Making Room for BIG Books

Despite what some students might think, a semester is really short!

All instructors know the feeling of wanting to cover more material than a semester can actually hold. As a result, perhaps especially in survey or genre courses potentially covering centuries of literature, we often opt to teach shorter-length works or excerpts from longer works. While this gives us the satisfaction of “covering more ground” and the assurance that students will (hopefully) complete assigned readings, doesn’t a BIG part of literary study involve reading BIG books?

While I don’t have a rigid definition in mind of what constitutes “big” or “long,” I generally mean works, usually novels, of 400+ pages.  I know people have different educational experiences, but when I reflect on both my high school and college careers, I realize I didn’t read many “big” or “long” works at all. It wasn’t until graduate school that I was regularly assigned long novels in my classes.

Throughout college, I found that most of my long novel reading was non-assigned. If my instructors mentioned important canonical works in class, I often made a point to find them in the library and read them during my free time or during winter/summer breaks. BIG BOOKs

There are certainly still self-motivated students who read a lot on their own time, but they’re not necessarily reading “big” books. Also, many students, despite the desire to read more, really don’t have the time to do so between taking classes or working.

If experience and training in reading “big” books is essential to the development of English majors, and average English majors can’t fit “big” books in on their own time, then it’s important to make room for “big” books in our courses whenever we can. I try to incorporate at least one long novel into each of my literature classes.

Of course, making room for a 400+ page novel is easier said than done, and both instructors and students have their concerns. While I speak on behalf of common instructor concerns below, I interviewed several former students who read “long” novels in my classes to get a better idea of their perspectives (I paraphrase much of their commentary below for the sake of format).

Instructor Concerns about Course Objectives: I have a lot of historical ground to cover, so can I replace several shorter works with one longer work and still convey historical developments? It’s also important for my class to convey stylistic range and authorial diversity, so can I really afford to sacrifice any voices?

My Response: Meeting course objectives is generally non-negotiable. In survey courses or courses where diversity is an essential objective, including a “big” book may not be feasible.  However, I usually only include one long novel per applicable class, so there is still room to include shorter length works and diverse range of voices.

Instructor Concerns about Pacing: How much class time do I need to devote to a long novel? How much reading can I expect students to complete for each class? Will my students even read a long novel through to the end?

Student Concerns about Pacing: How long are we spending with this huge novel? Will I have enough time to read, or will I have to skim? Will the language and style be readable or difficult? Will the subject matter be hard to understand? If we’re only spending two weeks on it, how much of the material will we actually cover during class? Is it worth putting in all the time to read a huge novel if we’re only spending a couple weeks on it?

Response: Several semesters ago, I considered including Moby-Dick in a genre class on the novel. A seasoned colleague told me not to bother. He said, “It’s too long and too old. No one will read it.” I think it’s unfair to assume that students simply won’t complete an assigned work just because it’s too long or too old. We all know that students don’t always complete readings, even when they’re short and contemporary.

Moby Dick

Upon talking to students, I’m most compelled by a frustration they share. Many students are not, despite popular belief, frustrated by a large quantity of reading, but by the disproportional amount of class time devoted to discussing a large quantity of reading. Students are practical about their time, and I can’t blame them. When students invest a lot of time in reading, they want to see a return on that investment by discussing material comprehensively in class. It makes sense that students will invest more in a text that takes up a month of class time rather than a week.  As my students explain, regardless of length, it’s frustrating to read something that goes unaddressed during class.

The ability to complete readings successfully is dependent upon slow pacing, which prevents students from rushing or skimming through a narrative and feeling “mixed up” or “hazy” on points during discussion.  When more class time is devoted to a work, students are not only more likely to finish reading but also to have a stronger comprehension of what they read.

Additionally, the students I interviewed expressed enthusiasm about having extended class time to think “more deeply” about a work, cover “more territory,” and explore “diverse perspectives” during discussion. Even in advanced classes where strong students could reasonably be expected to complete 200-300 pages of reading in a week, it’s unlikely we could do more than scratch the surface of those 300 pages in a week’s worth of discussion.

