WRIT 121

 First Fiction Workshop

Porochista  Khakpour

 T  Th   11:50 am-1:10 pm

OLIN 303


This course involves both intensive reading and writing of the short story, and is intended for students who have made prior forays into the writing of narrative but who have not yet had a fiction workshop at Bard. In spring term this course is not restricted only to first-year students. Prospective registrants must submit a writing portfolio c. 10 days before registration. Deadline and guidelines will be announced via email and at writtenarts.bard.edu.

Class size: 14



WRIT 224


Ian  Buruma

M  W     10:10 am-11:30 am

OLIN 308


Cross-listed:  Human Rights  This course will consider what constitutes literary journalism, as opposed to other forms of comment or reporting. It will include famous polemics, such as Zola's J'Accuse, literary and arts criticism, and political reportage. Great critics, ranging from Cyril Connolly on literature to Lester Bangs on rock music, will be read. We will look at famous reportage, such as Mary McCarthy's pieces on Vietnam, and Alma Guillermoprieto on the killings in Mexico. H. L. Mencken's articles on the Monkey Trial of 1925 will be on the list, as will Hunter S. Thompson on the Hell's Angels.  The fine (but important) line between factual reportage and fictional imagination will be explored in the work of Ryszard Kapuscinski and Curzio Malaparte.  Students will be shown that journalism can be a literary genre. By reading some of the best, or most controversial practitioners, they will come to a better idea of what it is. Class size: 18



WRIT 238


Short Prose Forms for Poets

Michael  Ives

 T  Th   3:10 pm-4:30 pm

HEG 201


Nietzsche, perhaps anticipating Twitter or SnapChat, thought it possible to say in ten sentences what many say in a whole book. A master of the aphorism, he believed condensation could penetrate rather than just abbreviate. In this course we will take up the challenge, and practice compression by writing prose that begins and ends on a single page. As poets have always known, brevity is a catalyst to invention. We will focus on the sentence, rather than the line, to investigate exactly how the syntax of narrative and description conveys the movement of thought. Among the short forms we will examine are early and post- modern prose sequences, micro-fictions, guide book entries, capsule reviews, the précis, the Haibun, the parable, and notebook and journal entries. Among the writers included will be: John Ashbery, Samuel Becket, Thomas Bernhard, Lydia Davis, Russell Edson, Max Jacob, Franz Kafka, Daniil Kharms, Tan Lin, Harry Mathews, Harriett Mullen, Leslie Scalapino, the sinologist Edward Schafer, scent expert Luca Turin, Paul Valery, and Joe Wenderoth. Admission by portfolio only. Though priority will be given to students intending eventually to write a senior project in poetry, all are welcome to submit for admission. Class size: 12



WRIT 324

 Fiction Workshop III

Porochista  Khakpour

 T          1:30 pm-3:50 pm


HEG 200



This is a workshop in prose fiction for advanced students. Students are expected to submit at least two works of fiction to the workshop and critique their peers' writings. Prospective registrants must submit a writing portfolio c. 10 days before registration. Deadline and guidelines will be announced via email and at writtenarts.bard.edu.  Class size: 14



WRIT 333


Wyatt  Mason

  W        1:30 pm-3:50 pm

HEG 200


The mainstream magazine or newspaper profile has a long history in English, one that dates back to Daniel Defoe’s pioneering efforts, efforts that--significantly--ran in parallel to the emergence of the English novel. In this course, we will hopscotch through the history of the profile in English as we attempt to come to an understanding of how a written portrait of a real-live person--Defoe’s profile of the criminal Jack Sheppard, for example--differs in nature and form from a written portrait of an invented person--such as Robinson Crusoe in Defoe’s novel by that name. A writing workshop, this course will be focused, nonetheless, on reading. We will analyze how writers through time who have worked on deadline have managed the formally repetitive task of seizing facts about a person and forging them into a written portrait that offers a distant reader a fair--though sometimes unfair--picture of an individual human being. Readings will be drawn from the history of the practice of journalism of this kind, and will include texts by Defoe, De Quincey, Hazlitt, Rebecca West, George Orwell, Joan Didion, Gay Talese, Janet Malcolm, Henry Louis Gates, Katharine Boo, Jennifer Egan, David Foster Wallace, Leonard Michaels, James Wood, John Jeremiah Sullivan, Rachel Kaadzi Ghansah and others. Students wishing to enroll must contact instructor via email before registration.  Class size: 12



