ENGL 259 A: Literature and Social Difference

ENGL 259 A:

Contemporary Queer Horror of the United States

(Jennifer's Body)

Image Description: Two legs, adorned in what looks like red lace pantyhose, but also wounded and bloody, appear on either side of a white, two-story home surrounded by a picket fence. It is dark outside. There are lights on in the upstairs window.

COURSE INFORMATION

Format: Remote Synchronous, meets on Zoom (link below)

Instructor: Dr. Daniel Elliot Roberts (he/him)

Email: derob@uw.edu

Meets: Monday/Wednesdays from 12:30 to 2:20 pm on Zoom (link below)

Office Hours: by appointment

Zoom Info (use for class and office hours): Zoom Link; Meeting ID: 206 739 8399

COURSE DESCRIPTION 

Welcome to English 259 A: Literature and Social Difference! This quarter we will delve into contemporary U.S. fiction and theory about queer horror. The year 2025 has seen more anti-transgender, anti-queer legislation than any previous year on record. To put it lightly, trans and queer people have much to fear in the United States. However, queer/trans people, especially queer/trans resistance, can also be a source of terror to heteronormativity. Horror as a genre has often been critiqued for being racist, misogynistic, and homophobic. But as Jack Halberstam has argued, horror has also been recuperated as a site of queer pleasure.

Pulling from queer theory, novels, short stories, films, and television shows, we will explore horror as a queer genre, and think about what it might mean to read queerness as a genre of horror (among other things): something that can defy and alter normative logics, threatening to expose as artificial and vulnerable, human-made constructions of the “real” and the “human.” Where queerness threatens, possibility beckons. This quarter we will explore the kinds of possibilities opened up by queer horror as a genre and a way-of-being. 

REQUIRED COURSE TEXTS/MATERIALS (listed in the order we will be reading/viewing them)

Books

• Cuckoo by Gretchen Felker-Martin
  • ISBN-13: 978-1250794666 
• Model Home by Rivers Soloman
  • ISBN-13: 978-1250397591
• Her Body and Other Parties by Carmen Maria Machado
  • ISBN-13: 978-1555977887

• Closer by Dennis Cooper
• ISBN-13: 978-0802132123
  
  

Films

• I Saw the TV Glow (2024), written and directed by Jane Schoenbrun
• Jennifer's Body-Unrated Version (2009), directed by Karyn Kusama

Other Materials

• A working webcam and microphone

COURSE ASSESSMENT

• 1st Draft of Essay One: 10%
• Final Draft of Essay One: 20% 
• 1st Draft of Essay Two: 10%
• Final Draft of Essay Two: 20%
• Question/Answer (Q/A) Papers (7 total): 20%
• Course Participation: 20%

LEARNING GOALS

By the end of this course, students will be able to:

1. Critically analyze the visual rhetoric found in advertisements and film.
2. Grapple with critical theory about film and queer and trans experience in the U.S.
3. Grow experience in writing about film and underrepresented populations.
4. Critically reflect on how queer and trans horror enables us to understand power dynamics and oppression, and resistance and possibility.

LEARNING OUTCOMES

1. Learn critical film vocabulary terms and how to apply them to the analysis of various film composition techniques.
2. Demonstrate proficiency in reflecting on, analyzing, and unpacking critical theory about literature and culture (including the power dynamics that structure the U.S.).
3. Effectively synthesize the close analysis of literary passages with sources from cultural studies and the social sciences to craft timely arguments with high stakes.
4. Learn to write effectively about literature in a variety of rhetorical contexts.

QUESTION/ANSWER (Q/A) PAPERS (7 total due)

Q/A Papers (250-350 words): Due to Canvas by 11:59pm the night before we discuss the film or reading in class. Throughout the quarter you are required to submit 7 weekly Q/A papers (which means you can miss two weeks). You may select which weeks/days to contribute, but you must submit your paper by 11:59 pm the night before we discuss that reading or viewing in class. Each Q/A paper must engage with the reading or viewing we will be discussing in class the following day. Your Q/A paper should cite directly from this assigned reading or film, and include page numbers or time stamps where the passages appear. You can only submit one Q/A paper per week. 

Your paper should open with a critical question you have about the assigned reading/viewing for the day. Some possible models of questions include:

• What is the relationship between A and B (according to the reading and to me)?
• How does this text invite us to think about X and why is this significant?
• What are the stakes of Z? 
• How can we use this text to help us understand X [current event]?

