EL 206_Fall 2021

EL 206 | American Literature After 1865

Fall 2021

---

Useful Links: Course Wiki, Blackboard + Find the Zoom Link @ the Wiki
Research Help: Online version of the “Research as a Process” handout: here.
Necessary Link: Etiquette for attending a virtual class: here.

Week 1 – Week 2 – Week 3 – Week 4 – Week 5 – Week 6 – Week 7 – Week 8 – Week 9 – Week 10 – Week 11 – Week 12 – Week 13 – Week 14 – Week 15 & Final

Am Lit eTexts and Helpful Sites: Here
Overview of Authors: Here

---

American Literature After 1865 picks up just after the Civil War and continues on through the 20th century, so we go from locomotives and industrial revolution to the Internet and smart phones (loosely speaking). By the time we’re through, you ought to have a pretty good working sense of the chronology of American literature since Lincoln. We’ll look particularly at American Realism and Regionalism, Naturalism, Modernism, the Harlem Renaissance, and Postmodernism, with attention to minority and immigrant voices at all stops. We’ll sample poems, essays, folk tales, short stories, and more, and as we do so we’ll think about why these authors wrote in the ways they did during the times when they did it. We’ll also consider strategies for interpreting these different kinds of literary expression. The reading load won’t knock you flat, but you should expect to read at a steady clip of 20-30 anthology pages per class session, typically (some days less, some days more). You are heartily encouraged to take time to re-read, especially on lighter reading days. The best and most satisfying reading is often re-reading.

---

Assignments/Scores to Anticipate

1. A Daily Questions and Comments Journal
2. Daily Quizzes (If There’s Reading, There Might Be a Quiz)
3. A Researched Author Snapshot Paper (2-4 pages)
4. Three Critical Reading Responses + One Revision (~2 pages each)
5. Three Exams, Each Including Essay Portions
6. A Reflection on Writing for the Courese (2-5 pages)
7. Attending a Literary Reading + A Quick Response
8. A Course Participation Score

You Should Always Have the Readings in Front of You in Class

Right in front of you, even if on a screen. We’re here to read together. Let the text take its right place.

---

Week 1 (Sept. 8 and 10)

• Due Friday Before Class: Self intro on course wiki (link above).
• Due NEXT Wednesday: Sign up for an Author Snapshot research subject (on the wiki: here) before next Wednesday’s class.
• Days 2 and 3, below, have you doing a lot of little “getting ready for the course” work. Small stuff, but worth your time. Work that list!
• Notice that “due” items and small notes about any given week are listed right under each week’s heading.
• To Be Clear: The readings and activities are due on the day where they appear. (So you’re reading Twain for Friday’s class meeting, and so on.)
• AM = American Murmurations (the ebook anthology you can find at Blackboard). Please Note: All readings until about Week 5 (and some after) are available in the AM anthology. The schedule will note when you should absolutely switch over to the Heath.
• Remember to begin your Questions and Comments Journal with Friday’s readings.
• Look! I’m saying it twice! Remember to begin your Questions and Comments Journal! Keep this thing up! The Q&C journal is most useful to those students who formulate their questions and comments before class, as the assignment requires.

Day 1: No Class Yet

Day 2: Course Introduction

After Class: Watch: “Wikis in Plain English” (online + embedded below)

And Then: Go to the wiki and introduce yourself. (A quick assignment, worth some easy, easy daily/quiz points to you.)

Day 3: Mark Twain (Samuel Langhorne Clemens): “Jim Smiley and His Jumping Frog” and excerpts (in AM, only) from Huckleberry Finn (“Notice,” “Explanatory,” and Chapters 1-2, 31)

Due Before Class: Self intro on course wiki (link above).

Note: If for any reason the AM anthology isn’t available yet, you can get a jump on your Mark Twain reading here: http://www.gutenberg.org/ebooks/author/53

Need a Simple eBook Reader? –> Calibre will do it.

Oh, hey! Start that Questions and Comments Journal!

Highly Recommended: Read the first three pages of the “Author Snapshot” packet. Be sure you understand what the assignment is asking you to do! Click here to find the online guide to the research process. Check it out now, and think about how you’ll approach it!

Next Tuesday Night, 9 pm: Starting at 9 PM on Tuesday Night, you may choose your Author Snapshot authors at the wiki.

