CRWR

What do a diagnosis and a narrative essay have in common? How can research be made accessible and jargon lyrical? And what can the structure of the circulatory system teach us about the structure of an essay? In this beginning workshop, we will practice writing from medicine, illness, and the body, focusing on ways we can turn knowledge and information into compelling and deeply felt essays. We will consider medical writing from the perspectives of doctors, nurses, interpreters, researchers, and patients, and examine ways of approaching medical topics and stories that may not fit neatly into linear narratives. Our course will look at contemporary texts in the field of medical writing like Eula Biss' "The Pain Scale," Andrea Long Chu’s, “China Brain” and Leslie Jamison’s “Devil’s Bait” for models of how to make the scientific personal and the personal impactful in a broader political or cultural conversation. Participants will either share or discuss obstacles, successes and questions stemming from their work in supportive, process-oriented small group workshops that focus on the goals of the writer. This course is an opportunity to think about medicine from a new perspective, to create messy first and second drafts, and to explore what might be familiar subjects from a place of uncertainty and exploration.

Nowadays, we love when stories occupy a shared universe. Yet what often gives true power to the story cycle or novel-in-stories is the gaps between these connected works. The spaces left untold, where characters leave us and return changed. In this course, we will investigate the art of not telling. How do authors calibrate these gaps, showing us not too much but not too little? How do these discrepancies complicate and enrich the world of the narrative? What work do we do as readers, and how does it impact our experience? We will read connected stories from Peter Orner, Denis Johnson, Evan S. Connell, Tove Jansson and others. Students will be responsible for craft analyses, vigorous participation, and relevant creative exercises.

Beginning Workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing. See the course description for this particular workshop section in the notes below.

Many physicists posit that time is not linear—and in fiction, it doesn’t have to be either. Within a single story, we can be pulled to the to the past, the future, and a liminal space existing outside of time. In this course, we will investigate how authors manipulate our perception of time, in both conventional and unconventional ways, to deliver information and drive tension, to both orient and disorient us within the narrative. How do these moves impact our perception of meaning, the indelible, and the sublime? In addition to submitting two stories or excerpts for workshop, expect to read and discuss published works from Clarice Lispector, Stuart Dybek, Joy Williams, Denis Johnson, Tobias Wolff, and others.

This technical seminar will investigate how we can use speculation as a tool in our creative nonfiction narratives. How can we bring imagination and fantasy into our discussion of "fact" and "reality," and do those ideas, in fact, change what "fact" and "reality" mean to us? We'll read Carmen Maria Machado's In the Dream House and Alan Weisman's The World Without Us to deepen our thinking. Students will then practice using speculation in their own nonfiction narratives through short creative exercises. They will also write analytical papers on our chosen works to investigate how each author uses speculation to support and inspire their nonfiction narratives.

Beginning Workshops are intended for students who may or may not have previous writing experience, but are interested in gaining experience in a particular genre. These workshops focus on the fundamentals of craft and feature workshops of student writing. See the course description for this particular workshop section in the notes below.

The first person voice has the capacity to create rich characters, ironic and surprising conflict, and worlds filtered through a tantalizingly subjective lens. But it also poses technical and ethical challenges for writers, particularly in the genre of nonfiction. In this beginning workshop, students will explore both the potential and limitations of the first person voice in their nonfiction writing. To understand the full scope of this mode, we will examine the basic techniques and the limit cases of first-person narration— the unreliable narrators, the intentional deceptions, and the altered states that can make the first person both troubling and compelling. Over the course of the semester, students will apply what they have discovered to three creative writing exercises and participate in a respectful, constructive workshop of one of their pieces. Students will also be asked to write critically about weekly readings. The course will culminate in a final revision of one creative piece and a reflective essay that explores a major problem or possibility within the first person. Representative authors will include Hanif Abdurraquib, James Baldwin, Andrea Long Chu, Carolyne Forche, Leslie Jamison, Ottessa Moshfegh, Claudia Rankine, and Lauren Slater.

In this course, we will investigate narratives of investigation. Detective stories without answers, in which characters piece together clues, trying to understand, yet something always remains elusive. Mysteries that defy conclusion and pull us deeper into the sublime, embracing what Robert Boswell calls "the half- known world." How do writers combine elements of the detective and literary genres to create and frustrate a reader's appetite for knowledge? How do writers elevate these stories to offer the spiritual alongside the factual? In addition to reading published texts from Patrick Modiano, Keith Ridgway, W.G. Sebald, Scott Blackwood, and others, students will produce craft analyses and creative work that puts course learnings into practice.

How do we convincingly recreate important episodes from our life? How do we help our readers inhabit those moments that continue to live so urgently within our memory? How much invention are we allowed to employ, and how do we ensure that such accounts remain “truthful”? In this technical seminar in nonfiction, we will explore the craft of dramatization in personal essay and memoir. We will discuss many tools that are familiar to the fiction writer, including scene-building, characterization, and dialogue, as well as aspects unique to the art of nonfiction, such as the incorporation of testimonials, research, and letters, all in the service of dramatizing significant moments from our lived experience. Students will produce reading responses, craft analyses, and short creative exercises putting learned skills into practice.

In this class we’ll think about and try to generate literary forms capable of holding, inviting, or emitting a kind of otherworldly glow; expressing or representing access to some other mode of being. How have writers done this in the past?

We’ll look to a wide range of sources for models, including the visionary writings of William Blake, poems by Allen Ginsberg, narratives by early Christian mystics (Margery Kempe, Julian of Norwich, Hildegard of Bingen), Buddhist sutras, 20th century phenomenological artworks and writing about them (including films and/or writing by Joan Jonas, Michael Snow, Robert Irwin, and Peter Kubelka), poetry and narratives of channeling (Alice Notley, James Merrill), writings of and about psychedelic experience (Aldous Huxley, Terence McKenna), immersive experimental poetics (M. NourbeSe Philip), and contemporary Thai experimental film (Apichatpong Weerasethakul), among others.

Students will leave this class with an enhanced familiarity with an array of visionary forms and their history in Western writing and poetics, as well as hopefully new or renewed access to another mode of writing and thinking for themselves

This thesis workshop is for students writing a creative BA or MA thesis in poetry, as well as creative writing minors completing the portfolio. Because it is a thesis workshop, the course will focus on various ways of organizing larger poetic “projects.” We will consider the poetic sequence, the chapbook, and the poetry collection as ways of extending the practice of poetry beyond the individual lyric text. We will also problematize the notion of broad poetic “projects,” considering the consequences of imposing a predetermined conceptual framework on the elusive, spontaneous, and subversive act of lyric writing. Because this class is designed as a poetry workshop, your fellow students’ work will be the primary text over the course of the quarter.

“Which one of us, in his moments of ambition, has not dreamed of the miracle of a poetic prose," wrote Charles Baudelaire in Paris Spleen,"... supple enough and rugged enough to adapt itself to the lyrical impulses of the soul, the undulations of reverie, the jibes of conscience?” This genre-blurring workshop will explore elements of the history and practice of the prose poem, and other poems and texts that combine strategies, forms and gestures of prose (fiction, nonfiction, etc.) with those of poetry. We will also read texts that are difficult to classify in terms of genre. “Flash Fiction,” “Short Shorts,” the fable, the letter, the mini-essay, and the lyric essay will be examined, among others. We will discuss the literary usefulness (or lack of it) of genre and form labels. The class will be taught as a workshop: students will try their hand at writing in their choices of hybrid forms, and will be encouraged to experiment. Writers from all genres are welcome, as what we will be studying, discussing, and writing will involve the fruitful collision of literary genres.