In The Death of French Culture (published sixteen years ago), Donald Morrison suggests that French writers have "largely shunned the real world of politics, globalization, poverty, terrorism, ecological peril, financial crisis, and other pressing concerns [and have] retreated into a realm of intimacy and anecdote." Arguing that French literature has become "esoteric, detached from the real world, and maddeningly difficult to export," Morrison furthermore claims that very little contemporary French literature interests anybody outside the Hexagon -- especially Anglo-Saxons (28-31).
With Morrison's concerns in mind, we will (re)read French novels published since the 1920s. To what degree can it be argued that they are unexportable? Did things "start to go off the rails" in the mid-twentieth century? Has this been due to the "confusingly experimental, self-occupied, claustrophobic" and "nombriliste (navel gazing)" novelists criticized by Morrison?
In other words, what is -- or might be -- the form/s of the contemporary French novel? To what degree is the French novel shaped -- or should it be shaped -- by political, philosophical, moral, or artistic concerns? Is the French novel really in decline? Are French novels being read less and less today as a result rather of the eclipsing of the humanities by "scientific" and "technological" fields? ("As Interest Fades in the Humanities, Colleges Worry"; "The End of the English Major") Or are students these days just reading less, reading fewer books, and/or unable to read books at all ("The Elite College Students Who Can't Read Books")?
After reading, analyzing, interpreting, and comparing novels by five key contemporary authors writing (or who wrote) in French in order to grapple with these and other questions, and in keeping with Cal Poly's Learning Objectives, successful students should better be able to: think critically and creatively; communicate effectively both orally and in written form; work productively as individuals and in groups; use their knowledge and skills to make a positive contribution to society; and make reasoned decisions based on an understanding of ethics and a respect for diversity. More specifically, successful students should have made progress in: gaining perspective on cultural and historical achievements in French-speaking cultures as well as on relevant issues of diversity; cultivating awareness of ethical and professional perspectives that reflect linguistic and cultural heritage; and developing the life-long ability to evaluate ways in which language and culture provide perspective on the larger world of the arts, science, and technology.
Please reach out to me first and directly during my office hours with suggestions and/or concerns. If you are registered with the Disability Resource Center, please plan on meeting with me in person during my office hours no later than by the end of the first week of class to discuss how I might best accommodate your need/s.
All students are encouraged to meet with me during my office hours to get guidance on potential paper topics.
Cheating and/or plagiarism will not be tolerated neither will the use of translation software . Please follow my policy regarding the use of Artificial Intelligence. Per California Education Code Section 78907, neither electronic listening nor recording devices should be used without prior written consent of the instructor.
Active participation is required and should be documented. Please do not bother attending class if you have not completed the required reading and are not fully prepared to discuss it and to defend your views. This and all absences will negatively affect your "Active participation" grade.
By the end of the course, successful students will have demonstrated the following skills:
Communicative & Cognitive
Effectively communicate by analysing how authors use language
Develop and articulate critical arguments, using textual evidence to support interpretations
Apply active listening and discussion skills during literary conversations and debates
Social-Emotional & Interpersonal
Identify and explain characters’ perspectives, showing an ability to recognise emotions, motivations, and viewpoints different from their own
Demonstrate empathy and emotional insight when reflecting on relationships, conflicts, and moral choices within texts
Collaborate constructively in group tasks, showing respect for diverse interpretations
Analytical & Problem-Solving
Interpret themes, symbols, and patterns within a text to draw deeper conclusions about meaning
Evaluate credibility, bias, and purpose in both literary and non-literary texts, applying these skills to real-world media
Construct evidence-based analyses, using reasoning to solve interpretive problems
Cultural & Historical Understanding
Explain how literature reflects historical events, cultural contexts, and societal values
Compare perspectives across time periods or cultures, demonstrating an understanding of how context shapes experience
Personal Growth & Engagement
Reflect on personal values, beliefs, and experiences in response to the issues and dilemmas presented in literature
Make connections between texts and real-life situations, showing growth in self-awareness
Engage with literature for enjoyment, selecting genres or authors that match their interests and articulating what they find meaningful or inspiring
OFFICE HOURS
https://sites.google.com/view/briangkennelly/office-hours
Building 47, Room 26C
Required Texts
Camus, Albert. The Stranger
Duras, Marguerite. Four Novels
Gide, André. The Counterfeiters
NDiaye, Marie. Rosie Carpe
Robbe-Grillet, Alain. The Voyeur
Grade Distribution
Active participation (20%)--you will need to provide documentation (a log) of your active participation via Canvas by 11:59 p.m. on 5 June.
Exam (30%)--this will be identifications (concepts, quotes, characters) and will take place via Canvas on 4 June.
Paper 1 (20%)--this will be four pages in length, will require one peer-reviewed source, and will be due at the beginning of class on 12 May.
Paper 2 (30 %)--this will be five pages in length, will require two peer-reviewed sources, and will need to have been submitted via Canvas by 4 p.m. on 11 June.
Schedule
31 March: Introduction to the course; general context (1900-1940; mid-20th century; approaching the 21st century)
2 April: The Stranger (--> the end of Part 1)
7 April: The Stranger (--> the end of the novel) & Camus re. The Stranger / The Outsider; "Abolition of the Death Penalty"
9 April: The Counterfeiters (--> the end of Chapter 10 in Part 1); Characters
14 April: The Counterfeiters (--> the end of Part 1)
16 April: The Counterfeiters (--> the end of Part 2)
21 April: The Counterfeiters (--> the end of Chapter 10 in Part 3)
23 April: The Counterfeiters (--> the end of the novel) & Journal of 'The Counterfeiters''
28 April: The Voyeur (--> the end of Part 1); He Was Nouveau When It Was New
30 April: The Voyeur (--> the end of Part 2); French Passions: Tom McCarthy on Robbe-Grillet
5 May: The Voyeur (--> the end of the novel); Robbe-Grillet speaking about Le Voyeur (France Culture)--start at 14 min 30 sec
7 May: Moderato Cantabile
12 May: Ten-Thirty on a Summer Night; Paper 1 due at beginning of class (printed copy)
14 May: The Afternoon of Mr. Andesmas
19 May: Rosie Carpe (--> the middle of page 78)
21 May: Rosie Carpe (--> the bottom of page 149)
26 May: Monday schedule (no class)
28 May: Rosie Carpe (--> the bottom of page 283)
2 June: Rosie Carpe (--> the end of the novel) & bring in peer-reviewed sources re. Marie NDiaye to help us try to make "sense" of Rosie Carpe (such as "Marie NDiaye's Discombobulated Subject")
4 June: Exam due at 2 p.m. via Canvas
5 June: Participation log due by 11:59 p.m. via Canvas
11 June: Paper 2 due by 4 p.m. via Canvas
Updated on 3 March 2026