ENG 2015: POETRY WORKSHOP
Instructor’s Course Description
American poet C.D. Wright once wrote: “If I wanted to understand a culture, my own for instance . . . I would turn to poetry first. For it is my confirmed bias that the poets remain the most ‘stunned by existence,’ the most determined to redeem the world in words.” In this course, we will hold poetry to this noble standard, as an amplifier for the voices in our culture and an invocatory rendering of our world. In doing so, I’ll ask you to not only read and write poetry but also begin to look at your surroundings as a poet would. This requires close examination of images, scrutiny of your thoughts and feelings about subject matter, and consideration for other points of view. Additionally, you will be asked to think deeply about language, in terms of its meanings, its sounds, its rhythms, and its forms. You should bring to this class a hard work ethic supported by curiosity and generosity. As a means of introduction to the craft of poetry, students will submit original poems for workshop, a collaborative discussion about writing techniques and their effects on readers. In addition to workshop, you will be asked to engage with the writing of contemporary poets, to read like a writer would. I’ve chosen a couple of poetry collections and The Best American Poetry 2015 so that you will have a lens through which to examine the current landscape of American poetry and to see that even today poets are still trying to “redeem the world in words.”
- The Best American Poetry 2015, ed. Sherman Alexie. Scribner, 2015. ISBN: 978-1476708195
- Charms Against Lightning by James Arthur. Copper Canyon, 2012. ISBN: 978-1556593871*
- Poems by Elizabeth Bishop. FSG, 2011. ISBN: 978-0374532369
- A Larger Country by Tomás Q. Morín. Copper Canyon, 2012. ISBN: 978-0966339598*
- Miscellaneous poems/packets on Moodle
*Arthur and Morín will be reading at Centenary College on September 23, 2015.
ENG 2016: PROSE WORKSHOP (ONLINE)
Instructor’s Course Description
This online course will introduce students to a variety of prose forms: flash fiction, the short story, personal essay, and memoir. Using Janet Burroway’s Imaginative Writing as a technique and terminology guide, students will analyze published prose and write their own pieces for workshop, a collaborative discussion about the effects of writers’ choices on readers. You should bring to this class a hard work ethic supported by curiosity and generosity. We will base our discussions on how texts work rather than what they mean, after Francine Prose’s ideal of “reading like a writer.” My approach to teaching writing is founded on the belief that our writing skills must be practiced and cultivated, and that one must continually challenge one’s aesthetics, habits, and concerns throughout one’s writing life in order to write anything of consequence to one’s readers and, perhaps more importantly, one’s self.
- Imaginative Writing: The Elements of Craft by Janet Burroway. Longman, 2014. ISBN: 978-0134053240
- The Best American Short Stories 2014, ed. Jennifer Egan. Mariner, 2014. ISBN: 978-0547868868
- The Best American Essays 2014, ed. John Jeremiah Sullivan. Mariner, 2014. ISBN: 978-0544309906
- Miscellaneous readings on Moodle
Instructor’s Course Description
As a means of exploring the craft of prose writing, we will read, analyze, and imitate two living writers: Chimamanda Ngozi Adichie and Jesmyn Ward. By reading two, book-length works by each writer—a short story collection and book-length essay by Adichie and a novel and memoir by Ward—we will see how these writers develop their unique styles across genres and locate how their personal concerns inform their fictional narratives. Additionally, we will supplement these texts with short stories and essays by some of the most influential prose writers of the 20th century to understand the history and development of American prose over the last one hundred years. We will translate these immersive reading experiences into writing skills through discussion, exercises, and workshop. Several times throughout the semester, students will turn in original writing for workshop, a collaborative discussion about writing techniques and their effects on readers, and later revise two of the pieces using the comments received in workshop. You should bring to this class a hard work ethic supported by curiosity and generosity. We will base our discussions on how texts work rather than what they mean, after Francine Prose’s ideal of “reading like a writer.” My approach to teaching writing is founded on the belief that our writing skills must be practiced and cultivated, and that one must continually challenge one’s aesthetics, habits, and concerns throughout one’s writing life in order to write anything of consequence to one’s readers and, perhaps more importantly, one’s self.
- The Thing Around Your Neck by Chimamanda Ngozi Adichie. Anchor, 2010. ISBN: 978-0307455918
- We Should All Be Feminists by Chimamanda Ngozi Adichie. Anchor, 2015. ISBN: 978-1101911761.
- The Best American Essays of the Century, ed. Joyce Carol Oates. Mariner, 2001. ISBN: 978-0618155873.
- The Best American Short Stories of the Century, ed. John Updike. Mariner, 2000. ISBN: 978-0395843673.
- Men We Reaped: A Memoir by Jesmyn Ward. Bloomsbury USA, 2014. ISBN: 978-1608197651
- Salvage the Bones by Jesmyn Ward. Bloomsbury USA, 2012. ISBN: 978-1608196265
- Class Participation (10%)
- Group Presentation (15%)
- Four Workshop Pieces (40%)
- Two Revisions (15%)
- Two Imitations (10%)
- Discussion Board Participation (5%)
- Final Reading (5%)
Class: Introduction to Creative Writing (The College of William & Mary)
Purpose: To explore the self as a character and subject
Readings: Chapters 8 (“Creative Nonfiction”) in Janet Burroway’s Imaginative Writing and “Nobody Knows Your Name” of Eula Biss’s Notes from No Man’s Land
Do you know the story of your name? Its meaning and its history? Do you know why your parents named you what they named you? Are there other famous people with your name? Is your name particularly popular or obscure? What does your last name say about your ancestry, if anything? What are misconceptions about your name? Is your name easily mispronounced or misspelled; if so, give us a narrative about someone getting your name wrong. Are their misconceptions about you based on your name? How would address those who make judgments on a person based on their name? If you don’t know what your name means, speculate and/or invent your own personal meaning for your name based on your experiences, the sounds in your name, etc.. Do you define your name or does your name define you? Write for 10 minutes.