World Languages

English 12: Elements of the Grotesque

“Like fairy tales, the art of the grotesque and horror renders us children again, evoking something primal in the soul.” —Joyce Carol Oates, “Reflections on the Grotesque”

In this course, we will explore the uses and functions of the grotesque in the short fiction of two great American writers, Flannery O’Connor and Shirley Jackson. We will examine how both of these writers use horror and the grotesque to “evoke something primal in the soul”—both the soul of America, as they address issues such as religion, gender, race, slavery, and historical memory—and the individual soul, as they delve deeply into the individual’s guilt and loneliness. Together, we will attempt to define the grotesque and how it functions in the Gothic short fiction of O’Connor and Jackson. The course will begin with Jackson’s often overlooked early novel Hangsaman; we will then move to the short stories of both writers, as well as excerpts of their letters, essays and journal entries.

English 12: Friendship and Love

Before Regina George of the cult classic film Mean Girls ostracized Cady Heron for liking math more than makeup, Caroline Bingley of Jane Austen’s Pride and Prejudice criticized Elizabeth Bennet for dirtying her ankles on her strenuous walk to see her sick sister—how so not fetch (Regina would say), how unladylike (Caroline would cry)! However, viewers and readers alike might be baffled—or not—to discover that these two sets of women appear to be friends—or at least friendly at times—which begs the question: why are female relationships—especially female friendships—so complicated? Even before Austen’s satirical novels about social circles, Aristotle characterized friendship according to utility, pleasure, and truth; not surprisingly, the latter kind of friendship is rare because a genuine relationship depends on mutual trust, recognition, and affection. Through close readings, focused discussions, and creative written responses, we will deconstruct the definitions of friendship to determine what a constructive relationship looks like in literature and life. Texts include Elena Ferrante’s My Brilliant Friend, John Knowles’s A Separate Peace, and Gail Honeyman’s Eleanor Oliphant is Completely Fine.

English 12: Introduction to Creative Writing

Introduction to Creative Writing is focused on the process and craft of fiction and poetry as well as creative nonfiction. This course provides you with the opportunity to explore your interests by looking closely at a broad range of styles, topics, and authors and how they engage with their craft and the world as writers. The overarching, skillbased focus of this course is learning how to read closely and critically as a writer. The core readings are intended to challenge you to think, study, and learn using exemplary writers as teachers and guides for your own work.

There is a place for everyone in this class, from those who might never have written before, to those who are fairly decided on their preferred forms of writing, and everyone in between. We will read work from the core reading list, as well as material that important to apprenticeship as a writer. This multi-genre approach will help students to find inspiration in perhaps the unlikeliest of places, and will also engage them in writing styles they may not have approached otherwise (such as the long poem, translations, villanelles, etc.). Students will be workshopped at least twice and in- and out-of-class exercises will be provided on a regular basis. Together, students will grow both as writers and as readers of poetry, fiction, and creative nonfiction.

English 12: The Modern Rom-Com through Shakespeare and Austen

She’s the Man, Notting Hill, To All the Boys I’ve Loved Before. These texts have their roots in classic literature. In this course, we will explore how Shakespeare’s Much Ado About Nothing and Austen’s Emma established the essential elements of a romantic comedy: misunderstandings, word play, deception, and, ultimately, love. By examining these texts in context, we will develop a picture of how Shakespeare’s and Austen’s works reflect their own society’s views on love and marriage, and by tracing the essential elements of these texts through their modern day equivalent - by examining popular romantic comedies and sit-coms - we will ask ourselves how our ideas about love have evolved over time, and whose love stories have been sidelined or ignored. Additionally, we will consider the age-old question of what makes something funny. How do authors write to invite laughter and humor, and how can this laughter illuminate something about what it means to be human?

English 12: Narrating Childhood

Novels that focus on childhood or present stories from the point of view of a young person often require authors to find a proper balance between closeness and distance to personal memory. Closeness is what allows us to feel the energy, delights, and traumas of childhood as a child might; the distance enables the writer and readers to understand those experiences as only adults can understand them. In this class, “Narrating Childhood,” we will read fiction featuring a child or young adult protagonist. A

central discussion will focus on the idea of the reliable narrator. Is a child more or less likely to provide a truthful narration? We will be looking at the work of Carol Rifka Brunt, Heather O’Neill, and William March. Students will also be creating their own childhood narratives.

English 12: Toni Morrison’s Novels

In her forward to Sula, Toni Morrison writes, “Outlaw women are fascinating-not always for their behavior, but because historically women are seen as naturally disruptive and their status is an illegal one from birth if it is not under the rule of men. In much literature a woman’s escape from male rule led to regret, misery, if not complete disaster. In Sula I wanted to explore the consequences of what that escape might be, on not only a conventional black society, but on female friendship.” In this course, we will examine how two of Morrison’s “outlaw” characters, Sula and Pilate, from Sula and Song of Solomon, respectively, escape the expectations that their communities and families foist on them and how they intentionally seek to construct their own sense of identity. We will look at the consequences of their choices on their friendships, relationships with family and lovers, and their communities. Through close reading, discussion, and writing responses, we will consider ideas about identity as fixed versus as in flux, the motivations that drive people to self-identify in certain ways, the challenges of encountering certain aspects of oneself, and that despite how seemingly self-aware one can be, there are always facets of identity that remain hidden until “discovered.” The course will present an opportunity for you to reflect on the aspects of your own identity—those which you have assumed from your own communities as well as those that you have deliberately cultivated and crafted—as you prepare to venture into your new communities next year.

