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Course Criteria
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3.00 Credits
K.Kirchwey Surveys the work of literary writers reading in the Creative Writing Program Reading Series. Students will read and discuss at least one work by each of the authors appearing, and whenever possible will meet individually with the authors in class as well as attending their public readings. Authors represented have included poets Lucille Clifton, Derek Walcott and Richard Wilbur, fiction writers E.L. Doctorow and James Salter, and memoirist Patricia Hampl. This is a half-credit course; students may receive credit for either or both semesters. Approximately 15 pages of critical prose writing will be required for each half-credit. Not offered in 2008-09.
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3.00 Credits
K.Kirchwey Open to creative writing students and students of literature, the syllabus includes some theoretical readings, but the emphasis is practical and analytical, considering parallel translations of certain enduring literary texts as well as books and essays about the art of translation. Literary translation will be considered as a spectrum ranging from Dryden's "metaphrase" (word-for-word translation) all the way through imitation and adaptation. The course will include class visits by working literary translators. The Italian verbs for "to translate" and "to betray" are neighbors; throughout, the course concerns the impossibility and importance of literary translation.
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3.00 Credits
Downing This course introduces students to a genre that is too rarely studied or attempted. The first purpose of the course is to introduce students to masterpieces of travel writing in order to broaden students' understanding of the genre and the world. The second is to give students a chance to experiment with travel writing. Finally, the course seeks to sensitize students to the nuances of style (diction, syntax, etc.) that affect the tone and texture of a writer's prose. While students need not have traveled extensively in order to take this course, passionate curiosity about the world is a must. Not offered in 2008-09.
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3.00 Credits
D.Torday An introduction to fiction writing, focusing on the short story. Students will consider fundamental elements of fiction and the relationship of narrative structure, style and content, exploring these elements in their own work and in the assigned readings in order to develop an understanding of the range of possibilities open to the fiction writer. Weekly readings and writing exercises are designed to encourage students to explore the material and styles that most interest them, and to push their fiction to a new level of craft, so that over the semester their writing becomes clearer, more controlled, and more absorbing.
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3.00 Credits
J.C.Todd This course will provide a survey of craft resources available to students wishing to write print-based (as opposed to spoken-word) poems in English: figure, line, measure, meter, rhyme and rhythm. In concert with close reading of model poems, students will gain experience writing in a variety of verse forms, including haiku, Anglo-Saxon accentual verse, sonnet, free verse and prose poem. The course objective will be to provide students with the skills to explore poetic form, both received and invented, and to develop a voice with which to express themselves on the printed page.
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3.00 Credits
A.Herzog An introduction to playwriting through a combination of reading assignments, writing exercises, discussions about craft and ultimately the creation of a complete one-act play. Students will work to discover and develop their own unique voices as they learn the technical aspects of the craft of playwriting. Readings will include work by Maria Irene Fornes, John Guare, Tony Kushner, Suzan-Lori Parks, Sam Shepard, Paula Vogel and others. Short writing assignments will complement each reading assignment. The final assignment will be to write an original one-act play. Not offered in 2008-09.
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3.00 Credits
K.Kirchwey The purpose of this course is to provide students with practical experience in writing about the events, places and people of their own lives in the form of memoir. Initial class discussions attempt to distinguish memoir from related literary genres such as confession and autobiography. Writing assignments and in-class discussion of syllabus readings explore the range of memoirs available for use as models (excerpts by writers including James Baldwin, Lorene Cary, Annie Dillard, Arthur Koestler, Rick Moody, Lorrie Moore, and Tim O'Brien) and elements such as voice and perspective, tone, plot, characterization and symbolic and figurative language. Not offered in 2008-09.
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3.00 Credits
T.Ferrick Students in this class will learn how to develop, report, write, edit and revise a variety of news stories, beginning with the basics of reporting and writing the news and advancing to longer-form stories, including personality profiles, news features and trend stories, and concluding with point-of-view journalism (columns, criticism, reported essays). The course will focus heavily on work published in The Philadelphia Inquirer and The New York Times. Several working journalists will participate as guest speakers to explain their craft. Students will write stories that will be posted on the class blog, the English House Gazette.
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3.00 Credits
D.Torday This course will explore the literary expressions of nonfiction writing by focusing on the skills, process and craft techniques necessary to the generation and revision of literary nonfiction. Using the information-gathering tools of a journalist, the analytical tools of an essayist and the technical tools of a fiction writer, students will produce pieces that will incorporate both factual information and first person experience. Readings will include a broad group of writers ranging from E.B. White to Joseph Mitchell, George Orwell to David Foster Wallace, David Sedaris to Dave Eggers, Joan Didion to John Edgar Wideman, among many others.
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3.00 Credits
Doyne This combination discussion/workshop course is an introduction to dramatic writing for film. Basic issues in the art of storytelling will be analyzed: theme, dramatic structure, image and sound. The course will be an exploration of the art and impulse of storytelling, and it will provide a safe but rigorous setting in which to discuss student work. What is a story What makes a character compelling, and conflict dramatic How does a story engage our emotions Through written exercises, close analysis of texts and the screening of film, we will come to better understand the tools and dictates of film writing.
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