ENG 326/426 Writing Poetry: Intermediate/Writing Poetry: Advanced
University of North Carolina at Greensboro
ENG 326/426 Writing Poetry: Intermediate/Writing Poetry: Advanced
University of North Carolina at Greensboro
In this reading exercise, students are responding to and annotating different literary devices and features—including dialogue, active voice, unique diction, etcetera—in the opening pages of five chapters (13–18) of the class’s icebreaker text, Harry Potter and the Goblet of Fire.
In this reading discussion prompt, students are asked to consider what elements contribute to our understanding of character in this “Guess Who” game in which students draw a character who appears in chapters 3–12 of Harry Potter and the Goblet of Fire and then describe them by answering a series of questions. They will use their descriptions to come up with three clues about the character: one is a concrete detail about the character’s appearance, the second is to identify a scene in which they appear, and the third is a literary craft element that helps reveal their character.
ENG 2015: Poetry Workshop
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 Poetry magazine as our required text 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.”
ENG 2016OL: Online Prose Workshop
This course will focus on the prose forms of the short story and personal essay, and emphasize drafting and revision. Students will respond to published prose and write their own pieces for workshop, a collaborative discussion about the effects of a writer’s 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.” We will use Megan Mayhew Bergman’s collection of short stories, Almost Famous Women, and Zadie Smith’s collection of essays, Changing My Mind, as a touchstone for learning writing skills and discovering genre conventions. 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.
ENG 2031: Craft of Prose
In Italo Calvino’s Invisible Cities, Marco Polo tells Kublai Khan that “the city must never be confused with the words that describe it.” In this course, we will shoot high and aim to write so richly and uniquely about our fictional worlds that they will be rendered in our readers’ imaginations as palpable, the words and places indistinguishable, symbiotic, “real.” We will take as our lodestars a number of texts, including Calvino’s Invisible Cities, a short story collection by Centenary’s fall 2016 visiting author Megan Mayhew Bergman, and one of the Harry Potter novels. 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 one of the pieces using the comments received in workshop. Additionally, we will play host to Centenary’s Fall 2016 visiting writer, Megan Mayhew Bergman, and prepare accordingly. 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.
Texts and Supplies
ENG 3099: Special Topics: Literary Editing & Publishing
“Editing, like writing, is fundamentally about composing a world,” Peter Gizzi writes in his essay “On the Conjunction of Editing and Composition.” In this course, students will learn how this act of composition takes place, from submissions to printing, by reading first-hand accounts of editors in the profession and through practical application. This reading intensive course will challenge you to read like an editor rather than a reader, writer, or critic, and ask you to consider how literary magazines contribute to literary culture. You will be exposed to many different types of editing styles, and you will be asked to begin to cultivate your own approach to editing a literary magazine or journal while being introduced to all the skillsets needed to create a publication. We will use literary magazines as a case study for all of our publishing inquiries, but we will likewise touch upon the book-publishing process and market. The class will include an investigation into the history of literary magazines; editorial meetings in which students will evaluate and debate sample pieces; papers that analyze literary magazines, editorial roles, and the state of contemporary publishing; and a final editorial project in which student groups will “compose a world” through a mock literary magazine by developing its mission, design, and content. In many ways, this course acts as a kind of introductory practicum for students interested in pursuing future publishing opportunities as editors, production editors, and as writers.
Texts and Supplies
As an icebreaker for my worldbuilding-themed Craft of Prose class, a Harry Potter text provides the inspiration for this exercise in creating unlikeable characters. Students start this “Dursleyish” writing exercise by drawing their character and then freewriting about that character’s day-to-day routine.
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.
In the Spring 2015 semester, I will be teaching ENGL 215: Textual Analysis at Virginia Commonwealth University and CRWR 212: Introduction to Creative Writing at The College of William & Mary. Below I’ve included the course descriptions and required texts for each course followed by a brief explanation of my choices for the classes’ reading lists.
