Reading Literature: Fantastic This course seeks to develop skills for the close reading of literature through discussion of and writing about selected poems, plays, and short stories. A basic vocabulary of literary terms and an introductory palette of critical methods will also be covered, and the course's ultimate goal will be to enable students to attain the skills and tools vital to further course work in the major.

Shakespeare’s Career (Pre-1800) In this course we will study the whole arc of William Shakespeare's literary career from the earliest histories, comedies, and non-dramatic poetry to the more mature tragedies and romances, with an eye to understanding Shakespeare’s development as a writer in his own time. How might the plays have resonated for his first audiences on stage, and how have subsequent readers drawn their own meanings from the published texts? Reading one play a week, we will pay close attention to such dramaturgical issues as Shakespeare’s construction of character and of plot, his adaptation of sources, and his modes of versification, as well as the ethical, political, and commercial implications of Shakespeare’s works during his lifetime, some of which stand in contrast with what we learn from them today.

Poetry Games: Experimental Poetics and Avant-Garde Aesthetics Not all poetry is, as William Wordsworth put it, “the spontaneous overflow of powerful feelings.” Some poetry challenges the very nature of language, art, and subjectivity through various self-decentering forms of writing. In this course, we will study a century’s worth of avant-garde experimental poetry, from the Dadaists and Surrealists to the Oulipo group, the L=A=N=G=U=A=G=E poets, and the conceptual and post-conceptual poetry movements of the 21st century, then create our own poetry using the same techniques and principles. The course is thus part survey and part writing workshop, with an emphasis on artistic process, linguistic theory, and the liberating power of constraints. Topics include: aleatory poetry, algorithmic poetry, blackout poetry, concrete poetry, erasure poetry, exquisite corpse, found poetry, homophonic translation, sound poetry, lipograms, S+7, etc.

England’s Ovid: Grabbing Back the Myth (I) (Pre-1800) In this course we will read Ovid’s Latin compendium of foundational mythical stories, the Metamorphoses, in two important early modern English translations: 1) the 16th-century version by Arthur Golding (the very one that Shakespeare read), which Ezra Pound called “the most beautiful book in the English language”; and 2) the 17th-century version by George Sandys, which contains allegorical commentaries and elaborate synoptic engravings. We will discuss these myths with an emphasis on gender politics and oral storytelling, and sometimes discuss how they reemerge in English literature. We will also examine a rare first edition of the Sandys edition (1623) which is owned by Middlebury College’s Special Collections, in addition to a modern annotated edition. The material for the course contains literary and graphic depictions of sexual violence, which will be critiqued from an unapologetically feminist perspective.

Lost and Found in Translation In this course we will explore the philosophical and linguistic questions raised by translingual discourse through a survey of the most important theoretical writings on translation as we compare multiple translations of the same originals, including some recent experimental writing as well as selections from such classics as the Psalms, the Illiad, the Tao Te Ching, Catullus, Li Bo, Rumi, Clément Marot, Eugene Onegin, and the One Thousand and One Nights. We will discuss such questions as: How does language shape thought? How does culture shape language? Is there anything unique about translating sacred texts, poetry, dead languages, or non-alphabetic languages?

Poetry Games: Experimental Poetics and Avant-Garde Aesthetics Not all poetry is, as William Wordsworth put it, “the spontaneous overflow of powerful feelings.” Some poetry challenges the very nature of language, art, and subjectivity through various self-decentering forms of writing. In this course, we will study a century’s worth of avant-garde experimental poetry, from the Dadaists and Surrealists to the Oulipo group, the L=A=N=G=U=A=G=E poets, and the conceptual and post-conceptual poetry movements of the 21st century, then create our own poetry using the same techniques and principles. The course is thus part survey and part writing workshop, with an emphasis on artistic process, linguistic theory, and the liberating power of constraints. Topics include: aleatory poetry, algorithmic poetry, blackout poetry, erasure poetry, concrete poetry, exquisite corpse, found poetry, homophonic translation, sound poetry, lipograms, S+7, etc.

Foundations of English Literature (Pre-1800) Students will study Chaucer's Canterbury Tales and Milton's Paradise Lost, as well as other foundational works of English literature that may include Shakespeare, non-Shakespearean Elizabethan drama, the poetry of Donne, and other 16th- and 17th-century poetry.

Slam Poetry: Artistry and Politics In this course, we will examine the artistry, politics, and history of slam poetry through a wide range of spoken word performances on video. In addition to writing short critiques, students will develop drafts for two new (3-minute) spoken word poems for performance, working in small groups and also individually with the professor over Zoom. Poets include the likes of Denice Frohman, Danez Smith, Portia O., Andrea Gibson, Rudy Francisco, Emi Mahmoud, Safia Elhillo, G. Yamazawa, Amir Safi, Rachel Rostad, Hieu Minh Nguyen, Yesika Salgado, Glori B., and Samantha Peterson, among others. Warning: some of the material in this course is explicit, emotionally intense, and disturbing. Weather permitting, some meetings may take place outside in person.  3 hrs. lect

Slam Poetry: Artistry and Politics In this course, we will examine the artistry, politics, and history of slam poetry through a wide range of spoken word performances on video. In addition to writing short critiques, students will develop drafts for two new (3-minute) spoken word poems for performance, working in small groups and also individually with the professor over Zoom. Poets include the likes of Denice Frohman, Danez Smith, Portia O., Andrea Gibson, Rudy Francisco, Emi Mahmoud, Safia Elhillo, G. Yamazawa, Amir Safi, Rachel Rostad, Hieu Minh Nguyen, Yesika Salgado, Glori B., and Samantha Peterson, among others. Warning: some of the material in this course is explicit, emotionally intense, and disturbing. Weather permitting, some meetings may take place outside in person.

