Thursday, December 11, 2014

Shame in One Flew Over the Cuckoo's Nest

Begin listening to this TED Talk at 11:45.

  More by Brene Brown: The Power of Vulnerability

Shame serves as a major theme in One Flew Over the Cuckoo's Nest.

Shame rears its head in many ways; note the various usages in Kesey's novel:

            “But not, you know, crazy like the movies paint crazy people. You’re just hung up and—kind
            “Kind of rabbit-like, isn’t that it?”
            “Rabbits, hell! Not a thing like rabbits, goddammit.”
            “Mr. Bibbit, hop around for Mr. McMurphy here. Mr. Cheswick, show him how furry, you are.”
             Billy Bibbit and Cheswick change into hunched-over white rabbits, right before my eyes, but they are too ashamed to do any of the things Harding told them to do.
             “Ah, they’re bashful, McMurphy. Isn’t that sweet? Or, perhaps, the fellows are ill at ease because they didn’t stick up for their friend. Perhaps they are feeling guilty for the way they once again let her victimize them into being her interrogators. Cheer up, friends, you’ve no reason to feel ashamed. It is all as it should be. It’s not the rabbit’s place to stick up for his fellow. That would have been foolish. No, you were wise, cowardly but wise.”

            Harding turns a page of his magazine. “And that will make nearly a week our friend McMurphy has been with us without succeeding in throwing over the government, is that what you’re saying, Cheswickle? Lord, to think of the chasm of apathy in which we have fallen—a shame, a pitiful shame.”
           “The hell with that,” McMurphy says. “What Cheswick means is that the first Series game is
gonna be played on TV tomorrow, and what are we gonna be doin’? Mopping up this damned
nursery again.”

            As he stares down at the floor, Fredrickson’s blond eyebrows are raised like he’s seeing for the first time just how he looks at least once a month. The nurse smiles and pats his arm and heads for
the door, glares at the Acutes to shame them for gathering around watching such a thing; when she’s gone, Fredrickson shivers and tries to smile. “I don’t know what I got mad at the old girl about—I mean, she didn’t do anything to give me a reason to blow up like that, did she?”
            It isn’t like he wants an answer; it’s more sort of realizing that he can’t put his finger on a reason. He shivers again and starts to slip back away from the group. McMurphy comes up and asks him in a low voice what is it they take?
            “Dilantin, McMurphy, an anti-convulsant, if you must know.”
            “Don’t it work or something?”
            “Yeah, I guess it works all right—if you take it.”
            “Then what’s the sweat about taking it or not?”

What he said makes me madder the more I think about it. He and John go ahead talking about our house and village and property and what they are worth, and I get the notion they’re talking about these things around me because they don’t know I speak English. They are probably from the East someplace, where people don’t know anything about Indians but what they see in the movies. I think how ashamed they’re going to be when they find out I know what they are saying. I let them say another thing or two about the heat and the house; then I stand up and tell the fat man, in my very best schoolbook language, that our sod house is likely to be cooler than any one of the houses in town, lots cooler! “I know for a fact that it’s cooler’n that school I go to and even cooler’n that movie house in The Dalles that advertises on that sign drawn with icicle letters that it’s ‘cool inside’!”

McMurphy explained how the other girl was supposed to get all those papers up in Portland. One of the guys leaning against the bait shop called, “What other girl? Couldn’t Blondie there handle the lot of you?” McMurphy didn’t pay the guy any mind and went on arguing with the captain, but you could see how it bothered the girl. Those men against the shop kept leering at her and leaning close together to whisper things. All our crew, even the doctor, saw this and got to feeling ashamed that we didn’t do something. We weren’t the cocky bunch that was back at the service station. McMurphy stopped arguing when he saw he wasn’t getting any place with the captain, and turned around a couple of times, running his hand through his hair.
               “Which boat have we got rented?”
               “That’s it there. The Lark. Not a man sets foot on her till I have a signed waiver clearing me. Not a man.”
                “I don’t intend to rent a boat so we can sit all day and watch it bob up and down at the dock,” McMurphy said. “Don’t you have a phone up there in your bait shack? Let’s go get this cleared up.”

