12158 |
LIT 121 Beginning
Fiction Workshop |
Mary Caponegro |
. T . Th . |
3:10 -4:30 pm |
OLINLC 118 |
PART |
This
course is intended for students who wish to learn to create short stories; it
requires no prior workshop experience in fiction, but will entail various narrative
exercises and close reading of short forms, both traditional and experimental.
Submissions required. Admission is by
portfolio. Class size: 14
12315 |
LIT 122
Nonfiction
Writing Workshop |
Susan Rogers |
. T . Th . |
3:10 – 4:30
pm |
OLINLC 120 |
PART |
This
course is for students who want to write “creative” essays. Creative nonfiction
is a flexible genre that includes memoir, the personal essay, collaged
writings, portraits and more. They can
range from lyrical to analytical, meditative to whimsical. We will read a range
of works and then offer up our own creative experiments. In particular we will
pay attention to the relationship between language and ideas. Weekly writings and readings. No prior experience with
creative nonfiction is needed. Admission is by portfolio. Class size: 14
12312 |
LIT 123 First
Poetry Workshop |
Robert Kelly |
. . W . F |
11:50 -1:10
pm |
OLIN 101 |
PART |
Open
to students who have never had a workshop in poetry, and who desire to experiment
with making their own writing a means of learning, both about literature and
poetry, and about the discipline of making works of art. Attention is
mainly on the student's own production, and in the individual’s awareness of
what sorts of activities, rhythms, and tellings are
possible in poetry, and how poets go about learning from their own work. The
central work of the course is the student's own writing, along with the
articulation, both private and shared, of response to it. Readings will be undertaken
in contemporary and traditional poets, according to the needs of the group,
toward the development of familiarity with poetic form, poetic movement, and
poetic energy. Attendance at various evening poetry readings and lectures is
required. Admission is by portfolio. Class size: 14
12391 |
THTR 212 Writing
Political Theater |
Chiori Miyagawa |
. . W . . |
1:30 – 4:30
pm |
FISHER PAC |
PART |
Cross-listed: Human Rights, Written Arts Cross-listed: Human Rights, Written Arts By invitation of the instructor; interested students should email the
professor ([email protected]) with a
paragraph of interest . This course can
be repeated for credit. Class size: 12
12194 |
LIT 2215 Reading and
Writing Contemporary Cuba |
Edie Meidav |
. T . Th . |
11:50 -1:10
pm |
OLIN 101 |
ELIT |
Cross-listed: LAIS This practice-based
seminar explores the development of contemporary Cuban fiction. With some
illumination from nonfiction as well as Cuba's vibrant cinematic culture,
students explore, creatively and analytically, what it means to write fiction
within a country functioning under the gaze of the panopticon.
Writers such as Arenas, Carpentier, Garcia and Lezama Lima, read in translation, write within a matrix of
influences: French surrealism, Afro-Cuban mythology, Communist revolutionary
rhetoric, and the pain and porosity of diaspora.
Independent research, analysis, and creative writing form part of the
requirements of the course. Course conducted in English; an acquaintance with
Spanish is helpful. Apply with a cover
letter to Professor Meidav via campus mail by
November 21st,
explaining your familiarity with Spanish (language/literature),
your analytic/creative background in literature, and your interest in Cuba.