---

Week 2 (Sept. 13, 15, and 17)

• Tuesday Night, 9 pm: Starting at 9 PM on Tuesday Night, you may choose your Author Snapshot authors at the wiki.

Day 1: Joel Chandler Harris: “Free Joe and the Rest of the World” (in AM) and selections from Uncle Remus (“Tar Baby” and “How Mr. Rabbit Was Too Sharp for…”) + Additional Short Folk Tales (all in AM, though some of this is in some versions of the Heath, too): “EDITOR’S NOTE from ‘Animal Tales from North Carolina,'” “When Brer Deer and Brer Terrapin Runned a Race,” “Why the Spider Never Got in the Ark,” “How Brer Rabbit Practise Medicine,” “Brer Rabbit Born to Luck,” “Malitis,” “The Flying Africans”

Please Note that a couple of the folk tales are available only via the AM anthology; doing it this way gave me the chance to give you some cool stuff that goes beyond the Heath.

Note, too: Where/if you find the transcribed dialects in these pieces hard to understand, try reading aloud. It can help clear things up.

On Passing Quizzes: I’ll never be trying to truly stump you on a daily quiz, if we have one. Advice: Keep track of characters, situations, and major themes you see in the writing. Put ’em in your notes. This will help you to be ready.

Keep going on the Questions and Comments Journal!

Tuesday Night, 9 pm: Starting at 9 PM on Tuesday Night, you may choose your Author Snapshot authors at the wiki.

Day 2: William Dean Howells: “Editha” + excerpt from “The Editor’s Study.” (The “Editor’s Study” excerpt is printed in Heath Vol. C, but it’s not available in the Concise Heath, so, for convenience, I’ve put it online, here.

Remember to choose your Author Snapshot subject before today’s class meeting.

On Research: The “Research as a Process” handout is online, for easy access. Start working through that process for your Author Snapshot! Try one thing at a time…

Need a Simple eBook Reader? –> Calibre will do it.

In AM, you can read–if you’ve a mind to–the whole of Howells’s Criticism and Fiction. It’s definitely not required! But the little “Editor’s Study” excerpt we’re reading for today became part of this longer work by Howells, and you might be interested in taking a look. (It’s there–the little excerpt is–at Section 2, Paragraphs 2-3, beginning with “Nevertheless, I am in hopes…”)

Daisy Miller (which we start for next time) is long! Plan accordingly for next week’s reading!

Day 3: Henry James: Daisy Miller (Parts I and II) + Review “Realism” Handout (Available @Bb)

Note that some versions of Daisy Miller divide the story into two, instead of four, parts. If that’s the case for the version you have, please note that you’re reading up to this: “Mrs. Costello sniffed a little at her smelling bottle. ‘And that,’ she exclaimed, ‘is the young person you wanted me to know!'”

By the Way: There’s a great online note-taking app out there called Evernote. You’re not required to use it, but it could turn out to be just the tool you want to to help you organize for your Author Snapshot. Spend 10-15 minutes with it to see if it might work for you.

If you haven’t yet given a slow and careful read to the Critical Response assignment sheet, now would be a very, very good time to do that.

---

Week 3 (Sept. 20, 22-but-not-really, and 24)

• Due Friday at 5:00: Critical Response #1 Draft to Eli Review
• Optional/Recommended: This week would be a very good time to meet with some classmates and workshop your first critical responses. Or to take an initial draft of your first critical response to the Composition Commons for a consultation.

Day 1: Daisy Miller (Parts III and IV)

Note that some versions of Daisy Miller divide the story into two, instead of four, parts. If that’s the case for the version you have, please note that you’re reading up to this: “Mrs. Costello sniffed a little at her smelling bottle. ‘And that,’ she exclaimed, ‘is the young person you wanted me to know!'”

Day 2: Community Building Day. No regular class meeting, but I’ll be available to talk about papers this morning.

Are you feeling stuck getting started on CR#1? Review some possible starting points, here.

Day 3: Charles Waddell Chesnutt: “The Goophered Grapevine”

Due at 5:00: CR#1 to Eli Review, for Review

Notice that “Up the Coulé,” for Monday, is a bit long. Same is true of “The Open Boat,” also coming next week. Check ’em and plan accordingly.

