The primary focus of this course will be to introduce participants to works of literature (novels, novellas, and several short stories) which, though written by well-known, highly respected authors, have typically been overshadowed by other texts by the same author. Many of these works remain “in the shadows,” appearing infrequently on course syllabi, and at times difficult to find in libraries and local bookstores. The reasons for such neglect, even by avid readers of literature, run the gamut from the sheer number of classic works available to be read (especially) in the case of prolific writers, to the vicissitudes of reputation, related to social, historical, biographical, cultural, and other factors. 

Ernest Hemingway’s earliest and one of his most inventive works (In Our Time 1923-5 editions), remains underappreciated because of its complex publishing history and frequent lack of availability. Charlotte Perkins Gilman, an early feminist and author of Women and Economics (1898) and “The Yellow Wallpaper” (1892) wrote a utopian novel describing a world run by women. Originally published in a magazine in 1915, the text remained unpublished in book form for over 60 years. Why has “The Yellow Wallpaper” become so popular and well known since the rediscovery of Gilman's works in the 1970s whereas the more radical Herland remains relatively unknown outside of academia? Will Herland unseat “The Yellow Wall-Paper” as Gilman’s most important fiction? And so it goes. Herman Melville, an acknowledged world class writer, wrote upwards of 15 (weighty) books (novels. novellas, short stories, poems) over the course of his writing career. How many readers have read his complete oeuvre?

In this course, we will ask whether a particular work illustrates mastery of the elements of fiction: of plot, setting, characterization, theme, symbolism, and more? Might it achieve the status of a “classic”? Or does the work belong “in the shadows”—a lesser work that doesn’t stand up to close reading? Are there specific factors (apart from the text itself) that might have contributed to the neglect of some or any of these works? What is lost by not reading these texts? Do they shed light on the author or the age or on anything else of importance? What (tacit/conditional) factors enter into the reputation of a work?

Books to Purchase (will be available at Argo Bookshop during the weeks prior to the course beginning): TBA

Please note that this course has a maximum enrollment of 16 students and that TMI does not allow participants to audit courses for free.

Location: Zoom

First Session: Wednesday, January 15th, 2025

Course Length: 12 weeks, Wednesdays, 1:30 to 3:30 p.m.

Discussion Team: Michael Tritt, Anne Fitzpatrick, Kathryn McMorrow   

Degree Credit: 3 credits

Total Course Fee: 
$140.00 (New Students)
$140.00 (Special Bring-A-Friend Promotion: For Returning Students who bring a New Student to TMI. Register by phone.)*
$200.00 (Returning Students)**

*Note on Bring-A-Friend Promotion for Returning Students: The special 140.00 price is applied immediately if the friend, the New Student, registers first. If the New Student has not yet registered, the regular 200.00 will be charged, and the discount will be refunded when the New Student registers. The discount can also be turned into a credit for a future course.

**Includes Standard Tuition + Admin Fee.

For 12-week courses, fees are refundable in full before the second session. If the participant withdraws after the second course, they will be charged a $50 fee. There is no refund after the third course has passed. Please note that non-attendance does not constitute a withdrawal.

Students pursuing studies for credit are encouraged to consult with their advisers as they register for courses.

Course leaders, and students wishing to use credit vouchers, should call (514) 935-9585 to pay by phone or to schedule an appointment to pay in person.