In this first of two lectures on the students' choice end-of-semester novel, Jonathan Safran Foer's Everything is Illuminated (2002), Professor Hungerford models several methods for approaching and evaluating a new work of fiction. She shows how Foer borrows and adapts themes and styles from other authors on the syllabus in service to his ambition as a writer to demonstrate the power of narrative fiction to address the great historical traumas of our time.

In this second lecture on The Known World, Professor Hungerford addresses Edward P. Jones's ambitious and ambivalent relation to literacy. Jones shows us the power of narrative to bring together the fragmentation of the world, but is at the same time deeply aware of the fragility of text, all of the ways it can be destroyed, misinterpreted, abused, or lost.

In the first of her two lectures on Edward P. Jones's The Known World, Professor Hungerford begins from the novel's title, asking what counts as knowledge in the novel and why knowledge is central to the story. This leads to related questions: who is a knower, and what can be known? Highlighting several different versions of how knowledge of the past is communicated through storytelling within the novel, she draws distinctions between Jones's model of historical knowledge and that of other writers on the syllabus.

In this final lecture on The Human Stain, Professor Hungerford argues that desire is the engine of narrative, for Roth, both at the structural level and in the very grammar of his sentences. Sex and writing are alike in their attempt to cross the boundaries between persons. Passing does not only occur racially, but is also likened to the process whereby a writer, like Roth or his proxy Nathan Zuckerman, comes to inhabit the subjectivities of other characters.

In this lecture Professor Hungerford discusses how the novels we read are shaped by legal and market constraints. She traces a history of censorship from the Comstock laws, to the policing of Joyce's Ulysses and Ginsberg's Howl, and shows how changes in publishing practices have tended to penalize more unusual, less profitable books. Hungerford also touches on the canon debates of the 80s and 90s (citing John Guillory and Toni Morrison), and the issues of intellectual property and internationalization raised by digital literature.

In this lecture on The Human Stain, Professor Hungerford traces the ways that Roth's novel conforms to and pushes beyond the genre she calls the Identity Plot. Exploring the various ways that race can be construed as category, mark, biology, or performance, the novel ultimately construes the defining characteristic of its protagonist's race to be its very concealment. Secrecy is, for Roth, the source of identity and the driving force behind desire and narrative.

In this second lecture on Blood Meridian, Professor Hungerford builds a wide-ranging argument about the status of good and evil in the novel from a small detail, the Bible the protagonist carries with him in spite of his illiteracy. This detail is one of many in the text that continually lure us to see the kid in the light of a traditional hero, superior to his surroundings, developing his responses in a familiar narrative structure of growth.

In this first of two lectures on Blood Meridian, Professor Hungerford walks us through some of the novel's major sources and influences, showing how McCarthy engages both literary tradition and American history, and indeed questions of origins and originality itself.

At the very beginning of the course, Professor Hungerford offered students the opportunity to pitch a novel of their choice to fill the final spot on the syllabus. Today six students rise to that challenge, presenting their arguments for why each book would complete the intellectual trajectory established thus far. While the Teaching Assistants tally the results of the class vote, Professor Hungerford provides some final thoughts about the theme of loss in Marilynne Robinson's Housekeeping.

Professor Hungerford situates Marilynne Robinson's novel Housekeeping (1980) in a tradition of American writing about the individual's relationship to nature that includes the powerful influences of the Bible, Herman Melville, and Ralph Waldo Emerson. The loss of identity that Emerson describes as becoming a "transparent eyeball" in the woods, Robinson brings into the realm of the home, the built environment.