior Seminar)
MW 10:30-12:20
Lockwood
(W)
tlock@u.washington.edu
Recent British Fiction. This seminar will offer a reading of six
very recent novels from Britain and Ireland. “Very recent” means published
within the past three years, and the aim is to give students some sense
of the range and quality of contemporary British fiction. Four of the novels
are from England, one is from Scotland, and one from Ireland. Two are first
novels and the other four are by established writers. Two have postcolonial
subjects and another two have wartime settings. Five of them (as it happens)
tell stories which are in one way or another about childhood experience.
All of them are interesting and challenging novels. They are: Monica Ali’s Brick Lane;
Michael Frayn’s Spies; Ian McEwan’s Atonement;
V. S. Naipaul’s Half a Life; Ali Smith’s Hotel
World; and William
Trevor’s The Story of Lucy Gault. 497: Senior honors majors only
(add codes A-2B PDL); 498: Senior majors only.
497/8 C (Honors Senior Seminar/Senior Seminar)
MW 11:30-1:20
Handwerk
(W)
handwerk@u.washington.edu
Living in Place: Literature and the Environment. Our focus for this course
will be upon how literary texts represent environmental issues and
why it matters that they be represented in this way. How, that is,
does the
way in which people imagine the natural world affect who we are?
How do our relationships with nature and our relationships with other
people
intersect?
We will consider a range of prose texts, including novels, non-fictional
essays and journalism, selected from a variety of historical and
cultural settings. Course goals include: 1) developing analytical reading
skills
appropriate to different kinds of texts, 2) working on how to formulate
and sustain critical arguments in writing, 3) exploring the logic
and stakes of specific attitudes toward the environment, 4) understanding
how environmental
issues are linked to other social concerns, and 5) seeing how those
linkages are affected by particular historical and cultural conditions.
What will make this class different from most other seminars, though, is that it is part of a collaborative project between UW and a pair of local high schools. We will be trying to devise effective modes of interacting with those other classes and of conveying to them a sense of the kind of work we do at a university like this one. The course will require some individual writing, but a major part of the formal work will involve group research projects, with small groups working on a particular text, investigating its public and critical reception as background for preparing a teaching resource manual for that text. 497: Senior honors majors only (add codes A-2B PDL); 498: Senior majors only. (Meets w. C LIT 496B) Texts include: Robinson Crusoe; Encounters with the Archdruid; Go Down, Moses; Origin of Species (selections); Wild Seed; Desert Solitaire; Ceremony.
497/8 D (Honors Senior Seminar/Senior Seminar)
MW 12:30-2:20
Blake
(W)
kblake@u.washington.edu
Self-Help and Inheritance. "Self-Help" is the title of a best-selling
book from 1859 by Samuel Smiles. It serves in the title for a course exploring
literature in English from the 19th to 20th centuries, a period that has
sharply promoted self-making through "self-help." But with this
has also come a complication in thinking about inheritance. "Inheritance" fills
out the title of the course and sets questions about the extent to which
we are "made" by what has gone before, whether by family, gender,
race, class, national/imperial legacy, or cultural/literary tradition. The
class is designed as an appropriate capstone for seniors completing an English
major given its theme, its seminar format, and significant writing component.
It provides a forum for reflection on your own educational experience as
an interplay between self-help and inheritance. Primary readings drawn from:
Jane Austen, Pride and Prejudice (with clips from BBC video), John
Stuart Mill, ch. "Of Individuality" from "On Liberty," Charles
Dickens, Great Expectations (with clips from recent film), Lewis
Carrol, Alice in Wonderland, Virginia Woolf, "A Room of One's Own," V.S.
Naipaul, A House for Mr. Biswas. Secondary historical/critical/theoretical
material (short selections, not read by all, covered by presentations) drawn
from: Samuel Smiles, Edmund Burke, Matthew Arnold, Barbara Herrnstein-Smith,
criticism on Naipaul, Peter Ackroyd). Requirements: on-going seminar discussion
plus two presentations (whether leading discussion of a primary text or reporting
ona secondary text), 4-5 pp. paper, @10 pp. paper treating more than a single
text. If you choose, these can be related, so that the seoncd paper revises
and expands upon the first. The above requirements count 25%, 25%, 50%. No
final. I am open to adapt assignments to your purposes as you conclude your
undergraduate work. Research, discussion, oral presentation, and critical
writing (in tight-focus and wider-scope formats) are practical skills you
can enhance and lay claim to in this course. Past senior seminars of mine
have proved helpful to students for providing the basis of letters of recommendation
and writing samples for purposes of graduate school or other training, or
employment. 497: Senior honors majors only (add codes A-2B PDL); 498: Senior
majors only.