           “Hey, Blondie, did you get ‘am to sign a waiver clearing you with proper authorities? Relatives could sue, they tell me, if one of the boys fell in and drown while he was on board. Did you ever think of that? Maybe you’d better stay here with us, Blondie.”
           “Yeah, Blondie; my relatives wouldn’t sue. I promise. Stay here with us fellows, Blondie.”
I imagined I could feel my feet getting wet as the dock sank with shame into the bay. We weren’t fit to be out here with people. I wished McMurphy would come back out and cuss these guys good and then drive us back where we belonged. The man with the kidney lips folded his knife and stood up and brushed the whittle shavings outof his lap. He started walking toward the steps.
           “C’mon now, Blondie, what you want to mess with these bozos for?”

             “I can’t speak for them,” Harding said. “They’ve still got their problems, just like all of us. They’re still sick men in lots of ways. But at least there’s that: they are sick men now. No more rabbits, Mack. Maybe they can be well men someday. I can’t say.”
             McMurphy thought this over, looking at the backs of his hands. He looked back up to Harding.
             “Harding, what is it? What happens?”
            “You mean all this?”
             McMurphy nodded.
             Harding shook his head. “I don’t think I can give you an answer. Oh, I could give you Freudian reasons with fancy talk, and that would be right as far as it went. But what you want are the reasons for the reasons, and I’m not able to give you those. Not for the others, anyway. For myself? Guilt. Shame. Fear. Self-belittlement. I discovered at an early age that I was—shall we be kind and say different? It’s a better, more general word than the other one. I indulged in certain practices that our society regards as shameful. And I got sick. It wasn’t the practices, I don’t think, it was the feeling that the great, deadly, pointing forefinger of society was pointing at me—and the great voice of millions chanting, ‘Shame. Shame. Shame.’ It’s society’s way of dealing with someone different.”
             “I’m different,” McMurphy said. “Why didn’t something like that happen to me? I’ve had people bugging me about one thing or another as far back as I can remember but that’s not what—but it didn’t drive me crazy.”
             “No, you’re right. That’s not what drove you crazy. I wasn’t giving my reason as the sole reason.
Though I used to think at [258] one time, a few years ago, my turtleneck years, that society’s
chastising was the sole force that drove one along the road to crazy, but you’ve caused me to reappraise my theory. There’s something else that drives people, strong people like you, my friend,
down that road.”

          “Oh, yeah, just like that. Just ask ‘em to unlock the door and let me out.”
          “No. He showed you how one time, if you think back. That very first week. You remember?”
           I didn’t answer him, and be didn’t say anything else, and it was quiet in the dorm again. I lay there a few minutes longer and then got up and started putting on my clothes. When I finished dressing I reached into McMurphy’s nightstand and got his cap and tried it on. It was too small, and I was suddenly ashamed of trying to wear it. I dropped it on Scanlon’s bed as I walked out of the dorm.
            He said, “Take it easy, buddy,” as I walked out.
            The moon straining through the screen of the tub-room windows showed the hunched, heavy shape of the control panel, glinted off the chrome fixtures and glass gauges so cold I could almost hear the click of it striking. I took a deep breath and bent over and took the levers. I heaved my legs under me and felt the grind of weight at my feet. I heaved again and heard the wires and connections tearing out of the floor. I lurched it up to my knees and was able, to get an arm around it and my other hand under it. The chrome was cold against my neck and the side of my head. I put my back toward the screen, then spun and let the momentum carry the panel through the Screen and window with a ripping crash. The glass splashed out in the moon, like a bright cold water baptizing the sleeping [272] earth. Panting, I thought for a second about going back and getting Scanlon and some of the others, but then I heard the running squeak of the black boys’ shoes in the hall and I put my hand on the sill and vaulted after the panel, into the moonlight.

Saturday, October 11, 2014

What is Poetry Out Loud?

Tentative date for EA competition:
Wednesday, November 12th or Thursday, November 13th for the final school competition.
*A second poem must be memorized for the EA competition.

States hold their competitions by mid-March.
Following the state finals, the National Finals will be held in Washington, DC, April 27-29, 2015.

