Undergraduate Courses: Spring 2017

Spring 2017

ENG 205 | Business Writing

Sara Doan
Section 4 | MW, 11:00 AM – 12:15 PM
Section 5 | MW, 12:30 PM – 1:45 PM

In Business Writing, we will focus on writing memos, letters, emails, resumes, cover letters, business reports, and other types of professional correspondence while making effective choices for the purpose, audience, and context. We’ll also practice organizing and completing team projects, as well as individual and group presentations. As we complete projects, we’ll consider ethical implications, how to define professionalism, and the ways in which our communication choices affect others in school, the workplace, and in civic life.

For more information, contact Sara Doan at saradoan@uwm.edu.

ENG 207 | Health Science Writing

Sonia Khatchadourian
Section 1 | MW, 8:00 AM – 9:15 AM
Section 2 | MW, 9:30 AM – 10:45 AM
Section 3 | MW, 11:00 AM – 12:15 PM

This course is particularly appropriate for students in the College of Health Sciences, the College of Nursing, Pre-Medicine, Dental, other medical fields, and the Professional Writing Program.

As this course is intended for students from a variety of disciplines, it focuses on writing professionally and effectively within medical fields, rather than on writing tasks or formats particular to any one medical specialty.

Course Goals/Learning Objectives

The primary learning objectives of this course are to:

  • Address various purposes
  • Adapt to various audiences
  • Organize documents based on types of messages
  • Format professional documents
  • Construct sentences that are precise and concise
  • Use medical databases effectively to conduct research
  • Analyze and evaluate sources
  • Incorporate research into documents
  • Document sources
  • Convey written data orally

Types of Assignments

The types of assignments that students may be asked to write to achieve the learning objectives include: writing short professional documents (such as memos, letters, email) that provide instructions, policies and procedures, patient information brochures and a literature review; researching and writing a report based on a current health issue; and, giving an oral presentation based on the report.


Satisfaction of GER English Composition competency requirement. May not be taken credit/no credit.

For more information, contact Sonia Khatchadourian at soniak@uwm.edu.

ENG 210 | International English

Laura Ambrose
Section 1 | MW, 2:00 PM – 3:00 PM

In this course, we will discover that as the English language has made–and continues to make–its way around the globe, radical changes to local languages and cultures have occurred. At the same time, however, English itself has been modified, adapted, and expanded, sometimes in unfamiliar and unrecognizable ways.

We will start with the origins of English in the British Isles and move onto its introduction and development in North America, Australia, Africa, Asia, and Europe. We will study several principal examples in detail. In doing so, we will also investigate many issues that accompany language globalization; such as, language change, loss of language and identity, language policy and standardization, and teaching and learning English.

Most of the reading assignments will be provided electronically. (It is possible that a textbook will be added at a later date.)

This course is three credits in English and satisfies the GER requirements for Humanities.

For more information, contact Laura Ambrose at lambrose@uwm.edu.

ENG 212 | Grammar and Usage

Laura Ambrose
Section 1 | MW, 12:30 PM – 1:45 PM

Improve your understanding of grammar: Become a better writer.

Good writing does not happen at random. The best writers understand the structure of the language and know how to work it to their advantage. Like professional auto racers, not only do they know how to clutch and brake, they also know what is going on under the hood.

In English-212, you can learn to master the fundamental building blocks of English. In this course, we study the grammatical terms and concepts that are key to sentence structure. We also explore how this knowledge can be used to create and edit texts more effectively.

Many examples and practice exercises are provided to help you succeed in this course. The material is presented at a steady but accessible pace.

Optional Textbooks:

  • English Grammar: Understanding the Basics. (E.P. Altenberg & R.M. Vago. ISBN: 0-521-73216-6)
  • Grammar for Language Arts Teachers. (A. Calderonello, et al. ISBN: 0-205-32527-0)

For more information, contact Laura Ambrose at lambrose@uwm.edu.

ENG 233 | Introduction to Creative Writing

Peter Burzynski
Section 3 | TR, 2:00 PM – 3:15 PM

Introduction to Creative Writing exposes students to the craft of reading and writing short fiction and poetry, and provides them the opportunity to experiment in both genres. We will read several short stories and poems by past and contemporary writers and analyze them with an emphasis on craft. Through close-reading and analysis, students will acquire elements of craft which they will implement in their own work. The first half of the class is devoted to fiction writing; the second is for poetry.

