Reading List for ENGL 493: Graphic Novels (Fall 2009)

I’ve finalized the reading list for my Fall 2009 course on graphic novels. This is the same super-sized class that I’ll be teaching with technologies that may help me preserve my student-centered pedagogy. The syllabus was especially hard to settle on, as there are so many compelling graphic novels worthy of inclusion. I had to make some tough choices: Neil Gaiman didn’t make it on, nor did Kyle Baker, Jessica Abel, Charles Burns, Rutu Modan, and a host of other possibilities.  But what I’ve got is some great stuff, spanning genres, styles, and mood.

And here’s a more appropriately visual presentation of the same required texts, complete with pricing information.

Teaching Technologies for Large Classes

Faced with the prospect of teaching larger classes, I’ve been thinking about how technology might help me preserve what I value most about small class sizes—and perhaps even bring added value to those large classes. But first some background.

There’s probably not a humanities program in the country that hasn’t received a memo from its dean that begins something like Due to the ongoing economic downturn and ends with bad news. Friends at other universities have been put on furlough, have had their benefits frozen, and have even been banned from making photocopies. Things aren’t that apocalyptic at George Mason, but we have had to slash our department budget, including reducing the number of courses we teach by six percent. That figure may not sound like much, but in a department our size it means cutting 18 sections for Fall 2009 and 16 sections for Spring 2010. In other words, in the next academic year we have to teach the same number of students as before, but with 34 fewer classes.

In addition to eliminating under-enrolled sections (forcing students to fill remaining sections to their maximum capacity), our department’s solution to this mathematical problem is to increase the size of a few key classes that are sure to fill, no matter what the cap is. I am the lucky professor of one of these newly designated “extra-large” classes. My Fall 2009 upper-division graphic novel class, once capped at 27 students, is now fully enrolled at 40 students, an increase of 50 percent.

How should my pedagogy change to meet this new teaching context? Or should it?

My classes are student-centered and discussion-oriented, and I rarely hold forth in any kind of lecture mode. It’s unusual for me to talk more than five minutes at once (a legacy of Doc Fuller, my undergrad mentor at Miami University of Ohio, who promised me his ghost would piss down my neck if I ever lectured more than ten minutes).

Rather than looking at this shift from a smaller class to an oversized class as a hardship or an obstacle to my teaching philosophy, I see it as a challenge: How do I continue to engage students on a dialogic plane when they, my department, and institutional momentum all expect me to lecture as the most efficient means of delivering content?

There is no single answer, but I have begun thinking about tactics I might employ that allow me to maintain a student-centered classroom while taking into account the larger class size. Not surprisingly, some of these tactics exploit technology that my students are already familiar with, but in different contexts.

Here are four I’ve been thinking about, followed by more detailed explanations of each:

  1. Blogging
  2. Wiki
  3. Twitter
  4. Pecha Kucha


I routinely have my undergraduate and graduate students contribute to a class blog. The advantages are many: it’s a public space that requires students to consider questions of accountability and audience; students begin to see themselves as participating in an ongoing conversation about culture; and participation jump-starts class discussion so that I already have an idea of what students are thinking and wondering about before I even enter the classroom. In smaller classes I read and evaluate every post (according to this rubric) and generally comment throughout the semester on at least two posts by every student.

The problem with 40 students is that there is no way to read (much less comment upon) every post if every student is posting every week. I am toying then with a rotation model (inspired by Randy Bass),  in which students are divided into five groups of  eight students, cycling through these five roles:

  • Role 1 – Students are “first readers,” posting initial questions and insights about the reading to the class blog by Monday morning
  • Role 2 – Students are “respondents,” building upon, disagreeing with, or clarifying the first readers’ posts by class time on Tuesday
  • Role 3 – Students are “synthesizers,” mediating and synthesizing the dialogue between first readers and respondents by Thursday
  • Role 4 – Students are responsible for the week’s class notes (see next section on Wikis)
  • Role  5 – Students have this week “off” in terms of blogging and the wiki

I like the rotation model because each group of students is reading for and reacting to something different. The shifting positionality affords them greater traction, offers greater variety, and guarantees a dialogue without comments from myself.


Students in Role 4 will be responsible the week’s class notes, written collaboratively by the group on the class wiki. I am indebted to Brian Croxall’s Wiki Class Notes assignment for this idea. I haven’t thought through all of the specifics, but essentially these students will capture what happens in the classroom—synthesizing the discussion, referencing the visuals, highlighting moments of confusion and understanding—and then archive it and make it available for the entire class. I would even encourage students to document each session with their cell cameras and incorporate annotated versions of this “evidence” into the wiki. The notetaking students can also use the Twitter backchannel (see the next section) as another source for their notes.


A number of professors and instructors have begun using Twitter in their classrooms (see the Ultimate Twitter Teacher Resource for some ideas aggregated from across the web). I am most interested in Twitter as a backchannel, in which students use hashtags to create a stream of realtime on-task chatter about the class, which we can refer to at key moments during classtime. Outside of class, Twitter can be a microblogging-lite platform as well, for students to share quick notes and inquiries whenever they come across something in their daily lives relevant to the course material. This is the kind of use that David Parry writes about on Academhack.

Pecha Kucha

The most exotic sounding of all these tools, Pecha Kucha (pronounced “pe-chak-cha” ) is in fact the simplest idea: student presentations of 20 slides, 20 seconds per slide, adding up to a total time of 6 minutes and 40 seconds.

This rigid format sounds like it might lead to manic presentations, but I see it as the perfect solution to the usual crop of undisciplined, unfocused student presentations, especially when we have 40 of them to get through in a semester. There is no way to do a timed presentation without practice, and no way a student can get through one of these presentations simply by reading aloud the text the audience can read for themselves on the screen. Think of pecha kucha as Ouilipo for PowerPoint. The formal constraints paradoxically unleash creativity.

A Note About Grading

Taken together, these four digital pedagogies will add up to quite a bit of writing for my students—writing that will replace several of the major assignments I’d normally require. Eventually such dialogic, community-based writing might encompass the entire grade for a class. (At Leheigh University, for example, Ed Gallagher has successfully experimented with online discussion comprising 100% of a student’s grade; read his thoughtful reflection at Academic Commons.) For now, though, I’ll still have at least one paper, and I’ll also require a meta-reflection two-thirds of the way into the semester (similar to my blogging about blogging assignment).

What Else?

My extra-large class is three months away, so I have plenty of time to rethink these strategies or add more to my arsenal. I welcome suggestions, both lofty untested ideas and proven, practical techniques. The class will be an experiment in pedagogy, and even if it fails it will have failed successfully.

Electronic Literature Course Description

A few of my English department colleagues and myself are preparing to propose a new Electronic Literature course, to replace a more vaguely named “Textual Media” class in the university course catalog. Here is an incredibly first draft version of the course description, building in part on language from the Electronic Literature Organization’s own description of electronic literature:

Electronic Literature (3 credits) Electronic literature refers to expressive texts that are born digital and can only be read, interacted with, or otherwise experienced in a digital environment. Contemporary writers, artists, and designers are producing a wide range of electronic literature, including hypertext fiction, kinetic poetry, interactive fiction, computer-generated poetry and stories, digital mapping, and online collaborative writing projects via SMS, emails, and blogs. In all of these cases, electronic literature takes advantage of the capabilities and contexts of stand-alone or networked computers. Such literary texts often demand new reading and interpretative practices, which this class will develop in students.

I’m eager to hear any feedback about this purposefully generic description.