497/8 E (Honors Senior Seminar/Senior Seminar)
MW 1:30-3:20
Blau
(W)
hblau@u.washington.edu
Drama on Trial: The Self-Conscious Stage. Our subject is the double
meaning (and various shadings) of the subtitle. There is a long tradition
in which
the theater, distrusting its power of illusion, has been more or less conscious
of its reality as theater, and makes a point of it in performance, refusing
to be thought of as mere appearance, or misleadingly confused with life.
At the same time there has been an emphasis on the idea of the self in
the center of the stage, though that gets mixed up with the role of the
actor, while the drama itself has been subject to critique, along with
the “apparatus
of reproduction.” . These tendencies, not mutually exclusive, have
become so obsessive and sophisticated in certain advanced forms of theater,
that one is likely
to find no stage at all in the conventional sense, and sometimes even,
no dramatic text. What remains instead is only theater, and instead of
a character, only the self or fictions of the self; or in the breaking
down and dispersion of the fictions, the appearance in the actor of the
absence of a self. Or maybe the actor and audience thinking—as in
recent theory, from deconstruction to queer—that the very notion
of a self was, ideologically, an aberration of history. We shall discuss
that unnerving (or is it promising?) possibility, while reading through,
and conceptually staging, a spectrum of modernist and
contemporary texts that point to the threatened or disintegrated self,
or manifest it, shaking up the theater in the process. Expectations: aside
from several short (2-3 pages) essays and a longer (12-15 pages) final
paper, an activating presence in seminar discussions; no missing persons,
no credit for blank stares. 497: Senior honors majors only (add codes
A-2B PDL); 498: Senior majors only. (Meets w. C LIT 496C)
497/8 F (Honors Senior Seminar/Senior Seminar)
TTh 9:30-11:20
Simpson
(W)
csimpson@u.washington.edu
History and the Graphic Novel. Although most of us think of them
as serious-minded comic books, the illustrated novel or “graphic novel”,
as it has come to be called, often documents significant alternative perspectives
on the century’s most traumatic historical events and cultural phenomena.
In this course, we will look at the manner in which some of the most celebrated
graphic novelists have embroidered a distinct form of narrative, one that
mixes documentary or journalistic techniques with the aesthetic concerns
and license of the storyteller. Course requirements will include a final
long paper project, preceded by an abstract, and a rough draft. 497:
Senior honors majors only (add codes A-2B PDL); 498: Senior majors only. Texts: Spiegelman, Maus,
A Survivor’s Tale: My Father Bleeds History;
Maus II: And Here My Troubles Begin; Okubo, Citizen 13660;
Satrapi, Persepolis:
The Story of a Childhood; Sacco, Palestine.
497/8 G (Honors Senior Seminar/Senior Seminar)
TTh 10:30-12:20
Modiano
(W)
modiano@u.washington.edu
Contracts of the Heart: Sacrifice, Gift Economy and Literary Exchange
in Coleridge and Wordsworth. In this seminar we will study the literary
relationship of Coleridge and Wordsworth who, as one critic remarked, “not only
pervasively influenced one another, but did so in a way that challenges
ordinary methods of assessments.” We will explore the possibility
of deriving from theories of gift exchange and sacrifice a new model of
literary influence that would shed light on this remarkably intimate and
deeply conflicted relationship.
We will spend the first four weeks of the quarter studying theories of gift
exchange and sacrifice as proposed, among others, by Marcel Mauss, Marshall
Sahlins, Georg Simmel, Lewis Hyde and Pierre Bourdieu (on the gift); and
by Sigmund Freud, Henri Hubert and Marcel Mauss, René Girard and Georges
Bataille (on sacrifice). The next six weeks will be devoted to the study of
major poems by Coleridge and Wordsworth in chronological order, showing how
the two poets, while desiring to imitate each other, find themselves competing
for the same themes and appropriating each other’s subjects. Thus,
while early Coleridge wrote successful nature poetry and Wordsworth portrayed
moving
stories of human suffering in a supernatural setting, after their collaboration
on the Lyrical Ballads, Wordsworth turned to the philosophy of the
mind’s
relationship with nature, while Coleridge started to explore the effects
of supernaturalism on the psyche.