Shakespeare's 'Nasty' Sonnets Of the love triangle that structures William Shakespeare’s enigmatic series of sonnets, Stephen Booth has quipped: “Shakespeare was almost certainly homosexual, bisexual, or heterosexual.” Of the 154 poems, most people know only one or two of the most innocent (“Shall I compare thee to a summer’s day?”), but the series as a whole has scandalized prudish readers for centuries with its confessions of heterosexual lust, homoerotic love, envy, jealousy, misogyny, racism, abjection, pride, and some moping—all in some of the most exquisite verse ever composed in English. In this course we will examine, discuss, and write about the language of Shakespeare's sonnets and their literary historical context as well as the range of critical theories (and sometimes utterly wacky notions) about their mysterious contents, including those from the likes of Oscar Wilde, George Bernard Shaw, and William Wordsworth. This is a feminist, queer-friendly, sex-positive course.

Tang Poetry / American Poetry Amy Lowell and Ezra Pound, rival founders of the Imagist poetry movement a century ago, both published influential translations of Tang-dynasty lyrics, even though neither one knew a word of Chinese. In this course, we will not only study their accomplishments in context, but go a step further to begin learning how to read and write the most commonly used characters in Tang poetry so that we can parse a selection of the best poems in the original as we explore such topics as the differences between Chinese and European poetics, theories of translation and intercultural adaptation, and Orientalist fantasies of the ideogram. No knowledge of Chinese is necessary.

Towards a Poetics of Community Why read literature? One answer: such reading is not individual but communal. It links readers to each other in aesthetic experience, in ethical and hermeneutic debate, and in appreciation for writers and fellow readers. As we read literary texts from different times, cultures, and genres, we will examine how they anticipate, create, or recreate readerly communities, and how these communities in turn help shape the texts as they are experienced. We will also strive to form our own readerly community—one that is as inclusive and as intellectually generous as possible. We will begin with close analysis of poetry in various forms from various historical periods. We will then read dramas by such playwrights as William Shakespeare, Margaret Edson, and/or Lolita Chakrabarti, as well as two works from among such prose writers as Charles Dickens, Emily Brontë, Herman Melville, Mark Twain, Marilynne Robinson, Virginia Woolf, Toni Morrison, Ian McEwan, Walter Moseley, and Jean Rhys.

Shakespeare’s Career (Pre-1800) In this course we will study the whole arc of William Shakespeare's literary career from the earliest histories, comedies, and non-dramatic poetry to the more mature tragedies and romances, with an eye to understanding Shakespeare’s development as a writer in his own time. How might the plays have resonated for his first audiences on stage, and how have subsequent readers drawn their own meanings from the published texts? Reading one play a week, we will pay close attention to such dramaturgical issues as Shakespeare’s construction of character and of plot, his adaptation of sources, and his modes of versification, as well as the ethical, political, and commercial implications of Shakespeare’s works during his lifetime, some of which stand in contrast with what we learn from them today. Weather permitting, some meetings may be held outside in person.

Introduction to Contemporary Literary Theory In this course we will introduce several major schools of contemporary literary theory. By reading theoretical texts in close conjunction with works of literature, we will illuminate the ways in which these theoretical stances can produce multiple interpretations of a given literary work. The approaches covered may include New Criticism, Psychoanalysis, Marxism and Cultural Criticism, Race Theory and Multicultural Criticism, Feminism, Post-Colonial Criticism, Queer Studies, Eco-Criticism, Post-Structuralism, and others. These theories will be applied to various works of fiction, poetry, and drama. The goal will be to make students critically aware of the fundamental literary, cultural, political, and moral assumptions underlying every act of interpretation they perform.

Shakespeare’s Rivals (I) In this course we will read a selection of the best plays by Shakespeare’s fellow playwrights who helped define the “Golden Age” of English dramatic literature. Variously heroic and comic, eloquent and grandiloquent, witty and outrageous, dignified and obscene, and sometimes tragically bloody, these plays at their best are every bit as good as Shakespeare’s, and they give us a much better picture of the full theatrical and cultural contexts of Shakespeare’s plays than his alone can do. We will use all the tools of literary analysis to appreciate the problematics of these texts in terms of social politics, historical determinants, theatrical practice, and canon formation. Authors include Thomas Middleton, Christopher Marlowe, Ben Jonson, Elizabeth Carey, John Fletcher, Francis Beaumont, Thomas Dekker, John Webster, and Thomas Kyd.

Timothy Billings

Reviews and ratings for Timothy Billings at Middlebury College.Timothy Billings teaches Reading Literature, Shakespeare's Career, Avant-Garde Poetry Experiments and more.  Explore top rated instructors and find the best for you.Is Timothy Billings good ? Find out on MiddCourses.

I cannot compare this course with other English courses, as I have not taken any, but this course is a *very* small (my class was 4 students) create-and-share style class. The three hours went quickly every week, as we spent half the course discussing a new topic to base the next week's poem off of, and the other half reviewing each others' poems from the last week. Professor Billings is extremely passionate and a great but kind critic. It's a very unique class, but I really enjoyed this diversion from my other classes!

I loved this class and this professor!!! Billings is super passionate and knowledgeable, a fantastic (if intense) lecture-giver. Every week we covered one written play and it's corresponding stage production. This was very fast paced and pretty heavy reading, but it was balanced out by the fact that we had no exams, only short weekly discussion posts and reading quizzes. If you are a Shakespeare nerd I highly recommend this class.

I was a bit intimidated by Billings, but I actually enjoyed the course a lot more than I thought. Billings is very enthusiastic about Shakespeare and is a true expert, which made hearing about the plays very easy during the lectures. Quizzes could be a bit difficult with quote memorization, but he curves it a little by the end of the semester. The final exam is much easier.