Courses

Walt Whitman was not the first to write about New York. But he was the first of many to let New York write him. By age 43, Whitman had composed most of his best poetry, published three editions of Leaves of Grass, and left New York only twice. How did the second son of an unsuccessful farmer, a grammar school dropout and hack writer become America’s greatest poet? This course offers a response to this perennial mystery of literary scholarship by proposing that “Walt Whitman, a kosmos, of Manhattan the son” was indeed a product of his environment. Coming of age as a writer at the same time the city was emerging as a great metropolis, he received his education and inspiration from New York itself. Course time is equally divided between discussions of Whitman’s antebellum poetry, journalism, and prose (including the newly recovered Life and Adventures of Jack Engle) in their cultural and geographical contexts, and on-site explorations that retread Whitman’s footsteps through Brooklyn and his beloved Mannahatta. Experiential learning is further encouraged through assignments based in archives, museums, and at historic sites throughout the city.

Yaddo is an artists community located in Saratoga Springs, New York.  In the words of John Cheever, “the forty or so acres on which the studios and principal buildings of Yaddo stand have seen more distinguished activity in the arts that any other piece of ground in the English speaking community.”  Cheever, however, also described Yaddo’s menagerie of creatives as a group of, “lushes down on their luck, men and women at the top of their powers, nervous breakdowns, thieves, geniuses, cranky noblemen, and poets who ate their peas with a knife.”  In total this makes for spectacular drama.  

Historically speaking Yaddo is an idealized synergy of Gilded Age gender roles and is best understood as ½ Thomas Edison’s Menlo Park (“the Menlo Park factory was a loud, rowdy, and raucous place full of nightly sing-alongs around a large organ, gaming, practical jokes, and midnight feasts”) and one half Settlement House (a space where American women, “expropriated the previously male world of literature and the arts as their own, feeling they possessed a special humanistic sensitivity which provided an alternative to the acquisitive and the competitive goals of men in an industrializing America.”).   

Yaddo’s guest list is a “whose who” of American Art and letters.  We will, however,  study Yaddo as a compelling introduction to the shifts, evolutions, and challenges to American art across the 20th century; including: the study of politically radical art during the 1930s and a remarkable study of Cold War era political threats to American creativity with a special focus on the Lavender Scare. 

Because The Yaddo Records (Yaddo’s archive) are at NYPL, and because I served as project archivist for these records we will also spend a day at NYPL that will include introduction to Yaddo’s archive specifically but also to archives more generally.  Finally, we will be visited (either in person or online) from a variety of Yaddo alum who will share their experiences and impressions and answer student questions etc.

In a 2015 interview with David Simon (creator of The Wire) President Barak Obama offered that The Wire is, "one of the greatest -- not just television shows, but pieces of [American] art in the last couple of decades."  The Wire combines hyperrealism (from a-quasi anthropological capture of syntax and dialect that recalls the language of Langston Hughes and Zora Neal Hurston to a preference for actors who lived “the game” in Baltimore’s inner city) with the reinvention of fundamental American themes (from picaresque individualisms, to coming to terms with the illusory “American dream”, to a fundamental loss of faith in American institutions), and engages in a scathing expose of the shared dysfunction among the bureaucracies (police, courts, public schools etc.) that manage a troubled American inner city.  On a more macro level The Wire humanizes (and therefore vastly problematizes) assumptions about the individual Americans’ who inhabit America’s most dangerous urban environments from gang members to police officers to teachers and even ordinary citizens.

The Wire, of course, did not single-handedly reshape American television. Scholars like Martin Shuster refer to this period of television history as “new television.” That is, the product of new imaginations that felt television had exhausted its normative points of reference, subject matter and narrative technique. Many of the shows from this period sought to reinvent television for interaction with an evolving zeitgeist shaped by shared dissolution with 21st century American life: “I’d been thinking: it’s good to be in a thing from the ground floor, I came too late for that, I know.  But lately I’m getting the feeling I might be in at the end.  That the best is over,” Tony Soprano confides to Dr. Malfi in S1.E1 of the Sopranos.  Series that fall within this rubric include (in chronological order): The Sopranos; The Wire; Deadwood; Madmen; and Breaking Bad.