Such moments of merging and separation can be profitably viewed through the lens of gift exchange and sacrifice. The gift, for example, generates a number of paradoxes that are relevant to the relationship between Coleridge and Wordsworth, being at once an altruistic model of social interaction, placing value on human bonds above economic or private interests, while at the same time remaining embedded in a self-interested power structure. Gift exchange often secures the privileged position of the donor at the expense of receivers and yet, as Mauss showed, receivers seem to retain “a sort of proprietary right” over everything that belongs to the donor. The gift thus generates the obfuscation of ownership rights and an erasure of the differences between donors and beneficiaries. We will see how Wordsworth and Coleridge, while collaborating early on a single unauthored volume (Lyrical Ballads) and wanting to write the same poem (“The Wanderings of Cain,” “The Rime of the Ancient Mariner”), found themselves increasingly asserting “proprietary rights” over the stock of inventions which they initially passed on to each other according to the law of the gift. Wordsworth continued to use Coleridge’s ideas but tried hard to displace Coleridge as a gift-giving source, turning to nature or his private fund of “possessions,” to “Something within, which yet is shared by none” (“Home at Grasmere”). Assignments: A long paper (10-16 pp.), written in two stages and subject to revision; bi-weekly comments on assigned readings; a final exam. 497: Senior honors majors only (add codes A-2B PDL); 498: Senior majors only. Texts: Marcel Mauss, The Gift; Rene Girard, Violence and the Sacred; S. T. Coleridge, Selected Poetry (ed. Beer); Wordsworth, Selected Poetry.
497/8 H (Honors Senior Seminar/Senior Seminar)
TTh 11:30-1:20
Burstein
(W)
jb2@u.washington.edu
Hard Women Poets. The poet-critic Thom Gunn has grouped the modernist
poets Mina Loy, Marianne Moore, and H.D. as “Three Hard Women”;
the critic Yvor Winters once said that reading Mina Loy was like moving through
granite. Surprisingly, these are terms of approbation. This course will focus
on those poets and that premise. We will engage in close reading – intensive
textual analysis and forma l criticism – as well as comparative analysis.
Students are expected to be present as well as vocal; those who go in fear
of dictionaries are not encouraged to attend. We will focus on the work of
four hard women poets: Marianne Moore, H.D., Mina Loy, and Dorothy Parker.
While our readings will engage the poems individually, we will also explore
the issue of difficulty per se., what those difficulties imply in terms of
a reading public, and different ideas of hardness. 497: Senior honors
majors only (add codes A-2B PDL); 498: Senior majors only. Texts: Marianne
Moore, Complete Poems; H.D., Collected Poems; Mina Loy, The
Lost Lunar Baedeker; Dorothy Parker, Complete Poems.
497/8 I (Honors Senior Seminar/Senior Seminar)
TTh 12:30-2:20
Merola
(W)
nmerola@u.washington.edu
Reading at the Limits of the Human: Encounters with Animal, Environmental,
and Technological Others. In the introduction to Zoontologies:
The Question of the Animal, Gary Wolfe makes a persuasive case for examining the non-human
animal as a site of philosophical and ethical challenge to the human. Considering
what the animal is, or means, he argues, is “perhaps the central
problematic for contemporary culture and theory” (ix). This course
takes Wolfe’s proposition seriously. It also exceeds the category
of the animal, including the environment and technology as other Others
whose relation to the human we might productively investigate. Through
examining literary, theoretical, philosophical, filmic, painted, and photographed
texts, this course invites you to consider how notions of the “human” are
dependent on and troubled by engagements with and disavowals of “non-human” others.
The course will be arranged into three interconnected sections – animals,
environments, and technologies. In addition to the required texts, films
you will be expected to screen during the quarter include: Michael Gondry’s
Human Nature; Ridley Scott’s Blade Runner, and Errol Morris’ Fast,
Cheap, and Out of Control. This course demands active and consistent engagement
with the readings, class participation, response papers, and a final original
research paper. 497: Senior honors majors only (add codes A-2B PDL);
498: Senior majors only. Texts: Kirsten Bakis, The
Lives of the Monster Dogs;
Margaret Atwood, Oryx and Crake; Ruth Ozeki, All Over Creation; Michael
Pollan, The Botany of Desire;
photocopied course packet with theoretical and other supplementary readings.