Lesson Plans: "The Tone Map" "Poems Put to Use"

Listen to Poems

Find Poems & Poets
ONLY poems listed here or in the current printed anthology are eligible for the 2014-2015 Poetry Out Loud competition.

What will you remember from high school?

Garrison Keillor answers this question - cue to 5:07

Read this post on Shakespeare's Sonnet XVIII: "Shall I Compare Thee to Summer's Day?"

Thursday, September 18, 2014

Parent Night

Click: Mr. O'Brien's Journey to EA

Click for Courses on Canvas: 

These can be found on EA's website too.

Teaching citation and learning about the perils of plagiarism.

Recommended reading/viewing:

1. Daniel Pink, Drive 
The Surprising Truth About What Motivates Us

Click here for full TED Talk by Daniel Pink

Plus Daniel Pink shares, perhaps, the best advice I've heard in a commencement speech at his alma mater Northwestern University.

2. Carol Dweck, Mindset: The New Psychology of Success

From Brainpickings post:

Fixed vs. Growth: 

The Two Basic Mindsets That Shape Our Lives

3. Susan Cain, Quiet: The Power of Introverts in a World that Can't Stop Talking

Click here for full TED Talk by Susan Cain

Bonus: Curated content that I share with my Advisory group.

Lastly, a poem that will make you smile.

The Lanyard
by Billy Collins
The other day I was ricocheting slowly
off the blue walls of this room,
moving as if underwater from typewriter to piano,
from bookshelf to an envelope lying on the floor,
when I found myself in the L section of the dictionary
where my eyes fell upon the word lanyard.
No cookie nibbled by a French novelist
could send one into the past more suddenly—
a past where I sat at a workbench at a camp
by a deep Adirondack lake
learning how to braid long thin plastic strips
into a lanyard, a gift for my mother.
I had never seen anyone use a lanyard
or wear one, if that's what you did with them,
but that did not keep me from crossing
strand over strand again and again
until I had made a boxy
red and white lanyard for my mother.
She gave me life and milk from her breasts,
and I gave her a lanyard.
She nursed me in many a sick room,
lifted spoons of medicine to my lips,
laid cold face-cloths on my forehead,
and then led me out into the airy light
and taught me to walk and swim,
and I , in turn, presented her with a lanyard.
Here are thousands of meals, she said,
and here is clothing and a good education.
And here is your lanyard, I replied,
which I made with a little help from a counselor.
Here is a breathing body and a beating heart,
strong legs, bones and teeth,
and two clear eyes to read the world, she whispered,
and here, I said, is the lanyard I made at camp.
And here, I wish to say to her now,
is a smaller gift—not the worn truth
that you can never repay your mother,
but the rueful admission that when she took
the two-tone lanyard from my hand,
I was as sure as a boy could be
that this useless, worthless thing I wove
out of boredom would be enough to make us even.

Thursday, August 28, 2014

So What Did You Do This Summer?

Besides priceless family time and travel, I made the most of my summer with the following:

  1. VAST at PMA: Visual Arts as Sources for Teaching, July 7-11
2. AP Conference
3. Center for Growth and Innovation: The Writer's Studio July 14-18
              Why Poetry Matters - Blog

4. Global Online Academy Professional Development Courses 
      • Final Assignment:
        • CMC (template)
        • Harlem Renaissance Project
        • Canvas

Drive, Daniel Pink

Consider a blog for your class - and your writing... 
Twitter - Just Listen

Thursday, August 14, 2014

To set the stage for the year: First Week

Ø  Introductions: Who are you? What’s your story?
          At the end of the year, you will write a college essay.
          In the meantime, you will write to find your "voice"

Ø  An example in self-guided learning: “Who was Pocahontas?
          You will create your own mini-lessons on individuals in American Literature.

Set up digital platforms:

Ø  Canvas – Learning Management System (LMS) AmLit 
Ø  Google Suite including G+, Gmail, Docs, Blogger, Moderator, Hangout
Ø Flipboard - will allow you to create and edit magazines of your writing 
Ø  New Twitter Handle (professional or pseudonym),
Ø  MOOC: Enroll in ModPo @Coursera (optional participation)
Flipgrid - will allow you share comments by recording videos.

