ON THE SCHEDULE: All assigned readings are scheduled for Monday and Wednesday.  Friday will be a day of re-reading; a day to refine and continue our conversations from earlier in the week in light of your MOD Blog posts; a day of collaboration and consultation as we enter our final projects; a day of possible quizzes; and a day to hear poetry via poetry recitations.

[All MOD Blog posts are due Thursday by 8pm | please read and re-read headnotes as we continue to encounter the same author]

Week 1 _____________________

Wed. 1/8	Fri. 1/10
Opening Discussion: The Worlds of Modernism–How do you conceive of the relationship between a poem and its context, between word and world? Course Structure: Beyond the Cult of the Author: Modernism and Time, a Chronological Approach. Demo: “practice post” Handout: What Do We Know? What Do We Want to Know?	Readings Due:Introduction to the Norton Anthology of Modern Poetry (xxxvii-lxiii).  Also, read the course website and come to class with your questions, concerns, and enthusiasms.  In Class: Finalize Blogging Assignments / Schedule

Friday 1/10 Recitation: Prof. VZ

Blog Demo / Discussion

Week 2 _____________________

1855-1868 (Monday 1/13)

[read all relevant author headnotes in ANTH]

• Sign Up for Recitation Fridays
• Sign Up for Blogging Groups

• How to Read a Poem (a few ideas at least)

• 1855: “Song of Myself,” Sections 1-4, Walt Whitman (ANTH 4-6)
• 1855: “Song of Myself,” Sections 15-16 (scroll down–example of extended catalogs not in anthology) (LINK)
• 1856: “Poem of the Proposition of Nakedness,” Whitman (LINK)
• 1857: “Au Lecture,” (scroll to the Lowell translation) Charles Baudelaire (LINK) (compare Baudelaire and Whitman to Longfellow, “Today We Make the Poet’s Words Our Own“).–Also read BIO
• 1857: “Correspondances,” Baudelaire (LINK).
• 1860: “A Hand-Mirror,” Whitman, (ANTH 22-23) (compare to Longfellow “My Lost Youth“)
• 1861: “A une passante,” Baudelaire (LINK)
• 1862: #341, Emily Dickinson (ANTH 36)
• 1867: “One’s Self I Sing,” Whitman (ANTH 3)
• 1868: #1127, Dickinson (LINK)
• XXXX: #632, Dickinson (ANTH 38)
• 1868: #1129, Dickinson (ANTH 40-41)

1877-1898 (Wednesday 1/15)

• 1877: “God’s Grandeur,” Gerard Manley Hopkins (ANTH 76)
• 1877: “The Windhover,” Hopkins (ANTH 77)
• 1885: “[Carrion Comfort],” Hopkins (ANTH 81)
• 1890: “The Lake Isle of Innisfree,” William Butler Yeats (ANTH 94-95)
• 1892: “Shillin’ a Day,” Rudyard Kipling (ANTH 146-147)
• 1895: “We Wear the Mask,” Paul Lawrence Dunbar (LINK)–also read bio
• 1896: “[With Rue My Heart is Laden],” A.E. Housman (ANTH 87)
• 1896: “To an Athlete Dying Young,” A.E. Houseman (ANTH 85)
• 1898: “I look into my glass,” Hardy (ANTH 45)

• PROSE: from The Symbolism of Poetry, W.B. Yeats (ANTH 877-883)

Friday 1/17 Recitation

Blog Assignments: 

• Group 1: CloseReads
• Group 2: Chronos
• Group 3: Critical
• Group 4: Creative
• Group 5: Archival
• Group 6: Off

Week 3 _____________________

[read and re-read all relevant author headnotes in ANTH]

1900-1912 (Wednesday 1/22)

• 1900: “The Darkling Thrush” (originally titled “By the Century’s Deathbed”), Hardy (ANTH 48)
• 1908: “O Black Unknown Bards,” James Weldon Johnson, (ANTH 172-173)
• 1909: “The Fascination with What’s Difficult,” Yeats (ANTH 101)
• 1910-11: “The Love Song of J. Alfred Prufrock,” T.S. Eliot, (ANTH 463)
• 1912: “The Convergence of the Twain,” Hardy (ANTH 53-54)
• 1912: “A Midnight Woman to the Bobby,” McKay (ANTH 500-501)
• 1912: “The Voice,” Hardy (ANTH 57)

