This module will enable you to develop your understanding of prose writing for young people, with a focus on Children’s Fiction (8-12 years) and Young Adult Fiction (11+ and 14+). During the module, you will develop an idea for a manuscript suitable for one of these audiences. The manuscript will be informed by the critical discussion of the set texts, targeted writing exercises and participation in workshops. Together, we will explore voice, point of view, story structure, setting and place, as well as formulate conceptions of the role of gatekeeping, reader expectations, and current movements and trends in the children’s publishing landscape. You may come prepared with a manuscript idea you wish to work on, or you might build on an idea generated in class. Towards the end of the course, you will also be asked to write reflectively on your creative process.

This module examines a range of British and Irish fiction that appeared against the revolutionary backdrop of the late eighteenth and early nineteenth centuries. It considers the ways in which novelists engaged with and/or resisted the political and intellectual upheavals of the period -- the French revolution, the spread of political radicalism, abolitionism, the rise of feminism -- and shows how novels of the time can be read both as trailblazers for democratic modernity and as gestures of counter-revolutionary consolidation. Focusing on a range of writers that includes Jane Austen, Walter Scott and Mary Shelley, the course explores tensions between past and present; between Englishness and otherness; between dangerous experimentation and steadfast loyalty to tradition. Emphasis will also be placed on the formal upheavals that literary fiction underwent in this period, not least the conflicts between realism and rival modes such as Gothic, melodrama, historical saga and science fiction.

This MA course takes the relatively new and still developing field of Literary Mapping and explores its potential for students in relation to texts and authors across the Eighteenth and Nineteenth centuries. The course has a strong theoretical element derived from Critical Cartography and based on the work of Franco Moretti but also applies these theories to texts. Acts of mapping and maps as a means of understanding and moving through literary worlds, will be explored and critiqued as they evolve over time and in relation to changing cultures.

This module examines manhunt narratives -- stories about the systematic pursuit of people who don't want to be found - in British and American writing from the early nineteenth century to the present day. It will address questions of space, power, violence, mobility and surveillance as they are raised by a range of set reading that covers classic thrillers (Buchan, Orczy), proto-feminist stories of female runaways (Gaskell, Wollstonecraft), narratives of escape from slavery (the Crafts, Whitehead), SF stories of hi-tech pursuit and evasion (Dick, Wells), and uncanny experiences of self-hunting (Conrad, Stevenson). The module asks how manhunt narratives work, what fears, desires and fantasies they cater for, and why they are such a prevalent feature of both highbrow and popular literature.

Primary Texts:

• John Buchan, The Thirty-Nine Steps
• Joseph Conrad, 'The Secret Sharer'
• Ellen Craft and William Craft, Running a Thousand Miles for Freedom
• Philip K. Dick, Do Androids Dream of Electric Sheep?
• Elizabeth Gaskell, 'The Grey Woman'
• Emmuska Orczy, The Scarlet Pimpernel
• Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde
• H. G. Wells, The Invisible Man
• Colson Whitehead, The Underground Railroad
• Mary Wollstonecraft, Maria; Or, the Wrongs of Woman

Taking our cue from Haruko Maeda’s remarkable twenty-first century painting Heartbeat of the Death, Queen Elizabeth I (2013), Tudor Gothic critically considers the relationships between traces of Tudor history and culture in four gothic novels (Deborah Harkness’s Shadow of Night (2012), Jane Austen’s Northanger Abbey (c.1803), Sophia Lee’s The Recess, or a Tale of Other Times (1784) and Horace Walpole’s The Castle of Otranto (1764)) and proto-gothic tropes (such as wonder, terror, strange places, clashing time frames) in select poetry, prose and drama produced in the Tudor period (1485-1603) itself. Rather than viewing the Tudor Gothic as an anachronistic term, the module suggests that Tudor Gothic informs and shapes literary gothic’s social, political and imaginary landscapes.

This module explores modern/contemporary transnational literature in the Anglosphere, tracking relations between the local and the global, the domestic and the public sphere, the body and body politic, the concepts of ‘original’ and ‘translation’, and the human and the world. We privilege minority/decentring perspectives and consider how literature comes to us as Anglophone readers via the publishing industry, perceptions of translatability, and the literary prestige economy.

Key themes include: the body, space, mobility, modernity, relationality, marginality, agency, translatability, and environments. Key questions include: What makes a world literary writer? How are minority writers positioned within Anglophone publishing? (How) does a particular authorial signature impact upon the way a literary work circulates? What connections emerge across contexts?

All texts will be studied in English, though multilingual readers may also refer to originals.