Archived - Spring 2019 Course Schedule

Any schedule posted on this page is tentative and therefore subject to change without notice due to any number of factors, including cancellation due to low enrollment. Course Descriptions are provided for reference only and are also subject to change.

If you have any questions about the courses to be offered next semester, please contact the scheduling coordinator for English:

Dee Dee Lopez
(505) 277-6347
Humanities 213

100-Level | 200-Level | 300-Level | 400-Level


1410.001: Introduction to Literature (150.001: Study of Literature)

TR 1100-1215
Instructor, instructor email

The University catalog lists ENGL 150 as “An introduction to the study and appreciation of literature for non-English majors. Shows how understanding writers’ techniques increases the enjoyment of their works; relates these techniques to literary conventions; teaches recognition, analysis, discussion of important themes.”

In this course, we will work to understand, engage with, and enjoy literature focused on a primary theme: the monstrous and the supernatural. Literature does not have to be boring! In fact, literature can be exciting, frightening (in a good way), and mysterious. This class will use this theme to help students define and recognize “literature” in a number of genres and subgenres. Through such works as Beowulf, Christopher Marlowe’s Doctor Faustus, Bram Stoker’s Dracula, the macabre poetry of Edgar Allen Poe, the short stories of H. P. Lovecraft, and Jonathan L. Howard’s Johannes Cabal: The Necromancer, students will learn the value of written art as well as the ways in which the supernatural theme combined with a particular genre influence aspects of the story such as character development, plot, and narration.

1410.002: Introduction to Literature (150.002: Study of Literature)  

MWF 1300-1350       
Instructor, instructor email 

Why does literature matter? English 150 examines the social power of stories and the ways in which stories construct our worlds, our bodies, and our identities. It considers how reading literature might be different from reading other texts, and it gives students the valuable and highly transferable skills of rhetorical analysis, close reading, and interpretation. While learning literary skills across a wide variety of fiction, non-fiction, poetry and prose, students will also look specifically at the international social impact of texts such as Rachel Carson’s Silent Spring. Through taking this class, students from any major will improve their skills of reading, writing, research, and analysis.

100-Level | 200-Level | 300-Level | 400-Level

2110.001: Traditional Grammar  

MWF 1100-1150       
Johnson, instructor email

2120.001: Intermediate Composition (220.001: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.002: Intermediate Composition (220.002: Expository Writing)  

MWF 1000-1050       
Instructor, instructor email

2120.003: Intermediate Composition (220.003: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.004: Intermediate Composition (220.004: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.005: Intermediate Composition (220.005: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.006: Intermediate Composition (220.006: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.007: Intermediate Composition (220.007: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.008: Intermediate Composition (220.008: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.009: Intermediate Composition (220.009: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

2120.021: Intermediate Composition (220.021: Expository Writing)

MWF 0900-0950       
Instructor, instructor email

224.001: Intro to Creative Writing    

MWF 1300-1350       
Michelle Brooks,

This class will consist of discussing creative writing in all its forms. Students will present work for workshop and respond to other students’ work. We will also read contemporary creative nonfiction, fiction, and poetry. We will also discuss work habits, publication, and other issues related to creative writing.  

224.002: Intro to Creative Writing    

TR 1100-1215
Cary Mandel,

In this class we will learn to read, analyze, and compose work in poetry, fiction, and creative nonfiction. We’ll read work that pushes and blurs the boundaries of these genres and learn to describe them through craft elements. We’ll discuss work in terms of plot, structure, characterization, voice, image, temporality, and others and use these discussions to develop strategies for making our own writing more vivid, effective, and exciting.

224.003: Intro to Creative Writing    

MWF 1100-1150       
Tori Cárdenas,

This course will focus on identity through craft. Students are encouraged to write about their experiences, identity, and history, and to bring readings to class that inspire them or inform their work. 

This section of creative writing will introduce students to the genres of poetry, creative nonfiction, and fiction. We will focus on developing the foundations of craft in each genre, recognizing hybridity between genres, and then exploring what makes each genre distinct. We’ll read and discuss works as examples of craft and models for our own writing. Students will also be introduced to the process and practice of writing, revision, and workshop.

With selected readings from Danez Smith, Franny Choi, Natalie Diaz, Carmen Maria Machado, Davis Sedaris, Alice Walker, Elie Weisel, and more.

224.004: Intro to Creative Writing    

TR 0930-1045
Ari McGuirk,

This Introduction to Creative Writing course will survey published works of contemporary literary fiction, creative nonfiction, and poetry through a craft lens. We will learn to describe and analyze these works through craft features (voice, POV, image, distance, characterization, plot, structure, etc.). Strategies for revision, reading as a writer, and the workshop process are core components of the class. This course will also introduce students to the literary magazine world. Students will work in small writing groups and compose written work in each genre throughout the semester.

224.005: Intro to Creative Writing    

TR 1400-1515
Ryan Murphy,

In this introductory Creative Writing course we will focus on gaining a comfort between three genres of creative writing: Fiction, Poetry, and Creative Non-fiction. In addition to reading widely from contemporary publications, students will be given the opportunity to participate in numerous writing exercises, workshop their own material, and gain an understanding of how to talk and think about work as a creative writer.

224.008: Intro to Creative Writing

Mitch Marty,

Introduction to Creative Writing will explore various contemporary fiction, nonfiction, and poetry texts, to learn about and analyze craft features of each genre. Students will learn how to incorporate these skills through the process of writing and revision throughout the semester. Students will write in each genre and share work with their classmates, giving and receiving feedback as a way to improve their writing and the writing of their peers.

240.001: Traditional Grammar          

MWF 1300-1350
C. Tyler Johnson,

Native speakers of any variety of English use the language every day without thinking about grammar rules. In fact, people who have learned English as a foreign language often know the grammar rules of standardized American English better than native speakers. In this class, we will review various parts of speech (e.g., nouns, verbs, adjectives, adverbs, prepositions) and use your linguistic intuitions about how parts of a sentence are put together to create grammatical and complete sentences. And, as languages are rule-governed systems that change over time, we will also look at examples of English language change and we will question commonly held language attitudes. Course work will consist of quizzes, a short paper, readings, and discussion board posts. 