These are only a few examples--you can shape your questions however you want. In responding to your question (or seeking to "answer" it) you should turn to, and incorporate, evidence from the film or reading while responding to them with your own perspective. You do not need to arrive at a thesis by the end of your paper--the purpose of these papers is to help prepare you for class discussion, and provide you low-stakes opportunities to practice literary analysis, and test your ideas out on paper. You may revise and extend the questions you pursue in these papers in your formal essays and projects, but you do not have to. Q/A papers will receive a completion grade. If your paper does not meet the required word count, does not engage with direct quotations from the text, or is not primarily focused on the assigned film or reading, you may lose points. You will not receive written feedback from me on these posts. If you plan to extend an analysis from one of your Q/A papers into one of your Major Projects, please come to my office hours for verbal feedback.

MAJOR ESSAYS

This quarter you will be assigned two major essays, each with a first draft and a final draft. Revision is a crucial part of the writing process, and as a “W” course, demonstrating revision in your final drafts in this course is essential. You will receive feedback from me and a peer, as part of the peer revision process, on both of your first drafts. Keep in mind that if you submit either of your first drafts late, you may not receive any peer feedback, and Canvas may leave you out of the peer review process.

PARTICIPATION

This course is a discussion-based course. While I may give mini-lectures from time to time on the course content and writing techniques, for the most part our classes will consist of small group and whole class conversations about the assigned readings and viewings. Your participation grade will be based on your level of engagement in these conversations, as well as your completion of some informal in-class or homework assignments. One way to participate in our discussions is to bring the content of your Q/A paper for the day into the conversation. Share your question with the class and some of the insights you gained from writing about it. You can also build on, challenge, or extend points that other students or myself make in class. If you have a question about the assigned reading/viewing, airing that question in class is another way to participate. I do not grade the content of your contributions to class discussions. Rather, you are simply graded on whether or not you are contributing anything at all to our conversations. If  you would like a 4.0 participation grade, come talk to me about strategies for participating in class.

EXPECTATIONS FOR VIRTUAL LEARNING

As we will be meeting online this quarter, I want to communicate my expectations for virtual learning. You will need access to a laptop or tablet that will allow you to access our class via Zoom, a working microphone and webcam, and a place to Zoom in from, from which you feel comfortable participating in verbal discussions. I ask that everyone keeps their webcams on during class to help us to feel connected to each other as a community of learners. If you are uncomfortable with having your camera on, you may be able to secure an off-camera accommodation through DRS. Our Zoom class will have many of the same features of in-person classes, but will primarily be a discussion-based class, so it is important that you work to find a way to feel comfortable sharing your ideas, insights, and questions with the class.

NOTES ON CONTENT/TRIGGER WARNINGS

Many of our course texts contain potentially disturbing material that relates to systemic and interpersonal violence of different kinds. Depending on your own proximity to systemic violence and whatever other factors, you will likely find some of this material difficult to cover. By and large, I take the approach to Content Warnings that Eli Clare provides in Brilliant Imperfections: I will remind you repeatedly throughout the quarter to do what you need to take care of your needs as they arise. This might mean leaving class in the middle of a difficult discussion, pausing the film you’re watching, and turning your attention to something that brings you pleasure--generally using whatever coping and self care mechanisms you find useful. This may mean you will opt not to come to class on a given day. I trust you all to be in touch with your needs the best you can, and be compassionate to yourselves as we work through the difficulties of these texts and social problems together, as well as the richly generative alternatives to existing social structures they provide. If you find it too difficult to work with one of our course texts, please let me know so I can arrange an alternative assignment for you.

LATE WORK POLICY

If you feel that you may not be able to get an assignment in on time, please contact me immediately, preferably no less than 24 hours before the deadline. If you have a legitimate reason for submitting work late (which for me means that you have a medical emergency or family emergency, I am happy to work with you to arrange a new deadline. All work submitted late without my approval will be subject to a point deduction of 5% for each day that it is late. 

CONTACTING ME

The best way to contact me is via email at derob@uw.edu, or in virtual office hours by appointment (my Zoom info is posted at the top of the syllabus under "Office Hours)." I check my email several times a day, and I will respond to emails within 24 hours of receiving them. If I have not responded to you in that time frame, please email me again—it is likely I missed your email.

ACCESSIBILITY CLAUSE

If you need accommodation of any sort please let me know so that I can work with the UW Disability Resources for Students Office (DRS) to provide what you require. The syllabus is available in large print as are other course materials. More information about accommodation may be found at http://www.washington.edu/students/drs

Outside of documented needs for accommodation, I expect that we can and do all think, communicate, and process information differently. For this reason, I recognize that any class activity or course structure will accommodate each student differently. For example, you might best learn when you are given visual aids like powerpoints, graphs and/or handouts, and you might find class discussion tedious and difficult to focus on. Please begin thinking about your individual learning needs and communicate with me as soon as possible about how best this course can accommodate them.

STATEMENT ON SEX- AND GENDER-BASED VIOLENCE, HARASSMENT, AND DISCRIMINATION

The UW, through numerous policies, prohibits sex- and gender-based violence, harassment, and discrimination and expects students, faculty, and staff to act professionally and respectfully in all work, learning, and research environments.