In matters of pacing, instructors also need to consider the language, style, and density of the material. For example, I usually spend four to five weeks on John Steinbeck’s 600ish page novel East of Eden, but I usually spend six to seven weeks on an older work like James Fenimore Cooper’s The Last of the Mohicans, even though it’s about 150ish pages shorter than Steinbeck’s novel.  While students find that Steinbeck’s narrative is written in readable and mostly conversational contemporary English, students find that Cooper’s long-winded language and convoluted writing style slow down the reading pace.

East of Edenlast of the mohicans

Instructor Concerns about Placement: Where should I position a “long” novel on my syllabus? Is it better to start or finish a class with a “long” novel?

Student Concerns about Placement: Will I have to read a “long” novel during the busiest parts of my semester? Will I feel overwhelmed with all the work I have to do?

Response: I have positioned long novels at the beginning (for reasons of historical chronology), middle, and end of courses, and my experiences have been most successful when placing long novels at the end of a semester. I discovered insight as to why through student interview. As I’ve already addressed, reading “big” books isn’t exactly common practice for most students, so seeing a “long” novel assigned in a class can be feel overwhelming and intimidating. Therefore, throwing students into the “deep end” of the “lengthy literature pool” at the start of the semester isn’t ideal.

Students also disclosed a preference for starting with shorter works, not only to build up reading “endurance” and confidence, but also to get comfortable with the dynamics of group discussion in a given class.  Students are usually comfortable with reading practices and class dynamics by mid-semester, but it’s best to wait until after the chaos of midterms to start a long work. Also, students noted that while they are busy at the end of the semester, most exams and papers are due after classes end. Slowly working through a long novel in the final weeks of a semester, therefore, can feel more “therapeutic” than “taxing.”

Instructor Concerns about Value: Will assigning a long novel be worth it? Will my students really gain anything from the experience?

Student Concerns about Value: Will reading a long novel be worth it? Will I really gain anything from the experience?

Response: When I asked students how they felt after completing a long novel, they agreed that the overall experience is rewarding.  One student noted, “I feel accomplished when I finish a long novel; there is some sort of pride rooted in the ability to complete a task that at first seemed daunting and almost overwhelming.” Another student noted, “After finishing a long novel, the initial feeling that follows is relief. Then, accomplishment–I actually completed something!…If a novel is special enough, something about me changes afterward.”


A BIG part of making sure a BIG book is a BIG hit is generating enthusiasm about the experience throughout the semester. It’s important for students to think of a long novel at the end of the semester as a “grand finale,” not a “final punishment.” Additionally, it’s important to stress that the group will work through the text slowly and that, as the instructor, you’ll be there to walk them through it all. These kinds of consistent prefatory remarks will help students feel (at least) a little better about a task that for many will be a totally new experience.

Do you teach “big” books? If so, what “big” books do you include in your classes? Where do you position them, and how long do you spend with them? How do your students engage with “big” books?


Improving Students’ Reading Comprehension by Analyzing the Blues

I spend a lot of time thinking about how to help students improve their reading comprehension. I think it’s because I have always loved to read. So many of my memories, especially ones from when I was in school, revolve around books — which, I have realized over the years while teaching developmental composition students, has made it especially difficult for me to understand what it is like for a student who doesn’t like to read to take an English class. The majority of students who I work with have never particularly enjoyed reading and do not read books on a regular basis. As a result, reading college-level material is really challenging for them. To help these students, I am constantly thinking of how to best teach them the process of reading slowly and actively, so that they can learn the basic skills needed to critically analyze a text.


While thinking about how to do this, I kept returning to the idea of scaffolding. In the past, I have used scaffolding primarily for helping students to navigate complex writing assignments, but why not use this concept when assigning readings, as well? That way, students can practice these basic reading strategies with more accessible texts and gain a sense of confidence before having to analyze more difficult works. The lesson plan below outlines how to teach students close reading strategies by analyzing the blues. I chose “Backwater Blues,” as sung by Bessie Smith, and “Young Gal’s Blues,” written by Langston Hughes, because they both have clear stories, ones that students can easily grasp while learning how to think about the ways in which the use of word choice and a distinct speaker can help to convey a text’s theme.