PREREQUISITES: Students enrolled in this course need to have earned a grade of C or better in English 102 or have received a score of 4 on the EPT. If you do not satisfy either of these prerequisite requirements, please see me immediately.

COURSE TEXTS and REQUIRED MATERIALS: Course Reader $21.60, Internet Access to Documents on Desire To Learn (D2L), and about $20 for printing purposes. You will also need to purchase a paper folder and a small, portable notebook ($2-12) that will function as a journal for your in-class writing activities.

For more information, contact Peter Burzynski at pgb@uwm.edu.

ENG 233 | Introduction to Creative Writing

Kristin Fay
Section 208 (Online)

This course introduces students to writing poetry and short fiction. Students: 1) review important elements that the two genres share in common and that cause them to diverge from one another; 2) consider matters of craft and technique through reading and discussing instructional guidance and professional models; 3) practice writing individually, workshop peers’ writings in group settings, and critique and revise their own works. All of this work is done through the online course management system D2L, to which UWM students and auditors are provided access. This class engenders a safe community of support for play and experimentation, while exploring traditions both long-established and newly constructed by literary artists.

There is one required textbook, which is the 4th edition of Janet Burroway’s Imaginative Writing: The Elements of Craft (2014, Pearson, 978-0-134-05324-0).

For more information, contact Kristin Fay at kafay@uwm.edu.

ENG 240 | Queer Rhetorics

Molly Ubbesen
Section 1 | TR, 2:00 PM – 3:15 PM

This course will apply queer theory to rhetorical issues. We will question how we think about, talk about, and write about “biological” sex, gender, sexuality, other identities, and intersections of identities. Is the way we use this language inclusive? Limiting? Ethical? Productive? Sexist? How does the language we use shape our identities, others’ identities, and ultimately, our realities? How often are we even mindful of this language and what’s at stake with our use of rhetoric? What are queer rhetorics and what does it mean to queer our rhetoric? There will not be any clear answers to these questions in this course, but we will investigate them together.

We will explore this by reading, discussing, and writing about a variety of texts. Some are theoretical and complicated, while others are shorter and more accessible. The texts are multi-genre (books, articles (scholarly and news), narratives, videos, blogs, excerpts, compilations) in order to engage with queer rhetorics in a multitude of forms. This course will be a blend of theory and praxis, reflection and analysis, as we queer our knowledge. It will also be collaborative as we learn from each other’s ideas and experiences. We will be mindful of how our rhetoric works in the world and what it means to queer it.

Course Materials:
Queer Theory: An Introduction by Annamarie Jagose

For more information, contact Molly Ubbesen at mubbesen@uwm.edu.

ENG 344 | Modern Drama: Contemporary British and Irish Plays

Josepha Lanters
Section 1 | TR 3:30 PM – 6:10 PM

Course Description
In this course we will focus on works—ranging from enchanting to hilarious to shocking—by some of the most exciting and provocative playwrights writing in Britain and Ireland today. In addition to discussing the relationship between form and content, we will place the plays in their cultural, historical and critical context with the aid of supplementary reading materials in a course packet.

Modern Drama: Plays of the =80s and =90s. Methuen/Drama. ISBN 9780413764904.

The Methuen Drama Anthology of Irish Plays. Ed. Patrick Lonergan. Methuen/Drama. ISBN 9781408106785.

The Methuen Drama Book of Twenty-First Century Plays. Ed. Aleks Sierz. Methuen/Drama. ISBN 1408123916.

Contemporary Irish Plays. Ed. Patrick Lonergan. Bloomsbury/Methuen/Drama. ISBN 9781472576682.

Course packet.

For more information, contact Josepha Lanters at lanters@uwm.edu.

ENG 360 | The Art of Poetry: Geographies of Longing, Poetry of Place and Displacement

Kimberly M. Blaeser
Section 1 | T 3:30 PM – 6:10 PM

Poets and poetry have long been preoccupied with ideas of place—both with the connection to specific places and with the loss of or longing for home places or spiritual spaces. This class will read and compare poetic works from a wide range of authors including writing by regional poets, immigrants, contemporary eco-poets, Indigenous poets, and peoples experiencing removals or refugee status. Among the threads or tensions we will trace in the poetry are, the differing urban/rural and actual/virtual spaces, memory and inscription of place, and the idea of a palimpsest of place and intergenerational spaces. Readings will range from transcripts of Native oral poetries and translations of Japanese haiku to web-based publications and prison poetry, from poetry by long-published authors such as Mary Oliver and Pablo Neruda to just released poetry like that of Jennifer Cheng’s House A. Students will be graded on various reading responses, a presentation, and a final paper/project.