497/8 J (Honors Senior Seminar/Senior Seminar)
TTh 1:30-3:20
Kaup
(W)
mkaup@u.washington.edu
Writing on/ about/ from the Border. Borders and bordercrossings figure prominently
in contemporary discourse related to postmodernism and globalization, where
they allegorize the transgression of limits and the breaking of containments.
This generalizing celebratory border discourse is usually non-site specific
or references site-specific borders (such as the Mexico-U.S. border) only
in passing. What happens if one places generalizing border discourse in
conversation with writings which are not just about the border, but actually
writing from a specific border, such as the U.S.-Mexico border? The course
will explore how texts from the U.S.-Mexico border, especially from the
Mexican side, sit oddly against the body of border discourse common in
the U.S. context. We will read Chicano/a literature (Gloria Anzaldua, Américo
Pareders, Jovita González ) literature by Mexican border writers
(Federico Campbell, Rosina Conde, the filmmaker Maria Navaro [El jardin
de Eden])and other Mexican and American "national" writers who
have turned to the subject of the border (Cormac McCarthy, Carlos Fuentes,
Guillermo Gómez-Peña). 497: Senior honors majors only;
498: senior majors only. Texts: Cormac McCarthy,
All the Pretty Horses; Carlos Fuentes, The Crystal Frontier; Guillermo
Gómez-Peña, Warrior for Gringostroika; Gloria Anzaldúa, Borderlands/La
Frontera; Américo Paredes,
George Washington Gómez; Jovita González, Caballero; Rosina
Conde, Women on the Road, María Novaro (Dir.), El jardín de
Edén (The Garden of Eden); Ursula Biemann (Dir.), Performing
the Border,
photocopied course packet.
497/8 K (Honors Senior Seminar/Senior Seminar)
MW 10:30-12:20
Dornbush
In this seminar we'll explore modern revisions of four classic texts of the Western canon--Shakespeare's The Tempest, Bronte's Jane Eyre, Conrad's Heart of Darkness, and Twain's Adventures of Huckleberry Finn. In addition to the four works, we'll read revisions produced by advocates for colonial and postcolonial cultures in Latin America, the Caribbean, Africa, and the cultures of the African diaspora. Readings from postcolonial and feminist criticism will accompany our discussion of the social, political, and interpretive controversies these works have generated. Grades based on participation (class discussion, response papers) and three five-page papers. (Meets w. C LIT 493, 496A; Comp. Lit majors have priority, Registration Period 1.) 497: Senior honors majors only; 498: senior majors only.
497/8L (Honors Senior Seminar/Senior Seminar)
TTh 8:30-10:20
Melamed
(W)
melamed@u.washington.edu
Literary Culture and U.S. Neocolonialism. This course examines
the relationship of the contemporary novel to the politics and culture of
late twentieth-century
U.S. Empire. It begins by examining U.S. Empire to be in part a cultural
formation that depends on the production and circulation of narratives
to describe, authorize and create a will for the exercise of U.S. interventions
across the globe. We will center the question of how we might read the
contemporary novel in American as a powerful cultural form that may represent,
support or challenge narratives of U.S. Empire. Throughout, our framework
for reading literature will be historical, transnational and geopolitical.
We will focus on the events of the Cold War and decolonization; U.S. wars
in Asia; and the economic restructuring of the planet called globalization.
We will use our reading to ask broad questions including: How can we connect
the political and formal developments of the novel in the United States
after 1945 to U.S. global politics? What kind of empire is the U.S. How
do international struggles abroad shape representations of American identity
at home? How do the internal and global dynamics of empire-building shape
culture in the U.S.? The reading list will include Graham Greene, The
Quiet American, Kurt Vonnegut, Cat’s Cradle, Theresa
Cha, Dictee, Jessica
Hagedorn, Dogeaters, Jamaica Kincaid, A Small Place,
and Barbara Kingsolver,
Poisonwood Bible. 497: Senior honors majors only (add codes:
A-2B PDL); 498: Senior majors only.
499 A (Independent Study)
*arrange*
Individual study by arrangement with instructor. Instrutor codes, A-2B
PDL.