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December 4, 2008

What to consider when writing your revision narrative

Here are a few questions if you need some guidance on your one-page revision narratives:

1. Why did you choose this essay to revise?

2. What did you learn in workshopping this piece that you have been able to apply in your revision process?

3. What particular problems or issues did you try to address, and how did you go about it?

4. Were there any surprises? That is, was revising this piece harder, or easier, than you'd expected?

You don't have to use these questions, but they should give you an idea of the kind of thing I'm looking for. Basically, I would like to see a personal reflection on your process.

November 20, 2008

Critical paper guidelines

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Reminder: You may use internet sources if you cite them, but you may not use Wikipedia as your main source.

This paper is due in class on Monday, Dec. 8.
Length: 3-5 typed, double-spaced pages with 1� margins, using 12 pt. Times New Roman.
Use MLA format . (Please consult the MLA Handbook. If you don’t already have one, the guidelines are probably available online.) Cite all your sources.
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This is a more traditional college research/critical analysis paper. For this paper, please select an author and essay from one of our texts (Lopate or Cohen; if you want to use an author from our Moodle readings or a handout, please clear it with me first).
You may choose an author that we covered this semester, or one that we didn’t; however, the essay you select for the analysis must be one that we did not discuss. Again, if you want to write on an essay that does not appear in our texts, you must clear it with me first.
Here is what I’m looking for:
• Biographical information on the essayist. I am especially interested in any information you can find about the author’s writing process. This should comprise no more than half of the total paper length.

• A brief summary of the essay you are going to explore. Do not “pad� your paper with an extensive book report. This summary should take up no more than half a page, and is intended to show me how you have interpreted what you read.

• An analysis of the essay using the terms and concepts we’ve used in our class discussions (structure, language, symbolism and metaphor, insight, image, etc.). You may also talk about the historical context in which the essay was written, if applicable.

• Full MLA citations of any sources consulted.

Please come to your conference prepared to tell me which author and essay you are planning to write about.

October 20, 2008

Upcoming readings for extra credit

Tuesday October 21
Native American Oral Tradition: The Stories and Storytellers with N. Scott Momaday
12:15 pm, Ted Mann Concert Hall
Referred to as "the dean of American Indian writers" by The New York Times, Scott Momaday holds an important place in the American literary arts. Momaday was the first Native American to be awarded the Pulitzer Prize for his novel, /House Made of Dawn./ His has won the 2004 UNESCO Artist for Peace, in recognition of his outstanding achievements as a writer and painter and his efforts to safeguard Native American heritage, and in 2007, the National Medal of Arts, presented at the White House. He is also the poet laureate of the state of Oklahoma. But it is through the spoken word that his dedication to his people's heritage is most profoundly felt. Born a Kiowa in the Oklahoma Dustbowl, Momaday was raised on reservations in the Southwest, steeped in the oral tradition.

Tuesday October 28
Andrea Elliott in Conversation
7:30 pm, Coffman Theater
Elliott writes for the New York Times, where beginning in March, 2006, she published a Pulitzer Prize-winning three part series "An Imam in America," on the inner life of a mosque in Brooklyn, and the "dynamic, creative, conflicted and fearful imam at its center": Sheik Reda Shata. This exploration of the lives of immigrant Muslims after 9/11 is part of a wider body of work which includes a series on Muslims in the U.S. military. The Edelstein-Keller Endowment co-presents with Hubert H. Humphrey Institute of Public Affairs: a "Good Societies" Dialogue with Lawrence R. Jacobs, Walter F. and Joan Mondale Chair in Political Studies.

Wednesday October 29
Junot Diaz: "We Are the New America: A Reading"
7:30 pm, Coffman Theater
Diaz published his debut novel /The Brief Wondrous Life of Oscar Wao/ eleven years after his acclaimed short story collection /Drown/--and ended up winning the Pulitzer Prize and the National Book Critics Circle Award for Best Novel of 2007. New York Times critic Michiko Kakutani characterized Diaz's writing in the novel as: "a sort of streetwise brand of Spanglish that even the most monolingual reader can easily inhale." Professor Evelyn Ch'ien will interview Diaz as part of the program. Reception and book-signing to follow. Esther Freier Endowed Lecture Series in Literature.


Thursday October 30
Andrei Codrescu
7 pm, Minneapolis Central Library
Romanian-born poet, novelist, screenwriter, and commentator on National Public Radio. His newest collection of poetry, JEALOUS WITNESS, is published by Coffee House Press. Pohlad Hall, 300 Nicollet Mall, Minneapolis. Free. 612-630-6174


Monday November 3
Thomas Lynch Reading
7:30 pm, Cowles Auditorium
Thomas Lynch is an essayist, poet, and funeral director of Lynch & Sons funeral home in Milford, Michigan. His most recent book is /Booking Passage: We Irish and Americans/. He is most well-known for essay collections about his funeral home experiences: /The Undertaking: Life Studies from the Dismal Trade/ and /Bodies in Motion and at Rest: On Metaphor and Mortality/—both of which Alan Ball has cited as inspiration for the TV series /Six Feet Under/. An Edelstein-Keller Visiting Writer.

September 5, 2008

Probable in-class exercise 9/8

As you read the three versions of "Why I Write" this weekend, think about something you do, something that is as meaningful to you as these writers' work is to them. It may be writing, it may be sports, it may be daydreaming. What matters is that it is something important to you in some way.

Be thinking of ways to articulate in writing why it is that you do whatever it is that you do. You may model the style on one of the pieces we read this weekend, but you don't have to. (Sometimes it helps, if you're stuck, to take a piece you admire and just plug in your own words.)