This class is intended as a focused study of British (mostly English) novels and films of the past thirty years, and of their social, cultural, and political contexts. Topics covered in discussion are likely to include the changing ethnic make-up of Britain in the post-colonial era; regional identity and devolution; sexuality and gender; history and historiography; utopias and dystopias; and the relationships among individual, group, and national identity.

My primary goal for the course is that you learn about the stylistic, thematic, and topical characteristics of contemporary British narrative literature, as well as the relationship of these characteristics to a larger historical and cultural framework. In a more general sense, I also expect you to increase your expertise in the fundamentals of literary criticism: close textual readings, articulate discussion, and even more articulate written analysis. And, as always, I simply hope that we all enjoy reading, and discussing our ideas, together.

Stuff happens. While this schedule is accurate as of the beginning of the term, unexpected changes may occur due to illness, weather, etc. I’ll make every effort to keep this site up to date, as well as to announce any changes in class and over e-mail. It’s up to you to check your e-mail, and I do expect you to do so regularly (at least every other day). That’s my only real way of getting in touch with you outside of class, and I do use it fairly frequently.

Written work is due in or before class, and you must be present to submit work. You may turn in hard copies of your prep papers in class if you are unable to e-mail them beforehand, but no matter what I ask that you also submit them as Word (.doc, not .docx!) or Pages files over e-mail. Your term paper (both draft and final) should also be submitted electronically. For more information on papers, see my on-line FAQs. No make-ups are permitted for prep papers missed due to absence; on the other hand, you may skip any two weeks you choose, or drop your weakest paper from your overall grade.

The films on the syllabus are not optional: they are primary texts as central to the class as any of the novels. You are not required to attend the scheduled screenings (although it’s recommended); if you miss a showing, however, it’s your responsibility to make other arrangements for viewing the films in question. All will be on reserve in the library for in-library or overnight use only. You may not be the only one intending to watch a film on your own, so plan ahead to make sure you’re not caught empty-handed.

I take plagiarism extremely seriously. Intellectual theft robs the original author of his or her work; you of the learning you’re supposed to be here for; your classmates of the chance to have their work evaluated on a level playing field; and me of a tremendous amount of time and energy. Read the section on academic honesty in the student handbook, and familiarize yourself with its provisions. A failing grade for the semester is the minimum penalty for plagiarism in this course.

If you have any questions or concerns—whether they be about texts, course procedure, or whatever—please bring them up in class, or talk (or e-mail) to me personally. As a general rule, I strongly encourage any form of communication. If you think the reading is going too fast, or too slow; if you’re uncomfortable with the dynamic in the classroom; if you’re unclear on my expectations for an assignment—please let me know. If I don’t know you have a problem, I can’t try to fix it. And on a more positive note, if you’re really excited about a book, or idea, and want to talk about it outside of class, please stop in! After all, I wouldn’t be teaching this class if I didn’t want to talk about the books…