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    This handout is required reading; it’s your survival kit for the class. If anything is unclear, don't hesitate to ask questions. Seek me out whenever you have questions about anything. Also get to know your fellow students and stay in touch with each other. It helps to study with a couple of other students every week outside of class.

YOUR INSTRUCTOR: Karen Osborne, Ph.D. You may call me Karen.
My office is room 300-Y, 3rd floor of 506 S. Wabash/33 E. Congress . My mailbox is in the English department common area.

( My phone number is 312-344-8123. You can leave messages on voice mail anytime, 24 hours a day. Don’t just disappear: let me know at the first sign of difficulty.

: Email me at: kosborne@popmail.colum.edu.

Á MY OFFICE HOURS:

Mondays 12:30-2:00 (except for Intro. to Lit. workshop days March 15 and May 10)
Tuesdays 9:00-12:00
Wednesdays 11-12
and by appt.
 

REQUIRED TEXTS

Paula Gunn Allen, ed. The Voice of the Turtle: American Indian Literature 1900-1970
Linda Hogan, Mean Spirit
Craig Lesley, ed. Talking Leaves: Contemporary Native American Short Stories
Duane Niatum, Harper’s Anthology of 20^th Century Native American Poetry
James Welch, Fools Crow

Recommended Texts: I will give you a list of recommended Native American authors for further study
 

COURSE DESCRIPTION AND OBJECTIVES

In the Columbia College Chicago 1997-1999 Catalog, the course description announces that "Students read and discuss selected stories, novels, and poems by major contemporary Native-American writers and examine ways of looking at the world different from viewsbased on assumptions of white culture. Characteristics of style, imagery, and narrative sturcture are discussed in connection with Native-American myth, history, and traditions."

The catalog transcribers made a mistake and inserted the word "contemporary" in the above description. Many writers included in the course are contemporary, but not all of them are. I also don’t like to use the word "major," given current research and theory regarding the canon of literature.

You should have completed English Composition I before taking this course. This is a literature course. You will be writing essays about literature—that is, essays which have a thesis and use textual evidence to develop and support the thesis. You will analyze texts and develop interpretations based on your analysis. No matter how much you may sympathize or empathize with the plight of the American Indian or Native American, your feeelings will not be the basis of your grade in the course. You will be expected to pay serious attention to the literature so that you can demonstrate your understanding of this literature "by being able to read and write critically" about it, to quote from the General Education intended student learning outcome.

I expect that by the end of the semester, you can also demonstrate your knowledge of themes in several Native American texts and that you can effectively discuss how Native writers use such literary techniques as narrative point of view, figurative language (metaphors, similes, etc.), setting, irony, tone, symbols and language, often changing or adapting techniques to their own purposes, informed by their own tribal cultures.

PLAGIARISM

On p. 21 of the Columbia College Chicago Catalog, 1997-1999, students are informed that "The College prohibits the following conduct: all forms of academic dishonesty including cheating; plagiarism; knowingly furnishing false information to the College; forgery; alteration or fraudulent use of College documents, instruments, or identification." The Student Handbook is distributed to all students during class registration. In this class, any student found using the work (ideas or language) of another writer (including, but not limited to, other students) without giving credit to the source will receive an 'F' in the course. If you're unsure as to what, exactly, constitutes plagiarism, do not hesitate to ask. Help each other with drafts by identifying weaknesses. Let the writer rewrite. Notice how I avoided plagiarizing from the college catalog above. I used quotation marks and I acknowledged my source.
 

ATTENDANCE

The official English Department absence policy states that "More than two absences in classes that meet once a week (and more than four in classes that meet twice a week) will affect your grade and can result in failure." That means that two, and only two, absences, FOR ANY REASON, are acceptable (provided that you're not also missing quizzes or other deadlines those two times).

Save your two absences for emergencies only---unusual illness, visits to hospitals, funerals, and other disasters. Because this class meets for three hours once a week, missing one class is the equivalent of missing a full week of class. You don’t have absences to spare. The third absence lowers your final grade one letter. The fourth absence means you fail the course, unless you have an ‘A’ average--then you’ll get a ‘D.’ The fifth absence means you absolutely fail the course. No ifs, ands, or buts. Calling me to let me know you’ll be absent is nice, but it’s still an absence.

When you are absent, you are required to see that whatever work is due that week is delivered to my mailbox by 3:00 Thursday afternoon of that week. If you miss a quiz, you MUST contact me before the week is over. You will have the opportunity to make up the quiz BEFORE the next class meeting. I cannot give makeup quizzes more than one week later. You are expected, of course, to keep up with the syllabus and to be prepared for class when you return.
 

TARDINESS

Each time you arrive more than ten minutes late to class (or leave more than ten minutes early), this will count as half an absence. Plan to arrive on campus early. Your classes are like your job.

