Popular Forms of Literature: Science Fiction Dr. Everett Hamner Western Illinois University, Spring 2014 ENG 302, Tuesdays 9-11:30, QC Riverfront 229, westernonline.wiu.edu e-hamner@wiu.edu, 309-762-3999 x62247; office hours in Riv 143 (M 9-11:30, T 11:30-12:30, W 11:30-12)

General Catalog Description & Prerequisites Studies in selected popular forms of literature. Topics may include forms such as detective fiction, science fiction, westerns, horror, romance, adventure, or thrillers. Prerequisite: ENG 299 with a grade of C or better, or consent of instructor. Specific Description & Goals Many Americans derive their notions of science fiction from Hollywood blockbusters that prominently feature exploding spaceships, damsels in distress, and alien horrors. These are a real part of science fiction’s history, but they are only a part. This course will feature texts utilizing but also repurposing such motifs, and in the process may surprise many participants with the diverse range of literary subgenres that have been defined as and influenced by science fiction. Our semester is divided into two overlapping but distinct movements. The first, chronologically-organized section will provide a tour of the history of science fiction guided by the very recent Routledge Concise History of Science Fiction, while also beginning to take advantage of the best sf short story anthology to date, The Wesleyan Anthology of Science Fiction. This segment of the course will provide a sense of both continuity and transformation, both in American culture and in sf. After we become familiar with the tendencies of early sf, the pulps, the golden age, the new wave, and late-century cyberpunk, the course’s second, thematically-driven section will focus upon key sf subgenres and seven of its most significant traits (drawing on work by Istvan Csicsery-Ronay, Jr.). In this phase, we will consider the implications of time travel and alternate histories, the allegories involved in alien contact narratives and post/apocalyptic fiction, and the impacts of biotechnology, new media, and climate change. Here we will also sample sf novels by golden-age master Arthur C. Clarke, new-wave icon Octavia Butler, and one of the most influential living sf writers, Kim Stanley Robinson. Coursework will include relatively heavy but often very entertaining reading, four announced reading quizzes, two argumentative papers, and a unique outside novel expansion project that features creative writing and a poster presentation.

2 Meeting, Reading/Viewing, & Assignment Schedule PLEASE NOTE: Short stories and essays marked with an * are available for download via the course website; otherwise, they can be found in the Wesleyan Anthology.

1st WEEK, JAN 14TH: UNCOVERING SF TRUTHS & MYTHS

IN CLASS: ~*Damon Knight, “The Handler” (1960) ~Crowd-sourcing: common conceptions (and misconceptions) about sf ~*Margaret Atwood, “Homelanding” (1990)

~Syllabus review, discussion of goals and assignments, and introductions PART ONE: A HISTORY OF SCIENCE FICTION MON, JAN 20TH: BUS TRIP TO SHEDD AQUARIUM, CHICAGO

2nd WEEK, JAN 21ST: PROTO/EARLY SF & THE PROBLEM OF DEFINITION

READING: ~Nathaniel Hawthorne, “Rappaccini’s Daughter” (1844); H.G. Wells, “The Star” (1897); *W.E.B. Du Bois, “The Comet” (1920) ~Bould & Vint, The Routledge Concise History of Sf (ch 1, “Problems of Definition,” & ch 2, “Science Fictions Before Gernsback”) IN CLASS: ~Cognitive estrangement—and other ways of defining and not defining sf ~Excerpts from People’s Century episode 1: “Age of Hope” ~Discuss Paper #1

3rd WEEK, JAN 28TH: THE PULPS, WWII, & THE BOMB

READING: ~C.L. Moore, “Shambleau” (1933); Theodore Sturgeon, “Thunder and Roses” (1947); Isaac Asimov, “Reason” (from I, Robot, 1941) ~Bould & Vint, The Routledge Concise History of Sf (ch 3, “Proliferations: The 1930s,” & ch 4, “Campbell’s Revolution in Context: The 1940s”) IN CLASS: ~Magazine covers from the era of the pulps ~The Atomic Cafe (1982) (excerpts of 1940s & 50s propaganda and newsreel footage)

