to the schedule of readings and assignments
required texts: Norris & Atwan, eds., The Best American Essays 2001 (Houghton Mifflin).
syllabus: This syllabus may be updated as the semester goes on. I may post updated versions that indicate readings, discussion plans, and reference materials. However, every component of your grade is shown here at the beginning. Please refer to the date and time of printing (at the bottom of each page) to see when the version you are holding was printed. For continuous updates look on line at http://www.uta.edu/english/tim/courses/4330s02/4330index.html
course description: This is a course in reading and critiquing, but mainly in writing, creative nonfiction.
course objectives: Students who successfully complete this course will know something about contemporary creative nonfiction; will have practice in guided and workshop environments in the techniques of creative nonfiction; and (if they take the final step) will have completed one polished creative essay.
attendance is mandatory, because this course takes place mostly in a workshop setting.
drop policy: UTA instructors may not drop students for any reason. You may choose to drop with a W until 12 April.
assignments: 17 short papers (one page maximum); one final optional essay project (15-18 pages).
grading: Grading is on a point system, with one point for each short-paper assignment.
Short papers will receive only one point or no points. Most relevant papers will receive one point. But you will receive no points if your paper is: handwritten; irrelevant to the topic; or late. If you do not come to the class meeting on the day the assignment is due, you do not earn the point for that assignment--the only exception is 27 February, when a paper is due but there's no class meeting.
I think that a B is a good grade for an undergraduate course, and that a C grade is quite acceptable. The grade of A should indicate excellence rather than mere completion of the course.
academic dishonesty policy: It is the philosophy of The University of Texas at Arlington that academic dishonesty is a completely unacceptable mode of conduct and will not be tolerated in any form. All persons involved in academic dishonesty will be disciplined in accordance with University regulations and procedures. Discipline may include suspension or expulsion from the University. "Scholastic dishonesty includes but is not limited to cheating, plagiarism, collusion, the submission for credit of any work or materials that are attributable in whole or in part to another person, any act designed to give unfair advantage to a student or the attempt to commit such acts." [Regents' Rules and Regulations, Part One, Chapter Vi, Section 3, Subsection 3.2, Subdivision 3.22]
disability policy: The University of Texas at Arlington is on record as being committed to both the spirit and letter of federal equal opportunity legislation; reference Public Law 93112--The Rehabilitation Act of 1973 as amended. With the passage of new federal legislation entitled Americans with Disabilities Act - (ADA), pursuant to section 504 of the Rehabilitation Act, there is renewed focus on providing this population with the same opportunities enjoyed by all citizens. As a faculty member, I am required by law to provide "reasonable accommodation" to students with disabilities, so as not to discriminate on the basis of that disability. Student responsibility primarily rests with informing faculty at the beginning of the semester and in providing authorized documentation through designated administrative channels.
library: Noel Anderson is the Librarian for the English Department. He can be reached at 817 272 3000, ext. 4984, and by email at email@example.com You will find online databases for English among the Arts & Humanities databases at http://www2.uta.edu/library/subjguides/dbEnglish.asp
writing center: located on the fourth floor of the Central Library, and at http://www.uta.edu/owl/ , the Writing Center provides free tutoring for UTA students. Tutors will not write your papers for you, but will help you understand and use strategies for effective writing.
schedule of assignments and readings
Note: all page numbers are from Norris & Atwan, Best American Essays 2001
Mon 14 Jan: syllabus, description of the course
Wed 16 Jan: introductions; in-class writing
Mon 21 Jan: DR MARTIN LUTHER KING, JR. DAY
Wed 23 Jan: in-class writing
Mon 28 Jan: Sh1 due: critique King, "On Impact" (120-131); workshop
Wed 30 Jan: Sh2 due: critique Komunyakaa, "Blue Machinery of Summer" (132-140); discuss "On Impact"
Mon 4 Feb: Sh3 due: adult memory; discuss "Blue Machinery of Summer"
Wed 6 Feb: Sh4 due: critique Ackerman, "In the Memory Mines" (1-13); workshop
Mon 11 Feb: Sh5 due: childhood memory; discuss "In the Memory Mines"
Wed 13 Feb: Sh6 due: critique Heiman, "Vin Laforge" (73-81); workshop
Mon 18 Feb: Sh7 due: character sketch; discuss "Vin LaForge"
Wed 20 Feb: Sh8 due: critique States, "On Being Breathless" (284-295); workshop
Mon 25 Feb: discuss "On Being Breathless"
Wed 27 Feb: Sh9 due: critique Michaelis, "Provincetown" (193-207), no class meeting
Mon 4 March: Sh10 due: place writing; discuss "Provincetown"
Wed 6 March: Sh11 due: critique Gray, "The Work of Mourning" (60-72); workshop
Mon 11 March: Sh12 due: elegy; discuss "The Work of Mourning"
Wed 13 March: Sh13 due: critique Birnbaum, "How to Pray" (14-29); workshop
18-20 March: SPRING BREAK
Mon 25 March: Sh14 due: cultural tradition; discuss "How to Pray"
Wed 27 March: Sh15 due: critique Oliver, "Dust" (218-220); workshop
Mon 1 April: Sh16 due: prose poem; discuss "Dust"
Wed 3 April: Sh17 due: critique Fadiman, "Mail" (50-59); workshop
Mon 8 April: discuss "Mail"
Wed 10 April: workshop; first draft of final project (B stage) due
Mon 15 April: workshop; first draft of final project returned. Workshop groups should meet tonight to exchange contact information and make plans. Groups will meet independently thereafter, and with instructor in 204 Carlisle as follows:
Wed 17 April: 7pm: Group One: Angela Adams, Jenice Johnson, Melissa Milam 740pm: Group Two: Shane Burke, Kenitha Carey, Cindy Turnage
Mon 22 April: workshops meet independently; optional: reading of Neruda, Coffee Haus, Lincoln Square
Wed 24 April: 7pm: Group Three: Jo Anne Moore, Sara Sadousky, Terri Spencer 740pm: Group Four: Michael Brittain, Samantha Masterton, Gretchen Rakiec, Joy Yeh
Mon 29 April: 7pm: Group Five: Susanna Blalock, Kayla Cook, Melissa Patton 740pm: Group Six: Rob Cecil, Laura Patterson, Jana Shuttlesworth
Wed 1 May: 7pm: all meet briefly in 104 Preston for course evaluations, then 715pm: Group Seven: Fareeda Abdur-Rahman, Shannon Geffken, Julie Jones 750pm: Group Eight: Bill Brott, Eileen Cooke, Aimee Weakley
Final Draft of final project (A stage) due by noon on Fri 10 May.
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