Arts Core Courses

“It’s very boring to talk about winners,” Umberto Ecco once said. “The real literature always talks about losers.” In this class, we shall embrace all manner of failures, no-accounts, and deadbeats, those unlikely ‘heroes’ around which good fiction often rotates, considering how they intrigue us with their flaws and failings, but also how they can present pitfalls at the levels of plot (lack of agency), tone (reward vs. punishment), and reader sympathy. Through an array of short fiction, as well as films and a hybrid novel, this course aims to uncover the ways narrative craft can infuse stories about shiftless and inept protagonists with a sense of curation, poignancy, and meaning. Students will also attempt their own short story versions of “loser lit,” to be workshopped by the class. Expectations will, of course, be very low.

This course explores short form screenwriting, as distinct from feature-length or episodic screenwriting. In addition to studying the essential elements of a screenplay, we will read, view, and discuss approaches to scripting brief documentary, poetic, and fictional time-based works. This work will prepare us for in- and out-of-class writing exercises in these modes, which students will often discuss in a workshop environment. Students will respond in creative and critical ways to the screenings and readings; present on a specific time-based work or creator; and write in the short screenwriting formats under study, culminating in a final creative project.

Like the monsters it so often portrays, Gothic fiction is at once a transgressive, seductive, and mutable genre—blending horror, mystery, and romance and using supernatural elements to blur the line between realism and fantasy. It’s amid this ambiguity that the Gothic is at its most evocative and visceral, powerfully dramatizing our encounters with the irrational and inexplicable in nature, in others, and in ourselves. This Arts Core course will focus on these psychologically provocative aspects of the genre. As we read Gothic works from different eras and cultures, we’ll examine what these stories of extraordinary conflict might reveal about the horrors and mysteries of ordinary life—of our hidden desires, anxieties, and pathologies. Crucially, we’ll approach them from the writer’s perspective and consider what the Gothic enables a writer to explore and express that other genres may not. With this in mind, students will write their “Gothic Scenes” throughout the quarter, applying their own intimate Gothic lens to elusive encounters from their past. 

Jezebels, witches, femme fatales, nasty women, sirens, madwomen, and murderesses: the world over, these women of many names—whom we’ll collectively refer to as “the Bad Girls Club”—have alternately inspired the disdain and delight of multitudes. Whether jailed, expelled, excommunicated, or burned at the stake, their antiheroic antics have challenged, critiqued, or, some might say, corrupted the laws, mores, and sensibilities of societies. If it is true that polite, well-behaved women rarely make history, then what do impolite, badly-behaved women teach us about the construction of his story? In this course, we’ll examine literature from around the world featuring members of the “Bad Girls Club,” who, in opposing complimentary constructions of femininity, femaleness, and power invite introspection on the gendered nature of story and storytelling. In short critical papers, we’ll analyze the tropes, features, and conventions of literature featuring these bad characters, and in short exercises, you’ll write stories, poetry, and essays inspired by them.

Some of the most compelling pieces of writing across all genres deal with, and often feature, the concept of Evil at their center. Whether they address it directly through a character, like Bulgakov’s Professor Woland in Master and Margarita, or as a concept in Arendt’s Eichmann in Jerusalem. Whether the narratives are anchored in the concreteness of real crime, like in Capote’s In Cold Blood, and sometimes they revel in the abstraction of sin, as in Milton’s Paradise Lost, they always dare to ask, “What and why is evil?” Why might character cower at the thought of that which awaits us in the dark, like in HP Lovecraft’s Dagon, and why might a real 19-year-old woman in Bute, Montana anticipate it with bated breath, like in Mary MacLane’s I Await the Devil’s Coming. This course is designed to explore this question alongside authors who devoted their lives to understanding the role of evil in literature and life, to contemplating its necessity, its appeal, its frivolity, and its betrayal. The course will be divided into three sections, each section devoted to a specific genre during which two to three texts will be explored, discussed, and analyzed in class, and at the end of which one analysis paper will be due, culminating in a final analytical and creative piece. 

This course will examine this genre from its beginnings in ancient and medieval literature (eg in epic, chivalric, and pilgrimage lit), to the modern road novel, travelogue, and buddy film. We will explore why this form is so essential to the storytelling imagination, and the ways we might adapt it to our own needs today.

This studio course introduces students to essential graphic design skills and concepts. Through a series of hands-on assignments, we’ll explore how graphic information—type, image, composition, and layout—shapes the way we communicate and understand the world. Students will experiment with accessible tools like photocopiers and laser printers, and work through the phases of the design process: from research, conception and ideation, to sketching, evaluation and the development of form, to final execution and production.

“It’s very boring to talk about winners,” Umberto Ecco once said. “The real literature always talks about losers.” In this class, we shall embrace all manner of failures, no-accounts, and deadbeats, those unlikely central characters around which good fiction often rotates, considering how they intrigue us with their flaws and failings, but also how they can present pitfalls at the levels of plot (lack of agency), tone (reward vs. punishment), and reader sympathy. Through an array of short fiction, as well as selected poems, films, and an illustrated novel, this course aims to uncover the ways narrative craft can infuse stories driven by shiftless and inept protagonists with a sense of curation, poignancy, and meaning. Students will also attempt their own short story versions of “loser lit,” to be workshopped by the class. All are welcome. Expectations will be very low.

“The novel is exhaustive by nature,” Steven Millhauser once wrote. “The short story by contrast is inherently selective. By excluding almost everything, it can give perfect shape to what remains.” The short story label, however, often feels imperfect, since it covers such a broad swath of literary forms. While micro- and flash-fiction renditions can resemble poems, longer prose narratives often press into murkier territories such as that of the novella or the connected collection. Through readings and workshops of students’ own fiction, this course will explore the parameters of the short story, its scope and ambitions, its limitations as well. We’ll read established masters alongside newer literary voices, breaking down their work not simply as examples of meaningful fiction, but as road maps toward a greater awareness of what makes a short story operate. Discussion will revolve around basic elements of narrative craft—point of view, pacing, language, etc.—in an effort to define the ways in which any story can be conveyed with economy, precision, and power.

Since the commercialization of the internet in the 1990s, the online space has evolved and fractured into different commodifications. In this course, we will look at depictions in contemporary literature of the experience of being online, of engaging with various platforms, and the mindsets that it creates. At heart in this course, we are looking at the ways in which fiction attempts to mimic, critique, mock, or even take pleasure in another medium, and what fiction is able to do by co-opting another medium. We may read works by Jaron Lanier, Tony Tulathimutte, Patricia Lockwood, Nafissa Thompson-Spires, and Ben Lerner. As an antidote to all of this thinking about onlineness, we will also engage in creative writing exercises, some inspired by or made possible by being online.