4th WEEK, FEB 4TH: THE GOLDEN AGE & COLD WAR ANXIETIES

READING: ~Robert A. Heinlein, “All You Zombies—” (1959); Philip K. Dick, “We Can Remember It for You Wholesale” (1966); Ray Bradbury, “There Will Come Soft Rains” (from The Martian Chronicles, 1950) ~Bould & Vint, The Routledge Concise History of Sf (ch 5, “Cold War, Consumerism, Cybernetics: The 1950s” & ch 6, “New Realities, New Fictions: The 1960s and 1970s”) WRITING: ~1-2 page plan for Paper #1 due online by Mon 2/3 (use any format desired to convey

why a given text interests you, key questions you may investigate, possible outline, etc.) IN CLASS: ~Quiz #1: Bould & Vint ch 1-6 + all short stories/videos/lectures so far ~Excerpts from People’s Century episode 12: “Brave New World”

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5th WEEK, FEB 11TH: THE NEW WAVE, A NEW FEMINISM, AND NEW BIOTECH READING: ~Pamela Zoline, “The Heat Death of the Universe” (1967); Ursula K. Le Guin, “Nine Lives” (1969); Joanna Russ, “When It Changed” (1972) ~Bould & Vint, The Routledge Concise History of Sf (ch 7, “New Voices, New Concerns: The 1960s and 1970s” & ch 8, “New Politics, New Technologies: The 1980s and 1990s”) WRITING: ~Draft of first half of Paper #1 due online by Mon 2/10 IN CLASS: ~Excerpts from People’s Century episode 17: “Living Longer”

6th WEEK, FEB 18TH: CYBERPUNK, DIGITIZATION, & TECHNOCULTURE READING: ~William Gibson, “Burning Chrome” (1982); Bruce Sterling, “We See Things Differently”

(1989); Pat Cadigan, “Pretty Boy Crossover” (1986) ~Bould & Vint, The Routledge Concise History of Sf (ch 9, “Empire and Expansion: The 1980s and 1990s” & ch 10, “Possible Futures”) WRITING: ~Full-length draft of Paper #1 due online by Mon 2/17 IN CLASS: ~Excerpt from A Science Odyssey (1998), “Bigger, Better, Faster” episode on computers

7th WEEK, FEB 25TH: MID-COURSE FILMIC RECAP & A LOOK AHEAD

WRITING: ~Paper #1 (final version) due online by Mon 2/24 IN CLASS: ~Review of part one via sf film, with time to swing back to anything we blew past ~Discuss Paper #1 arguments and Paper #2 assignment ~Outside Novel Project: group formation & book choices ~Mid-course survey PART TWO: KEY TRAITS AND SUBGENRES OF SCIENCE FICTION

8th WEEK, MAR 4TH: ASTROPHYSICS, TIME TRAVEL, & ALTERNATE HISTORY READING: *Gregory Benford, “Exposures” (1981); *Kim Stanley Robinson, “The Lucky Strike”

(1984); Kate Wilhelm, “Forever Yours, Anna” (1987); John Kessel, “Invaders” (1990) IN CLASS: ~Quiz #2: Bould & Vint ch 7-10 + short stories/videos/lectures since week 4 quiz ~Subjectivity, objectivity, and our places in time ~Outside Novel Project: finalize groups & book choices ~SF Trait #1: The Neologism (building on work by Istvan Csicsery-Ronay, Jr.) SPRING BREAK, MAR 11TH: NO CLASS

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9th WEEK, MAR 18TH: ALIEN CONTACT & THE POSTHUMAN

READING: ~Arthur C. Clarke, Childhood’s End (1953) WRITING: ~1-2 page plan for Paper #2 due online by Mon 3/17 (use any format desired to convey why given texts interest you, key questions you may investigate, possible outline, etc.) IN CLASS: ~Why aliens? Why posthumanism? ~SF Trait #2: The Novum

10th WEEK, MAR 25TH: POST/APOCALYPTIC, RACE, & ECOLOGY READING: ~Frank Herbert, “Seed Stock” (1970); Octavia E. Butler, “Speech Sounds” (1983); *Derrick Bell, “The Space Traders” (1992); Ted Chiang, “Exhalation” (2008) WRITING: ~Draft of first half of Paper #2 due online by Mon 3/24 IN CLASS: ~Sf as social-justice allegory ~Outside Novel Project: discuss first chapter or two ~SF Trait #3: Future History