249.001: Intro to Studies in English  

T 1100-1215  
Diane Thiel,

English 249 is a one-credit, eight-week class that brings together students majoring in English. It is a required course and must be taken before embarking on the major coursework. Students are introduced to the subfields of rhetoric and professional writing; creative writing; literary studies; and critical theory and cultural studies. Students will be introduced to the life of the department through class visits with faculty members, attendance at departmental events, and a variety of readings and discussions. Some class sessions will include conversations about employment or opportunities for graduate school. The final task will be to craft a letter of intent documenting an intended course of study and future goals.

249.002: Intro to Studies in English  

W 1100-1150 
Diane Thiel,

English 249 is a one-credit, eight-week class that brings together students majoring in English. It is a required course and must be taken before embarking on the major coursework. Students are introduced to the subfields of rhetoric and professional writing; creative writing; literary studies; and critical theory and cultural studies. Students will be introduced to the life of the department through class visits with faculty members, attendance at departmental events, and a variety of readings and discussions. Some class sessions will include conversations about employment or opportunities for graduate school. The final task will be to craft a letter of intent documenting an intended course of study and future goals.

250.001: Literary Textual Analysis   

MWF 1100-1150       
Doaa Omran,

Focusing on the Irish ghost story, this course will provide an introduction to literary studies by exploring major genres, research methods, and critical and theoretical approaches. Why has Ireland produced so many memorable tales of haunting, and how have they changed over the past 150 years as the country has transformed from an impoverished colonial backwater to a major European metropolis? From malicious fairies to Big House ghosts, family secrets to deals with the devil, Irish authors have drawn upon the ghost story to understand the nation’s history, including the trauma of colonization, religious and class divides, sectarian violence, abusive priests, and corrupt politicians. More recently, the economic boom and bust have left ghostly traces in Ireland (like “ghost estates,” or unfinished housing developments abandoned amid the global financial crash) that authors have used to fuel a new wave of crime fiction and ghost stories. In English 250, we will learn to read and interpret a number of genres (novels, short stories, plays, poems, and films) using a variety of methods. We will examine ghost stories from the perspective of gender and sexuality, race, postcolonialism, and other theoretical approaches. We will also look at the way literature operates in the world by studying theatre productions and working with rare archival books and documents. Students will leave the course having developed a repertoire of ways to engage with literature on and off the page.

250.002: Literary Textual Analysis   

TR 0930-1045
Carolyn Woodward,

This English 250 class offers study and practice of literary theory (formalism, structuralism, deconstruction, psychoanalytic theory, gender theories, and literary-cultural theories), grounded in analysis of Shakespeare’s tragedy King Lear, Zadie Smith’s novel White Teeth, and a collection of poetry.  You will write six short papers and one final research paper of 8-10 pages.

265.001: Intro to Chicano-a Literature          

TR 1230-1345
Jana Koehler,

This introductory course to Chicana/o literature will survey a wide variety of literary genres, such as novels, short stories, essays, poetry, and drama from the nineteenth century to the present day. Students will learn about the role Chicana/o literature plays in the formation of American literature and culture. Furthermore, we will examine the complex and often contradictory processes of Chicana/o identity formation with an eye toward understanding how it is influenced by social and political arrangements of power as well as tensions between Mexican and American cultures. We will also consider key literary concepts that shape and define Chicana/o literary cultural production. Our focus will include issues such as race, gender, class, nationality, language, sexuality, and the act of writing itself. By the end of this class, students will have a comprehensive understanding of the field of Chicana/o literature and the literary and historical formations of Chicana/o identity. Students will also be able to formulate an informed opinion based on the social and cultural contexts that undergird current political issues such as anti-immigrant sentiments, the exploitation of migrant labor, and the militarization of the U.S.-Mexico border.

266.001: African-American Literature I       

MWF 1000-1050     
Finnie Coleman,

In this course we will review the first two centuries of African American literature (1746 – 1940) with an eye toward better understanding Black identity development and what it meant to be a Black American from the earliest days of the “American” republic through the Harlem Renaissance. With an eye trained on historical context, we will read the works of both “major” and “minor” writers from the first three distinct periods in African American literary history. We will begin with what editors of the Norton Anthology of African American Literature designate as “The Literature of Slavery and Freedom (1746 – 1865),” move on to “Literature of the Reconstruction to the Negro Renaissance (1865 – 1919),” and finish with “Harlem Renaissance (1919-1940).” We must keep in mind that bracketing histories of literature, art, and culture chronologically is often fraught with inconsistencies and paradoxes. As we will discover, “Periodizations” of African American Literature do not escape these inconsistencies and paradoxes; the periods adopted by Norton are not “universal” and may be contested. Along the way we will discuss rhetorical strategies and storytelling so important to Black writers in antebellum America; try to gain a better understanding of performance traditions and cultural nationalism that matured during the half century following Emancipation; and familiarize ourselves with the visual arts and the genesis of Jazz and Blues music that undergirded the Harlem Renaissance. We will close the course with a look at how the Harlem Renaissance set the stage for the Black Arts Movement of the late 1960s and early 1970s and the coterminous rise of Hip Hop Culture. Throughout the course we will pay close attention to “Black Identity” development and the “healthy antinomianism” that has been present in this body of literature from its beginnings.  The Norton Anthology of African American literature will serve as the primary text for the course. 

290.001: Intro to Professional Writing          

MWF 1000-1050
Julie Newmark Engberg,

This is an Intro to Professional Writing course. This class will introduce you to methods of effectively communicating technical, professional, and business information to multiple audiences, in multiple modes. You will develop an understanding of theories of technical communication and will practice technical communication in many forms. With an eye constantly focused on audience needs and expectations, we will plan, organize, draft, revise, and edit documents and multimedia texts. We will learn that the content and appearance of each written document must be appropriate to the intended audience. This course introduces strategies of expository writing style, persuasive communication, and multimodal document design. You will also learn about ethical considerations in the workplace that impact technical and business communicators and the public. Assignments in this course will represent the most common genres of workplace writing, including resumes, informational graphics and data visualization, usability studies, memoranda, business letters, technical reports, white papers, and instructions. In addition, this class will serve as an introduction to the field of professional communication, and will educate you about the history of Technical and Professional Communication (TPC), about career options in TPC and related fields, and about workplace issues in these fields (including analysis of audience, significance of user-centered design and usability, expectations for collaborative work, and the standards of web writing). All projects in this course are designed to help you create some initial materials for a portfolio you can use when looking for an internship or employment in the field.  Key components of this course are group collaboration and the engagement (virtually and in-person) with working professionals in the field.

