model assignments

e-texts & research links

Craig White's home page

Course Texts

Scriptural texts: esp. Genesis (Creation) and Revelation (Apocalypse)

H. G. Wells, The Time Machine (1895)

Octavia Butler, Parable of the Sower (1993)

Future Primitive: The New Ecotopias, ed. K. S. Robinson (1994)

Virtually Now: Stories of Science, Technology and the Future, ed. J. Schinto (1996)

+ online texts & handouts--see reading schedule below

Graded Work

Reading quizzes (app. 10%, more if results are far below average.)

Midterm (In-class or email,  25 June; 30-40%)

Final Exam (9 July, in-class or email; 40-50%)

Class Presentations, participation, attendance (app. 10-20%, graded silently)

Future-Vision Presentation

Informal presentations: Discussion-Starter & Web-Highlighter

Class preparation and participation

Attendance: One free cut allowed without comment or penalty. Two or more absences or partial absences, even with good excuses, lower final grade, potentially seriously.

Grades are not computed mathematically; percentages indicate only assignments' approximate relative weight. Only letter grades are given. Pluses and minuses may appear on component and final grades.

Final grade report

Course policies

Monday, 8 June

Readings:  Begin Scriptural Texts of Creation & Apocalypse

Population growth

terms: decline or progress

literature entertains and educates

symbols and narratives

Agenda:

welcome, syllabus, website, daily windows
review assignments; 2013 homepage
presentation preferences
Presentations for Tuesday (tomorrow?)
[break]
purpose of literature: entertain & instruct; Literature of ideas
symbols and narratives
midterm > 3 narratives (obj. 1); nature of time
preview Tuesday's texts

Discussion Questions:

Reading religious texts as literature? How does anyone read scripture?

What attitudes toward Biblical Creation & Evolution?

Genesis as Origin Story / Creation Story: familiarity with genre?

How does the Creation story in Genesis set up Revelation?

Tuesday, 9 June:

Readings: Continue Scriptural Texts of Creation & Apocalypse

terms: Millennium / Apocalypse, prophecy, sublime, symbol

Discussion-starter: Zach Mayfield

Web-highlighter (midterms): instructor

terms: images, symbols, genre, utopia, narrative genre, romance narrative

Agenda: emails, presentations

Assign Parable of the Sower; creation / origin stories

quiz on reading assignments

ways to study Literature

Discussion-starter: Zach

symbols & narratives

web-highlight: midterms (grading standards)

Discussion Questions:

Reading assignment: See note to Index to Scriptural Texts of Creation & Apocalypse; also review term-sites for narrative, symbols, and narratives of the future.

Formal questions for Literature of the Future midterm:

1. Creation-Apocalypse narratives exemplify the linear model of time, but what parts of today's texts suggest a more complex model or dimensions beyond "Point A to Point B?"

2. Narrative genres: How does the plot-pattern of Revelation resemble the plot narrative of a romance? Pay attention to the gradual revelation of the central character of Jesus—how does he appear? How is he like a hero in a romance-rescue story? How are the Satanic figures like the villain? (instructor will lead)

3. Symbols are among the most striking and obvious devices of apocalyptic literature, e.g. popular references to "666," "The Beast," "Anti-Christ," "The Whore of Babylon," "Signs in the Heavens," etc. What can we learn about symbols' functions in literature generally from their power in apocalyptic literature?

Special questions for End-Times literature and reading or teaching scripture as literature. (We can't get to all of these, but they suggest millennial literature's many points of interest for literary and cultural criticism.)

4. If Revelation and other apocalyptic texts are among the most popular parts of the Bible, why? What literary appeals? (<in contrast to appeals to faith, religious belief, etc.) How does Revelation seem different from other Biblical or scriptural texts like the Gospels? (Worth remembering that Eastern Orthodox churches don't include Revelation in the Bible.)

5. What impulses for social or personal change, or what social consequences, result from apocalyptic texts and thought? How does apocalyptic thinking influence attitudes toward decline or progress?

6. Jesus was crucified around 30-36AD, and the Book of Revelation was written between 70 and 95AD. Matthew 24.34 records Jesus saying, "This generation shall not pass, till all these things be fulfilled." What social consequences to perennial belief that "ours is the last generation?"

