Class Journal

The class journal is a simple double-spaced document, shared with your instructor (you should have sent the link in your first-day questionnaire).

Your journal is a place to speculate and try out arguments before a class discussion or a formal project. Treat your journal as a space for stream-of-consciousness thinking, rather than carefully refined prose.

To make the most of your journal, aim for writing 250+ words each entry—about a page, double-spaced.

Ten entries are due over the course of the semester, so you can pick and choose which prompts you want to respond to. Entries are due, however, before class on

the day they are due.

Journal #20

Due 5/26 (optional)

For your last journal of the semester, reflect on this semester’s work and discussions. Choose one text we read this semester that stood out to you and explain why it was meaningful, memorable, challenging, or interesting. What about the text stayed with you?

Then discuss one idea, question, or concept from the class that you found especially engaging and that you think you will continue thinking about after the course ends. Explain why it mattered to you and how it changed or deepened your perspective.

Journal #19

Thinking of both “Reeling for the Empire” and your experience of finals week think about this:

During most of the semester, when things are working as they should, college and the college classroom are a site of learning. During finals week, though, often the environment changes and more closely resembles an intensified workplace organized around deadlines, and measurable output. You’re are expected to perform long hours, largely unregulated and largely unseen (this “invisible labor” of studying, writing, memorizing and test preparation), but without the institutional protections typically associated with formal labor (think overtime pay, health insurance, environmental protections, etc.).

The Burnout Society, by Byung-Chul Han argues that modern achievement-focused cultures (including at college) transform individuals into “self-exploiting” subjects who internalize pressure and productivity demands, writing that “the achievement-subject exploits itself until it burns out” (Han 11). This framework might explain why, during this week, you might experience guilt over rest, sleep, or leisure, perceiving every moment not spent studying as “unproductive.”

The philosopher and education reformer John Dewey’s argued that education is not preparation for life—it is life. In Democracy and Education, he argues that learning should emerge from lived experience, curiosity, experimentation, and participation in a democratic community rather than rote memorization or passive absorption of information.

This is a point that Gloria Naylor might share, and we see it through the actions of nearly all her characters. Mama Day is obviously a good example, but even George, with all of his college, ultimately presents engineering as a creative an curious endeavor (think about when he’s talking about keeping peas on a knife, or designing other special systems).

Use your journal to reflect on these ideas. Do you buy these arguments about production and dehumanization? Do Russel and Naylor suggest metaphors for other ways things could be? What makes you curious and what would you rather be working on and why?

Journal #18

Due 5/14, before class (optional)

The following videos are optional and give context to some of the historical elements of the story. The prompt is below.

• WATCH this 8 minute YouTube video about the Meiji period in Japanese history. (REQUIRED)
• WATCH this 10 minute YouTube video about the traditional process of making silk. (REQUIRED)
• WATCH this 16 minute YouTube video about the modern process of silk making (OPTIONAL) 

Choose a short passage (2–3 lines) from Karen Russell’s Reeling for the Empire that you found especially interesting, disturbing, or thought-provoking. Copy the passage into your journal, then spend some time thinking about what it suggests about value, labor, wealth, nationalism, or the way people are treated within economic systems. How are bodies, identities, or work turned into something profitable in the story? What does the passage reveal about power or exploitation? Try to move beyond summary and focus on unpacking the language, imagery, or ideas in the passage itself.

Alternatively, you might focus on the story’s body horror, especially its imagery related to pregnancy, transformation, and reproduction. How does the story blur the line between human bodies and industrial production? In what ways are the women’s bodies treated as tools, machines, or sites of extraction? Think about how the unsettling physical imagery connects to the larger themes of labor and profit: what happens when even the body itself becomes something economically valuable?

Journal #17

Due 5/12, before class (optional)

This is a short one. You won’t have to write the normal full page, instead, this entry will be about slow deliberate writing:

Write a draft introduction to your conference paper by introducing your topic in a way that

This is just an experiment, so if you don’t know exactly what you want to do, just pick something. The process will still be rewarding.

