ENGL 511 Special Topics in Writing: Young Adult Literature
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Lee Torda, PhD Interim Dean of Undergraduate Studies 200 Clement C. Maxwell Library 508.531.1790 Teaching Website: www.leetorda.com |
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“Let’s save pessimism for better times” --Eduardo Galeano |
29 April 2025
Hello Everyone--
I mentioned last week that I would be attending Joyce Rain Anderson’s award ceremony in honor of her lifetime achievement award. If you’ve ever had the chance to take a class with her, you know why it’s important for me to be there to celebrate her and to celebrate with her.
The zoom space will be open at 6:00, and I will be able to put you in break out rooms as soon as 6:00. You can use that time to finish up any work you need to do with your group—if you need it. Your other group task will be to share and discuss your reading journals about Warrior Girl. There will also be a discussion board post—our last of the semester—that asks you to do some synthesis across the texts that we’ve read this semester. I hope to use that as a basis for our last conversation.
I’ll return to the zoom space at 7:00. I’ll field questions about the group or individual projects, explain how our last class will work, and I hope to use the time to bring together some significant observations about the genre from the semester.
See you soon.
LT
22 April 2025
Overall, it’s fair to say that many of us had a more tepid reaction to Saints of the Household than folks did for Dear Medusa. I’ve thought a lot about my own reaction to the novel, class conversation, and your reader’s notes this past week. Taken as a whole, it is interesting to see what got talked about and what didn’t.
Surviving Abuse: Everyone wrote about violence and abuse in some capacity. Catarina Morrissette phrased it this way: the novel focuses in on the way Max and Jay are forced to confront the possibility that they may be repeating the cycle of violence they endured at home (borrowing language from reviews of the novel). I particularly liked how Megan LeBlanc phrased it: “the ripple-like impact of violence.” Though the term “generational violence,” which we see in the book (the father is abused, at least emotionally, by his family; he abuses his family; his sons seem to turn to violence in response to threats real and imagined), got talked about in class, not many folks called it that in reading journals.
Plot and Pacing: And something has to be said about a general sense of “is that it” from a number of you. Kaitlin Davis, perhaps the least impressed of our class by the novel felt that not enough happened in the novel: “It was a “quiet” book. Not every book needs high stakes, action, or high levels of drama, but the book takes us down a river boat ride of events that happen over the course of a highschool year. “ Megan Johnson did not disagree: “Events in the story developed so slowly; even the more significant plot moments like Jay and Max beating up Luca or Jay and Max’s father being arrested felt almost subdued, as if the emotion and impact of the moment was far removed from the storytelling.” Our expectation of high drama is something to think about. It could be the genre or the way modern readers encounter media. I’m not sure.
Sort of connected to this, some of you felt that the book had too happy of an ending–or perhaps not happy but too neat. Megan LeBlanc: When I first read the synopsis of the novel, it made me think that Max and Jay were in the wrong for beating up Luca. It was almost a let down that Luca turned out to be so two-faced. This circles back to the idea of the resolutions being too perfect.” Gabby Sleeper felt that, at least Jay’s story, was “too perfect.” On the other hand, Gabby felt Max’s story left much up in the air for Max himself.
Nuanced exploration of violence: But some folks felt that the instigating violent act with Luca was handled in such a way to put the focus on surviving that trauma, rather than the trauma itself. Diane Gentile: I think it is interesting that the main conflict this novel surrounds … happens before the story begins and is told over time in flashbacks and through conversations. This causes the reader to focus more on the fall out and impact this violence has on our narrators and the characters around them. Taylor McKinney wrote that “Something to consider about this novel is that the male perspective and the emotions that are shown to the reader could help teenage boys develop their empathy and willingness to show their emotions on their sleeve rather than bottling them up to be “manly”. Especially when (Jay and Max) used their fists instead of words got themselves into so much trouble”
Regardless of how folks felt about the novel, I think that one thing as readers and as teachers of readers need to value about this novel is the complexity around the violence–the boys are victims and perpetrators. As Caitlin Kelly wrote “Their attack on Luca is multifaceted; both Max and Jay have complicated feelings connected to being “protectors,” based on the abusive dynamics in their home, and they both feel strong familial connections. However, despite their good intentions in this attack . . . their feelings after the attack become convoluted and ultimately greatly impact their relationship with each other. This is significant because while both twins are trying to move forward, they are consistently confronted with the exact same issue they are trying to escape.”
