Course Syllabus

 


Expo E--25 Academic Writing and Critical Reading Fall 2015

Monday nights 7:40-9:40

CRN 13337

Instructor: Christina R. Grenier, M.A.

cgrenier@fas.harvard.edu

 

Writing About Short Fiction 

“I love short stories because I believe they are the way we live. They are what our friends tell us, in their pain and joy, their passion and rage, their yearning and their cry against injustice.”  Andre Dubus.

  

Course Description

Writing about Short Fiction encourages students to examine how authors craft short stories through narrative techniques including point of view, tone, plot, setting, characterization, and symbolism. Along the way, we’ll hone our textual interpretation skills, learn about the development of the short story as a genre, and consider how particular authors’ historical, philosophical, religious, and linguistic backgrounds influence their writing. Readings include works by James Baldwin, Toni Bambara, Sandra Cisneros, William Faulkner, Charlotte Perkins Gilman, Nathaniel Hawthorne, D.H. Lawrence, Bharati Mukerjee, Tim O’Brien, Joyce Carol Oates, Edgar Allan Poe, and John Steinbeck.

 

Writing Assignments

The course and syllabus are designed around three required essays for which you’ll submit preliminary short assignments and a draft for each unit: an analysis of a short story testing a theory, and an interpretation of a group of short stories in context of biographical and critical material.

 

Required Textbooks

Barnet, Sylvan, Patricia Bellanca and Martha Stubbs. A Short Guide to College Writing. 5th Ed. Upper Saddle River, NJ: Pearson, 2012.

Lawn, Beverly. 40 Short Stories. 4th Ed. Boston: Bedford/St. Martin’s, 2013.

 

Recommended Textbook

Barnet, Sylvan and William E. Cain. A Short Guide to Writing About Literature. 10th Ed. Boston: Pearson, 2006.

Additional readings may be assigned and will be available either through the course iSite or as an Adobe Acrobat (.pdf) download.

 

Grading Criteria 

While you will receive grades for the final revisions of the three major essays only, every aspect of your preparedness and participation for class discussions, workshops, and preparations for our conferences will count toward your final grade in the course. Your essays will be assessed using Harvard’s “Elements of the Essay” which we will go over in our first class and is available on our course website under Handouts.

A paper in the A range deploys the “Elements of the Essay” with exceptional grace and mastery:

  • Thesis: interesting, arguable, incisive; sufficiently limited in scope; usually stated early on and present throughout
    Structure: logical, progressive (not just a list), supple (invites complications, consideration of counter-arguments), with strong and obvious links between points; coherent, well organized paragraphs
    Evidence: sufficient, appropriate, and well-chosen; presented in a readable and understandable way
    Analysis: insightful and fresh; more than summary or paraphrase; shows how evidence supports thesis; may dwell in depth on one or two key examples
    Sources: well-chosen; deployed in a range of ways (to motivate the argument, provide keyterms,and so on); quoted and cited correctly
    Style: clear and conversational yet sophisticated; diction level appropriate to audience;
    smooth, stimulating, a pleasure to read

    A B range paper may in part resemble an A range paper but may also exhibit any of the following qualities:
  • Thesis: arguable but may be vague or uninteresting, or feature unintegrated parts; may be only implied, not stated early on; may not be argued throughout, disappears in places
    • Structure: generally logical but either confusing in places (big jumps, missing links) or overly predictable and undeveloped; few complications or considerations of counterarguments; some disorganized paragraphs (either bloated or skimpy; could be
    confusing)
    Evidence: generally solid but may be scanty or presented as undigested quotations
    Analysis: at times insightful but sometimes missing or mere summary; makes inconsistent connections between evidence and thesis
    Sources: quoted and cited correctly (for the most part) but deployed in limited ways, often simply as affirmation of writer’s viewpoint
    Style: generally clear but lacking in sophistication; may be weighed down by fancy diction meant to impress; may exhibit some errors in punctuation, grammar, spelling, and
    format

A C range paper may in part resemble a B range paper but may also exhibit any of the following
qualities:

  • Thesis: vague, descriptive, or confusing; parts unintegrated (e.g., three unrelated prongs); only implied or not stated early on; not argued throughout, disappears in places
    Structure: confusing (big jumps, missing links) or overly predictable (“five-paragraph theme”); few complications or considerations of counter-arguments; disorganized paragraphs (usually skimpy), often headed with descriptive (versus argumentative) topic sentences
    Evidence: either missing or presented as undigested quotations; may be taken out of context
    Analysis: some insightful moments but generally either missing or mere summary; may present some misreadings
    Sources: plopped in (if used at all); may be quoted and cited incorrectly, used merely as filler or affirmation of writer’s viewpoint
    Style: may be generally unclear and hard to read, or simplistic; may evince many technical errors

