Plan for Tuesday

I look forward to seeing/meeting you all soon. In the meantime, remember to:

1. Enroll in the Commons and this site + our “group” via the link you were sent by the Commons team. Email me if you can’t find it or didn’t get it: it would have come to your CUNY email.

2. Introduce yourself via this whimsical prompt on Padlet. It will help us to get to know each other; we’ll also do some kind of ice-breaking activity on Tuesday.

3. You may order books from wherever, but note that the links are on the syllabus document on this site. Be sure to use the ISBNs provided if you shop around (you’ll want the cheap Vintage editions) and note that we’re reading THE UNVANQUISHED first.

welcome

I look forward to meeting/seeing you all in a couple of weeks. In the meantime, feel free to acquaint yourself with the syllabus and the schedule of readings. Note that I’ve changed the original book order, so make sure you get the right books and the right editions: ordering info and ISBNs are on the syllabus.

We’ll not do anything very substantive for our first meeting beyond learning a bit about the course as a whole. By way of getting to know each other, at least in the aggregate, here are the results of the little survey I shared via email earlier this month:

survey

visualizing AA!s network

The computer scientist Charles Hannon has done amazing work in visualizing various aspects of literature: part of what we call the “digital humanities.” Here is a blog post that argues that Faulkner’s “network” in the novel was influenced by the expanse of “rural electification” in the mid-1930s in the rural South. And here’s the diagram, which we’ll look at today:

Beyonce and Faulkner

…bet you never thought you’d see that title, I bet. Florencia sent me a link to this bit from SNL, which is especially relevant in light of the section of the novel we read for yesterday, in which blackness seems to infect Christmas’s feet and grow, zombie-like, upwards.

Here the story is the same, if the mood is comic rather than tragic. If nothing else, the skit pulls back the veil that might make us thing that the citizens of Jefferson express ideas about race that are utterly foreign to 2020…

medium-length entry for Yoknapedia guide (due 10/22)

You have your second entry in our encyclopedic guide to Faulkner’s Yoknapatawpha Co. next week. Note: since a lot of medium-length entries already exist for TSAF and AILD, you are free to substitute either three short entries or one normal blog post (on any topic you like). Here are some useful materials and guidelines:

  • the instructions for how to write the guide are here: scroll down to the “medium” section and be sure to read some of the examples I’ve linked to there from past students.
  • be sure to check the list of entries to shop for ideas and make sure you don’t duplicate someone else’s work. Since I’ve recently reconstructed the site, you should also check the list of entries on the site itself to make sure I haven’t missed something.
  • there are some good research aids on this links page.
  • when you’re finished writing, submit your copy via this Google Form (also on the syllabus). I’ll post it so you don’t have to sign on to yet another platform.
  • don’t forget to include images or other multimedia when appropriate!

Claudia Rankine, “The Sound and the Fury” poem

It’s not about Faulkner, per se, but a student in another course sent me this poem from the contemporary African American poet Claudia Rankine. If Jason is a Trumpist before such a thing existed, I think we can see echoes of themes in Faulkner’s novel at work in Rankine’s moving meditation on the barriers to self-reflection that seem to be built into whiteness in the US:

"Sound & Fury"

Poetry: "This is what it means to wear a color and believe / the embrace of its touch."

Faulkner and the Jim Crow South

Thought you might appreciate a post on the New York Review of Books site on Faulkner. Michael Gorra observes that Faulkner was steeped in the culture and politics of the “Jim Crow” era of radical segregation that dominated the U.S. South between 1875 and the late 1960s (and beyond). There are references to several of the novels we will read, including TSAF, LIA, and AA:

The Jim Crow South in Faulkner"s Fiction | Michael Gorra

There is a deep congruity between the movements of Faulkner"s mind, with its sense of an inescapable family trauma, and the history and culture of his region, so deep that it hardly seems possible to distinguish between them. So many of the ills he describes are with us still.

Blogging 101

A central feature of this course will be the writing we do on this site. In what follows, I will outline three things:

  • a rationale for why I ask you to blog in the first place, rather than write traditional essays
  • a quick primer on how to create your first post
  • a simple rubric to guide your writing + an example of a good-looking post

First things first: why blog?

1. Blogging is sharable: rather than have a private circuit between you and me, we have a much more dynamic conversation across the entire class.

2. Blogging is public, sort of: I like the idea that we are responsible for our ideas in front of broader audiences. In practical terms, I doubt anyone is listening in most of the time, but I think it’s important that we roll up our sleeves and defend our arguments in an open and public forum as often as possible. And of course, you can show your family/friends/pets what we’ve been up to in class. For those who have reservations about privacy, note that a) you can only be identified via firstname+last initial, so you have relative privacy beyond our class; and b) you are free to delete your posts at the end of class. If anyone has serious reservations despite all this, feel free to contact me. A fuller accounting of rights/responsibilities is here.