Class Discussions:

Online Conversation: “Is Education the Civil Rights Issue of Our Time?”
“The Problem We All Live With” by Norman Rockwell (painting)

American Literature: A Collaborative Journey into the 21st Century

The following is a working syllabus for a new course that I am teaching this year. 
I am still tinkering with how to use Canvas, but I am excited about the possibilities.
Here's the course vision for now....

 American Literature
A Collaborative Journey into the 21st Century
Form V: 2014-2015
Mr. O’Brien


Having taught this course for ten years, I’ve always struggled with what content to include (and wrestled with whom to cut). American Literature courses typically cover a chronological sampling – the tip of the iceberg - without any appreciation to the depth and scope of American writers that exist below the syllabus surface.

It is the diversity of American voices that makes this literature great (and there’s danger to a single story). So why limit our experience to a dozen writers over the next nine months?

I invite you to an engaging approach to American Literature where you will take ownership of your learning through research and presentations that you share with your classmates via conversations and blog posts. Rather than a map, you will be given a compass; like cartographers you will explore the American landscape of past and present; then, record and present your findings. Together, we will create this course. 

Since technology and the Internet offer new possibilities, we can rethink the traditional classroom experience and transform your learning, by mirroring courses that you will take in college and beyond. Your future requires 21st century skills. Perhaps, the greatest pitfall to your education (and career) may be plagiarism; you will learn how to site sources in a digital world. Collectively, our success in this course will be dependent on each student’s contribution.

With greater student autonomy, I hope to foster intellectual curiosity and deeper connections as students curate content in a collaborative learning environment. I want us to change the game that we call education – as we learn how to learn in the 21st century.

I look forward to our journey together!

You will research and present from FIVE general periods:
1)    New World - Early America
2)    Pre-Civil War
3)    Civil War and the Aftermath
4)    The Jazz Age and Harlem Renaissance
5)    20th Century American Poets & (Short Story) Writers (two presentations)

You will also participate in a number of “Conversations” that will require you to research and read an array of material curated in Bedford St. Martin’s Conversations in American Literature (Aufses, Shea, Scanlon, Aufses).

Methodology, Mindset, Motivation:
Ø  Student Autonomy
Ø  Intellectual Curiosity
Ø  Agility of Mind
Ø  Mastery of Curated Content
Ø  Purpose: Collaborative Learning
Ø  Deeper Connections (Breadth and Depth)

Topics: American archetypes, myths, stereotypes, challenges
Themes: Rebellion, Rights, Religion, Race, Roles
Big questions: What is American Literature? What challenges does America face?

Old School meets 21st Century: Paper and Pixels
Balance between common experience of major works with research projects where you will work independently as well as collaboratively.
You will write daily in this course, by hand as well as digitally.
You will keep a traditional Journal, emphasizing penmanship and visual note-taking.
For the most part, your journal is for your eyes only, so you may think in writing, but for some assignments, you will be asked to share (you’ll be given notice).

"Sometimes you have to write to figure it out."
These 9 words from Northwestern University Professor Charlie Yarnoff to
Daniel Pink in "Writing the Essay" changed his life.

Meanwhile, on your blog, you will post your presentations, essays, images, and other content. Through sharing your writing with classmates (and potentially the world), you will write for a greater audience than my eyes. By leveraging positive peer pressure, I believe that you will publish writing that gives you a true sense of purpose: to persuade (and impress) your classmates. With this motivation, your writing will improve as you find your voice, receive feedback, and work towards mastery.

In addition to frequent writing assignments, there will be regular reading and vocabulary quizzes plus journal checks.
You will create your own tests for each unit and presentation period.
You will post quotes and questions to Canvas/Google Moderator.
You will meet in Google Hangouts (Air – recorded) for presentations.

Your willingness to give and receive feedback is vital to learning in this course.
Be mindful. Be respectful.