    A D range paper may in part resemble a C range paper but may also exhibit any of the following qualities:
    Thesis: missing or purely descriptive (an observation or statement of fact), or may be a total misreading
    Structure: confusing; little focused development (paper usually short but may be rambling); disorganized paragraphs (also usually short); missing, garbled, or purely descriptive topic sentences (plot summary)
    Evidence: very few examples; undigested quotations; taken out of context
    Analysis:  missing or based on misinterpretations or mere summary
    Sources: plopped in (if used at all); incorrectly quoted or cited; used as filler
    Style: either simplistic or difficult to read; probably riddled with technical errors

An F paper fails to meet the requirements of the assignments and displays minimal or no understanding of the “Elements of the Essay.”

Your final grade in the class will be computed using the weighting below:

Essay 1 = 20%

Essay 2 = 35%

Essay 3= 45%

Thoughtful participation in class discussions, thorough preparations for our conferences, and consistently well-developed responses to the assignments are expected. Vague or under-developed responses and cover letters and a failure to participate in class and prepare for workshops and conferences will drive a grade down at least a half a letter (from, for example, a B to a B-.)

 

Seminar Format 

This is a seminar class in which everyone’s active participation is not only encouraged, but expected.  I hope that even if you are generally reserved, you will make an effort to participate in discussions and our website blogs. Sharing ideas—especially those you may feel tentative about—is a mark of intellectual generosity. Most importantly, registered students should begin the class familiar with our online classroom before our first class; you should also have a microphone so that you can participate in class discussions. 

 

Collaboration 

Over the course of the semester, everyone’s writing will be workshopped in class.  You will also be responding regularly, in writing, to each other’s work.  Since most writers—whether they are neophytes or professionals—struggle with the same sorts of problems, you will find the workshops and peer reviews pertinent to your own work, even while you examine that of your classmates. Indeed, responding to your peers’ work will help you become a sharper critic of your own writing.

 

Schedule and Class Preparedness

Writing courses at Harvard are rigorous and move along at a quick and steady pace.  This means that we must make the most of the time we have together each week.  Class begins Monday nights at 7:40; you may logon as early as 7:10  You are expected to be logged on and to be fully prepared to participate when class begins—that is, to have read and thought about whatever readings were assigned and to have the required writing with you (including copies for your peer review group, if necessary) and to have all technology in working order (eg. headphones and microphone). 

 

Class Pacing

Although I am sympathetic to the exigencies of your hectic schedules and many deadlines, lateness of any sort—in joining class or turning in work—will be penalized.  Such lateness is extremely disruptive to our schedule and discussions, and is unfair to the other students who do login, participate and hand their work in, on time.  Please note that excuses related to computer or printer failure, collapse, theft, damage (or any other mishap) won’t be accepted.  Be sure your technology is in good working order, that you keep your work backed up and have extra hard copies, and that you know where you can turn for help should any of the aforementioned tragedies befall you.

 

Attendance and Participation

Attendance and participation are required and essential.  If you are absent from class without valid excuse more than twice, you risk being excluded from and failing the course.  A student who is regularly late by even a few minutes can expect to see his or her final grade suffer as a result.  Any student who is more than 15 minutes late in joining class will be counted as absent.  A missed conference appointment (see below) also counts as an absence from class.  If you must miss a class, please notify me by email in advance, and consult our class website for recorded classes and any missed materials.  Before each essay is due, you are also responsible for scheduling a conference with me during mutually convenient times.  These conferences will be devoted (1) to discussing how to revise your essay to make it express more effectively what you want the essay to say and (2) to setting goals for the assignments to come.  Please prepare for these conferences by rereading your draft and making some notes for yourself regarding the possible ways you might go about revising. 

