After Class IV, in which all students take the same English course, students may choose from among several electives offered in each of the remaining three years. Students new to Milton make this choice shortly after they decide to enroll, in consultation with the Registrar’s Office. Returning students make a choice for the following year in consultation with their current English teacher.
Class IV English
This course emphasizes basic skills in reading and interpreting major literary genres; in writing clear, coherent exposition; and in developing a shared vocabulary for talking about writing and about literature. Texts include a novel read over the summer, a Shakespeare play, anthologies of short fiction and poetry, and examples of personal narrative. In addition to its focus on literary analysis, the course includes a comprehensive survey of grammar and writing skills that are applied to and practiced in students’ writing throughout the year.
Class III Electives
All Class III English courses build on the foundational skills students developed in Class IV English. To that end, students will learn four specific approaches to critical essays: explication, classification, comparison/contrast, and concession/assertion. All Class III English students will also take department tests that cover sentence style, punctuation, and grammar. All courses will study at least two tragedies, one from ancient Greece and one by Shakespeare or a later author. The four versions of Class III English are Perspectives, Founding Voices, Performing Literature, and Seeing Literature. Each of these courses is of comparable difficulty with similar amounts of writing. The following descriptions illustrate the content of each course in more detail.
Perspectives: Genre & Culture
Examining texts grouped by genre to create a basis for comparison, students will explore major literary themes such as coming of age, tragedy, love, and the conflict between the individual and society. In class discussions and writing assignments, students will have opportunities to consider questions of how genre becomes part of a literary work’s cultural, historical, and social context and how different literary traditions give shape to (and are shaped by) the stories people tell one another. Recent reading lists have included short stories, novels, plays, and poems by authors such as Chinua Achebe, Edwidge Danticat, Terrance Hayes, Ernest Hemingway, Nella Larsen, Ada Limón, Tim O’Brien, and Charles Yu.
Founding Voices: Literature from the Ancient World through the Renaissance
This course will explore texts that have shaped the world’s literature and influenced writers and readers from early times to the present. Through units on epic heroes, drama, short-form poetry, and storytelling, we will discuss themes such as the hero’s journey, the ethical implications of cultural values, and the role of the individual in the world. After summer reading, the course will begin with Gilgamesh, the oldest story in the world, and will likely include texts such as Homer’s Odyssey, The Ramayana, The Sundiata, Dante’s Inferno, Tang Dynasty poetry, and The One Thousand and One Arabian Nights.
This course explores how culture and society use literature to articulate, process, and address greater issues in contextual and modern settings. Through a mixture of classical and modern works, students will engage in a critical study of all genres of literature through several modes of performance, including oral interpretation, scene staging, poetry readings, and dramatic analysis. Through this mode of performance and discovery, students in Performing Literature will seek to glean not only a nuanced understanding of our texts but, through lifting them off the page, re-examine them in new light and through a three-dimensional lens.
From the imagery of a poem to the point of view of a short story or novel, literature often encodes important visual messages and commentary on human perspective in words. This course examines a diverse raft of literary works with special attention to the perspectival project within literature. With traditional books at the forefront, the course will also use paintings, films, and graphic novels to deepen understanding of the human complexities of seeing at the heart of each text as well as to embrace the reading and writing goals of the Class III curriculum. Titles may include The Handmaid’s Tale, Maus, and Persepolis.
Class II Electives
Contemporary Literature in Context
This course guides students in approaching literature from a number of analytical lenses. Beginning with close reading—the detailed examination of a variety of texts for what the language will yield—the course moves to grouping texts by genre, by common theme, by historical period, and by a single author. In the late spring, the class applies all of these approaches to a single work, studying the text closely while also considering its form and theme, the period from which it came, and the influence of events in the author’s life. Past units include Hemingway, civil rights, the feminist movement, and the Vietnam War.