To set the stage for the year:
Ø  Introductions: Who are you? What’s your story?
Ø  An example in self-guided learning: “Who was Pocahontas?”
Ø  Read aloud “The First Day” by Edward Jones

Set up digital platforms:
Ø  Canvas – Learning Management System (LMS)
Ø  Google Suite including Gmail, Moderator,
Ø  Google+, and you own Google Blog.
Ø  New Twitter Handle (professional or pseudonym)
Ø  MOOC: Enroll in ModPo @Coursera (optional participation)

Class Discussions:
Daniel Pink’s Drive
“Let Teenagers Try Adulthood” by Leon Botstein

Online Conversation: “Education: The Civil Rights Issue of Our Time?”
“The Problem We All Live With” by Norman Rockwell (painting)

I. The New World: Early America
1st Presentation (September): Who was…? What was…? What were…?
         You will become the resident expert: Master your content.
Typical routine: Day 1 - Preview on blogs,
Next day - Group presentations and feedback,
3rd day - Discussions and study guides, Day 4 - Test
Random lottery pick – research one of the following:
Present on your blog – you may trade once. (no duplicates in the other section)

1.     Native American Stories
2.     Iroquois Confederacy
3.     Alvar Nunez Cabeza de Vaca
4.     Pilgrims Progress
5.     Witchcraft in Salem, MA
6.     Richard Frethorne
7.     Anne Bradstreet
8.     Edward Taylor
9.     Mary Rowlandson
10.   Cotton Mather
11.   John Hale
12.   John Winthrop
13.   Jonathan Edwards
14.   Christopher Columbus
15.   Patrick Henry
16.   Thomas Paine
17.   Thomas Jefferson
18.   George Washington
19.   Hector St. John de Crevecoeur
20.   The Federalist Papers
21.   Francis Scott Key
22.   William Cullen Bryant
23.   Henry Wadsworth Longfellow
24.    James Fenimore Coope

Lecture: Benjamin Franklin: Autobiography and Poor Richard’s Almanac
How do we create a personal narrative (and self-improvement plans)?
Dale Carnegie’s How to Win Friends and Influence People

Lecture: The American short story: How has it changed and why?
Class Discussions:
Washington Irving’s “The Legend of Sleepy Hollow” and “Rip Van Winkle”
 (On going question into the spring)
Edgar Allen Poe’s “Single Effect”
Pick a Poe Short Story – In Class Write
Herman Melville, “Bartleby, The Scrivener”
Hillis Miller, “A Deconstructive Reading Melville’s ‘Bartleby, The Scrivener’”

Lecture: Ekphrastic Poetry: George Washington and Frank O’Hara
What is role of art as text in American Literature?
What is role of poetry in American Culture?
Inspired Larry Rivers

II. Pre-Civil War: 2nd Presentation (October):
Transcendentalists, Abolitionists, Native Americans, & Slave Narratives
Pick One:
(no duplicates in the other section)

1.     Margaret Fuller
2.     John Greenleaf Whittier
3.     Sojourner Truth
4.     Frederic Douglas “What, to the Slave, Is the Fourth of July?” 
6.      Harriet Jacobs
7.     John Hall, “The Indian Hater”
8.     Catherine Maria Sedgwick, “Cacoethes Scribendi”
9.     Augustus Baldwin Longstreet, “The Dance”
10.   Lydia Maria Child, “Slavery’s Pleasant Homes”
11.   Elizabeth Stuart Phelps, “The Angel over the Right Shoulder”
12.   Harriet Prescott Spofford, “Circumstance”
13.   Chief Seattle
14.   Red Cloud
15.   Alexis de Tocqueville
16.    Elizabeth Peabody
17.    Louisa May Alcott
18.    John Muir
19.   Thomas Bangs Thorpe, “The Big Bear of Arkansas”
20.   Your choice – teacher’s approval required

Nathaniel Hawthorne: 
Short story “Young Goodman Brown”
            “The Prison Door” and “The Market Place” from The Scarlet Letter (First two chapters)

Conversation: Religious Tolerance in America

Lecture: Emerson and Thoreau
 Class Discussions:
            What is the legacy of the Transcendentalists?
Ralph Waldo Emerson’s “Self-Reliance”
Read/Research: “American Scholar” “Nature” “The Poet”

Conversation: Henry David Thoreau’s Legacy

Lecture: Race in America from Phillis Wheatley to Ferguson, MO
How does race define America? What defines you?