292.001: World Literature-Ancient Through 16C    

MWF 0900-0950       
Doaa Omran Mohamed,

Beginning with the earliest literatures of the Ancient World, working up through the Medieval Period and moving into the Early Modern period, this course will explore some of the key works of the world’s literatures through the seventeenth century.  Placing memorable plays, poems, and works of fiction in their cultural and historical contexts, we will not only gain a greater understanding of the development of literature and literary traditions in China, Mesopotamia, Greece, Rome, Japan, Persia, Arabia, Europe, India, and the Americas, but we will gain a sense of history and a sense of the differences and similarities that shape the varieties of human experience across time and cultures.  As we marvel at powerful tales about love and war, heroic journeys, spiritual pilgrimages, courtly intrigue, and colonial contact we will be alert to the varying degrees that these works display the globalizing tendencies that have culminated in the richly diverse tapestry of the modern world.  Readings will include all or parts of such works as the Epic of Gilgamesh, The Odyssey, The Ramayana, The Aeneid and The Tale of Genji; selections from the Hebrew and Christian Scriptures, Bhagavad Gita, and Qur’an; plays by Aeschylus, Kalidasa, and Shakespeare; poetry by Sappho, Catullus, Li Bai, Ono no Komachi, Petrarch, Ibn Hazm, and Farid ud-dun Attar; as well essays, letters and memoirs by Macchiavelli, Ibn Khaldun, Montaigne, and Columbus.  Requirements will include several short papers, quizzes, and a midterm and final examination.

293.001: World Literature: 17th Century Through Present     

TR 1100-1215
Feroza Jussawalla,

This is the second half of the World Literature Survey that helps you fulfill your diversity requirement. We will start with Aphra Behn's Oronooko and move up to other texts about and by the "Others" in the canon: Tagore, Ghalib,  the Haiku poets, Conrad, Achebe, and other "Postcolonial" Writers, in English and in Translation! Come and enjoy "the rest of the world."

293.002: World Literature: 17th Century Through Present     

MWF 1400-1450
Sarah Townsend,

If the selfie, the man-cave, and shady political deals are signs of our time, they are also well-traveled phenomena. English 293 will explore global literature from the 17th century to the present, focusing on three near-universal preoccupations: the self, the (miniature) worlds we create, and the “deals with the devil” we strike in order to survive. Our readings will traverse the world: we will encounter fiction, drama, poetry, and nonfiction from Europe and the Americas, Africa, Asia, and the Arabic world. The course is organized according to three units that aim to place diverse texts into conversation by focusing on common narrative figures, while also embracing the incommensurability—unresolvable differences—of literary traditions. The first unit, “Bedeviled Modernity,” explores the recurrence of devils, demons, goblins, and trickster figures as emblems of modern compromise and corruption. The second unit, “Architectures of the Self,” examines the legacy of Enlightenment through changing conceptions of youth, development, subjectivity, and autonomy. The third unit, “Miniature Worlds,” traces literature that imagines the world through proliferating microcosms. In their depiction of enclosed spaces—cloisters, captivity, utopian and dystopian mini-universes—authors embark upon the vertiginous experience of living in or outside of a dizzying, globalizing world. Course requirements include essays, adaptation projects, and historical research projects. We will also get into the archives to work with rare historical items that will offer us a sense of the time and place in which our literary works were created. 

294.001: Survey of Earlier English Literature         

MWF 1100-1150
Jerry Lavin,

 In this course, we will explore a diverse selection of works drawn from over a thousand years of English literature, from the earliest surviving texts through the eighteenth century, along with their historical, cultural, and linguistic contexts. We will encounter Beowulf, Pearl, and works by Marie de France, Chaucer, Mallory, Shakespeare, Milton, and Swift alongside lesser-known authors and anonymous popular songs and ballads.

295.001: Survey of Later British Literature 

Gail Houston,

This is a survey of British/Irish literature from the Romantics (1785-1832), to the Victorians (1832-1901), and through Modern and Postmodern/Postcolonial time periods. Searing topics engaged these writers, including slavery, women's rights, class divisions, industrialization, the crisis of faith, colonization, sex, and drugs and rock and roll!

This course covers sample literary texts from 5 periods so that you can get a taste of the issues, styles, and writers of each: Romanticism, Victorianism, Modernism, Post-Modernism, Postcolonialism. You will also have background essays from the Norton Anthology of English Literature (3 vols; NAEL) as well as my own written and video lectures covering topics and particular literary texts to help you navigate the rich meanings and styles of the texts and how they are interacting with major topics of the day. 

297.001: Later American Literature

TR 1100-1215      
Kathryn Wichelns,

In this course we will trace some of the major movements in the development of American literature, from the middle of the nineteenth century to the present. Beginning with Frederick Douglass’s 1845 account of his escape from slavery, and concluding with a series of 21st-Century short fictional and poetic examinations of the ways that our contemporary notions of race, class, sexuality, and gender are haunted by the past, we will explore parallel approaches across different periods and movements. As a means of complicating the traditional “progress narrative” of American literary studies, whereby romanticism leads inevitably to realism, which leads to modernism and so on, we will focus on how modes and approaches reoccur—with critically important changes—across each of the different periods and genres we will discuss. With an emphasis on historical context, we therefore also will use texts (poetry, novels, novellas, essays, short fiction, two films, and one play) as cultural artifacts. Our very selective foray into the last 175 years of American writing will foreground the contradictions involved in literature’s dual roles as cultural product and producer.



304.001: Bible as Literature  

Kelly Van Andel,

This course studies biblical texts within their historical and literary contexts, and it examines how the authors of the Bible utilize literary forms and tools such as the parable, proverb, allegory, and so on to convey particular messages. It additionally stresses the importance of the Bible as a source of English and American literature. Units of study include Narrative, Poetry, the Gospels, the Letter, Apocalyptic Literature, and the Hebrew Bible and Christian New Testament in English and American Literature. There are weekly quizzes and discussions, two exams, and one short presentation. 

