hey i feel prepared for this [accounting] exam! not well-prepared like a boy scout. but at least well, prepared like a college student. also unprecedented: i'm so hungry. and i'm registered for (omg) 20th century british literature. i don't think i'll really stick with it though. because...well. here is my next semester's tentative schedule:

fnar 251 - printmaking!!!! stickers and t-shirts, my only loves...
accounting 102
finance 101
french for the professions I (some may recognize what a brave and doughty decision this class was...)
and yes,
english 061 - 20th century british literature.

what i wanted in an english class, however, was obviously this:

English 310.301
Literary Authority and the Holocaust
TR 12-1:30
Vicki Mahaffey
This course will explore the slippage between the authority of an author over the reading process and other, more direct ways of exercising authority. We will investigate the extent to which modernist writers may have tried to engender a different model of reading, one that might have helped ordinary people resist Nazi authority. This "new" model of reading gives the reader much more responsibility in the reading process, and it insists that the reader be a more careful, flexible, and knowledgeable interpreter. We will begin by reading Primo Levi's *Survival at Auschwitz,* and we will go on to read *Ordinary Men* and Stanley Milgrim's *Obedience to Authority.* Once we have developed a model of maladaptive "reading" (or responding to authority) based on these works,we will turn to some of the most famously difficult modernist texts to see if these texts succeed in "retraining" readers. Our readings will include James Joyce's *Dubliners* and a sample of *Finnegans Wake*, Virginia Woolf's *The Waves,* poems by T.S. Eliot, H.D., and Ezra Pound, and selected works by Samuel Beckett.

-excerpt from the course which conflicts with the honors section fin 101.

taught by same prof, last year:
In this course we will focus on the "multiplied consciousness" of writers in the modern age, on the proliferation of voices in modern poetry and prose. Why did it become so important to see life from as many points of view as possible, and what effect does the assumption of a multiplied consciousness have on the concept of individual identity? Modern literature is often described as a dissolution of impressions, images, and sensations; why does Walter Pater link such a dissolution with "that strange, perpetual weaving and unweaving of ourselves"? What are the attitudes of these modern writers towards life, art, and religion, and to what extent are their attitudes representative of ours? We will read works by Eliot, Pound, James, Stevens, Beckett, Woolf, Joyce, and Faulkner. Requirements include an oral report, two papers, and a final examination.

i'm not trying to impress with my cut and paste skills. i'm just thinking, funny. in high school, my favorite teachers were those i never had. and that i probably should have had them. taken ms. ledet's english 11R as opposed to christine's 11H english, and ceramics with mondo, say. but that wasn't in my sigh[t]s back then. i don't know what kind of differences that would have made. but...? am i doing the same thing now? i wonder. academically. all. we. can. hope. for. is. a. satisficing. decision.

my new humidifier is plastic cupfuls of water on the heater. it is not lotion. but soon! today i felt like everything...