CLASSROOM BEHAVIOR and CREATING A POSITIVE LEARNING ENVIRONMENT

I invite all of you to help us create an environment of respect and courtesy where different perspectives can be heard, where more outgoing classmates gently encourage quieter classmates to participate in dialogue. Please email me or see me in my office whenever you have insights to offer or suggestions for ways to enhance the classroom as a place where everyone can learn from each other.

Also, please see me whenever you feel that I’m spending too much or too little time on something, when I’m boring you to tears, etc. Telling me this won’t devastate my ego and I probably won’t even bite your head off. I am here to help you learn, and if you’re not learning, you and I need to find ways together that will work.

Because a classroom is a place for learning, any behavior that interferes with learning will not be tolerated. Any student who is discourteous to another student or to the instructor, or who tries to usurp the classroom for purposes other than learning, will be given an 'F' in the course. This is the only warning.

  Your grade will be determined mostly by two 4-5 page essays (about 50 per cent of the final grade), quizzes (about 30-40 per cent), by regular journals entries and other exercises (about 12 per cent), and by your contributions to the class’s understanding through class participation—including peer review writing workshops (about 5 per cent), or extra credit presentations (up to 6 per cent maximum).
 
 

    As you read, notice the nature of texts as created works of art, perhaps not unlike the works of art you yourself enjoy creating or hope to create someday. Ask questions of the text as you read. Notice things that seem unusual or that don’t make sense to you. Nearly every week you will be asked to turn in a brief response to the reading. This response should be at least one page or at least 250 words. You can add visual or other matter if you wish. You can substitute visual or other media for one of these assignments.
 
 

    You are responsible for keeping your formatted IBM-compatible disk safe and for keeping hard copies of your work. I advise you to write your out of class papers in the English department open computer lab; be sure to SAVE TO THE A DRIVE where your 3 1/2 in. disk is.

I require double-spaced (computerized, please) rough drafts of the papers before the final drafts are due. You will get feedback from your fellow students and/or from me. Then you will rewrite the paper for the final draft to be graded. If you don’t bring your rough draft on the day it’s due, you forfeit your opportunity to revise your paper for the grade. Be sure to take advantage of the rough draft feedback

Final drafts of papers: I require two clean copies. Papers must be double-spaced, carefully proofread, and turned in AT CLASS TIME on the due dates. BE SURE to use page numbers. The recommended length for each is about 4-5 pages (typed, double-spaced, font size no larger than 12 pt., with 1" margins). It’s OK if your paper is longer than 5 pages, but if your paper is shorter than four pages, you will not have met the requirement and may lose points. YOU LOSE: half a letter grade if the paper is a day or two late; a full letter grade if a week late. After a week, you get a zero.

    When I grade the final drafts of your papers, I evaluate them according to fairly recognizable standards. The following should help you understand what I am looking for and how I will grade. The papers you write should demonstrate your ability to read, analyze, and interpret literature. That means that your papers should develop an argument about a text and should support the argument (your main point) with evidence. These papers are like the argumentative or persuasive papers you may have written for Composition I or II. Be sure to have a clear thesis, use evidence from the text to support the thesis, offer sufficient analysis and interpretation of that evidence, and follow a logical organization. I expect all papers to be well written in clear English prose. I will also consider the quality of your insights.

Highly successful (A) papers will meet the following description: "The writer has successfully analyzed and interpreted a textual element or elements such as plot, character, point of view, imagery, setting, form, theme, irony, tone, symbols, language or any similar elements or has successfully discussed the significance of cultural aspects of the text and its background. The writer has grounded arguments in specific references to text. The essay has a clear thesis supported by sound logic and good organization. The essay is thoroughly developed."

Successful (B) papers will meet the following description: "The writer has analyzed a textual element or elements such as plot, character, point of view, imagery, setting, form, theme, irony, tone, symbols, language or any similar elements and/or has successfully discussed the significance of cultural background in the text. The writer has grounded arguments in at least some specific references to text. The essay has a clear thesis, but may need one of the following: more textual support, more analytical or interpretive development, or clearer logic and/or organization."

Moderately successful (C) papers will fit the following description: "The writer has analyzed or paid some attention to texts or a textual element(s), has made an effort toward interpretation, and has some supporting references and/or evidence, but the essay does not fully develop or support its thesis in a logical fashion, or the thesis may not be sufficiently clear."

Unsuccessful (D or F) papers can be described with SOME or MOST of the following: "The writer has not sufficiently analyzed or interpreted the text; there may be textual references, but not in clear support of an interpretation; AND/OR the writer has failed to offer a clear thesis supported by sound logic; AND/OR has not responded to the assignment."
 

WRITING CENTER--1st floor, 506 S. Wabash/33 E. Congress (SW corner of Congress and Wabash)-

Even the best writers show their work to someone for feedback before they present it to the public. Just talking over your ideas and planning the organization with a helpful friend or a tutor can save lots of time and diminish your anxiety. Consider signing up for weekly noncredit tutoring.
 
