English

The writing of poetry, fiction, and creative nonfiction. Experience not necessary, but students should expect to complete weekly exercises, share work aloud, and write responses for peers. In addition, extensive reading and analysis of pieces by established writers in a variety of literary forms.

A study of the forms, techniques, and traditions of a shape-shifting genre that can be understood as arising from the long tradition of the “essay.” Creative Nonfiction includes forms as diverse as the lyric essay, memoir, profile, critique, rant, and review; inspired and researched, it is a form that transforms lived experience into literary art. The course will explore the writings of literary essayists from antiquity to the present.

A study of the forms, strategies, voices, and visions of  poetry across time. An ever-changing art form related to song, poetry predates literacy; today, through imagery, implication, indirection, and other means, poems continue to offer writers and readers ways to give voice to the ineffable. We will examine how poetic form and content interact, and consider the unique powers and possibilities of poetry’s metaphoric language to address all aspects of life.

A study of the forms, techniques, and traditions of fiction across time.  Fiction has been said to be a means of imaginative escape, a way to gain deeper understanding of the external world, “the lie through which we tell the truth,” and a way to acquire a deep empathy for others.  This course will explore the complex power of fiction in a variety of manifestations, from the short story to the novella and the novel.

A study of plays as literary texts, examining the forms and techniques of drama across cultures and time periods. We will consider the dynamics of reading (as opposed to watching) plays and will discuss how dramatic texts are developed and interpreted through performance. 

The study of selected texts in the humanities, with particular attention to literature written in English, offered at the introductory level and designed to fulfill the humanities distribution requirement. These courses are writing intensive (involving at least 18 pages of formal, graded writing assignments and including instruction in academic writing) and involve a substantial amount of reading. Subjects for the section change from semester to semester and year to year in order to provide students with a variety of choices for literary study at the 200-level. See course schedule for any current offerings.

What draws us to horror? From haunted houses to slasher films, gothic novels to teen vampire fiction, mindless zombies to maniacal psychopaths, the passion for scary stories has remained an indelible part of American culture, reflecting our anxieties back to us. This course takes a closer look at the tradition of horror in American culture, from seventeenth-century accounts of the Salem Witch Trials to twenty-first century feminist horror; classic tales by Poe, Charlotte Perkins Gilman, and Edith Wharton to weird fiction by H. P. Lovecraft and Thomas Ligotti; mid-century horror by Shirley Jackson and Richard Matheson, to recent masters of the form like Clive Barker, Stephen King, and Carmen Maria Machado. We'll also watch several films by directors such as John Carpenter and Jordan Peele, complementing these primary texts with theoretical readings on the nature of horror, from the eighteenth-century gothic to Freud's uncanny, "monster theory" to the "spectral turn." Finally, the course will interrogate canons of taste and art, highbrow and lowbrow, respectable "literary" fiction versus disparaged mass-market genre fiction. When you're done reading for the night, you might want to leave the light on...

This course will study a series of literary works that engage with the idea of being human. At the center of our course of study is an exploration of the many intersecting elements that could be said to make us human, such as grief, love, anger, selfishness, envy, empathy, cruelty, reason, confusion, memory, imagination, an appreciation of beauty, morality, and endurance through suffering. Some works study humanity as revealed in grand and noble gestures, terrible crimes, or tragic self-destruction; others focus on ordinariness and reveal that the mundane can be extraordinary in revealing the essence of humanity in both its brokenness and its goodness. We will examine the way stories and poetry can open up a space for us to understand the complexity of humankind. Note: course meetings will occur at the Washington State Penitentiary, and the class will be composed of incarcerated and non-incarcerated students. Students must follow all rules and guidelines of the Penitentiary. Consent of the instructor is required, and students must also submit to, and pass, a criminal background check conducted by the Penitentiary. All semester, the course will meet at a non-standard time. Interested students should contact the instructor as soon as possible.

From Macbeth, Shakespeare's 1606 tragedy of witchcraft and ambition, to Jen Silverman's 2018 Witch, a tongue-in-cheek drama of a woman's deal with the devil, few figures have had as lasting an impact on literature as the witch. Our task in this course will be to consider the aesthetic, religious, and social structures that have made the witch such an enduring figure. We will study the cultural fascination with witches by exploring their literary representation from the premodern to the present day in a range of works including plays, novels, and poems. To contextualize our reading, we will pair our literary study with analysis of archival documents produced by witches (testimonies, spell work) and about witches (trial records, witch hunt manuals, and true crime pamphlets).