For more information, contact Kimberly M. Blaeser at kblaeser@uwm.edu.

ENG 378 | Survey of Current Literary and Cultural Theory

Gregory Jay
Section 1 | TR, 3:30 PM – 4:45 PM

The study of literary and cultural theory can be an exciting adventure in intellectual discovery. Or it can be an alienating march through forests of impenetrable prose and incomprehensible ideas. The topics should be rich and engaging, including psychoanalysis, feminism, Marxism, queer theory, postcolonial critique, visual culture, and critical race discourse (among others). Yet unless we connect these theories to real works of literature, film and, indeed, the way we make meaning out of our everyday lives, studying critical theory grows abstract and pointless. So this class will strive to help students make those connections, and to translate theory into practice. The variety of approaches sampled should give everyone an opportunity to evaluate which theories they find most interesting and valuable, and to explore chosen ones in greater depth.

Seminar Discussion Format
Frequent Short Reading Responses
Final Essay


Robert Parker, How to Interpret Literature: Critical Theory for Literary and Cultural Studies, 3rd edition. ISBN-13: 978-0199331161

Jeffrey Nealon and Susan Giroux, The Theory Toolbox, 2nd edition. ISBN-13: 978-0742570504

For more information, contact Gregory Jay at gjay@uwm.edu.

ENG 383 | Cinema and Genre: History of Animation

Jocelyn Szczepaniak-Gillece
Section 1 | TR, 12:00 PM – 1:50 PM

What does it mean to animate? What are the elements of the drawn form, captured on film as though it were alive? What anxieties and dreams permeate the artificially moving body? This course surveys the general concepts and history of animated film from the silent era through the digital turn. Yet rather than being simply a history course, the class will continually approach animation from the perspective of what it means to breathe life into a drawing, and how animation has continually functioned as cinema’s uncanny shadow. During the first half of the course, we will trace the development of techniques and approaches through major American studios (Disney, Fleischer, Warner Bros), as well as chronologically complementary examples from solo, experimental, and international animators. The second half of the course will be a conceptual look at more contemporary forms including stop-motion, anime, and 3D animation. We will always attend to issues of class, gender, politics, and race as we ask what animation can tell us about film’s uncanny relationships to life and death.

A note: There will be several films with some disturbing imagery. Please note this before signing up for the course.

Reading: All readings will be chapters or articles posted in PDF format to the D2L site. There are no books or course packets to purchase for the course. All readings are mandatory.

For more information on the L&S Film Studies program, visit http://uwm.edu/letsci/filmstudies/ or contact Ben Schneider, advisor for the Film Studies program at terrapin@uwm.edu.

For more information, contact Jocelyn Szczepaniak-Gillece at szczepan@uwm.edu.

ENG 416 | Poetry Writing

Rebecca Dunham
Section 1 | TR 11:00 AM – 12:15 PM

The goal in this class is to develop your knowledge of the art and craft of poetry and to raise your level of sophistication when engaging poetry—both reading and writing it. After studying published poems as a model, you will apply the specific strategies and craft techniques to your own writing. The primary mode of instruction will be full-class discussion of your own and your peers’ original writing. We will workshop approximately six of your poems, including an individual project of your own design, over the course of the semester. Your final assignment will be a portfolio of revised poems.

Required Texts
The Last Time I Saw Amelia Earhart by Gabrielle Calvocoressi
A Poetry Handbook by Mary Oliver

For more information, contact Rebecca Dunham at dunham@uwm.edu.

ENG 430 | Advanced Writing Workshop

Vicki Bott
Section 1 | MW 1:00 PM – 3:00 PM

This class will focus on revising essays previously written for other classes. Students will revise 8-10 pages of writing with the intention of submitting that writing to a target publication. To do this, students will read and discuss theory and practical guides about revising, examine comparable texts in their target publication, revise their own essays, offer useful critiques of other students’ essays, and reflect on their writing and revising.

For more information, contact Vicki Bott at vlbott@uwm.edu.