Literature and the Human Condition
Pursuing a broad inquiry into what makes us human, how we form relationships, how we make decisions, and how we live with their consequences, students examine literature from multiple traditions and genres. This discussion-based class delves into topics such as free will; heroism and villainy; self and other; and innocence, guilt, and redemption. Students explore their ideas about the course’s themes in critical essays, personal essays, and creative responses. Much of the fall encompasses John Milton’s epic poem Paradise Lost. Other writers in recent years have included Toni Morrison, Arundhati Roy, Charlotte Brontë, William Shakespeare, Matt Miller, and Haruki Murakami.
This course offers a survey of American literature and encourages an exploration of American culture, past and present, through its literary figures. The form and content of the readings offer great variety, and students’ written responses range from literary criticism to creative imitations of styles. Texts will include The Scarlet Letter and Their Eyes Were Watching God as well as a wide selection of other classic and contemporary works. Students who have taken United States History in Class III or are taking it in Class II find that these courses complement each other.
People and the Natural World
This course explores varied human responses to the natural world through literature. We will read and discuss works of fiction, essays, personal narratives, and poetry as we consider the role of the natural world in literature, history, culture, and our own lives. Recent reading lists have included authors such as Louise Erdrich, Amitav Ghosh, Aimee Nezhukumatathil, Lauret Savoy, Patricia Smith, and Henry David Thoreau. Writing assignments will range from nature journals to essays of literary analysis and response papers.
Studies in English and American Literature 1: Lyric, Dramatic, and Epic Poetry
This course introduces students to major English and American poets, from the 8th century to the present, and to the styles of literary periods, including the Renaissance, the Enlightenment, the Romantic Period, and Modernism. The course begins with the major British texts which form the basis for all subsequent developments—including Beowulf, Shakespeare’s plays, and Paradise Lost. The course will study writers in cultural and historical context and will give special attention to how later writers “make it new” (in Ezra Pound’s phrase) even as they draw on great works from the past.
Designed as the first year of a two-year sequence, this class can also be taken as a stand-alone course in Class II.
What makes us human? Is it our body, our soul, our consciousness? Through an interdisciplinary study of literature, philosophy, and religion, this course will investigate and interrogate our notions of humanity from antiquity to the contemporary era. By exploring topics such as the institution of slavery, the struggle for human rights, and the nature of spiritual transcendence, students will develop an understanding of the evolving definition of the human and insert their own voices into the current debate. Assessments may include critical essays, personal reflections, student-led discussions, and creative work. Readings will come from a diverse range of authors and thinkers, including Ralph Ellison, Charlotte Brontë, Harriet Jacobs, Kazuo Ishiguro, and Plato.
Class I Electives
The Craft of Nonfiction
This course is designed for students interested in the craft of writing as a means to express ideas, personal experience, and analysis of the sort of general interest topics (e.g., the arts, medicine, sports, nature, science, education) that appear in magazines such as The New Yorker and The Atlantic. It addresses three different genres of nonfiction: the feature article, a 4,000-word piece of investigative reporting; the essay of ideas, a 1,500-word reflective essay of ideas; and the memoir, a 4,000-word personal narrative. In each genre, students first read models and complete short, experimental writing assignments. The course differs from other Class I English courses in its high ratio of writing to reading and in its requirement that students revise each major piece of work to a high standard of professionalism. Critique by peers is an essential part of the writing process; students should expect to share their work with the class and to read and comment on the work of their classmates.
We begin our journey with The Magus, the course’s required summer reading. On the island of Phraxos in 1953, the mysteries of Bourani become the thematic and artistic questions of the course. Exploring the myths, creeds, and psychological principles that we live by, we move from our encounters with freedom and truth to 19th- and 20th-century fiction. Continuing our historical and thematic exploration, we examine the fictions that people live by as we study modern and contemporary literature. Reading selections vary from year to year. The following is a sample of works taught recently: Body and Soul, Salvage the Bones, American Pastoral, Oryx and Crake, The Road, Beloved, and Exit West.