Conversation: Phillis Wheatley’s Legacy
Conversation: John Brown

III. Civil War and Aftermath:
Major Work: Mark Twain’s Adventures of Huckleberry Finn
Context on Huck and Biography on Mark Twian (Video)

Class Discussions:
Whitman and Dickinson (visit Coursera’s ModPo)
Select a favorite poem of each – post to your blog.
Whitman - read sections 1, 2, 3, 5, 6, 8, 10, 14, 47 & 52 of "Song of Myself"
Dickinson - “I dwell in Possibility” “Tell all the Truth but tell it slant”
and “The Brain within its Groove”
We will share these daily while reading Huck

Thomas Nast’s “Worse than Slavery” (Political cartoon)

Conversation: Abraham Lincoln

3rd Presentation (November): Civil War and Aftermath
Pick one:
(no duplicates in the other section)

1.     Kate Chopin “The Story of An Hour”
2.     Bret Harte, “The Luck of Roaring Camp”
3.     Sarah Orne Jewett “White Heron”
4.     Mary Wilkins Freeman, “The Revolt of ‘Mother’”
5.     Stephen Crane “The Open Boat” or “The Bride Comes to Yellow Sky”
6.     Andrew Carnegie from Gospel of Wealth
7.     Jacob Riis “The Mixed Crowd”
8.     Jane Addams from The Subtle Problem of Charity
9.     Upton Sinclair from The Jungle
10.   Katharine Lee Bates
11.   Ambrose Bierce “An Occurrence at Owl Creek Bridge”
12.   Ida B. Wells-Barnett from Southern Horrors: Lynch Law in All Its Phases
13.   Booker T. Washington
14.   Paul Laurence Dunbar
15.   W.E.B. DuBois
16.   James Weldon Johnson
17.   Charles S. Johnson
18.   Alain Locke
19.   E.A. Robinson
20.   Theodore Roosevelt “The Strenuous Life”
21.   Zitkala-Sa from The School Days of an Indian Girl or “The Trial Path”
22.   Charles W. Chestnut, “The Wife of His Youth”
23.   George Washington Cable, “Belles Demoiselles Plantation”
24.   Constance Fenimore Woolson, “Rodman the Keeper”
25.   Charlotte Perkins Gilman, “The Yellow Wallpaper”
26.   Alison Dunbar-Nelson, “Tony’s Wife”

IV. The Jazz Age (Roaring Twenties) & Harlem Renaissance
(December – February)
Guest Lecture by Jazz teacher Ryan Dankanich
Class Discussions:
What was the Harlem Renaissance? Why Harlem? Why 1919-1939?
What is the legacy of the Harlem Renaissance?
What role did Jazz/Art/Literature play in the Harlem Renaissance?
Recommended listening
Claude McKay,“If We Must Die” (1919)
Langston Hughes, “Jazzonia” (1923) “Harlem” (1951)
                        William H. Johnson, Jitterbugs
Stuart Davis, Swing Landscape
Writing :
Ralph Ellison, excerpt from Invisible Man
Robert O’Malley, excerpt Seeing Jazz
Gerald Early, excerpt Jazz and the African American Literary Tradition

4th Harlem Renaissance Presentations (February):
Biography List From Wikipedia:
Recommend selecting a name in BOLD
(Italics = will be covered in class or other unit)

·       Josephine Baker
·       The Nicholas Brothers

Leading intellectuals
·       Cyril Briggs
·       Marion Vera Cuthbert
·       W. E. B. Du Bois
·       Marcus Garvey
·       L.S. Alexander Gumby, Archivist and salon host
·       Hubert Harrison
·       Leslie Pinckney Hill
·       Langston Hughes
·       James Weldon Johnson
·       Charles Spurgeon Johnson
·       Alain Locke
·       Mary White Ovington
·       Chandler Owen
·       A. Philip Randolph
·       Joel Augustus Rogers
·       Arthur Schomburg
·       Carl Van Vechten
·       Walter Francis White

