Fall 2011 Graduate Course Descriptions

Fall 2011 Graduate Course Descriptions

Fall 2011 Graduate Course Descriptions

Past Course Offerings

Reminder about Registration Procedures:

Please keep in mind that we will register you in the order in which you submit your course requests to us. If there is a course you must take, send in your request as soon as possible.

  • Dr. Kuchta or Dr. Adams can begin registering you on March 7, 2011.
  • You will receive a registration reminder via e-mail. Send your registration request to english-graduate@wmich.edu. Please be sure to provide the CRN number with your request.
  • If you need advising about your remaining requirements or course choices, stop by 621 Sprau; Spring hours are M 1-4:30; T 1:00-3:30; W 2:30-5; and R 1:00-3:30.
ENGL 5300: Medieval Literature ENGL 6100: Seminar - Theodore Roosevelt and American Literature
ENGL 5380: Modern Literature ENGL 6110: Literary Forms - Short Short Fiction
ENGL 5660: Creative Writing Workshop, Fiction ENGL 6400: The Nature of Poetry
ENGL 5670: Creative Writing Workshop, Poetry ENGL 6420: Studies in Drama
ENGL 5680: Creative Writing Workshop, Playwriting ENGL 6660: Graduate Writing Workshop, Fiction
ENGL 5970: Studies in English - Truth and Lies: Prose Genres ENGL 6660: Graduate Writing Workshop, Poetry
ENGL 5970: Studies in English - Polyamorous Literature ENGL 6690: Methods of Teaching College Writing
ENGL 5970: Studies in English - Scarlet Letters ENGL 6910: Research and Scholarship in English Education
ENGL 5970: Studies in English - Style, Identification, and Persona in Professional Writing

 

English 5300: Medieval Literature - The Matter of Troy

Tuesdays, 4:00 – 6:20;
Dr. Richard Utz
Fulfills: Ph.D. Distribution requirement for medieval literature; M.A.-level elective

Few stories in the history of western civilization have engendered as many retellings as the Matter of Troy. In the Middle Ages, creative reference to the narrative elements and characters as well as fully-fledged augmentation of ―eye-witness accounts‖ reached a first peak as poets, historiographers, letter writers, and theologians latched on to the narrative as a perfect venue for their specific rhetorical objectives.

In this course, we will read a selection of texts meant to exemplify the transformation and translation of the Matter of Troy to understand more about medieval authorship, intertextuality, genres, and discourses. Sample texts will come from diverse linguistic traditions, including several French, German, Italian, and Latin selections (all provided in translation). All Medieval English texts will be read in their Middle English versions, and thus some basic knowledge of Middle English is essential. Because the tradition of the Troy story begins in pre-medieval traditions (e.g., Iliad, Aeneid), a considerable amount of non-medieval reading will be expected. Reading assignments for each class meeting will also include selections from literary criticism and theory. In addition to shorter written assignments, the central requirement in this class will be a research paper of at least 15 pages for undergraduates and at least 25 pages for graduate students. Regular and active participation in class discussions as well as well-researched and -presented reports will also contribute to our learning experience.
The majority of texts will be made accessible via E-Learning and the internet. The following paperback books should be purchased and brought to our first class meeting (please do not purchase any other editions of these texts since they will not be acceptable):

[Homer], The Iliad, trans. by Robert Fagles (Penguin, 1998) [Penguin Classics]V
Virgil, The Aeneid, trans. by Robert Fitzgerald (Vintage, 1990) [revised edition]
R. K. Gordon, The Story of Troilus (U of Toronto P, 1978) [Medieval Academy Reprints for Teaching]
Geoffrey Chaucer, Troilus and Criseyde, ed. R. A. Shoaf (Colleagues P/Michigan State UP, 2000)
John Lydgate, Troy Book - Selections, ed. R. R. Edwards (Medieval Institute Publications) [TEAMS]
Robert Henryson, The Testament of Cresseid, ed. D. J. Parkinson (Medieval Institute Publications) [TEAMS]

 

English 5380: Modern Literature

Thursdays, 4:00 – 6:20;
Dr. Todd Kuchta
Fulfills: Ph.D. distribution requirement for Modern British literature; M.A.-level elective


Literature of the early twentieth century is usually dubbed "modern," a term that has come to mean experimental, self-reflexive, and complex in form and style. Modern writers were long viewed as espousing art for art‘s sake, but they were also deeply engaged with the past, with popular culture, and with the social and political status of their work. This course will examine the range of stylistic innovations heralded by modern writers. We‘ll consider how their literature both reflects and responds to the dramatic cultural and historical changes of the early twentieth century, a period when urban society—with its new media, modes of communication, and forms of transportation—created an increasingly unified and interconnected globe. Such technologies made time speed up and distances shrink, profoundly altering how people perceived and experienced the world around them. This condition is also typically described as ―modern,‖ and it inspired new artistic forms and styles that could come to grips with these exciting and sometimes overwhelming changes.