• PROSE: from “Romanticism and Classicism,” T.E. Hulme (ANTH 889-895)
• PROSE: The Futurist Manifesto, F.T. Marinetti (1909) (LINK)

Friday 1/24 Recitation

Blog Assignments:

• Group 1: Chronos
• Group 2: Critical
• Group 3: Creative
• Group 4: Archival
• Group 5: Off
• Group 6: CloseRead

Week 4 _____________________

[read and re-read all relevant author headnotes in ANTH]

 1912-1914 (Monday 1/27)

• 1912: “A carafe, that is a blind glass,” Gertrude Stein (ANTH 180)
• 1912: “A waist,” Stein (ANTH 181)
• 1913: “A Pact,” Ezra Pound (ANTH 350)
• 1913: “In a Station of the Metro,” Pound (ANTH 351)
• 1914: “Channel Firing,” Hardy (ANTH 51-52)
• 1914: “Mending Wall,” Robert Frost (ANTH 203-204)
• 1914: “Home Burial,” Frost (ANTH 204-207)
• 1914: “Oread,” Hilda Doolittle (H.D.) (ANTH 395)

• PROSE: “Imagisme,” F.S. Flint (LINK, 3 pages–click through), and “A Few Don’ts by an Imagiste,”Ezra Pound.

1915-1916 (Wednesday 1/29)

• 1915: “To a Steam Roller,” Marianne Moore, ANTH 433)
• 1915: “Sunday Morning,” Wallace Stevens (ANTH 237-240)
• 1915: from “Songs to Joannes,” Mina Loy (ANTH 269-272)
• 1915: “The River Merchant’s Wife: A Letter,” Pound (ANTH 352)
• 1916: “Easter, 1916,” Yeats (ANTH 105)
• 1916: “The Road Not Taken,” Frost (ANTH 209-210)
• 1916: “Chicago,” Carl Sandburg, (ANTH 227)
• 1916: “Subway,” Sandburg (ANTH 228)

• PROSE: Feminist Manifesto, Mina Loy (ANTH 921-925)
• PROSE: From BLAST 1914-15 (ANTH 895-920)

Friday 1/31 Recitation

Blog Assignments:

• Group 1: Critical
• Group 2: Creative
• Group 3: Archival
• Group 4: Off
• Group 5: CloseRead
• Group 6: Chronos

Week 5 _____________________

1916-17 (Monday 2/3)

• 1916: “Sea Rose,” H.D. (ANTH 395)
• 1916: “Garden,” H.D. (ANTH 396-397)
• 1916: “The Young Housewife,” Williams Carlos Williams (ANTH 286)
• 1916: [late entry] “Tract,” William Carlos Williams (ANTH 286-288)
• 1917: “Hysteria,” T.S. Eliot (LINK)
• 1917: “The Harlem Dancer,” Claude McKay (ANTH 501)
• 1917: “Thirteen Ways of Looking at a Blackbird,” Wallace Stevens (ANTH 244-246)
• 1917: “Danse Russe,” Williams (ANTH 288)
• 1917: “Anthem for Doomed Youth,” Wilfred Owen (ANTH 525)
• 1917: “Strange Meeting,” Owen (ANTH 529)
• 1917: “Dulce et Decorum Est,” Owen, (ANTH 527-528)

1918-1919 (Wednesday 2/5)

• 1918: “Disabled,” Owen (ANTH 532-534)
• 1918: “The Fish,”Marianne Moore (ANTH 436-437)
• 1918: “Repression of War Experience,” Sassoon (ANTH 391)
• 1918: Reznikoff (LINK, and see headnote in ANTH 537)
• 1918: “Epitaphs of the War,” Rudyard Kipling (ANTH 150-155)
• 1919: “The Second Coming,” Yeats (ANTH 111)
• 1919: “A Prayer for my Daughter,” Yeats (ANTH 112-113)
• 1919: “Poetry,” Moore (ANTH 438-439)
• 1919: “To His Love,” Ivor Gurney, (ANTH 496)
• 1919: “Laventine,” Ivor Gurney, (ANTH 497-98)