305.001: Mythology  

MWF 1300-1350       
Nicholas Schwartz,

This course is designed to introduce students to a variety of mythological traditions that are most necessary to learn and recognize for the study of American and British literature and culture. As such, our focus will be primarily—but not only—on the Western mythologies which most often exerted a major influence on these literatures and cultures. This does not mean, however, that we will spend all of our time reading those myths which feature prominently in Ancient Greek and Roman Literatures. The scope of this course is broad, both geographically and temporally speaking. We will start with myths from ancient Mesopotamia, like Gilgamesh, and also touch base with the Judeo-Christian Bible, Ancient Greece and Rome, and Medieval Iceland, amongst others. Students will not only develop a valuable familiarity with these various mythological traditions, but they will also be exposed to a number of different ways of reading and analyzing them.

315.003: Hip-Hop Culture and the Public Image of Blackness

MW 1300-1415
Finnie Coleman,

We will begin this highly interdisciplinary course with an exploration of the social, political, and historical roots of Hip Hop Culture - tracing those roots from the griot tradition in West Africa to Cindy Campbell, DJ Kool Herc, Afrika Bambaataa, and the advent of the culture in the Bronx during the early 1970s. Our historical exploration of the culture will consist of close a close examination of the struggle for control of the public image of Blackness.  We will briefly survey the history of these images from nineteenth century blackface iconography and the minstrel show through vaudeville, radio and the stereotypical roles Blacks were forced to assume during the golden age of television.  We will pay special attention to the image of Blacks made popular by the Civil Rights movement, the Black Panther Party, Blaxploitation films, and 1970s and early 1980s situation comedies and how these images impacted the development of Hip Hop culture.  Beginning with Grand Master Flash and the Furious Five’s “The Message,” we will discuss works by Public Enemy, KRS-ONE, NWA, TUPAC, Talib Kweli, Mos Def, Dead Prez, Immortal Technique, Lowkey, Angel Haze, Kendric Lamar, Ruby Ibarra, Lupe Fiasco, Vinnie Paz, Brother Ali, and many more artists who have embraced or contradicted mainstream public images of Blackness. This examination of underground / conscious / political rap music will precede our study of the seminal role that Hip Hop Culture played in shaping the political sensibilities of the Black Lives Matter Movement. We will close the course with a look at emerging trends in Spoken Word poetry, B-Boying, and Graffiti in Albuquerque. Throughout the course we will draw heavily from literary theory, critical race theory, sociology of race and ethnicity, social anthropology, and philosophy of culture as we tease out the intricacies of a profoundly complex cultural tradition.

315.004: Early Gothic Fiction and Art

TR 1230-1345
Carolyn Woodward,

During the last decades of the eighteenth century, English cultural beliefs that had provided theories justifying the self-interested behavior of the privileged classes were losing their power. More and more, people saw that the ideology of mutual wellbeing between society and the individual did not explain the actual economic and political conditions of the times. The Gothic novel began in this social and political climate, and in it, we may uncover specters of social revolution, constructions of evil in a world ostensibly secular, and architecture that offers no safe haven.  We will consider Gothic art of the period as well, for its visual representations of these motifs, and in both fiction and visual art, we will pay close attention to ways that gender is figured.  Requirements: 1 analytic report; 2 discussion questions; and one term paper (10-15 pages).

Texts: Horace Walpole, The Castle of Otranto;  William Beckford, Vathek;  Charlotte Dacre, Zofloya;  James Hogg, The Private Memoirs and Confessions of a Justified Sinner;  Matthew Lewis, The Monk;  Ann Radcliffe, The Italian; and Edmund Burke, A Philosophical Enquiry into Our Ideas of the Sublime & the Beautiful.

320.001: Advanced Expository Writing: Writing about Wine & Culture

TR 1400-1515
Michelle Kells,

“The effect of Dionysis is now dear to me, as well as Aphrodite’s urgings and the Muses inspiration—they all bring good cheer to all people.” Solon of Athens

Echoing the ancient Athenian scholar Solon, a more modern mantra reads: “Drink good wine with interesting people in memorable places.” Wine as a cultural, social, and rhetorical trope speaks to us across communities, place, and time. Good wine feeds the body and the soul. Wine is communion. It seals romance and toasts good fortune. The story of wine stretches through history for over some three thousand years. The purpose of this class is to create a community of writers and to cultivate opportunities for considering our roles as makers, consumers, artists, scholars (of place) through the study of local and global wine cultures. The rich literary and rhetorical legacy of wine culture and environmental discourses will be examined through diverse textual artifacts (and genres) including the everyday rhetoric of wine lists and labels, food pairing recipes, films, poetry, stories, essays, letters, creative nonfiction, food reviews, field guides, user-manuals, and the multiple forms of wine rhetoric in public and literary culture.

How we talk and write (rhetorically construct) the story of wine maps who we are—our social positions in relation to family, community, culture, class, gender, regional, and national identity. Wine in all its varieties indexes far more than just “good taste.” From the ancient Greeks of Plato, to the Romans of Cicero and extending to colonial America and Constitutional-era of Thomas Jefferson wine tells a story that extends across a constellation of disciplines (science, art, literature, religion, culinary studies, business, agriculture, marketing, history, engineering, and medicine) as well as a series of creative processes (like the art of rhetoric), craft (techné), and aesthetics (embodied) dimensions of human experience. The rich metaphors of wine spark our imagination, induce consumption, and constructs our experience of what the ancients once called the “nectar of the gods.”

This course will also focus on literary and rhetorical texts representing the ecologies of place (historical and regional) that shape the composition of wine as an environmentally-specific product. Wine is place (minerals, water, rain, soil, and vine). We will give with special emphasis to New Mexico and “New World” wine cultures as these evolved throughout Southwest and Western United States during the colonial period. We will also examine current environmental issues in relation to the terroir of vine cultivation (land and water rights, climate change impact on cultivation, microclimates, biomes, and biodiversity depletion).  Participation in field exercises, guest lectures, and out-of-class learning environments will be integral to this course. Our reading list will include numerous genres and texts examining the story of wine through history as well as across cultures and regions.  

The study of the rhetoric of wine calls attention to the means by which growers, consumers, poets, technical writers, and marketing agents represent and advance the cultures, ceremonies, and stories of wine as forms of ideological capital, economic currency, and artistic production. These conceptual framing principles (as topoi) will inform our analyses of place, agency (social power), and arguments about the multiple uses of cultural/environmental resources—particularly the circulation of as well as the cultivation and distribution of wine as a cultural (literary and rhetorical) resource. 