Modern literature is a product of exiles, émigrés, and travelers. While we will focus primarily on writers from the British canon, they represent a broad range of national and international contexts. As critic Terry Eagleton once put it, "the seven most significant writers of twentieth-century English literature have been a Pole, three Americans, two Irishmen and an Englishman." We‘ll focus on most of these authors—Polish-born Joseph Conrad, American expat T.S. Eliot, Irishmen James Joyce and W. B. Yeats, and Englishman D. H. Lawrence. We‘ll also consider works by Rebecca West, Virginia Woolf and Samuel Beckett.

Students will write regular responses, choose between two short essays or one seminar paper, take a final exam, and be expected to participate regularly in discussion. For questions contact Dr. Todd Kuchta at todd.kuchta@wmich.edu.

 

English 5660: Creative Writing Workshop, Fiction

Tuesdays, 4:00 – 7:30;
Professor Thisbe Nissen
Fulfills: Ph.D. or M.A.-level CW workshop requirement

This is a fiction workshop. It‘s about writing fiction. But it‘s also about reading fiction, and learning how to be close and attentive readers and editors—readers who can write and speak thoughtfully and artfully about what they read, and effectively articulate their ideas and critiques.

In the course of the semester students will turn in 2 original pieces of prose fiction for workshop—work they have taken as far as they can on their own, work they‘ve edited and polished as cleanly as possible and on which they are ready to receive feedback. No first drafts. This is an advanced writing class; we‘re not here to correct spelling, punctuation, and grammar.

This course will involve substantial amounts of reading and writing, both critical and creative. Aside from two workshop stories, one substantial revision is also required. Stories are graded. Peer critiques—line notes and end notes to classmates—are collected weekly and also graded. Class participation is required; we can‘t have an effective workshop without everyone‘s active involvement. In addition to weekly reading assignments of published stories, each student will have to read, on their own, three collections of short stories by three different authors and write a response paper for each book. This is a course for serious, dedicated, hardworking writers and readers.

 

English 5670: Creative Writing Workshop, Poetry

Mondays, 6:00 – 9:30;
Dr. Nancy Eimers
Fulfills: Ph.D. or M.A.-level CW workshop requirement

English 5660 is an upper-level poetry workshop. Something the poet Marvin Bell wrote describes pretty accurately what we‘ll be up to: "Learning to write is a simple process: read something, then write something; read something else, then write something else. And show in your writing what you have read." We‘ll read and discuss 3 volumes of contemporary poetry and look at various poetic models, and every week we‘ll discuss student poems included on a worksheet. An original poem will be due each week, and at least two or three poems during the semester will be written "under the influence" of one of the poets whose work we‘ve been reading.

 

English 5680: Creative Writing Workshop, Playwriting

Tuesdays, 6:00 – 9:30;
Dr. Steve Feffer
Fulfills: Ph.D. or M.A.-level CW workshop requirement

Catalog Description: A workshop and conference course in playwriting, with emphasis on refinement of the individual student’s style and skills.

 

English 5970: Studies in English - Truth and Lies: Prose Genres

Mondays, 4:00 – 6:20;
Professor Richard Katrovas
Fulfills: Ph.D. or M.A.-level CW workshop requirement

The seminar will explore the philosophical, ethical and stylistic fault lines between prose fiction and prose nonfiction. We will discuss masterpieces in both genres, and generate our own prose texts that will be in response to prompts.

