Department of English

Latest happenings in the GWU English Department


February 28th, 2010

Do you ever wonder who is sitting in the front of the room taking attendance? Who is the TA leading your discussion section and grading your papers? As part of a new feature on the GW English Blog “Get to Know Your TA”, we will be interviewing the three Myths of Britain TAs Jessica, Nedda, and Lowell.

Get to Know Your TA: Jessica Frazier

As we struggle through a Charles Dickens novel for class, sometimes we wonder if it is relevant for our future. Not only did Dickens enrich Jessica Frazier’s college experience, but it helped her get her first post-graduate job in Florida. After graduating from Furman and getting married, Frazier found herself amongst the cubicle crowd working as a technology writer for technology manuals for mortgage software. “They asked me if I could track detail and I said, ‘Have you ever read a Dickens novel? There are long sentences, you have to track detail.’” she said. Surprisingly Frazier was surrounded by fellow English majors in her office. “We had bookclubs,” she said.

Although Frazier enjoyed the three years she took off when she lived in both Florida and San Francisco, California working everything from tech writing to retail, she was ready to go to graduate school. She said, “I always knew I wanted to be doing this, but I did not take a linear route.” Frazier got her M.A. at American University, studying how fashion worked in literature such as Milton and female poet writing in the same time period. “Clothing in the newspaper and novel all developed at the same time and it coupled with the Milton paper. It was an organic process,” she said.

Frazier took this interest in fashion to GW as well. Currently she is working on a paper about French fashion and diamonds. On the surface Philip Massinger’s play The Renegado is about a Venetian who falls in love with a woman from Tunis, an area controlled by the Ottoman Empire, but when he returns he is considered French. Naturally, the paper involves a lot of research about relations between the Ottoman Empire and England. “The Ottoman Empire and India and Britain had a certain history,” she said. “Part of the research for this paper is on diamonds. Diamonds were only known to be in India.” Frazier has a real love for research and teaching, but her love of literature and fashion is found outside of her studies as well. Read more→


February 27th, 2010
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Magali armillas-Tiseyra, PhD Student

You know that graduate school is getting to you when teaching a summer course is considered a “break.” While working on her dissertation on the dictator novel in Latin American and Franco- and Anglophone African literatures, GW alumna and current NYU graduate student Magali Armillas-Tiseyra, decided it would be good to slow down this summer by teaching a course on the short story. The short story has always been significant for Armillas-Tiseyra. She remembers analyzing the mechanics of short stories in creative writing courses at GW. “I thought focusing on the short story would be a great way to allow students to read broadly while also allowing us to work on the mechanics of close reading and textual analysis. When you’re trying to get through a whole novel with the class, this kind of focused work can sometimes get put aside, and I wanted to be forced to focus on this with my students,” she said. However as easy as it was for Armillas-Tiseyra to choose this topic, it was hard to choose the actual stories. The course will span a broad range of authors from Europe, Latin, and North America. Read more→


February 27th, 2010
Jane Austen seminar

Jane Austen seminar

Zabrina McIntyre of the Smithsonian Associates would like everyone to know about a special program featuring professor Tara Wallace:

Jane Austen: The Author, Her Legacy and…Sea Monsters? This program will be on Tuesday, March 9 from 6:45 pm to 8:45 pm. It will feature three authors, Seth Grahame-Smith, New York Times best-selling author of Pride and Prejudice and Zombies; Ben H. Winters, New York Times best-selling author of Sense and Sensibility and Sea Monsters; and Regina Jeffers, author of Vampire Darcy’s Desire and Darcy’s Passions as they talk about Austen the author and why her works have endured and inspired through the years.

The following link provides additional information about the program.

I’d like to offer a special $15 student rate for anyone who is interested.

1. They may call our registration line at 202-633-3030 and mention this special promotion.

2. They may purchase tickets through our website.

When they log-in or register, there will be place to input the promo code 182292.


February 27th, 2010
070920-howard-jacobson

Howard Jacobson, Jewish Literature Live

After a week of being trapped in his hotel room, Howard Jacobson has spoken to more English classes and student groups than he can remember. Tonight he will make a appearance at Hillel and yesterday he finally visited Jewish Literature Live. So surprisingly, the author of Kalooki Nights (probably the most Jewish book I have ever read) and the British Jew, does not like being called a “Jewish” writer. “If I am called a Jewish writer I hit the roof. I am an English writer, but I did not have to choose this subject [Judaism],” he said. “There is no reason why a Jew who writes should be a Jewish writer. I regret marketing myself as a Jewish writer and calling myself a Jewish writer, it limits one.” Plain and simply, Jacobson proclaims himself an “English writer with a Jewish accent.” And there you have it, within the first fifteen minutes of the hour Jacobson was already stirring up controversy and setting our minds on rapid fire. Read more→


February 26th, 2010

JEWISH LITERATURE LIVE

What is a joke? More specifically, what is a Jewish joke? I have a feeling the answer would vary depending on who you were talking to. The answers the Marx Brothers would give you would likely be entirely different than the answer Woody Allen would have. However Howard Jacobson’s idea of a Jewish joke is certainly unique. He maintains his books explore “where comedy dare go, I take it to the edge of the abyss,” he said. In some sense he feels an “aesthetic obligation” to be funny. However for him, funny is not where it is expected. He said, “The hard stuff where you’re almost in the grave…You make them laugh exactly where laughter is not to be expected and most difficult.”