 

Writing Center

Be sure to take advantage of the resources available to you through the Extension School’s Writing Center in Grossman Library.  Students who are enrolled in online courses may schedule appointments up to one week in advance, but are limited to two tutorials per week totaling no more than 7 tutorials per semester.  To request a tutorial, send an email detailing the course you are enrolled in, an explanation of the assignment and due date to writing_center@dcemail.harvard.edu. Be sure to attach your assignment as a Word (.doc) or Google Docs (.docx) file and as always when seeking detailed feedback, ask specific questions and explain your concerns about your writing. You should receive a response within 72 hours.  If you are a local student, the Writing Center asks that you come for an in-person tutorial.  For more detailed explanation, click here for the Writing Center link on the Harvard Extension School’s website.

 

Procedures and Required Formatting for Submitting Work

All response papers, drafts, and final versions of essays must be submitted as a Word (.doc or .docx document), double-spaced, titled, paginated and with one-inch margins left, right, top, and bottom (See the sample formatted essay in this syllabus or “Preparing the Manuscript” in the Short Guide). Due to limited Commenting and Track Changes features, Google Docs is not acceptable.  Your last name and a page number must appear in the top right corner of every page.  Every Essay submission (drafts and final versions) should be accompanied by a letter to me explaining the idea of the essay, its clear thesis argument, the challenges in its composition, and its detailed strengths and weaknesses as you see them.  Work must be proofread before you submit it.  Error-ridden essays—whether the errors are due to mechanical or formatting problems—will be marked down. For this course, please use the MLA in-text citation style.  (Although we’ll discuss academic citations in this course, I’d like you to learn how to use this citation style on your own time.  Refer to the Harvard Guide to Using Sources.)

Note:  When submitting the Final Drafts of essays, you must also submit all drafts commented upon and/or graded by me, peer reviewers as well as any Writing Center tutor feedback as well as reader letters given to you by peers, Writing Center tutors and me.  This means you are responsible for keeping files of your work .  Your portfolio will reveal your growth as a writer over the course of the semester.  You’ll also want to be able to consult this material when you write cover letters for subsequent drafts and revisions, and you’ll want to acknowledge accurately the advice you’ve received when you prepare your final revisions.

All assignments must be turned in to the Instructor’s Dropbox in our class iSite before the beginning of class—on the assignment’s due date—no late assignments are accepted, unless you are otherwise instructed. 

Please note: when you submit an assignment to the course iSite or are asked to email it to me directly, please format the document in the following manner:  yourlastname_assignment#.doc

All assignments must be a .doc or .docx file. No other formats are accepted.

 

Online Course Overview 

Harvard Extension School’s website Division of Continuing Educations offers an overview of Web Conferencing Student Information for online courses which you may access by clicking by clicking here.  Because this class is taught in a participatory seminar format, recordings of each class will be available to registered students.  Students will benefit from the classes conducted in Blackboard as well as our course website blog.  Before registering and attending our first class, students are expected to be familiar with Harvard Extension School’s distance education policies, which you may access by clicking here.  If you have questions about the technical aspects of the course, need help with downloading the appropriate software or accessing our classroom website link, please click here.  And for answers to Harvard Extension School’s Frequently Asked Questions, please click here.

 

DISABILITY SERVICES OFFICE

The Extension School is committed to providing an accessible academic community. The Disability Services Office offers a variety of accommodations and services to students with documented disabilities. Please visit www.extension.harvard.edu/resources-policies/resources/disability-services-accessibility for more information. 

 

ACADEMIC HONESTY

You are responsible for understanding Harvard Extension School policies on academic integrity (www.extension.harvard.edu/resources-policies/student-conduct/academic-integrity) and how to use sources responsibly. Not knowing the rules, misunderstanding the rules, running out of time, submitting “the wrong draft,” or being overwhelmed with multiple demands are not acceptable excuses. There are no excuses for failure to uphold academic integrity. To support your learning about academic citation rules, please visit the Harvard Extension School Tips to Avoid Plagiarism (www.extension.harvard.edu/resources-policies/resources/tips-avoid-plagiarism), where you'll find links to the Harvard Guide to Using Sources and two, free, online 15-minute tutorials to test your knowledge of academic citation policy. The tutorials are anonymous open-learning tools. 

 

 

COURSE SYLLABUS

What follows is a provisional syllabus;

any changes will be announced in class.

 

Unit 1: Close Analysis of a Single Text

In Essay 1, you will argue for an interpretation of one of the short stories we’ll be reading for this unit, complex stories , stories that are also at times quite startling in their directness. Your evidence for your interpretation will derive from the short story you choose to focus on. The final essay should be about 5-6 pages. 

The ideas you offer should be your own, informed by your analysis and by ideas and questions we develop during discussion. No outside sources are required, nor should you consult any.