 

English 5970: Studies in English - Polyamorous Literature

Mondays, 4:00 – 6:20;
Dr. Christopher MacLean-Nagle
Fulfills: Ph.D. requirement for Non-traditional literature; M.A.-level elective

The organizing theme for this new course, Polyamorous Literature, is one that will not be familiar to most of us. Throughout the semester we will leave open the possibilities for coming to terms with – defining, refining, revising – what this broad conceptualization might mean for the study of literature and literary and cultural history, so that the term is elastic enough to provide freedom to imagine new ways to read, while grounding it with some very specific material reading practices and existing critical frameworks. To begin, though, we might describe it briefly as a category of literary works (broadly defined) that attempt both to imagine and to accommodate multiple erotic and affective relations between individuals—polyamorous, rather than simply polygamous. At their most interesting, such works represent these non-monogamous bonds of attachment both in and between characters while exploring the broader implications of such forms of attachment on the world around them. We might call these connections "networked relations," or simply non-binary, or—to follow the famous literary theorist Roland Barthes, who had more than passing interest in the art of cruising—we might see them as embracing the mode of "the amorous plural," a curious formulation we will explore in class. And since monogamy itself, in the compelling analysis of psychologist and essayist Adam
Phillips, might be seen as "a kind of moral nexus, a keyhole through which we can spy on our preoccupations" as a culture—and in his estimation, "the only serious philosophical question" ("Preface," Monogamy)—we will have good reason to think about it as a kind of intellectual problem that haunts much of the literary landscape in a wide variety of national traditions and generic contexts.

More simply, we might ask (as our literary and critical works will do): what happens when a person develops multiple attachments of love and desire, especially if they occur simultaneously? Obvious practical complications are likely to follow, but we will be more interested in what is not obvious. For example, if we do not take for granted that marriage, monogamy, and what some critics call a "starvation economy" (belief that a finite quantity of love is available for everyone, and you‘re in competition for your share) are "natural" states of existence for human beings in all times and places, what else might be out there for us to imagine? Is it possible to imagine an alternate economy of abundance flourishing in its place? Or to create relationships that are structured according to different expectations—of friendship, kinship, or nonromantic partnership? How different might literature—and life, for that matter—look if we consider other, alternate configurations of people, of their bodies and psyches, of their needs and desires, of their material activities in everyday life? What would be the consequences of taking such imagined (and lived) relations seriously, perhaps even as alternative models for society? And to return to the terrain of literary history: what happens to traditional narratives about "the rise of the novel" or "the anxiety of [poetic] influence" when we explore the shifting dynamics of polyamorous relations within and between texts? If we think of promiscuity in very broad terms as "a synonym for creativity" (Dean, Unlimited Intimacy), then what might be made newly visible by promiscuous readings? These will be some of the Big Questions that will hover over our close-reading of the formal and stylistic elements—as well as the themes and historical contexts—of our literary texts.

Students in this class will be expected to come with open, curious, adventuresome, and very hungry minds; to come prepared to contribute something specific to every class meeting; to post regular (weekly or bi-weekly) online responses to our readings; to collaborate with at least one other student on one or two presentations (depending on the size of our class); to write two medium-length essays informed by some additional reading and research exploration of materials not assigned for class; and if time and institutional resources permit, to collaborate with everyone in the class in constructing an online resource for the study of polyamorous literature.

Texts will be diverse, likely drawing from British, French, German, and American traditions, ranging across all the major genres and including visual media as well. Authors/works may include many of the following: (primary texts) Behn, Pope, Davys, Richardson, Cleland, Sterne, Laclos, Sade, Kleist, Austen, Owenson, Shelley, Goethe, Stoker, Barnes, Sartre, Delaney, Miller; (criticism and theory) Easton & Hardy's Ethical Slut, Barash & Lipton's Myth of Monogamy, Anapol's Polyamory in the 21st Century, Phillips' Monogamy, and Kipnis'Against Love, with possible essays and excerpts by Barthes, Bataille, Beauvoir, Berlant, Bersani, Braunschneider, Craft, Dean, Foucault, Frappier-Mazur, Freeman, Gallop, Halberstam, Klossowski, Roulston, Rubin, Warner, Wennerstrom, and your instructor; (film/TV) Fanny HillDangerous LiaisonsCruel IntentionsGothicMansfield ParkElective AffinitiesContemptCrashShort BusVicky Cristina BarcelonaThe L WordBig Love,True Blood. When possible, we will also coordinate visits (either physical or virtual) of a few guest speakers to illuminate some of the key elements of our course topic.

*Note: please feel free to contact Prof. Nagle with any questions or concerns, and for recent updates to the course as it is under development: christopher.nagle@wmich.edu.

