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Course Criteria
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3.00 Credits
We look at important works of fiction, essay, poetry and memoir that, written one hundred to two hundred years following the Declaration of Independence, are exciting and vital to this day. We investigate the ways they reveal and define a particular American experience and character in history, literature and poetics. They are treated, not as static texts, but as enduring social and cultural signposts. Readings include works by Edgar Allen Poe, Ralph Waldo Emerson, Henry David Thoreau, Phyllis Wheatley, Herman Melville, Nathaniel Hawthorne, Emily Dickinson, Walt Whitman, Mark Twain, Stephen Crane, as well as enduring Native American texts. Response papers and a final research paper required.
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3.00 Credits
This class broadens our repertoire and abilities as readerwriters. The readings explore literature from several genres, including writing that mixes and matches more than one genre in a single piece of writing. The class also functions as a workshop undertaking writing experiments. Students develop the ability to analyze and speak articulately about contemporary writing, learn to identify the characteristics of discrete literary genres, strengthen their writing skills in multiple genres and produce writing samples.
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3.00 Credits
The Pacific Rim culture region, which includes the west coast of North America, the Bering Strait and the coastal regions of Asia including Japan, have shared technologies, populations and cultural lore for tens of thousands of years. This course explores the distinctive literature-oral and written-created in this area. Songs, poetry, myths, drama, from prehistoric times to the present, are explored.
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3.00 Credits
This introductory fiction workshop explores techniques and aspects of craft such as structure, story and plot, character, voice, point of view, setting, description and the possibilities offered by different narrative forms. Reading selections of classic and contemporary writing for inspiration and points of departure, we generate new writing of our own through weekly writing investigations and in-class assignments. With feedback from our colleagues we take this work through drafts and revisions with the aim of producing a final portfolio. We also think about practical aspects of how fiction is edited, published and read, and consider how or why we might want our own work to be published. Open to lower-division sophomores, others by permission of the department.
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3.00 Credits
An eclectic collection of the poems and texts of twelve very distinct poets is introduced, read, discussed and drawn on for inspiration. The study of each poet includes biographical information, class members reading aloud from the texts and an in-depth discussion of the individual poems with emphasis on the inspiration factor, i.e., where inspiration comes from, etc. While class members take turns reading from the text, the rest of the class participates in an automatic writing exercise. This "wall of words" becomes the material for a rough draft that through class discussion contributes to the making of each student's poems. Students are required to keep a notebook of their "wall of words," their in-class rough draft, class suggestions towards their completed poem, revisions of the poem and notations on how they worked with the "wall of words" for inspiration. A final portfolio of completed poems is required. Open to W&L students only, others by permission of the departm
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3.00 Credits
How does narrative fiction push the boundaries of realism to engage the writer's imagination How does a realistic voice turn inventive and nearly magical In this class we explore the magic of realism, as seen in writers like Cortazar, Calvino and Marquez (who claimed he only wrote "true socialist realism"), as well as in myth and fairy tales, and learn, in describing the ordinary, how to craft the fantastic in our own work. In short, we learn the importance of numbering precisely the amount of butterflies in any story. Open to W&L students only, others by permission of the department.
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3.00 Credits
This course challenges traditional assumptions about how poems are created by isolating the operations in play to produce texts. We begin with Gertrude Stein's Tender Buttons, then read contemporary writers who question the authority of poetic practice through new uses of language, form, syntax and meaning. We immerse ourselves in the laboratory of literary structures and examine how writers confront convention and experiment with process. In addition, we examine the writer's historical context and how it informs the "poetic operation.
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3.00 Credits
Reading assignments sample the ancestral and expanding constellation of postmodern poetics. Students research Writing and Poetics Department 209 practitioners of their own choosing for in-class discussion, and are encouraged to access the Naropa Audio Archive in doing so. Classes split time between presentation and discussion of readings and work-shopping of weekly writing assignments. The course title is taken from Edward Dorn and refers to poet Charles Olson's sense of the "projective" as a launch pad for postmodern poetics.
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3.00 Credits
This class is an investigation and production of alternative narrative strategies. Readings from contemporary world fiction are a source of dialogue, though our emphasis is on inventing worlds for our characters/dissolving characters to navigate. What happens to our fiction if these navigations fail What does "narrative" itself mean to us as writers engaged with prose This class is an opportunity for you to develop your sense of where you stand in relation to the page. Open to W&L students only, others by permission of the department.
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1.00 Credits
An introduction to various facets of the small press including its history and practical concerns around submissions and editing. What is a small press What was its role in forging the contemporary period How do you "read" relevant editorial information out of journals and magazines How do you put together submissions and cover letters At least one current journal or press editor will appear as a guest speaker. There will be show and tell, hands-on study, and collaborative exercises focused on practical skills. Open to W&L and W&P students only, others by permission of the department.
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