How do displacement, difference, and transfer mark the work of migrant writers? What kinds of cultural contests, exchange, violence, and absorption do these works portray as products of migration? How do they show people negotiating these processes at times of massive social and technological change? How do the aesthetics of border-crossing writers themselves reflect the conditions of migration? We will address such questions through a study of anxious introspection, contempt, anger, melancholy, and irony, as well as attitudes to cultural confusion and mixture, in works by Joseph Conrad, Elizabeth Bishop, George Lamming, Derek Walcott, Salman Rushdie, Colm Tóibín, Edward Said, and Edwidge Danticat. May be taken for credit toward the major's "Underrepresented Literatures" requirement.

From Lysander's "The course of true love never did run smooth!" to Lady Macbeth's "Come, you spirits / That tend on mortal thoughts, unsex me here," Shakespeare's plays and poems grapple with erotic love, human sexuality, and the complex workings of gender in human experience. Writing for the English stage during a period when female roles were played by male actors, Shakespeare often explored the ways in which gender is constructed and performed, yet his writings also include archetypes of masculinity and femininity; and he fashions lovers whose passions and desires range from the sublime to the ridiculous. The course will introduce students to college-level study of Shakespeare's poetry and plays, with particular attention to the themes of love, sex, and gender. May be taken for credit toward the Gender Studies major or minor. Runs concurrently as English 353; students enrolled in 353 will be required to complete additional readings in Shakespeare criticism and write a research paper on a topic of their choosing related to the course material.

“What ish my nation? Who talks of my nation?” asks the enraged Irish captain MacMorris, speaking in dialect as he confronts the Welsh captain Fluellen in Shakespeare’s Henry V. Not only in his history plays, but in his comedies, tragedies, and romances, Shakespeare explores both how race, ethnicity, and nationality are constructed and how these concepts shape individual identities and social interactions. Shakespeare not only worked to define what it meant to be “English” in the late sixteenth and early seventeenth centuries, but helped to shape the English language itself—which only a tiny percentage of the world’s population spoke at the time he wrote his plays—into England’s most powerful global export. The course will introduce students to college-level study of Shakespeare’s poetry and plays, with particular attention to the themes of race, nationality, and power. May be taken for credit toward the Indigeneity, Race, and Ethnicity Studies major or minor.

“Some are born great, some achieve greatness, and some have greatness thrust upon ’em.” This mock proverb tempts Twelfth Night’s Malvolio to fantasize about social mobility—an ambition met with comic but humiliating ridicule. Across his works, Shakespeare interrogates the social, economic, and gendered structures that stratified early modern communities. He examines various modes of service, leadership, and artistry, including the craft of poetry. Mixing high art with realism and humor, he labors to engage diverse audiences, ranging from those who stand in the yard to those so wealthy that they can pay to sit on the stage. The course will introduce students to college-level study of Shakespeare’s poetry and plays, with particular attention to the themes of work, wealth, and status.

“Who can control his fate?” Othello asks in his last moments upon the stage, after falling prey to Iago’s manipulations and punishing his wife for imagined sins. Throughout his plays, Shakespeare repeatedly grapples with questions related to belief and power. In tragedy, comedy, and romance, he explores the boundaries between the worldly and the supernatural, as well as the limits of free will. Interweaving politics and religion, ethics and philosophy, Shakespeare’s texts confront audiences with the existential and moral dilemmas that make us human. The course will introduce students to college-level study of Shakespeare’s poetry and plays, with particular attention to the themes of faith, fate, and virtue.

A survey of writing by indigenous peoples of the present-day United States. This reading-heavy course will focus its attention on a small number of distinctive indigenous literary traditions, possibly (but not necessarily) including the Iroquois confederacy of the U.S. Northeast and southeastern Canada, the Creek nation of the U.S. Southeast, the Kiowa peoples of the Southwest, and the peoples of the Columbia Plateau. Aside from reading, assignments will include exams and formal essays. May be taken for credit toward the Indigeneity, Race, and Ethnicity Studies major or minor. May be taken for credit toward the major's "Underrepresented Literatures" requirement.