ENG 444 | Technical Editing

Rachel Spilka
Section 1 (U/G) | Online

Whether or not you will ever have the job title of “editor” in the future, if you pursue a career in professional or technical communication, chances are strong that editing will be a critical skill set for you in just about every job you take on. For example, you might be asked to check and correct the grammar of a supervisor’s in-house memo; to make substantive changes to a technical manual written by a team of engineers; or to publish a linguistically, stylistically, and visually effective company website. All these situations and more will put you into the role of “editor.”

The primary goal of this course is to prepare you to edit both simple and complex nonfiction documentation in future work contexts. The secondary goal is to help you better understand the roles and responsibilities of editors, how editors contribute to document quality, how editors relate to others during a document’s life cycle, and what is involved in becoming a successful editor.

Of course, the scope of editing tasks can vary dramatically: In some cases, editors “fix up” minor grammatical and usage errors (copyediting); in other cases, editors question, “re-envision,” and then reshape major aspects of a document such as its purposes, target audiences, content, style, organization, and design (comprehensive editing). This course will cover the full spectrum of editing done in work contexts. During the first two-thirds of the course, you will do individual work in copyediting and comprehensive editing; during the final third of the course, you will work in a small team of 2 or 3 to do both copyediting and comprehensive editing of a suite of documents for an actual client.

Required Course Texts:

  • Carolyn Rude and Angela Eaton, Technical Editing. 5th New York: Pearson Education, 2010
  • Judith Tarutz, Technical Editing: The Practical Guide for Editors and Writers. New York: Hewlett-Packard Press, 1992
  • The Chicago Manual of Style. 16th Chicago: U. Chicago Press, 2010

For more information, contact Rachel Spilka at spilka@uwm.edu.

ENG 447 | Writing Internship in English

Rachel Spilka

If you plan to pursue a career that is likely to involve writing or related skills, English 449 can provide you with the experience you will need to be competitive for the post-graduation job market. This course is available each spring, summer, and fall and if you wish to do so, you can take this course multiple times and earn up to 9 credits in either a single placement or in multiple, diverse placements.

Students often propose to intern in a placement they find on their own, for example in a job they have already or plan to begin soon. Most students, however, choose one of the placements that we offer regularly in a wide variety of work specializations, including editing and publishing, journalism, marketing and advertising, and professional and technical communication. You can apply for internship placements in educational programs, nonprofit agencies, for-profit businesses and corporations, or other programs or organizations that might interest you (e.g., churches, political programs, social causes).

Benefits of taking a writing internship include the following:

  • Strengthening/applying skills you have been learning in your major and developing new skills that can augment your current job credentials.
  • Gaining “real world” writing experience. If you do well in your placement, you can develop impressive references, add writing experience to your resume, include work-related samples for your writing portfolio, and even receive job offers.
  • Developing more confidence in your ability to handle both simple and complex tasks in a work context after graduation.

If you would like to take English 449 this spring, go ahead and enroll in the course, but you are also required to meet with the instructor, Rachel Spilka, to discuss which spring internship placements would be a good fit for your career interests and goals. Please email Rachel at spilka@uwm.edu to set up an in-person meeting, ideally scheduled in the first half of December before the semester is over. It can take 3-4 weeks after this meeting to find and make formal arrangements for a spring internship, so in order to qualify to take the course in the spring, you must meet with Dr. Spilka in December or by the second week of January.

ENG 465 | Women Writers: Women and Anger

Gwynne Kennedy
Section 1 | MW, 11:00 AM – 12:15 PM

We will read novels, poems and drama by women writers from the 1960s to the present that deal with women’s anger in some way.  Adrienne Rich, Audre Lorde, Ana Castillo, Dorothy Allison, and Marjane Satrapi are some of the writers we will read. A few short pieces from earlier in the twentieth-century (Glaspell, Gilman) will provide a bit of historical context. Secondary readings from the interdisciplinary field of emotions and affect studies will offer other perspectives on gender and anger (e.g., from philosophy, nursing, cultural studies, feminist theory, and psychology).   How should women express their anger?  At what?  When?  To whom?  And which women?  How do age, race, class, sexuality and other factors influence the expression of anger and whether it is legitimate or valued?  We’ll address these and other questions that arise during the semester.

Course Requirements:

Two short papers (6-7 pages with optional revision), short summary of a critical article, and longer final assignment.  Daily preparation and participation in discussion are essential as we work through the readings together.