• Prose: “Tradition and the Individual Talent,” T.S. Eliot (ANTH 941-947)
• Prose Supplement: Sigmund Freud, “Mourning and Melancholia (LINK)

Friday 2/7 Recitations

Blog Assignments:

• Group 1: Creative
• Group 2: Archival
• Group 3: Off
• Group 4: CloseRead
• Group 5: Chronos
• Group 6: Critical

Week 6 _____________________

 1920 (Monday 2/10)

• 1920: [O sweet spontaneous], ee cummings (ANTH 547-548)
• 1920: “The Dark Hills,” E.A. Robinson  (ANTH 169)
• 1920: “The Lynching,” Claude McKay (ANTH 502)
• 1920: “Portrait of a Lady,” W.C. Williams (ANTH 289)
• 1920: “Gerontion,” T.S> Eliot (ANTH 470-472)
• 1920: “Hugh Selwyn Mauberley,” Pound (ANTH 354-361)

• PROSE: from Prologue to Kora in Hell, W.C. Williams (ANTH 954-959)

1921-1922 (Wednesday 2/12)

• 1921: “A Negro Speaks of Rivers,” Langston Hughes (ANTH 687-688)
•  1921: “America,” Claude McKay (ANTH 503)
• 1921: “The White City,” McKay (ANTH 503)
• 1921: “The Snow Man,” Wallace Stevens (ANTH 247)
• 1921: “Tea at the Palaz of Hoon,”Stevens (ANTH 247)
• 1922: “Why Do You Feel Differently,” Gertrude Stein (ANTH 195)
• 1922: “Brancusi’s Golden Bird,” Mina Loy (ANTH 273)

• PROSE: from How to Read, Ezra Pound (ANTH 939-941)

Friday 2/14 Recitation

Blog Assignments:

• Group 1: Archival
• Group 2: Off
• Group 3: CloseRead
• Group 4: Chronos
• Group 5: Critical
• Group 6: Creative

After the recitation, Friday’s class will be reserved for discussing DH Creation projects:
Tools, Topics, Timeline 

Week 7 _____________________

1922 (Monday 2/17)

• 1922: The Waste Land, T.S. Eliot, 474-487
• It goes without saying that each of you will be responsible for reading the entire poem.  But I also want you to re-read–to “own” as I’ve often said–one section in particular.  So, last names A-C focus on section 1; D-H on section II; J-M on section III; P-SHI on section IV; and SL-Z on section V.  Please be ready to discuss that sections role within the overarching structure of the poem, noting individual lines and sections that stand out.
• After you’ve deeply considered your own section, it might help to get a sense of what scholars have written about that section, and The Waste Land in general, over the past 50 or so years.  You can visit the collection of criticism on the MAPS homepage to sample this ongoing critical conversation.

1923 (Wednesday 2/19)

• 1923: Spring and All, William Carlos Williams (SAL Intro + 1-45)
• Re-read header for William Carlos Williams (ANTH 283-286)
• 1923: “Spring and All,” William Carlos Williams (ANTH 291-292)

Friday 2/21 Recitation:

Blog Assignments:

• Group 1: Off
• Group 2: CloseRead
• Group 3: Chronos
• Group 4: Critical
• Group 5: Creative
• Group 6: Archival

After the recitations and any remaining business, Friday’s class will be reserved for discussing DH Visualization projects:

Choosing a Topic–informal proposal due 

Week 8 _____________________

1923 (Monday 2/24)

• 1923: Spring and All, William Carlos Williams (SAL 45-the end)
• 1923: “To Elsie,” Williams (ANTH 293-294).