Our class will be participating with UNM Lobo Gardens and conducting field days in the Lobo Garden areas on campus for the second eight weeks of the semester. Capstone Project will include the construction of student Writing About Wine & Culture Blogs (using field research and qualitative research methods) toward the production of an online portfolio of reflective writing, field reports, film analyses, food reviews, interviews, and a multi-modal team presentation. 

NOTE: There is not an age requirement for enrolling in this class and studying the language, rhetoric, and writing about wine; however, this class strictly observes legal age requirements for imbibing in wine and other alcoholic products. 

321.001: Intermediary Creative Writing Fiction 

TR 1230-1345
Julie Shigekuni,

This online workshop will focus on the close reading of and experimentation in the writing of short fiction with an emphasis on voice: How it is created by other authors, and how does it emerge in your own work? During the first half of the semester, you will create story fragments, each week isolating and treating an element of story (e.g., character, setting, plot, point of view, image) that contributes to an engaging narrative. Once you are familiar with the elements of craft, you will choose a story fragment to develop. This story will be the basis of your workshop critique. As well, you will critique stories written by your classmates with an eye toward revision. In asking ourselves how good stories are made and pushing constantly at what is possible in our own work, we will read stories from the anthology along with notes on craft by published, critically-acclaimed authors. 

321.002: Intermediary Creative Writing Fiction 

MWF 1100-1150
Michelle Brooks,

This class will consist of discussing creative nonfiction in all its forms. Students will present essays for workshop and respond to other students’ stories. We will also read contemporary creative nonfiction and discuss publication strategies. 

322.001: Intermediary Creative Writing Poetry  

TR 1100-1215
Lisa Chavez,

This intermediate creative writing class is focused on the art of poetry. We will begin with an examination of what makes poetry strong in general (image, line, voice and more) and will go on to try out exercises in a variety of poetic forms. You’ll read, write and revise a lot, as well as discuss poetry by contemporary poets and classmates. 

323.001: Intermediary Creative Writing Nonfiction       

MWF 1400-1450
Marisa Clark,

“The truth is rarely pure and never simple.” –Oscar Wilde

This intermediate creative nonfiction course will introduce you to the many possibilities of creative nonfiction, with emphasis on memoir and the personal essay. The writing you do for the class will ask you to draw from past experiences and passions, as well as current interests and observations. You will read published pieces and do short exercises intended to target various craft elements of literary nonfiction and generate material for full-length works, and of course, you will draft, workshop, and revise your own literary-quality essays. Class discussions will concern elements of literary craft, naturally, but also the special kinds of responsibility that fall on writers of nonfiction.

We will use a course reader to study craft essays and published works, and we will also read Alexander Chee's essay collection How to Write an Autobiographical Novel.

347.001: Viking Mythology     

TR 0930-1045
Nicholas Schwartz,

This course is designed to comprehensively introduce students to Viking Mythology. It will cover Norse ideas about the creation of the world, the end of the world, and pretty much everything in between. Students should expect to read about Odin, Thor, Loki, and a host of other characters not so well-known today. In addition to these important mythological features, we will read accounts of important historical events, like the conversion to Christianity. Texts include, but are not limited to, The Poetic Edda, Snorri Sturluson’s Prose Edda, and The Saga of the Volsungs. All primary sources will be read in English translation. Students will learn about the culture(s) that produced these wonderful stories and their specific literary conventions. This course will foster a valuable familiarity with an important mythological tradition and expose students to a variety of methods of reading its stories. 

348.001: T: Magical Medievalisms

MWF 1200-1250
Dalicia Raymond,

This course will examine how medieval magic and magical figures have come to be represented in popular contemporary literature and film. Students will draw connections between the functions of magic in medieval texts and their modern adaptations, as well as look at how medieval concepts and themes involving magic have been used to develop new narratives depicting or incorporating the Middle Ages. Through examining magic in medieval texts and texts using medievalism, students will consider medieval and contemporary social attitudes and understandings of magic and those who are associated with magic.

349.001: Beowulf to Arthur  

TR 1400-1515      
Lisa Myers,

This course is designed as an introductory survey to the literary works produced in England in the Middle Ages, c. 700-1500. While most texts will be read in Modern English translations, class lectures will provide some background on the development of the English language. The class will focus on both the specialized terminology and literary devices particular to medieval English texts as well as the cultural, social and political factors that influenced the development of English literature. Readings will introduce students to a wide variety of medieval genres and will include epic, lyric poetry, romance, mystical revelation and outlaw tale.

352.001: Early Shakespeare   

MWF 1100-1150       
Lisa Myers

This course covers the Elizabethan-era works of William Shakespeare, including drama and poetry. The course will focus on the various conventions of the sub-genres of comedy, tragedy and history as well as the sonnet and epyllion. The student will gain familiarity with the early works of Shakespeare and an understanding of the Elizabethan theater as well as the importance of Shakespeare’s dramatic and poetic innovations. Texts include: The Comedy of Errors, Much Ado About Nothing, A Midsummer Night’s Dream, Richard III, Henry V, Titus Andronicus, Hamlet and Venus and Adonis.

353.002: Later Shakespeare   

Marissa Greenberg,

The Tempest, King Lear, Othello, Macbeth – Shakespeare wrote some of his most powerful and enduring works in the second half of his career. In this fully online course you will read, discuss, and analyze a selection of Shakespeare’s later plays. You will use a variety of online resources to develop your knowledge and comprehension of Shakespeare’s works and the historical and cultural contexts of their composition, performance, and reception. Special attention will be paid to Shakespeare’s language: You will acquire and demonstrate facility with Shakespeare’s seemingly foreign vocabulary and complex poetry by performing both written analyses and oral recitations. Through a range of critical activities, including group discussions and skills-based assignments, you will apply your understanding to construct your own arguments about Shakespeare’s later works.

By the end of this course, students will be able to:

1. describe the characters, plots, and conventions of Shakespeare's later plays.
2. describe the context in which Shakespeare's later plays were written, printed, and performed.
3. apply a range of interpretive methods to analyze Shakespeare's later plays.
4. demonstrate a facility with Shakespeare's language.