A study of the forms, techniques, and traditions shared by Black writers in colonial America and the U.S. from the earliest known writing in the Eighteenth Century to the present. Topics will include the way Black writers (especially enslaved and formerly enslaved persons) forged spaces for expression in the American public sphere, debates about the appropriate qualities and purposes of “Negro Literature” in the early 20^th century, the innovations and explorations of the Black Arts Movement, and representations of history and identity pertaining to African Americans in the wake of the Civil Rights Act. Aside from reading, assignments will include exams and formal essays. May be taken for credit toward the Indigeneity, Race, and Ethnicity Studies major or minor.

An intermediate workshop in fiction writing offering students the opportunity to expand their knowledge of fundamental techniques and important works in the genre. Students will write original short stories and experiment with strategies and structures through exercises meant to increase their awareness of, and proficiency in, the elements of fiction. Extensive analysis of peer work and important established models in the genre. Weekly assignments in reading and writing to develop critical and creative faculties. Final portfolio of creative and critical work.

An intermediate workshop in poetry writing, intended to expand knowledge of fundamental techniques, and to familiarize students with many important writers in the genre. Students will have the opportunity to write and revise poems based on prompts as well as on their own. There will be weekly reading and journal exercises, and extensive analysis of peer work and established models to develop critical and creative faculties. Final portfolio of creative and critical work.

An intermediate workshop in creative nonfiction writing, intended to expand knowledge of fundamental techniques, and to familiarize students with many important writers in the genre. Students will write original essays and experiment with strategies and structures through exercises meant to increase their awareness of, and proficiency in, the elements of nonfiction. Extensive analysis of peer work and important established models in the genre. Weekly assignments in reading and writing to develop critical and creative faculties. Final portfolio of creative and critical work.

Courses will cover one area of underrepresented literatures in depth. See course schedule for any current offerings.

A course in practical criticism designed to introduce students to some of the approaches that can be used in literary analysis.

An intensive advanced workshop in fiction. Students will continue to develop their proficiency in fiction writing by reading deeply and analyzing established models, completing exercises, producing drafts of original stories and revisions, participating in discussions of peer work, and giving presentations based on close readings. Final portfolio of creative and critical work, which may include some consideration of where the student’s work fits into a fiction-writing tradition.

An intensive advanced workshop in poetry. Students will have the opportunity to develop proficiency in poetry writing by completing exercises, producing drafts and revisions of poems for peer discussions, reading deeply and analyzing established models, and actively participating in rigorous and constructively critical discussions. Weekly poem assignments, as well as reading and journal exercises. Final portfolio of creative and critical work.

An intensive advanced workshop in “the fourth genre,” creative nonfiction. Students will have the opportunity to experiment with form, to address a range of subjects in weekly creative nonfiction pieces, and to read deeply and analyze established models as well as peer work to develop important critical faculties. Students will be expected to participate actively in rigorous, constructively critical discussions. Weekly exercises, as well as reading and journal assignments. Final portfolio of creative and critical work.

Courses designed to introduce students to the literature and culture of England in each of six literary periods: the Middle Ages (English (336), the Renaissance (English 337), the Restoration and 18th Century (English 338), the Romantic Period (English 339), the Victorian Period (English 340), and 1900-Present (English 341). Also included in this category are courses covering in depth particular topics in pre-Romantic English literature (English 335). The specific focus of each course will vary from year to year. Topics in a particular literary period may be taken a total of two times, but the second will count as an elective. See course schedule for any current offerings.

The Middle Ages was a period of significant environmental crisis. Extreme drought, flash flooding, and volcanic eruptions, led to widespread agricultural failure, famine, and, consequently, a steep rise in climate refugees. And yet, medieval representations of nature and the natural world, while often bleak, were also imaginative, playful, and hopeful. This course will explore these tensions and contradictions in medieval understandings of nature and environmental crisis through a study of the drama, folklore, poetry, riddles, and animal fables of the period. By examining these literary representations of nature and the environment, we'll explore how medieval people mourned environmental disaster, critiqued human sources of ecological crises, and imagined better futures. May be taken for credit toward the Environmental Humanities major.

"Poets are the unacknowledged legislators of the world," Percy Bysshe Shelley passionately declared at the end of his essay on poetry. His sentiments reflect a larger insistence during the Romantic era that poetry was profoundly meaningful, and could change the world. This class will explore the many ways poets imagined their craft as transformative. We will look at the way the major Romantic poets (Wordsworth, Blake, Coleridge, Shelley, Keats, and Byron) reconfigured the poetic forms they inherited to make them more responsive to a host of literary, cultural, and political revolutions. We will contrast their work with the poetry of other late 18th- and early 19th-century writers, including emerging working-class poets, regional poets, women poets, abolitionist poets, and antiquarian and gothic poetry. We will pay particular attention to the relationship between nature and transformation in these poems, viewing poetic production of the period through an eco-critical lens. May be taken for credit toward the Environmental Humanities major.

