{"id":256,"date":"2017-10-13T20:40:23","date_gmt":"2017-10-13T20:40:23","guid":{"rendered":"https:\/\/www.macalester.edu\/160-english\/schedules\/"},"modified":"2024-07-24T19:51:46","modified_gmt":"2024-07-24T19:51:46","slug":"schedules","status":"publish","type":"page","link":"https:\/\/www.macalester.edu\/english-and-creative-writing\/schedules\/","title":{"rendered":"Class Schedules"},"content":{"rendered":"
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\n \n Spring 2026<\/a>\n \n \n Fall 2026<\/a>\n \n \n\t\n\t\n\t\n <\/p>\n \n\t

Spring 2026<\/h2>\n

Visit the Registrar's Class Schedule for live registration information<\/a><\/p>\n

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Num. \/ Sec. \/ CRN<\/th>\n Name<\/th>\n Days<\/th>\n Time<\/th>\n Room<\/th>\n Instructor<\/th>\n <\/th>\n \n <\/tr>\n <\/thead>\n
ENGL 105-01 32203<\/span><\/td>\n LGBTQ2S+ Literature in America: Identities and Differences in U.S. Literature<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>03:30 pm-04:30 pm\n <\/td>\n \n Room: <\/span>MAIN 001\n <\/td>\n \n Instructor: <\/span>Rachel Gold\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with WGSS 194-03 (32805)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n This introductory English course covers lesbian, gay, bisexual, transgender, queer and Two Spirit literature in America\u2014with a focus on resistance and resilience. We will examine how American culture and politics have shaped and been shaped by LGBTQ2S+ writing and art. We\u2019ll appreciate intersections of race, ethnicity, and class in historical and current work. And we\u2019ll explore what it means to queer a text, a life and a culture. Requirements include written responses to reading, a creative project, a 5-7 page essay, and an optional escape room scenario. Authors we\u2019ll read include: Jewelle Gomez, James Baldwin, Audre Lorde, Qwo-Li Driskill, Gloria Anzald\u00faa, Allison Bechdel, Kai Cheng Thom, Tommy Pico, Mariko Tamaki, and Junauda Petrus.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WP\n \n \n U.S. Identities and Differences\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 137-01 32204<\/span><\/td>\n Novel<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>09:40 am-10:40 am\n <\/td>\n \n Room: <\/span>MAIN 009\n <\/td>\n \n Instructor: <\/span>James Dawes\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n \n Details\n <\/a>\n
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\n In this course we will read some of the most popular novels ever written in the United States. They will be heart-wrenchingly beautiful, tear-jerkingly sad, philosophically bold, and seriously weird. We will discuss love, death, the meaning of life, cruelty, beauty, loneliness, artificial intelligence, and mystery.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WP\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 140-01 32205<\/span><\/td>\n Once Upon a Crime<\/td>\n \n Days: <\/span>M \n <\/td>\n \n Time: <\/span>07:00 pm-10:00 pm\n <\/td>\n \n Room: <\/span>THEATR 202\n <\/td>\n \n Instructor: <\/span>Michael Householder\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n \n Details\n <\/a>\n
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\n This course serves as an introduction to law and literature. How does literature shape law and vice versa? How does literature help us to better understand the human desire for revenge, retribution, confession, witnessing, judgment, remorse, and forgiveness? Readings will come from a variety of literary traditions and periods: fairy tales, early modern drama, essays, short stories, film, and literary and legal theory. This course counts as a foundation course for the English major. This course also counts for the Legal Studies Concentration.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-01 32206<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>09:40 am-10:40 am\n <\/td>\n \n Room: <\/span>CARN 05\n <\/td>\n \n Instructor: <\/span>Sarah Ghazal Ali\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Registration limit will be adjusted to save 4 seats for First Years*<\/p>\n