11th WEEK, APR 1ST: THE ROOTS OF REPUGNANCE (AND ATTRACTION)

READING: ~Octavia Butler, Dawn (first book of Lilith’s Brood trilogy, 1987) WRITING: ~Full-length draft of Paper #2 due online by Mon 3/31 IN CLASS: ~Quiz #3: Clarke, week 10 short stories, Butler, lectures since week 8 quiz ~Homogeneity, heterogeneity, and the strange wisdom of Octavia Butler ~SF Trait #4: Imaginary Science FRI APR 6: ABSTRACT SUBMISSION DEADLINE FOR UNDERGRAD RESEARCH DAY (4/18)

12th WEEK, APR 8TH: BODIES, MACHINES, & NEW MEDIA READING: ~Harlan Ellison, “’Repent, Harlequin!’ Said the Ticktockman” (1965); *Greg Bear, “Blood

Music” (1983); James Patrick Kelly, “Think Like a Dinosaur” (1995); *Pepe Rojo, “Gray Noise” (1996)

WRITING: ~Paper #2 (final version) due online by Mon 4/7 IN CLASS: ~Surveillance, imagined community, and personal biotechnology ~Outside Novel Project: discuss first half or so ~SF Trait #5: The Sublime

13th WEEK, APR 15TH: DISASTER, FEAR, & REALISM

READING: ~First half (ch. 1-5) of Kim Stanley Robinson, Forty Signs of Rain (2004) IN CLASS: ~SF Trait #6: The Grotesque

5 WED, APR 16TH: UNDERGRADUATE RESEARCH DAY TRIP TO MACOMB

14th WEEK, APR 22ND: PERSONAL & GLOBAL METAMORPHOSIS READING: ~Second half (ch. 6-10) of Kim Stanley Robinson, Forty Signs of Rain (2004) IN CLASS: ~Quiz #4: Week 12 short stories, Robinson, lectures since week 11 quiz ~SF Trait #7: Social Transformation ~Outside Novel Project: discuss full text ~Course evaluations

15th WEEK, APR 29TH: FINALS PREPARATION

IN CLASS: ~Outside Novel Project: plan for presentation DATE TBA: CAS END-OF-YEAR RESEARCH EVENING AT BUTTERWORTH CENTER

FINALS WEEK, MAY 6TH: OUTSIDE NOVEL PROJECTS WRITING: ~Online survey about the parts of your group’s Outside Novel Project you completed IN CLASS: ~Outside Novel Project presentations Texts for Purchase PLEASE NOTE: *Prices below are rounded off from recent amazon.com new prices. In many cases, used copies can be purchased less expensively (try bookfinder.com!). *Other materials will be posted or linked via Western Online and may be printed on campus at no cost.

• Evans, Arthur B., et al., eds. The Wesleyan Anthology of Science Fiction. Wesleyan, $26. ISBN: 0819569550.

• Bould, Mark and Sherryl Vint. The Routledge Concise History of Science Fiction. Routledge, $24. ISBN: 0415435714.

• Clarke, Arthur C. Childhood’s End. Del Rey, $8. ISBN: 0345347951. • Butler, Octavia. Lilith’s Brood. Grand Central, $13. ISBN: 0446676101. • Robinson, Kim Stanley. Forty Signs of Rain. Spectra, $8. ISBN: 0553585800. • Additional outside novel (student group choices).

Recommended Reading NOVELS BY FEATURED AUTHORS (IN ORDER OF APPEARANCE ON SYLLABUS) Margaret Atwood, Oryx & Crake, Year of the Flood Nathaniel Hawthorne, The House of Seven Gables H.G. Wells, The Time Machine, The Island of Dr. Moreau W.E.B. Du Bois, Dark Princess Isaac Asimov, Foundation Robert Heinlein, Starship Troopers, Stranger in a Strange Land Philip K. Dick, The Three Stigmata of Palmer Eldritch, Martian Time-Slip, Man in the High Castle

