CRWR

This workshop-based course proceeds from the premise that disorder and disruption are fruitful aesthetics that might be applied to numerous elements of fiction to unlock new possibilities in our work. Students will seek to identify typical narrative conventions and lyrical patterns and then write away from them-or write over them, toward subversion, surprise, and perhaps even a productive anarchy. Students will search for hidden structures in work by Taeko Kono, Nafissa Thompson-Spires, Diane Williams, Garielle Lutz, and others, examining the methods these writers use to lead readers to unexpected, original, and transgressive places. Students will also complete several short creative exercises in which they practice various disruptions and disorders (temporal, syntactical, etc.) In the second half of the course, students will workshop one story or excerpt and write thoughtful, constructive critiques of peer work. Revision is also a crucial component of this class, as it is an opportunity to radically warp and deviate from our prior visions.Throughout the quarter, we will attempt to interrupt and shake up our own inclinations as artists.

Writing about dreams is a commonly espoused no-no for inexperienced writers, often associated with lazy storytelling (“I don’t need to explain that: it was all a dream!”) and a lack of verisimilitude (“Dreams don’t need to make sense; they follow their own dream-logic”). For experienced writers, however, dreams can not only serve as compelling storytelling vehicles, but as valuable windows into our narrative processing. Mining the dreamy fictions of Marianna Fritz, Amparo Davila, Clarice Lispector, Vanessa Onwuemezi, and Leonora Carrington, we will develop inspirational templates for our own dream-focused fictions. This course will incorporate a mix of craft lectures, reading discussions, dream diaries (and other generative writing), along with formal workshopping of dream-inspired short stories.

“If you want a compelling story, put your protagonist among the damned.” --Charles Baxter

While crisis is to be avoided in life, when it comes to narrative, trouble is your friend. In this advanced workshop we'll explore the complex ways writers create conflict in their stories, be it internal or external, spiritual or physical, romantic, financial or familial. We'll read masters of the form like Edward P. Jones, George Saunders, ZZ Packer, Jhumpa Lahiri, and Yiyun Li, and discuss how they generate conflict that feels organic, character-driven, and inevitable. Weekly writing exercises will encourage you to take creative risks and hone new skills. Each student will workshop two stories, with strong emphasis on focused and productive peer critique and in-class commentary.

John Gardner said that the writer’s task is to create “a vivid and continuous fictional dream.” This technical seminar will focus on the role of detail in maintaining this dream. In this course we will deconstruct and rebuild our understanding of concepts like simile, showing vs. telling, and symbolism, asking what these tools do and what purpose they serve. Drawing from fiction and essays from Ottessa Moshfegh, Barbara Comyns, Zadie Smith, and others, students will practice noticing, seeing anew, and finding fresh and unexpected ways of describing. We will also examine what is worthy of detail in the first place, how detail functions outside of of traditional scene, and the merits and limits of specificity, mimesis, and verisimilitude. Finally we will consider what it means to travel across a landscape of vagueness and euphemism as we search for the quality of "thisness" that James Wood claims all great details possess. In addition to assigned readings, students will be responsible for reading responses, short craft analyses, vigorous class participation, and several creative exercises and peer critiques applying these lessons.

"Beginning Fiction Workshop: Am I Alone Here?" focuses on writing the introspective character. How can we keep our stories engaging and eventful even while our characters remain largely in their own thoughts? How can we transform loneliness and contemplation into luminous and transformative writing? 

This writing and reading course will allow us to explore the city of Chicago and many approaches to studying it and responding to it in prose both fictional and nonfictional. We’ll think about issues like crises in housing, asylum, incarceration; about art and space in photographs, public murals, sculpture, architecture; and about plants, animals, and waterways. Students will write shorter exercises, keep a Chicago notebook, and write a longer piece for workshop. Readings may include Eve Ewing, Lori Waxman, Frank London Brown, Gwendolyn Brooks, Rosalyn LaPier, Stuart Dybek, Saul Bellow, Sandra Cisneros, Aleksandar Hemon, Jeanne Gang, Rebecca Zorach, Studs Terkel and more.

What does it mean to make sense out of lived experience? How do we claim ownership of our own stories, and shape those narratives on our own terms, independent of pressures that originated elsewhere? How do we craft narrative personas that readers deem trustworthy; how do we capture voices that feel compelling, urgent, and help to reorder the fallout of our lives into a coherent structure that can offer insight, even to readers we have never met? In this advanced nonfiction workshop, we will attempt to grapple with some of these concerns. With a particular emphasis on memoir and personal essay, we will explore what it means to excavate the self and map out the vast terrain contained within. Readings will include Vivian Gornick, Leslie Jamison, Aleksander Hemon, James Baldwin, William Maxwell, Orhan Pamuk and Thomas Browne. Class time will be split between discussion of readings and student led workshops of original essays/memoirs in progress. By the end of the quarter, students will have workshopped two pieces of writing and submitted a final portfolio.

In this generative advanced poetry workshop we will find inspiration for our own poetry by engaging with the visual arts. We will read poems that respond to, reflect, and refract the arts, and exercises will be based on our own encounters in museums, at the movies, in the realms of fashion, architecture, landscape, and elsewhere. We will ask ourselves about artifice and making, the materiality of the written word, the relationship between observation and expression, the emotive qualities of the image, and the sonic qualities of words. Most of our course reading will be contemporary poetry, but we will also explore a range of exciting earlier examples. Each class meeting will include workshops of student poems, discussions of assigned literature, and conversations about art practice and art community. In addition to reading deeply, looking closely, and writing wildly, students are expected to be lively participants in the arts community on campus, and will attend exhibitions, concerts, readings, screenings, and other events and experiences that bring us into contact with various modes of expression. Texts may include poems by, Harryette Mullen, James Schuyler, Brenda Shaughnessy, David Trinidad, and Virgil.

This genre-blurring workshop will explore elements of the history and practice of the prose poem. 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.

In some ways, writing a first-person narrator seems like the most straightforward and natural kind of storytelling in the world. But as any writer who has made the attempt knows, that simple little “I” comes with an array of pitfalls – and possibilities. In this advanced fiction workshop, we will look at the many styles and approaches to first-person point of view: central narrators who are at the heart of the plot, peripheral narrators who witness and stand a little apart, the singular “I” vs. the plural “We,” direct address (often mislabeled as second-person narration), and the spectrum of unreliability. We will read and discuss fiction by writers like Jamaica Kincaid, Haruki Murakami, Kazuo Ishiguro, Charles Portis, Alice Munro, Raven Leilani, Russell Banks, Evan S. Connell and others, drawing craft lessons from these writers to guide our own attempts at writing in first person. Much of our class time will be dedicated to evaluating student work and honing our skills of composition and critique. In addition to shorter writing exercises throughout the quarter, every student will complete a full-length first-person short story for workshop and compose critique letters for each of their peers. Students will be required to significantly revise their full-length story by the end of the quarter.