As Jacobson explained at his reading at the DCJCC last night, people need humor to help them cope with tragedy, such as the Holocaust. In his novel Kalooki Nights, the protagonist, Max Glickman, finds himself forever scarred by the reading of a book about the horrors of Holocaust during his childhood. Jacobson described Max and his friends as, “marked and even marred by the reading of this book. Can you be a victim of the Holocaust when you had nothing to do with it?” he said. The book examines how Holocaust functions in memory. Jacobson asked, “At what point does one stop remembering? What do we owe to memory?” he said. He believes that language can contain some of our most important memories, and to him, Yiddish is the language to unlock the memories of the Holocaust. He said, “Yiddish is one of the ways in which we will not forget.” Read more→


February 24th, 2010


You know that graduate school is getting to you when teaching a summer course is considered a “break.” While working on her dissertation on the dictator novel in Latin American and Franco- and Anglophone African literatures, GW alumna and current NYU graduate student Magali Armillas-Tiseyra, decided it would be good to slow down this summer by teaching a course on the short story. The short story has always been significant for Armillas-Tiseyra. She remembers analyzing the mechanics of short stories in creative writing courses at GW. “I thought focusing on the short story would be a great way to allow students to read broadly while also allowing us to work on the mechanics of close reading and textual analysis. When you’re trying to get through a whole novel with the class, this kind of focused work can sometimes get put aside, and I wanted to be forced to focus on this with my students,” she said. However as easy as it was for Armillas-Tiseyra to choose this topic, it was hard to choose the actual stories. The course will span a broad range of authors from Europe, Latin, and North America.

Teaching is not new to Armillas-Tiseyra. Previously she taught a Spanish language course and has TA-ed for several introductory courses and seminars at NYU. However, she still finds herself learning every time she teaches. She said, “It’s your opportunity to put what you care about into action. It’s hard, often humbling, work, but it’s also a great learning experience and even fun.” Armillas-Tiseyra maintains that the adjustment between being a student versus a teacher is a welcome one.

When Armillas-Tiseyra is not teaching, she is pursuing a PhD in Comparative Literature. Originally she intended to apply to English programs, but as a senior at GW working on her thesis about Anglophone Caribbean literature and taking Spanish courses with Sergio Waisman, Armillas-Tiseyra found her focus shifting. “In shopping departments, and in particular at NYU, I began to realize that the classes and work that really interested me were in Comparative Literature rather than English,” she said. “I found the prospect of the much broader literary horizons (technically, everything) and the linguistic challenge really exciting.”

Armillas-Tiseyra found the GW English Department very encouraging. She cites Tara Wallace, Judith Plotz, and Maxine Clair (her creative writing adviser) as her best guides. “I’d always ‘known’ that I’d go to grad school, but at GW I was actively encouraged and supported in the process. I realize now, talking to fellow graduate students and looking at undergrads here at NYU, that I was really very lucky,” she said. This encouragement was necessary during her busy senior year when she ran the GW Review, wrote two theses, and worked at the Writing Center. She said, “My last year was tough, and in a lot of ways my first year of grad school was even tougher–I got here and realized that most people wait before coming back, which makes them very different students.” Although Armillas-Tiseyra does not regret her decision to start graduate school immediately after college, she believes taking one year off could be beneficial.

Armillas-Tiseyra does see an advantage of applying to graduate school right after graduation: the graduate programs seem less intimidating. She realizes she is lucky, but luck has only so much to do with her success at NYU right now. “I feel very lucky to be where I am, but, from this end of things, I also understand that, in some ways, getting in is luck and the difference comes in the sort of career (if that’s the word) you build while you’re actually in there,” she said. Since she started NYU, Armillas-Tiseyra has been working on conferences, organizing lectures, and helped to start a departmental colloquium series and system for student representation. She said, “I am so much prouder of the things I’ve done–particularly within department life, such as starting a colloquium, in the last few years than I ever was happy or devastated by my response letters.”

However, getting into graduate school is a different matter than staying in graduate school, which is what Armillas-Tiseyra sees as the main conflict now. She recognizes the bad job market after graduate school for literature majors and knows many people who did not pursue this field and are happier for it. “But there’s no point going through this (long hours, low pay) unless you absolutely love the work; one of the advantages of being relatively young for me is that I feel I have time to change course in the future, without having to sacrifice what I’m passionate about at the moment,” she said.

