Part II of the year-long Written Arts sequence. Over the course of the year, students work in fiction, poetry, playwriting, and creative non-fiction. Students will continue in the intensive workshop, completing each of the remaining genres over one-half of the semester.  (Registration for LIT 100 is complete.)

GROUP A:

Course	LIT 100 A Written Arts 100: Poetry
Professor	Michael Ives
CRN	17456
Schedule	Mon Wed 3:00-4:20 pm Olin 305
Distribution	OLD: F	NEW: Practicing Arts

Course	LIT 100 B Written Arts 100:Creative Non-fiction
Professor	Susan Rogers
CRN	17458
Schedule	Mon Wed 3:00-4:20 pm Olin 306
Distribution	OLD: F	NEW: Practicing Arts

GROUP B:

Course	LIT 100 C Written Arts 100:Playwriting
Professor	Chiori Miyagawa
CRN	17457
Schedule	Wed Fr 1:30-2:50 pm FISH P. ARTS
Distribution	OLD: F	NEW: Practicing Arts

Course	LIT 100 D Written Arts 100: Fiction
Professor	Mathew Johnson
CRN	17459
Schedule	Wed Fr 1:30-2:50 pm Olin 303
Distribution	OLD: F	NEW: Practicing Arts

Course	LIT 221 Writers Workshop:Prose Fiction
Professor	Peter Sourian
CRN	17090
Schedule	Tu 10:30- 12:50 pm Aspinwall 302
Distribution	OLD: B/F	NEW: Practicing Arts

Practice in imaginative writing. Students will present their own work for group response, analysis, and evaluation. Also reading of selected writers. Permission of the instructor is required. Candidates must submit samples of their work before registration, with cover letter to Prof. Sourian via campus mail by 4:00 pm on Tuesday, Dec. 5, 2006. On-line registration

Course	LIT 3224 Investigative Poetics
Professor	Joan Retallack
CRN	17414
Schedule	Tu 1:30-4:30 pm Olin 306
Distribution	OLD: F	NEW: Literature in English

Cross-listed: Integrated Arts

Among the many poetic practices identified by schools and genres is one that I like to call “Investigative.” This is a poetry of extended projects and procedures designed to explore a range of forms, media, questions, logics, constraints….as well as our situation in today’s world. Underlying assumptions are a) there are things one can know only in the form of poetry, b) a complex world must be engaged—at least some of the time—with complex forms of art. Though some of the projects for this course can involve visual and electronic media, as well as performance dimensions, the emphasis throughout will be on working with language. To bring students into a high level of consciousness about the forms and questions we’re addressing, there will be in-class writing and periodic short papers. You will complete four extended poetic projects, each accompanied by a 3-5 page essay discussing your points of departure, your thinking along the way as you composed the piece, it’s relation to the investigations of the class, the material processes you engaged in. There will be a number of poet visitors in conjunction with reading assignments. (Four volumes of poetry are required reading, along with several other collections and a variety of handouts.) Students are required to attend poetry readings in the Thursday Ashbery series and other events related to the course during the semester. Admission by permission of professor; submission of portfolio required. Candidates must submit samples of their work before registration, with cover letter to Prof. Retallack via campus mail by 4:00 pm on Tuesday, Dec. 5, 2006.

Course	LIT 324 Writers Workshop: Advanced Fiction
Professor	Edie Meidav
CRN	17505
Schedule	Wed Fr 12:00-1:20 pm Olin 101
Distribution	OLD: B/F	NEW: Practicing Arts

A workshop on the composition of short stories, for experienced writers. Students will also read short fiction by established writers, and devote significant time to the composition and revision of their own stories. Candidates must submit samples of their work before registration, with cover letter to Prof. Meidav via campus mail by 4:00 pm on Tuesday, Dec. 5, 2006.

Course	LIT 3303 Writing as Reading as Writing, Part I: Early Modernism and the Present
Professor	Ann Lauterbach
CRN	17419
Schedule	Th 1:30- 3:50 pm Aspinwall 302
Distribution	OLD: F	NEW: Literature in English

In this course we will read poems by some of the great American poets of the early twentieth century, including Langston Hughes, Ezra Pound, H.D., T.S. Eliot, Wallace Stevens, Gertrude Stein, W. C. Williams, and George Oppen. The work they did continues to resonate in the present, and we will endeavor to find out how by writing in collaboration with them. Assignments will ask you to find ways to make poems that in some sense reflect or interact with the poems of your forebears. The goal of this class is to help you understand the relation between subject-matter and form in developing your poetics; to help you find a critical/analytical vocabulary; to help you discover ways to generate methods for your own writing practice. An ability to enter into active discussions in class is important. Weekly assignments, one term project. Portfolio of poetry and one critical paper required for admission to this course. Open to all levels. Candidates must submit samples of their work before registration, with cover letter to Prof. Lauterbach via campus mail by 4:00 pm on Tuesday, Dec. 5, 2006.

Course	LIT 3743 Prose Poetics / Poetic Proses
Professor	Joan Retallack
CRN	17449
Schedule	Th 1:30-4:30 pm Olin 307
Distribution	OLD: F	NEW: Practicing Arts

It’s been a long time since the 17^th century French playwright Molière humorously settled a question of genre with the statement "all that is not prose is poetry; and all that is not poetry is prose." Ironically, this turned out to be a useful enough distinction for several centuries—one that by-passed, for instance, a hunt for "essences" and "universal characteristics" shared by all instances of either genre. In fact, for every absolute asserted about the difference between prose and poetry there have always turned out to be beguiling exceptions. The history of literary forms from ancient times on is full of what are today called "hybrid" or "blurred" genres. We will work with a generous range of generic hybridities from pre-Socratic philosophical prose poems and Ovid’s Metamorphoses to the poetics of 20^th century literary philosophers such as Roland Barthes and LudwigWittgenstein to Anne Carson’s experiments (as translator and prose- poet) w! ith classical literatures. We’ll also look at influences of Wittgenstein and Gertrude Stein on the prose poetics of contemporary poets like Rosemary Waldrop and Lyn Hejinian, along with other kinds of developments exemplified by, e.g., Russell Edson and Lydia Davis. An underlying question throughout will have to do with the consequences of formal choices: what sorts of things can only be accomplished through hybrid forms? This is a practice-based seminar. You will have the opportunity to experiment with the kinds of prose-poetic and essay forms you’re encountering in our reading and to invent your own. Students are required to attend poetry readings and other events related to the course during the semester. Candidates must submit samples of their work before registration, with cover letter to Prof. Retallack via campus mail by 4:00 pm on Tuesday, Dec. 5, 2006.

Course	LIT 425 Narrative Strategies
Professor	Bradford Morrow
CRN	17451
Schedule	Mon 9:30- 11:50 am Olin 205
Distribution	OLD: B/F	NEW: Literature in English

With special emphasis on post-genre fabulism and the New Gothic, this workshop is intended for the writer interested in engaging the theory that reading is a primary function of creating fiction. We will explore, through selected readings and responsive writing, the ways a literary narrative best finds its expression, its voice. Students will study contemporary fiction by David Foster Wallace, Jamaica Kincaid, Angela Carter, Rick Moody, Russell Banks, John Crowley, Kelly Link, and others. Class discussion will focus on the variety of technical means by which the author develops a story, and on intensive workshop discussion of student writing. Expect to write one critical essay about the style and technique of the writers we are reading, as well as two original works of fiction patterned on texts in the course, and a third story of independent work in progress. Candidates must submit samples of their work before registration, with cover letter to Prof. Morrow via campus mail by 4:00 pm on Tuesday, Dec. 5, 2006.