Most good occasions for academic writing begin with a question—one that poses a challenging problem or issue to address or figure out, sparking an essay that analyzes rather than one that describes or summarizes. Identifying such a question or problem for your readers makes sure that there is something “at stake” in your essay, a reason your argument needs to be made.

Here is some specific advice for the essay that you’ll want to keep in mind as you’re drafting and revising:

Provide a close analysis that leads to argument. You will answer your analytical question with a thesis, which you support by an argument based on close analysis. To arrive at that analysis, you’ll begin with observing and annotating (“annotating” literally meaning “to note down”)—noticing details that seem important, interesting, confusing, or striking. (In a literary text, this means looking at such elements as narration, tone, dialogue, imagery, and diction.) From there you move to analysis, or drawing inferences from these observations—offering explanations about what that evidence might plausibly mean in context. Developing those moments of analysis and finding connections among them leads to your larger argument.

Work closely with evidence. It’s also necessary to guide your readers through your evidence and your analysis (interpretation of that evidence) in support of that thesis. Don’t’ assume (1) that readers know what evidence to look for, (2) that they’ll read that evidence in the same way that you do, and (3) that they’ll draw the same conclusions. Your analysis of the evidence should provide your readers of the validity of your claims.

Orient the reader. You should address your essay to readers who do not know the short story you have selected. You will need to orient them with appropriate information (quick summaries of scenes, explanations of the context of the quotations). Your readers should always know where you are in the text. But don’t bog the essay down with long patches of summary—make sure your explanations serve an analytical purpose in the essay.

Express your ideas in strong and active prose. In our one-on-one conferences, we’ll work on the issues of style and clarity that seem most important to your work. In class together we’ll work on two of the most fundamental approaches to strong and effective prose: sentence clarity and strong verbs.

Cite all quotations and include a Works Cited page in both the draft and the revision. See The Short Guide for information on MLA in-text citation, the style we will use in this class.

Unit 1 Weekly Breakdown

 Week 1 – August 31st

 Critical Reading, Critical Vocabulary, and Analysis

(Class focus: Structure and content of course described. student responsibilities, class policies outlined, and brief questionnaire and writing assignment.)

Reading Assignments for next week:

  • H. Lawrence, “The Rocking Horse Winner,” 40 Short Stories or download .pdf
  • John Steinbeck, “The Chrysanthemums,” 40 Short Stories or Link

Note: While multiple readings may be assigned each week, class discussion may focus primarily on one story. Students are responsible for reading and being fully prepared to discuss both texts.

Writing Assignment for next week:

  • Pre-draft Response Paper 1a – aim for 1 page in MLA format
  • Develop three good analytical questions that interest you in either Lawrence’s or Steinbeck’s story. Be prepared to discuss those questions as part of our class next week.
  • Cite all quotations from the story. See A Short Guide for MLA Format.

Week 2 – September 7th

Note: No class will be held on September 7th, Labor Day. RP1a is still due however.  Once you receive comments on RP1a from me, you will need to prepare RP1b for Monday, September 14th.

Writing Assignment for next week:

  • Pre-draft Response Paper 1b – aim for no more than 2 pages in MLA format
  • Select the Analytical Question you will focus on. It can be one of your original questions from Exercise 1a or one you have developed since Exercise 1a. Why does this one question particularly interest you?
  • Then choose a chapter or passage that will be significant for your exploration of that question. (Note the page number[s] and tell me the basic content of the chapter or passage in your own words.) Why is this a particularly rich moment for thinking about your Analytical Question? What issues or questions do you see the author raising here? (In the draft, you will of course refer to other sections and think about the story as a whole—for now you’re just choosing one key moment to ground your analysis. You’re aiming for depth—having a lot to say about the moments you choose.
  • As you think about your Analytical Question, which specific words, phrases, images, and details seem significant from the story? (Aim for four or five). Note down those moments, and then explain why they stand out for you. At this point you’re observing—noting which evidence looks important—and trying out analysis—starting to develop responses to that evidence. These initial notes can ultimately lead to your fully developed interpretation, but for now it’s fine if you’re just trying out ideas. The key here is to be specific. What are the important, noteworthy, or puzzling things you would draw your reader’s attention to? Why do they merit explanation—what is it that needs figuring out here? Why are they relevant to your Analytical Question?
  • Early thoughts. If you had to try out an answer to your Analytical Question at this early stage, what would the answer be? Please note: your answer so far will necessarily be tentative, not yet fully worked out, perhaps a little vague or even hard to articulate. And it is LIKELY that your answer will change as you develop your draft—in fact, you should expect and welcome that change. But it can be instructive to see where your ideas are at the start, so for now…what (tentative) answer would you try out?

