Nicolaus Mills

Beginning in the mid-19th century, a small group of American writers published a series of books that, by virtue of their quality, brought a new richness to American literature. This American renaissance, as the literary historian F. O. Matthiessen called it, had at its center a belief in “the possibilities of democracy.” It was an undertaking that sought to fulfill the hopes unleashed generations earlier by the American Revolution. This course will focus on the prose masterworks of the American renaissance writers and two of their successors, Henry James and Mark Twain. We will begin with a memoir, Frederick Douglass’s Narrative of the Life of Frederick Douglass, An American Slave, continue with Henry Thoreau’s Walden, and then move on to four novels: Nathaniel Hawthorne’s The Scarlet Letter, Herman Melville’s Moby Dick, Henry James’s The Portrait of a Lady, and Mark Twain’s Huckleberry Finn. The aim of this course is to look closely at a set of representative texts and to see in them a modernity in which their central characters (in the case of Douglass and Thoreau, the authors themselves) defy the limits of the society in which they grew up and—in the extreme case of The Scarlet Letter’s Hester Prynne, who has a child out of wedlock in Puritan New England—lose the right to privacy.

Nothing reflects the variety and moral consistency of 20th-century American literature so well as the coming-of-age novel. This course will trace the evolution of the coming-of-age novel in our last century by looking at a series of masterworks that begin with Willa Cather’s 1918 My Antonia and conclude with Ralph Ellison’s Invisible Man, J. D. Salinger’s The Catcher in the Rye, and Sylvia Plath’s The Bell Jar. In its purest form, the coming-of-age novel is the novel of education, or Bildungsroman, which traces the life of a central figure from early childhood to early adulthood and typically ends no later than the central figure’s 30th birthday. In this course, the coming-of-age novels that we will look at do not always stick to this formula. They include a book such as The Grapes of Wrath, in which coming of age means learning to deal with a Great Depression society that is unexpectedly cruel. In an America in which the idea that all men are created equal is part of our civic religion, the coming-of-age novel brings with it cultural and political, as well psychological, implications. Inequality, whether rooted in gender, race, or economics—all three in the case of Zora Neale Hurston’s Their Eyes Were Watching God—shapes most of the books that we will read and, in turn, challenges the heroes and heroines of these books—even when they are well off—to look beyond their own lives, as the Yale-educated narrator of F. Scott Fitzgerald’s The Great Gatsby does when, on the first page of Gatsby, he repeats the advice his father gave him, “Whenever you feel like criticizing anyone, just remember all the people in this world haven’t had the advantages you’ve had.”

“Reader, I married him. A quiet wedding we had,” Charlotte Brontë’s title character exclaims in the concluding chapter of Jane Eyre. Jane’s wedding may be quiet, but the steps leading up to her marriage with a man who once employed her as a governess are dramatic—and so are the steps leading to marriage in the other classic marriage-plot novels with which this course begins. From Jane Austen’s Emma, to Henry James’s The Portrait of a Lady, the novels we read in the first half of this yearlong course reflect the thinking of the heroine of George Eliot’s Middlemarch, who observes, “Marriage is so unlike everything else. There is something even awful in the nearness it brings.” Nothing, in short, is “conventional” about the 19th-century English and American classics of Austen, Brontë, Dickens, Eliot, and James that we will study. They lead directly to Edith Wharton’s The House of Mirth and the modern novels that we will take on in the second half of the course, which range from Virginia Woolf’s Mrs. Dalloway and F. Scott Fitzgerald’s The Great Gatsby to Sylvia Plath’s The Bell Jar and Sally Rooney’s Normal People. Love and romance are at the heart of the books that will dominate our reading, but so are laughs and gender politics in addition to the heartache that is part of any serious relationship.

At a time when he was America’s most famous novelist, Ernest Hemingway declared that all modern American literature begins with Mark Twain’s novel, Huckleberry Finn. This course is based on the belief that Hemingway did not look closely enough at the authors who constitute the classic American prose writers of the 19th century. The heroes and heroines of their densely-written books offer us a legacy of defiance that is distinctly modern. Twain is no outlier when put in their company. In the autobiographical Narrative of the Life of Frederick Douglass, Douglass flees slavery to begin a new life in the North as a writer and abolitionist. In Nathaniel Hawthorne’s The Scarlet Letter, Hester Prynne refuses to conform to Puritan society and has a baby out of wedlock. In Herman Melville’s Moby Dick, his narrator—who never reveals his actual name—goes to sea seeking meaning on a whale ship. In Henry Thoreau’s Walden, Thoreau takes up life in the woods in order to draw closer to nature. In Mark Twain’s Huckleberry Finn, Huck travels down the Mississippi with an escaped slave with whom Huck sides despite his southern upbringing. In Henry James’s The Portrait of a Lady, Isabel Archer refuses to make the marriage expected of her;, and in Edith Wharton’s The House of Mirth (published at the start of the 20th century), her heroine, Lily Bart, flouts convention even more daringly. In focusing on just seven books, the aim of this course is to provide an opportunity for a series of close readings of representative texts. In conference, students will be encouraged to look more closely at other work by these same authors, as well as the 19th-century English novel.