For support, resources, and reporting options related to sex- and gender-based violence, harassment, or discrimination, refer to the UW Title IX’s website, specifically the Know Your Rights & Resources guide. Should you wish to make the Office of the Office of the Title IX Coordinator aware of a Title IX concern, visit the Make a Title IX Report webpage. 

Please know that if you choose to disclose information to me about sex- or gender-based violence, harassment, or discrimination, I will connect you (or the person who experienced the conduct) with resources and individuals who can best provide support and options. You can also access additional resources directly:

You can request anonymous support, from SafeCampus 

You can request confidential support from a confidential advocate.

If you know you want to submit a formal complaint, contact the Civil Rights Investigation Office.

Please note that some senior leaders and other specified employees have been identified as Officials Required to Report. If an Official Required to Report learns of possible sex- or gender-based violence, harassment, or discrimination they are required to contact the Office of the Title IX Coordinator and report all the details they have in order to ensure that the person who experienced harm is offered support and reporting options.  

Relevant Websites

Title IX: uw.edu/titleix

Survivor resources: uw.edu/titleix/survivor-resources

Confidential advocates: uw.edu/sexualassault/support/advocacy

SafeCampus: uw.edu/safecampus

Officials Required to Report: uw.edu/titleix/employee-reporting-expectations

Policies: uw.edu/titleix/policies

 RELIGIOUS ACCOMMODATIONS

“Washington state law requires that UW develop a policy for accommodation of student absences or significant hardship due to reasons of faith or conscience, or for organized religious activities. The UW’s policy, including more information about how to request an accommodation, is available at the Registrar’s website: https://registrar.washington.edu/staffandfaculty/religious-accommodations-policy

Accommodations must be requested within the first two weeks of this course using the Religious Accommodations Request form found here: https://registrar.washington.edu/students/religious-accommodations-request

ACADEMIC INTEGRITY

The University of Washington Student Conduct Code (WAC 478-121) defines prohibited academic and behavioral conduct and describes how the University holds students accountable as they pursue their academic goals. Allegations of misconduct by students may be referred to the appropriate campus office for investigation and resolution. Use of AI writing and/or editing services such as ChatGPT constitute academic plagiarism in this course. More information can be found online at https://www.washington.edu/studentconduct/.

Here's what you can do to cover yourself against plagiarism or collusion:

At any stage of your writing, keep your drafts, notes, papers, and research materials. If a question of plagiarism arises, you'll have a paper trail ( paper trails protect you in a variety of academic, public, and work-related contexts)

Don't use editing services or writing services (such as ChatGPT). Don't ask anyone, even family or friends, to edit your paper or help you write it. You need to do that work yourself.

If you need additional help with your writing, contact the Odegaard Writing and Research Center, or the CLUE Writing Center, where trained professionals are there to help you without colluding in plagiarism.

Last but not least, ask me if you have any questions about honesty.

CAMPUS RESOURCES

wǝɫǝbʔaltxʷ – Intellectual House

Intellectual House is a longhouse-style facility on the UW Seattle campus. It provides a multi-service learning and gathering space for American Indian and Alaska Native students, faculty, and staff, as well as others from various cultures and communities to come together in a welcoming environment to share knowledge. https://www.washington.edu/diversity/tribal-relations/intellectual-house

D Center

Not to be confused with Disability Services, the D Center is the Disability and d/Deaf Cultural Center at the UW. The D Center is a space where students can study, organize, rest, and attend events and programs focusing on supporting and celebrating disability and D/deaf communities at the UW and beyond! It is located in the Husky Union Building--Room 327. https://depts.washington.edu/dcenter

Q Center

The University of Washington Q Center builds and facilitates queer (gay, lesbian, bisexual, two-spirit, trans, intersex, questioning, same-gender-loving, asexual, aromantic) academic and social community through education, advocacy, and support services to achieve a socially-just campus in which all people are valued. For more information, visit http://depts.washington.edu/qcenter

Odegaard Writing & Research Center

The Odegaard Writing and Research Center (OWRC) offers free, one-to-one, 45-minute tutoring sessions for undergraduate, graduate, and professional writers in all fields at the UW. We will work with writers on any writing or research project, as well as personal projects such as applications or personal statements. Our tutors and librarians collaborate with writers at any stage of the writing and research process, from brainstorming and identifying sources to drafting and making final revisions. For more information or to schedule an appointment, please see our website (http://depts.washington.edu/owrc), or come visit us in person on the first floor of Odegaard Undergraduate Library.