The novelist Lawrence Norfolk has praised the maximalist novel as a "pagemonster" that displays ethical generosity, complex considerations of difference or even contention, and room for experimentation through its sheer capaciousness. Linking such dynamics with theorizations of postmodernity by Jean-François Lyotard, Fredric Jameson, Linda Hutcheon, and Jean Baudrillard, this course will study four large, celebrated novels: Salman Rushdie's Midnight's Children, Martin Amis's London Fields, Sarah Waters's The Night Watch, and David Mitchell's Cloud Atlas.

This course examines how Black writers and filmmakers use fictionalized narratives of American history as a means to contest predominant narratives of African Americans’ past. We will discuss how African American artists highlight hitherto obscure and whitewashed events, and call attention to the forms by which largely white-authored representations of the past misrepresent or exclude Black histories and memories. We will pay particular attention to community flourishing independent from as well as despite institutional structures that pose substantial challenges to community cohesion, intergenerational wealth accumulation, and positive conceptions of Black selfhood in historically racist formulations of U.S. nationalism. Writers and films may include Zora Neale Hurston, Toni Morrison, Charles Johnson, Paul Beatty, Danzy Senna, as well as Bamboozled, Judas and the Black Messiah, The Last Black Man in San Francisco, and others. Fulfills the English Major “Underrepresented Literatures” requirement. May be elected for credit toward the Indigeneity, Race, and Ethnicity Studies major and minor.

A Special Topics course, with a topic that will vary every year, that examines one area of American literature in depth. See course schedule for any current offerings. Topics in a particular literary period may be taken a total of two times, but the second will count as an elective.

Despite popular mythologies to the contrary, New England was born far less from conformity and homogeneity than it was by collisions and conflict. This course will begin by understanding the Algonquian-speaking peoples' ways of knowing prior to the arrival of Europeans. It will then look at the construction of New England colonies as a dynamic exchange between vibrant Indigenous cultures seeking to re-establish a political world disrupted by epidemic disease, and the so-called Puritans whose desperate attempts at forging uniformity led to factionalism and political skullduggery. As the region developed, pernicious notions regarding property, voice, personhood, and morality infused Euro-American modes of self- and community expression, but which ultimately gave birth to a body of materials recognized by many scholars as classics. Women challenged patriarchal constructions of society; American Indians developed on their long-held and still-active conceptions of sovereignty; Black writers wrote against and rewrote forms of captivity; and society fumbled about from crisis to crisis until civil wars resulted in an infant US. Then the contest for the soul of that nation continued on in script and print, as well as other modes of communicating. In the meantime, the voices of marginalized groups took on distinctive forms in English, which incorporated the logics of colonialism as a means to resist the process, while also developing ideas of self-expression to foreground their own values, aesthetics, and lifeways.

This course offers an introduction to literature by American women from the late eighteenth to the early twentieth century. Over the fourteen weeks of the course, we'll ask a series of questions: How have female authors deployed literature to advocate for civil rights, combat sexism, and give artistic shape to their varied lived experiences? How have writers exploited the possibilities of their preferred literary genres to challenge artistic, social, and political conventions? At the same time, what constraints have women faced in their attempts to make their voices heard? How has literary history privileged and excluded certain kinds of writing by women and why? Finally, how have writers navigated intersectional identities of gender, race, and sexuality? Readings will cover a range of genres and styles, from poetry and short stories to essays and novels, sentimentality to realism, gothic ghost stories to utopian fiction, as we explore the developing tradition of American women's writing. The authors treated will change regularly though will likely include writers such as Hannah Webster Foster, Phillis Wheatley, Harriet Beecher Stowe, Louisa May Alcott, Fanny Fern, Margaret Fuller, Emily Dickinson, Harriet Jacobs, Kate Chopin, Pauline Hopkins, Emma Lazarus, Sui Sin Far, Marianne Moore, Zora Neale Hurston, and many others.

Covers early and middle American literature. Topics in a particular literary period may be taken a total of two times, but the second will count as an elective. See course schedule for any current offerings.