1923-1924 (Wednesday 2/26)

• 1923: “Der Blinde Junge,” Mina Loy (ANTH 274)
• 1923: “Women,” Louise Bogan (ANTH 588-589)
• 1923: [I, Being Born a Woman and Distressed], Millay, (ANTH 512)
• 1923: [Gazing upon Him Now, Severe and Dead], Millay, (ANTH 512)
• 1923: From Cane “The Reapers,” “Harvest Song,” “Portrait in Georgia,” November Cotton Flower,” Jean Toomer (ANTH 559-560 and LINK)
• 1924: “Gertrude Stein,” Mina Loy (ANTH 281)

2/28 Recitations

After the recitations, Friday’s class will be reserved for discussing DH Visualization projects: Project Proposals Due

Blog Assignments:

Week 9 _____________________

+++Spring Break+++

Week 10 ____________________

1925-1927 (Monday 3/10)

• 1925: “The Weary Blues,” Langston Hughes (ANTH 688)
• 1925: “I, Too,” Hughes (LINK)
• 1925: “Sonnet to a Negro in Harlem,” Helen Johnson (LINK)
• 1925: “Yet I Do Marvel,” Countee Cullen (ANTH 727)
• 1925: “Incident,” Cullen (ANTH 728)
• 1925: “Shine, Perishing Republic,” Robinson Jeffers (ANTH 415-416)
• 1926: “Po’ Boy Blues,” Hughes (ANTH 690)
• 1926: “Ars Poetica,” Archibald MacLeish (ANTH 516)
• 1927: “The Watershed,” Auden (LINK)
• 1927: “Hard Daddy,” Hughes (ANTH 692)
• 1927: “Bad Man,” Hughes (ANTH 692)

• PROSE: “The Negro Artist and the Racial Mountain” (1926), Langston Hughes (ANTH 964-967)

1927-1930 (Wednesday 3/12)

• 1927: “Tenebris,” Angelina Weld Grimke (LINK)
• 1927: “Poem Beginning ‘The’,” Louis Zukofsky (ANTH 733)
• 1928: “Ode to the Confederate Dead,” Allen Tate (ANTH 650-652)
• 1928: “Hurt Hawks,” Robinson Jeffers (ANTH 416-417)
• 1930: “Ma Rainey,” Sterling Brown (ANTH 674)
• 1930: “Southern Road,” Sterling Brown (ANTH 673-674)

Friday 3/14 Recitation

Blog Assignments:

• Group 1: Chronos
• Group 2: Critical
• Group 3: Creative
• Group 4: Archival
• Group 5: Off
• Group 6: CloseRead

Week 11 ____________________

1930 (Monday 3/17)

• 1930: From The Bridge, Hart Crane, “Proem” (ANTH 613-614), “Cape Hatteras” (ANTH 631-636); “The Tunnel” and “Atlantis”  (ANTH 641-646)

 1931-1940 (Wednesday 3/19)

• 1931: “Somewhere i have never traveled,gladly beyond,” ee cumming (LINK)
• 1932: “Slim in Atlanta,” Sterling Brown (ANTH 680-681)
• 1935: “Mozart, 1935,” Wallace Stevens (LINK)
• 1936: “Two Tramps in Mud Time,” Robert Frost, (ANTH 218-219)
• 1936: “The Idea of Order at Key West,” Stevens (ANTH 249-250)
• 1939: “The Circus Animal’s Desertion,” W.B. Yeats (ANTH 142)
• 1939: “Politics,” Yeats (ANTH 143)
• 1939: “September 1, 1939,” W.H. Auden (ANTH 801)
• 1939: “1939: “In Memory of W.B. Yeats” Auden (ANTH 798)
• 1939: “Musee des beaux Arts,” Auden (ANTH 797)
• 1940: “What Are Years,” Marianne Moore (ANTH 452)

• PROSE: from Adagia, Wallace Stevens (ANTH 972-975)

Friday 3/21 Recitation

Also, on Friday, revise (and properly categorize) your Final Project post in light of my comments. Include at least 6 sources in a running bibliography.