SAINTS as YA: I appreciated those of you who really thought about how the novel worked as YA. Saide Petta: “This book felt more adult than previous ones. The characters are graduating high school and really preparing for the world. “ Ryan Juliano had quite a bit to say about how this novel is a bildungsroman: “It features a tragic family dynamic that results in a single parent household, focuses heavily on the protagonists’ dynamic as siblings, depicts the social minefield that is high school, and is absolutely a bildungsroman; it really hits all of the YA benchmarks.” And also this: “ Beyond the physical, Jay seems to think that growing up means becoming all the more integrated with his home and his Bribri culture. . . . Conversely to Jay’s views, Max sees growing up as getting out there and doing something, . . . Max wants to become his own person and have life that is his and accomplishments that are his without having to share everything with his brother or family.” Some folks didn’t feel like enough changed, but I can’t say I agree. If the genre is about going from one part of your life to the next, both boys do this–in geography, in physicality, and in philosophy. They are different people at the end of the book setting off on new parts of their lives.
Other Themes: Emily Graham wrote extensively about the role faith and religion played a significant role in the narrative. Many of you appreciated the dueling narratives as they allowed for multiple perspectives on the same events. The place of the sibling relationship came up as well.
Cultural Rhetorics: I want to give a special shout out to Gus Haflin this week for connecting our discussion of this novel to his Cultural Rhetoric’s course. He wrote: Such is my reflection for today about Ari Tison’s Saints of the Household, which seems to be speaking directly to the content we’re learning about with Joyce Rain Anderson in ENGL 524—Cultural Rhetorics. Central to cultural rhetorics as a discipline is the idea of “constellating,” or seeing the same object/event/action through different perspectives, just as the same stars create different constellations depending on which culture is telling the story. . . . We also have discussed the term “survivance,” coined by an Ashinaabe scholar (the same nation discussed in Saints), which refers to “Native strategies of cultural expression that ‘create an active presence’ in the face of colonial and neocolonial erasure” (Carden, “Verbs that will story our bodies” 161). At its heart, Saints of the Household is a novel which constellates, which creates counter-story, and which practices survivance. Our two perspective characters, Jay and Max, see the same world very differently from other people. Increasingly, as the story unfolds, they also perceive it differently than each other, a new development for two brothers who have been as close as twins.
During class, we sort of downplayed the role the BriBri heritage of the boys shapes their lives, but, in retrospect, I think we overlooked how important this was to the resolution of the story, particularly in terms of Jay. His relationship to the land, to gardening are connected to how Jay heals. It is not insignificant that the novel ends with Jay intending to return to the land of his people to start anew. “Survivance” is a good way to describe how Jay in particular finishes his story.
1 April 2025 (no fooling)
Thank you all for your excellent and thoughtful work with Lamb. Reading what you all had to say about the novel, particularly in relationship to To Kill a Mockingbird, I saw a few trends in what folks had to say.
I particularly liked Gabby Sleeper looking back to her own post on To Kill a Mockingbird and looking at contrasting two scenes where white people entered into the spaces of Black people. She considered Marny’s very unwelcome visit to Lamb’s house versus Scout’s experience (real or imagined) at Cal’s church.