6 Ray Bradbury, The Martian Chronicles, Fahrenheit 451 Ursula K. Le Guin, The Telling, The Lathe of Heaven, The Eye of the Heron Joanna Russ, The Female Man William Gibson, Neuromancer Bruce Sterling, Schismatrix Plus Kate Wilhelm, Where Late the Sweet Birds Sang Gregory Benford, Timescape Arthur C. Clarke, 2001: A Space Odyssey Frank Herbert, Dune Octavia Butler, Kindred, Parable of the Sower, Parable of the Talents, Dawn sequels Adulthood Rites & Imago Greg Bear, Blood Music (novel), Darwin’s Radio, Darwin’s Children Kim Stanley Robinson, Red Mars, Green Mars, Blue Mars; The Years of Rice and Salt; 2312 MORE RECOMMENDED SF NOVELS (FAR FROM EXHAUSTIVE, NOT IN ANY ORDER) Walter M. Miller, Jr., A Canticle for Liebowitz A.E. Van Vogt, The World of Null-A Russell Hoban, Riddley Walker Adolfo Bioy Casares, The Invention of Morel Cormac McCarthy, The Road H.P. Lovecraft, At the Mountains of Madness Orson Scott Card, Ender’s Game Edgar Rice Burroughs, A Princess of Mars China Miéville, Embassytown Mark Twain, Tales of Wonder (collection) Paolo Bacigalupi, The Windup Girl Neal Stephenson, Snow Crash Don DeLillo, White Noise John Updike, Toward the End of Time James Morrow, Towing Jehovah Carl Sagan, Contact Kurt Vonnegut, The Sirens of Titan Robert Sawyer, Calculating God Samuel Delany, Triton Larry Niven, Ringworld Walker Percy, The Thanatos Syndrome Sinclair Lewis, Arrowsmith Philip Roth, The Plot Against America Colson Whitehead, The Intuitionist Karen Tei Yamashita, Tropic of Orange Molly Gloss, The Dazzle of Day Richard Powers, Plowing the Dark, Galatea 2.2, Generosity Marge Piercy, He, She, It Benjamin Hale, The Evolution of Benjamin Littlemore Jack London, The Iron Heel Nancy Kress, Beggars in Spain (and two sequels) Bruce Sterling, The Schismatrix (Plus) Grading Criteria ~An A recognizes broad and deep understanding of the course material, regular and insightful discussion contributions, and very strong written work—a major impact on the course’s success. ~A B indicates good commitment to coursework, demonstrable contributions and achievements in both verbal and written analysis, and tangible positive impact on other students’ learning. ~A C reflects adequate completion of coursework, including satisfactory participation and writing. ~A D or F denotes incomplete or unsatisfactory coursework, unsatisfactory participation (missing more than 25% of class time or >3 classes), and/or detraction from course goals (via plagiarism or otherwise). I will figure final grades using the university scale (A, B, C, D, or F, with pluses and minuses) and the values below (subject to minor adjustments if needed). Please note that by using the “My Grades” function on the course website, you can track your assignment grades and estimate your current overall grade (using the formula below) at any point.

40% 4 quizzes (10% each) 15% Paper 1 (Argumentative Essay) 25% Paper 2 (Intertextual Argumentative Essay) 20% Outside Novel Project (creative expansion, poster, and panel discussion— 10% individual grade, 10% group grade)