This course will examine British women writers including Jane Austen, Charlotte Brontë, George Eliot, and Virginia Woolf in the context of the (long-) nineteenth-century "Woman Question". Our inquiry will engage the controversy over a woman’s status in terms of the social and political debates of early feminism as well as the enigma of “woman’s nature” in light of the rise of psychology and psychoanalysis in the period. We will consider how women writers negotiate these current social and psychological discourses in the stories they tell about themselves and others: how do they portray a woman’s life, especially as it manifests the tension George Eliot articulates between “inward impulse and outward fact”? We will pay attention to representations of gender, subjectivity, interiority, desire, domestic affections, friendship, education, economic and professional experience, faith, and creativity as reflecting the struggle, rising influence, and emergent identity of woman. In addition to novels, poetry, and drama, we will read excerpts of critical essays from among our primary authors and other prominent thinkers of the period, such as Wollstonecraft, Martineau, Taylor Mill, and Freud, who, by the early twentieth century, still famously puzzles: “What does a woman want?”

“Learned we may be with another man's learning: we can only be wise with wisdom of our own.”― Michel de Montaigne “There is something you find interesting, for a reason hard to explain. It is hard to explain because you have never read it on any page; there you begin. You were made and set here to give voice to this, your own astonishment.” Annie Dillard, The Writing Life “Find a subject you care about and which in your heart you feel others should care about. It is this genuine caring, not your games with language, which will be the most compelling and seductive element in your style.” Kurt Vonnegut What makes the essay of personal experience an essay rather than a journal entry? How can one's specific experience transcend the limits of narrative and transmit a deeper meaning to any reader? How can a writer transmit the wisdom gained from personal experience without lecturing her reader? In The Art of the Essay, we explore the answers to these questions by reading personal essays in a variety of different forms. We begin with Michel de Montaigne, the 16th-century philosopher who popularized the personal essay as we know it and famously asked, “What do I know?,” and follow the development of the form as a locus of rigorous self-examination, doubt, persuasion, and provocation. Through close reading of a range of essays from writers including Annie Dillard, Salman Rushdie, Jamaica Kincaid, and June Jordan, we analyze how voice, form, and evidence work together to create a world of meaning around an author's experience, one that invites readers into conversations that are at once deeply personal and universal in their consequences and implications.

In the second decade of the 21st century there is more critical attention than ever before on the essay as a literary genre and a cultural practice that crosses media, registers, disciplines, and contexts. The concept of “essayism” was redefined by Robert Musil in his unfinished modernist novel, The Man Without Qualities (1930) from a style of literature to a form of thinking in writing: “For an essay is not the provisional or incidental expression of a conviction that might on a more favourable occasion be elevated to the status of truth or that might just as easily be recognized as error … ; an essay is the unique and unalterable form that a man’s inner life takes in a decisive thought.”  In this course will explore how essays can increase readers’ and writers’ tolerance for the existential tension and uncertainty we experience both within ourselves as well as in the worlds we inhabit. As Cheryl Wall argues, essays also give their practitioners meaningful work to do with their private musings and public concerns in a form that thrives on intellectual as well as formal experimentation. The course is organized to examine how practitioners across media have enacted essayism in their own work and how theorists have continued to explore its aesthetic effects and ethical power.

This course will explore the representation of New York City in film. We will examine the way that film portrays social problems and either creates or responds to “social panics.” We will also examine the way in which film actively creates an idea of “New York” through cinematography, directing, acting and other aspects of filmmaking.  Some topics to be considered are utopia/dystopia, race, ethnicity, class, gender, sexuality, art, immigration, houselessness, and gentrification. The course follows three main themes: 1. How the filmmaking process (camera movements, lighting, dialogue, acting, etc.) is used as a method to describe space (filmmaking as a geographic method). 2. How various genres of film have been used to portray the social geography of New York City (the geography of film). 3. The relationship between the viewer’s “place” and the places portrayed in the film (communication geography). Finally, we will also consider how our personal sense of place towards New York City has altered throughout the course.