 

ADDITIONAL READING

In addition to the assignments, if you read one other book by one of the Native American authors on the list, you can earn extra credit by either turning in a two page review or by presenting an oral report on the book to the class (about a 5-10 minute report) and answering questions from the class.

CREATIVE WORK

You can also earn extra credit for demonstrating your own imaginative or creative response to literature, or by making some connection between literature and another artistic medium. (Connections may be made in either direction; each may inspire the other.) If you’re a painter, turn in a painting inspired by literature. If you’re a composer, compose a short melody, have it performed, tape it, and submit a brief explanation describing how the melody is connected with any piece of literature. If you’re a dancer, perform a dance for the class in response to any text. Or turn in a videotape of your performance. If you’re a photographer, use your imagination to capture settings or characters that you think fit one of the stories, poems, or plays. If you’re a filmmaker, turn in a screenplay for short film or scene, or a videotape. You can blend media as well; some photographers, painters and collage artists blend text with their images. If you’re a journalist, do a profile of one of the authors of a piece of literature in our text, or interview a published author, or rewrite a short story as a news story.

Maximum extra credit allowed for the course: 6 points.
 

I If the total points possible is 100, then you need at least 90 points for an ‘A,’ 80 for a ‘B,’ 70 for a ‘C,’ and 60 points to pass. The exact final numbers will be determined by the quizzes and by any adjustments I may need to make to reflect the needs of this particular class.

Calendar of Reading Assignments.. Always read the assignments and write the papers, drafts or notes BEFORE coming to class on the given date. For example, read as far as you can in Fools Crow BEFORE Feb. 22! Always bring your textbook(s) to class. Note: Titles are abbreviated: VOT for Voice of the Turtle; TL for Talking Leaves, and HAP for Harper’s Anthology of 20^th Century Native American Poetry.

Feb. 22    March 1     March 8    March 15       March 22       March 30    April 12    April 19

April 26    May 3    May 10     May 17   May 24     (all dates' assignments are listed; these links are simply

to help you navigate)
 

Feb. 15: Introduction to course. Getting to know each other. Study groups. Handouts.  Brief in-class essay.
 

Feb. 22: Fools Crow. Read as much as you can, at least the first 150 pages.

• Note specific examples of the language Welch uses to create the impression that the reader is in White Man’s Dog’s world, seeing through his eyes.

• Also notice if and when the point of view (the angle of literary narration) ever shifts.
• Notice his character’s humility; how he feels inadequate and how he has to ask for help.
• Be ready to discuss Fast Horse and the contrast in these two characters. How does Welch use these developing characterizations to advance his theme(s)?

• Be prepared to discuss thoroughly the section where the evil hunter threatens Red Paint.

• Be prepared to discuss further the contrast between Fools Crow and Fast Horse.
• Also be prepared to discuss Owl Child.
• Notice the positions that different characters take in the novel regarding what to do about the white man. Be prepared to discuss these different positions.
• Journal entry on Fools Crow due.

March 8. Finish Fools Crow if you haven’t already.
                Quiz.

• Topics for first paper due.
• Be prepared to discuss the vision that Fools Crow receives and its significanceto the story.

• Read in Harper’s Anthology of 20^th Century Native American Poetry (HAP):

• First Draft of paper on Fools Crow due. Double-spaced, computer printed, pages numbered,
                    4 pages+.

• Read in Voice of the Turtle (VOT):
                Introduction, pp. 3-19
                Johnson, "A Red Girl’s Reasoning," pp. 20-40 (more assignments next page)
                 Eastman, "The War Maiden," 41-50
                 Mo[u]rning Dove (Humishima), from Cogewea: The Half-Blood, pp. 78-103.
                 Parker, "The Coming of Death," 65-67 and "The Coming of Spring," 68-71.

• Read in VOT:
            Zitkala-Sa (Gertrude Bonnin), "The Widespread Enigma Concerning  Blue-Star Woman," 184-198
             Luther Standing Bear, "First Days at Carlisle," 111-129.
             D’arcy McNickle, "Train Time," 216-223
             Don C. Talayesva, "School off the Reservation," 239-256.* (if time)

• Read in HAP (& bring to class):  Louise Erdrich, "Indian Boarding School: The Runaways," p. 334.

• Thoroughly revise your Fools Crow paper this week.




---

March 29:  Complexities of Traditionalism, Assimilation, and Belief

• Quiz on reading assigned since Fools Crow.
• Revised draft of Fools Crow paper due.
• Read in VOT:

April 12: Mean Spirit. Read at least to p. 200. Also read Hogan poems in HAP, 197-208.
and bring HAP and Mean Spirit to class today. The Allotment Act and other matters.
 