3. Blogging is sturdy: rather than forget the piece of paper once it’s been handed back, we can link back to prior statements or observations, or to each others’. If you like, you can leave your posts up for future students to see.

4. Blogging is responsive: rather than only getting comments from me, you’ll comment on and get comments on each other’s work.

So how do you post? Here’s a quick guide to posting on WordPress for newbies. It’s super easy once you figure it out the first time. So here goes:

1. LOG ON: anyone can see the blog site, but only those logged on as “authors” can post. If you simply click on the link you received when I invited you, you can follow the prompts to log in. Two helpful hints:

a) you can always tell when you’re logged in, since there’s a slim black bar across the top that looks like this:

Screenshot 2015-02-06 14.06.48

and b), if you ever want to go straight to the “back end” of the site (called the “dashboard” in WP parlance), throw “admin” on the end of the URL. So, jallred.net/wordpress/faulkner takes you to the site, whereas jallred.net/wordpress/faulkner/admin takes you to the login dialogue and then to the “dashboard.” Try it.

2. START A POST: there are several ways to post. Here’s the easiest: click the <+ NEW> icon in the top middle of the screen and select “post.” It looks like this:

Screenshot 2016-01-27 22.00.33

3. WRITE SOMETHING: “New Post” will take you to a basic text editor. So write something. If you want to get fancy, you can add italics, bold, indentation, insert images or other media, and whatnot. But most of the time you’ll just try to write some reasonable sentences. When you’re done, click PUBLISH on the right (see image below). Or, if you’re not quite ready, you can save it as a draft and reopen it later, via the “POSTS” section of the dashboard. Helpful hint: WordPress autosaves your work every few seconds, so it’s very, very rare to lose stuff. Nonetheless it’s not a bad idea to compose posts on a word processor and then paste them into WP just in case. I personally live dangerously most of the time and have never lost anything, but your call.

We’re good, right? Happy blogging.

What makes for an excellent post? For this class, posts should:

  • contain 400-800 words (use word count in WordPress or your word processor)
  • analyze a text’s form and themes, using quotations and paraphrases of the text with page numbers in parentheses
  • engage the text critically, pointing out the particular ways it imagines, for example, racial or gender identities, relates to other texts we’ve read, harbors unstated assumptions, etc.

Here’s a simple rubric, adapted from Mark Sample, that I will use to evaluate your work (see how the academic blogosphere encourages sharing and exchange? I told you so!):

Rating Characteristics
4 Exceptional. The post is focused and coherently integrates examples with explanations or analysis. It moves beyond summary to engage the text critically,  giving a sharp, original close reading. It makes useful connections to other texts and raises novel questions. It points out aspects of the text that will surprise and stimulate the casual reader: “why didn’t I think of that?!”
3 Satisfactory. The post is reasonably focused, and explanations or analysis are mostly based on examples or other evidence. It provides a dutiful reading of primary text but fails to engage the text more than glancingly. The entry reflects moderate engagement with the topic and/or rehashes what was said in class.
2 Underdeveloped. The post is restricted to summary, without consideration of alternative perspectives, and may contain misreadings of the text at one or more points. The entry reflects passing engagement with the topic.
1 Limited. The journal entry is unfocused, or simply rehashes others’ comments; it fails to grasp fundamental aspects of the argument.
0 No Credit. The journal entry is missing or consists of one or two disconnected sentences.

Last but not least, here’s an example of a good-looking post. We won’t read The Unvanquished this time, so the particulars won’t be familiar. But note how the author:

  • draws a tight focus on something “a bit weird” at the top: most casual readers won’t have focused on the way sleep is thematized in the text.
  • uses quotations from different points in the text to show how the theme is threaded throughout the text.
  • balances quotation/paraphrase and original analysis so we feel ourselves carries along by an argument, not just a grab-bag of moments.

Your results may vary, and that’s fine. I just wanted you to see what I consider strong work before you launch into it yourselves.

A way in…

Check out this playful yet profound portal into reading Faulkner’s work.  We’ll be talking a lot out the subjective experience of reading Faulkner’s work for the first time: what kind of reader he anticipates, how he inducts readers into what Philip Weinstein calls the practice of “unknowing,” how we readers compete, as it were, with narrators and characters for knowledge of past events.  And to be clear, the linked material is just an interesting suggestion by one person for how to start reading Faulkner; it is not any part of a syllabus for our class!