We wish Armillas-Tiseyra the best of luck with her PhD and summer course! For more information on her course on the short story at NYU this summer click here.


February 20th, 2010


Zabrina McIntyre of the Smithsonian Associates would like everyone to know about a special program featuring professor Tara Wallace:

Jane Austen: The Author, Her Legacy and…Sea Monsters? This program will be on Tuesday, March 9 from 6:45 pm to 8:45 pm. It will feature three authors, Seth Grahame-Smith, New York Times best-selling author of Pride and Prejudice and Zombies; Ben H. Winters, New York Times best-selling author of Sense and Sensibility and Sea Monsters; and Regina Jeffers, author of Vampire Darcy’s Desire and Darcy’s Passions as they talk about Austen the author and why her works have endured and inspired through the years.

The following link provides additional information about the program:

http://residentassociates.org/ticketing/tickets/reserve.aspx?performanceNumber=219359

I’d like to offer a special $15 student rate for anyone who is interested.

1. They may call our registration line at 202-633-3030 and mention this special promotion.

2. They may purchase tickets through our website:

http://residentassociates.org/ticketing/tickets/reserve.aspx?performanceNumber=219359

When they log-in or register, there will be place to input the promo code 182292.


February 19th, 2010

JEWISH LITERATURE LIVE

After a week of being trapped in his hotel room, Howard Jacobson has spoken to more English classes and student groups than he can remember. Tonight he will make a appearance at Hillel and yesterday he finally visited Jewish Literature Live. So surprisingly, the author of Kalooki Nights (probably the most Jewish book I have ever read) and the British Jew, does not like being called a “Jewish” writer. “If I am called a Jewish writer I hit the roof. I am an English writer, but I did not have to choose this subject [Judaism],” he said. “There is no reason why a Jew who writes should be a Jewish writer. I regret marketing myself as a Jewish writer and calling myself a Jewish writer, it limits one.” Plain and simply, Jacobson proclaims himself an “English writer with a Jewish accent.” And there you have it, within the first fifteen minutes of the hour Jacobson was already stirring up controversy and setting our minds on rapid fire.

Jacobson may write about Jews, but he is not religious whatsoever. “I am not a religious person. I cannot stand rituals. I find them moving for some people, but not for me,” he said. He elaborates to say that religious faith impresses him and although he feels no scorn for it, faith does not interest him personally. His lack of religiousness does not stop him from writing about what he considers the most interesting subject for a writer, Judaism. He said, “The Jewish commitment to argument is a fascinating thing.”

To Jacobson, argumentation is the essence of art. “There is no art that gets made without argument. If you’re not divided in yourself you’re not going to write a great book,” he said. This divide is one of his favorite parts about writing. He said, “The fun of writing is when I suddenly do not agree with something my character says.” Later on Jacobson discussed the Jewish concept of Havdalah, which he describes as, “the heart of Jewish intellectual life is that one thing is not another thing. We’re dividing all of the time. Endlessly choosing one thing over another…it is the way we possess the world,” he said. Naturally Jacobson’s love for argumentation in literature fits perfectly with Judaism.

Kalooki Nights’s title (a reference to a card game) is true to form with Jacobson’s thesis. “I remember aunties of mine playing Kalooki nights,” he said. “It’s a game where no one knows the rules. It’s a yelling game…I associate it with Jewish women who do not read Tolstoy or who wouldn’t read me.” As much as he is fascinated with Jewish “philistinism,” there is an entire sector of Jews who refuse to read his book or any book for that matter. Jacobson recalls a conversation he had with an Orthodox Jew on a book tour once. He was asked, “Why would a Jew write books. We’ve got a book.”

Jacobson cannot please everyone and nor does he want to. He is aware that the cutting humor of his novels is not for everyone. Despite how the jokes in KN could be read as offensive, Jacobson views humor and insult as two different things. “The unforgivable thing is to stir people up for the sake of it. Just being shocking to be shocking,” he said. “But too much self censoring is bad too.” Jacobson had described this balance as a “tight-rope walk” earlier on in the conversation, but really what it boils down to is entertainment. “I am a writer. I am in the entertainment business…I do not write to entertain one person. If I am getting bored, then the reader is also getting bored,” he said.

Some could accuse Jacobson’s joking as a backwards step for the progress of Jews fully assimilating, but he sees it differently. He said, “I am an English Jew fighting a battle you’ve won [Americans], but I don’t believe you’ve won.” In some sense Jacobson does not want to “win.” “It is terrific fun not feeling like you fit in properly,” he said.