Nineteenth-century American literature is made up of a small number of iconic prose texts. The ones most often put in this category are Nathaniel Hawthorne’s The Scarlet Letter, Herman Melville’s Moby Dick, Frederick Douglass’s Narrative of the Life of Frederick Douglass, Mark Twain’s Huckleberry Finn, and Henry James’s The Portrait of a Lady. This course will focus on these five books and then conclude with a glimpse into two 20th-century novels, Edith Wharton’s The House of Mirth and F. Scott Fitzgerald’s The Great Gatsby. What links these texts is the rebellion of their central figures. In The Scarlet Letter, Hester Prynne defies the sexual and theological mores of the Puritans. In Moby Dick, Ahab challenges the notion of a moral universe. In the narrative of his life, Frederick Douglass challenges the slave system. In Huckleberry Finn, Huck defies the racism he was raised to believe in. In The Portrait of a Lady, Isabel Archer ignores the assumption that she must marry well to be a success. In The House of Mirth, Lily Bart refuses to marry at all. In The Great Gatsby, Gatsby challenges the prerogatives of old money and power. The questions we will wrestle with over the course of the term is: What are we to make of the antagonism that mainstream, 19th-century American literature exhibits toward social and political convention? And does the antagonism speak to our better angels?

To a remarkable degree, the most important American literature texts, whether fiction or nonfiction, are written from a first-person perspective and depend on a unique “I” speaking directly to readers and focusing on a wide variety of personal experiences. In the 19th century, Herman Melville’s Moby Dick, Frederick Douglass’s Narrative of the Life of Frederick Douglass, and Mark Twain’s Huckleberry Finn are all first-person narratives. In the early 20th century, the same first-person strategy holds for Willa Cather’s My Antonia, F. Scott Fitzgerald’s The Great Gatsby, and Ernest Hemingway’s A Farewell to Arms. This course will begin by surveying the classic, first-person texts of American literature and then move on to such modern work as Sylvia Plath’s The Bell Jar, James Baldwin’s Notes of a Native Son, and Maxine Hong Kingston’s The Woman Warrior. At the heart of this course is the premise that contemporary, American first-person writing is an extension, not a departure, from classic American first-person writing.

In 20th-century American literature, first-person writing is central to a series of classic texts—from F. Scott Fitzgerald’s The Great Gatsby to James Baldwin’s Notes of a Native Son. The result is a body of literature at once both personal and far-reaching. This course will explore how first-person writing, with its emphasis on supplying an “I” for an eye, helped increase the diversity of the 20th-century authors that Americans read and even influenced the form of books not written in the first person. We will pay particular attention to how first-person writing was conducive to the rise of narrators who, in the past, might have been dismissed as either unreliable or ignored as outsiders. The reading for this course will include novels, memoirs, and journalism and move chronologically through the 20th century. In addition to the work of Fitzgerald and Baldwin, the books that we study will include Willa Cather’s My Antonia, Ernest Hemingway’s A Farewell to Arms, Ralph Ellison’s Invisible Man, J. D. Salinger’s The Catcher in the Rye, Sylvia Plath’s The Bell Jar, and Joan Didion’s Slouching Towards Bethlehem. In conference, students will have a chance to combine close analysis with their own first-person approach to a subject or an author.

America’s writers have been at home writing in the first person since the early nineteenth century. The result is a body of literature that is both highly personal and diverse.  This course will begin with three nineteenth-century books: Frederick Douglass’s autobiographical Narrative of the Life of Frederick Douglass, Herman Melville’s Moby Dick, and Mark Twain’s Adventures of Huckleberry Finn.  Then we will then move into the early twentieth century and the rethinking of the American Dream in Willa Cather’s My Antonia, Ernest Hemingway’s A Farewell to Arms, and F. Scott Fitzgerald’s The Great Gatsby. We will next look at the age of Roosevelt with two American odysseys, The Grapes of Wrath (a book in which Steinbeck makes his presence so heavily felt that he might as well be writing in the first person), and Ralph Ellison’s Invisible Man.  We will conclude the term with two self-critical, coming-of-age novels that take place in post-World War II America—J. D. Salinger’s The Catcher in the Rye and Sylvia Plath’s The Bell Jar.  The aim of this course is to capture the full range of American literature and explore why so many unconventional narrators—from an ex-slave to a failed suicide, to cite two examples—play such an important role in American writing.

