Skip to main content Skip to navigation
Washington State University
Donna M. Campbell English 573: Editing in a Digital Age (Fall 2020)

573 Course Materials

English 573:  Editing in a Digital Age
Course Materials & Links (some materials are only in Blackboard)

Week Date Assignments
1 8/26 Introduction

To read in class: Dickinson, “Safe in their Alabaster Chambers”
Practice with Perusall


Emily Dickinson Archive:

Emily Dickinson Electronic Archive:


2 9/2 What difference does a paragraph make?

Naturalism, part 1 (lecture; Blackboard)

Crane, Maggie: A Girl of the Streets

Crane, “An Experiment in Misery,” pp. 137-147
Crane, “An Ominous Baby,” pp. 154-157

Critical Reading:

Dowling, Robert M. and Donald Pizer. “A Cold Case File Reopened: Was Crane’s Maggie Murdered or a Suicide?” American Literary Realism, vol. 42, no. 1 (Fall 2009), pp. 36-53.

Perusall and “article expert” posts are due by noon on the class day during which they’ll be discussed.

3 9/9 No class
4 9/16 British vs. American: Author’s Choice?
Presenter: Matthew Kollmer
Wharton, SummerCritical Readings:·      Rattray, Laura. Introduction. Summer, by Edith Wharton, Oxford World Classics, 2015, pp. ix-xxxvii. [Randal Houle]

·      Dawson, Melanie. Edith Wharton and the Modern Privileges of Age, University of Florida Press, 2020, pp. 149-177. [unclaimed]


Activity: identifying editions

5 9/23


Authenticity and Appropriation I
Guest: Dr. Trevor Bond, MASCMourning Dove, CogeweaCritical Readings:

·      Bond, Trevor James. “From Treasure Room to Archives: The McWhorter Papers and the State College of Washington.” Pacific Northwest Quarterly, Spring 2011, pp. 67-78.
[Dillan Wright]

·      Teuton, Sean Kicummah. “The Indigenous Novel.” The Oxford Handbook of Indigenous American Literature, edited by James H. Cox and Daniel Heath Justice. Oxford University Press, 2014, pp. 318-332.
[Rachael Wolney]


·      MASC web site

Proposal for Paper 1 due

6 9/30 What makes a good critical edition?
Presenter: Hayden Gann
Wharton, Ethan Frome Critical Readings:·      Eggert, Paul. “Apparatus, Text, Interface: How to Read a Printed Critical Edition.” The Cambridge Companion to Textual Scholarship, edited by Neil Fraistat and Julia Flanders. Cambridge University Press, 2013, pp.97-118.
[Matthew Kollmer]

·      Williams, William Proctor,  and Craig S. Abbott. “Textual Criticism,” An Introduction to Bibliographical and Textual Studies, 4th Edition. MLA, 2009, pp. 71-89. [Rachael Wolney]


Wharton, Ethan Frome in French:

Wharton, pp. 1-6, manuscript of Ethan Frome

The Walt Whitman Project

7 10/7 Race and Transnationalism
Presenter: Randal Houle

Larsen, Quicksand

Critical Readings:·      Ngai, Sianne. “Irritation.” Ugly Feelings. Oxford University Press, 2005, pp. 175-205. [Nazua Idris]·      McDowell, Deborah. From “The ‘Nameless . . . Shameful Impulse’: Sexuality in Nella Larsen’s Quicksand and Passing.Quicksand, edited by Carla Kaplan. Norton Critical Edition. W. W. Norton, 2020, 231-236. [unclaimed]


Activity: locating archives

·      Winnifred Eaton/Onoto Watanna Archive



Paper 1 due

8 10/14 Authenticity and Appropriation II
Presenter: Nazua Idris
Larsen, Passing
Larsen, “Sanctuary”
Sheila Kaye-Smith, “Mrs. Adis”Critical Readings:

