This subject, cross-listed in Literature and Women’s Studies, examines a range of American women authors from the seventeenth century to the present. It aims to introduce a number of literary genres and styles- the captivity narrative, slave novel, sensational, sentimental, realistic, and postmodern fiction- and also to address significant historical events in American women’s history: Puritanism, the American Revolution, industrialization and urbanization in the nineteenth century, the Harlem Renaissance, World War II, the 60s civil rights movements. A primary focus will be themes studied and understood through the lens of gender: war, violence, and sexual exploitation (Keller, Rowlandson, Rowson); the relationship between women and religion (Rowlandson, Rowson, Stowe); labor, poverty, and working conditions for women (Fern, Davis, Wharton); captivity and slavery (Rowlandson, Jacobs); class struggle (Fern, Davis, Wharton, Larsen); race and identity (Keller, Jacobs, Larsen, Morrison); feminist revisions of history (Stowe, Morrison, Keller); and the myth of the fallen woman (take your pick). Essays and in-class reports will focus more particularly on specific writers and themes and will stress the skills of close reading, annotation, research, and uses of multimedia where appropriate.

What is a “life” when it’s written down? How does memory inform the present? Why are autobiographies and memoirs so popular? This course will address these questions among others, considering the relationship between biography, autobiography, and memoir and between personal and social themes. We will examine classic authors such as Mary Rowlandson, Benjamin Franklin, Frederick Douglass, Harriet Jacobs, and Mark Twain; then more recent examples like Tobias Wolff, Art Spiegelman, Sherman Alexie, Shirley Geok-lin Lim, Edwidge Danticat, and Alison Bechdel.

This course studies the national literature of the United States since the early 19th century. It considers a range of texts - including, novels, essays, and poetry - and their efforts to define the notion of American identity. Readings usually include works by such authors as Nathaniel Hawthorne, Henry David Thoreau, Frederick Douglass, Emily Dickinson, and Toni Morrison.

This course covers works by major American novelists, beginning with the late 18th century and concluding with a contemporary novelist. The class places major emphasis on reading novels as literary texts, but attention is paid to historical, intellectual, and political contexts as well. The syllabus varies from term to term, but many of the following writers are represented: Rowson, Hawthorne, Melville, Twain, Wharton, James, and Toni Morrison. Previously taught topics include The American Revolution and Makeovers (i.e. adaptations and reinterpretation of novels traditionally considered as American “Classics”). May be repeated for credit with instructor’s permission so long as the content differs.

What is a “life” when it’s written down? How does memory inform the present? Why are memoirs so popular? This course will address these questions and others, considering the relationship between biography, autobiography, and memoir and between personal and social themes. We will closely examine some recent memoirs: Tobias Wolff’s This Boy’s Life, Barack Obama’s Dreams From My Father, Edwidge Danticat’s Brother, I’m Dying, Ayaan Hirsi Ali’s Infidel, and Alison Bechdel’s Fun Home. Students will write two brief papers: a critical essay and an experiment in memoir.
As a “Sampling,” this class offers 6 units, with a strong emphasis on close reading, group discussion, focused writing, and research and presentation skills.

Comedy, that most elastic literary and performance mode, skewers artifice, topples authority, and reverses expectations, not with the fatal outcomes of tragedy but with laughter and festivity. This class examines both deep roots and current forms of comedy, with a particular focus on comic insubordination. And food.
We will revel in Greek, Roman, and Shakespearean drama; explore Aphra Behn’s eighteenth-century feminist rakes and sexual adventurers in The Rover; investigate social satire in Jane Austen, Herman Melville, and Oscar Wilde; peek under the covers of small-town family life in Alison Bechdel’s Fun Home; and probe the uneasy relationship between farce and romantic love, violence and redemptive humor, satire and festivity in comic art. Discussion will draw on examples of popular and contemporary forms, including film and sketch comedy.

This course looks at comedy in drama, novels, and films from Classical Greece to the twentieth century. Focusing on examples from Aristophanes, Shakespeare, Cervantes, Molière, Wilde, Chaplin, and Billy Wilder, along with theoretical contexts, the class examines comedy as a transgressive mode with revolutionary social and political implications. This is a Communications Intensive (CI) class with emphasis on discussion, and frequent, short essays.

Although this class starts by critically examining the term “ethnic” as it defines a wide range of cultural forms over time, we will focus mostly on contemporary writers. Questions to consider will include: How has ethnic writing changed American culture and renovated forms of literary expression? What are the varieties and nuances of what we might call an ethnic subjectivity? What could it mean to harbor fugitives within the self: transgressive thoughts or a “foreign” identity? And what is the future of “ethnic” literature in a global space?