Megan Johnson and Emily Graham looked at the novels from a cultural perspective. Megan considered social class in addition to race as determining factors in the novel. She saw it as a left turn, but I don’t know that it’s so out there. Class functions differently than race, certainly, but we really see how class impacts the relationship of characters in both novels, in addition to race, Part of Marny’s sense of liberty comes from her social class as much as her whiteness. Emily was interested in looking at the novel historically, the particular way that looking at how Lamb’s father’s experience as a returning veteran after WWI tells us, without saying it explicitly, the experience of Black Americans between the wars.
Overwhelmingly, though, folks were focused on the difference in experience between out two main characters, Scout and Lamb. Caitlynn Kelly pointed out, as many of you did, that their “lived experience” provided wildly different contexts for characters that embodied many of the same qualities. Particularly, she pointed out the naivete that Scout was permitted that Lamb was not. This was echoed in Megan Leblanc’s and Diane Gentile’s and Ryan Juliano's posts. Kaitlynn Davis talked about this in terms of agency, which I think is an exceptionally apt term. I thought a lot about their names: what is a scout? What is a lamb? What does that alone say about what their lived experiences were?
As many of you pointed out in your reading journals, Lamb had limited agency (and Marny seemed to willfully not see that). Marissa Silk framed a similar discussion around power dynamics grounded in feminist criticism or, alternatively Critical Race Theory (something several of you pointed out was a likely lens/frame to use). Sadie Peta used the bold world “freedom.” That’s an evocative word to use in discussion of these two novels, one that resonates at this particular cultural moment.
Hello Everyone--
I mentioned last week that I would be attending Joyce Rain Anderson’s award ceremony in honor of her lifetime achievement award. If you’ve ever had the chance to take a class with her, you know why it’s important for me to be there to celebrate her and to celebrate with her.
The zoom space will be open at 6:00, and I will be able to put you in break out rooms as soon as 6:00. You can use that time to finish up any work you need to do with your group—if you need it. Your other group task will be to share and discuss your reading journals about Warrior Girl. There will also be a discussion board post—our last of the semester—that asks you to do some synthesis across the texts that we’ve read this semester. I hope to use that as a basis for our last conversation.
I’ll return to the zoom space at 7:00. I’ll field questions about the group or individual projects, explain how our last class will work, and I hope to use the time to bring together some significant observations about the genre from the semester.
See you soon.
LT
22 April 2025
Overall, it’s fair to say that many of us had a more tepid reaction to Saints of the Household than folks did for Dear Medusa. I’ve thought a lot about my own reaction to the novel, class conversation, and your reader’s notes this past week. Taken as a whole, it is interesting to see what got talked about and what didn’t.
Surviving Abuse: Everyone wrote about violence and abuse in some capacity. Catarina Morrissette phrased it this way: the novel focuses in on the way Max and Jay are forced to confront the possibility that they may be repeating the cycle of violence they endured at home (borrowing language from reviews of the novel). I particularly liked how Megan LeBlanc phrased it: “the ripple-like impact of violence.” Though the term “generational violence,” which we see in the book (the father is abused, at least emotionally, by his family; he abuses his family; his sons seem to turn to violence in response to threats real and imagined), got talked about in class, not many folks called it that in reading journals.
Plot and Pacing: And something has to be said about a general sense of “is that it” from a number of you. Kaitlin Davis, perhaps the least impressed of our class by the novel felt that not enough happened in the novel: “It was a “quiet” book. Not every book needs high stakes, action, or high levels of drama, but the book takes us down a river boat ride of events that happen over the course of a highschool year. “ Megan Johnson did not disagree: “Events in the story developed so slowly; even the more significant plot moments like Jay and Max beating up Luca or Jay and Max’s father being arrested felt almost subdued, as if the emotion and impact of the moment was far removed from the storytelling.” Our expectation of high drama is something to think about. It could be the genre or the way modern readers encounter media. I’m not sure.