·      Risam, Roopika. “Beyond the Margins: Intersectionality and Digital Humanities.” Beyond the Margins: Intersectionality and Digital Humanities, edited by Barbara Bordalejo and Roopika Risam. Arc Humanities Press, 2020, pp. 13-32.
[Nazua Idris]

·      Hochman, Barbara. “Love and Theft: Plagiarism, Blackface, and Nella Larsen’s ‘Sanctuary.’” American Literature, vol. 88, no. 3, Sept. 2016, pp. 509–540.
[Randal Houle]


·      The Colored Conventions Project

·      Charles W. Chesnutt Archive:

9 10/21 Manuscript, Magazine, Book: The House of Mirth
Presenter: Dillan WrightCritical Readings:·      Waid, Candace. “Building House of Mirth.Biographies of Books: The Compositional Histories of Notable American Writings, edited by James Barbour and Tom Quirk. University of Missouri Press, 1996, pp. 160-186. [Hayden Gann]

·      Saltz, Laura. “‘The Vision-Building Faculty’: Naturalistic Vision in The House of Mirth.” MFS: Modern Fiction Studies, vol. 57, no. 1, 2011, pp. 17-46.  [[unclaimed]


·      Intro to the TEI (digital markup) Optional: download free 30-day version of OxYgen and install from

·      Versioning project: House of Mirth

·      Wharton, manuscript of The House of Mirth

10 10/28 Digital Showcase: Class Choice (not all will be covered)

·      Omeka Nazua Idris

·      Neatline Rachael Wolney

·      OxYgen (for TEI; link above)

·      Scalar Dillan Wright

·      Python Alaa Bassee

·      Scanning and OCR Hayden Gann

·      Juxta

·      StoryMaps Randal Houle

·      Textual Analysis with R Matthew Kollmer

Critical Readings:

·      Jockers, Matthew, and Ted Underwood. “Text-Mining the Humanities.” A New Companion to Digital Humanities, edited by Susan Schreibman, Ray Siemens, and John Unsworth. Wiley Blackwell, 2016, pp. 291-306. [Dillan Wright]

·      Earhart, Amy. Chapter 4, “Data and the Fragmented Text.” Traces of the Old, Uses of the New: The Emergence of Digital Literary Studies. University of Michigan Press, 2015, pp. 90-116. [Matthew Kollmer]


·      AGAS Map of Early Modern London

11 11/4 Mapping Relationships & Contexts
Presenter: Alaa Bassee
Wharton, Custom of the CountryCritical Readings:·      Holland, Kathryn, and Jana Smith Elford. “Textbase as Machine: Graphing Feminism and Modernism with Orlando Vision.” Reading Modernism with Machines: Digital Humanities and Modernist Literature, edited by Shawna Ross and James O’Sullivan. Palgrave Macmillan, 2017, pp. 109-134.
[Dillan Wright]

·      Towheed, Shafquat. “When the Reading Had to Stop: Reading, Readers, and the Circulation of Texts in The Custom of the Country.” Edith Wharton’s The Custom of the Country: A Reassessment, edited by Laura Rattray. Pickering & Chatto, 2010, pp. 29-42.
[Alaa Bassee]


·      The Orlando Project:

·      Voyant Tools

·      Vault at Pfaff’s

·      Shakespeare & Company

12 11/11 No Class: University Holiday
13 11/18 Editorial Choices: Historical Contexts and Novel into Film
Presenter: Rachael Wolney
Wharton, The Age of InnocenceCritical Readings:

·      Sampson, John. “Untimely Love: The Aesthetics and Politics of Anachronism in The Age of Innocence.” Novel 53, number 2 (August 2020): 254-273.