CLUE Writing Center

The CLUE is a drop-in writing and tutoring center open from 7pm-midnight all days except Friday and Saturday throughout the quarter. For more info, check out their website: http://depts.washington.edu/aspuw/clue/writing-center

UW Counseling Center

The Counseling Center offers multiple options for students seeking help coping with stress and mental health concerns. Students who are currently enrolled in degree-seeking programs at the Seattle campus are eligible for our counseling services.

https://www.washington.edu/counseling

The UW Food Pantry

The UW Food Pantry provides food to students, staff, and faculty who are having a hard time putting food on their plate.  It could be the result of a short-term disruption in finances, a food desert in the local community, or a lack of access to other financial assistance. 

If you are making a choice between the food you need for a healthy life and other pressing priorities we call this experience food insecurity. We are here to relieve some of the stress of that experience.

https://www.washington.edu/anyhungryhusky/the-uw-food-pantry

Please note that there are food banks and food pantries located across the city of Seattle and surrounding areas. If you need food and are having trouble finding a food bank or pantry, please email me and I will connect you with a list.

COURSE SCHEDULE

Note: Readings and viewings are listed under the day we will discuss them. You should have completed the readings/viewings before class that day.

WEEK ONE

Monday, March 31

• Introductions

Wednesday, April 2

• Petrocelli, “Horror is Queer”
• Suggested: Leeder, “Mind and Body: The ‘Why’ of Horror”(p. 113-132) from Horror Film
• Suggested: Marra, Intro to Queer Slashers
• Suggested: Duggan, Intro to Sapphic Slashers
• Get to Know You/Accessibility Survey due to Canvas by 11:59 pm

WEEK TWO

Monday, April 7

• Felker-Martin, Cuckoo (beginning through Chapter 5)

Wednesday,  April 9

• Felker-Martin, Cuckoo (Chapters 6 through 11)

WEEK THREE

Monday, April 14

• Felker-Martin, Cuckoo (Chapters 12 through 17)

Wednesday, April 16

• Felker-Martin, Cuckoo (Chapter 18 through end)
• Peer review of Effective Quote Integration assignment due to Canvas by 11:59 pm

WEEK FOUR

Monday, April 21

• Stryker, “My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage." CW: transmisogyny, nonconsensual gendering at birth, gender dysphoria, body horror
• Metherell, “‘Unspeakable Acts’: Coming Out as Werewolf” from New Queer Horror. CW: coming out

Wednesday, April 23

• I Saw the TV Glow (2024). CW: gender dysphoria, self-harm, buried alive, repression, body horror

Saturday, April 26

• 1st Draft of Essay One due to Canvas by 11:59 pm 

WEEK FIVE

Monday, April 28

• Corbyn, “Tonsilstonespunksplatter666!” from Your Body is Not Your Body. CW: violent transmisogyny, partner emotional abuse, ableism, rape, gore, body horror
• Piper, “Why We Keep Exploding” from Your Body is Not Your Body. CW: bullying and abuse, transmisogyny, misogyny, body horror
• Suggested: Content Warnings for Your Body is Not Your Body 

Wednesday, April 30

• Class Canceled
• Peer review of 1st Draft of Essay One due to Canvas by 11:59 pm

WEEK SIX

Monday, May 5

• Solomon, Model Home (Chapters 1 through 14). CW: dysfunctional family, parent death, haunted house, homophobic slurs, white supremacy, pedophilia (brief mention), casual sex, suicide
• Suggested: Rallin, "Queer Hauntings, Queer Renewings"

Wednesday, May 7

• Solomon, Model Home (Chapters 15 through 27). CW: pedophilia, haunting, dead animals

Saturday, May 10

• Final draft of Essay One due to Canvas by 11:59 pm

WEEK SEVEN

Monday. May 12

• Solomon, Model Home (Chapter 28 through end)

Wednesday, May 14

• Jennifer’s Body (Unrated Version)
• Suggested: Machado, "Both Ways" from It Came from the Closet

WEEK EIGHT

Monday, May 19

• Machado, Her Body and Other Parties
  
  

Wednesday, May 21

• Machado, Her Body and Other Parties

Saturday, May 24

• 1st Draft of Essay 2 due to Canvas by 11:59 pm

WEEK NINE

Monday, May 26

CLASS CANCELED FOR HOLIDAY

Wednesday, May 28

• Chant, “High Maintenance” from Your Body is Not Your Body. CW: domestic abuse, body horror, mutilation

• Lyons, “Navajos Don’t Wear Elk Teeth” from Never Whistle at Night
• Peer review of 1st draft of Essay Two due to Canvas by 11:59 pm

WEEK TEN

Monday, June 2

• Cooper, Closer (beginning through “CLIFF: The Outsiders”)

Wednesday, June 4

• Cooper, Closer (“ALEX: The Replacements” through end)
• Final Reflections on the class

FINALS WEEK

Monday, June 9

• Final Draft of Essay 2 Due to Canvas by 11:59 pm

Congrats! You made it! Thanks for your hard work and participation this quarter :)