·       James Baldwin
·       Countee Cullen
·       Langston Hughes
·       Zora Neale Hurston
·       Nella Larsen

·       Gwendolyn Bennett
·       Arna Bontemps
·       Sterling A. Brown
·       Mae V. Cowdery
·       Countee Cullen –The Black Christ and Other Poems(1929)
·       Clarissa Scott Delany
·       Alice Dunbar-Nelson
·       Jessie Redmon Fauset
·       Angelina Weld Grimke
·       Robert Hayden
·       Langston Hughes
·       Georgia Douglas Johnson
·       Helene Johnson
·       James Weldon Johnson – God's Trombones
·       Claude McKay
·       May Miller
·       Effie Lee Newsome
·       Richard Bruce Nugent
·       Anne Spencer
·       Jean Toomer
·       Lucy Ariel Williams

·       Joseph Seamon Cotter, Jr., author of the play, On the Fields of France.
·       Charles Gilpin, actor
·       Angelina Weld Grimke, author of the drama, Rachel
·       Langston Hughes, Mulatto, produced on Broadway. Hughes also helped to found the Harlem Suitcase Theater
·       Zora Neale Hurston, author of the play Color Struck
·       Georgia Douglas Johnson, author of the play, Plumes, A Tragedy.
·       Richard Bruce Nugent, author of the play, Sahdji, an African Ballet
·       Paul Robeson, actor
·       Eulalie Spence, author of the play, Undertow
·       Krigwa Players, popular Harlem theatre group.
·       Thomas Montgomery Gregory, supporter of Negro Theatre Movement.

·       Arna Bontemps — God Sends Sunday (1931), Black Thunder (1936)
·       Countee Cullen — One Way to Heaven (1932)
·       Jessie Redmon Fauset — There is Confusion (1924), Plum Bun(1928), The Chinaberry Tree (1931), Comedy, American Style(1933)
·       Rudolph Fisher — The Walls of Jericho (1928), The Conjure-Man Dies (1932)
·       Langston Hughes — Not Without Laughter (1930)
·       Zora Neale Hurston — Jonah's Gourd Vine (1934), Their Eyes Were Watching God (1937)
·       Nella Larsen — Quicksand (1928), Passing (1929)
·       Claude McKay — Home to Harlem (1927), Banjo (1929), Gingertown(1931), Banana Bottom (1933)
·       George Schuyler — Black No More (1931), Slaves Today (1931)
·       Wallace Thurman — The Blacker the Berry (1929), Infants of the Spring (1932), Interne (1932)
·       Jean Toomer — Cane (1923)
·       Carl Van Vechten — Nigger Heaven (1926)
·       Walter White — The Fire in the Flint (1924), Flight (1926)

Short story collections
·       Eric Walrond — Tropic Death (1926)

Musicians and composers
·       Marian Anderson
·       Louis Armstrong
·       Ivie Anderson
·       Count Basie
·       Gladys Bentley
·       Eubie Blake
·       Lucille Bogan
·       Cab Calloway
·       The King Cole Trio
·       The Chocolate Dandies
·       Duke Ellington
·       Ella Fitzgerald
·       Dizzy Gillespie
·       Adelaide Hall
·       Roland Hayes
·       Fletcher Henderson
·       Earl "Fatha" Hines
·       Billie Holiday
·       Lena Horne
·       James P. Johnson
·       Lonnie Johnson
·       Moms Mabley
·       Pigmeat Markham
·       The Will Mastin Trio
·       Nina Mae McKinney
·       Florence Mills
·       Thelonious Monk
·       Mantan Moreland
·       Jelly Roll Morton
·       Ma Rainey
·       Nora Douglas Holt Ray
·       Cecil Scott
·       Noble Sissle
·       Bessie Smith
·       Mamie Smith
·       Victoria Spivey
·       William Still
·       Billy Strayhorn
·       Fats Waller
·       Ethel Waters
·       Chick Webb
·       Bert Williams
·       Fess Williams

