Teaching a 'New Canon'?: Students, Teachers, and Texts in the College Literature Classroom.

Based on the idea that expanding the literary canon has to mean more than simply incorporating "nontraditional" texts into literature courses, this book presents essays that address such issues as text selection, course design, and the effects of multicultural literature on students of color. After an introduction by the editors, the essays are, as follows: (1) "Toward the 'Success' of a 'New Canon': Radical Introspection as Critical Practice" (James C. Hall); (2) "'Who Are All These People?': Some Pedagogical Implications of Diversity in the Multicultural Classroom" (Bruce A. Goebel); (3) "Race and Representation: Students of Color in the Multicultural Classroom" (Abby L. Ferber and Debbie Storrs); (4) "New Canons, New Problems: The Challenge of Promoting a Sense of Kinship among Students of Diversity" (Peter Smagorinsky); (5) "A Journey Defined by Place: Anti-Racism in the College Classroom" (Mary Janell Metzger); (6) "Teaching toward a Multicultural Perspective in the Land That Time Forgot" (Patrick Bryce Bjork); (7) "'Don't Teach It to Us; Teach It to Them': Teaching Cross-Cultural Literature to a Multicultural Class" (Doris Correa Capello and Paul G. Kreuzer); (8) "'Please, Correct Me if I Am Wrong': Teaching Civil Rights and Race Relations in the Age of the Politically Correct" (Suzanne E. Smith); (9) "Teaching Cross-Cultural Encounters and Student Writing with Question-Hypothesis-Questions (QHQs)" (Richard C. Moreland); (10) "Gender, Assessment, and Writing Instruction" (Linda Laube); (11) "The Discourses of 'Difference' in a Feminist Classroom: Multiplicity and the Pedagogical 'Unconscious'" (Mary Beth Hines); (12) "Writing Portfolios in the Multicultural Literature Class" (Ronald Primeau); (13) "Teaching 'China Men' as a Chinese" (Alex J. Wang); (14) "Fear and Loathing in the Classroom; Or, Who's Afraid of Stephen Crane's 'The Monster'?" (Michele Birnbaum); and (15) "Canon Opener: The Single-Event Literature Class" (James Tackach). An afterword, "Getting Beyond 'Kum Ba Ya'" (James Marshall), concludes the book. (NKA)