 

April 19 : Mean Spirit, continued.

• Also read in HAP: Ray A. Young Bear, "The Language of Weather," 255-256 and

• Journal entry on Mean Spirit due.




---

• Quiz.
• Harjo poems in HAP, 283-299. Notice her use of repetition. Circle or underlinespecific examples of repetition that you find effective. When you read "I Give You Back," can you think of a time when you experienced fear that you managed to overcome? How did you overcome it? How does Harjo suggest we can overcome our fears?

• Journal entry on Harjo poem (s) due.
• optional: Hogan, "Aunt Moon’s Young Man," 147-169 in TL.
• Brainstorming on paper topics.

• Read in TL:
                    Paula Gunn Allen, "Deer Woman," 1-11

• READ in TL:

• Journal entry on any of the readings from last week or this week due.




---

• Turn in revised final draft of Mean Spirit paper, 4+ pages, double-spaced,  with pages numbered

• Read in TL:

• Read in HAP:

.               optional: "China Browne," 294-303, in TL.

.May 24: Final Quiz on material since 4/26.

• Silko, "Lullaby" handout.
• Gerald Vizenor, "The Baron of Patronia," 289-293, in TL. Go along for a wild and wacky ride with
            this  trickster writer. Notice especially the tone.

• Read in HAP: Ortiz poems, 139-151.
• see also by Simon Ortiz, "Woman Singing," 298-310 in VOT.

May 31 is Memorial Day; no class. Have a great summer!

Tips for writing papers about literature

The papers you write should demonstrate your ability to read, analyze, and interpret literature. Your paper should have a clear thesis, use evidence from the text to support the thesis, offer sufficient analysis and interpretation of that evidence, and follow a logical progression.

I. The paper is an analysis of a text and an interpretation based on that analysis. The audience is readers who have already read the text. IF YOU MERELY REPEAT WHAT THE STORY SAYS, WITHOUT INTERPRETATION, YOU WILL NOT RECEIVE A PASSING GRADE. A thesis statement is a debatable proposition, that is, a statement (a complete sentence containing a subject and verb) about which reasonable people might disagree. ("Alienation in Story X" is a title, not a thesis. A possible thesis: "The alienation character Y feels in Story X is a logical response to the crass materialism of her environment." (For evidence you might cite the high number of references to stores, money, valuable material objects, etc.) Your paper must have a clear thesis supported by evidence in a logical progression of sufficiently developed and well-written paragraphs. Show me, show me, show me. Show me exactly where and exactly how (refer to SPECIFIC words, phrases, lines, events, characters, etc.) the story, poem or play does what you are saying it does. The thesis should make an interesting point ABOUT the story, poem or idea (not merely to repeat what the story says) and should be clearly stated, preferably at the end of the first paragraph. I also expect a strong conclusion that does more than simply restate the thesis. Show why the thesis was worth proving, after all.

II. Make sure the topic is NARROW enough and that you say enough about it. Say something--show us what your mind can do with the text. Select one aspect of the literary work and discuss how it functions and connects with the WHOLE work. Show that you have read closely, and that you can ANALYZE the significance of CONTENT and FORM--the two are inseparable, so by analyzing carefully how something is written, you are also analyzing meaning. Be sure to SAY ENOUGH about the part you've chosen. Most drafts need more DEVELOPMENT--you need to SHOW the reader exactly what your point is, what evidence supports it, and WHY your point is so important. I will take points off for fuzzy thinking, vague language, insufficient development, and poor transitions. Read the chapter on literature papers in your Comp I or II handbook (you did save your handbook, didn’t you? asked the concerned teacher...)

III. Read your draft aloud, have friends or fellow students read it, and rewrite it, cutting redundancy and adding new material to strengthen weak paragraphs. Ask "so what?" at the end of every paragraph--then write at least two more sentences to answer the "so what." Sometimes you'll need to add much more than just a few sentences to actually pursue the answer. You must turn in your ROUGH DRAFT two weeks ahead of the date the paper is due. The rough drafts MUST be double-spaced.

IV.AFTER REVISING, BE SURE TO PROOFREAD CAREFULLY. I will take points off for grammatical mistakes, inconsistent/inaccurate punctuation, or any obstacles that prevent the paper from achieving its purpose.

Let your natural voice come through, to the extent possible in standard English. Aim for clarity, economy, conviction: cut away as much phoniness and verbal confusion as you can. No "Englishteacherese." When you finish a draft, read it critically and revise, revise, revise. Papers must be typed or computer-printed, 4-5 pages minimum, double-spaced, with 1" margins. Pages must be numbered.
 

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 this page created  Feb. 8, 1999; most recent update May 28, 1999
 

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© 1999 Columbia College Chicago 600 South Michigan Avenue  Chicago, IL 60605-1996 Telephone: 312-663-1600