VIRGINIA COMMONWEALTH UNIVERSITY
ENGL 215: TEXTUAL ANALYSIS
“Brickwork: Urban Imagination”—From the sidewalk to the skyscraper, alleys to main thoroughfares, the urban landscape has not only provided the setting to many works of great literature, it has become a kind of a foil for many protagonists. In this course, we’ll read novels, nonfiction, and poetry that use the urban landscapes, the exterior world, that increasingly engage, complicate, and reveal charactes’ internal life. Starting with photorealistic portrayals of cities in a particular moment, like those in essays by Joan Didion, and moving on to fabular remakings of place, as found in Italo Calvino’s Invisible Cities, students will learn the basics of close reading, analyzing the literary devices and strategies, comparing and contrasting works, and contextualizing their discussion toward a main question about how a city can make a person, how people make a city. In addition to the previously mentioned authors, students will read excerpts or texts by Kazim Ali, Teju Cole, Charles Dickens, Nick Flynn, James Joyce, Rebecca Solnit, Zadie Smith, Anne Winters, and more.
A course packet available online with excerpts taken from the following texts:
*The goal with my selection of these required texts and the course packet is to keep the students engaged and challenged while exposing them to a variety of canonical and contemporary writing in their acquisition of essential textual analysis skills.
Additionally, I want them to be exposed to poetry throughout the course, unlike my students who read only one poetic work this semester. I find that students who read a lot of poetry become much better readers of poems and, I’d even argue, all other texts; continued exposure is the key to their understanding. I came to this conclusion after reading the responses to Autobiography of Red, in which many of them thoroughly investigated sound and line breaks. I realized that I hadn’t trusted the 215 students enough to “get” poetry when I was making my syllabus because they hadn’t taken any college literature classes before; this time, I’m going to give them the benefit of the doubt and give them equal parts poetry and prose.
The excerpts in the course packet will be short, and they will be used either on their own (like Didion), as a supplement for their books, and/or for in-class assignments. Many of the books on the excerpt list were originally a part of the working text lists. I decided, however, to cut down the required reading from this semester’s seven texts to five so that we could spend more time on in-depth exploration. In this way, we’ll have more focus on a few core texts and I won’t have to cut out many of the authors I want to teach. I might supplement Anne Winters with Alan Shapiro poems and an excerpt from Dickens’s Night Walks; Invisible Cities with some of Ali’s Bright Felon: Autobiography and Cities. Once I start making the course calendar, I’ll have a better idea about how I’ll juxtapose these texts.
I decided to add the Bedford Glossary because I felt like I often had to remind students of literary terms, strategies, and concepts this semester. They received these terms through lecture, discussion, and a glossary I created. A desk reference such as the Bedford, however, will provide them with many more possibilities to understand and locate literary devices and to explore the lenses through which to analyze texts. I haven’t decided yet whether I want to test them on a selection of these terms, but I think it might incentivize them to learn core terms.
WILLIAM & MARY
CRWR 212: INTRODUCTION TO CREATIVE WRITING
University Course Description
Workshop format emphasizes the basics of writing fiction and poetry. Class meets for one two-hour session per week. No previous writing experience is required. Open to academic freshmen and academic sophomores with priority given to academic freshmen.
*I decided that I wanted my Creative Writing students to be exposed to the types of writing that we generally eschew in lower-level courses, especially hybrid works like prose poems, lyric essays, etc. So many creative writing students I’ve encountered have such set ideas for what poetry or prose should be that it’s hard for them to engage the genres in any new way. The idea here is that we will start with fiction (Gautier), move into the essays (Biss), transition into poetry (Levine), and then consider poetry/prose hybrids (Nelson and Rankine). In every other creative writing class I’ve taught, questions about prose poetry and, less frequently, lyric essays have arisen. They want to know what they are and how to write them. I want students to understand genre as one bridge you can walk rather than separate rocks you have to hop between to cross the river. This decision is founded on my belief that a writer of any genre can learn from strategies of other genres and that there are many intersections between the genres.
I will use the Burroway for the students to learn essential concepts (setting, tone, point of view, etcetera), and I’ll likely use the example texts therein for in-class assignments to jumpstart exercises and or discussions.