Course description TBD.

Covers rotating Variable Topics on major movements in modern and contemporary American writing in alternating years: one focuses on literary representations of the built environment, and the other considers literature influenced by or addressing Christianity and Christian themes. Topics in a particular literary period may be taken a total of two times, but the second will count as an elective. See course schedule for any current offerings.

A study of medieval England’s most famous, influential, and humorous poet. Course texts will include The Canterbury Tales, Troilus and Criseyde, and select shorter poems. Students will learn to read texts in the original Middle English. May be taken to count toward the major’s “Early Period British Literature” requirement.

From Lysander's "The course of true love never did run smooth!" to Lady Macbeth's "Come, you spirits / That tend on mortal thoughts, unsex me here," Shakespeare's plays and poems grapple with erotic love, human sexuality, and the complex workings of gender in human experience. Writing for the English stage during a period when female roles were played by male actors, Shakespeare often explored the ways in which gender is constructed and performed, yet his writings also include archetypes of masculinity and femininity; and he fashions lovers whose passions and desires range from the sublime to the ridiculous. The course will expose students to advanced-level study of Shakespeare's poetry and plays, with particular attention to the themes of love, sex, and gender. May be taken as a 300-level elective for the English major. Runs concurrently as English 230; students enrolled in 353 will be required to complete additional readings in Shakespeare criticism and write a research paper on a topic of their choosing related to the course material.

The writings of John Milton (1608-1674) played a crucial role in shaping what we now know as Modernity. We will study his poetry and prose, with particular attention to his ground-breaking political treatises and his enormously influential epic Paradise Lost.

An intensive study of one influential English-language author, designed to include texts from the beginning to the end of that writer's career. See course schedule for any current offerings.

This course will expose students to the major contemporary theoretical approaches to literary studies. We will examine a broad array of critical schools and perspectives, including reader-response theory, feminism, poststructuralism, and postcolonial studies. We will pay special attention to the recent "Ethical Turn" in literary studies influenced by the works of French philosophers Emmanuel Levinas and Jacques Derrida. May be taken for credit toward the French and Francophone Studies major, Gender Studies major, or Indigeneity, Race, and Ethnicity Studies major. May be elected as Global Literature 395.

This Variable Topics course will examine texts from former colonies in South Asia, Africa, the Middle East, the Caribbean, and Australia. We will study how these works negotiate the past and present, and how they explore multiple forms and conditions of colonialism and postcolonialism. The course will discuss works of literature, as well as theoretical and critical texts. Offered annually. May be taken for credit toward the major’s “Underrepresented Literatures” requirement. See course schedule for any current offerings.

Taking Edward Said's stress on unlearning dominant modes of recording history and Achille Mbembe's work on a sense of futurity through the "recreation of humanity" as its ignition, this course will explore efforts to reimagine cultures, nations, selves, and global relations in a wide range of postcolonial literature and theory. We will focus especially on the risks in such reimagining, and interrogate the rapidly canonized relations of virtuous self-silencing and the production of neologisms in anti-colonial arguments. Alongside arguments by Said and Mbembe, we will study works by Gayatri Spivak, Frantz Fanon, Sylvia Wynter, Rabindranath Tagore, Salman Rushdie, Isabella Hammad, Ishion Hutchinson, and Anuk Arudpragasam, among others.

This course examines the rhetorical construction of bodies as well as the ways in which bodies are often used rhetorically. In order to carry out this examination, we will apply a variety of critical rhetorical lenses to written and visual texts. We will be particularly concerned with the intersections of social factors such as gender, race, class, sexuality, and disability and the ways in which these intersections are written on our bodies. We will read texts by classical and contemporary theorists and authors, such as Hippocrates, Quintilian, Judith Butler, Kenneth Burke, Patricia Hill Collins, Debra Hawhee, and Robert McCruer. This course will be writing intensive. May be taken for credit toward the Gender Studies major or minor or the Indigeneity, Race, and Ethnicity Studies major or minor. May be elected as Rhetoric, Writing & Public Discourse 380.

How have literary works represented sexuality and desire? This course studies how constructions of sexuality have been used to define and categorize persons, and how these constructions have in turn shaped and been shaped by literature. Paying particular attention to the ways that these categories have changed over time, works will range from the premodern to the modern, from Margery Kempe to John Donne to Torrey Peters, and we'll pair literary readings with theoretical texts including works by Judith Butler, Jack Halberstam, Josè Muñoz, and Audre Lorde. May be taken for credit toward the Gender Studies major or minor.