For more information, contact Gwynne Kennedy at gkennedy@uwm.edu.

ENG 523 | Studies in U. S. Latino/a Literature: Contemporary Literature of the Political Imagination

Brenda Cardenas
Section 1 | TR, 12:30 PM – 1:45 PM


In this course, we will explore, analyze, and evaluate how contemporary U. S. Latina/o writers of fiction, poetry, drama, and creative non-fiction witness, contextualize, complicate, critique, influence and are influenced by the pressing socio-political issues and legacies that their communities face. We will examine how in literary texts, individuals and communities negotiate the experiences of internal colonialism, exile, immigration, and transnationality in the contexts of racial, ethnic, gender, and class identities and conflicts as well as accompanying struggles for labor rights, civil rights, and immigration reform within the U.S. Additionally, in recent years, more U.S. Latino/a writers have turned their attention to the political upheavals and turmoil caused by dictatorships, civil wars, revolutions, and government-sponsored and guerilla terrorism in Latin America and elsewhere often affected by U.S. foreign policy and globalization. The course will include literary works by Puerto Rican, Cuban-, Dominican-, Mexican-American/Chicano, and U.S.-Central and South American authors. In addition to the course textbooks listed below, we will also read shorter pieces by authors such as Francisco Alarcón, Gloria Anzaldúa, William Archila, Daniel Borzutzky, Julia de Burgos, Martin Espada, Coco Fusco, Aracelis Girmay, Victor Hernández Cruz, Juan Felipe Herrera, Paul Martinez-Pompa, Marisela Norte, Achy Obejas, Pedro Pietri, Tomas Rivera, Natalie Scenters-Zapico, Carmelita Tropicana, Luis Valdez, and others as well as scholarly articles by literary critics/theorists and historians.

This course meets GER Cultural Diversity distribution requirements as outlined in the University of Wisconsin-Milwaukee Faculty Document No. 2836 (“GER Composite Document”).


Junior or above and GER English requirement (C or above in English 102 or equivalent transfer course, or EPT score of 525 or above); or Graduate standing; or University Special Student.


Diaz, Junot. The Brief Wondrous Life of Oscar Wao. New York: Riverhead Books, Reprint Edition, 2008. ISBN-13: 978-1594483295.

Garcia, Cristina. Dreaming in Cuban. Ballantine Books, 1993. ISBN-13: 978-0345381439.

Tobar, Hector. The Tattooed Soldier. Picador Press (Reprint Edition), 2014. ISBN-13: 9781250055859.

Trujillo, Carla. Faith and Fat Chances: A Novel. Curbstone Books 2, 2015. ISBN-13: 978-0810131644

Urrea, Alberto Luis. The Devil’s Highway. Back Bay Books, 2005. ISBN-13: 978-0316010801

(All texts listed above will be available for purchase at UWM’s online bookstore as well as at Woodland Pattern Book Center, 720 E. Locust St., Milwaukee, WI 53212. Ph: 414-263-5011. Hours: 11am – 8pm Tues. through Fri., and 12pm – 5pm Sat. and Sun.)

Readings posted as PDFs on D2L (Content area) are also required. You will be asked to bring them to class on their due dates as indicated on the course calendar.

For more information, contact Brenda Cardenas at cardenab@uwm.edu.

ENG 616 | Advanced Workshop in Poetry: Poem Series

Brenda Cardenas
Section 1 | T, 3:30 PM – 6:10 PM


This course will focus on the creation, critique, and revision of student poems written in series that explore particular subjects/themes and/or forms/approaches (for example, a sonnet cycle; lyric sequence; or series of prose, collage or aleatory poems). By working in series and presenting two-three poems at a time for workshop, students may begin to form sections of a potential chapbook or longer project. To this end, we also examine and discuss published collections comprised of poem series to analyze how the poems in each series are juxtaposed to one another and how they might compliment, converse with, or act as counterpoint to one another. We will also explore the tensions and effects that emerge from their arrangements and combinations. With a partner, each student will present a critical response to and lead discussion on one of the required books. Students will also complete and submit a manuscript of revised poems produced during the semester with a critical introduction that explores the student’s poetics, approach and influences in creating this particular project.


Senior standing or greater; English 416(P); one of a second section of English 416(P), 414(P), or 415(P); or Graduate standing; or Special Students.