Intersectionality: Womanhood in American Culture
In the early 1980s, two key texts confronted our nation with a powerful question: If all the women are white, and all of the people of color are men, who is left out? The anthologies This Bridge Called My Back (1981) and Some of Us Are Brave (1982) highlighted the need for voices from women of color in feminist dialogue. It inspired legal scholar Kimberlé Crenshaw to coin the term “intersectionality”—a position at the cross-section of gender and race occupied by Black women in particular and, in more contemporary application, women of color in general. This interdisciplinary course in literature and feminist theory examines the interventions of American women who identify as Black, Latina, Native, and Asian into a discourse that excluded them through identity and class. It also considers how those interventions redefine American feminism for not only women of color but also their white counterparts. Assessments will include critical essays, personal reflections, and creative work. In addition to the anthologies and the writing of Crenshaw, readings may also include works from Audre Lorde, Yuri Kochiyama, Gloria Anzaldúa, Adrienne Rich, and Louise Erdrich.
Literature & the Nature of Reality
This course looks at a variety of texts that explore, question, and prod at the boundaries of the nature of reality. In studying novels, plays, movies, short stories, and poems, we look not only at ideas in literature, but also at theories in psychology, science, morality, language theory, and art. The class is divided into thematic units, though many texts will cross from one theme into others. Central to the class are the big questions: What is real? How do we judge reality? How and why does literature explore it? Possible authors include Samuel Beckett, Jorge Luis Borges, Toni Morrison, Michael Frayn, Tony Kushner, Luigi Pirandello, Adrienne Rich, Tom Stoppard, and Virginia Woolf.
Modern Comparative Literature
“The center cannot hold,” as W.B. Yeats writes. Modern Comparative Literature explores modernism, “a revolutionary movement encompassing all of the creative arts that began in the late 19th century and continued into the 20th…Modernist authors sought to break away from traditions and conventions through experimentation with new literary forms, devices, and styles…Their works reflected the pervasive sense of loss, disillusionment, and even despair in the wake of the Great War” (The Bedford Glossary of Critical and Literary Terms). Using a set of contextual authors and readings, students read modernist authors such as Kafka, Joyce, Woolf, Faulkner, Camus, Garcia Marquez, and Morrison with an eye toward modernist themes and ideas. The course starts with a focus on prose before shifting to a study of 20th century plays in the spring. Amidst the alienation and destruction, how hopeful do the artists that we encounter allow us to be about our future? While “things fall apart” is there, as Garcia Marquez posits, “a new and sweeping utopia of life, where no one will be able to decide for others how they die, where love will prove true and happiness be possible, and where the races condemned to one hundred years of solitude will have, at last and forever, a second opportunity on earth?” Or does the art we encounter foresee our inevitable destruction?
Philosophy & Literature
This course investigates theories about the nature of humanity and moral philosophy, emphasizing a reasoned approach to thinking about complex and abstract problems. Topics include the basis of human knowledge, questions of freedom and determinism, the nature of evil, the nature of moral and aesthetic judgment, and the definition of social and political justice. Each unit takes its form around a main literary text and complementary philosophical readings. Students read traditional philosophers such as Plato, Aristotle, Descartes, and Kant, as well as more modern thinkers such as Marx, Nietzsche, and Freud. Titles may include Alan Lightman’s Einstein’s Dreams, Primo Levi’s The Drowned and the Saved, Cormac McCarthy’s No Country for Old Men, Fyodor Dostoevsky’s Crime and Punishment, and Colson Whitehead’s The Nickel Boys.