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\n \n Details\n <\/a>\n
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\n Ray Bradbury wrote \u201ctoward something honest, hidden under the trapdoor on thetop of my skull.\u201d Emily Dickinson described poetry as \u201cfeel[ing] physically as if thetop of my head were taken off.\u201d In this introductory creative writing course, we willexplore different kinds of writing that might shake loose our brains and hone anorientation toward curiosity and wonder. When we read or write, we are both inand out of ourselves\u2014where does a poem or story take us without physicallymoving us? Where else can our minds go? What inspires us, moves us, makesus daydream? Together, we will work to find our own personal answers to thesequestions by experimenting with form, content, and style. In this cross-genreclass, you will write and workshop several creative pieces. Classes will consist ofreadings, discussions, writing exercises, and responses to each other\u2019s work, andculminate in a final portfolio of original creative pieces across genre.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-02 32207<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>10:50 am-11:50 am\n <\/td>\n \n Room: <\/span>CARN 05\n <\/td>\n \n Instructor: <\/span>Sarah Ghazal Ali\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Registration limit will be adjusted to save 4 seats for First Years*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n Ray Bradbury wrote \u201ctoward something honest, hidden under the trapdoor on thetop of my skull.\u201d Emily Dickinson described poetry as \u201cfeel[ing] physically as if thetop of my head were taken off.\u201d In this introductory creative writing course, we willexplore different kinds of writing that might shake loose our brains and hone anorientation toward curiosity and wonder. When we read or write, we are both inand out of ourselves\u2014where does a poem or story take us without physicallymoving us? Where else can our minds go? What inspires us, moves us, makesus daydream? Together, we will work to find our own personal answers to thesequestions by experimenting with form, content, and style. In this cross-genreclass, you will write and workshop several creative pieces. Classes will consist ofreadings, discussions, writing exercises, and responses to each other\u2019s work, andculminate in a final portfolio of original creative pieces across genre.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-03 32208<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>12:00 pm-01:00 pm\n <\/td>\n \n Room: <\/span>CARN 304\n <\/td>\n \n Instructor: <\/span>Matt Burgess\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Registration limit will be adjusted to save 5 seats for First Years*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This introductory course will focus on the basic elements of creative writing. Students will be asked to read and discuss published work by writers across a wide range of cultures, to support one another through peer workshops, and to write multiple drafts of short fiction, poetry, and creative nonfiction. Throughout the semester our focus will be on creating an artistic community that encourages everyone to discover and nurture their own individual creative voice, and then to express that voice with force and conviction.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-04 32209<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span>MAIN 001\n <\/td>\n \n Instructor: <\/span>Cody Klippenstein\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Registration limit will be adjusted to save 4 seats for First Years*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This introductory course will focus on the basic elements of creative writing. Students will be asked to read and discuss published work by writers across a wide range of cultures, to support one another through peer workshops, and to write multiple drafts of short fiction, poetry, and creative nonfiction. Throughout the semester our focus will be on creating an artistic community that encourages everyone to discover and nurture their own individual creative voice, and then to express that voice with force and conviction.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-05 32210<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span>MAIN 001\n <\/td>\n \n Instructor: <\/span>Cody Klippenstein\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n This workshop-based course focuses on the development of skills for writing poetry, short fiction, and\/or creative nonfiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-06 32211<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span>THEATR 202\n <\/td>\n \n Instructor: <\/span>Aurora Masum-Javed\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Registration limit will be adjusted to save 5 seats for First Years*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This introductory course will focus on the basic elements of creative writing. Students will be asked to read and discuss published work by writers across a wide range of cultures, to support one another through peer workshops, and to write multiple drafts of short fiction, poetry, and creative nonfiction. Throughout the semester our focus will be on creating an artistic community that encourages everyone to discover and nurture their own individual creative voice, and then to express that voice with force and conviction.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-07 32212<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>01:10 pm-02:10 pm\n <\/td>\n \n Room: <\/span>CARN 05\n <\/td>\n \n Instructor: <\/span>Michael Kleber-Diggs\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n This workshop-based course focuses on the development of skills for writing poetry, short fiction, and\/or creative nonfiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 200-01 32213<\/span><\/td>\n Major Medieval and Renaissance British Writers<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>12:00 pm-01:00 pm\n <\/td>\n \n Room: <\/span>MAIN 010\n <\/td>\n \n Instructor: <\/span>Karen Soto\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n \n Details\n <\/a>\n
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\n This survey provides an introduction to the masterpieces of medieval and early modern literature, from Beowulf to Paradise Lost. What is old, middle, and early modern English? How does lyric formally (and thematically) differ from epic and romance? When did drama acquire its characteristic structure? In addition to these poetic considerations, we will explore the key controversies that roiled pre-modern cultures pertaining to race, gender, and religion. Readings will highlight the imagination, poetics, and politics of authors such as Geoffrey Chaucer, Margery Kempe, Christine de Pizan, William Shakespeare, Mary Sidney Herbert, and John Milton.\u00a0This course satisfies either the Medieval or Renaissance period requirement for the major.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 224-01 32214<\/span><\/td>\n Video Games: Coding and Narrative<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span>LIBR 250\n <\/td>\n \n Instructor: <\/span>Dawes, Jackson\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with COMP 325-01 (32215)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n Videogames dominate entertainment culture. But like all popular forms of entertainment, they are often looked down upon as aesthetically superficial, intellectually uncomplicated, and somehow bad for you. They are "just pop culture." Like Shakespeare was in his time. Like the novel was when it was invented. And like film and television shows were when they were invented. This course takes seriously the deep intellectual and aesthetic value of videogames and of videogame making. Videogames are expanding the possibilities and the borders of storytelling and narrative design. They are pushing the limits of coding wizardry. They have also become one of the most creative popular-cultural sites for experimenting with and understanding other minds and identities. In this class, students will work in interdisciplinary teams to bring world-building narrative techniques to an immersive visual setting while exploring technical challenges involved in programming and game development through hands-on projects. Prerequisite(s): None if taken as the English cross-list.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 225-01 32493<\/span><\/td>\n Musical Fictions<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span>MUSIC 228\n <\/td>\n \n Instructor: <\/span>Mark Mazullo\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with MUSI 225-01 (32492)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n From E. M. Forster's Lucy Honeychurch, who "entered into a more solid world when she opened the piano," to James Baldwin's Sonny, who "moved in an atmosphere which wasn't like theirs at all," fictional musicians encounter trouble when negotiating the conflicting realms of art and society. Experts in one kind of expression, they fail in others. What draws these characters to music? What does it offer them? What is its value to us? In the musical novel and short story, we encounter music as an agent of violence, of consolation, of transcendence and redemption as well as damnation. We witness empathy through music, but we also learn that shared feeling can be both beautiful and dangerous, that music unites and divides. This course combines the close reading of literary texts (as well as works of literary theory and musicology) with the examination of the musical contexts that inform and inspire them. We will explore, for example, the relationship between Kazuo Ishiguro's novel The Unconsoled and Richard Wagner's music drama Parsifal. We will talk about syncopation in "jazz" by Charles Mingus and Toni Morrison. We will watch Marguerite Duras and Katherine Mansfield turn innocuous music lessons into spaces of wretchedness. We will try to understand what David Mitchell's young composer Robert Frobisher means when he says, "One writes music because winter is eternal and because, if one didn't, the wolves and blizzards would be at one's throat all the sooner."\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 230-01 32216<\/span><\/td>\n Media Mayhem: Nineteenth Century British Edition<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>10:50 am-11:50 am\n <\/td>\n \n Room: <\/span>THEATR 101\n <\/td>\n \n Instructor: <\/span>Mercedes Sheldon\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n \n Details\n <\/a>\n
