New Recommendations for EN/Brit Lit I

As my title suggests, the biggest change for the EN Lit I survey this year at UA English is the shift from “requirements” to “recommendations.” Here are the new recommendations I promised to talk about in my last post:

British Literature Survey (EN 205, 206) Recommended Guidelines

The first thing I’d like to close read here is the document title. According to the UA Undergraduate Catalog, the name of the courses in question are English Literature I and II. It’s rather difficult to change the official name of a general education course in an undergraduate catalog (paperwork reasons, I’m sure), but there are really compelling reasons to title these courses Brit Lit rather than English Lit. First and least important, Brit Lit rolls off the tongue more delightfully. Second, based upon its title a course in “English” Lit should either be divided up by language (world Anglophone literature, including translations into English) or should be narrowly focused upon the “English,” a cultural term that erases the long imperial history of Britain. “British” Lit owns that history from the start and is more honest about the contents of the course.

These guidelines recognize the survey as “British” rather than “English” from the start, and they also name themselves recommendations rather than requirements. The two clearest changes from the old recommendations are the lack of required authors and of required minimum coverage for said authors. I cannot overstate how much freedom this gives instructors! It’s probably the cornerstone of independent course design, one of the great creative freedoms of our profession.

“EN 205 is a chronological, historical survey that consists of three primary components: 1) It covers the British literary tradition from its beginnings in the Middle Ages through the end of the eighteenth century; 2) It introduces students to a range of texts in different sub-genres of poetry, drama, and prose prevalent in this literary tradition; 3) It offers a balance of major canonical and significant, less canonical works within the different time periods. Students should learn to read contextually and should be exposed to the significant historical, political, economic, intellectual, and social events and movements that characterized this period. Students should be exposed to the diversity of the English literary tradition in terms of genre, gender, and subject matter.”

The emphasis on “chronological” and “historical” might be a bit stifling, but my own experience with the course tells me these are necessary elements of the survey. So much of Brit Lit I can be deeply weird to our students, and a historical backdrop can be the raft that keeps them afloat. Without some chronology, the pieces don’t cohere into a larger whole. Without history, Brit Lit can masquerade as English Lit, or, worse yet, Literature writ large. One should, however, strive to keep all historical frames from becoming hegemonic ones — a constant struggle in any survey course.

The first two components of Brit Lit read rather like descriptions of the standard anthology! I dare say that until we reach the promised paradise of an open access future, anthologies like the Norton will remain the necessary backbone of survey courses. (More on the Norton anon). The third component is more interesting: “3) It offers a balance of major canonical and significant, less canonical works within the different time periods.” What exactly does balance mean or look like in a diversified syllabus? 50% “major” canon and 50% lesser canon? I’m inclined to somewhat agree with the math but not with the framing. Assuming a class of non-English-majors (my target audience at UA), I can’t presume that my students will already know Chaucer, Shakespeare, Milton, and others. These writers are the elephants in the room that everyone is talking about, and much of the value from “less canonical works” can come from the way those works resist those dominating conversations. Rather than a language of “major” and “lesser,” I want to reach for a language that better articulates the power struggles at hand. Perhaps “hegemonic” and “resistant”? “Majority” and “minority” voices, with a heavy dose of the value of minority and dissenting voices? (I’m currently reading Tobin Siebers’ Disability Theory, so this articulation is on my mind.)  Much more thought is required of me.

The next to last sentence in the above quotation I take to be evocative rather than prescriptive. The last sentence, however, is quite the powder keg: “Students should be exposed to the diversity of the English literary tradition in terms of genre, gender, and subject matter.” The term “diversity” brings with it connotations of human identity: diversity along the lines of race, gender, sex, class, ability, religion, and so forth. “Gender” invokes that frame while “genre” does not. “Subject matter” could go either way. It could be a soft way of suggesting that instructors incorporate diverse identities into their syllabi, and a soft suggestion might be prudent on a university campus with an active Turning Point USA chapter and that continues its struggle with desegregation; there are real fears among instructors at UA that flagging a course as progressive risks alienating conservative students and thus foreclosing any chance of reaching those students. (I have less and less patience with these fears, in myself and in others.) However, “diversity” of “subject matter” sounds dangerously close to “diversity of opinion,” an innocuous sounding concept that has become in recent years a far-right dog whistle for the protection of anti-diverse hate speech (RationalWiki.Org entry on “Social Justice War,” “Real Diversity” section; I need stronger citations on this trend, but my research is coming up short this morning. Please advise!)

In any case, these recommendations do not explicitly encourage diversity in terms of race, sex, class, ability, or religion. One might blame the Norton Anthology for this lacuna: in practice, the Norton has long been the benchmark anthology at UA, a standard reinforced by the new and used textbook markets. As is clear from Greenblatt’s introduction to the 10th edition, the Norton has done a lot of work in recent years to include more women in its selections. It has not done as good of a job in other areas of diversity. But between the Norton and departmental course recommendations, which is the cart and which the horse? In any case, I have zero power to change what does or does not get included in the Norton. Thanks to the difference between “requirements” and “recommendations,” however, I have a lot of power over what gets included in my courses, and I aim to use it.

It seems I have more to say on this subject than I realized, so I’m going to post more frequently, lest I run out of summer before I’ve finalized my syllabus. Tomorrow I’m going to lay out my own ground rules for syllabus construction, and on Wednesday I’ll begin assembling texts period by period. Thanks again for reading!


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