Sort of connected to this, some of you felt that the book had too happy of an ending–or perhaps not happy but too neat. Megan LeBlanc: When I first read the synopsis of the novel, it made me think that Max and Jay were in the wrong for beating up Luca. It was almost a let down that Luca turned out to be so two-faced. This circles back to the idea of the resolutions being too perfect.” Gabby Sleeper felt that, at least Jay’s story, was “too perfect.” On the other hand, Gabby felt Max’s story left much up in the air for Max himself.
Nuanced exploration of violence: But some folks felt that the instigating violent act with Luca was handled in such a way to put the focus on surviving that trauma, rather than the trauma itself. Diane Gentile: I think it is interesting that the main conflict this novel surrounds … happens before the story begins and is told over time in flashbacks and through conversations. This causes the reader to focus more on the fall out and impact this violence has on our narrators and the characters around them. Taylor McKinney wrote that “Something to consider about this novel is that the male perspective and the emotions that are shown to the reader could help teenage boys develop their empathy and willingness to show their emotions on their sleeve rather than bottling them up to be “manly”. Especially when (Jay and Max) used their fists instead of words got themselves into so much trouble”
Regardless of how folks felt about the novel, I think that one thing as readers and as teachers of readers need to value about this novel is the complexity around the violence–the boys are victims and perpetrators. As Caitlin Kelly wrote “Their attack on Luca is multifaceted; both Max and Jay have complicated feelings connected to being “protectors,” based on the abusive dynamics in their home, and they both feel strong familial connections. However, despite their good intentions in this attack . . . their feelings after the attack become convoluted and ultimately greatly impact their relationship with each other. This is significant because while both twins are trying to move forward, they are consistently confronted with the exact same issue they are trying to escape.”
SAINTS as YA: I appreciated those of you who really thought about how the novel worked as YA. Saide Petta: “This book felt more adult than previous ones. The characters are graduating high school and really preparing for the world. “ Ryan Juliano had quite a bit to say about how this novel is a bildungsroman: “It features a tragic family dynamic that results in a single parent household, focuses heavily on the protagonists’ dynamic as siblings, depicts the social minefield that is high school, and is absolutely a bildungsroman; it really hits all of the YA benchmarks.” And also this: “ Beyond the physical, Jay seems to think that growing up means becoming all the more integrated with his home and his Bribri culture. . . . Conversely to Jay’s views, Max sees growing up as getting out there and doing something, . . . Max wants to become his own person and have life that is his and accomplishments that are his without having to share everything with his brother or family.” Some folks didn’t feel like enough changed, but I can’t say I agree. If the genre is about going from one part of your life to the next, both boys do this–in geography, in physicality, and in philosophy. They are different people at the end of the book setting off on new parts of their lives.
Other Themes: Emily Graham wrote extensively about the role faith and religion played a significant role in the narrative. Many of you appreciated the dueling narratives as they allowed for multiple perspectives on the same events. The place of the sibling relationship came up as well.
Cultural Rhetorics: I want to give a special shout out to Gus Haflin this week for connecting our discussion of this novel to his Cultural Rhetoric’s course. He wrote: Such is my reflection for today about Ari Tison’s Saints of the Household, which seems to be speaking directly to the content we’re learning about with Joyce Rain Anderson in ENGL 524—Cultural Rhetorics. Central to cultural rhetorics as a discipline is the idea of “constellating,” or seeing the same object/event/action through different perspectives, just as the same stars create different constellations depending on which culture is telling the story. . . . We also have discussed the term “survivance,” coined by an Ashinaabe scholar (the same nation discussed in Saints), which refers to “Native strategies of cultural expression that ‘create an active presence’ in the face of colonial and neocolonial erasure” (Carden, “Verbs that will story our bodies” 161). At its heart, Saints of the Household is a novel which constellates, which creates counter-story, and which practices survivance. Our two perspective characters, Jay and Max, see the same world very differently from other people. Increasingly, as the story unfolds, they also perceive it differently than each other, a new development for two brothers who have been as close as twins.
