CRWR

From "unreliable" to "unlikeable," certain characters--and character qualities--are often measured against popular understandings of who is "good," who is "relatable," and who gets to decide. As Ottessa Moshfegh quips in a Guardian interview, "We live in a world in which mass murderers are re-elected, yet it’s an unlikeable female character that is found to be offensive." In this technical seminar, we will critically investigate cultural dialogues around "unlikeability," and discuss the shared qualities and compelling narrative capabilities of "unlikeable" characters. Assignments will include reading responses, short craft analyses, and a presentation.

Thursday 2:00pm-4:50pm

What is the nature of the encounter between a narrator and a character, and how do elements of character and plot play out in narrative points of view? Drawing on the narratological work of theorists such as Gérard Genette and Monika Fludernik and of critics such as James Wood, this technical seminar considers questions of point of view, perspective, and focalization. Readings may include stories by Jamil Jan Kochai, Lorrie Moore, Jamaica Kincaid, William Faulkner, Sidonie-Gabrielle Colette, and Edith Wharton, among others, and will introduce instances of first-person-plural and second-person narrative, as well as modes of representing speech and thought such as free indirect discourse. Over the course of the quarter, students will write short analyses and creative exercises, culminating in a final project.

Tuesday 12:30pm-3:20pm

T. S. Eliot once said that “good writers borrow, great writers steal.” In this class we will look at modeling as a springboard for original creativity. What makes a piece of writing original? Is it possible to borrow a famous writer’s story structure, theme, or even attempt their voice, yet produce something wholly original? How specifically are writers influenced and then inspired? Readings will pair writers with the influences they’ve talked or written about, such as Yiyun Li and Anton Chekhov; Edward P. Jones and Alice Walker; Sigrid Nunez and Elizabeth Hardwick, and George Saunders and Nikolai Gogol. Writing exercises will experiment with aspects of voice, narrative structure, point of view, tone, and use of dialog. While this is not a workshop course, come prepared to write and share work in class. Students will pursue both creative work and critical papers.

In 1925, The New Negro: An Interpretation, a collection of poems, short stories, and essays was published—it ushered a new era, what was then called the New Negro Renaissance. An artistic and literary movement with the objective to subvert what Alain Locke called the “Old Negro,” by providing a corrective and aspirational image of contemporary Negro life, was borne. Around forty years later, Black Arts: An Anthology galvanized the Black Arts Movement, what Larry Neal called the “aesthetic and spiritual sister” of the Black Power Movement. The Best American Short Stories and the Norton Anthology of Literature by Women are two more examples of anthologies, one to cultivate the genre and the other to recover the literature of marginalized women writers. 

In this course, we’ll examine anthologies, a word derived from the Greek for “a gathering of flowers.” As we study these “flowers,” we’ll discern the objectives that shape their construction, as well as what was put in and what was left out. In short essays and exercises, we’ll also investigate the social, cultural, and political contexts that influenced these objectives, as well as the resultant literary and cultural implications. For your final, you’ll design your own literary anthology.

Tuesday 9:30am-12:20pm

This course invites writers to reconsider the influence of Chicago’s public spaces on artistic impulse. In particular this quarter, we will examine aspects and depictions of a “fantastic Chicago.” If Chicago is a city that “dreams itself,” what do its spaces of violence and environmental devastation say about that dream? Students will analyze and explore Chicago writers’ work in prose and poetry, then develop their own creative responses, building connections to adopted critical approaches. To these ends, we will examine work by writers including Jeffery Renard Allen, Daniel Borzutzky, Bette Howland, Erik Larson, Bayo Ojikutu, and Ava Tomasula y Garcia, as well as the city’s rich legacies in documentary and the visual arts. 

Thursday 12:30pm-3:20pm

Flannery O’Connor said that anyone who survives childhood has enough material to last a lifetime; 2020 Nobel Prize Winner Louise Glück wrote, “We look at the world once, in childhood. The rest is memory.” In this course we will study portrayals of childhood in fiction, nonfiction, poetry, and film. We will read work from Justin Torres, Barry Lopez, Mavis Gallant, ZZ Packer, Sandra Cisneros, James Agee, Tobias Wolff, and others, seeking to explore how these artists push past common tropes and oversimplified representations to convey the actual subtlety, pain, wonder, and intelligence of childhood perception. Through this framework we will consider narrative and cultural conceptions of innocence, agency, epiphany, and perspective. We will interrogate what artists mean to say when they write about childhood, what meanings are found or created—about childhood but also about adulthood, and about what has—or has not—been left behind. Finally we will consider the enmeshed roles of memory, imagination, and experience in the creation of art. Students will be responsible for short creative and critical writing exercises, a presentation, and a final project, and will be expected to participate vigorously in class.

