CRWR

Instructor: Jake Fournier

In this Arts Core class, students will read some of the major literary innovators of mid-nineteenth-century America alongside their twentieth-century and contemporary inheritors. The course combines historical, critical, and craft emphases, asking questions like: What made the decade before the U.S. Civil War one of the greatest periods of literary experimentation in the nation’s history? What were the lasting consequences of this experimentation on American and world literatures? And, finally, what lessons can we glean from these historical writers for our own contemporary creative praxis?  Students should expect to encounter the central authors of the traditional American Renaissance (Ralph Waldo Emerson, Henry David Thoreau, Walt Whitman, Herman Melville, and Emily Dickinson) alongside both their defenders and detractors, including writers highly critical of the sort of literary canon formation that produced the American Renaissance itself and imagined it as an almost exclusively white and mostly male affair. For example, they will read Thoreau alongside both N+1 co-founder Mark Greif and National Book Award winner Robin Coste Lewis, whose “Inhabitants and Visitors” reimagines the historical Black communities around Walden Pond. Other pairings include Dickinson with Susan Howe; Whitman with June Jordan, Pablo Neruda, Cesar Vallejo, and Bernadette Mayer; and Herman Melville with Paul Beatty and Marlon James. In the process, students will do weekly writing exercises in multiple genres and give one class presentation. 

How does writing enact grief? What words address the dead? Can an elegy convey the complexity of a person, resisting hagiography? We’ll begin this investigation of the elegy by looking briefly at some Classical examples before turning our attention toward a range of modern and contemporary elegies in poetry and prose. As we read, we’ll pay particular attention to literary structures and devices writers use to manifest absence and incarnate the dead in the body of a text. Writers studied may include Catullus, Sappho, M. NourbeSe Phillip, Rick Barot, Raúl Zurita, David Wojnarowicz, Solmaz Sharif, W.S. Merwin, Brandon Shimoda, Sarah Schulman, and Aracelis Girmay. Students will be asked to lead one presentation and to write critical and creative responses for group discussion.

In this core course, students will investigate connections between truth, art and beauty, by reading, watching, and writing works adapted from an historical record or "based on a true story." Weekly reading assignments include fiction, poetry, memoir, a graphic novel, and a film; students will be asked to write both critical essays and creative exercises that explore overlaps anddivergences between journalistic and artistic truth. Readings include works by Aristotle, Baldwin, Bechdel, Carson, Keats, Northup, and Rankine.

Instructor: Jake Fournier

Through readings in a wide variety of formal, free verse, and prose poetry, and attentive workshops of student writing, this class will offer a compendium of great English sentences, new strategies for composition, as well as refreshers in advanced and basic English grammar. Students will weigh the interaction of the sentence against fundamental metrical patterns in both verse and lyrical prose, and they will interrogate how a variety of grammatical and syntactical features evolve within dynamic poetic forms. Mostly short, exemplary readings in poetic genres will move from classical to contemporary voices and feature a diverse range of styles and sensibilities—from Phillis Wheatley to Tommy Pico, Emily Dickinson to Jos Charles, Gwendolyn Brooks to Diane Seuss (and more). The class is not just about writing better sentences and becoming better communicators; it is about playing with the underlying fabric of our creative expressions and of our thoughts themselves. Course work will vary, but students will be expected to workshop their own poetry, to write weekly reading responses, and to experiment with different meters and sentence forms.

In the same way that water is composed of two elements—hydrogen and oxygen—the personal essay essentially consists of anecdotes and reflections, i.e., facts and thoughts, or the objective and the subjective. What happened, and what what happened *means*. The artistry of the essay consists of not only balancing these two elements but combining them so that they complement but also contradict one another. In this workshop you’ll write multiple drafts of your own attempt at the form while line editing and critiquing your classmates’ attempts. At the same time we’ll read (and write about) foundational essays that are in overt dialogue with one another, starting with “Why I Write,” by George Orwell, and “Why I Write,” by Joan Didion. We’ll read James Baldwin in conjunction with the seminal essay he inspired Adrienne Rich to write, then look at infusions of poetry into the form via Natalia Ginzburg and Margaret Atwood. We'll end by reading Didion’s essay, “Goodbye to All That,” paired with Eula Biss' cover version, also titled "Goodbye to All That." You'll leave knowing the recent history, basic theory, and practice of nonfiction's most fundamental form.