During class, we sort of downplayed the role the BriBri heritage of the boys shapes their lives, but, in retrospect, I think we overlooked how important this was to the resolution of the story, particularly in terms of Jay. His relationship to the land, to gardening are connected to how Jay heals. It is not insignificant that the novel ends with Jay intending to return to the land of his people to start anew. “Survivance” is a good way to describe how Jay in particular finishes his story.
1 April 2025 (no fooling)
Thank you all for your excellent and thoughtful work with Lamb. Reading what you all had to say about the novel, particularly in relationship to To Kill a Mockingbird, I saw a few trends in what folks had to say.
I particularly liked Gabby Sleeper looking back to her own post on To Kill a Mockingbird and looking at contrasting two scenes where white people entered into the spaces of Black people. She considered Marny’s very unwelcome visit to Lamb’s house versus Scout’s experience (real or imagined) at Cal’s church.
Megan Johnson and Emily Graham looked at the novels from a cultural perspective. Megan considered social class in addition to race as determining factors in the novel. She saw it as a left turn, but I don’t know that it’s so out there. Class functions differently than race, certainly, but we really see how class impacts the relationship of characters in both novels, in addition to race, Part of Marny’s sense of liberty comes from her social class as much as her whiteness. Emily was interested in looking at the novel historically, the particular way that looking at how Lamb’s father’s experience as a returning veteran after WWI tells us, without saying it explicitly, the experience of Black Americans between the wars.
Overwhelmingly, though, folks were focused on the difference in experience between out two main characters, Scout and Lamb. Caitlynn Kelly pointed out, as many of you did, that their “lived experience” provided wildly different contexts for characters that embodied many of the same qualities. Particularly, she pointed out the naivete that Scout was permitted that Lamb was not. This was echoed in Megan Leblanc’s and Diane Gentile’s and Ryan Juliano's posts. Kaitlynn Davis talked about this in terms of agency, which I think is an exceptionally apt term. I thought a lot about their names: what is a scout? What is a lamb? What does that alone say about what their lived experiences were?
As many of you pointed out in your reading journals, Lamb had limited agency (and Marny seemed to willfully not see that). Marissa Silk framed a similar discussion around power dynamics grounded in feminist criticism or, alternatively Critical Race Theory (something several of you pointed out was a likely lens/frame to use). Sadie Peta used the bold world “freedom.” That’s an evocative word to use in discussion of these two novels, one that resonates at this particular cultural moment.
18 March 2025
Just a quick round up of what folks had to say about TKAM, particularly in light of tonight’s novel For Lamb.
The majority of folks in our class wanted to look at some version of gender in the novel, as Catarina Morrisette indicated. Emily Graham made some nice parallels to Jo March and Scout, both of whom resist “feminine” things (a common trope in YA with girl characters–which is interesting in itself as something to explore). She put Scout’s more central relationship with male characters (like Atticus and Gem) against the mentoring relationship with the female characters. Related, several of you wanted to explore this idea through specific moments in the text: Marissa Silk wanted to focus on the tea party scene and the domestic sphere; Devon Melo was interested in clothing and how Scout attaches meaning and roles based on how they dress and what they do in their clothes. In contrast, Megan Johnson wanted to talk about the lack of visibility of women characters, pointing out that in a novel about marginalized people, women seem still to be absent, particularly Black women (Cal, Tom’s wife).
Not quite gender, but still related to gender roles: Caitlin Kelly, in a interesting approach, thought about looking at the role of friendship. Given that Dill takes up such a large part of the middle of the novel, and Boo Radley’s relationship to the children, I thought this had real potential.
Also related but not quite gender: Taylor McKinney wanted to explore the family dynamics of the novel, particularly Atticus as a single father (connecting nicely to what Emily said). Atticus was central to Diane Gentile’s reading, in particular the question of whether or not he was an actual “hero.”
That idea was echoed in Ryan Juliano’s idea which was to look at the role of the white savior. One idea that Gus Haflin had was to consider whether this novel is actually anti-racist at all. What is interesting to me is that these are the closest anyone came to actually thinking about looking at race in what has become the premier novel about race relations that is taught in K-12 schools.