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\n Feeling inundated with media content? Worrying about cancel culture? Spending too much time succumbing to click bait? As it happens, our media mayhem is not that different from the \u201cfirst mass-media moment,\u201d when a variety of political and technological changes allowed for the democratization of knowledge and the expansion of print media. In this course, we will examine political cartoons, illustrated and serialized fiction, protest poetry, and journalistic inquiries into socio-political topics ranging from women\u2019s identities within society to anxieties over new, seemingly instantaneous communication tools such as the telegraph. We will work with physical and digital archives to \u201cread sideways\u201d in popular periodicals such as Charles Dickens\u2019 Household Words and the satirical Punch magazine. And like the Victorians themselves, we will read at least one novel in its original serialized form. Throughout the course, we will use the nineteenth century\u2019s literature as a means for interrogating our own media anxieties. This course satisfies the 18th\/19th-century British literature requirement for the major.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 235-01 32335<\/span><\/td>\n A Kafkaesque Century<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span>HUM 213\n <\/td>\n \n Instructor: <\/span>Kiarina Kordela\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with GERM 365-01 (32334)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n Taught in English; there is an optional German component for those who want to have the course count toward their German-taught courses. In this case, students must do the reading and writing assignments and some of their oral presentations in German.What does the internationally (mis)used word "kafkaesque" actually mean? This course approaches Kafka's work both as a case for literary analysis and as one that offers insights into modernism. In one way or another, Kafka sheds light on massive industrialization, bureaucratization, the commodification of art, the destabilization of patriarchy, and the development of technology and media, as well as on the question: what is literature itself. In addition to a selection of Kafka's fiction, we shall read Crumb and Mairowitz's graphic version of Kafka's life and work, allowing students to produce their own graphic group project.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 240-01 32217<\/span><\/td>\n Irish Literature<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>10:50 am-11:50 am\n <\/td>\n \n Room: <\/span>CARN 204\n <\/td>\n \n Instructor: <\/span>Amy Elkins\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n \n Details\n <\/a>\n
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\n Please Note: This class includes a community-engaged project with a local community partner; students should plan to attend the first day of class and should be motivated to give back to their community through a substantial, ongoing set of projects linked to the class. A tiny island with a colossal impact on literature, Ireland has produced some of the greatest writers of all time. In this course, we will study the political history of Ireland as the backdrop for works by writers such as W. B. Yeats, James Joyce, Samuel Beckett, Elizabeth Bowen, Seamus Heaney, Claire Keegan, Sara Baume, Kit de Waal, Roddy Doyle, and Nuala N\u00ed Dhomhnaill\u2014among others. Students will explore the cultural impact of Irish literature in a range of contexts, from fairies and folklore to human rights and environmentalism. In addition to working on a weekly basis with a community partner, students will explore Irish culture through dance, theater, music, and reading. This course fulfills the WA and Internationalism gen-ed requirements.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n Internationalism\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 262-01 32218<\/span><\/td>\n Cottagecore<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>01:10 pm-02:10 pm\n <\/td>\n \n Room: <\/span>MAIN 111\n <\/td>\n \n Instructor: <\/span>Amy Elkins\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with ENVI 262-01 (32219)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n Rural utopias, the romanticization of nature, and the enduring escapism of sustainable living\u2026.ducklings in the garden, laundry drying in the sun, and reading poetry under a giant oak tree. What is the appeal of the internet subculture known as \u201ccottagecore\u201d and why does it speak to such a diverse range of people\u2014from trad wives to queer teenagers\u2014in our current moment? This course takes cottagecore as our frame of reference for thinking about the intersection of aesthetics, climate change, and ecological readings of literature (knows as ecocriticism). We will study pastoral poetry alongside contemporary climate disaster, consider the intersection of rural living and mental health, and follow witchy-sorts into their various dwellings and quaint villages. Students should be eager to develop as intrinsically-motivated learners this semester as we encounter a range of texts and films and engage in rigorous process-oriented writing and experiential learning. This course fulfills the WP and Internationalism gen-ed requirements.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WP\n \n \n Internationalism\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 263-01 32368<\/span><\/td>\n Muslim Women Writers<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span>CARN 204\n <\/td>\n \n Instructor: <\/span>Jenna Rice Rahaim\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with INTL 263-01 (32367) and WGSS 263-01 (32369)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n Against the swirling backdrop of political discourses about women in the Islamic world, this course will engage with feminist and postcolonial debates through literary works by Muslim women writers. The course will begin with an exploration of key debates about women's agency and freedom, the Islamic headscarf, and Qur'anic hermeneutics. With this in mind, we will turn to the fine details of literature and poetry by Muslim women. How do these authors constitute their worlds? How are gendered subjectivities constructed? And how do the gender politics of literary texts relate to the broader political and historical contexts from which they emerge? Themes will include an introduction to Muslim poetesses and Arabic poetic genres, the rise of the novel in the Arabic speaking world, and Muslim women's literary production outside of the Middle East: from Senegal to South Asia, and beyond.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Internationalism\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 276-01 32220<\/span><\/td>\n African American Literature 1900 to Present<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span>MAIN 111\n <\/td>\n \n Instructor: <\/span>Daylanne English\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with AMST 294-03 (32221)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n In this survey course, we will trace an African American literary tradition from 1900 to the present. Our journey across this rich tradition will be guided by the concept of art we need now, in our current national context. Among the authors we will study are: W. E. B. Du Bois, Langston Hughes, John A. Williams, Alice Walker, Audre Lorde, Toni Morrison, and Danez Smith. Requirements include: brief written responses to the readings, a presentation, a medium-length essay and a revision of it, and a final reflection essay. This course fulfills the English major requirement of a course focused on literature by U.S. writers of color. It also fulfills the college\u2019s WA and USID general education requirements.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n U.S. Identities and Differences\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 280-01 32222<\/span><\/td>\n Crafts of Poetry: The Political Poem<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>01:10 pm-02:10 pm\n <\/td>\n \n Room: <\/span>MAIN 002\n <\/td>\n \n Instructor: <\/span>Sarah Ghazal Ali\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n W.H. Auden famously wrote \u201cpoetry makes nothing happen,\u201d but is that really true? What is the role of the poet in our increasingly polarized world, and what can (or should) a poem do? In this course, we\u2019ll consider political poetry and the poetics of power: how poets past and present have engaged with, reimagined, or disrupted the language of empire. Readings will cover a wide range of poets and artists including Paul Celan, Mahmoud Darwish, M. NourbeSe Philip, Faiz Ahmed Faiz, and June Jordan. As a class, we will explore the intersection of the personal and the political, and write poems of our own that engage with the wider social landscape in all of its wonders and wounds.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 281-01 32223<\/span><\/td>\n Fantasy Fiction<\/td>\n \n Days: <\/span> W \n <\/td>\n \n Time: <\/span>07:00 pm-10:00 pm\n <\/td>\n \n Room: <\/span>MAIN 010\n <\/td>\n \n Instructor: <\/span>Emma T\u00f6rzs\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n In many ways, we are living in a golden age of fantasy fiction. Not only is the notoriously white, Western Europe-centric genre growing rapidly more diverse than ever before, but it\u2019s also being incorporated into the mainstream literary conversation in unprecedented ways. It\u2019s truly a magical time to be reading and writing fantasy! In this class, we\u2019ll situate the modern concept of fantasy fiction in a historical and cultural context, and we\u2019ll explore and practice on a craft level all the things that make fantasy unique: magic systems, worldbuilding, supernatural creatures, etc. We\u2019ll look at sub-genres including epic fantasy, young adult, magic realism, and fairy tale retellings, and read authors such as NK Jemisin, Susanna Clarke, and Tasha Suri. We\u2019ll also welcome several established fantasy writers into the classroom to learn from them, and we may even play a little D&D\u2026 so come prepared to take fun seriously!\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 282-01 32224<\/span><\/td>\n Creative Nonfiction: The Art of the Attempt: The Personal Essay<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>01:10 pm-02:10 pm\n <\/td>\n \n Room: <\/span>MAIN 001\n <\/td>\n \n Instructor: <\/span>Michael Prior\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n How have contemporary American writers engaged with the personal essay\u2014a form committed to extended meditation, argument, and analysis\u2014in order to respond to the last 150 years of American history and culture? In this creative writing class, we will consider how different American essayists have crafted work that evokes the form's etymological roots (to attempt, to weigh, to try, to test) while exploring complex questions of identity, memory, justice, place, and art. Through class discussion, the composition of our own personal essays, collaborative writing workshops, and a series of class visits from published essayists and editors we will explore how the personal essay's various architectures and modes of attention have been inflected by the complex interplay between socio-historical moment, literary tradition, and authorial intent. Readings will include essays by James Baldwin, Leslie Jamison, Mathew Salesses, E.B. White, Gloria Anzald\u00faa, and Robin Wall Kimmerer.