 

English 5970: Studies in English - Scarlet Letters: Puritanism and Anglo-American Literary Culture

Wednesdays, 4:00 – 6:20;
Dr. Elizabeth Bradburn and Dr. Scott Slawinski
Fulfills: Ph.D. distribution requirement for EITHER Early American Literature OR Renaissance Literature; M.A.-level literature elective

This course offers graduate and advanced undergraduate students an opportunity to interrogate and challenge one of the most entrenched institutional boundaries in the discipline of English Studies: the division between British and American national literatures. We will read alongside each other texts that are traditionally taught in separate courses: the travel narratives, poetry, sermons, novels, autobiographies and other kinds of writing that Puritans on both side of the Atlantic produced. The course will be team-taught by specialists in both British and American seventeenth-century literature, and will focus on questions such as: What new and emerging genres were available to and developed by the Puritans? To what extent did they see themselves as participating in a literary tradition? What was the shared spiritual experience of English and early American Puritans? How did their practices and institutions differ? How did these experiences inform their writing? How did America‘s status as a colony affect its literary culture? In what ways did literary influence pass in both directions across the Atlantic? How was the rise of female literacy and authorship in the seventeenth century linked with the Puritan cause?

This course will be engaging not only to students of translatlantic culture but also to those interested in religion and literature, travel literature, lyric and narrative poetry, origins of the novel, gender studies, and postcolonial studies. Primary texts will include (but are not limited to) the captivity narratives of Mary Rowlandson and others; Robinson CrusoeParadise Lost, the devotional lyrics of Edward Taylor, and sermons and spiritual autobiographies from both sides of the Atlantic. In addition, we will look at some literary responses to the Puritans by their contemporaries. We will also engage with critical literature on Puritan texts and traditions, with the aim of familiarizing students with professional scholarly research and academic writing conventions. Course requirements will include a researched seminar paper (10-15 pages for undergraduate students, 20-30 for graduate students), shorter pieces of writing, an in-class presentation (10-minute presentation on a critical topic for undergraduates, 30 minutes leading class discussion on a critical topic for graduate students), and regular and substantive participation in class discussions.

 

English 5970: Studies in English - Style, Identification, and Persona in Professional Writing

Mondays, 4:00-6:20; Brown 1045
Dr. Brian Gogan
Fulfills: Ph.D. or M.A.-level elective.

When you design documents and interfaces, you are making rhetorical decisions. Put simply, design impacts the effectiveness of a given text. This course considers design decisions in terms of the rhetorical concepts of style, identification, and persona. We will develop our own understandings of these three rhetorical concepts by reading across rhetorical studies scholarship, trade handbooks, and corporate manuals. We will also conduct empirical research on style, identification, and persona in professional settings. Finally, we will address a situated need (either your own need or a community partner’s need) by composing a professional persona profile, an identity package, and a style guide.

During this course, you will:

  • Apply theories of rhetoric, writing, and design to professional communication
  • Compose a style guide, identity package, and professional persona profile to meet a situated need
  • Assess the effectiveness of your compositions through user research

 

English 6100: Seminar - Theodore Roosevelt and American Literature

Wednesdays, 6:30 – 9:00;
Dr. Katherine Joslin
Fulfills: Ph.D. distribution requirement for American Literature, 1865-1945; M.A.-level literature elective