Thursday, 11 June

Readings: Parable of the Sower (read app. half)

optional reading: brief bio of Octavia Butler (pre-mortem [2006]) &

interview with Octavia Butler

Octavia Butler obituary 2006

Discussion-starter: Cyndi Perkins

Future-vision presenter: Michael Bradshaw

Agenda:

presentations

apocalypticnarrative > symbols (translation, interpretation)

quiz

discussion: Cyndi

prsn: Michael

apocalyptic music: Carl Orff, Carmina Burana

Discussion Questions: 1. Conclude Apocalyptic scriptures: upsides / downsides of interpreting Scripture as literary text? Attractions / detractions of apocalyptic narrative?

2. Compare Parable to Revelation. How are both apocalyptic?

2a. Describe Parable of the Sower as science fiction / speculative fiction. (Compare / contrast Revelation as scripture.)

2b. As science fiction, how does Parable incorporate evolution? (For instance, human behavior as change and adaptation? Contrast to sin and virtue, or faith vs. lack of faith?)

2c. Science fiction is not just science but also fiction (see genres): How is Parable fictional in representational form, and how is its narrative romance? (instructor will lead)

2d. Lauren also develops her own theology--compare, contrast her father's Baptist belief.

3. Compare biblical apocalypse and environmental apocalypse?

Monday, 15 June: apocalypse and evolution

Readings: Parable of the Sower (complete)

Discussion-starter: (Parable): Nicole McDonald

Future-vision presenter: Sarah Hurt

Instructor's presentation: Octavia Butler, Parable of the Talents (1998)

Agenda: midterm & web resources > apocalyptic narrative

preview Butler later in summer

quiz

discussion: Nicole McDonald

Parable of the Talents

[break]

future vision: Sarah Hurt

apocalypse and evolution

evolution + assignments

Discussion Questions: 1. Continue comparisons with Genesis / Revelation and other apocalyptic texts. Does Lauren qualify as a "prophet?" Earthseed as prophecy? Earthseed community as utopia? (cf. heaven at end of Revelation)

2. Discuss blending of apocalypse and evolution in Parable of Sower (and later texts like Time Machine).

2a. How are both present? How account for co-presence instead of co-exclusion?

2b. Where do they diverge? Where do they meet? Can you reconcile seeing the world as both apocalypse and evolution, rather than one excluding the other? If so, how?

2c. What are the signs, symbols, or keywords of creation-apocalypse and evolution?

3. Broadly, how does Parable of the Sower succeed (or not) in making you care about the future? Or does it just make you want to buy guns, hoard gold, hide, and distrust anyone who's not in your family or church?

4. Science fiction and many other forms of popular literature do not age well. Parable of the Sower is now 20+ years old. How out of date is it already? How much closer are we to its time-frame? If it survives, why? What literary qualities make it somewhat timeless or classic?

Tuesday, 16 June

Readings: "Stone Lives" (handout) and "Bears Discover Fire" (FP 17-28)

Discussion-starter: Kasey Akin

Future-vision presenter:  Nina Shaver

Web-highlighter (midterms): Haley Stilwell

Agenda: Science fiction; Time Machine assignments
quiz
discussion:
midterm preview (>20 June)

Discussion Questions: 1. What key terms or ways of thinking signal that these stories operate in a world built on on evolutionary premises? (Consider terms or ideas like change, adaptation, survival, + plenty of animal characters and symbols)

2. What picture of humanity do these stories (and evolutionary models) create? What assumptions about the way nature, time, and society are organized?

3. compare / contrast apocalyptic narrative

Thursday, 18 June

Readings: "Somebody up there Likes Me" (VN 208-237); begin The Time Machine (through ch. 5).

Discussion-starter: instructor

Future-vision presenter:  Vicky Webb 

Agenda:

assignments / alternative futures

midterm updates + topic discussion assignment

midterm web highlights:

quiz

[break]

Time Machine / Somebody discussion:

Discussion Questions:

1. H.G. Wells is the greatest historic science fiction writer. What qualities distinguish his style? What models does he create for science fiction in terms of action and characterization? What mix of science and fiction?

