ENG 328: Modern Fiction (2020–2021)

Course Information

Course Code: ENG328Y1-Y LEC0101
Class Times: Asynchronous video lectures + synchronous tutorials (see below)
Class Location: Online

Instructor: Prof. Adam Hammond
Office Hours: Mondays, noon-2pm (via Zoom, scheduled on Quercus; see “Office Hours” announcement on course Quercus page)
Office Hours Location: JHB 624
Email: adam.hammond@utoronto.ca

Tutorials

Every student will be assigned to one tutorial group, which will meet for 1 hour each week. Every week, you will watch a video lecture (asynchronously) and attend one 1-hour Zoom tutorial (led by Prof. Hammond). Tutorial assignments will be decided the first week of class (there will be no actual tutorials the first week).

Tutorial section	Time
1	Monday, 11-noon
2	Wednesday, 11-noon
3	Wednesday, noon-1pm

Course Overview

The first half of the twentieth century was among the most vibrant and inventive in English-language fiction. This period of literary history unfolded during a time of rapid and radical change that saw the development of new communications technologies like the radio and cinema, the massive upheavals of two world wars, the decline of empire, and paradigm-crushing developments in psychology (Freudian psychoanalysis), philosophy (the unsettling of absolute truths), and science (Einstein’s relativity and Heisenberg’s uncertainty principle). In this course, we will explore how a diverse selection of writers responded to this world in flux — and how they sought to use literature to intervene in this world. Our course will have two focuses. First, we will investigate the techniques that modernist writers developed for representing multiple perspectives, plural conceptions of the self, and an expanded sense of community. To what extent can formal devices like stream-of-consciousness, unreliable narration, and multiple points of view prompt readers to re-think notions of selfhood, ethics, and politics? Do these techniques remain relevant in our own increasingly pluralist world? Second, we will investigate modernist publication practices — self-publication, little magazines, large commercial presses, mass-circulation periodicals — in order to better understand the mechanisms by which writers of modern fiction sought to disseminate their bold new ideas and techniques to a reading public and bring them to life in the public sphere.

In this course you will:

Distinguish the distinctive narratological devices of modernist fiction
Investigate the material and historical contexts of modernist fiction
Critique the modernist belief that literature could change politics by changing the way that people think
Explore the relevance of modernist techniques for contemporary social issues and contemporary artistic forms
Analyze the publication channels that modernists exploited (and created) to disseminate their work
Perform research in online and/or print archives of modernist literature
Write two essays and two short assignments

Course Materials

The following are required texts. Any edition — print or digital — is acceptable in this pandemic year. However, I have provided the ISBN of the editions I will be referring to in my lectures.

Patricia Highsmith, The Talented Mr. Ripley (Norton; ISBN 978-0393332148)
Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde (Broadview Press; ISBN 978-1554810246)
Henry James, The Turn of the Screw and Other Stories (Oxford; ISBN 978-0199536177)
E. M. Forster, Howards End (Penguin; ISBN 978-0141199405)
Ford Madox Ford, The Good Soldier (Broadview; ISBN 978-1551113814)
Virginia Woolf, Mrs. Dalloway (Broadview; ISBN 978-1551117232)
Wallace Thurman, ed., Fire!! (Fire Press; ISBN 978-0912607009 — online here)
Nella Larsen, Passing (Penguin; ISBN 978-0142437278)
Ernest Hemingway, The Sun Also Rises (Scribner; ISBN 978-0743297332)
Jean Rhys, Voyage in the Dark (Penguin; ISBN 978-0141183954)
Christopher Isherwood, Goodbye to Berlin (New Directions; ISBN 978-0811220248)
Mulk Raj Anand, Untouchable (Penguin; ISBN 978-0141393605)

The following suggested text is available on Quercus:

Modernism: Keywords by Melba Cuddy-Keane, Adam Hammond, and Alexandra Peat (Wiley-Blackwell)

Additional readings will be posted on Quercus.

Course Schedule

Fall Semester

Week 1 (No tutorials)

Introduction

Week 2 (Sep 21 + 23)

Patricia Highsmith, The Talented Mr. Ripley, chapters 1–15
Tutorials begin!

Week 3 (Sep 28 + 30)

Patricia Highsmith, The Talented Mr. Ripley, chapters 16–end

Week 4 (Oct 05 + 07)

Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde

Week 5 (Oct 12 + 14)

Note that the 12th is a holiday. We’ll work something out…

Henry James, The Turn of the Screw

Week 6 (Oct 19 + 21)

Finishing The Turn of the Screw
Sir Arthur Conan Doyle, “The Red-Headed League” (on Quercus)
Creative Intervention due October 23rd

Week 7 (Oct 26 + 28)

E. M. Forster, Howards End, chapters 1–7

Week 8 (Nov 2 + 4)

Howards End, chapters 8–20

Reading Week

Week 9 (Nov 16 + 18)

Howards End, chapters 21–end.

Week 10 (Nov 23 + 25)

Ford Madox Ford, The Good Soldier, parts I and II.
First Term Essay due Nov 27

Week 11 (Nov 30 + Dec 2)

Ford Madox Ford, The Good Soldier, parts III and IV.