“Reader, I married him. A quiet wedding we had,” Charlotte Bronte’s title character exclaims in the concluding chapter of Jane Eyre. Jane’s wedding may be quiet, but the steps leading up to her marriage with the man who once employed her as a governess are tumultuous. With the publication of Jane Eyre, we left behind the early marriage-plot novel in which a series of comic misunderstandings pave the way for a joyous wedding. From that point on, marriage would be a high-risk adventure for both parties. This course will begin with classic marriage-plot novels such as Jane Austen’s Emma, George Eliot’s Middlemarch, Henry James’s Portrait of a Lady, and Edith Wharton’s The House of Mirth. But the course will also look at love and courtship in such untraditional marriage-plot novels as Kate Chopin’s The Awakening, Virginia Woolf’s Mrs. Dalloway, F. Scott Fitzgerald’s The Great Gatsby, and Zora Neale Hurston’s Their Eyes Were Watching God. By the time the course concludes with Jeffrey Eugenides’s The Marriage Plot and Tayari Jones’s An American Marriage, the marriages and courtships that we see will be distinctly modern in the form that they take and in the complexity and divorces that they bring with them.

The last 60 years have been boom times for nonfiction writing. From investigative reporting to memoirs, the literature of fact has thrived. Writers have found that, as the late Tom Wolfe observed, it is possible to turn out nonfiction as lively as fiction and, in the process, capture the history of one’s own times. The aim of this course is to explore nonfiction in a variety of forms and for students to write nonfiction of their own. The course will focus on basic reporting, memoirs, op-eds, reviews, profiles, and long-form journalism. Students will do writing of their own that matches the kind of writing being studied at the time. The course will begin by emphasizing writing technique and move on to longer assignments in which research, interviews, and legwork play an increasingly important role. The writers studied will range from James Baldwin and George Orwell to Joan Didion and Gay Talese. This course is not for students with remedial writing problems or with difficulty meeting deadlines. At the time of their interviews, students must bring with them short samples of their written work.

“Reader, I married him. A quiet wedding we had,” Charlotte Brontë’s title character exclaims in the concluding chapter of Jane Eyre. Jane’s wedding may be quiet, but the steps leading up to her marriage with a man who once employed her as a governess are tumultuous. With the publication of Jane Eyre, we have left behind the early marriage-plot novel in which a series of comic misunderstandings pave the way for a joyous wedding. This course will begin with such classic marriage-plot novels as Jane Austen’s Emma, George Eliot’s Middlemarch, Henry James’s Portrait of a Lady, and Edith Wharton’s The House of Mirth. But the course will also look at love and courtship in untraditional marriage-plot novels such as Kate Chopin’s The Awakening, Virginia Woolf’s Mrs. Dalloway, F. Scott Fitzgerald’s The Great Gatsby, and Zora Neale Hurston’s Their Eyes Were Watching God. By the time the course concludes with Jeffrey Eugenides’s contemporary novel, The Marriage Plot, the marriages and courtships we see will be distinctly modern in the form that they take and, equally significant, in the complexity and uncertainty that they bring with them. 

We are living in an era in which the literature of fact is thriving both online and in print. Writers have found, as the late Tom Wolfe observed, that it is possible to turn out nonfiction as lively as fiction and, in the process, capture the history of one’s own times. The aim of this course is to explore nonfiction in a variety of forms and for students to write nonfiction of their own on a steady basis. Class will be used to go over assigned reading and as a workshop for student writing. Students should be prepared to have their work read both in early drafts and in completed drafts. The course is structured around six sections: basic reporting, memoirs, op-eds, reviews, profiles, and long-form journalism. The writing that we do for class will parallel the writing that we are reading at the time. We will begin with short assignments that emphasize writing techniques and move on to longer assignments in which research, interviews, and legwork play an increasingly important role. The writers we study will be a mix of old and new and range from George Orwell and Joan Didion to James Baldwin and Zadie Smith. We will meet weekly in individual donning and academic conferences until October Study Break, then biweekly for the rest of the year.