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 285-01 32709<\/span><\/td>\n Playwriting<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span>THEATR 213\n <\/td>\n \n Instructor: <\/span>Alayna Jacqueline\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Cross-listed with THDA 242-01 (32708)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n In this course, students engage in a series of playwriting exercises and read a wide variety of plays. They will read new and contemporary plays that employ different storytelling techniques (i.e., structure, character arcs, staging elements, etc.), in order to embrace the unlimited possibilities of theatricality, exemplifying why we write for the stage. Students will develop a "playwriting toolkit" as they explore their artistic interests. In-class exercises, prompts, small-group workshopping, and related readings will challenge each writer's individual development. A mid-term check-in and in-class readings of final plays will allow students to hear their work out loud in a supportive public setting. Course may be taken twice\u00a0for credit.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 294-01 32225<\/span><\/td>\n Emily Dickinson and Taylor Swift<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span>ARTCOM 202\n <\/td>\n \n Instructor: <\/span>James Dawes\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Cross-listed with WGSS 294-02 (32894)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n Word for word, Emily Dickinson is one of the most powerful writers in the history of the English language. She is the King of All Media\u2014appearing everywhere from novels and video games to prestige TV and pop culture myth. Barring Shakespeare, no other English or American poet has inspired such fervent and lasting devotion.In contemporary music, Taylor Swift is an equally unparalleled force\u2014a songwriter whose work inspires a level of obsession, interpretation, and emotional investment rivaling Dickinson\u2019s. Known for her fascination with Dickinson, Swift is also\u2014 in one of literary history\u2019s most delightful surprises\u2014her distant cousin.What\u2019s behind the cults of Dickinson and Swift? In this class, you\u2019ll find out. We\u2019ll study their poems and songs\u2014works that are aesthetically joyful and existentially wrenching. And we\u2019ll study their legacies: how both have been mythologized, idolized, and contested, used to embody conflicting fantasies of gender, genius, privacy, power, and pain. To study Dickinson and Swift side by side is to trace some of the most revealing\u2014and unresolved\u2014ideological struggles in modern American life.Students will have the opportunity to write creative nonfiction, poetry, and songs. The course fulfills the 19th-century American literature requirement for the English major.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 294-02 32010<\/span><\/td>\n Storied Lives:Japanese-American Experiences and Literature from Incarceration\/Redress to Present Day<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>03:30 pm-04:30 pm\n <\/td>\n \n Room: <\/span>HUM 215\n <\/td>\n \n Instructor: <\/span>Nagasawa, Prior\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with AMST 294-01 (32009)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n In this course, we will examine Japanese American history and literature from the mid-nineteenth century to the present with an eye toward Japanese American activism and resistance. Balancing historical accounts and scholarly texts with poems, stories, and novels by Japanese American authors whose work offers a lens into the past, we will interrogate how Japanese Americans have been historically articulated as both enemy spies and a \u201cmodel minority;\u201d we will also explore the experiences of Japanese Americans in Hawai\u2019i, U.S Imperialism in Asia, Japanese American solidarity with the Civil Rights Movement, and Japanese American organizing against Islamophobia. By pairing critical and creative texts, we will not only consider how Japanese Americans have been positioned within American racial discourse, but also the ways Japanese American activists and activist-writers have challenged and countered such imaginings with their work. We will supplement our class readings and discussions with field trips to Fort Snelling and the College archive in order to better understand the histories of Japanese Americans in Minnesota and even on the Macalester campus. It fulfills the English Department's writers of color requirement.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 294-03 32792<\/span><\/td>\n Invisible Cities: Digital Memorialization<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span>LIBR 250\n <\/td>\n \n Instructor: <\/span>Quigley, Voigt\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Cross-listed with MCST 294-05 (32791)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n In this research-based creative writing course, students will interpret and contribute to the collective memory of the Twin Cities, using their imagination to fill gaps, silences, and erasures in the archive. We will spend the semester building a digital anthology of poetry, fiction, nonfiction and visual art that memorializes vanished and vanishing places in the metro area. To inform our work, we\u2019ll read about critical archiving, material culture, and digital memorialization, and study models from the arts: short stories, films, odes, lyric essays, collages and museum exhibits. We\u2019ll also learn about the city itself through field trips to the Minnesota Historical Society and selected neighborhoods, focusing on suppressed and marginalized histories like the disappearance of Spirit Island, urban renewal in Cedar Riverside, and ongoing efforts to remember George Floyd. Authors and filmmakers will range from danez smith, Mary-Kim Arnold, Macalester\u2019s own Morgan Adamson, and Guy Maddin. Ultimately, students will learn to engage with and curate archival materials, and create a multimedia creative writing piece for the final site. The course will culminate in a public launch of our digital project. No prerequisite\u2013just an interest in researching for creative writing, making multimedia work, or uncovering the past of the place where you live.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 380-01 32227<\/span><\/td>\n Topics in African American Literature: Afrofuturism<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span>MAIN 111\n <\/td>\n \n Instructor: <\/span>Daylanne English\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with AMST 380-01 (32228)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n In this course, we will explore Afrofuturism, a flourishing and exciting contemporary movement of writers, artists, musicians, and scholars who imagine, represent, and theorize alternative times (often, but not always, the future) and forms of the human, along with outer spaces and other places wherein Black people are centered. We will explore the artistic, social, and political power of the movement as we closely read, listen to, and view key Afrofuturist texts. Those texts will include, among others: short stories by Samuel Delany, a novel by Octavia Butler, Janelle Mon\u00e1e\u2019s Dirty Computer \u201cemotion picture,\u201d and Wangechi Mutu\u2019s visual art. We will also read scholarship relevant to the movement, including queer theory and posthuman theory. Course requirements include: brief reading response papers, one expanded response paper, a presentation, and a final project. This course fulfills the English major requirement of a course focused on literature by U.S. writers of color. It also fulfills the colleges\u2019 WA and USID general education requirements. It has a prerequisite of a 100-level English literature course.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n U.S. Identities and Differences\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 387-01 32229<\/span><\/td>\n International Storytelling<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>09:40 am-10:40 am\n <\/td>\n \n Room: <\/span>MAIN 001\n <\/td>\n \n Instructor: <\/span>Matt Burgess\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n What makes a good story? Your answer to that question may depend on where you're from, or when you were born, or the stories your grandmother heard when she was growing up. In this creative writing workshop course, we will explore narrative structures across a variety of time periods and cultures. Topics may include Aristotelian tragedy, Freytag's Pyramid, Edgar Allen Poe's single effect theory, the Hero's Journey, Kish\u014dtenketsu or the four-act structure of Chinese fairy tales, the nested narratives of The Arabian Nights, non-linear approaches in Latin American fiction, and the place-driven emphasis of stories from Central Africa. Throughout, our goal as a class will be to expand our understanding of how stories can be told. By the end of the semester, every student will have written multiple drafts of two original works of short fiction. Prerequisite(s): ENGL 150\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Internationalism\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 406-01 32230<\/span><\/td>\n Projects in Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>03:30 pm-04:30 pm\n <\/td>\n \n Room: <\/span>MAIN 002\n <\/td>\n \n Instructor: <\/span>Emma T\u00f6rzs\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n This capstone seminar will provide a workshop environment for advanced students with clearly defined projects in poetry, fiction, creative nonfiction, drama or a combination of genres. The seminar will center initially on a group of shared readings about the creative process and then turn to the work produced by class members. Through the presentation of new and revised work, and the critiquing of work-in-progress, each student will develop a significant body of writing as well as the critical skills necessary to analyze the work of others. Course may be repeated for credit if the topic is different. Prerequisite(s): ENGL 150,\u00a0plus one creative writing Crafts class at the 200- or 300- level. Capstone courses are intended to be a culminating experience for the major. Students without Senior status will need instructor permission to enroll.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n <\/tbody>\n <\/table>\n<\/div>\n\n \n\n \n\t

