Welcome to English 242.
This course will examine the emergence of the novel via one of its most important early subgenres, the picaresque. Originating in early modern Spain, picaresque fiction gets its name from the Spanish word pícaro, meaning rogue, rascal, or scoundrel. These works follow the episodic (mis)adventures of a roguish anti-hero as they navigate the poor and marginalized strata of society. The pícaro is often a vehicle for larger social critique, someone whose own sins and boorish behavior are used to satirize, and highlight, the deeper moral depravity that exists among the upper classes. Picaresque fiction is known for its acerbic humor, its unfiltered examination of contemporary life (realism), and its biting social commentary. Moreover, it is a genre with real staying power, one which continues to thrive in contemporary literature. We will read three works of picaresque fiction, and along the way, come to terms with the novel as a form in and of itself—as a unique set of literary conventions that became codified in the early 18th century amidst growing literacy and radically changing social conditions.
We begin the quarter with the picaresque urtext, Lazarillo de Tormes (1554). Published anonymously, this work follows the protagonist Lázaro on his journey from youth to adulthood as he bounces from one master to another, each either more corrupt or more foolish than the last. It offers a critical examination of Spanish society, and the Catholic Church, during a period in which vast wealth from the New World was creating a growing literate class, even as the Spanish Inquisition was doggedly enforcing its program of religious fundamentalism.
Our second novel is A Confederacy of Dunces (1980) by John Kennedy Toole. This novel takes the rogue to new and absurd heights. It follows Ignatius J. Reilly, a larger-than-life misanthrope who spends his days malingering, haranguing his poor mother, pontificating about his “worldview” (a sardonic combination of medieval philosophy and a hatred of all things modern), and scheming up ways to get back at his nemesis and pen pal, Myrna Minkoff. Set in 1960s New Orleans, this novel offers a complicated and nuanced look into the working class and racial politics of the American South.
Our last novel for the quarter is Animal’s People (2007) by Indra Sinha. With a plot and setting meant to mirror the 1984 Union Carbide disaster that occurred in Bhopal, India, this novel follows protagonist “Animal,” who as an infant is disabled by a gas leak at a nearby factory and left with a severely deformed back. Henceforward he must walk around on all fours, which causes him to see the world in a way markedly different from his fellows. Full of sexual angst, crass humor, romance, and a desire for social and environmental justice, this work brings the picaresque and its rogue's-eye view of corruption and greed into the twenty-first century.
Key Questions:
- What are the defining formal features of the picaresque? How do these features anticipate and inspire the conventions that would define the novel in general?
- How does a pícaro's marginalized or low-status social position function as a critical, and realist, vantage point?
- Why has the picaresque proven to be such a durable and protean novelistic genre?
- What is the relationship between the picaresque’s bawdy, satirical, and grotesque humor and its capacity for real social and political critique?
Course Goals:
- To understand the “novel,” both as an autonomous art form and a culturally and historically contingent product.
- To become better critical readers and interpreters of complex texts. One characteristic of the novel, particularly in the 20th century and beyond, is that it asks the reader to assume a fundamental role in creating meaning.
- To articulate one’s interpretations and criticisms in coherent and communicable written and oral forms. In other words, writing, discussing, and performing what it means to be a critic of literature.
Additionally, see “Course Outcomes” at the end of the syllabus for how this course aligns with the broader disciplinary goals of literary studies as defined by the Department of English.
Course Materials:
It is imperative that you purchase hard copies of our novels (preferably the exact editions outlined below). The reasons for this will be explained in the “Exams” section of this syllabus.
You will also need a physical journal (this will be part of your participation grade). A cheap, wide-ruled composition book is ideal.
Novels:
- Lazarillo de Tormes & The Grifter, Ed/Trans by David Frye. ISBN 978-1-62466-344-4
- A Confederacy of Dunces. John Kennedy Toole. ISBN 978-0-8021-3020-4
- Animal’s People. Indra Sinha. ISBN 978-1-4165-7879-6
- All other readings (literary theory and/or criticism) will be provided by me and be available on the Canvas site as pdfs.
Participation (45% of final grade):
Your participation is a necessary component to your success in this class, and the success of the class as a whole. Your participation grade is composed of two elements:
- Weekly Writing Journal (WWJ)—(20%): You must keep a weekly journal of in-class writing assignments. This must be a physical, hand-written journal. These writing prompts will come at the beginning or end of the class period and will usually ask for approximately one page of reflection, interpretation, or criticism. You will need to date each response and label it according to the prompts provided. I will examine your journals once during the quarter, during the final exam period. I will check to make sure you have engaged with the prompts, but beyond that, this is a credit/no credit grade. The point is to demonstrate sustained participation with the course materials, guiding questions, and goals. These writing exercises will also directly prepare you for the exam essay questions.