This graduate seminar will look at movements at the turn into the twentieth century to establish a national identity for the United States through the arts, primarily through literature but also through painting, architecture, and music. The establishment of the Institute of American Arts and Letters in 1898 began to define the nature of American culture, accomplishments, and tendencies. Its creation of the more exclusive American Academy of Arts and Letters in 1904 gave the power of canon formation to very few individuals, including writers we would recognize and expect, including William Dean Howells, Samuel Clemens, Henry James, and Henry Adams; but the Academy also singled out historians, most famously the President of the United States, Theodore Roosevelt. Roosevelt was a respected writer, an avid reader, and a modern, at times (to our ears) even a post-modern critic of literature; more than any other President, he brought writers and the politics of canon formation into the White House. Over the semester, we will consider the political struggles to define and defend the idea of a national literature as the heart of an artistic culture, struggles that were taking place as well in the Modern Language Association and the American Historical Association (Roosevelt served as its president in 1912, delivering his address, "History as Literature"). We will read fiction and non-fiction by early canonical figures—such as Howells, Clemens, James, Adams, John Burroughs, Brander Matthews (an Academy member who was also president of the MLA in 1910), Roosevelt, and William James, who declined membership in the Academy and this critique: "[The Academy] distinguishes certain individuals (with their own connivance) and enabling them to say to the world at large 'we are in and you are out.'" The course will also look at writers who were left out because of race, gender, religion, social class, geography, or even literary genre—such as James Weldon Johnson, W.E.B. DuBois (first African American accepted into the Academy in 1944), Edith Wharton and Mary Wilkins Freeman (both inducted into the Academy finally in 1926), Kate Chopin, Mary Antin, Theodore Dreiser, and Upton Sinclair. We will look at arguments inside and outside the power structures; and turn to critics of the establishment, including H.L. Mencken and later writers. Students will participate in discussion, write response papers to spur conversation, and develop an article-length essay on a writer or group of writers who were involved in the building of a national canon or those excluded from consideration and/or critical of the movement. The course will focus on prose writers, but conversations about poetry in the period are welcome, and the long essay may focus on poetry or poetry and music.

 

English 6110: Literary Forms - Short Short Fiction

Thursdays, 4:00 – 6:20;
Dr. Thisbe Nissen
Fulfills: M.F.A. or Ph.D. in Creative Writing Forms requirement

Short-shorts: a course on the form. Students read a broad spectrum of flash, micro, sudden, mini, nano, quick and hint fiction, as well as theory of the form. Generative prompts and exercises—often using artifacts and found objects—will be developed into texts for workshop.

 

English 6400: The Nature of Poetry

Tuesdays, 6:30 – 9:00;
Dr. Elizabeth Bradburn
Fulfills: Ph.D.-level prerequisite requirement in genre specific course; M.A. prerequisite requirement; for M.F.A. candidates - can serve as forms course requirement for secondary genre; for M.A. in English with an emphasis in teaching students--can serve as an elective

In this course we will read and discuss selected poetry of the sixteenth, seventeenth and late twentieth centuries. We‘ll have a chance to explore the relationship between lyric and narrative modes, the influence of Renaissance writers on contemporary poets, and expressions of sexuality and spirituality in verse. First, we‘ll establish our sense of the lyric voice and its relation to poetic form by considering the poetry of Elizabeth Bishop. Next we will read four influential poetic works of the English Renaissance. Sonnets by Philip Sidney and William Shakespeare will begin our conversation about the expression of desire and the extension of the lyric voice into narrative shapes. George Herbert‘s The Temple will allow us to consider the language of spiritual, as distinct from erotic, desire and to see how a collection of lyrics may make use of non-narrative sequence. John Milton‘s Paradise Lost, which we will read over three weeks, will conclude our look at the Renaissance and begin our examination of narrative verse. After discussing Paradise Lost, we will move to a twentieth century epic poem, Derek Walcott‘s Omeros, followed by Vikram Seth‘s verse novel The Golden GateLove, Death, and the Changing of the Seasons, a narrative sonnet sequence by Marilyn Hacker, leads us back to a consideration of the relationship between lyric and narrative, as well as that between the Renaissance and the present. Louise Glück‘s The Wild Iris, our next reading, links thematically to Paradise Lost and shows the influence of Herbert, as does the poetry of Bishop. At the end of the course, therefore, we will return to Elizabeth Bishop, taking into account Hacker‘s queer sonnet sequence to consider the much debated question of queer sexuality in Bishop‘s poetry. Some selected poems by Adrienne Rich and John Ashbery will round out this conversation. Assigned readings will also include critical and theoretical works throughout the semester.

Requirements include weekly contributions to a class discussion board, one oral presentation on an issue in literary criticism, and a long (15-20 pp.) seminar paper. The final paper must be analytical and deal with an issue in the theory or criticism of poetry, but it may focus on poetic text(s) other than those read in the course.
Students unfamiliar with Paradise Lost may wish to do an initial reading over the summer. There will be a reading assignment for the first class, to be sent by email to registered students in August. Please email elizabeth.bradburn@wmich.edu with any questions.