2. The Time Machine was written 1895, a generation after Darwin's Origin of Species (1859): What signs or terms of evolution in Time Machine?

3. Evolution as progress instead of decline? How does changing the time scale (from near to distant future) change the perception?

4. Identify "Social Darwinism" (e.g., "survival of the fittest") with the cultural or class developments in The Time Machine.

5. "Somebody up there . . . ": How is Wells's industrial-era evolution updated to digital-era technology? What styles or symbols are updated in terms of gender, action, humor? 

Monday, 22 June (transition from evolution to alternative futures)

Readings: conclude The Time Machine (ch. 6 through epilogue); Bruce Sterling & Lewis Shiner, "Mozart in Mirrorshades" (handout)

Discussion-starter: Michael McDonald

Future-vision presenter: Sarah Hall

Agenda: midterm review; Essay 2 topic discussion

quiz
text discussion:

Wells
 [break]

"Mozart"
future-vision:

Sphinx in Time Machine

Discussion Questions:
Time Machine: Conclude Evolution Section; continue questions above +
1. conclusion of Eloi-Morlock story: apocalyptic or evolutionary? How like a romance?

2. Late in novel, very deep future--what storytelling challenges? (evolution narrative)

3. Summarize science fiction style, problems or issues with "classic science fiction." How does Wells survive as "classic sf" when so little sf does?

"Mozart in Mirrorshades": Begin Alternative futures

1. Look for key terms in quantum & temporal physics: probability, time holes, parallel worlds (i.e., alternative histories & futures)

Tuesday, 23 June

Readings: "Garden of Forking Paths"; William Gibson, "The Gernsback Continuum" (BC); "Better Be Ready 'bout Half Past Eight" (VN 22-47)

Web-highlighter (midterms):

Future-vision presenter:

Agenda: Literature of Ideas 6, 19, 26, 42; aphorism
assignments for Monday
midterm topics & highlights
Future prsn:
quiz
Why is great literature difficult?
discuss: Garden
Gernsback
Half Past Eight

Discussion Questions:

1. How successful is "Garden of Forking Paths" as Literature of Ideas? Compare "Gernsback" & "Half Past Eight"

1a. More specifically, how convincingly does it represent or make you feel the possibility of Alternative Futures?

2. Except in "Garden," observe scientific background for alternative futures, esp. quantum physics as "probability"

3. What images of alternative futures, besides "Garden of Forking Paths"---branching tree?

4. What attractions, repulsions to alternative futures, compared to apocalyptic and evolutionary narratives?

Monday, 29 June: high-tech future, cyberpunk literature

Readings: William Gibson, "Johnny Mnemonic" (BC); William Gibson, "Burning Chrome" (BC 168-191); Richard Goldstein, "The Logical Legend of Heliopause and Cyberfiddle" (VN 159-180).

Discussion-starter:  Alejandro Renteria

Future-vision presenter: Karin Cooper

Google-Glasses: a future that didn't quite happen

Agenda:

midterm > final + office hours
assignments
Why is great literature difficult?
science fiction
prsn:
quiz
[break]
discussion
allusions
prsn:

Discussion Questions: 1. What like / dislike about cyberpunk and why?

1a. Attraction-repulsion of high-tech future? Consider organic / non-organic; actual / virtual reality.

2. How identify cyberpunk style? William Gibson as "father / founder / leading stylist of cyberpunk," influential sf style in past generation. (associated terms: high-tech, virtual reality, cyberspace)

3. What about Gibson's style makes literary sorts acknowledge him as a real writer? (most sf writers are competent but indifferent to style, more interested in ideas, action--cf. Bernstein, "Logical Legend"). Pay special attention to extended metaphor.

4. Problems with cyberpunk?

• Too tough for the easy escapism of romance? What evidence?

• Gender stylings? (stereotypical background: sf for geeky white guys > implications for women's identities?) (recall "Stone Lives")

Tuesday, 30 June: low-tech: traces of organic human nature and traditional culture in high tech world

Readings: "The Onion and I," (VN 8-21)."Drapes and Folds," (VN 126-139)."Speech Sounds"(VN 91-108).