·      Toth, Margaret A. “Edith Wharton’s Prose Spectacle in the Age of Cinema. Edith Wharton’s The Age of Innocence: New Centenary Essays, edited by Arielle Zibrak, Bloomsbury Publishing Plc, 2019, pp. 39-58. ProQuest Ebook Central,

[Hayden Gann]


(film clips and frames; section from screenplay)

Proposal for Paper 2 Due

15 11/25 No Class: Thanksgiving Holiday
16 12/2 Academic Publishing
Guest Presentation: Ms. Linda Bathgate, WSU Press
Critical Readings (Extra Credit):·      McGann, Jerome. “What Do Scholars Want? “A New Republic of Letters: Memory and Scholarship in the Age of Digital Reproduction. Harvard University Press, 2014, pp. 127-136.

·      Liming, Sheila. “The Library as Network: Affinity, Exchange, and the Makings of Authorship.” What a Library Means to a Woman: Edith Wharton & the Will to Collect Books. University Minnesota Press, 2020, pp. 105-135. [unclaimed]

·      Conclusion to Liming

Exhibits: (Submit your nominations for archives and they’ll be added here)

Edith Wharton’s Library at The Mount:

Tropy (software)

Paper or Project 2 due

17 12/9 In-class conference

Attendance and Participation. Attendance and good class participation are essential.

Papers and Presentations.

  • Presentations: Each member of the class will give a 20-30-minute presentation at one point during the semester. This might take any one of several forms:
    • preparing information about the author or authors assigned for that day and presenting a set of new ideas or questions for the class to consider;
    • giving a new interpretation of the work; providing a contextual overview of an author or work; or
    • analyzing and critiquing current critical perspectives. You will need to provide a brief handout for the class, preferably one that includes a short annotated bibliography of your sources, an outline, and relevant quotations or information from your sources.
  • Papers. You’ll complete two papers or projects in this course. The first will be a conference-length (8-10 pages) treatment of a topic. The second can be either an editing project an extended paper (15-25 pages; page limits are flexible) suitable for submitting to the journal of your choice or for using as the basis of a dissertation chapter.
  • Of these projects (presentation and two papers), two can be on the same subject: for example, you might choose to rework your first paper into the extended paper, or you may wish to use your presentation for the basis of that second paper. All three projects cannot be on the same subject, however.

Proposals and Responses. Since one of your professional responsibilities as scholars will be to submit proposals to conference, you’ll prepare a 100-200 word proposal for each of the papers you will write in this class. These will receive comments but not grades. You’ll also prepare a response to a classmate’s paper or project during the last two weeks of class, which you will then deliver as part of the conference-style presentations at the end of the course.

Late Papers and Extensions. Late papers are penalized at the rate of one letter grade (10 points) per class day late; a paper that would have received a “B” on the due date will receive a “C” if handed in on the next class day. Papers turned in after 2 class meetings will receive a 50/100 toward your class grade.

You have one automatic extension in this class, which means that your paper will be due on the next class day (in our case, a week). Just let me know ahead of time, and it’ll be fine—no penalty.

Presentations and Article Critiques

“Article Expert” Critiques and Perusall. In addition to reading primary texts, we’ll be reading some classic but mostly current criticism on the works so that you’ll have a good sense of what approaches are being published now. Alternately, you’ll review current web sites on these authors.

Each week, each week two people will be responsible for preparing a brief summary (5 minutes) and critique of one article each.

You’ll post this to the “Article Experts” discussion board section of Blackboard.

These need not be terribly formal; their purpose is to allow the “article expert” to raise questions and discussion points about his or her article rather than do a formal presentation of it. You’ll all take turns being an “article expert,” but you won’t need to do this every week; you’ll be the “article expert” about four times during the course of the semester.

Here’s what should be included.

  1. Brief summary of the article (can be in point form).
  2. Your thoughts on the article. What was its main contribution to understanding the work? Did it relate to other work in the field (If you know this)? Did it have any weaknesses?
  3. At least one question either that you had about the article or that the article inspired you to put to the class.

Remember these should be brief: No more than 5 minutes, and no more than the front of a page.

In-Class Conference. During the last week of class, you’ll present a conference-length version of your second paper to the rest of the class. The presentations at the end of the course will be based on the longer paper or project, which you’ll need to edit down to conference length.