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ENGL 513-002: Place in Nonfiction 
Spring 2008
  George Mason University
Scott W. Berg, Instructor
Course web site: http://classweb.gmu.edu/sberg1


Thursdays 7:20-10:00
David J. King Hall 2054
Office: Performing Arts Building A407G (in the Theater department)
Office Hours: Thursdays 6:00-7:00.  Better yet, make an appointment.
E-mail: sberg1@gmu.edu
Office phone: 703/993-1635 (please use sparingly)

Required Materials/Expenditures: 


Eleven books are required for this course (presented here in the order we'll read them):

John McPhee, Coming into the Country
Joan Didion, We Tell Ourselves Stories in Order to Live: Collected Nonfiction
Craig Childs, Soul of Nowhere
Gretel Ehrlich, The Solace of Open Spaces
Jonathan Raban, Bad Land
Ted Conover, Whiteout
Ian Frazier, Great Plains
Mike Tidwell, Bayou Farewell
Annie Dillard, Pilgrim at Tinker Creek
John Berendt, Midnight in the Garden of Good and Evil
Colson Whitehead, The Colossus of New York

We'll also be reading portions of two other works:

--Henry David Thoreau's Walden is available online at a terrific web site called "The Thoreau Reader": http://thoreau.eserver.org/walden00.html. We'll read chapter 7, "The Bean-Field."
--Mark Twain's Life on the Mississippi is available in several locations online, none as pretty as the Thoreau site. (Use Google.) We'll read the first three chapters.

Finally, you'll find E.B. White's long essay "Here is New York" in a course pack at the bookstore, if you don't have that essay somewhere else. (I recommend purchasing Essays of E.B. White.)

You'll also be responsible for making copies of your own work.

THE COURSE

Literary nonfiction has always been interested in place, in many of the same ways that fiction, drama, and poetry have always cared about place: as backdrop, as atmosphere, as metaphor, as locus of conflict, as home -- in other words, as "setting," in all of these usual manifestations and more. But there is a particular kind of nonfiction book that does more than use and honor place: rather, it makes one spot on the map the very point of the enterprise. In PrairyErth, William Least Heat-Moon talks about his self-appointed task to fashion a "deep map" of Chase County, Kansas, treading over its every acre in order to create a multi-layered portrait of place, a human map layered on top of an historical map layered on top of a physical map. This kind of close investigation of a single place -- a vertical, rather than horizontal, impetus -- is the thread tying together all of the readings in the class. We'll read about densely populated cities and barely populated rural regions, in forms ranging across the continuum from highly personal memoir to out-and-out journalism.

All theoretical frameworks are welcome, but this is a literature course taught by a writer of creative nonfiction, as so we'll depend on close reading and look most particularly at point of view and form and how they help each writer do his or her unique "mapping" of place.

This is a literature course, not a workshop course, and will apply to the corresponding degree requirements.

PREREQUISITES FOR ENGLISH 513

All the usual limitations on enrolling for graduate courses apply. I am not the person who dispenses information and advice about course eligibility. If you have questions, please contact Bill Miller, director of graduate creative writing, at 703/993-2763 or wmiller@gmu.edu (or, if you are an undergraduate, Laura Scott, English department advisor, at 703/993-1179 or lscott@gmu.edu). 

COURSE REQUIREMENTS

The discussion-based course will involve short reading responses and "discussion starters," pastiches or other creative exercises, and a longer term paper in the form of literary analysis or creative nonfiction.

Because this class is discussion-based I expect students to keep up with the reading and to contribute to our weekly conversations in a meaningful way. Aim to be in class every week with the reading and writing assignments completed.

Each of you will create a discussion starter for one of nine selected books assigned for the course.  This assignment will consist of a short presentation and a one-page summary regarding your thoughts and observations on a particular topic assigned and explained in class.

Your work in the class will culminate in one substantial piece of literary scholarship or creative nonfiction, the latter either a self-contained narrative of a section of a longer work. This paper or piece must reach at least 4,000 words in length, not including any scholarly apparatus. This final paper/project is due at our last class meeting, Thursday, May 1. The writing must relate in some way to our readings/discussions but may examine or model itself any of the course topics or texts. I'll require that you provide updates on this project beginning Thursday, March 20, but you're welcome to discuss possibilities with me at any time. I reserve the right to collect notes and/or research updates.

The take-home final exam (comprised of a series of short-answer and essay questions related to our readings) will be distributed at the end of the semester. We will all help in preparation of the exam questions on Thursday, May 1; the exam will be distributed via e-mail the next day, and your responses will be due via e-mail no later than the end of Monday, May 5.

GRADING

Your grade will be determined according the following mix:

Final paper/ project:  35%
Class participation/discussion starters: 25%
Other writing assignments (reading responses and pastiches): 20%
Final exam: 20%

Your grade is not based solely on an assessment of your writing, nor is based solely on whether you accomplished every item on my checklist.  Doing good writing and being a good student are equally important.

A NOTE ABOUT SAVING YOUR WRITING

There can be no excuse in the year 2008 for losing one's only copy of a piece of writing.  Never carry around a piece of writing without making sure that you've also saved that piece of writing to 1) a hard drive somewhere 2) a server somewhere (by e-mailing it to yourself) 3) a second storage medium, or 4) a paper copy.  Preferably, you'll use several of these methods at once.  Please don't come to me and say and say "I only had one copy."

PLAGIARISM AND LATE ASSIGNMENTS

Here is the definition of plagiarism, according to the English Department:

Plagiarism means using the exact words, opinions, or factual information from another person without giving that person credit.  Writers give credit through accepted documentation styles, such as parenthetical citation, footnotes, or end notes; a simple listing of books and articles is not sufficient.  Plagiarism is the equivalent of intellectual robbery and cannot be tolerated in the academic setting.

Egregious plagiarism will result in an F for the assignment and a report of an Honor Code violation.

Late papers and assignments will be penalized.  This penalty will depend on the nature of the offense; for example, an assignment one day late will suffer less than an assignment five days late.  (The minimum penalty, though, is a half-grade reduction.)  No assignment a week late or more will receive a passing grade.  I will consider, though not automatically grant, extension requests made at least one class period in advance--but only if such requests are infrequent.