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North American Fiction and Film

Welcome to North American Fiction and Film on the Web. We hope that this unit will give students and other browsers an opportunity to explore one of the units offered in the Literary Studies major here at Central Queensland University, a unit we hope you will find both interesting and challenging. We will commence with an introductory chapter which discusses some issues relating to the study of North American fiction and film, and then we will consider a selection of appropriate novels in subsequent chapter. Each chapter raises a number of general issues related to North American fiction as well as several specific issues associated with the reading of the particular text under discussion. Obviously, the web also allows you to browse within this framework according to your interest.Happy reading!
If you have any difficulties at all please do not hesitate to contact us.
Yours sincerely
Dr John Fitzsimmons
Coordinator and unit lecturer

Dr Wally Woods
Senior lecturer, Literary Studies

Table of Contents

General Details

Chapters and Texts

Topic

Introduction
Poe, Edgar Allen. "The Fall of the House of Usher" (1839), "The Murders in the Rue Morgue" (1841), "The Purloined Letter" (1845). The Fall of the House of Usher and Other Writings. London: Penguin, 1986. (Chapter 1)

Melville, Herman.
Bartleby and Benito Cereno. New York: Dover Publications, 1990 (1856). (Chapter 2)

Stein, Gertrude.
"Melanctha." Three Lives. New York: Penguin, 1990 (1909). (Chapter 3)

Faulkner, William
. As I Lay Dying. Harmondsworth: Penguin, 1963. (Chapter 4)

Plath, Sylvia.
The Bell Jar. London: Faber and Faber, 1963. (Chapter 5)

Kesey, Ken.
One Flew Over the Cuckoo's Nest. London: Picador, 1962.* (Chapter 6)

Irving, John.
The World According to Garp. London: Corgi, 1976.* (Chapter 7)

O'Connor, Flannery.
Everything that Rises Must Converge. London: Faber and Faber, 1966. (Chapter 8)

Morrison, Toni.
The Bluest Eye. London: Picador (Pan Books) 1970. (Chapter 9)

Abish, Walter.
How German Is It. London: Faber and Faber, 1979. (Chapter 10)

Atwood, Margaret.
The Handmaid's Tale. London: Virago, 1985.* (Chapter 11)

Esquival, Laura.
Like Water for Chocolate. London: Black Swan, 1993.* (Chapter 12)
  • * There is a film version available of these texts. We recommended that you view these films, if possible, in addition to reading the texts.
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    Unit Details

    Unit aims

    The aims of this unit are:

    Unit rationale

    We take as axiomatic the idea that literature is not about absolute "truths" of the "human condition." Rather, the ways that literature has been written and read make it a "site of struggle" over the values and meanings in and through which various conceptions of the world are known and challenged. We are concerned, therefore, to explore the set texts in conjunction with the orthodoxies in which, and with which, they were written and are read.
    In each chapter of this unit you will find the following: [Top of Page | Literary Studies Home Page]

    Assessment

    Essay preparation: General procedures

    Following are guidelines for the preparation of essays:

    Assessment criteria for assignments

    In marking your assignments, tutors will be asking themselves the following questions: For a full description and discussion of these assessment criteria, see Appendix 1 of the Study Guide.

    Assignment grading

    A mark will be recorded on the front of the Assignment Folder of all assignments which have been assessed. All assignments and essays must be submitted before a final grade can be issued.
    Assessment for this unit will be made using the following grades:
    Grade Score Range HD 85% +
    D 75-84%
    C 65-74%
    P 50-64%

    Extensions to assignment deadlines

    Please read this section carefully. Failure to submit essays by the due date may result in a loss of marks unless an extension of time has been approved. All assignments must be posted by the due date as specified for each assignment.
    Students requiring extensions should adhere to the following procedures: Note: Assignments and essays submitted without extension may suffer a penalty equivalent to the loss of one third of marks for each week the assignment or essay is late. For the last essay, extensions beyond the study break will only be granted in extenuating circumstances.

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    Essay topics

    Essay details

    The formal assessment for this unit will be on the basis of two essays worth 40% and 60% respectively.

    Essay 1

    Due date: Friday of Week 7
    Length: 2000 words
    Marks: 40%

    Topic:

    Please answer one (1) of the following: 1) Of Edgar Allen Poe's stories, Wally Woods writes that "Through contemporary theory we are able to relocate these stories as explanations of different ways of knowing and an explanation of the repressed (primarily sexual) forces in the unconscious" (Study Guide 1-1). Discuss this comment with reference to at least two of the set stories: "The Murders in the Rue Morgue," "The Purloined Letter," and "The Fall of the House of Usher."

    2) It has been said of Herman Melville's "Bartleby" and "Benito Cereno" that they portray "facets of the radical American innocent in his/her struggle against the constraining effects of their communities." Discuss this comment with reference to both "Bartleby" and "Benito Cereno."