- Three Short Assignments (25%): You will complete three short writing assignments (SAs)—each ~.75 to 1 page in length. These assignments will ask you to develop a particular expository writing skill that you will then be tested on during the in-class exam essay questions. We will dedicate time in class to this work, including peer review. I will also provide feedback via canvas to better prepare you for the exam essay questions.
Final notes on participation:
Timely submission of assignments and class attendance: To do well in this course you will need to show up and practice the close reading and interpretive skills developed in class. You will also greatly benefit from discussing the book with your peers. The best things you can do to ensure success in this class are (1) keep up with the reading schedule and (2) attend class discussions.
*** In-Class Discussion: Come prepared to discuss ALL the assigned readings in class. You must demonstrate your having read by contributing to class discussions: asking questions, making comments or adding to the comments of your peers, pointing to the text as evidence, directing our attention to certain passages etc. Get in the habit of annotating (writing on top of your reading). Every day we will engage in small-group discussions and group work. It is expected that you discuss and share actively in these smaller groups. Additionally, as a bare minimum, each person should speak at least once per week at class level.
*** Much of our group work will be coordinated using google docs, therefore, I would like everyone to come to class with some kind of digital device they can use for research, group writing, and presentations.
Exams (55% of grade): Midterm (27.5%). Final (27.5%).
Exam Structure:
All exams must be completed in Blue Books and written by hand. Our midterm will take place at the end of week six (Thursday, 11/5). Our final will take place at the end of week 11 (Thursday, 12/10). Please note, this is the week prior to the university’s scheduled final exam week. These exams require answering a single long-essay question. I will provide you with 4-6 potential prompts about 3 or 4 days prior to the exam period. You will have to choose one and write an essay (approximately 5-6 pages in length).
*** All exams must be taken in class during weeks 6 & 10 unless otherwise documented with DRS. I will hold a make-up midterm exam opportunity during week 7, and a make-up final exam opportunity during finals week (during the final exam block allotted to the class). These make-up blocks are reserved for folks who can demonstrate some kind of unforeseen emergency (e.g., you broke your leg on the way to class). Barring such emergencies, I will not allow make up opportunities.
In order to write these in-class essays, you will need to quote and consult our primary texts. This is why you must have a hard copy of the materials, as no digital devices will be permitted during the exams. I encourage everyone to annotate your novels because you may use these annotations during the exams. For those of you who have never done an annotation, or simply never been in the habit of annotating, we will spend time early in the quarter workshopping this skill, but in general terms, annotation means writing on top of your reading—everything from starring and highlighting, asking questions, making claims, identifying patterns, and mapping connections between events, characters, themes, etc. The goal of this annotation-centered, open-book essay format is to reward and incentivize your active close reading throughout the quarter.
You will have one full class period to complete the exam. You may use whatever tools are available to you outside of class to study and engage with the material, but at the end of the day, you need to be able to show up and communicate your interpretation of the novel in this quasi-extemporaneous and timed context. For additional insights on the kind of writing I expect, please see “Expository and Argumentative Writing” section).
Midterm & Final—Content: The midterm will cover Confederacy of Dunces and all associated critical materials. The final will cover Animal’s People and all associated critical materials. There will be a range of essay questions to choose from: some may be historical in scope, some may be genre-related, others may be focused on particular forms and themes encountered in our primary works. My goal is to give you some options so that you find at least one question you connect with. Given that Lazarillo de Tormes is our model for the picaresque genre, you are also more than welcome to marshal this work as evidence in both the midterm and the final.
Expository and Argumentative Writing:
English 242 counts for a W credit, and this means that writing will form an essential part of this course. You need to be able to externalize your thoughts, interpretations, and criticisms in a coherent written form. This class will teach expository and argumentative writing. Expository writing investigates topics, explains ideas, and analyzes evidence in order to present a comprehensive and nuanced view of its subject matter. Argumentative writing tries to systematically establish the truth and validity of its claims. Sound expository and argumentative writing share some key characteristics. They both aim to be cogent (logically consistent and convincing), lucid (clear and comprehensible), and economical (concise and sober in style). By the end of the course, you should have a repository of practices, principles, and methods that you can apply to nearly any writing situation. Hopefully, our class discussions, group activities, and peer review will help you apply these tools in an ethical way, considerate of your own biases and assumptions and attentive to the language practices and perspectives of others.
Submission Guidelines:
All the writing you will submit in this class will be done by hand (e.g., the short assignments, the weekly writing journal (WWJ), and the exams (Blue Books)). These due dates are blocked out well in advance (again, please consult the course calendar). Therefore, it is essential that you are in class for weeks 6 and 10 for the exams.