 

English 6420: Studies in Drama

Wednesdays, 4:00 – 6:20;
Dr. Eve Salisbury
Fulfills: Ph.D.-level prerequisite requirement in genre specific course; M.A. elective; for M.F.A. candidates--can serve as forms course requirement for secondary genre; for M.A. in English with an emphasis in teaching students–can serve as an elective

In this course we study the major genres of medieval drama---liturgical, mystery, morality, miracle, saints' plays---as well as the more secular drama of the early modern period. Focusing primarily, though not exclusively on early English drama, we will read (and occasionally perform in class) select continental plays from the Fleury Playbook, select works of Hrotsvit of Gandersheim (thought to be the first woman playwright), Hildegard of Bingen (dramatist, mystic, and twelfth-century Renaissance woman), the Digby Mary Magdaleneand/or the Croxton Play of the Sacrament, selections from the York, N-Town, Chester, and Towneley mystery cycles, moral comedies---Everyman, Castle of Perseverance, Mankind, The Worlde and the Chylde, Wit and Science (young man falls in love with Lady Science), Johan, Johan (comic love triangle---husband/wife/local priest), the Second Shepherds’ Play, and two early modern interludes---Fulgens and Lucrece and Gammer Gurton’s Needle. We will also study the material aspects of play production as well as the larger social, political, and economic implications to be gleaned from the recently published Records of Early English Drama (REED).

Required Texts:
Bevington, David. Medieval Drama. London: Houghton Mifflin, 1975.
Beadle, Richard and Alan J. Fletcher, eds. The Cambridge Companion to Medieval English Theater. Cambridge: Cambridge University Press, 2008.
Davidson, Clifford, ed. The York Corpus Christi Cycle. Kalamazoo: Medieval Institute Publications, 2011.
Davidson, Clifford and Peter Happé. The Worlde and the Chylde. Kalamazoo: Medieval Institute Publications, 1999.
Supplemental materials will be made available in handouts and online texts.

 

English 6660: Graduate Writing Workshop, Fiction

Mondays, 6:30 – 9:00;
Dr. Jaimy Gordon
Fulfills: Ph.D. or M.A.-level CW workshop requirement

Any given section of this course will focus on either poetry, fiction, non-fiction, or drama. Course organization will emphasize roundtable discussion of student writing. Course may be taken more than once; a student may elect up to 12 credit hours in one genre and up to 18 hours in all. M.F.A. candidates must take at least six hours in their area of specialization.

 

English 6660: Graduate Writing Workshop, Poetry

Mondays, 6:30 – 9:00;
Dr. Bill Olsen
Fulfills: Ph.D. or M.A.-level CW workshop requirement

This class involves extensive criticism of student poems, in a traditional workshop environment. The workshop will also serve as a forum for discussions of aesthetics. Students may be encouraged to work with models, and the class will involve the reading and discussion of at least three books of contemporary poetry.

 

English 6690: Methods of Teaching College Writing

Tuesdays, 4:00 – 6:20; Brown 3045
Dr. Staci Perryman-Clark
Fulfills: Teaching component for Ph.D. and M.A. students

Participants in this course will learn and share strategies for teaching first-year composition. We will consider a range of theoretical frameworks and practical strategies for college composition courses. Writing and research for this course will center on building a personal teaching philosophy and a set of usable strategies and plans for future teaching situations.

Course activities and projects will include discussion presentations, classroom observation reflections, assessment of student papers, a new course design, and a teaching portfolio. Instructors who are teaching college-level writing are the primary audience for this course.

 

English 6910: Research and Scholarship in English Education

Thursdays, 5:30 – 8:00; Brown 3037
Dr. Ellen Brinkley
Fulfills: Ph.D. English Education and M.A. in English with an emphasis in teaching requirement

Many high school and middle school English teachers today are learning to "live the questions" as they conduct classroom and academic research to inform their teaching. English teachers are growing into leadership roles as they share their findings with other teachers, lead sessions at professional conferences, and submit their work for publication. In English 6910 we will read selected research studies that support current best practices in the teaching of reading, writing, literature, and language. We will create a human subjects protocol, develop and refine research questions, and conduct classroom and academic research. Ultimately, we will present our findings in a written paper or article that can be submitted for publication, developed into a curricular plan, or presented at a professional conference. For more information, contact Dr. Ellen Brinkley (387-2581,ellen.brinkley@wmich.edu).

 

Department of English
6th floor Sprau Tower
Western Michigan University
Kalamazoo MI 49008-5331 USA
(269) 387-2572 | (269) 387-2562 Fax