Shakespeare and Cinema: Sex, Race, Religion, Power
This course invites students to study six of Shakespeare’s major plays alongside multiple film adaptations of each. We will historicize Shakespeare in terms of an early modernity where old ideas mixed, often radically, with new ones, and where concepts whose meanings we take for granted—such as those involving sexuality, gender, race, religion, and the nature and exercise of political power—were wildly unstable. These instabilities appear in the plays as aesthetic ambiguities. They speak to what Ngũgĩ wa Thiong’o calls Shakespeare’s “revolutionary spirit” and what Emma Smith refers to as his “gappiness,” which makes the plays “alive in unpredictable and changing ways.” Infamously used as a tool of the British empire in 19th and 20th century colonial education, the plays have also proven “alive and unpredictable” as immensely generative artistic templates for writers and filmmakers from around the world to adapt, translate, and reimagine Shakespeare for their own aesthetic and political situations. A cross-dressing Hamlet in progressive Weimar Germany; The Tempest staged in an all-women’s prison; Heath Ledger and LL Cool J as ’90s Petruchios; King Lear in the conventions of Japanese Noh theater; the rebellion of Laertes as a grassroots uprising in postcolonial Ghana—these pairings among others speak to the leaps we will make across histories, languages, cultures, and artistic mediums in Shakespeare and Cinema. Students will write critically about the plays and will be encouraged to develop final projects that creatively adapt Shakespeare in a medium of their choice.
Studies in English and American Literature 2: Fiction and Prose
This course, which continues the combined study of British and American writers established in English and American Literature 1, introduces students to major English-language writers of prose—fiction, drama, and essays—from Geoffrey Chaucer to Toni Morrison. The course will study writers in cultural and historical context and will give special attention to the history and development of the novel from its origins in the 18th century to the formal innovations of Modernism. We will read authors such as Swift, Austen, Brontë, Dickens, Emerson, Douglass, Wilde, Woolf, Faulkner, and Miller.
This course is designed to complement Studies in English and American Literature 1: Lyric, Dramatic, and Epic Poetry as a two-year sequence, but students who took other electives in Class II can also choose this course in Class I.
Themes in Contemporary World Literature
In this course, we read 21st-century texts that pose challenging questions about the global context in which we live today. Themes we explore have included public health, globalization, citizenship, the climate crisis, immigration, colonization, and identity. Because of the contemporary nature of this course, readings change frequently. Students may expect to read texts from at least four different regions within the year. Regions include but are not limited to the Caribbean, South Asia, East and Southeast Asia, West Africa, South America, Native American nations, and the Middle East. Assessments in this course offer students choice in their style of writing and self-expression and will focus on developing skills in voice, revision, and self-directed work.
This course will offer students the unique opportunity to study living writers shaping the literary world. Each year, the list of authors will include our two Bingham visiting writers, who will visit the class to engage directly with students. By limiting the number of writers we study, this course will allow students to examine each writer more intensively than is possible in other courses: students might, for example, follow the evolution of an author’s style and choice of subject matter and theme; explore an author’s approach to different literary genres; or place an author within a literary tradition. Students will also have a chance to craft the course curriculum by collectively selecting at least one author to study during the year. Written work will include both critical essays and creative pieces, perhaps using as inspiration the style or thematic content of the works being studied. The following list names former Bingham writers in recent years, suggesting the stature of the living writers likely to be chosen: Zadie Smith, Junot Diaz, Edwidge Danticat, Lauren Groff, Paul Muldoon, Jamaica Kincaid, Tracy K. Smith, Terrance Hayes, Tina Chang, Jenny Xie, John Edgar Wideman, Paul Yoon, Mark Doty, Lorrie Moore, Claire Messud, Patricia Smith, Gish Jen, Kamila Shamsie, Amy Hempel, Martin Espada, Kevin Young, and Richard Blanco.