Blog Assignments:

• Group 1: Critical
• Group 2: Creative
• Group 3: Archival
• Group 4: Off
• Group 5: Closeread
• Group 6: Chronos

Week 12 ____________________

1940-48 (Monday 3/24)

• 1940: “Of Modern Poetry,” Wallace Stevens (ANTH 255-256)
• 1942: “The Bitter River,” Langston Hughes (ANTH 694-696)
• 1942: “The Silken Tent,” Robert Frost (ANTH 222)
• 1942: “The Gift Outright,” Frost (ANTH 224)
• 1942: “Little Gidding,” T.S. Eliot (ANTH 488-493)
• 1944: from The Walls Do Not Fall, H.D., (ANTH 401-405)
• 1944: “[pity this busy monster,manunkind], ee cummings (ANTH 556)
• 1947: “Directive,” Frost (ANTH 224-225)
• 1948: from Cantos, “LXXXI,” Ezra Pound (ANTH 380-384)

1951-1975 (Wednesday 3/26)

• 1951: From Montage of a Dream Deferred, Hughes (ANTH 700-704)
• 1952: “The Plain Sense of Things,” Wallace Stevens (ANTH 266)
• 1953: “The Planet on the Table,” Stevens (ANTH 265)
• 1954: “Debris of Life and Mind,” Stevens (LINK)
• 1954: “Carmel Point,” Robinson Jeffers (ANTH 419)
• 1955: from “Asphodel that Greeny Flower,” W.C. Williams (ANTH 311-317)
• 1962: “Landscape with the Fall of Icarus,” Williams (ANTH 310-311)
• 1965: “Negroes,” Charles Reznikoff (LINK)
• 1969: Cantos, “CXX,” Ezra Pound (ANTH 387)
• 1975: From Holocaust, Reznikoff (ANTH 543-545)

Friday 3/28 Recitation

• Mapping Modern Poetry activity
• On Friday, we will meet in class, but I will also hold additional conferences on Thursday and Friday to  discuss your final project plans. Sign up here

Blog Assignments:

• Group 1: Creative
• Group 2: Archival
• Group 3: Off
• Group 4: CloseRead
• Group 5: Chronos
• Group 6: Critical

Week 13 ____________________

Modernism Now–Haryette Mullen

Monday  3/31 

• 2006: Recyclopedia, Harryette Mullen (a compilation of three earlier books–Trimmings, S*peRM**K*T, and Muse & Drudge, published between 1991 and 1995).  For Monday, please read the foreword, “Recycle This Book” (REC vii-xi) as well as the first two books in the collection (REC 1-96).
• I had originally asked that you re-read excerpts from Gertrude Stein’s Tender Buttons (ANTH 180-184).  I encourage you to do so.  But I have also prepared a selection of Stein’s poetry from Tender Buttons that is particularly relevant.  You can access those excerpts here.
• If you want to read a bit about what Mullen thought she was accomplishing inTrimmings, you can peruse some excerpts from her interviews.  After the interview selections, I have a few choice quotes from a critic, Elisabeth Frost, writing about Trimmings.
• Framing Muse and Drudge: some critical reflections

Wednesday 4/2

• Muse & Drudge, Haryette Mullen (REC 97-178).

[Friday 4/4 reserved for in-class collaboration on DH Creations Project]

FINAL PROJECT SIGN-UP

Blog Assignments:

• Group 1: Wildcard
• Group 2: Off
• Group 3: Wildcard
• Group 4: Wildcard
• Group 5: Wildcard
• Group 6: Wildcard

Week 14 ____________________

Modernism Now–Jeffrey Pethybridge

Monday  4/7 & Wednesday 4/9

[Friday 4/11 we will have a Skype conversation as a class with Jeffrey Pethybridge and remaining time will be reserved for work on DH Creations Project: we will still meet in class, but work largely independently.  I will be available for consultation.  This will be a particularly good time for you to get together in your groups]

Blog Assignments:

• Group 1: Off
• Group 2: Wildcard
• Group 3: Wildcard
• Group 4: Wildcard
• Group 5: Wildcard
• Group 6: Wildcard

Week 15 ____________________

Presenting Modernisms: Exam Prep on April 14, Presentations on April 16, 18, 21, & 23

• DH Presentations: Schedule (see week 13 signup sheet)

WEEK 16 ____________________

Final Day of Class: Wednesday, April 23

[Final Exam Date]

The exam will be held on Saturday, April 26 between 12:00 – 3:00–the same location as our regular class.