---

Week 4 (Sept. 27 and 29; Oct. 1)

• Due Wednesday @ Class Time: Feedback to Eli Review for CR#1
• Due Thursday at 11:45 PM: Revision plan at Eli Review for CR#1
• Due Friday at 11:45 PM: CR#1 to Blackboard (for me) and Wiki (for all of us)
• This week, you should be moving forward with your research agenda for the Author Snapshot, if you haven’t made any moves yet on that. Start by writing down some research goals for yourself for the week, and literally schedule some library time for yourself–a few hours just being a literature nerd in that big building full of books.

Day 1: Hamlin Garland: “Up the Coulé” (A Little Long! Plan ahead!)

Hey, keep up with your Questions and Comments Journal! (This is the last time I’ll put in the Q&C journal note, but don’t forget to keep up!)

Note, again, that “The Open Boat,” for next time, is also a bit long.

Day 2: Stephen Crane: “The Open Boat,” “The Bride Comes to Yellow Sky” (in the AM), and selected poems (in the AM: “God lay…,” “Do not weep…,” “A man said…,” “There was a man…”) + Review “Naturalism” Handout (Available @Bb)

Due Wednesday @ Class Time: Feedback to Eli for CR#1
Due *Thursday* at 11:45 PM: Revision plan at Eli for CR#1

Not Required Reading, but of interest: Scans of the original printings of Crane’s two poetry collections, here and here. There’s a lot of cool stuff squirreled away at Archive.org.

Day 3: Jack London: “South of the Slot” + Frank Norris: (at Bb, only) “Fantaisie Printaniere” (There’s an online version of this that omits pages; don’t use it!)

Due Friday at 11:45 PM: CR#1 to Blackboard (for me) and Wiki (for all of us)

BONUS: London’s “To Build a Fire,” online, or in AM. “To Build a Fire” is not required, but it’s a short, brutal, hypothermic classic of Naturalism. Worth reading, if you’ve never encountered it before.

---

Week 5 (Oct. 4, 6, and 8)

• Head’s Up! Exam 1 is FRIDAY!
• Optional/Recommended: This would be a very good week to meet with some of your classmates and study together for the exam. There’s no better review move than talking over the texts, characters, and themes with cheerful peers.

Day 1: Mary Wilkins Freeman: “A New England Nun” + Sarah Orne Jewett: “A White Heron”

Day 2: IN ZOOM: Kate Chopin: “Désirée’s Baby” + Alice Dunbar-Nelson: “Sister Josepha” and (AM only) “The Praline Woman”

We’ll do this class session online, as I will be traveling. Details TBA.

Day 1:  Exam Day

Exam #1 of 3

---

Week 6 (Oct. 11, 13, and 15)

• If your Author Snapshot is sill ahead, plan a couple of library hours for this week, after the exam. The trick to enjoying this project is giving yourself time and space to dive in!

Day 1: Booker T. Washington: Up from Slavery Chapter 3  + Langston Hughes: “The Negro Artist and the Racial Mountain” (prose) and “The Weary Blues” (poem)

Day 2: Jean Toomer: “Blood Burning Moon” + W.E.B. Dubois: The Souls of Black Folk Chapter 1 + Zora Neale Hurston: “How it Feels to Be Colored Me” (in AM)

Day 3: Zora Neale Hurston: “The Gilded Six Bits” + Zitkala Sa (Gertrude Simmons Bonnin): from “The School Days of an Indian Girl” (read parts 1, 2, 3, 6, 7)

Time for a Play! There will typically be only eight big mainstage WU plays during a typical four years at Whitworth, and one of them will run [PROBABLY!] this weekend and next. Go see the play! (Details) (Not required, except for the sake of your immortal soul. Take Note: If you go and send me a picture of yourself at the start of the play and the end, showing the stage in each pic, you get five bonus quiz points.)

---

Week 7 (Oct. 18, 20, and 22)

• Due Friday at 5:00: Questions and Comments Journal, Part 1
• Due Friday at 5:00: CR#2 to Eli Review
• Optional/Recommended: This would be a good week to meet with some of your classmates to workshop your critical responses. (And don’t forget the Comp Commons.)

Day 1: Onoto Watanna (Winnifred Eaton): “A Half Caste” (online) + Sui Sin Far (in the AM or @Bb) (Edith Maude Eaton): “Leaves from the Mental Portfolio of an Eurasian” and “Mrs. Spring Fragrance”

Heads Up: Read the actual short story “Mrs. Spring Fragrance,” NOT “In the Land of the Free,” which is in some Heath Vol. C and Concise editions and came from the long collection of stories called Mrs. Spring Fragrance. The actual story “Mrs. Spring Fragrance” can be found in our e-anthology/AM.