Fall 2026<\/h2>\n

Visit the Registrar's Class Schedule for live registration information<\/a><\/p>\n

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Num. \/ Sec. \/ CRN<\/th>\n Name<\/th>\n Days<\/th>\n Time<\/th>\n Room<\/th>\n Instructor<\/th>\n <\/th>\n \n <\/tr>\n <\/thead>\n
ENGL 112-01 10247<\/span><\/td>\n Introduction to African American Literature<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>10:50 am-11:50 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Daylanne English\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with AMST 112-01 (10248)*<\/p>\n

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\n \n Details\n <\/a>\n
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\n In this introductory course, we will study African American literature from its origins to the present. We will study major genres and movements, including the Harlem Renaissance and Afrofuturism. We will learn to use the tools of literary analysis in order to read closely, critically, appreciatively\u2014and collectively. Themes of prophesy (what W. E. B. Du Bois termed \u201csecond sight\u201d) and beauty will focus our study. Authors will include: David Walker, Harriet Jacobs, W. E. B. Du Bois, Langston Hughes, Zora Neale Hurston, James Baldwin, Octavia Butler, Danez Smith, and Ross Gay. Requirements include: a presentation, brief written responses to the readings, one medium length essay and a revision of it, and a final project that will include a written component. This course fulfills either the foundation course in literature requirement or the literature by U.S. writers of color requirement for the English major. It also fulfills the college\u2019s USID and WA general education requirements.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n U.S. Identities and Differences\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 115-F1 10251<\/span><\/td>\n Shakespeare<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Penelope Geng\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*First-Year Course only*<\/p>\n

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\n \n Details\n <\/a>\n
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\n Today, Shakespeare is venerated as the \u201cBard\u201d and \u201cwonder of the stage.\u201d His peers were more divided. Early in his career, he was accused of plagiarism (\u201cthere is an upstart crow, beautified with our feathers,\u201d fumed Robert Greene) and, after achieving star-status, he was said to be lazy in his editing (\u201cI would he had blotted a thousand [lines],\u201d mused Ben Jonson). How did the imagination and language of this upstart crow shock and delight audiences then\u2014and why do his plays continue to offer entertainment, consolation, and debate today? In this course, we will study some of Shakespeare\u2019s most enduring works, such as Twelfth Night, Richard II, Henry IV, Part 1, Macbeth, Othello, King Lear, and The Tempest. Coursework comprises discussion, essays, presentations, and performances (watching professional productions and performing scenes from the plays). This course counts as a foundation course requirement for the English major; counts for WA (Writing for Argument); counts for the Humanities.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 125-F1 10252<\/span><\/td>\n Ghost Stories<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>12:00 pm-01:00 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Andrea Kaston Tange\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*First-Year Course only*<\/p>\n

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\n \n Details\n <\/a>\n
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\n What makes a good ghost story? And how are ghosts historically or culturally specific? This course opens with ghost stories from the heyday of the genre in English: specters and haunts from the pens of nineteenth-century masters, including the likes of Elizabeth Gaskell, Charles Dickens, Henry James, and Emily Bront\u00eb. In short stories and novels, including Wuthering Heights, we will explore what terrifies and how. With these readings for a strong base, the second half of the course considers the legacies of these Victorians in more recent novels and short stories. We\u2019ll think about how the shadows of the past haunt the present, in terms of unhealthy fascinations, or whispers of doubt, or standards of greatness to which a writer must rise. Considering the relationships between modern ghost stories and the legacies of long-dead writers, we will investigate how narratives of what haunts us reveal things about ourselves or our cultural moments. Projects include writing workshops to develop analytic skills and creative opportunities with the development of an exhibit for a Ghost Museum. First-year-course.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-01 10254<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Michael Prior\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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<\/p>\n