The peculiarities of the narration in the novel was the focus of Gus’s other idea. Megan LeBlanc was interested, similarly, in thinking about the ways Scout’s recollection of childhood memories works in the novel.
Finally, Kaitlynn Davis and Gabby Sleeper pointed out something that, so obvious now that they’ve identified it, I had not thought much about: to explore the novel through the lens of disability studies. Not unrelated to what Kaitlynn and Gabby connect to disability, Sadie Petta looked at the idea of “innocence.”
It was these last three journals that made me think about what the intersection of race and disability says in the novel. Tom is innocent, differently than Boo is, but still innocent. Is Lee positioning Blackness and disability on even terms? How does that speak to whether the novel merits a label of “anti-racist”? I don’t have answers to these questions, but I’m grateful that your sincere engagement with the novel helped me to ask them, helped me to more deeply appreciate the value of reading the text in any capacity.
Just a quick round up of what folks had to say about TKAM, particularly in light of tonight’s novel For Lamb.
The majority of folks in our class wanted to look at some version of gender in the novel, as Catarina Morrisette indicated. Emily Graham made some nice parallels to Jo March and Scout, both of whom resist “feminine” things (a common trope in YA with girl characters–which is interesting in itself as something to explore). She put Scout’s more central relationship with male characters (like Atticus and Gem) against the mentoring relationship with the female characters. Related, several of you wanted to explore this idea through specific moments in the text: Marissa Silk wanted to focus on the tea party scene and the domestic sphere; Devon Melo was interested in clothing and how Scout attaches meaning and roles based on how they dress and what they do in their clothes. In contrast, Megan Johnson wanted to talk about the lack of visibility of women characters, pointing out that in a novel about marginalized people, women seem still to be absent, particularly Black women (Cal, Tom’s wife).
Not quite gender, but still related to gender roles: Caitlin Kelly, in a interesting approach, thought about looking at the role of friendship. Given that Dill takes up such a large part of the middle of the novel, and Boo Radley’s relationship to the children, I thought this had real potential.
Also related but not quite gender: Taylor McKinney wanted to explore the family dynamics of the novel, particularly Atticus as a single father (connecting nicely to what Emily said). Atticus was central to Diane Gentile’s reading, in particular the question of whether or not he was an actual “hero.”
That idea was echoed in Ryan Juliano’s idea which was to look at the role of the white savior. One idea that Gus Haflin had was to consider whether this novel is actually anti-racist at all. What is interesting to me is that these are the closest anyone came to actually thinking about looking at race in what has become the premier novel about race relations that is taught in K-12 schools.
The peculiarities of the narration in the novel was the focus of Gus’s other idea. Megan LeBlanc was interested, similarly, in thinking about the ways Scout’s recollection of childhood memories works in the novel.
Finally, Kaitlynn Davis and Gabby Sleeper pointed out something that, so obvious now that they’ve identified it, I had not thought much about: to explore the novel through the lens of disability studies. Not unrelated to what Kaitlynn and Gabby connect to disability, Sadie Petta looked at the idea of “innocence.”
It was these last three journals that made me think about what the intersection of race and disability says in the novel. Tom is innocent, differently than Boo is, but still innocent. Is Lee positioning Blackness and disability on even terms? How does that speak to whether the novel merits a label of “anti-racist”? I don’t have answers to these questions, but I’m grateful that your sincere engagement with the novel helped me to ask them, helped me to more deeply appreciate the value of reading the text in any capacity.
ZOOM link to attend class: https://bridgew.zoom.us/j/91202035302?pwd=akVFQ4cdIaHX77ttkfZFFM10iTdtmW.1
Good Morning–
If you are getting this email you are enrolled in ENGL 511 Topics in Writing: Young Adult Literature. We start our semester together this evening at 6:00. We meet online and synchronously. This email gives you everything you need to know to be able to attend class. I look forward to meeting you all tonight and hope you look forward to meeting me and each other in anticipation of a great semester together.