Herrera, Juan Felipe and Artemio Rodriguez. Loteria Cards and Fortune Poems: A Book of Lives. City Lights Books, 1999. ISBN-13: 978-0872863590.

Kearney, Douglas. The Black Automaton. Fence Books, 2009. ISBN-13: 978-1-934200-28-5.

Lindemann, Emilie. mother-mailbox. Misty Publications, 2016. ISBN: 978-1-5323-1275-5.

Ong, Monica. Silent Anatomies. Core Press, 2015. ISBN: 978-1-888553-69-7.

Santos Perez, Craig. from Unincorporated Territory [Saina]. Richmond: Omnidawn

Publishing, 2010. ISBN-13: 978-1890650469. $15.95

(All texts listed above will be available for purchase at UWM’s online bookstore as well as at Woodland Pattern Book Center, 720 E. Locust St., Milwaukee, WI 53212. Ph: 414-263-5011. Hours: 11am – 8pm Tues. through Fri., and 12pm – 5pm Sat. and Sun.)

Readings posted as PDFs on D2L (Content area) are also required. You will be asked to bring them to class on their due dates as indicated on the course calendar.

For more information, contact Brenda Cardenas at cardenab@uwm.edu.

ENG 623 | Seminar in American Literature: Postmodernism and Fiction

Gregory Jay
Section 1 | W, 4:30 PM – 7:10 PM

Are we still postmodern? Were we ever? Or was postmodernism just a fiction? Or has fiction always been postmodern, an untimely critique of whatever present moment happens to think it is modern? Or are all these questions just a pedantic intellectual excuse to read a bunch of good books? If so, why not?

In its serious moments, the course will look back at the advent of something that came to be called “postmodern fiction” and forward to recent developments of its themes: absurdity, catastrophe, multiplicity, unreliability, irony, multiculturalism, the end of all metanarratives, and the imagination of impossible futures. Each week we’ll read an essay in postmodern theory as a kind of jazz riff to accompany our travel through a variety of literary works. The choice of books itself presents an episode ripe for parody, as who could choose among the hundreds of novels over the last four decades a “representative” sample of a genre about unrepresentability?

We’ll start with a cheater’s guide, Christopher Butler’s Postmodernism: A Very Short Introduction. Two canonical works from postmodernism’s classic era will start us off: Kurt Vonnegut’s Slaughterhouse Five (1969) and Don Delillo’s White Noise (1985). These and most of the other readings feature war, catastrophe, trauma, the Holocaust, AIDS, postcolonial displacement, and other experiences of the nightmares of what was once called “history” but now appears to be just a crazy slog through random love and violence. Novels predominate, though there’s a graphic text, a story collection, and a play, too. So the list may look something like this: Toni Morrison, Beloved (1987); Art Spiegelman, Maus I & II (1991); Tony Kushner, Angels in America (1993); Louise Erdrich, A Plague of Doves (2008); Junot Diaz, This is How You Lose Her (2012); Thomas Pynchon, Bleeding Edge (2013); Viet Thanh Nguyen, TheSympathizer (2016).

Students will write mini-essays most weeks and one or two longer papers.

For more information, contact Gregory Jay at gjay@uwm.edu.

ENG 633 | Public Argument: Rationality, Conspiracy, and Democracy

William Keith
Section 1 | M, 4:30 PM – 7:10 PM

Many commentators on public discourse have declared that we live in a “post fact” era. The question facing us now with whether we can survive, as a democracy, in a “post-argument” era.

The work of this course will be to build an analytic framework for understanding conspiracy theories and their impact on public argument, as well as possible responses to them. This will require mastering the basics of argument analysis, considering relevant publics and counter-publics, and the role of mediated communication in allowing them to form and evolve.

We will be doing case studies of historical and contemporary conspiracies, including the Illuminati, the Salem witch trials, McCarthyism, Roswell, New World Order, the Protocols of the Elders of Zion, 9-11 Truthers, the Clinton family and others, supplementing our study with fiction such as Arthur Miller’s The Crucible.

The study of these topics is not for the faint of heart. They live in dark and often offensive places in our public discourse and national psyche. These places, in the 2016 election season, have proven to be surprisingly influential, which makes it absolutely crucial that we understand them.

For more information, contact William Keith at wmkeith@uwm.edu.