7 Brief Looks at Main Assignments Quizzes: These will neither be picky, insignificant-detail interrogations, nor such easy affairs that one could prepare sufficiently by reading summaries. The idea is that anyone who recently read/viewed all of the assigned texts with good comprehension will average 70-80% of the points available (i.e., earn a “B” or better). Students sometimes grumble about my quizzes initially, but soon agree they provide valuable accountability and lead to higher-quality discussions because everyone is well-prepared. Paper 1 (Argumentative Essay): Write a 1000+ word argumentative essay that develops a risk-taking, non-obvious claim about the significance of any one of the stories read in weeks 2-6. This paper should not include plot summary. Instead, while keeping in mind the relevant period in science fiction’s history, focus on analyzing the text and its meanings (“close reading”). Further details and examples will be discussed during the week 2 meeting. PLEASE NOTE: For both papers 1 and 2, there are intermediate due dates for a 1-2 pp. rough planning document (in outline or other form, as you prefer), a half-length draft, and a full-length draft. These submissions are not individually graded, but I do consider work in these stages when a student’s final course grade is on the border between two possibilities. While I will not automatically respond to most of these postings, I will gladly reply when students ask specific questions in the online comment boxes. Paper 2 (Intertextual Argumentative Essay): Write a 1500+ word argumentative essay that develops a risk-taking, non-obvious claim about the relationship(s) between 2-3 texts. At least one of these must be a short story from our course (it could be the one used for Paper 1); at least one must be pre-approved from outside our course requirements (either by appearing in this syllabus under “Recommended Reading” or via email with Dr. Hamner at least a week before the paper is due). When considering options, understand “text” very broadly: an episode of a TV show with science fictional dimensions, an advertising campaign, a film (though remember that sf literature and film have distinct histories and languages), a short story not listed in our syllabus, or a whole sf novel. In grading this assignment, I will take into account the amount of time and work required simply to acquire and read/view your outside text. Further details and examples will be discussed during the week 7 meeting. Paper 3 (Outside Novel Project): Your final project will be another opportunity to reach beyond your previous reading experience, exposing yourself and others to more of the rich literature that falls under the rubric of “science fiction” (broadly defined as always). Partnering with 1-4 classmates who are willing to read the same outside novel (the less widely known, the better; see the “recommended reading” lists on this syllabus), you will work together on a creative expansion of some storyline or other element and collectively create a poster presentation to discuss at our finals meeting. Individuals who also represent their group in presenting the poster at the annual QC CAS Research and Awards Evening will receive a 1/3 grade bonus on the assignment and gain valuable professional experience. During our finals week meeting, your group will offer a brief panel discussion about the novel, with each member speaking initially for about one minute, then Q&A with your classmates for a few more. Your job is to make the novel’s strongest elements clear for the rest of the class and to reflect on its relationships to other sf texts and the subgenres we have discussed. This should be a fun experience, not something to stress over unduly. Half of your grade (10% of the course grade) on this assignment will be a collective group grade, while the other half will be an individual grade on your portion (at the finals week meeting, you will fill out a brief survey concerning the elements you and other students personally completed). Further details and examples will be discussed during the week 7 meeting. More Extra Credit Options: A high-quality job on one of the following (maximum) is worth a one-third course grade boost: (a) a poster presentation at Undergraduate Research Day in Macomb (occurs 4/16, and proposals are due 4/6); (b) a revision (after my comments on the graded version) and publication of a paper for this class in The River’s Edge student newspaper; (c) a science fictional short story of at least 1500 words that is published in The River’s Edge or a similar context. In each case, receiving extra credit depends on communication in advance and consultation during the writing process, not just submission of the final product.

8 PLEASE NOTE: The remaining information is included on all of my syllabi. Keep in mind that its application will vary in some measure according to the students involved and the particular emphases of each course. My Teaching Philosophy and Habits Like every student, every teacher has unique strengths and weaknesses. Often these are closely related: a tendency appreciated by some can be problematic for others. Either way, the more that is transparent from the beginning, the more quickly we will develop a strong rapport, so here are a few of my values: ~I want students to be honest and authentic with me and each other. I very much hope this course will prove pleasurable and enriching, and that will be most likely insofar as we both tactfully and directly share reactions to controversial materials and topics. I intentionally raise such issues because a public university classroom can be an ideal setting for the frank but gracious disagreements that yield genuine insights and move a culture forward. I want us to develop a community in our classroom that you look forward to participating in, one that spills into other interactions well beyond the semester’s end. ~At the same time, I want students to be professionally responsible. I encourage you to approach this course as part of your job, with tasks that are yours and yours alone. While I am very understanding that it will not be easy to balance this course and others, part-time or even full-time jobs, childrearing, and other worthwhile endeavors, my duty is to challenge you beyond your comfort zone and to honestly assess the quality of your work. Please trust that I am interested in your growth personally and professionally regardless of the grade I might assign your quiz or paper on a given day. ~Our backgrounds all feature unique advantages and limitations, and while most of our time will be spent studying fields in which I am relatively expert, I plan to learn just as much as you. Wisdom is not just knowledge, but humility, a deepening awareness of how much one does not know. I spent over a decade earning several graduate degrees not in order to hoard power, but so as to empower others. Thus I see you as major contributors to what lies ahead: what you get out of this course will be directly related to what you put into it, both during and especially outside of our meeting times. Attendance & Participation My courses differ substantially from those requiring regurgitation of memorized information. Instead, our goals include learning new interpretive approaches, understanding diverse people and ideas, expanding critical thinking and creative abilities, strengthening analytical and writing skills, and benefiting from each other’s unique backgrounds of experience. As a result, preparation for each session, regular attendance, and thoughtful discussion participation are crucial commitments for all concerned. Except in life-threatening or extreme circumstances, chronic absence and/or lateness (missing more than 20% of class-time, or more than 3 meetings) will automatically lower final grades by one full letter. Additional non-attendance is very likely to lower a course grade further and may result in an “F” for the course. Classroom Courtesies Please excuse yourself when necessary; transitions between activities are the best time. Also, please turn off/mute cell phones, mp3 players, and other potential distractions before class (occasionally I forget too). While laptops and other electronic devices should not be used during quizzes, otherwise I trust you to employ them to advance your learning (at least unless given reason to think otherwise). Finally, please wait to put away materials until we call it a day; I will respect your schedules as well. Making Contact When you have a question about the course not addressed on the syllabus or in class discussions, please check first with a peer if possible, then feel welcome to contact me. I encourage you to email questions I can answer briefly; when there are larger issues, approaching me after class or arranging to meet during office hours is appreciated. Email is almost always the best means; while I receive dozens of