Give yourself a few goals:

• In the first few sentences, treat your essay as something your selling to the reader: what benefit do you want your reader to get from your essay or what action do you want your reader to take after reading. Don’t let yourself off easy, either–it’s not enough to simply say “to make you think” or “to open your mind to different viewpoints. (In fact, in logic, to say “The novel is good because it makes you think” is a logical fallacy called “begging the question,” since it assumes thinking is inherently good. And anyone who has plopped down on a couch and watched dumb tv for a bit to turn off their brain knows sometimes thinking *isn’t* good.). So really make yourself think through this idea. If you want someone to be more empathetic, explain WHY empathy is good and HOW your paper will help the reader be more empathetic.
• Spend a few sentences defining your terms. If you’re writing about “the role of the mother,” or “tradition”, or “community”–spend some time looking up what those words/ideas mean. Ask yourself what YOU mean by it. Try to imagine examples that are at the limits of your definition because they help you the most when understanding the boundary of an idea. For example, while you might quickly think of the “role of the mother” as always good, caring, etc, at the edge are, of course “bad mothers,” who are neglectful or abusive. There are also people who are great mothers, but who defy society’s expectations by doing things that are traditionally thought of as “motherly.” This imaginative process helps you nail down exactly what you’re actually thinking about.
• Finally, try to spell out exactly what you want to convince someone of by the end of the essay. This is also harder than it looks since you have to play Devil’s Advocate with yourself.

Journal #16

Due 4/28, before class (optional)

Now that you’re going to get into groups and start to think about themes and paper topics, it might be helpful remind yourself about which parts Mama Day are the most interesting or frustrating. Write about one or two moments that really capture your attention and then brainstorm some themes that might stem from those scenes (you may have done something like this in an earlier entry, but this time it’s about thinking through specific scenes with an eye towards talking to your group).

This will be useful when you get together with you group. Maybe your themes aren’t popular with your group members, but explaining why you might want to talk about a particular scene might spark some ideas that are inclusive of what everyone wants to do.

Journal #15

Due 4/23, before class (optional)

We’re coming up to the end of the semester, when the final project will be to write a short paper on a theme or idea in Mama Day. We’re only about halfway, but brainstorming ideas to write about now will help you focus as you read the rest of the novel (e.g. if you know you’re writing about the way traditions/rituals change in the novel, you’ll pay a lot more attention to details about Candle Walk; or if you know you want to write about the differences between academic knowledge and folk knowledge, you’ll pay a lot more attention to how Mama Day and George understand each other in the second half of the novel).

So brain storm 2-3 broad themes to write about for your final essay. For each idea describe what you’ve seen so far in the novel that matches and why you think it would be an interesting topic for you personally and for your readers. Finally, include any worries/hesitations you have about the topic (it’s always good to get those out early).

Journal #14

Due 4/21, before class (optional)

For this journal you’re going to focus on Bernice and some of the concepts we discussed in class regarding folk medicine and Mama Day’s keen ability to watch people.

We met Bernice for the first time last week when she was practically jumping out of the car to talk to Mama Day about her impatience about getting pregnant. This week, she has a health emergency related to her efforts to speed up the process. Between Mama Day and Brian Smithfield, Bernice is saved along with her ability to have a baby. In the midst of Bernice’s emergency, Mama Day thinks to herself “…if I had really listened to that child [Bernice], I woulda known this day was coming” (84).

Revisit Bernice’s first appearance (around p. 41) and pretend you’re Mama Day watching the TV with the sound off: what do you notice about how Bernice acts that might have foreshadowed her health crisis? What does Mama Day pick up on and what does she miss?

You can also discuss Mama Day’s relationship with Dr. Smithfield. We’re told “for years Miranda and Brian Smithfield have had what you’d call a working relationship–some seasons it worked better than others. But they each knew their limitations and where to draw the line” (84). How does this “working relationship” compare to Mama Day’s relationship to Dr. Buzzard? What does it say about the role Mama Day plays in Willow Springs? What does it say about Mama Day’s feelings about scientific medicine (as opposed to folk medicine)?

Journal #13

Due 4/16, before class (optional)

Things have gotten pretty dark in Willow Springs. Bernice carrying Little Caesar to the Other Place is written in a way that’s magical — nothing seems like it will stop her, no root or bush, or misplaced step. It’s not hard to understand why, either: her adrenaline must be through the roof, her fear and anxiety peaking, as she desperately seeks the one person she thinks can save her child…

It results in a something we’ve seen before: another moment when Mama Day has to tell Bernice she doesn’t control the miracle of life. But also something we haven’t: the community come together to honor someone. And in the fashion of Willow Springs, it’s both familiar — people saying their goodbyes and supporting each other — and yet unique to this place.

At the risk of trivializing Little Caesar’s Death, think of it in terms of the larger story. If George and Cocoa are the protagonists, Little Caesar’s death can be important, but because it doesn’t directly touch the protagonists so it’s not part of the main plot.

In script writing, they sometimes talk about an A plot and a B plot. The A plot is the protagonists and the B plot is less important characters who can bring in different elements, but ultimately exist to serve the story of the A plot characters.