Day 2: Edith Wharton: “The Other Two” + “Roman Fever””

“The Other Two” is in AM, but “Roman Fever,” which is still under copyright, is available only in Heath Vol. D or the Concise Heath. (The longer Heath has several selections from Wharton, including “The Other Two.”)

Are you feeling stuck getting started on CR#2? Review some possible starting points, here.

Day 3: MODERNISM PRIMER: Ezra Pound: “A Retrospect,” “In a Station of the Metro” + H.D.: “Oread” + TS Eliot: “Preludes“; Carl Sandburg: “Chicago,” “Fog” + Review Modernism Handout (Available on Bb)

The links above go to the Poetry Foundation, which is one of the great sites online for learning about poets.

Two very good sources for the whole of Eliot’s Prufrock and Other Observations: First, the Project Gutenberg version, and then the Archive.org scan of the original. The whole isn’t required reading, but it’s a great collection.

Lots more Sandburg is available here.

Due at 5:00: CR#2 to Eli Review, for Review

Due Friday at 5:00: Questions and Comments Journal, Part 1

---

Week 8 (Oct. 25 and 27)

• Due Wednesday @ Class Time: Feedback to Eli Review for CR#2
• Due Thursday at 11:45 PM: Revision plan at Eli Review for CR#2
• Due Friday at 11:45 PM: CR#2 to Blackboard (for me) and Wiki (for all of us)

Day 1: Sherwood Anderson: “Hands” (AM or Vol. D or Concise Heath) + Ernest Hemingway: “Hills Like White Elephants” + Gertrude Stein: from The Making of Americans

Day 1: Ernest Hemingway: “The Killers” (@Bb); E. E. Cummings: “Buffalo Bill’s,” “the Cambridge ladies who live in furnished souls,” “next to of course god America i” (online)

Due Wednesday @ Class Time: Feedback to Eli for CR#2
Due *Thursday* at 11:45 PM: Revision plan at Eli for CR#2

Day 3: Fall Break Friday / No Class

Due Friday at 11:45 PM: CR#2 to Blackboard (for me) and Wiki (for all of us)

---

Week 9 (Nov. 3 and 5)

• NEXT FRIDAY: Notice that Exam 2 will be NEXT week on Friday!
• Optional/Recommended: Exam prep with classmates.

Day 1: Fall Break Monday / No Class

Day 2: William Carlos Williams: “The Young Housewife,” “Portrait of a Lady,” “The Red Wheelbarrow,” “The Great Figure” (online), “This is Just to Say” (online); Wallace Stevens: “The Snow Man,” “Anecdote of the Jar,” “The Emperor of Ice-Cream” (online)

Day 3: Edgar Lee Masters: “Petit, the Poet,” “Seth Compton,” “Lucinda Matlock”; Robert Frost: “Mending Wall,” “The Road Not Taken,” “Stopping by Woods on a Snowy Evening”

---

Week 10 (Nov. 8, 10, and 12)

• FRIDAY: Exam 2

Day 1: T. S. Eliot: “The Love Song of J. Alfred Prufrock”

Read this one 2-3 times, at least, and come up with some theories. Eliot really didn’t want it to be a one-read poem.

Day 2: William Faulkner: “Barn Burning”

Brilliant prose, but it will slow you down. And it’s a bit longer than usual, especially compared to our recent poetry-heavy days. Give it the time it needs!

Day 3:  Exam Day

Exam #2 of 3

---

Week 11 (Nov. 15, 17, and 19)

• Due Friday at 5:00: CR#3 to Eli Review
• Optional/Recommended: Critical response workshopping with peers.

Day 1: Eudora Welty: “Petrified Man” (@Bb) + “The Wide Net”

Day 2: Flannery O’Connor: “A Good Man is Hard to Find” + Possible TBA Text

Are you feeling stuck getting started on CR#3? Review some possible starting points, here.