English 12: Uncanny Latin American Short Fiction

The word “uncanny” describes something strange, mysterious, unsettling, and vaguely familiar. Gabriel Garcia Marquez, Judith Ortiz Cofer, Manuel Gonzalez, and Jorge Luis Borges are from different eras, nationalities, and backgrounds. The enduring thread between them is a focus on the uncanny details of daily life that toe the line of fantasy using language and imagery that are far more haunting than wistful. In this course, we will dive into short stories about a Mexican man in Texas who bought a unicorn, a point in space that contains everything in the universe, and a very old man with enormous wings, among others. This course will focus on developing close-reading skills, discovering how language can be ominous, and creating our own eerily unique stories. Texts include The Miniature Wife and Other Stories by Manuel Gonzalez, Collected Fictions by Jorge Luis Borges, The House of the Spirits by Isabelle Allende, and other selected short fiction.

English 12: Victorian Literature

Queen Victoria, a pillar of morality and propriety, colored the culture of her eponymous era (1837–1901) in lavender and lace. The year 1859 captures the spirit of the age with three milestones in publication history: Charles Darwin’s On the Origin of Species, John Stuart Mill’s work on utilitarianism, and Samuel Smiles’ “bible” on self-help. For all the relative peace and prosperity of the Victorian age, times were hard—and as disorienting as a tumble down the rabbit-hole—due to imperialism, industrialization, and social issues such as “The Woman Question” and workers’ rights. Discontent lurked beneath the veneer of decorum, as evidenced by the prevalence of social critiques that masqueraded as novels. In this elective, Oscar Wilde’s The Picture of Dorian Gray will function as the looking glass through which we will consider how our course texts reflect and problematize this age of improvement. Alongside our protagonists, we will come to our own understanding of the Victorian age as novel and (un)conventional, as really real and still relevant, and as a touchstone for the twenty-first century. Texts include Wilde’s Picture of Dorian Gray, Shelley’s Frankenstein, Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Caroll’s Alice’s Adventures in Wonderland, Dickens’ A Christmas Carol, as well as selected essays.

English 12: Women in Literature

The course will examine recurring images of women in literature and at the social contexts and constructions of identity. We will explore how identity is gendered in relation to a range of contexts and will examine stereotypes of “the madwoman in the attic” and the derivation of hysteria as an exclusively female phenomenon. We will also discuss stereotypes of feminine sexuality and the consequences of deviating from constructed norms. In addition to examining gender and sexuality, we will also look at how ethnicity, nationality, religion, class, and ability affect identity. Texts include A Streetcar Named Desire by Tennessee Williams, The Bloody Chamber by Angela Carter, Jane Eyre by Charlotte Brontë, The Wide Sargasso Sea by Jean Rhys, and The Awakening by Kate Chopin.

English 12: Women in Science Fiction

Women have been shaping science fiction since the dawn of the genre. In fact, one could argue that Mary Shelley’s Frankenstein is one of the first science fiction novels. Beginning with Mary Shelley and Octavia Butler, this course focuses on two central themes: technology that has developed beyond human control and the role of women in shaping a more equitable and peaceful future. Additional authors may include Jennifer Eagan, Naomi Alderman, and N.K. Jemisin.

English 12: Women Writing Horror

On the surface, horror novels appear to depict violence, malevolence, or destruction. But when we dig deeper, we find the genre is often about survival. In childhood, girls are frequently told the world is a dangerous place. In this class, we will be looking at the works of women writers who claim space in a genre most often associated with men. However, Kirsty Logan, author of Things We Say in the Dark, believes women are “uniquely situated to understand the world is often a site of horror…but it can be survived and [one] can come out on the other side.” We will be reading the works of Charlotte Perkins Gilman, Edith Wharton, Susan Hill, Shirley Jackson, and Octavia Butler.

The Upper School program offers French, Latin, Mandarin and Spanish. The curriculum is planned to help students acquire an ease of expression both in writing and in speaking, a knowledge of the respective countries and cultures, and an understanding of literature.

French I

This course is designed to accommodate students who have had little or no previous training in French. The work is necessarily intensive, and equal emphasis is placed on aural and oral skills, reading and writing. The study of French culture and geography is introduced. At the successful completion of this course students are eligible for French II or French II Honors.

French II

This course continues the development of aural and oral skills, reading and writing. Vocabulary and grammar are important elements of the curriculum, which is designed to ensure the development of aural comprehension and culturally authentic speech. The program also encourages cultural awareness. At the completion of this course, students are eligible for French III.

French II Honors

This is an advanced and enriched course. Equal emphasis is placed on high achievement in oral/aural competency and reading and writing skills. Development of thematic vocabulary, mastery of grammar, and verb forms are the focus of this level. The cultural element of the program focuses on geography and the understanding of the economy as well as social life in France. At the completion of this course, students are eligible for French III or French III Honors.

French III

This course stresses aural and oral competency as well as reading and writing. A review of grammar and vocabulary is conducted in order to increase students’ proficiency. Emphasis is placed on developing the ability to communicate ideas through oral and written expression. Aspects of French and francophone cultures are studied.

French III Honors

This is an accelerated course that prepares students for the Advanced French language class the following year. A comprehensive and meticulous review of grammar is integrated with the examination of various topics of modern daily life. Equal emphasis is placed on high oral and aural competence and advanced aptitude in reading and writing.

French IV

French IV is designed for those students who would like to continue the study of French. This course emphasizes oral and written communication as well as an introduction to literature. Hands-on language learning and authentic, activity-based situations will not only enhance language skills but also encourage cultural exploration. Upon completion of this course, students may be eligible for Advanced French Language.

French V

French V is a continuation of French IV. French V is a program designed for those students who would like to continue the study of French. This course emphasizes oral and aural skills. Hands-on language learning and authentic, activity-based situations will not only enhance language skills but also encourage cultural exploration. This course emphasizes active usage and interaction, using art, music, literature, film and other cultural references to translate theoretical foundation into communicative output.