In Shakespeare’s Romeo and Juliet, for example, the A plot is obvious (Romeo and Juliet), the B plot is about Romeo’s friends, particularly Mercutio, who dies tragically, angrily, a victim of the silly family rivalry that keeps Romeo and Juliet apart. His dying, angry, vengeful curse “a plague o’ both your houses!”, meaning both families are cursed, prefigures (or causes) the end in which both Romeo and Juliet end up dead.

If George and Cocoa are the A plot, then Bernice and Little Caesar are a B plot.

So here’s what all this windup is getting to: Why would Gloria Naylor give us this B plot of a woman who desperately wants a child so bad she’s willing to harm herself, give us the the time to care about her and her family, and then show it ending in this tragic way? Is it just to show how Mama Day works in her community (maybe)? Just to create drama (maybe)? Is there service to some other idea (maybe)? Or is it just bad writing?

For your journal, reflect both honestly about Little Caesar’s Death (if it affected you and also if not), and about how it might speak to your predictions about Cocoa and George or Naylor’s larger project. Remember, eventually, you’ll have to extract themes you can talk about from this novel, so use this as an opportunity to spin something wild, even if it’s just in the journal.

Journal #12

Due 4/14, before class (optional)

We are getting close to the “climax” of the novel, so this is a good time to reflect on where things are. What do you think about the relationship they’ve built? How do they seem as a couple? How have they changed over the years? Has your opinion of them changed? If so, how?

You can also use this space to speculate about some of the stranger things that have happened. The fun that the people in Willow Springs seem to have is partially from just talking about people can gossiping. What bothering you about the novel or what’s delighting you?

Journal #11

Due 3/31, before class (optional)

Brainstorm for your afterword.

Write about the short story you choose to work with and reflect on why you chose it. What drew you to it (plot, characters, themes, tone, etc.)?
You know from your own experience writing and revising, that the author of your story likely got advice to think of themes and questions to help guide their writing (similar to how Octavia Butler gave herself challenges when writing “Bloodchild”). Thinking as a detective, what themes or questions do you see throughout the writing?

Is there anything you wish there was more of? A character you wanted more of? A scene you wanted more description in? Why? Can you think of examples of other works (wither written or visual) that come to mind when you think of the story?

Read the original story (see the sign up link from part 1 of the instructions). What do you notice about what the author changed?

Journal #10

Due 3/26, before class (optional)

In this section of Mama Day, Cocoa and George recount their versions of meeting each other (in movies, this is sometimes called a meet-cute), and we get to see how Cocoa’s family interacts back in Willow Springs.

A number of issues come up, from some of Cocoa’s less-then-flattering descriptions of people, to her impressions of New York City, to simply hearing how differently Cocoa and George think. Write about how you understand these two people and their world views. Does Naylor do a good job of making them seem different? Do they seem real (if not, why? If so, why?). What mistakes or biases do they have? How much of that bias is the character’s, and how much is Naylor’s own bias?

Journal #9

Due 3/19, before class (optional)

Write about your illustration. You can write about your plans (brain storm search terms, ideas, etc.), or write about what you’ve found and why you chose it. You could even weigh the differences between several illustrations. The idea is for this journal entry to both be a place to get out your ideas, but also insight into your decision-making process.

Journal #8

Due 3/17, before class (optional)

Take a few minutes to reflect on the revisions you made to your short story. What changed between your first draft and your revised version? Think about specific choices you made—such as adding detail to a scene, clarifying a character’s motivation, changing dialogue, or reorganizing events. What feedback, questions, or new ideas helped guide your revisions? Write about one or two changes you are most proud of and explain how they improve the story for a reader. You might also note anything you are still unsure about or would like to keep developing in future drafts.

Journal #7

Due 3/12, before class (optional)

Set a timer for 15 minutes and write about one single moment in your short story. Slow the moment down and describe it as fully as you can. Don’t worry about the whole plot, just stay inside the scene. Write without stopping or editing.

This activity is about changing your focus.

As you write, ask yourself questions like these:

• Where exactly are the characters? A kitchen, a street corner, a bedroom, a bus?
• What objects are in the space and what do they look like? Tables, chairs, posters, dishes, trash, plants, books?
• What does the room smell like? Food, rain, dust, perfume, cleaning supplies?
• What sounds are in the background? Traffic, a fan, footsteps, music, voices, silence?
• What is the lighting like? Bright sun, dim lamps, flickering TV light, fluorescent bulbs?
• What are the characters wearing? Clothes, shoes, jackets, jewelry, uniforms?
• What does their hair look like? Messy, wet, braided, carefully styled?
• What are their hands doing? Holding something, fidgeting, tapping, hiding?
• What small movements are happening? Someone shifting in a chair, a door creaking, a glass sweating on the table?