We Are What We Read
“You must write, and read, as if your life depended on it,” Adrienne Rich writes. In this course, students will read fiction and write several personal, creative, and analytical essays examining the intersection of the literature and the reader reading and how literature works when we feel, as Emily Dickinson has said, “as if the top of [our] head were taken off.” We will ask how we read the texts, and how the texts read us. The work includes a rereading of a resonant novel of the student’s choice, fiction (shorter and longer), possibly including Virginia Woolf, Chimamanda Ngozi Adichie, Ernest Hemingway, Danzy Senna, Martin Amis, Jane Austen, Michael Ondaatje, and Haruki Murakami, and poetry, contemporary and not. Additionally, we will read essayists writing about reading, including Rich, Joyce Carol Oates, Andre Dubus, James Baldwin, Audre Lorde, and others. A final project will involve students’ examinations of a small body of work by a single author of each student’s choice.
The English electives that follow do not fulfill the diploma requirement in English and must be taken in addition to a full English course.
Classes I & II
By devoting a full year to the play that is widely regarded as the greatest in English, this course, team-taught by a member of the English Department and a member of the Performing Arts Department, offers students several unique opportunities: to enjoy the in-depth study of a single text, with no pressure to move on; to experience fully the richness that a very complex literary text provides; to approach a Shakespeare play actively by performing, directing and designing parts of the text, and in doing so discover a full range of possible interpretation; to join the literate world in knowledge and appreciation of a classic work; to explore the deep personal resonances that this work, perhaps more than any other, always seems to evoke; and to gain familiarity with the problems and processes of literary scholarship.
Most class time is spent reading and discussing Hamlet and comparing different film versions. Students, individually or in groups, formulate long-term projects that they complete during homework time. Projects, which may be critical or creative, have covered a broad range, including theater design, filmmaking, creative writing, textual analysis, memorization and performance, graphic art, psychology, music, and research into the play’s historical and literary background.
Classes II & III
In today’s digital and highly saturated media environment, students need to learn media literacy early and the role a free press plays in a democracy, asking basic questions of communication law, such as: What is freedom of speech? Freedom of the press? This course will teach students how to gather facts, conduct interviews, research background material, and craft and edit news stories. Students will examine the differences between hard news coverage, feature pieces, and opinion pieces and write in all three styles. They will explore media in all its forms—print, video, podcasts, and social media—comparing and contrasting how current events are covered; through project-based learning in the spring, students will trial communicating across all of these platforms. Working journalists will visit class to discuss their work.
“It was all a dream…”: The Power of Poetry through Close Reading & Analysis
Classes I, II, & III
This course is geared towards students who have a deep interest in poetry and its many forms and want to expand their repertoire of rhetorical devices. This course will push students to dig deep into the text through close reading strategies that refine their analytical writing. We will also explore the ways in which poetry both captures and transcends time through its influence on popular culture.
Project Story: Narrative Journalism & Performance
Classes I, II, & III
From competitive story slams performed for packed venues to storytelling courses designed to empower workplace professionals, sharing narrative with live audiences has never felt more current or relevant. In this course, students will study the art of storytelling through moving their own and others’ stories from page to stage. During the first half of the course, students will learn narrative journalism skills, performance skills, and peer workshop practice to collect and shape stories of our school. They will work collaboratively during the second half of the course to identify, research, write, and perform a story that originates beyond Milton Academy. Throughout the year, students will read and view storytelling models, attend performances, and hear from visiting artists and activists who promote storytelling around the country, believing that shared stories strengthen and sustain human connection. (This course is listed under both the English and Performing Arts departments.)
Satisfies Arts Program Requirement
Classes I, II, & III
This course offers workshops in shaping ideas, personal observations, and memories into fiction and poetry. It teaches techniques of each genre and employs frequent reading and discussion of student works within the class.
Advanced Creative Writing
Meeting twice a week in a format that consists of a writers’ workshop and individual conferences, this course provides the student-writer the opportunity to continue to develop talents. (Prerequisites: Creative Writing and permission of the creative writing teachers.)
Advanced Creative Writing 2
This course allows those who have completed Advanced Creative Writing to continue working in the same format. (Prerequisites: Advanced Creative Writing and permission of the creative writing teachers.)