Day 3: Alice Walker: “Laurel” (in the Heath), “Everyday Use” (@Bb)

Due at 5:00: CR#3 to Eli Review, for Review

---

Week 12 (Nov. 22 + Thanksgiving Break)

• Due No Later Than Wednesday @ 9:05: Feedback to Eli Review for CR#3
• Optional This Time: Revision plan at Eli Review for CR#3
• Due Next Monday at 11:45 PM: CR#3 to Blackboard (for me) and Wiki (for all of us)
• Optional/Recommended: Critical response workshopping with peers? Or meet with peers to discuss the upcoming reflective essay?

Day 1: James Baldwin: “Sonny’s Blues” + Advice: Begin Drafting and Reading for Your Upcoming Reflective Essay

Day 2: Thanksgiving Break. No Class.

Due No Later Than Today at 9:05: Feedback to Eli for CR#3
Due Next Monday at 11:45 PM: CR#3 to Blackboard (for me) and Wiki (for all of us)

Day 3: Thanksgiving Break. No Class.

Due Friday at 11:45 PM: CR#3 to Blackboard (for me) and Wiki (for all of us)

---

Week 13 (Nov. 29; Dec. 1 and 3)

• Due Monday at 11:45 PM: CR#3 to Blackboard (for me) and Wiki (for all of us)
• Due Friday at 11:59:59 –> REVISIONS of CR #1 OR #2 (Submit to Appropriate Space on Bb)
• Due Friday at 11:59:59 –> Any OPTIONAL Additional CR Revisions (See Assignment)

Day 1: John Barth: “Lost in the Funhouse” (@Bb) + Jack Kerouac: “The Vanishing American Hobo”

Due at 11:45 PM: CR#3 to Blackboard (for me) and Wiki (for all of us)

Day 2: Joyce Carol Oates: “Where Are You Going, Where Have You Been” + Allen Ginsberg: “A Supermarket in California,” “Howl,” “America”

Day 3: TBA

Due Friday at 11:59:59 –> REVISIONS of CR #1 OR #2 (Submit to Appropriate Space on Bb) + Any OPTIONAL Additional CR Revisions (See Assignment)

---

Week 14 (Dec. 6, 8, and 10)

• Due Monday @class time: Questions and Comments, Part 2. That’s *it* for required questions and comments, though I hope you’ll keep this as a habit for all your courses!
• Due Friday at 5:00: Reflective “Meditation” Essay
• Consider connecting with some classmates to talk over the upcoming reflective essay!

Day 1: Edwidge Danticat: “New York Day Women,” “Children of the Sea” (@Bb)

Due Monday @class time: Questions and Comments, Part 2. That’s *it* for required questions and comments, though I hope you’ll keep this as a habit for all your courses!

Day 2: John Okada: from No-No Boy (@Bb); Junot Diaz: “Fiesta, 1980”

Day 3: Sherman Alexie: “Because My Father . . .” (@Bb) + Sandra Cisneros: “Mericans” and “Tepeyec”

Optional: Alexie Movie Clip: “Oral Tradition” (from Smoke Signals, Dir. Alexie)
Optional: Jimi Hendrix playing “The Star Spangled Banner“

Due Friday at 5:00: Reflective “Meditation” Essay

---

Week 15 (Dec. 13 + Exam)

• Tuesday, 10:30-12:30 PM: Final Exam

Day 1: Jess Walter: “Statistical Abstract for My Hometown, Spokane, Washington.” (@Bb) Also available: Walter’s “Addendum” to the original “Statistical Abstract” piece.

Exam #3 of 3: Tuesday, Dec. 14, 10:30 AM – 12:30 PM

---

---

The Writers We’re Reading, an Overview

(An Uneven and Developing List, with Uneven and Developing Annotations)