Your goal is to make the reader feel like they are standing inside the scene with the characters. Keep writing for the full 15 minutes.

Journal #6

Due 3/10, before class (optional)

In the afterword to “Blood Child,” Butler writes: “I tried to write a story about paying the rent—a story about an isolated colony of human beings on an inhabited, extrasolar world. At best, they would be a lifetime away from reinforcements. It wouldn’t be the British Empire in space, and it wouldn’t be Star Trek. Sooner or later, the humans would have to make some kind of accommodation with their um . . . their hosts. Chances are this would be an unusual accommodation. Who knows what we humans have that others might be willing to take in trade for a livable space on a world not our own?” In interviews, she has described it as a “love story.”

Do you buy what Butler is selling? Is this a love story? Can a relationship that involves obligation, exchange, or dependence still be considered love?

Journal #5

Due 3/3, before class (optional)

This is the first short story in Machado’s collection titled Her Body and Other Parties, although the story was first published in the literary magazine Granta. Machado has won a number of prestigious literary awards for her speculative fiction, but her works have also been targeted by parents for removal from school libraries. It’s a story that is “mature” not for its sexual content, but because Machado chooses to depict a real, adult marriage, with lots of complexity.

I’m hesitant to give you much a prompt because I think the story will lead you in different directions depending on who you are. If you’re hard-up for a place to start with, perhaps think about the Alvin Schwartz version, for first graders, that we read in class. Speculate about why Schwartz’s version stayed with Machado long enough for her to make her version? Why do you think she adds the details she does? Often, when I’m trying to figure out what role something has in a story, I imagine the story without that element–a strategy you might try in your journal. If there’s a detail that seems over-the-top, or uncomfortable, how would it change the story/effect with its removal?

Journal #4

Due 2/10, before class (optional)

There’s no doubt that there are significant differences between the 13th-century Japanese tale “The Priest with the Long Nose” and Akutagawa’s re-telling “The Nose”, written in 1917.

Some readers believe that Akutagawa’s story is evidence of a “modern” interest in psychology (how people think and why they do things). They argue that the original story is all action, but Akutagawa’s is mostly the drama in Zenchi’s mind.

For your journal entry, compare the two stories and write about the differences, not just about psychology and interiority but also about structure, events, perspective, tone, etc. What (if anything) surprises you about Akutagawa’s version? Speculate about why he made the changes he did (not everything needs a grand explanation, but maybe there’s subtle details that can suggest Akutagawa’s thoughts).

Journal #3

Due 2/5, before class (optional)

Write about the fairy tale you choose to work with and reflect on why you chose it. What drew you to it (plot, characters, themes, tone, etc.)?

As you brainstorm, think about what you want to keep and what you want to change. Will you follow the full plot or reshape only parts of it? Which characters do you find most interesting, and which feel flat or limiting (and therefore invite revision)? Use this entry to explore your ideas freely and sketch the direction you want your version to take. It’s too early to make final decisions, but it’s a good time to start thinking about options.

Journal #2

Due 2/3, before class (optional)

We’re working a backwards here. Normally you’d read an introduction before you read the actual text it’s introducing, but this way we can focus on the genre of introductions more.

This introduction appeared in a book for college students about fairy tales, so it’s a bit more academic than a book for the general public, but it still has to be more accessible than just a book for scholars. It precedes the several different historical versions of “Little Red Riding Hood” (LRRH) that we discussed last class (other introductions proceed other fairy tales in the book).

Rather than telling you exactly what to think, this introduction raises questions, points to recurring themes, and suggests lines of inquiry for the stories that follow—while still leaving room for interpretation.

For your journal entry, reflect on the work this introduction is doing. Consider the following as you write:

• What kinds of questions does the introduction raise about the different versions of LRRH?
• What themes, tensions, or patterns does it highlight without fully explaining or resolving them?
• How does the introduction prepare you to read the stories historically or comparatively, rather than as a single “definitive” tale?
• Why might it be important that the introduction does not overdefine the meanings of the stories? What does this restraint allow you, as a reader, to do?
• If you were writing the introduction, what might you change or add?

Journal #1

Due 1/29, before class (optional)

For this first entry, write about the different versions of “Little Red Riding Hood” that we’ll be discussing for Wednesday. You’re likely familiar to the general plot, but there are critical differences between each one. Some questions you might want to think about in your journal entry include:

• What version most surprises you and why? How do the surprises change the stories meaning for you? What do you think might explain the surprises?
• What details seem to be the most similar between versions? Why do you think these details remain similar while other details change? 
• Have you read/see/heard any other versions of “Little Red Riding Hood” that either seem similar or very different to these ones?