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\n \n Details\n <\/a>\n
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\n In this course, we will explore and develop the foundational skills of creative writing. We will hone our craft and build a respectful, collaborative writing community through a series of creative exercises, close reading assignments, and workshops.. Over the semester, we will read and discuss poems and stories from a diverse group of published authors, focusing on what we might learn from their approaches to the page, while asking how, among so many unique voices, we might cultivate our own. This course requires students to devote a significant amount of time outside of class to reading the course texts and writing our own work: creative writing is a way to discover more about ourselves and the world, but such discovery requires attention, contemplation, and practice. Readings will include writing by Jhumpa Lahiri, Ocean Vuong, Jamaica Kincaid, Haruki Murakami, Elizabeth Bishop, Yanyi, and others. This course fulfills the WC general education requirement and serves as a foundation course for the English Major or Minor.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-02 10255<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>09:40 am-10:40 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Peter Bognanni\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This workshop-based course focuses on the development of skills for writing poetry, short fiction, and\/or creative nonfiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-03 10256<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>10:50 am-11:50 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Peter Bognanni\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This workshop-based course focuses on the development of skills for writing poetry, short fiction, and\/or creative nonfiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-04 10257<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Emma T\u00f6rzs\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This workshop-based course focuses on the development of skills for writing poetry, short fiction, and\/or creative nonfiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-05 10258<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Emma T\u00f6rzs\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n Writing, whether in the form of a story, a poem, or a late-night email begging your professor for an extension, is always a creative act. Words arranged on a page create meaning, and in this class we will examine and practice certain authorial choices that go into creative meaning-making. We will do this through the lenses of poetry and fiction, reading widely and carefully with an eye to explore what choices the authors make, and to what end. Essentially, we will be asking over and over what makes a reader feel, experience, and understand. By the end of the semester I hope you'll feel confident with your new toolbox of tricks n skills, and empowered in your creative work to a) Say what you mean to say, b) How you mean to say it, c) With the desired emotional impact.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-06 10259<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>01:10 pm-02:10 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Aurora Masum-Javed\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n Writing, whether in the form of a story, a poem, or a late-night email begging your professor for an extension, is always a creative act. Words arranged on a page create meaning, and in this class we will examine and practice certain authorial choices that go into creative meaning-making. We will do this through the lenses of poetry and fiction, reading widely and carefully with an eye to explore what choices the authors make, and to what end. Essentially, we will be asking over and over what makes a reader feel, experience, and understand. By the end of the semester I hope you'll feel confident with your new toolbox of tricks n skills, and empowered in your creative work to a) Say what you mean to say, b) How you mean to say it, c) With the desired emotional impact.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-07 10260<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>02:20 pm-03:20 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Aurora Masum-Javed\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This workshop-based course focuses on the development of skills for writing poetry, short fiction, and\/or creative nonfiction through a close study of the techniques involved in these forms, analysis of model literary works, and frequent writing exercises. This course must be completed at Macalester as a PREREQUISITE for the further study of creative writing at Macalester.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 150-F1 10253<\/span><\/td>\n Introduction to Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Sarah Ghazal Ali\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*First-Year Course only*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n Ray Bradbury wrote \u201ctoward something honest, hidden under the trapdoor on the top of my skull.\u201d Emily Dickinson described poetry as \u201cfeel[ing] physically as if the top of my head were taken off.\u201d In this introductory creative writing course, we will explore different kinds of writing that might shake loose our brains and hone an orientation toward curiosity and wonder. When we read or write, we are both in and out of ourselves where does a poem or story take us without physically moving us? Where else can our minds go? What inspires us, moves us, makes us daydream? Together, we will work to find our own personal answers to these questions by experimenting with form, content, and style. In this cross-genre class, you will write and workshop several creative pieces. Classes will consist of readings, discussions, writing exercises, and responses to each other\u2019s work. The class will culminate in a final portfolio of original creative work.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 194-01 10261<\/span><\/td>\n Creativity in the Age of Brain Rot<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>James Dawes\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n The machines echoed us. Now, we echo the machines. In a world that automates art and reduces people to data, we will return to what remains uniquely human: the impulse to imagine, to make, and to share.Think of this course as part book club, part writing workshop, part philosophy circle. You\u2019ll take on creative challenges\u2014from experiential to digital projects\u2014that invite risk and discovery. With each, you\u2019ll be asked not just what you want to create, but why it matters to you.Along the way, we\u2019ll read and discuss novels where creativity becomes a lifeline, a way to find joy, meaning, and community. We\u2019ll turn to philosophers, ancient and modern, to explore how creation can be a wellspring of purpose and possibility in turbulent times. And we\u2019ll close, finally, with science fiction \u2014 to ask what kind of future we\u2019re heading toward, and whether there\u2019s still time to rewrite it.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 194-02 10778<\/span><\/td>\n Literature in Medicine<\/td>\n \n Days: <\/span>M \n <\/td>\n \n Time: <\/span>07:00 pm-10:00 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Michael Householder\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This course serves as an introduction to medicine and literature. How have human health and medical practice been represented in literary texts? How does literature and the tools of literary analysis help us to better understand health, sickness, healing, and caring for ourselves and others? Readings will come from a variety of literary traditions, historical periods, and formal genres, including but not limited to classical myth, fairy tales, drama, poetry, short stories, novels, creative non-fiction, and graphic novels. These will be augmented by theoretical, historical, and bioethical texts. This course counts as a foundation course for the English major.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 200-01 10262<\/span><\/td>\n Major Medieval and Renaissance British Writers<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Penelope Geng\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This survey provides an introduction to the masterpieces of medieval and early modern literature, from Beowulf to Paradise Lost. What is old, middle, and early modern English? How does lyric formally (and thematically) differ from epic and romance? When did drama acquire its characteristic structure? In addition to these poetic considerations, we will explore the key controversies that roiled pre-modern cultures pertaining to race, gender, and religion. Readings will highlight the imagination, poetics, and politics of authors such as Geoffrey Chaucer, Margery Kempe, Christine de Pizan, William Shakespeare, Mary Sidney Herbert, and John Milton.\u00a0This course satisfies either the Medieval or Renaissance period requirement for the major.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 215-01 10263<\/span><\/td>\n Movie Medievalisms<\/td>\n \n Days: <\/span>M \n <\/td>\n \n Time: <\/span>07:00 pm-10:00 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Coral Lumbley\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n Since the invention of film, audiences have been fascinated by movie medievalisms, depictions of the Middle Ages that are usually romanticized. Audiences love escaping into these mysterious worlds of adventure with kings, warriors, and princesses. But how much do these movies really have to do with the historical Middle Ages? Do they illuminate truths or manufacture lies? Was this time period really as exciting, romantic, and dangerous as we imagine? In this class, we will dive into medieval movies and use actual historical sources to see how \u201caccurate\u201d the movies are. Expect to study films such as The Green Knight, The Name of the Rose, The Lion in Winter, and The Seventh Seal. In the end, we will find out what modern movies say not just about medieval societies, but about ourselves.This class fulfills the (1) Medieval period requirement for English major and (2) the WA requirement for the college.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 216-01 10035<\/span><\/td>\n Graphic Novel<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Burgess, Vossler\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Restricted to Art\/Art History and English\/Creative Writing majors; cross-listed with ART 216-01 (10034); will open to all students on 04\/23*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n In this creative writing\/studio art hybrid course, students will contribute to the rich medium of graphic novels by writing, drawing, and inking their own original comic book story. The stories will then be mass-produced into individual zines, and collected into a class-wide graphic novel anthology and ebook. This course has two fundamental goals: To help students work individually on a graphic storytelling project of their own devising: from the cultivation of an initial idea, to the further exploration of that idea through multiple drafts and storyboards, and then finally to sending it out into the world as a "completed" project, which is to say a project that is "good enough for now." Our second, equally important goal, is to work collectively to build a mutually supportive artistic community dedicated to helping everyone achieve their best work. Along the way, students will also strengthen their technical drawing and design skills, view and analyze examples of visual storytelling from diverse artists, investigate a range of storytelling structures, learn how to communicate more effectively through images, and gain hands-on experience in the publishing process.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 219-01 10781<\/span><\/td>\n Renaissance Literature: Demonology<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Penelope Geng\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n The story goes like this. While performing Christopher Marlowe\u2019s Doctor Faustus\u2014a play featuring spell-casting, necromancy, and other devilish arts\u2014the actors noticed that \u201cthere was one devil too many amongst them.\u201d They stopped the play; the audience panicked. Whether a true story or not (the anecdote comes down to us through a seventeenth-century source), it captures one of the \u201ccertainties\u201d of the period: that demons, devils, witches, and other things of darkness are a part of the here and now. In this course, we explore sixteenth- and seventeenth-centuries tales of the demonic. At the same time, we examine how authors used the public\u2019s fascination with the supernatural to explore the pressing issues of the day: religious controversies regarding freewill and election, political nightmares of state tyranny and oppression, and social crises surrounding the vanishing culture of hospitality and charity. Hence, just as characters strive to see beyond appearances and outward show, so we shall investigate the religious, political, and legal debates out of which the texts arise. Central to our study are the major works of early modern English literature such as Marlowe\u2019s Dr. Faustus, Shakespeare\u2019s Macbeth, and Milton\u2019s Paradise Lost, and lesser known texts such as The Witch of Edmonton, The Discovery of Witchcraft, and King James VI and I\u2019s Daemonologie. No prior knowledge of conjuring is presumed or required.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 262-02 10779<\/span><\/td>\n Nature, Magic, and Myth in the Middle Ages<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>09:40 am-11:10 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Coral Lumbley\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Cross-listed with ENVI 262-02 (10780)*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n A parliament of birds. A woman made of flowers. The universe as a giant egg. These are just a few of the fascinating concepts we\u2019ll cover in this course as we explore how medieval thinkers blended science and legend in their understanding of the natural world. Before the Scientific Revolution, people sought to understand how the human body and mind were connected to the non-human world. They asked questions like: How did circuits of the planets affect the human circulatory system? What plants caused death, and which plants could prevent it? Do animals have a language? People answered these questions by drawing on observation, Biblical tradition, Greek and Roman writing, Celtic mythology, and folklore. Contrary to popular belief, medieval scientists believed that Nature was mathematically perfect and beautiful. Of course, it was also mysterious and often frightening. By tracing literary and scientific discourses of nature in the Latin West, we will learn more about the human need to understand and fit into our larger non-human world.This class fulfills the medieval period requirement for the English major.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 265-01 10268<\/span><\/td>\n Literature and Human Rights<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>03:00 pm-04:30 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>James Dawes\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This course is an introduction to the interdiscipline of literature and human rights. We will read a series of beautiful and emotionally wrenching novels, treating them simultaneously as aesthetic artifacts and case studies in human rights. We will discuss the urgent political questions and philosophical paradoxes that define human rights, paying special attention to theories of trauma and torture. We will seek to better understand how spectators of suffering develop\u2014or fail to develop\u2014empathy for strangers by also examining how they can so palpably feel for the dreams, desires, and dignity of fictional persons.This course fills the US Identities and Differences requirement and the framework requirement for the Human Rights and Humanitarianism concentration.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n U.S. Identities and Differences\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 275-01 10269<\/span><\/td>\n African American Literature to 1900<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>02:20 pm-03:20 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Daylanne English\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