Although humans live among non-human species, we often see representations of “nature” as utterly separate from human existence. However, the realities of a rapidly changing world unsettle this false distinction. This introductory workshop will consider how conventions of nonfiction might disrupt the nature/culture binaries. Developing aspects of literary craft, including form, voice, structure, scene-setting, and image, we will frame our creative endeavors through the lens of writing in the Anthropocene. Readings and workshop submissions will engage with apocalyptic fright, but also explore how language and form unearth delight. To begin, we will investigate human relationships to companion species with the aim of understanding the narrative elements of origin stories. We will then shift to representations of so-called native and non-native species to examine how language shapes, and can re-shape, these categories. Students will leave workshop having established a writing practice steeped in craft and shaped by questions of how we might write and think adaptively about current contexts. Readings include texts by Marwa Helal, Amy Leach, Tao Orion, Elena Passarello, Carl Safina, and Gary Snyder.

“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 beginning workshop, you'll explore the ways writers create conflict in their stories, be it internal or external, spiritual or physical, romantic, financial or familial. We'll look at how writers use specifics of craft--including point of view, scene and summary dialog, causality, interiority, place, and narrative time--to create conflict that feels organic, foregrounded and inevitable. We’ll read and model masters of the form like ZZ Packer, George Saunders, Jhumpa Lahiri and Yiyun Li, and do weekly writing exercises that encourage you to take creative risks and hone new skills. Each student will work toward a final portfolio of one polished, revised story, with strong emphasis on focused and productive peer critique and in-class commentary.

You’ve heard this one before.  Fairy tales are some of our most durable stories, and they are durable in two ways: they can survive not only the passage of time but the distortions of creative retellings.  In the first third of this class we will study folk tales from varied traditions, learning to recognize basic elements of storytelling such as closure, plot twist, and economy.  In the middle third of class we will write and workshop our original retellings, using the old tales as a frame in which to practice modern techniques like scenic narration, incidental detail, and interiority.  Finally, in the last third of the class you’ll write and workshop an original fairy tale.  Students will be responsible for weekly response papers and detailed critique of classmates’ workshop submissions.  Tales will be drawn from around the world; our modern models may include Franz Kafka, D.O. Fagunwa, Angela Carter, Italo Calvino, Yoko Tawada, and Ludmilla Petrushevskaya.

Much of the tradition of Western storytelling relies on scene-driven narratives propelled by rising action toward an inevitable apex. Often natural disasters are illustrated the same way: hurricanes, invasion of new species, infectious disease, and oil spills are cast as singular events with a beginning, middle and end. This advanced workshop will explore how to push beyond the event. We will examine how forms of nonfiction, from investigative journalism to lyric essays, push against the hegemony of the “event” to tell a longer, slower story of disruption across the nexus of time and space. Following Rob Nixon’s concept of slow violence, readings will focus on places and communities whose narratives do not fit tidily into beginning-middle-end story structures. Workshop will ask students to consider how their work might recognize the contexts of extraction, commodity flow, climate change, and borders surrounding the “events” driving our stories.

In “The Body Keeps the Score” Bessel van der Kolk writes, “The greatest sources of our suffering are the lies we tell ourselves.” Many trauma survivors begin writing reluctantly, even repulsed by the impulse to query their woundedness. The process is inhibited by stigma surrounding the notion of victimhood, entities that would prefer a survivor's silence, plus our tendency to dismiss and devalue ones suffering in relation to others. Students in this class will shed some of these constricting patterns of thinking about trauma so they may freely explore their stories with confidence, compassion, curiosity, and intention. We'll read authors who have found surprise, nuance, and yes, healing through art, honoring the heart-work that happens behind the scenes. Half of class-time will include student-led workshops of original works in progress. Paramount to our success will be an atmosphere of safety, supportiveness, respect, and confidentiality. By the quarter's end each student will leave with a piece of writing that feels both true to their experience and imbued with possibility.