See Jacobson next at the Howard Jacobson Reading (HJ/JLL) DCJCC, 16th and Q Streets NW; 7 p.m. Free to GWU students with ID


February 16th, 2010

GWU’s Jewish Literature Live course (taught by Prof. Faye Moskowitz) and GW’s collaboration with the British Council on its U.K. Writer-in-Residence Program converge for one afternoon only: Friday February 26, 2-4 p.m., Rome Hall 352.

What do we mean today when we say “Jewish writing”? Do we mean writers who identify as Jews? Do we mean writers who write about Jewish themes, whether Jewish or not? How do Jewish writers conceptualize Jewish identity, and how do they grapple with questions of identity in their works? Is Jewishnes chosen? voluntary? cultural? religious? something else? How is “Jewish writing” a transnational phenomenon?

Please join us for this lively, interdisciplinary discussion about these and other questions of contemporary Jewish writing in a transnational context.


February 14th, 2010

This just in from Prof. Holly Dugan, describing her fascinating summer 2010 English course:

This summer, I’ll be teaching a course on early English drama that culminates with a week abroad, exploring Edinburgh, Scotland and Yorkshire, England and watching the 2010 production of the York mystery plays. I’m writing here in the hopes that I might inspire you to join me in endeavor! Medieval drama may not be high on your list of summer plans, but my aim here is to change that. At the very least, I hope to inspire you to consider taking my medieval drama course next fall.

I often joking refer to the course as “the craziest plays you’ve never read.” Most of us have had some exposure to early English drama through the works of Shakespeare but know almost nothing about their historical predecessors, except that they are “religious.” While it’s true that all of the plays on the syllabus operate within a medieval Catholic
worldview, the religion they perform is surprising to our modern perspective.

The Digby Mary Magdalene play, for example, includes a same-sex kiss between the Magdalene and “Lady Lechery” in staging the saint’s sinful past. The “Crucifixion” scene at the apex of the York mystery cycle involves physical comedy that would rival the Marx brothers. The three university coeds—Mischief, Nought, and New Guise—in Mankind have a moral code straight out of one of MTV’s reality shows. And the irony of the Second Shepherds’ Play, where a shepherd and his wife try to pass off a lamb as a miraculous child on Christmas Eve (of all nights), seems downright blasphemous. There are moments of profound sorrow, such as in the Wakefield Abraham and Isaac, when Abraham contemplates sacrificing his son for his faith, and profound horror, such as the mass infanticide in the Slaughter of the Innocents. And there are moments that vex and deeply trouble our critical perspective, such as the anti-Semitism of the Croxton Play of the Sacrament or the violence against women staged in the York Noah play. Under-read and definitely under-performed, these plays often falls out of our literary assessments of early English drama, yet they offer much to contradict and challenge our assumptions about life in the past.

During the summer of 2006, I had the good fortune to visit York during one of the two weekends when it staged a modern production of the city’s famous mystery cycle. I joined the crowd on the street, watching these 600-year-old-plays come to life in the modern city. The experience shaped how I thought about the plays; they seemed both historically distant and, yet, at the same time so very current, almost postmodern in their staging and humor, and so very linked to the urban space in which they were performed. Emerging from a culture, a language, and a nation that was very much in formation, these plays continue to ask important larger questions about community and identity for modern audiences. I returned to GWU determined to teach these plays in a way that captured the spirit of this production.

Using a host of contemporary materials, including films (Evan Almighty, after all, is a modern Noah tale), television shows (an episode of Showtime’s This American Life that explores what happens to a small community when a Mormon painter relies on religious outsiders in Utah in order to paint realistic “bearded” apostles from life), and modern theater (a dvd from the 2006
York production), the course examines medieval drama as literary adaptation. For their final projects, students can choose between scholastic research or creative adaptation. Most choose the latter; I’ve read screenplays adapting the York cycle to an HBO miniseries on corporate corruption, adapting Wisdom to a film about transgendered experience, and adapting the Noah play to a rock-opera set in the 1960s.

Though the idea for this summer course stemmed from my travels in England, it was the work we do here in Rome Hall that inspired me to reframe it to include study abroad. Since 2006, we’ve revised our mission to include an emphasis on global and transnational texts; we’ve had famous authors muse on literature in a global age; provide us with a reading list and archive; muse on history and literature; and reflect on literature and the nation. We’ve watched our classrooms go live and expand to include both the archives of the Folger Shakespeare Library and the Queer and Transnational Film Studies Festival in the Czech Republic.

Inspired by these events, I hope to link our eclectic energy at GWU with the theatrical events in our broader literary world. This July, the city of York will once again stage the mystery cycle. If you’ve never had a chance to examine medieval drama closely (and I’m willing to wager a bet that most of you haven’t), this course is a rare opportunity to do so while also thinking through issues of literary adaptation and the role of theater history in modern productions. If you have studied medieval drama, I promise that it will seem fresh and new once we’re finished with it.

Hope to see you in York this July!



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