Tuesday 9:30am-12:20pm 

Like film, comics are a language, and there's much to be learned from studying them, even if we have no intention of 'writing' them. Comics tell two or more stories simultaneously, one via image, the other via text, and these parallel stories can not only complement but also contradict one another, creating subtexts and effects that words alone can’t. Or can they? Our goal will be to draw, both literally and metaphorically, on the structures and techniques of the form. While it’s aimed at the aspiring graphic novelist (or graphic essayist, or poet), it’s equally appropriate for those of us who work strictly with words (or with images.) What comics techniques can any artist emulate, approximate, or otherwise aspire to, and how can these lead us to a deeper understanding of the possibilities of point of view, tone, structure and style? We’ll learn the basics of the medium via Ivan Brunetti’s book Cartooning: Philosophy and Practice, as well as Syllabus, by Lynda Barry. Readings include the scholar David Kunzle on the origins of the form, the first avant-garde of George Herriman, Frank King, and Lyonel Feininger, finishing with contemporaries like Chris Ware, Emil Ferris, and Alison Bechdel. Assignments include weekly creative and critical assignments, culminating in a final portfolio and paper.

Monday 9:30am-12:20pm

It’s been said that in an ideal world, all writers would be translators, and all translators would be writers. In addition to the joy of enlarging the conversation of literature by bringing new voices into another language, the practice of literary translation forces us as writers to examine the materials and tools of our craft. In this workshop, we will critique each other’s translations of prose, poetry, or drama into English, as well as explore various creative strategies and approaches to translation by a variety of practitioners that touch on various aspects of the "radical recontextualization" that constitute the decision-making work of literary translation. Through these processes, you will formulate your own strategies to both literary translation and creative writing. Our readings of translations will largely come from South Asian Languages, and we'll have the opportunity to have conversations via Zoom with some of the translators we’ll be reading. Students should have at least an intermediate proficiency in a foreign language to take this workshop.

This course is cross-listed with SALC 10706, SALC 30706, GRMN 10606, and GRMN 30606.

Friday 12:30pm-3:20pm

What is the role of the self in our writing? Are we known or made things, even to ourselves, in our work? Beginning Poetry: Writing Identity focuses on writing and revising poems that capture the nuances of our often-intersectional identities, centering the questions: How is my work representative of me, and Who is the person represented in my work? Throughout the quarter, we will read, write, and discuss contemporary poems dealing with issues of race, class, gender, sexuality, disability, ethnicity and cultural background, etc., and develop strategies for addressing similar ideas in our own work. You will learn through practice, writing drafts that engage with craft elements like imagery, form, rhythm, and voice. We will workshop these drafts as a class, building a supportive, process-oriented community that focuses on creative and critical feedback. While fellow students’ work will be the primary texts, other possible readings include work by Joy Priest, Adrian Matejka, Su Cho, Tarfia Faizullah, Nikky Finney, Dorothy Chan, torrin a. greathouse, and others.

Thursday 2:00pm-4:50pm

This workshop will focus on the artistic possibilities of uncertainty in creative nonfiction. Writers have to tell our stories with authority. Yet many of our experiences of displacement, illness, trauma, and the slipperiness of memory remain unknown, unresolved, unhealed. While the need to render meaning from our narratives remains constant, when does certainty actually detract from that meaning? Can wisdom do more to obscure richer truths derived from form, tone, and voice? Readings and assignments will explore the ways that gaps invite creative opportunities and paradox. Workshop will explore the need for less knowing and more wondering in creative nonfiction. Course texts will include the work of Anne Carson, Carmen Maria Machado, Peter Orner, and Nathasha Tretheway. Through submitting your own original work and responding to the writing of others, our workshop will to illuminate how generative doubt can be.

Friday 9:30am-12:20pm