363.001: Sexing Empire    

MWF 1400-1450
Bernadine Hernandez,

This class will examine the rise of American empire in relation to sex in the nineteenth century. We will examine how problems of empire and its related forms of American Exceptionalism are shaped up and against gender, sex, and sexuality. In other words, how is gender and sexual order/power that is regulated through private and public life inextricable from other normative conventions of property holding, labor, and citizenship? Our class will interrogate the notion of modern sexuality as it emerges through sexual colonial, expansionist conquest, and violence in nineteenth-century America; slavery, settler colonialism, border drawing, land displacement, genocide, the rise of industrialism, and shifts in capital. This class will be a practice in cultural studies, as we will be reading literary texts by Nathaniel Hawthorne, Harriet Jacobs, Louisa Mary Alcott, Sarah Winnemuca, María Amapro Ruiz de Burton as well as legal cases from the Supreme Court (territorial), Works Projects Administration (WPA) narratives, visual materials, and other archival materials. We will also be introducing ourselves to gender and sexuality theories. You will have a heavy reading load, weekly responses, a midterm essay, and a final essay.

374.001: Southwest Literature & Culture   

TR 0930-1045     
Melina Vizcaíno-Alemán,

New Mexico and the greater Southwest has long been a contested region. In this course, we will explore how literature, film, and art provide complex portrayals of the beauty, borders, and violence that give the Southwest such a unique history. From Spanish colonial narratives to late 19th-century print culture, the class will explore the literary traditions that inform the region. The course content will focus especially on the 20th century, from the art and literature that came out of the expatriate modernist communities in Santa Fe and Taos, to western genre films, to the resurgence of Chicana/o and Native American literature in the late 20th century. This course will also make use of some of the unique collections of art and literature at the Center for Southwest Research and the University Art Museum, where we will look at dime novel westerns, modernist “little” magazines, rare books, drawings, and photographs made in and about New Mexico and the Southwest. Over the course of the semester, we will develop ways to think about the Southwest through the region’s long history as well as its contemporary urban, suburban, and rural environments.

100-Level | 200-Level | 300-Level | 400-Level


414.002: Documentation

Julianne Newmark Engberg,

This online Documentation course in advanced technical communication will focus on creating various kinds of documentation to serve specific audiences’ and clients’ needs. This course will prepare you to write technical documents in professional and organizational contexts (business, government, nonprofit agencies) and this class will model the document-creation practices common in technical writing careers. Students will learn what technical writers and editors do and what skills they need. We will also learn about other tasks in the content development process, such as creating visual content and editing. Specifically, students will focus on writing instructions, procedures, product descriptions, safety manuals, and other texts/multimodal outputs that help users to solve problems. A key component of this online course is group collaboration, as this course seeks to model to “remote” workplace nature of many technical writers’ careers today, which require synchronous and asynchronous collaboration using a variety of communication tools.

416.001: Biography & Autobiography          

R 1600-1830  
Michelle Kells,

ENGL 416/516 Biography offers critical examination of the genre of biography (autobiography and memoir) across the subfields of English Studies (Rhetoric, Creative Writing, and Literary Studies). This course will provide models, practice, and feedback through writing workshops and the theoretical study of biography as craft. In addition to practicing the rhetorical art of narrative (and story-telling), students will cultivate a meta-discourse about biography as genre (form and function).

The course will include exploration of: Rhetorical Biography; Political Biography; Literary Biography; Personal Biography (autobiography and memoir/creative non-fiction). Students will analyze examples of each form toward discovering frameworks for their own original manuscript as well as examine various public and academic venues as platforms for publication of their scholarly and creative work.

The course will require researching a life (a public or private figure) to be rendered in writing. Capstone project for the course will include composing a biography (rhetorical, political or literary biography, or personal memoir) informed by primary qualitative research (archival, bibliographic, autoethnography, and/or oral history) for a target literary/rhetorical journal or publication house. The capstone project may also be designed to serve as a suitable contribution to an undergraduate Honors thesis; MA Portfolio writing sample; and/or PhD dissertation chapter.  

Students’ final projects will be appropriately prepared for the professional writing submission process toward publication in the respective venues of the field (for Rhetorical Biography; Political Biography; Literary Biography; Autobiography or Memoir).

Learning Outcomes:
Promote critical understanding of biography and memoir as genre;
Practice the craft of writing for complex audiences (primary, secondary, and tertiary audiences);
Analyze the rhetorical situation of the life and events of a literary, rhetorical, political, or private individual;
Engage the rhetorical art of narrative and story-telling;
Cultivate a rich intellectual community within the classroom setting;
Explore the dimensions of the rhetorical situation shaping texts, authors, and audiences;
Guide opportunities for writing and research on topics relevant to student's goals and interests;
Participate in research exercises and visit research sites (archives, oral histories, etc.);
Provide opportunities to circulate and share students' research and writing;
Form alliances with colleagues and work collaboratively toward common goals;
Revise texts in response to comments from others so that improvement is evident to readers;
Engage assignments and writing projects with an awareness of academic integrity (honesty) and the ethics of professional communication;
Write effectively under time constraints;
Cultivate a writerly identity and effective work habits (able to produce written products both independently and collaboratively);
Generate and submit a publishable-quality manuscript.

Required Readings:
Genre Examples of Biography/Memoir:
Gloria Anzaldúa. Borderlands/La Frontera: The New Mestiza. 4th ed. ISBN-10: 1879960850
Sandra Cisneros. A House of My Own: Stories from My Life.
Michelle Hall Kells. Vicente Ximenes, LBJ’s “Great Society,” and Mexican American Civil Rights Rhetoric.
José Orduña. The Weight of Shadows: A Memoir of Immigration and Displacement.

Writing and Research of Biography/Memoir:
Vivian Gornick. The Situation and the Story: The Art of Personal Narrative.
Scott Donaldson. The Impossible Craft: Literary Biography.
Gesa Kirsch. Beyond the Archives: Research as Lived Process.

Required Films:
Off the Map
Salt of the Earth

Online Resources:
See: ENGL 416/516 Sample Film Bio
Sketches Available at: Salt of the Earth Recovery Project

417.002: Editing        

Stephen Benz,

This course focuses on editing as a professional practice. Along with perfecting advanced copyediting skills, you will learn about "information design": the creation of documents that are complete, accurate, correct, comprehensible, usable, and appropriate for readers. Because editors must often be responsible for a document from its inception to its presentation as a finished product, you will also learn about layout and document design, as well as contemporary production processes. Successful completion of this course will provide you with the foundation necessary for a future career in the field.