This course investigates the uses and boundaries of fiction in a range of novels and narrative styles–traditional and innovative, western and nonwestern–and raises questions about the pleasures and meanings of verbal texts in different cultures, times, and forms. Toward the end of the term, we will be particularly concerned with the relationship between art and war in a diverse selection of works.

This course investigates the uses and boundaries of fiction in a range of novels and narrative styles–traditional and innovative, western and nonwestern–and raises questions about the pleasures and meanings of verbal texts in different cultures, times, and forms. Toward the end of the term, we will be particularly concerned with the relationship between art and war in a diverse selection of works.

This seminar provides intensive study of exciting texts by four influential American authors. In studying paired works, we can enrich our sense of each author’s distinctive methods, get a deeper sense of the development of their careers, and shake up our preconceptions about what makes an author or a work “great.” Students will get an opportunity to research an author in depth, as well as making broader comparisons across the syllabus.

Global exploration in the eighteenth and nineteenth centuries radically changed Western science, orienting philosophies of natural history to more focused fields like comparative anatomy, botany, and geology. In the United States, European scientific advances and home-grown ventures like the Wilkes Exploring Expedition to Antarctica and the Pacific inspired new endeavors in cartography, ethnography, zoology, and evolutionary theory, replacing rigid models of thought and classification with more fluid and active systems. They inspired literary authors as well. This class will examine some of the most remarkable of these authors—Herman Melville (Moby-Dick and “The Encantadas”), Henry David Thoreau (Walden), Sarah Orne Jewett (Country of the Pointed Firs), Edith Wharton (House of Mirth), Toni Morrison (A Mercy), among others—in terms of the subjects and methods they adopted, imaginatively and often critically, from the natural sciences.

This seminar provides intensive study of texts by two American authors (Herman Melville, 1819-1891, and Toni Morrison, 1931-) who, using lyrical, radically innovative prose, explore in different ways epic notions of American identity. Focusing on Melville’s Typee (1846), Moby-Dick (1851), and The Confidence-Man (1857) and Morrison’s Sula (1973), Beloved (1987), Jazz (1992), and Paradise (1998), the class will address their common concerns with issues of gender, race, language, and nationhood. Be prepared to read deeply (i.e. a small number of texts with considerable care), to draw on a variety of sources in different media, and to employ them in creative research, writing, and multimedia projects.

This half-semester Samplings course, worth six instead of the typical twelve credits, drew attention to the thirteen female Nobel laureates. As the MIT Literature website explains, Samplings serve students looking for “a less intensive, more discussion and reading oriented way of continuing literary study.” Secondly, “they allow the Literature Faculty to offer occasional subjects that cannot be permanently and regularly offered. Finally, they are a site of experimentation—a way of trying out new authors and new themes.”

Explore where the prohibitions and permissions that occur in every day life come from, why they exist, and what gives them force. For example: food—you are only willing and able to eat a subset of the world’s edible substances. Marriage—some marriages are prohibited by law or by custom. This course addresses questions of prohibition and permission using psychological sources and literary works from ancient to modern. Texts include works by Shakespeare, Melville, Mary Rowlandson, and Anita Desai. Students give group and individual oral presentations.

What has been said of Moby-Dick—that it’s the greatest novel no one ever reads—could just as well be said of any number of American “classics” like The Scarlet Letter, Uncle Tom’s Cabin, or The Adventures of Huckleberry Finn. This course reconsiders a small number of nineteenth-century American novels by presenting each in a surprising context.

This seminar looks at two bestselling nineteenth-century American authors whose works made the subject of slavery popular among mainstream readers. Uncle Tom’s Cabin by Harriet Beecher Stowe and The Adventures of Huckleberry Finn by Mark Twain have subsequently become canonized and reviled, embraced and banned by individuals and groups at both ends of the political and cultural spectrum and everywhere in between.

Students, scholars, bloggers, reviewers, fans, and book-group members write about literature, but so do authors themselves. Through the ways they engage with their own texts and those of other artists, sampling, remixing, and rethinking texts and genres, writers reflect on and inspire questions about the creative process. We will examine Mary Shelley’s reshaping of Milton’s Paradise Lost, German fairy tales, tales of scientific discovery, and her husband’s poems to make Frankenstein (1818, 1831); Melville’s redesign of a travel narrative into a Gothic novella in Benito Cereno (1856); and Alison Bechdel’s rewriting of Oscar Wilde’s The Importance of Being Earnest (1895) in her graphic novel Fun Home (2006). Showings of film versions of some of these works will allow us to project forward in the remixing process as well.