Visual artists
·       Charles Alston
·       Henry Bannarn
·       Romare Bearden
·       Leslie Bolling, Wood carvings
·       Beauford Delaney
·       Aaron Douglas
·       Palmer Hayden
·       Sargent Johnson
·       William H. Johnson, Painter
·       Lois Mailou Jones
·       Jacob Lawrence
·       Norman Lewis, Artist
·       Archibald Motley
·       Augusta Savage
·       Prentiss Taylor

Major Work: Fitzgerald’s The Great Gatsby
Read (mostly) in class (December)
FSF Biography Winter Dreams (Video)

Major Work: Hurston’s Eyes Were Watching God
(January - February)

Conversation: Changing Roles of Women

V. 20th Century American Poets and (Short Story) Writers:
5th & 6th Presentations: Short Stories (March) and Poetry (April)
          Select one of each – no duplicates in the two sections.
Blog posts for both poet and writer.

American (Short Story) Writers:
Inspired by Anne Charters, The American Short Story and Its Writer

1.     O. Henry
2.     Willa Cather
3.     Edith Wharton
4.     Jack London
5.     Sui San Far
6.     Sherwood Anderson
7.     Theodore Dreiser
8.     Katherine Anne Porter
9.     Dorothy Parker
10.   William Faulkner
11.   John Steinbeck
12.   Pearl S. Buck
13.   James Thurber
14.   John Cheever
15.   Shirley Jackson
16.   Tillie Olsen
17.   Philip Roth
18.   Flannery O’Connor
19.   Eudora Welty
20.   James Baldwin
21.   John Barth
22.   Joyce Carol Oates
23.   Grace Paley
24.   Raymond Carver
25.   Leslie Marmon Silko
26.   Bobbie Ann Mason
27.   Ursula K. LeGuin
28.   John Edgar Wideman
29.   Sherman Alexie
30.   Annie Proulx
31.   Edwidge Danticat
32.   Helena Maria Viramontes
33.   Lan Samantha Chang
34.   Kurt Vonnegut

American Modern and Contemporary Poets:
Inspired by Al Filries and his Coursera course ModPo

1.     Lorine Niedecker
2.     Cid Corman
3.     Rae Armantrout
4.     H.D.
5.     Ezra Pound
6.     Wallace Stevens
7.     Gertrude Stein
8.     Elsa von Freytag Loringhoven
9.     Tristan Tzara
10.   Genevieve Taggard
11.   William Carlos Williams
12.   Richard Wilbur
13.   Gwendolyn Brooks
14.   Amiri Baraka
15.   Allen Ginsberg
16.   Jack Kerouac
17.   Anne Waldman
18.   Bill Berkson
19.   John Ashbery
20.   Kenneth Koch
21.   Barbara Guest
22.   Frank O'Hara
23.   Ted Berrigan
24.   Bernadette Mayer
25.   Bob Perelman

Ernest Hemingway:
“A Clean, Well-Lighted Place”
“Short Happy Life of Francis Macomber”
“Soldier's Home”
Biography (Video)

Robert Frost: “Mending Wall”
Select a favorite Frost poem
Post to blog

Tim O'Brien and Phil Klay: America and War  
Focus: “On the Rainy River” from The Things They Carried
Phil Klay: Redeployment

College Essay: Who are you? What’s your story?

Final Presentations: Post to your blogs (May)
Pick a Conversation below to present with a partner:
Ø  Immigration: The Lure of America
Ø  The American Cowboy
Ø  Japanese Internment and Reparations: Making It Right?
Ø  The Atomic Age
Ø  The American Middle Class
Ø  America’s Romance with the Automobile
Ø  Create a Conversation – teacher approval required

Final Conversation: What is American Literature?
Parini’s Thirteen Books that Changed America
Chris Hedges and Joe Sacco – the Camden Chapter
from Days of Destruction Days of Revolt

Final Lecture: America: Decline & Fall or Renewal & Reinvention?
What challenges does America face?
How will America face (and embrace) these challenges?
How will American Literature make a difference?
What is the future for America(n Literature)?

Last Week: Exam Review
Connections between Major Works