Week 12 (Dec 7 + 9)

Wyndham Lewis, ed., Blast 1 (click link to read online copy). “Great Preliminary Vortex” (“Long Live the Vortex!,” “Manifesto — I,” Manifesto — II,” pp. 7–43). ** Rebecca West, “Indissoluble Matrimony” (pp. 98–117) is now optional.
Katherine Mansfield, “Bliss” (on Quercus and in The English Review)

Winter Break

Week 13 (Jan 11 + 13)

Virginia Woolf, Mrs. Dalloway, pages 1–80.

Week 14 (Jan 18 + 20)

Mrs. Dalloway, pages 80–end

Week 15 (Jan 25 + 27)

Fire!!: Wallace Thurman, “Cordelia the Crude” (pp. 5–6), Gwendolyn Bennett, “Wedding Day” (pp. 25–28), Richard Bruce [Nugent], “Smoke, Lilies and Jade, A Novel, Part I” (pp. 33–39), and Zora Neale Hurston, “Sweat” (pp. 40–44)

Week 16 (Feb 1 + 3)

Nella Larsen, Passing, parts I and II

Week 17 (Feb 8 + 10)

Passing, part III
Ernest Hemingway, The Sun Also Rises, chapters 1–12
Modernism in Context assignment due Feb 12th

Reading Week

Week 18 (Feb 22 + 24)

The Sun Also Rises, chapter 13–end.

Week 19 (Mar 1 + 2)

Jean Rhys, Voyage in the Dark, Part 1

Week 20 (Mar 8 + 10)

Voyage in the Dark, Parts 2-4

Week 21 (Mar 15 + 17)

Christopher Isherwood, Goodbye to Berlin, “A Berlin Diary (Autumn 1930),” “Sally Bowles,” and “On Ruegen Island”

Week 22 (Mar 22 + 24)

Goodbye to Berlin, “The Nowaks,” “The Landauers,” and “A Berlin Diary (Winter 1932-3)”
Second Term Essay due March 26th

Week 23 (Mar 29 + 31)

Mulk Raj Anand, Untouchable, to p. 56 in Penguin (“A glance in the direction of his sister…”)

Week 24 (Apr 5 + 7)

Untouchable, to end.
Final thoughts

Marking Scheme

Your final grade will be based on the following:

Assignment #1: Creative Intervention (15%)
Assignment #2: Archival Research (15%)
First Term Essay (20%)
Second Term Essay (25%)
Participation (25%)

Late policy

All late assignments will be reduced 3% per day, including weekends. Assignments will not be accepted more than one week after the due date. All assignments are due in online via Quercus.

Participation

Participation will take several forms in this pandemic year, and forms of participation will be flexible.

In advance of your weekly tutorial (by midnight the day before your tutorial), you will write a 150-250-word response to the weekly lecture. You will do so on your tutorial group’s discussion forum on Quercus. These responses will be visible to other members of your tutorial groups and will be the basis of discussion in the Zoom tutorials. You will be expected to make one contribution (verbal or written in the chat window) during each tutorial session; if you do not, your contribution can take the form of a written reply to another student’s comment on the Quercus discussion forum (no later than end of day, day of tutorial).

Accessibility

Students with diverse learning styles and needs are welcome in this course. In particular, if you have a disability/health consideration that may require accommodations, please feel free to approach me and/or Accessibility Services at (416) 978 8060; accessibility.utoronto.ca.

Plagiarism

The University of Toronto treats cases of academic misconduct very seriously. Academic integrity is a fundamental value of learning and scholarship at the UofT. Participating honestly, respectfully, responsibly, and fairly in this academic community ensures that your UofT degree is valued and respected as a true signifier of your individual academic achievement.

The University of Toronto’s Code of Behaviour on Academic Matters outlines the behaviours that constitute academic misconduct, the processes for addressing academic offences, and the penalties that may be imposed. You are expected to be familiar with the contents of this document. Potential offences include, but are not limited to the following.

In papers and assignments:

Using someone else’s ideas or words without appropriate acknowledgement
Submitting your own work in more than one course without the permission of the instructor
Making up sources or facts.
Obtaining or providing unauthorized assistance on any assignment (this includes working in groups on assignments that are supposed to be individual work)

On tests and exams:

Using or possessing any unauthorized aid, including a cell phone
Looking at someone else’s answers
Letting someone else look at your answers
Misrepresenting your identity
Submitting an altered test for re-grading

Misrepresentation:

Falsifying or altering any documentation required by the University, including (but not limited to) doctor’s notes
Falsifying institutional documents or grades

All suspected cases of academic dishonesty will be investigated following the procedures outlined in the Code of Behaviour on Academic Matters. If you have any questions about what is or is not permitted in this course, please do not hesitate to contact me. If you have questions about appropriate research and citation methods, you are expected to seek out additional information from me or other available campus resources like the College Writing Centres, the Academic Success Centre, or the U of T Writing Website.

Communication Policy

My preferred method of contact is via e-mail. I will respond to e-mails within 24 hours, though I generally will not respond to e-mails sent on weekends until the following Monday.

Additional Notes

This syllabus is subject to change. Because of this, you are encouraged to consult this web page throughout the year, rather than printing it off.
Your remaining in this class constitutes acceptance of the conditions outlined in this syllabus.
Please be aware that we will discuss sensitive issues in the course, related to topics such as race, gender, sexual orientation, and politics.