Week 3 – September 14

Framing an Approach to the Academic Essay; Avoiding Plagiarism

Reading Assignments for next week:

  • Joyce Carol Oates, “Where Are You Going, Where Have You Been?” 40 Short Stories or download .pdf
  • Tim O’Brien, “The Things They Carried” 40 Short Stories or download .pdf

Note: While multiple readings are assigned, class discussion may focus primarily on one story. Students are responsible for reading and being fully prepared to discuss both texts.

Writing Assignment for next week:

  • Cover letter due – aim for one page in MLA format
  • Cover letter must be thorough
  • Allows insight into the motivating question
  • Describes the writing process
  • Acknowledges weaknesses
  • Addresses strengths
  • What would you work on if you had more time
  • For drafts, requests specific feedback
  • Aim for one page, double spaced
  • Draft of Essay 2 due – aim for 5-6 pages in MLA format
  • Answers your motivating question.
  • Conferences to take place with me this week. Following the conference you are expected to have a new cover letter and a revised essay to exchange with your peers for the Peer Review on October 5th.

Week 4 – September 21st

Sample Student Essay with Cover Letter

Reading Assignments for next week:

  • Charlotte Perkins Gilman, “The Yellow Wallpaper,” 40 Short Stories or download .pdf

Week 5 – September 28th

Revising: How to work with feedback; Exchange Peer Review Essays

Reading Assignments for next week:

  • Edgar Allan Poe, “The Cask of Amontillado, ” 40 Short Stories or download .pdf

Writing Assignment for next week:

  • Marginal comments on Peer Review groups’ essay and a Reader Letter to each member of your Peer Review Group.

Week 6 – October 5th

Peer Review

Week 7 – October 12th

Note: No class will be held on October 12th, Columbus Day. But, your Final Cover Letter and Final Revision of Essay 1 are still due.

 

Unit 2: The World of the Short Story

In Essay #2 you will explore a question of importance for one of the writers we’re studying, a question that will lead to other questions. In this essay assignment, you are asked to consider at least two pieces of writing—a pair of stories written by different writers—that engage the issue of setting. 

Setting is never static—this is, each character in a story relates differently to setting; characters in different stories relate differently to similar settings. For instance, in “Sonny’s Blues,” Sonny relates one way to Harlem, his brother another. Chekov’s “The Lady with the Dog,” begins in the resort town of Yalta, then moves to Moscow, to Anna’s town of S., and back to Moscow—how the characters respond to place tells us much about their situation, their desires, who they really are.

You may define place geographically or by era, or in another way—for instance, such place categories might be possible: schools and stores; cemeteries; night club; etc.

As you can see, you have enormous freedom here; in fact, you must come to and define the essay’s central questions by yourself—which will be very challenging. Before you embark on this essay, you will need to work on two response papers detailing your plan for the essay. You may think of these as abstracts or as preliminary interpretive summaries of the essay you have yet to write. It ought to lay out the general topic of the essay, the central questions you intend to explore, and the sources you intend to use. The motive of the as-yet unwritten essay thus ought to be clear, but again remember that working your way into and through the essay will be challenging.

 

Unit 2 Weekly Breakdown

 Week 8 – October 19th

Writing about Setting; Sample Student Essay

Reading Assignments for next week:

  • Anton Chekov, “The Lady with the Dog,” 40 Short Stories
  • William Faulkner, “A Rose for Emily,” 40 Short Stories

Writing Assignment for next week:

  • Pre-draft Response Paper 2a
  • Compare/Contrast (the preliminary step for your comparative essay)
  • Comparing how two authors use setting to enhance the story’s plot development, try summing up a few thoughts about the following questions:
  • In what ways does the use of setting depart from each other? What significant differences do you see?  Feel free either to consider them as a list, or to free-write about that question for several minutes, whichever feels more helpful to you.
  • Next: we expect similarities between stories depending on when the story was written, where the story takes place, and the length of the unfolding plot – but were there any similarities that surprised you?  Any that seemed unexpected?
  • Then: Pose 2-3 analytical questions based on your findings—how might you go about thinking more deeply about the implications of the stories’ differences and similarities?
  • Finally, try posing the question that looks best to you right now (or try out more than one if you feel as if you’re still exploring more a few options). Why does this question seem like a potentially intriguing one for your essay?  Why might it be an important problem to explore about these two versions?  And then try out a tentative answer to that question – even if you know it’s a rough answer for now.