Here is the zoom link for our class: https://bridgew.zoom.us/j/91202035302?pwd=akVFQ4cdIaHX77ttkfZFFM10iTdtmW.1Note: At the bottom of this email is the full invite just in case you ever need it (for instance if you have to call in).
That’s it for now. Again, looking forward to meeting you all and getting to know you as we start our semester.
Lee Torda is inviting you to a scheduled Zoom meeting.
Topic: ENGLISH 511 Topics: Young Adult Lit
Time: Jan 28, 2025 05:45 PM Eastern Time (US and Canada)
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If you are getting this email you are enrolled in ENGL 511 Topics in Writing: Young Adult Literature. We start our semester together this evening at 6:00. We meet online and synchronously. This email gives you everything you need to know to be able to attend class. I look forward to meeting you all tonight and hope you look forward to meeting me and each other in anticipation of a great semester together.
Here is the zoom link for our class: https://bridgew.zoom.us/j/91202035302?pwd=akVFQ4cdIaHX77ttkfZFFM10iTdtmW.1Note: At the bottom of this email is the full invite just in case you ever need it (for instance if you have to call in).
- You don’t need anything for tonight’s class except to show up and be ready to work. I know that some faculty ask students to have material read for the first night, but I must admit I have not had super great results with that. There is nothing worse than trying to teach a class where only one or two people have done the reading. It will be a busy night of writing and responding to each other’s writing, as well as time to go over the structure and policy of the class.
- Here is the web address for my teaching website: www.leetorda.com. I don’t use Blackboard. This site will house all of the material for our class, including the discussion board, the syllabus, policies and assignment information. Please note that not all links will be live at this moment. You have no obligation to go to this site before tonight’s class, but you are welcome to. Right now, only the policies and the draft syllabus are live. More will be in place by this evening’s class.
- The complete booklist for the class is available on the policies page of the website. I will talk more about this in class this evening. When teaching a course like this with a heavy reading load, I try to space out more complex texts with lighter reading in the in between weeks. The toughest book is probably our first one Little Women. You have three weeks to read that text.
That’s it for now. Again, looking forward to meeting you all and getting to know you as we start our semester.
Lee Torda is inviting you to a scheduled Zoom meeting.
Topic: ENGLISH 511 Topics: Young Adult Lit
Time: Jan 28, 2025 05:45 PM Eastern Time (US and Canada)
Every week on Tue, until May 13, 2025, 16 occurrence(s)
Please download and import the following iCalendar (.ics) files to your calendar system.
Weekly: https://bridgew.zoom.us/meeting/tJUvd-uorT4pGtbKMKt_BNzCfQnSg7PMrBL0/ics?icsToken=DDsUVLCZTAo9PeT7jAAALAAAAL7OndjdeD4BeAw8k0Zd5awnY3LdwCBc_ue4hCc3x5OxsV75ZUxN_IEds3NLnP2rtHLbeikkvLJbIS_vqDAwMDAwMQ&meetingMasterEventId=MecNRhq8ToGjNbyoLZ8UBg
Join Zoom Meeting
https://bridgew.zoom.us/j/91202035302?pwd=akVFQ4cdIaHX77ttkfZFFM10iTdtmW.1
Meeting ID: 912 0203 5302
Passcode: 224886
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+13052241968,,91202035302# US
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• +1 305 224 1968 US
• +1 309 205 3325 US
• +1 312 626 6799 US (Chicago)
• +1 646 876 9923 US (New York)
• +1 646 931 3860 US
• +1 507 473 4847 US
• +1 564 217 2000 US
• +1 669 444 9171 US
• +1 669 900 6833 US (San Jose)
• +1 689 278 1000 US
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• +1 346 248 7799 US (Houston)
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Meeting ID: 912 0203 5302
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