*Cross-listed with AMST 275-01 (10270)*<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n In this course we will study African American literature from the end of the 18th century to the turn of the 20th century, from Phillis Wheatley to Frederick Douglass to Ida B. Wells-Barnett. Organizing themes of the course will include: reading and writing as subversive acts and African American literature as an agent of political and social change. We will also connect current crises surrounding non-white U.S. citizenship to early African American writers\u2019 recurrent representation of Black people\u2019s exclusion from \u201cinalienable rights.\u201d At the same time, we will foreground early African American literature as art, reading it closely and appreciatively. Requirements include: brief written responses to the readings, a presentation, a medium-length essay and a revision of it, and a final reflection essay. This course fulfills the English major requirement either of a course focused on literature by U.S. writers of color or a course on 19th-century American literature. It also fulfills the college\u2019s USID and WA general education requirements.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n U.S. Identities and Differences\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 280-01 10271<\/span><\/td>\n Crafts of Writing Poetry: Form and Infidelity<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Sarah Ghazal Ali\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n As human beings, we give shape to our thoughts and emotions through language, and form is a particularly useful constraint when we do so through poetry. In this course, we will study form in poetry as projects of pattern making and breaking. We\u2019ll consider both the histories and contemporary applications of poetic forms such as the sonnet, pantoum, ghazal, haibun, and others. One of the most exciting things about poetry in the twenty-first century is that living poets are working in invented forms as well as traditional ones that have reached us across cultures. Together, we\u2019ll investigate the idea from Kierkegaard that \u201cthe more you limit yourself, the more fertile you become in invention.\u201d Expect to read poems across time and technique, to write and rewrite, and to turn an eye to the world in search of forms known and yet-to-be. You might just be asked to invent one of your own!\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 284-01 10272<\/span><\/td>\n Screenwriting<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>01:10 pm-02:10 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Peter Bognanni\n <\/td>\n \n \n <\/td>\n <\/tr>\n
\n

