Arts Core Courses

To write in any genre is a gesture that puts one in a relationship with predecessors and precursors. While this relationship if often constructed as a dialogue, it can also be a conflict, full of clatter, disagreement and intentional offensiveness. In this sense, the writer’s mark crosses out the predecessors’ work, and functions as an act of desecration. Writing becomes an intertextual act of rebellion that calls into question the conventional, the canonical, and the sacred. Readings may include avant garde manifestos, erasure poetry, and poetry and fiction by Shakespeare, William Blake, Joyce Mansour, Sylvia Plath, Bernadette Mayer, Amiri Baraka, Allen Ginsberg, Federico García Lorca, Haruki Murakami and Georges Bataille. Students will be expected to write creative works in response to prompts, and write an academic essay. The prompts will form the basis of a final portfolio, which will be accompanied by an original essay.

Day/Time: Wednesday, 1:30-4:20 PM

This course explores literary responses to Chicago's boundaries and sites of contention through fiction, drama, poetry, and literary journalism. We'll examine work by writers and artists including Saul Bellow, Lorraine Hansberry, Nate Marshall, Bruce Norris, and Studs Terkel. How does one map the city's conflicts along zoning ordinances, street corners, playgrounds, and rumors? What histories undergird the city's racelines? In exploring these aspects of the city, where does a writer draw the boundary between fiction and nonfiction, between verse and prose? Engaging these larger questions, participants will develop their own individual and collaborative creative responses to "the city in a garden."

Day/Time: Tuesday, 2:00-4:50

A peculiar kind of psychic ache comes from living in a home-place that has undergone an irreversible transformation. It is both homesickness for the place that was and detachment from the place that is. This distress is so particular and, in an age of global climate change, epidemic that environmental philosopher Glenn Albrecht coined the word “solastalgia” -- a portmanteau of “solace” and “nostalgia” -- to describe it. Albrecht writes, “Solastalgia exists when there is the lived experience of the physical desolation of home” and “a sense of powerlessness or lack of control over the unfolding change process.” In this course, we will encounter creative work about contexts where solastalgia is in evidence, including environmentally devastated places like the Louisiana coast, the Niger Delta, and the Aral Sea, as well as the rapidly gentrifying or economically collapsing urban neighborhoods of San Francisco, Los Angeles, and Chicago. Through poetry (Gabriel Ojeda-Sagué, Rebecca Gayle Howell), fiction (Helon Habila, Paul Beattie), nonfiction (Tom Bissell, Arlie Hochschild), and film (Sharon Linezo Hong), we will consider what it means to be attached to a home-place, how self and community are altered when the home-place itself is altered, and how artists contend with these issues through advocacy and representation. Students will be asked to keep a reading notebook as well as to produce weekly creative and critical responses for class discussion.

Day/Time: Tuesday, 9:30-12:20

Afro-futurism has enjoyed a surge in popularity since the release of the film Black Panther, although the genre has been around for much longer and is just one example of a broader tradition of Africana speculative writing. In this course, we’ll read and analyze novels, film, music, and visual art that posit alternative histories, surrealistic dream states, and fantastical futures in the context of the black imaginary. We’ll attempt to navigate the many routes of the imagination—folklores, mythologies and cosmologies; histories and futures; politics, theories, and philosophies; and the material reality. You’ll be asked to read and analyze Africana speculative fiction in short papers. Then, using these works as models, you will write your own speculative fiction that engages both your imagination and material reality.  

Day/Time: Thursday, 9:30-12:20
 

In this course, we will explore the embattled, yet perpetually alive relationship between writing and activism by reading canonical and emergent works of fiction, narrative prose, and poetry that not only represent social ills, but seek to address and even to spur social justice in some way. Students will be encouraged to choose an issue that they feel passionate about on which to research and respond for the entire quarter—and will be asked to produce works in a range of genres in relation to that issue. Authors discussed may include Percy Bysshe Shelley, who called poets the "unacknowledged legislators of the world," John Ruskin, William Morris, Virginia Woolf, James Agee and Walker Evans, Antonio Gramsci, James Baldwin, Amelia Rosselli, Rachel Carson, Gwendolyn Brooks, Nanni Balestrini, Rebecca Solnit, Claudia Rankine, Mark Nowak, Layli Long Soldier, John Keene, Anne Boyer, and Craig Santos Perez.

Day/Time: Wednesday, 11:20–2:20 PM

Writers have long been fascinated, inspired, and puzzled by the visual arts. In this course, we will focus on two genres of writing—poetry and the essay—that have enjoyed long and productive relationships with painting, photography, sculpture, and other visual arts. What attracts writers to art? How might language render visual experience? How do verbal representations diverge from visual representations? How might writing help us see art in new ways? How might art objects compel our writing into new forms? With these questions in mind, we will read poems and essays by a variety of writers, visit several of Chicago’s excellent museums, and conduct regular writing experiments. Writers studied may include Berger, Williams, Auden, Barthes, Schuyler, Guest, O’Hara, Waldrop, Swensen, Gander, Young, and Cole. Artists studied may include Breughel, Magritte, Cornell, Twombly, Mann, Kentridge, and Basquiat.

Wednesday, 10:30-1:20 PM

A monolith manifests in orbit around Jupiter, emitting a signal. A beacon? A man spontaneously discovers the ability to teleport. An evolutionary accident? The origin of human life proves to be malicious. Divine fate? Space travel is enabled by the ingestion of enormous quantities of a geriatric spice a messianic figure auspiciously learns to manipulate. A drug trip?! Among popular genres, science fiction is the riskiest conceptually and among the trickiest to master. The difference between an amazing idea and a rotten story is often slim. What makes good sci-fi work? And how best to write it? Let's put on our gravity boots and solar visors and see what we can discover. In this course, you'll read some novels (by Frank Herbert, Alfred Bester, and Ursula K. LeGuin), poetry (by Andrew Joron), a graphic novel (by Chris Ware), and screenplays (by Damon Lindelof, and Stanley Kubrick & Arthur C. Clarke). And all the while, you'll try your hand at bending each other's minds with your own science fiction.

Day/Time: Tuesday, 2:00-4:50