WRIT 335


Ann  Lauterbach

   Th     1:30 pm-3:50 pm

OLIN 301


"Practicum" is a Latin word meaning the practice of something as one moves from learning about it to doing it. This course will have the spirit of experiment, in the sense of testing and revising, and a sense of inquiry, in the sense of looking closely at how specific choices—word, punctuation, syntax, line break, stanza—inform how meanings are made. We’ll read a range of examples, as well as some critical writing, to help you align your intentions to your writing practice. Prospective registrants must submit a writing portfolio c. 10 days before registration. Deadline and guidelines will be announced via email and at writtenarts.bard.edu.

 Class size: 13



WRIT 336

 Prose Studio

Luc Sante

   Th     1:30 pm-3:50 pm

HEG 300


Just as the visual arts employ studios to stretch muscles, refine technique, and launch ideas, so this class will function for writers of fiction and nonfiction. Every week there will be paired reading and writing exercises concerning, e.g., voice, stance, texture, rhythm, recall, palette, focus, compression, word choice, rhetoric, and timing. For serious writers only.Prospective registrants must submit a writing portfolio c. 10 days before registration. Deadline and guidelines will be announced via email and at writtenarts.bard.edu.  Class size: 15



WRIT 340 B

 Affinities & Discoveries

Mona  Simpson

    TBA -



This is a year-long course, students who registered in the fall 2015 semester will continue in spring 2016.  No new registrations will be accepted.



WRIT 405

 Senior Colloquium:Written Arts

Mary Caponegro

M          4:45 pm-6:00 pm

ASP 302


1 credit  Senior Colloquium is required for all Written Arts majors enrolled in Senior Project. It has several objectives, intellectual/artistic, social, and vocational. The primary purpose is to guide seniors, both practically and philosophically, in the daunting task of creating a coherent and inspired creative work of high quality within a single academic year. Emphasis will be on demystifying the project process, including its bureaucratic hurdles, as well as exploring the role of research in the creative realm, and helping students use each other as a critical and inspirational resource during this protracted solitary endeavor, sharing works in progress when appropriate. This will supplement but never supplant the primary and sacrosanct role of the project adviser. Program faculty and alumni, career development and other staff, and outside speakers (such as editors, translators, MFA graduates and directors, publishing personnel, etc.) will all contribute their collective wisdom and experience, sharing the myriad ways in which writers move an idea toward full creative realization and giving a glimpse of the kinds of internships and careers available to the writer.  Class size: 20



WRIT 422

 Writing Workshop for Non-Majors

Robert  Kelly

    F       3:00 pm-5:20 pm



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. Prospective registrants must email the instructor with a brief letter of inquiry detailing their current writing activities (e.g., senior project) and their writing interests, or must set up a meeting with the instructor in advance of registration. This course will be held in the Shafer House Common Room. Class size: 12


Cross-listed course



THTR 248


Chiori  Miyagawa

  W      1:30 pm-4:30 pm



Cross-listed: Victorian Studies; Written Arts This is a playwriting workshop in which the students will write time-traveling plays. They will explore the journeys of two 19th century journalists who raced around the world at the same time in opposite directions competing to finish first, and by this act, changed the face of journalism in the U.S. Students will write several short plays following either Nellie Bly’s route (eastward starting by steamboat) or Elizabeth Bishland’s route (westward starting by railway), and may set each scene in any time period between 1889 and the present. Through this project, students will encounter how world cultures were presented in the U.S. by the most popular media of the time--newspapers--and how this exciting and unique contest influenced later generations of writers. By choosing time periods according to cultural and sociopolitical interests in different continents, countries, and cities, students will experience imaginary travels through time. Potential settings include Folkestone, England; Boulogne, France; Brindisi, Italy; Port Said, Egypt; Aden (modern day Yemen); Penang (modern day Malaysia); Yokohama, Japan; Singapore and more. The source material will be drawn from 19th century journalistic writing, histories, and biographies.  Final project will be completing an around-the-world-journey-play that is each student’s own unique version.
Prerequisite: One creative writing class in any genre. Priorities will be given to those who have taken a playwriting class. Class size: 10