Week 9--  October 26th

Planning a comparison/contrast essay

Reading Assignments for next week:

  • James Baldwin, “Sonny’s Blues,” 40 Short Stories
  • Nathaniel Hawthorne, “Young Goodman Brown,” 40 Short Stories

Writing Assignments for next week:

  • RP2b due
  • Detail your plan for the essay. You may think of this Response Paper as an abstract, or as an interpretive summary of the essay you have yet to write. It ought to lay out the general topic of the essay, the central questions you intend to explore, and the sources you intend to use. The motive of the as-yet unwritten essay thus ought to be clear.

Week 10 – November 2nd

Sample comparison/contrast essays; What is at stake?

Reading Assignments for next week:

  • Sandra Cisneros, “Woman Hollering Creek,” 40 Short Stories
  • Toni Cade Bambara, “The Lesson,” 40 Short Stories

Writing Assignment for next week:

  • Cover Letter and Draft of Essay 2 due; Conferences to take this place week.
  • Revise draft (and in turn, cover letter) for Peer Review.

Week 11 – November 9th

Exchange papers for next week’s Peer Review

Troubleshooting in advance of the Peer Review

Reading Assignments for next week:

  • Bharati Mukherjee, “The Management of Grief,” 40 Short Stories

Writing Assignment for next week:

  • Provide marginal comments and Reader Letters to members of your Peer Review Group.

Week 12 – November 16th

Peer Review

Writing Assignment for next week:

  • Final Cover Letter and revision of Essay 2 due.

 

Unit 3: The Story and Its Writer

            In Essay #3, you will consider multiple short stories by a single author (whose work we have read in Units 1 or 2 and who you have not yet written about) in the context of that author’s biography. You’re going to build on the skills of close literary analysis we honed in the first and second essays to consider the author’s philosophical theory on writing in his or her own particular biographical context. Either explicitly or implicitly (but in either case quite clearly) your essay will make an argument for the writer’s role. There are innumerable questions to ask about this topic (philosophers, literary theorists, educators, even psychologists have built careers on trying to answer them), but there are a few we’ll probably be discussing in class. (I expect if you have others, and that those questions will generate new ones: What is the writer’s relation to a political, cultural, social, or historical issue? Do the specific strictures of fiction as a genre give the writer freedom from social responsibility or do they make that social responsibility even greater? To what extent do the answers to these questions depend on our assumptions about art, about reading, about the nature of political life? To what extent do they depend on our assumptions about authorship and authority? Does fiction actually have a social or apolitical life? How might we define that kind of life, and what might the ramifications of such a definition be? What are we talking about when we talk about politics and society in terms of fictional representation—are we talking about writers representing the world in specific ways, or about representing the world “truthfully”—and what might that kind of truth look like? What might it mean for a fiction writer to be “truthful”? Or, does art have a different function altogether—is there something else a fiction writer is undertaking that puts his work outside this whole discourse? What would that something else be? However you answer these questions, and others you’ve no doubt already come up with, you’ll need, in your essay, to consider carefully the implications of that answer. (What are the serious and different counter-arguments to some of the answers we might come up with here?)

            In your essay, you will focus on one of the authors whose texts we have read in the prior units within the context of their philosophy about writing. Your argument will use their short stories and test their their philosophy to explore how their particular context informs their writing.   

Week 13 – November 23rd

Introduction to Library Research

Reading Assignment for next week:

  • Flannery O’Connor, “A Good Man is Hard to Find” 40 Short Stories

Final cover letter and revision of Essay 2 due.

Week 14 – November 30th

Case Study: Flannery O’Connor

Writing Assignment for next week:

  • Pre-draft Response Paper 3

Week 15 – December 7th

What is at stake? Why does your essay need to be written?

Writing Assignment for next week:

  • Draft of Essay 3 with Cover Letter for in-class peer review. Please have this to your peers by Sunday, December 13th.

Week 16 – December 14th

Final Peer Review.

Final Cover Letter and revision of Essay 3 due on FRIDAY, DECEMBER 18th.

Course Summary:

Date Details