9 messages daily, I try to respond within three business days, whereas I check voice mail less regularly. Finally, I do use email to make class announcements, so make sure I have an address you check daily. General Writing Assignment Guidelines I will provide further information about goals and grading criteria for each paper, but it is worth familiarizing yourself now with a good style guide. I use MLA style most often, but other styles (Chicago, APA, or another with pre-approval) are fine as long as they are consistently applied. Also, please use this page setup on all assignments, unless specified otherwise: 1” justified margins on all sides; size 12, Times New Roman font; and double-spacing. Finally, provide a cover page including paper title, course title and my name, your name, and date, as well as a list of works cited or a bibliography (depending on the style you employ and the assignment). The Writing Center The Writing Center offers free individual instruction from experienced professionals. Areas of writing help may include generating ideas, suggesting organization, and working through grammatical issues. While walk-ins are welcome, appointments are recommended. See www.wiu.edu/qc/writing_center/. Late Work If you anticipate special difficulty in meeting a deadline, discuss this with me well in advance so that if warranted, we can consider special arrangements. Because readings and assignments are in many ways cumulative, it is important that you keep up; at the same time, we lead busy lives and things happen. Balancing those realities, I have a one-time one-week’s grace policy: I do not penalize work submitted within a week of the due date on the first occasion (with the exception of finals week), but beyond that exception, assignments lose one-third of a letter grade per week late. Academic Dishonesty Plagiarism, cheating, and other forms of academic dishonesty are among the most serious violations of a student’s integrity and of relationships with the instructor, fellow classmates, and the university. In the humanities, plagiarism most often involves presenting another person’s specific words or ideas as one’s own, whether by copying or closely paraphrasing, and without citing the source. Please be aware that such an offense will lead automatically to an “F” on the assignment and possibly for the course. We will briefly review proper citation in class, but if you have questions about how to credit an idea or information source, ask! If you are unsure about definitions or consequences of academic honesty, consult WIU’s Student Academic Integrity Policy at www.wiu.edu/policies/acintegrity.php. Accommodations “In accordance with University policy and the Americans with Disabilities Act (ADA), academic accommodations may be made for any student who notifies the instructor of the need for an accommodation. For the instructor to provide the proper accommodation(s) you must obtain documentation of the need for an accommodation through Disability Support Services and provide it to the instructor. It is imperative that you take the initiative to bring such needs to the instructor's attention, as he/she is not legally permitted to inquire about such particular needs of students. Students who may require special assistance in emergency evacuations (i.e. fire, tornado, etc.) should contact the instructor as to the most appropriate procedures to follow in such an emergency. Contact Disability Support Services at 298-2512 for additional services” (from Official University Policy Manual at www.wiu.edu/policies/syllabus.php). Student Rights & Responsibilities For further information on expectations for both students and university personnel, please see www.wiu.edu/provost/students/.