• Mark Twain, 1835-1910. Born Samuel Langhorne Clemens of Hannibal, Missouri; dropped out of school after 5th grade; Greatest Mustache in American Lit; humorist, satirist, journalist, chronicler of Southern life; The Adventures of Tom Sawyer (1876) andThe Adventures of Huckleberry Finn (1884)
• Joel Chandler Harris, 1848-1908. From Georgia, raised by his single, Irish-immigrant mother in the pre-Civil War South; folklorist, journalist, fiction writer; Uncle Remus: His Songs and His Sayings (1880)
• African American Folk Tales: Many sources, collected many ways.
• William Dean Howells, 1837-1920. From Ohio, son of an itinerant newspaper editor; a big name in American literary Realism; longtime editor of the Atlantic Monthly known sometimes as “the Dean of American Letters” for his role in supporting young writers; The Rise of Silas Lapham (1885)
• Henry James, 1843-1916. Important Realist trans-Atlantic novelist brother to William James, an import figure in the history of psychology; raise among the wealthy, educated, urbane, and cosmopolitan; sometimes seen as a link between American Realism and Modernism; kind of a “regionalist” writer for and of very wealthy Americans living abroad; ambiguous (mysterious?) sexuality; Daisy Miller (1878), The Portrait of Lady (1880-81), “The Art of Fiction” (1888).
• Charles Waddell Chesnutt, 1858-1932. African American activist and writer of clever and closely observed realist fictions, born to free parents in North Carolina.
• Hamlin Garland, 1860-1940. Writer and memoirist especially of the Middle West farms and frontier homesteads. Realist, with a political bent.
• Stephen Crane, 1871-1900. New Jersey born. Lots of scandal and adventure-seeking in the short, productive life of Crane, who wrote Realist fictions with a Naturalist bent, produced some dark and cynical poems, committed some journalism, and occasionally married (probably?) a brothel owner or survived the sinking of a boat bound for Cuba with munitions for rebels.
• Jack London, 1876-1916. Prolific California writer and activist most famous for White Fang, where the wild dog gets tame, and Call of the Wild, where the tame dog gets wild. Kind of a working class Jack (heh) of all trades on the way to his writing career.
• Frank Norris, 1870-1902. Journalist and writer of Realist/Naturalist fictions. Chicago born. Lots of grim characters and moments in his work, among which the most famous is McTeague, which features an unlicensed frontier dentist. Ouch.
• Mary Wilkins Freeman, 1852-1930. Prolific and successful writer of realist stories of New England. Freeman supported herself through her writing, and she wove feminist ideas throughout her work.
• Sarah Orne Jewett, 1849-1909. Her work is deeply invested in the people and landscapes of New England. Wonderfully observed stories of small town men and women, often deeply imbued with symbolism.
• Kate Chopin, 1850-1904. Missouri-born writer of fictions about Louisiana and Louisiana Creole communities. Wove issues of race and feminism into her work, which was mostly done over approximately one astounding decade.
• Alice Dunbar Nelson, 1875-1935. African American poet, journalist, and activist born in New Orleans (as part of a multiracial Creole family) and then very much part of the Harlem Renaissance of the 20s. We’re reading a couple of her short, poetic sketches of life in New Orleans.
• Booker T. Washington, 1856-1915. African American educator and author, born to slavery, founding leader of the Tuskegee Institute (a historically black college), and a prominent African American voice of his time.
• Langston Hughes, 1901-1967. African American poet, writer, and activist, closely linked with Jazz and the Harlem Renaissance of the 1920s.
• Jean Toomer, 1894-1967. African-American writer. Grandchild of the 1st African American Governor in the US, with an Immensely Complicated Family Background.
• W.E.B. Dubois, 1868-1963. Prominent African-American thinker, writer, activist, and sociologist who, as a voice of the next generation, challenged Booker T. Washington and was among the founders of the NAACP.
• Zora Neale Hurston, 1891-1960. African-American writer and anthropologist, figure of the Harlem Renaissance and author of Their Eyes Were Watching God.
• Gertrude Simmons Bonnin (Zitkala Sa), 1876-1938. Sioux writer, musician, educator, and activist born in South Dakota, educated in Quaker schools, with a lot to say about that experience. “Zitkala Sa” is Lakota for Red Bird/Cardinal.
• Winnifred Eaton (Onoto Watanna)
• Edith Maude Eaton (Sui Sin Far)
• Edith Wharton
• Ezra Pound
• HD
• TS Eliot
• Carl Sandberg
• Sherwood Anderson
• Ernest Hemingway
• Gertrude Stein
• E. E. Cummings
• William Carlos Williams
• Wallace Stevens
• Edgar Lee Masters
• Robert Frost
• William Faulkner
• Eudora Welty
• Flannery O’Connor
• Alice Walker
• James Baldwin
• Allen Ginsberg
• Jack Kerouac
• John Barth
• Joyce Carol Oates
• Edwidge Danticat
• John Okada
• Junot Diaz
• Sherman Alexie
• Sandra Cisneros
• Jess Walter

---

Composed and Maintained by Fred Johnson.