    3) "In 'speaking on behalf' of Black Americans and their sexuality (both male and female), Gertrude Stein's 'Melanctha' runs the risk, given that it is largely a story about a Black American woman's experience written by a White woman, of reinforcing certain White stereotypes about Black Americans." Discuss.

    4) William Faulkner's novel As I Lay Dying is said to be a novel which uses a fugue narrative: "In the fugue, a definite number of voices combine in stating and developing a theme contrapuntally, the interest being cumulative. The theme or subject is the main voice which conditions the whole work and attracts other voices which complement and conflict with it." Discuss the novel in the context of this comment.

    5) Lynda K. Bundtzen argues that Sylvia Plath's novel The Bell Jar is an "adolescent crisis novel" where Esther Greenwood's account of her behaviour is symptomatic rather than explanatory of her "emotional" or "schizoid" detachment. Bundtzen believes that it is left for the reader to provide such explanations (Plath's Incarnations 111-112). Discuss.


    6) Wally Woods argues that in Ken Kesey's novel One Flew Over The Cuckoo's Nest , "Randle P. McMurphy is a 'text-book' case of a Black Humour hero, fighting vigorously against the 'system.' Unfortunately, though, his fight is one that is ultimately both highly sexist and racist. [Moreover, the novel] accedes to what has become known in American culture as the conspiracy theory; that is, the theory that 'they' (the forces of hostile society) are out to crush the individual" (Study Guide 6-1). Discuss (you may, if you wish, use the film version of the novel as a "reading" in this discussion).

    Essay 2

    Due date: Friday of Week 13
    Marks: 60%
    Length: 3000 words

    Topic:

    Please answer one (1) of the following: 1) Wally Woods argues that John Irving's novel The World According to Garp, is a piece of overt metafiction. Rather than working by bringing the author himself into the text, this novel operates as self-conscious fiction by thematising the art of creating the 'real' through 'stories'" (Study Guide 7-1). Discuss (you may, if you wish, use the film version of the novel as a "reading" in this discussion).

    2) Hermione Lee says of Flannery O'Connor's collection of stories, Everything That Rises Must Converge, that "Ultimately her plot is always the same: characters who are 'freaks' because 'they have no sacraments'-but whose cast of mind makes them particularly susceptible to ideas of salvation and damnation-are violently introduced to the possibility of grace" ("Introduction" Everything that Rises Must Converge ix). Discuss this comment with reference to at least four of O'Connor's stories.

    3) "Claudia, the part-time narrator of Toni Morrison's The Bluest Eye, notes that one of the biggest fears for members of the Black community is the threat of being 'put outdoors' (11). This represents both a physical and a metaphysical condition: for example, in the case of Cholly, it means poverty beyond poverty; in the case of Pecola, it means being disinherited from the disinherited." Discuss.

    4) Tony Schirato argues that the "apparently omniscient narrator" of Walter Abish's How German Is It appears determined to prove "that Nazism and its related tendencies constitute, not a kind of historical aberration but, instead, the essence of Germanness"; and yet, Schirato suggests, the novel itself undermines this view because it is a "comic deconstruction of the fiction of contemporary German innocence" ("The Politics of Writing and Being Written: A Study of Walter Abish's How German Is It" Novel 24.1 (1990): 69.) Discuss.

    5) Madonne Miner writes: "Most readings of The Handmaid's Tale [Margaret Atwood] approach the text, quite rightly, as a dystopic novel, a cautionary vision of what might happen if certain attitudes are carried to extremes" ("'Trust Me': Reading the Romance Plot in Margaret Atwood's The Handmaid's Tale." Twentieth Century Literature 37.2 (1991): 149.) Discuss (you may, if you wish, use the film version of the novel as a "reading" in this discussion).

    6) Rose Lucas believes that the focus on food and cooking in Like Water for Chocolate suggest the possibilities of paradox: "that is, it indicates the conventional passage of a subjectivity through a social and epistemological system and it also suggests the potential for that same process to signify transgression, permeability, a breaking of the rules" ("Enchiladas or Tacos?: Families, Frontiers and Food in Like Water for Chocolate." Island 60.6 (1994): 65). Discuss (you may, if you wish, use the film version of the novel as a "reading" in this discussion).
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    Dr Wally WOODS

    Dr Wally Woods (BA(Hons), MA James Cook, PhD Qld, Senior Lecturer) is both Dean of Faculty of Arts, and Head of Humanities Department. His current research interests include postmodernist fiction, metafiction, post-structuralist literary theory, the construction of masculinity within literature and the mass media, the art and culture of the Singhalese of Thursday Island, and the literature of the Torres Straits. He is presently involved in mapping the literature of the Central Queensland region. Phone: (079) 309714; Email: w.woods@cqu.edu.au

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    Last updated July 1996
    Comments to Dr John Fitzsimmons:
    Phone: (079) 309240; Email: j.fitzsimmons@cqu.edu.au
    Humanities Department
    Faculty of Arts
    Central Queensland University
    Rockhampton MC Queensland 4702
    Australia