This course will explore the representation of New York City in film. We will examine the way that film portrays social problems and either creates or responds to “social panics.” We will also examine the way in which film actively creates an idea of “New York” through cinematography, directing, acting and other aspects of filmmaking.  Some topics to be considered are utopia/dystopia, race, ethnicity, class, gender, sexuality, art, immigration, houselessness, and gentrification. The course follows three main themes: 1. How the filmmaking process (camera movements, lighting, dialogue, acting, etc.) is used as a method to describe space (filmmaking as a geographic method). 2. How various genres of film have been used to portray the social geography of New York City (the geography of film). 3. The relationship between the viewer’s “place” and the places portrayed in the film (communication geography). Finally, we will also consider how our personal sense of place towards New York City has altered throughout the course.

In The Super Mario Bros. Movie, plumes of dust fill the New York City streets as the monster Bowser attacks the city. Mario, seemingly beaten, hides in a pizzeria. What inspires him to keep fighting? He sees himself in a TV ad for his plumbing business, wearing a superhero cape and flying next to the Freedom Tower. He finds solace in the representation of himself as a superhero and in a city that refused to concede that the game was over after 9/11. Such a scene is emblematic of a seminar that will explore the superhero’s relationship to the city’s history and its traumas. Our eye will move between Hollywood blockbusters and global art cinema to help us mull how the superhero exemplifies, for some, the excesses of the U.S. during the global War on Terror. We will see Batman’s alter-ego Bruce Wayne run towards what looks like an imploding World Trade Center on 9/11 (Batman v Superman: Dawn of Justice) and witness the superhero framed as an ideological smokescreen for the callous administration of George W. Bush who used the attacks to justify an endless war (The Broken Circle Breakdown).

While strongly focused on the post-9/11 superhero and its links to New York City, the cross-media seminar will track the superhero’s initial rise in popularity during the trauma of World War II. It will mobilize the archival resources of Columbia's Rare Book & Manuscript Library collections around the papers of noted X-Men writer Chris Claremont, so students can read how the artist conceived of bringing histories around the Holocaust into his spectacular stories. Such dips into the archives will help us assess how such empowered figures offer surprising routes of representation for the disenfranchised. We will also consider the authoritarian possibilities of the vigilante Batman, situating Frank Miller’s The Dark Knight Returns against a cultural study that draws links between the comic and Bernhard Goetz who killed four black teenagers in a Manhattan subway in 1984. To further frame how the superhero serves as a potent means of socio-political critique, acclaimed artists and writers will be invited into the classroom. These include Paul Pope whose Batman: Year 100 (2006) presents a dystopian superhero that allegorizes the oppressive aspects of the War on Terror’s surveillance regime. A culminating field trip to the National September 11 Memorial Museum will be organized. There, students will visit “The World Trade Center in the Popular Imagination” exhibit which showcases the decades-long link between the superhero and the architectural marvel in popular culture. Grounded in Columbia’s and New York City’s resources, profoundly interdisciplinary, and punctuated by artist perspectives, the class will ultimately offer students tools to perform theoretically incisive research on American pop culture that joyfully flies across boundaries.

Cinema and videogames are moving-image-based media, and, especially over the past two decades, they have been credited with influencing each other. But how deep do their similarities actually go? In what way do the possibilities available to game developers differ from those available to filmmakers? How does each medium segment and present space, time, and action? What aesthetic effects are open to games that are not open to cinema, and vice versa? This course offers a comprehensive exploration of the dynamic relationship between cinema and video games. Through a combination of film screenings, gameplay, theoretical reading/discussions, and practical assignments, students will examine the historical, cultural, aesthetic, and narrative connections between these two influential media forms. The course aims to foster an understanding of how cinema and video games intersect, inform, and influence one another, providing a unique perspective on storytelling techniques within these mediums. The course will culminate in a final presentation where students will adapt an existing intellectual property, preferably a film or TV show, into a video game (or vice versa), justifying their creative choices.

Traditionally, stories have followed a linear path, with a clear distinction between teller and audience. Yet, since the late 20th century, this model is shifting. Today, postmodern fiction, video games, interactive films, VR, participatory theater and immersive experiences offer audiences agency, creating a challenge for creators: how do they uphold narrative integrity while allowing for choice, collaboration, and remixing?

In this class, we’ll examine how modern narrative designers craft stories across media that invite audience participation. Through history, analysis, and workshops, we’ll explore how creators design for interaction while preserving tone and themes, turning audiences into active participants.

For the final assignment, students will develop a 12-15 minute pitch presentation for an original story concept, adapting it into an interactive format that balances strong authorial vision with audience agency.