Discussion-starter:  Liz Davis

Web-highlighter (final exams):

Future-vision presenter: Cyndi Perkins

Agenda:

assignments; utopia

quiz

discussion:

science fiction

web highlights:

Discussion Questions:

1. If you didn't like the cyberpunk / high-tech / virtual realities stories, what alternative values or appeals do these low-tech stories offer?

2. What utopian / dystopian elements? Identify different appeals of low-tech and high-tech.

3. Contrast organic appeals of low-tech with non-organic of high-tech.

4. What elements of romance?

5. Octavia Butler, author of Parable of the Sower, wrote "Speech Sounds"—how might you recognize her style and subject matter? (compare our discussions of Gibson)

Thursday, 2 July: ecotopia

Readings: K. S. Robinson, “Introduction” to Future Primitive; "Chocco" (FP 189-214); "House of Bones" (FP 85-110)

Presentation: Hannah Wells, LITR MA student on utopias / dystopias

Discussion-starter: instructor

Future-vision presenter: Melissa South (Waterworld, 1995)

Agenda: assignments; cosmos

quiz

Le Guin story in Future Primitive

discuss readings

Chocco

break + evaluations

House of Bones (Obj. 3; romance)

prsn:

Discussion Questions: 1. What is utopian or potentially dystopian about "ecotopia?"

2. Art or literature "entertains and educates" in a continuum: some literature entertains more, some educates more; e.g. didactic literature. Where do the two stories fall on this spectrum?

3. What are the urgencies and difficulties of discussing population, climate? Does science fiction provide a way to discuss? What metaphors enable us to imagine a sustainable future?

4. Why is it difficult to write stories that make people care for the environment? What inherent problems with ecological literature?

• ecology requires collective responsibility for shared world with no escape--must avoid apocalypse

• most stories require individual heroes and simple solutions or escape; apocalypse no problem as long as someone else takes the heat

Monday, 6 July

Readings: "Hinterlands" (BC 58-79); "They're Made out of Meat," (VN 69-72)."The Poplar Street Study" (VN 140-148)

Discussion-starter: Shelby Hollen

Future-vision presenter: Ashley Idema

Web-highlighter:

Agenda: new earth-like planets; Chinese astronauts land

final exam

prsn:

quiz

[break]

discuss alien-contact fiction (obj. 2d)

Independence!

Discussion Questions: 1. What issues about "our future in space" do our readings raise?

2. What literary techniques make you understand, care, and learn? (e.g., metaphor, allusion, irony, the sublime)

3. How does outer-space sf change our view of humanity on earth? If humans and aliens represent "the self and the other," what do "they" reveal about "us?"

4. How successfully do the stories get beyond the "War of the Worlds" model seen in Independence Day or other standard "Earth vs. Aliens" movies in which aliens automatically appear as apocalyptic terrorists?

General pop-culture questions:

5. Since aliens probably don't exist but are constantly represented in popular culture, what purposes do they serve for us? Why do we prefer stories about aliens to stories about our environment?

6. What dimensions of time or the future do aliens represent?

Tuesday, 7 July:

Readings: Ursula K. Le Guin, "Newton's Sleep" (FP, 311-338); "The Belonging Kind" (BC 43-57)

Discussion-starter: Vicky Webb

Future-vision presenter: Ozzy Martinez

Web-highlighter:

Agenda: new earth-like planets; Chinese astronauts land

prsn:

quiz

[break]

discuss alien-contact fiction (obj. 2d)

Discussion Questions: 1. What issues about "our future in space" do our readings raise?

2. What literary techniques make you understand, care, and learn? (e.g., metaphor, allusion, irony, the sublime)

3. How does outer-space sf change our view of humanity on earth? If humans and aliens represent "the self and the other," what do "they" reveal about "us?"

4. How successfully do the stories get beyond the "War of the Worlds" model seen in Independence Day or other standard "Earth vs. Aliens" movies in which aliens automatically appear as apocalyptic terrorists?

General pop-culture questions:

5. Since aliens probably don't exist but are constantly represented in popular culture, what purposes do they serve for us? Why do we prefer stories about aliens to stories about our environment?

6. What dimensions of time or the future do aliens represent?