418.001: Proposal & Grant Writing   

TR 1100-1215
Kyle Fiore,

This course explores the fine art of raising money with a focus on how to raise funds for non-profit organizations. You will meet with fund raising executives and foundation directors from Albuquerque. You will study winning non-profit proposals to understand the successful moves they make. You will learn how to research, locate, and evaluate RFPs (requests for proposals) to find the best match between a project and a prospective funder. You will practice how to persuade a client or funder to support you, and/or your project.

420.001: T: Blue Mesa Review         

MWF 1400-1450       
Mark Sundeen,

This class introduces you to the production of UNM’s national literary magazine, Blue Mesa Review. We receive hundreds and sometimes thousands of submissions each year from authors hoping to see their stories, essays, or poems published in our journal. Your primary responsibility in this course is to assess these submissions—collectively called “slush”—for possible publication in BMR. In addition, you will keep an informal journal about your participation in slush, attend discussion meetings, and write a few short papers. This class requires you to be self-motivating; in some respects, it is very much like an independent study. You must be able to keep up with the workload on your own—and often on your own time.

420.002: T: Essay as Genre

MWF 1300-1350
Stephen Benz,

The essay is a particularly rich and versatile literary genre. Writers of different eras, nationalities, and languages have turned to the essay to meditate on just about any subject—good, evil, love, family, society, travel, nature, art, science, religion, and life itself. But what exactly is an essay? In ENGL 420 we will explore the essay as a genre—its history, its precursors, its conventions, and its practitioners. We’ll learn where the essay comes from, what it tries to do, and what forms it takes. We’ll read widely in the genre—across time periods, cultures, languages, and topics. Some of the English-language essayists we’ll study include Jonathan Swift, Mark Twain, Virginia Woolf, E.B. White, George Orwell, Joan Didion, and James Baldwin. We’ll also consider the work of Japanese, French, Spanish, and Russian essayists. By the end of the course, we’ll hope to have a better understanding of what makes an essay an essay and why this versatile genre is so appealing to readers and writers.

421.001: Advanced Creative Writing Fiction  

TR 1400-1515
Daniel Mueller,

I believe every piece of fiction has contained within it the seed, or blueprint, of what it ultimately wants to be.  For the author, fully realizing a piece of fiction requires carefully listening to what the narrative is telling them during the act of composition, from the first sentence to the last, and at every stage of revision.  In this way, it seems to me, pieces of fiction are born.  Fully realized works of fiction rarely happen in single sittings; for this reason, the fully realized short story, meant to be read in a single sitting, is always a sleight-of-hand, the weeks, months, and even years the author has devoted to it seamlessly concealed.  For this reason, too, fiction writing must be a practice, excelled at, if such a thing is possible, only over time and by making it a routine in our lives.

Responding well to another writer’s fiction is, I also believe, as arduous an act of the imagination as writing one’s own for it requires us not only to imagine the fictional world summoned by the words the author has chosen, but to imagine ourselves in the author’s position to their text.

As members of a fiction workshop, we will listen to each work as carefully as its author has and formulate in words the messages it has for them.  English 421 provides the serious fiction writer an invaluable opportunity to have their work read deeply and discussed deeply by a panel of equally serious fellow writers who share, in their hearts and minds, a singular commitment to bringing the piece of fiction as close as possible to completion.

During the semester, expect to complete several writing prompts, read one published story and one published craft essay per week, write thorough critiques of your peers' original fiction and no less than two of your own original works of fiction, meant to be shared with the workshop group.  This course is both writing- and discussion-intensive. 

423.001: Advanced Creative Writing Nonfiction        

TR 1230-1345
Lisa Chavez,

This is an advanced creative writing workshop in creative nonfiction. This class presupposes a certain understanding of the genre: ie. at least a basic understanding of the use scene and dialogue and reflection. Our goals in this course will be to hone craft skills, try out new techniques in exercises, and practice revision skills.  While we will read the work of published authors and explore the variety of types of essays that fall into the category of creative nonfiction, we will primarily focus on workshopping student work.

442.001: Major Text in Rhetoric       

MWF 1400-1450
Andrew Bourelle,

Modern society has changed significantly since the ancient Greek and Roman world. The emphasis on orality as the primary means of communication has long since been abandoned in favor of writing and, more recently, multimedia communication. But the concepts established during antiquity helped shape our current concepts of education and communication. Students in English 442 will explore the history and theory of rhetoric, focusing on the foundations of rhetoric developed by the ancient Greeks and Romans. While the course will provide a historical survey of major texts, the class will focus on the applicability of classical rhetoric to students' modern lives.

444.001: Practicum: Tutoring Writing          

MWF 1100-1150
Rachael Reynolds,

In this practicum, students will first discuss and analyze theories in the fields of composition and pedagogy, learning to develop their own approach to tutoring, editing, or teaching writing. We will then apply this theory to a real life situation: students will be paired with online English 110, 120, or 219 students and will serve as tutors for these students, helping them revise their papers. English 444 thus helps students develop a broad theoretical basis for helping others develop their writing skills, purpose, and voice, while also including practice in the field. It's a theory class, internship, and resume-builder all in one! Assignments include analyses of lower-division student papers and lower-division student writing levels, and research into studies in the fields of composition and pedagogy.

448.001: Advanced Old English         

MWF 1000-1050  
Jonathan Davis-Secord,

Beowulf is the most celebrated and studied Old English poem, yet it remains ambiguous and contested. Modern scholars continue to scrutinize difficult points in the text and wrestle over approaches to the poem. This course will be devoted to a close reading of Beowulf in the original Old English, coupled with pertinent scholarship on specific points in the poem along the way. We will explore the roles of women in the text, the meanings of the monsters, the patterns of gift-giving, the linguistic intricacies of the text, and many other topics. Students will prepare translations of the poem, read secondary literature, and write a critical research paper for the semester. Prerequisite: ENGL 447/547 or the equivalent.

453.001: The Seventeenth Century: Magic, Witchcraft, and Science

TR 1400-1515
Carmen Nocentelli,

The Scientific Revolution of the seventeenth century laid the foundations for modern science. Yet the period from 1580 to 1690 also saw widespread interest in magic and the occult—and was the height of the “witch-craze” in Europe and the Americas. Were these contradictory trends or complementary aspects of the same historical development? How did magic differ from witchcraft? And how did magic and witchcraft differ from science? We will attempt to answer these questions through an analysis of literary and documentary sources, including Marlowe’s Doctor Faustus; King James I’s Of Demonology; Jonson’s The Alchemist; Bacon’s New Atlantis; and select documents from the Salem witch trials.