<\/p>\n

\n
\n \n Details\n <\/a>\n
\n

\n This course will focus in a variety of ways on the development of skills for writing screenplays, building on the work done in ENGL 120. The emphasis will be on narrative films, with the objective of writing a feature-length screenplay during the semester. There will be extensive readings and discussion of published and unpublished screenplays in addition to regular writing assignments. The course may be conducted to some extent in workshop format; the emphasis will be on continuing to develop writing skills. Prerequisite(s): ENGL 150 taken at Macalester.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 285-01 10729<\/span><\/td>\n Playwriting<\/td>\n \n Days: <\/span> W \n <\/td>\n \n Time: <\/span>07:00 pm-10:00 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Jarek Pastor\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with THDA 242-01 (10728)*<\/p>\n

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\n In this course, students engage in a series of playwriting exercises and read a wide variety of plays. They will read new and contemporary plays that employ different storytelling techniques (i.e., structure, character arcs, staging elements, etc.), in order to embrace the unlimited possibilities of theatricality, exemplifying why we write for the stage. Students will develop a "playwriting toolkit" as they explore their artistic interests. In-class exercises, prompts, small-group workshopping, and related readings will challenge each writer's individual development. A mid-term check-in and in-class readings of final plays will allow students to hear their work out loud in a supportive public setting. Course may be taken twice\u00a0for credit.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 294-03 10275<\/span><\/td>\n Victorian Culture from Research to Podcast<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>10:50 am-11:50 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Andrea Kaston Tange\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n This class, more than anything, is one that demands curiosity. We will start with some sensational 1860s fiction, read a little Victorian race theory, and dip into everything from cookbooks and photography to corsets and children-as-chimney-sweeps. This course will not cover all there is to know about the British empire in the nineteenth century. Instead, it will give you a taste of key issues (technology, labor, gender- and race-based hierarchies, colonial power) and invite you to find questions about which you want to learn more. Through discussion, you will choose a topic focused on 19th-century British culture and then spend the bulk of the semester on deep research\u2014working with databases, archives, and the internet to learn to search smarter. You will come away with research skills such as asking better questions, following leads in multiple directions, balancing primary and secondary materials, and, ultimately finding the arc of a narrative through all that material. This class aims to foster modes of thinking that can help you uncover information that turns a historical \u201coddity\u201d into a story\u2014an essential skill for anyone who imagines applying humanities training in contexts beyond the classroom. Your findings will yield three projects: a plan for an academic paper, a piece of public writing aimed at a mainstream audience, and a five-minute episode\u2014which you will both write and produce\u2014that will air as part of the class podcast. In each mode, we will talk about essential skills of the genre, including how to pitch public writing and what it means to write for listeners. By the end of the semester, you will have developed archival research skills, the ability to synthesize material in very different ways for different audiences, and a sense of how to get from \u201clook at all this cool stuff I found\u201d to a compelling narrative with a clear point that will keep an audience riveted. Course satisfies 18th-19th century British lit requirement on the major.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 350-01 10777<\/span><\/td>\n 20th Century Poetry<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Michael Prior\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n In this hybrid creative writing and literature course, we will explore 20 of the most influential poems written in English during the last century, including work by T.S. Eliot, W.H. Auden, H.D., Robert Frost, Edna St. Vincent Millay, Elizabeth Bishop, Gertrude Stein, Gwendolyn Brooks, and Li-Young Lee. We will consider the way these poems bear witness to the century\u2019s historical tumults and social transformations as well as how contemporary poets have responded\u2014admiringly, critically\u2014to these touchstones of verse. Class assignments will include the opportunity to write poems in imitation of those we\u2019ve read (to immerse ourselves in their grammars of image, line, and metaphor); poetic scavenger hunts; brief, informal presentations; and a final creative or scholarly project. This course will fulfill the writers of color requirement for the English major. Prerequisite(s): one 100-level ENGL course.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 367-01 10425<\/span><\/td>\n Postcolonial Theory<\/td>\n \n Days: <\/span>M W F \n <\/td>\n \n Time: <\/span>10:50 am-11:50 am\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>David Moore\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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*Cross-listed with INTL 367-01 (10424)*<\/p>\n

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\n Traces the development of theoretical accounts of culture, politics and identity in Africa, South Asia, the Caribbean and related lands since the 1947-1991 decolonizations. Readings include Fanon, Said, Walcott, Ngugi and many others, and extend to gender, literature, the U.S., and the post-Soviet sphere. The course bridges cultural representational, and political theory. Prerequisite(s): Prior internationalist and\/or theoretical coursework strongly recommended.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WA\n \n \n Internationalism\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 400-01 10276<\/span><\/td>\n Advanced Methods in Creative-Critical Projects<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Coral Lumbley\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n This capstone course invites students to design and execute original research projects that shine new light on a vital question: how does writing make meaning in our world? Through deep engagement with a specific research question, students will develop an original research project that reflects their deepest aesthetic interests and ethical commitments. In gaining deep expertise in a chosen field, students will become advocates for their own research agendas.In Unit 1, students will experiment with their favorite primary sources (texts, films, multimodal pieces) using diverse methodologies of their choice (such as psychoanalysis, Marxism, queer and trans studies, historicism, film studies, critical race theory, disability studies, cultural studies, and ecocriticism). In Unit 2, students will hone their own methodologies and select a broader critical conversation to join. In Unit 3, students will combine, augment, and revise their earlier writing to complete an article-length senior thesis that uses critical, and optionally creative, methods to make an interpretive argument. Finally, students will deliver a department-wide presentation at the end of the semester, demonstrating expertise in their own chosen field of research. \n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Humanities\n \n \n <\/p>\n

\n \n Course Materials<\/strong>\n <\/a>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/td>\n <\/tr>\n \n

ENGL 406-01 10277<\/span><\/td>\n Projects in Creative Writing<\/td>\n \n Days: <\/span> T R \n <\/td>\n \n Time: <\/span>01:20 pm-02:50 pm\n <\/td>\n \n Room: <\/span> \n <\/td>\n \n Instructor: <\/span>Matt Burgess\n <\/td>\n \n \n <\/td>\n <\/tr>\n
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\n This capstone course has two fundamental goals. One: To help students work individually on a substantial creative project of their own choosing. Our second, equally important goal, is to work collectively to build a mutually supportive arts community dedicated to helping everyone achieve their best work.\n <\/p>\n

\n General Education Requirements:<\/strong>\n \n \n Writing WC\n \n \n <\/p>\n

\n Distribution Requirements:<\/strong>\n \n \n Fine arts\n \n \n <\/p>\n

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