In this craft workshop, we'll consider how language functions as shelter, portal, firework, bramble, bridge, wormhole, soufflé, fissure, stallion, willow, trapdoor, or river, among other possibilities. Ah, the glorious sentence! Like artists, architects, or chefs with words, we'll design and create compelling works to share. Weekly reading and writing exercises will celebrate the art of syntax, diction, patterns, rhythm, etc. to illuminate how form informs sense (in poetry, fiction, hybrid, memoir, essay, flash, and fragment); we'll map ways toward meaning, diagramming, unpacking gifts of grammar, playing with punctuation's potential! Grounding abstraction in the stuff of life, we'll notice methods, and powers of natural and constructed archetypes, to explore how language affords us opportunities to translate and enact thought's semblance. We'll contemplate composition, locomotion, and song as we seek models in animal, mineral, and vegetable realms, drafting with intention to locate, wild, and refine our own voices, aesthetics, and ideas. We'll read widely across time and space, savoring sentences and styles of many writers from Maxwell, Woolf, and Márquez to Robinson, Doer, Ausubel, and Le Guin; from Dickinson, Hopkins, and Moore to Hayes, Schiff, Park Hong, and Philips; from Orah Mark, Leach, Davis, and Gladman to Gay, Kapil, Alsadir, and Dungy.

Directed reading and the preparation of written work on topics suggested by the student. The project must be approved by the staff of the department. Thus, the student is expected to submit a written proposal to the intended director of the project prior to registration for the study. The number of students accepted for the work will depend on the availability of the staff. Independent Study may not count as one of the electives fulfilling minimum requirements for the major or minor without prior written approval of the English department.

This course will examine three crucial moments of literary cosmopolitanism, as practiced in modern Britain and as staged in works by Oscar Wilde, Virginia Woolf, and Salman Rushdie. While studying various forms of aesthetic, cultural, and political suture in these writings, we will interrogate common critical views about an ironic detachment in the work of Wilde; inclusion and simultaneous elitism, as instanced by Woolf; and a radical celebration of difference and mixture by Rushdie. We will also explore the concepts of a national culture, patriotism, and "rootedness," as well as idiosyncratic techniques and narrative modes which themselves might reflect cosmopolitanism. Alongside theoretical works on cosmopolitanism, we will examine statements of politics or poetics by Wilde, Woolf, and Rushdie for their pluralist impulses. Supplementing our readings with excerpted texts by other modern writers, we will trace a historical trajectory of cosmopolitan literature from colonial tensions in the late nineteenth century to the opportunities and pressures of globalization in the late twentieth century.

The Romantic Era is now best known for the poetry of Wordsworth, Coleridge, Blake, Shelley, Keats, and Byron. Yet there were many different literary movements in the period. Recent scholarship has identified Scottish Romanticism as a crucial and influential force in the period, one that included a variety of genres. This course will examine the key writers who contributed to Scottish Romanticism. Following the Union of the (English and Scottish) Crowns in 1603 and the Act of Union in 1707, in which Scotland lost its parliament, many Scots felt their nation to be marginalized and powerless.We will examine the strategies and tactics used by the Scottish authors to culturally represent and empower their nation, from the use of dialect, mythology and folklore to the creation of new literary genres and the reformation of old ones. Writers may include: James Macpherson, Robert Burns, Walter Scott, James Hogg, Anne Grant, Joanna Baillie, Susan Ferrier, and Elizabeth Hamilton.

Designed to further independent projects leading to the preparation of an undergraduate thesis in creative writing. The creative thesis, an option for a student of exceptional ability in creative writing, will be a substantial, accomplished collection of work in a particular genre. Limited to, but not required of, senior English majors.

Designed to further independent research projects leading to the preparation of an undergraduate thesis. The creative thesis, an option for a student of exceptional ability in creative writing, will be a substantial, accomplished collection of work in a particular genre. Limited to, but not required of, senior English majors.

Designed to further independent critical and creative research projects leading to the preparation of an undergraduate thesis. The creative thesis, an option for a student of exceptional ability in creative writing, will be a substantial, accomplished collection of work in a particular genre. Required of and limited to senior honors candidates in English. The candidate will be assigned to an appropriate thesis advisor, depending upon his or her field of interest.