458.001: Modern British Literature

TR 1530-1645
M. R. Hofer,

This course in modernist literature and culture will consider the shifting meanings of the terms “modern” and “British” in literary practice from the late nineteenth century to approximately the mid-twentieth. Together we will discuss a wide range of novels, poems, poetics essays, and manifestos in order to identify and analyze the key themes, forms, and problems of the “literature of transition” into modernism, the moment of “high” modernism, and the various permutations of “late” modernism.

Two criteria determine which texts we will read and discuss in this course: 1) artistic achievement and 2) contemporary significance. My version of Modern British Literature features work by, among others, the Imagists & Vorticists, James Joyce, D. H. Lawrence, Virginia Woolf, T. S. Eliot, and Mina Loy, as well as the literatures of transition both in to and out of so-called "high" modernism. 

462.001: American Realism & Naturalism   

TR 1230-1345      
Kathryn Wichelns,

As literary movements, American realism and naturalism express and respond to the crisis in national identity that characterizes the post-Civil War period. The era is marked by cultural shocks: demographic shifts, as non-Protestant, non-white, and non-English speaking immigration to the U.S. increases; unprecedented economic inequality, urbanization and overcrowding; federal withdrawal from the South and the rise of Jim Crow; continued Westward expansionism and the series of brutal conflicts known as the Western Indian Wars; the 1898 Spanish-American War; the emerging visibility of women workers; and an explosion in scientific and pseudoscientific discourses (including social Darwinism and eugenics). Writing in the period of the Gatling gun, the railroad, the telegraph, and the photograph, these authors call for an end to literary romanticism, seeking to depict life as it really is. In different ways, each examines the influences of environment, race, heredity, and gender on individual development. Mark Twain, Henry James, and Edith Wharton explore the conflicts of their own changing society through depictions of characters who most embody its values. Rebecca Harding Davis, Louisa May Alcott, W.E.B. DuBois, and Jacob Riis form new approaches to writing as activism. Sarah Orne Jewett, Zitkála-Šá, Charles W. Chesnutt, and Abraham Cahan dismantle the notion of a cohesive (Anglo-American) national identity by emphasizing differences of region, race, and ethnicity. The conflicts evident in literary expression during this dynamic era reflect profound contradictions inherent to the ideological concept of an American national consciousness—variously understood by the authors we examine as a bad joke, a hard-won social good, a naive fantasy, or a form of colonial whitewashing. 

465.001: Chicano-a Literature   

TR 1100-1215
Melina Vizcaíno-Alemán,

This advanced study of Chicana/o literature will explore the various genres and styles that characterize the subject, from the late nineteenth through the twentieth century. Chicana/o literature became a recognized field of study as a result of the Civil Rights era, so the class will begin with a critical examination of the Chicano literary canon and its cultural criticism. The class will explore the various theories, ideas and aesthetics of Chicana/o identity and poetics (cultural nationalism, mestiza consciousness, diaspora, immigration, and language), and we will use this exploration to understand better the field of Chicana/o literature, both before and after the watershed moment of the Civil Rights era. We will read texts from the late nineteenth century to the contemporary period, and in the process we will chart the trajectory of Chicana/o literature, with attention to both the aesthetics of genre and style, as well as to the social and political conflicts that give meaning to Chicana/o literature.

470.001: British Modernism

TR 1400-1515
Feroza Jussawalla,

This course will introduce you to the major British/American Modernists, from a Postcolonial perspective. We will begin with an overview of the Modernist movement and what it means to us. The end of January, we will focus on D.H. Lawrence, the transition from Realism to Modernism and subsequently on Joseph Conrad, two writers tied together by Ford Maddox Ford. Both Ford and Lawrence had UNM connections. When the weather gets better we will go up to the Lawrence Ranch in Taos. In the mean time we will look at the archives at the South West Center in the Zimmerman Library. In February we will back track to T.S.Eliot and Ezra Pound and to the Postcolonial Irish, W.B. Yeats, Lady  Gregory and James Joyce. We will also touch upon the Bloomsbury group. the important focus of this course is on how all the writers are interconnected. I will be touching upon how the areas I've traveled in tie the writers together. For instance, Both Virginia Woolf and Lawrence lived in Cornwall, more specifically St. Ives. And then Lawrence moved to  Taos, New Mexico. What do the New Mexican Modernists share with the British Modernists. How do Modernist writers approach "A Sense of Place?"

480.001: Imagining Ireland  

MW 830-1100
Sarah Townsend,

Please note: “Imagining Ireland” is a late-starting (2H) course.

This course introduces students to the literature and culture of modern Ireland, focusing particularly on the figure of the outsider. We will examine how the country’s colonial history and recent transformations have created sharp divisions in Irish society (like Catholic and Protestant, rural and urban, peasant and aristocrat, Irish-speaking and English-speaking, nationalist and unionist, “native” and immigrant, settled and itinerant, white and nonwhite), but we will also focus on individuals who attempt to cross, mediate, and reconcile those divisions. From a trust-fund artist studying traditional communities on the remote Aran Islands, to a biracial woman raised in a Northern Irish community where the primary faultline is religion, to the growing population of refugees and immigrants, Ireland’s outsiders continue to challenge and reinvigorate the way the country imagines itself.

English 480 will meet frequently with History 418, and much of our work will be interdisciplinary. Archival research is also an emphasis of the course, and we will work frequently with rare literary and historical documents. The course includes an optional 2-week study abroad component in late May, after the spring semester; additional fees for the study-abroad program apply.

487.001: Advanced Studies in Genre  

M 1600-1830
N. Scott Momaday,

This course is taught by the famous Pulitzer Prize winner and Native-American poet N. Scott Momaday. A unique opportunity for UNM students, the course is a close investigation of selected poems with a focus on the poet’s understanding of his or her subject and the application of the imagination to that understanding. The objective is to study of the ways in which the poet distinguishes between what is real and that which is beyond reality in his or her work. Major poems of the 19th and 20th centuries will be discussed.


Department of English Language and Literature
Humanities Building, Second Floor
MSC03 2170
1 University of New Mexico
Albuquerque, NM 87131-0001

Phone: (505) 277-6347
Fax: (505) 277-0021