Class size: 18
12216 |
LIT 222 Writer's
Workshop:Poetry |
Michael Ives |
. T . Th . |
3:10 -4:30 pm |
OLINLC 206 |
PART |
Students
present their own work to the group for analysis and response. Readings in contemporary poets and the problematics
of poetics. Attention will be paid to oral presentation of the
poem. Admission is by portfolio. Class
size: 15
12140 |
LIT 223 Cultural
Reportage |
Celia Bland |
. T . Th . |
1:30 - 2:50
pm |
HEG 308 |
PART |
This
is a course in practical criticism, with all that that entails: description,
evaluation, comparison, judgment, as applied to books,
music, pictures, and shows of all sorts, with emphasis on clarity,
judiciousness, depth, and style. Weekly writing assignments will be paired with
weekly reading assignments: William Hazlitt, Thomas de Quincey,
Charles Baudelaire, Virginia Woolf, Edmund Wilson, Orhan
Pamuk, Janet Malcolm, Rory Stewart, Adrienne Rich,
Daniel Mendelsohn, Luc Sante,
and many more. Class size: 18
12159 |
LIT 321 Advanced
Fiction Workshop |
Paul LaFarge |
. T . . . |
3:10 -5:30 pm |
OLIN 305 |
PART |
A workshop in the creation of short stories,
traditional or experimental, for experienced writers. Students will
be expected to write several polished stories, critique each other's work, and
analyze the fiction of published authors. Admission is by portfolio, with cover letter,
due to Professor LaFarge (Hopson 205) by 5:00p.m. on November 21st
Class size: 12
12166 |
LIT 3234 Translating
Rimbaud |
Wyatt Mason |
M . . . . |
4:40 -7:00 pm |
OLIN 305 |
PART |
Over
the course of the term, each of the students in this class will translate
Arthur Rimbaud's 6,000-word hybrid prose/verse poem, "Une
saison en enfer." As a
class, we will go through the poem line by line, in discussions about the
meaning of the French, and the boggling range of alternatives in English. The
purpose is not to come up with a collective translation of the poem, rather
that our class discussions and independent research into the meanings of words
inform us enough about both languages to be able to arrive at our own
individual translations of the poem. The class will function as a writing
workshop, with writing assignments due every week, both in researching the
French language and writing in English. Translation will be supplemented by
reading previous translations of Rimbaud, as well as essays on translation as a
practice. Though the class will be taught in English, students wishing to
enroll must have strong skills in the French language, intermediate level or
above (or equivalent). Permission
of the instructor required via email ([email protected]) before enrollment. Class
size: 12
12357 |
LIT 3362 The Essay |
Luc Sante |
. . . Th . |
1:30 -3:50 pm |
HEG 200 |
ELIT |
This course
will consider the essay form as well as its style, with a particular focus on
voice, viewpoint, and rhetorical technique. Intensive study will be devoted to
word choice, cadence, and even punctuation, in the belief that even the most minute aspects of writing affect the impact of the
whole. The goal is to equip students with a strong but supple command of their
instrument, a prerequisite for personal expression. There will be writing and
reading (from Macauley to Didion)
assignments each week, and exercises and discussion in class. Class size: 15
12575 |
LIT 338 Writing Nonfiction
|
Verlyn Klinkenborg |
. . . Th . |
1:30 -3:50 pm |
OLIN 307 |
ELIT |
This
is a demanding seminar in the art of writing nonfiction prose. The emphasis is
on "prose." You will be learning to make the best sentences you've
ever made and to see what happens when you do so. That is a modest description,
but don't let it deceive you. The goal of this seminar is to transform the way
you write and the way you perceive the world around you. Our readings will
include modern nonfiction classics--Joan Didion,
George Orwell, John McPhee, Ryszard
Kapuscinski, and many more. This is not a seminar in
a single genre of nonfiction writing--memoir, profile, feature, etc. It's a
seminar in the art and skills that underlie every genre.
Everyone
writes every week on subjects of their own choosing, so plan accordingly. Class size: 15
12160 |
LIT 3500 B Advanced Fiction: The Novella |
Mona Simpson |
|
By arrangement |
|
PART |
The second
semester of a yearlong class, intended for
advanced and serious writers of fiction, on the "long story" or
novella form. Students will read novellas by Henry James, Flaubert,
Chekhov, Flannery O'Connor, Allan Gurganus, Amy Hempel, and Philip Roth (and perhaps others) using these
primary texts to establish a community of reference. We will discuss technical
aspects of fiction writing, such as the use of time, narrative voice, openings,
endings, dialogue, circularity, and editing, from the point of view of writers,
focusing closely on the student's own work. The students will be expected
to write and revise a novella, turning in weekly installments of their own
work, and of their responses to the assigned reading. The course will meet six times over the
semester, dates to be announced.
Class size: 12
12574 |
LIT 422 Writing
Workshop for Non-Majors |
Susan Rogers |
. . W . . |
1:30 -3:50 pm |
OLIN 304 |
PART |
A course designed for
juniors and seniors, who are not writing majors, but who might wish to see what
they can learn about the world through the act of writing. Every craft,
science, skill, discipline can be articulated, and anybody who can do real work
in science or scholarship or art can learn to write, as they say, “creatively.”
This course will give not more than a dozen students the chance to experiment
with all kinds of writing, but in particular the creative essay. The creative
essay is elastic allowing for meditations and rants, portraits and personal
essays. We will read a range of works, then produce
our own writings for critique. No portfolio is needed.
Class size: 15