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Course Criteria
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2.00 - 3.00 Credits
How do we get insight into our own lives, into how other people lived, through art How do we (re)construct facts from our lives, from history, and turn those into art From Shakespeare to Romare Bearden, from Sappho to Cindy Sherman, we'll look at poetry (the entire collection of Shakespeare's sonnets and Sappho's fragments) as well as the visual image (collage and photography) to tap into the consciousness behinda work of art. This is an advanced poetics course that includes an investigation into formal composition, uses of fragments, visual imagery, realism and symbolism. From ancient to postmodern, we'll channel it all and stir it into writing exercises produced each class. The course will explore the roots of "vision" and "inspiration" and harness these concepts to discipline and formal practice evidenced by the writers and artiswe study here. Why Cindy Sherman Her own face is clay. Sherman reminds us through constant remaking of her own image that Shakespeare's princes are also clay. Ditto Sappho. Ditto Bearden: material as artifact-collage as history and memory. Whether we approach the work as dreamers or as authority figures, as the humiliated or the indignant, the betrayed or the deceiver, the alienated or the inseparable, we will train our eyes to notice significant details and collisions in the texts and patterns of both written and visual art.
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3.00 Credits
This course brings critical texts to life, focusing on the reading and discussion of current trends in literary criticism, while keeping in mind deeper roots. This is critical theory for writers, offering the beginning or sophisticated critic a chance to develop an understanding of the uses, abuses, and relative power of language. Moving from self to other to social contract, the chosen texts represent a broad spectrum of ideas, enabling the writer to hone not only analytical skills but also a deeper sense of his/her place and lineage within the greater social and literary environment.
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3.00 Credits
The class considers novels that combine formal invention with explicit or oblique social commentary and/or unusual approaches to consciousness: Toni Morrison, Song of Solomon; Italo Calvino, Invisible Cities; Haruki Murakami, The Wind-Up Bird Chronicle; Penelope Fitzgerald, The Blue Flower; Marilynne Robinson, Housekeeping; Anne Carson, Autobiography of Red; and Manuel Puig, Kiss of the Spider Woman. We look at a range of ways that writers can extend and structure long-form narratives, exploring artistic questions of fantastic, social, and political writing from both theoretical and craft-oriented approaches. Participants will examine, in their own writing as well as their course reading, the craft issues that intersect with the artistic questions, including plot and structure; the layering of multiple narratives into a meaningful whole; the development of characters, patterns, imagery, and ideas over the course of a long work; the fiction/nonfiction boundary; and the inclusion of multi-genre elements.
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3.00 Credits
This class will offer a zero-gravity environment in which to examine and experiment with the smallest unit of experience: the story. From situating experimental narratives with regard to historical structures to utilizing techniques of the Dadaist, this class ultimately aims to help writers gain an extended vocabulary of form and content to use in future work. Toward this end, we'll be reading a great deal of experimental work from the late 20th century (primarily fiction, though the techniques applied are useful across genres). We'll spend a good deal of time dissecting the authors' methods and evaluating them, and write pieces of our own-not in imitation, but in innovation. What are the implications of structuringa piece of work in one way rather than another Are there political and social consequences from these changes And when that rectangle from around point C went to join the circus, how did it make us feel The writers in the room-the mad scientists of literature-know the answers,and we'll go in search of them writing and reading, including (primarily) fiction from the late 20th century, including work by William Burroughs, Kathy Acker, and Sapphire, among others.
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3.00 Credits
In fiction, poetry, and creative nonfiction, writers like Virginia Woolf, John Edgar Wideman, Cecelia Vicu?, Doris Lessing, Amos Tutuola, Gabriel Garcia Marquez, Anne Carson, Haruki Murakami, Michael Cunningham, and Lydia Davis explore the nature of mind: reality and illusion; selfawareness and self-deception; dreams, madness, and the irrational; creativity; ways of knowing/perceiving; and the awareness of awareness of inner and outer worlds. This core introduction to the study of writing and consciousness includes both imaginative works and historical and contemporary theories of mind: philosophical, psychological, and neuroscientific. Students will employ creative modes of inquiry-both academic and imaginative-in the analysis and synthesis of course texts with self-reflection, artistic self-discovery, and the collaborative transformation of community. The class will include in-class creative and analytical writing exercises; multi-disciplinary, multi-genre collaborative presentations; and a substantial critical reflection.
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3.00 Credits
The course will focus on the writing of short stories and short pieces ranging in length from a few hundred words to 25 pages. Students will both read and write "short" literature in a range of fictions and nonfictions. All genres welcome. The focus will be on "getting it said" in 500 to 1,0words. Students will work both individually and collaboratively. Plan to have some fun.
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3.00 Credits
The teaching of writing offers a combination of pleasure and play, of patient progress interspersed with sudden insights and new levels of ability. The craft of teaching writing involves learning the skills to manage and lead discussions, to develop effective syllabi and assignments, to understand different learning styles and modes of teaching, and to create and sequence lesson plans. The art of teaching writing involves exploring differing philosophies about what it means to teach writing, from innovative pedagogical practitioners like Paolo Freire, bell hooks, and Dorothy Allison. In this class, students will have a chance to develop and practice hands-on teaching as well as to write their own syllabi, assignments, and statements of teaching philosophy. Participants will learn how to create collaborative learning communities that allow their students to transform their reading, writing, and understanding of themselves and the world.
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3.00 Credits
"Throughout the world, artists are redefining the role of an artist in society and calling on the power of art to spark environmental action": JuneLaCombe. The artist, as creator of individual testimonies or of activist happenings, can serve as a mirror for current realities or a catalyst of social change. Participants in this course will explore and define their own relationships to the intersections of art, social change, and the roles of artists-inside and outside society.
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3.00 Credits
In this course, students will have the opportunity to learn every aspect of independent publishing and will learn about the literary world in its many permutations (including trade, academic, independent, and fine press publishing). The course will cover such issues as copyright, contracts, and submitting work within the current publishing industry. One of the greater goals of this course is to aid writers in beginning to locate their own work within the contemporary publishing landscape.
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3.00 Credits
Artists/writers need to both develop their individual processes and creative habits and find their deepest, most urgent subject matters and artistic practices. This class will help participants develop an understanding of creativity theory and practice as they create a substantial artistic project: a collection of poetry or stories, a novel, a series of paintings, a dance or theater piece, a memoir, or a mixed-genre work. Artists and writers in different genres will have a chance to expand each other's ideas of the possible as they share work in progress and ideas about process. Course topics include beginnings/openings, endings/closings, finding the strongest possible shape for the work, how the artistic process intersects with the artistic product, the relationship of artist and audience, time management for the artist, ways to generate new work, and methods for re-entering work to revise, deepen, expand, and bring to fruition a major artistic project. P/NP
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