Defining The Blues

I begin this lesson by asking my students to freewrite on what the word “blues” means. While their responses vary, our discussion ultimately narrows in on how their ideas relate to Merriam Webster’s definition, which contains three distinct meanings: “low spirits,” “a song often of lamentation characterized by usually 12-bar phrases, 3-line stanzas in which the words of the second line usually repeat those of the first, and continual occurrence of blue notes in melody and harmony,” and “jazz or popular music using harmonic and phrase structures of blues.” We then discuss the ways in which the three definitions relate to each other. Next, I have my students read and annotate three articles: “What is the Blues?,” “Why is the Blues Called the ‘Blues’,” and “Where the Blues Was Born.”  These pieces could be substituted with more scholarly works; however, for my students, it makes more sense to have them practice reading popular texts since they will encounter them more often in their daily lives. The purpose of reading these articles is for my students to develop a general understanding of the blues as a genre. It is important for them to understand its origins in the American South, where this form was created as a call-and-response sung by enslaved Africans while being forced to work in the plantation fields, so that my students have enough background knowledge to help them articulate why the blues often center on themes of loss, death, love, or sadness. After summarizing and discussing the articles’ main points, students will feel more prepared to analyze Bessie Smith’s song.

Bessie Smith and “Backwater Blues”

bessiesmith3One of the best ways to understand the traditional form of the 12-bar blues is to hear it; therefore, I have students follow along with a copy of the lyrics while we listen to this recording of Bessie Smith singing “Backwater Blues.” Then, we discuss the song as a group, first plotting out the literal story that it tells on the board. Students are quick to notice that the song is about a storm. When asked how they know this, students cite the lines “when it rained five days” (lines 1 and 2), and “when it thunders and lightnin’ and the wind begins to blow” (10 and 11). It seems obvious to my students that there’s storm, but what they do not realize is that by picking out these lines and explaining how each line proves this point, they are practicing active reading. The challenge, then, is to move into a more critical analysis of the song using this same process. To encourage this, I focus the discussion on a single phrase, “poor girl,” which is repeated twice in the song. This phrase can be thought of in multiple ways — of course, as my students have been quick to point out, the narrator doesn’t want to leave her home and she probably feels sorry for herself.  But, I then ask, how else can we think about the use of the word “poor”? This question prompts a discussion about how some people, almost always thanks to their higher socioeconomic status, are able to withstand a natural disaster more easily than others. Students often connect this idea to real life examples, such as Hurricane Katrina and what is still happening  in Puerto Rico, even a year after Hurricane Maria occurred. Through this class discussion, students will develop an understanding of how to close read a text, a process they will continue to practice while reading “Young Gal’s Blues.”

Langston Hughes and “Young Gal’s Blues”

langston-delano4I decided to pair “Backwater Blues” with “Young Gal’s Blues” because this poem uses the same AAB pattern found in the 12-bar blues, making the form immediately familiar to students. This allows us to focus on its content, specifically how the speaker in the poem conveys the themes of aging and identity. The first thing that usually confuses my students about this poem is the speaker. As readers who are new to analyzing poetry, they, understandably, automatically assume that Langston Hughes to be the poem’s speaker, not an imagined young woman. To help them make this distinction, I direct my students to the title of the poem and ask them how its word choice reveals that Hughes is not going to be the speaker. We then trace the voice of this speaker throughout the poem, first making sure that everyone understands what the speaker is literally saying before making connections between these ideas and the poem’s larger themes. I ask my students what adjectives they might use to describe how the speaker feels about herself or her life. Students have said that she seems insecure because she is so scared of getting old and losing her beauty or because she would rather be with some guy, even if it’s not the right guy, than to be alone. When asking them how they came up with these descriptions, they noted the pairing of the words “old and ugly” (line 11), as if the speaker can’t imagine being old and beautiful, as well as “Keep on a-lovin’ me, daddy, / Cause I don’t want to be blue” (23-24). We end this discussion by returning to the three articles about the blues that my students initially and examining how their key ideas about the blues are displayed in this poem’s structure and content.

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Overall, this lesson plan helps students to develop a process for reading texts slowly and actively, whether these “texts” are a word, a song, or a poem. I plan on further developing this unit so that students will use what they have learned from analyzing “Backwater Blues” and “Young Gal’s Blues” to close read more complex poems, such as W.H. Auden’s “Funeral Blues,” Kevin Young’s “Bereavement,” and Marilyn Chin’s “Blues on Yellow.” After completing this unit, I hope that students who struggle with reading comprehension will have a clear model for how to work through the slow, and sometimes difficult, process of active reading, one that becomes easier and, (dare I say it?!) even kind of fun the more you do it.