CRWR

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 to be encountered will include Percy Shelley, John Ruskin, Upton Sinclair, Audre Lorde, Rachel Carson, James Baldwin, Nick Drnaso, and more.

Since the commercialization of the internet in the 1990s, the online space has evolved and fractured and become more commodified than ever before. In this course, we will look at depictions in contemporary literature of the experience of being online, of engaging with various platforms, and the mindsets that it creates. At heart in this course, we are looking at the ways in which fiction attempts to mimic, critique, mock, or even take pleasure in being online, and what fiction is able to do in dialogue with another medium. We may read works by Tony Tulathimutte, Patricia Lockwood, and Ben Lerner. As an antidote to all of this thinking about onlineness, we will also engage in creative writing exercises, some inspired by or made possible by being online. 

Increasingly, the fantastical creeps into popular narratives, a rupture in the fabric of otherwise ordinary reality. This workshop will focus on the fantastical in contemporary literature and culture, and the logistical issues and questions that commonly arise around it. We will look at the role of fantastical in puncturing the veil of "realism." What is the fantastical doing that can't be done through other narrative techniques? How does the narrative metabolize this disruption? How should the fantastical be tempered by the mundane? Students for this course should not only have an interest in speculative fiction, but should have already made some efforts within this mode. Note that this course does not focus exclusively on fantasy or science fiction, though there may be some genre overlap. Come prepared to engage with free-associative creative exercises. Readings may include works by George Saunders, Jan Jamil Kochai, and Rachel Ingalls. 

This creative writing course, focused on the art of writing and reading fiction, addresses the fundamentals of craft. Through creative writing exercises and assignments, students will explore characterization, point of view, plot, scene work, and worldbuilding. Students can expect to read deeply, respond creatively, and to engage with their peers in a workshop setting. This course is designed both for writers with a passion for the genre and those who are interested in gaining experience. Successful completion of a Fiction Workshop I is a prerequisite for enrollment in Fiction Workshop II.

This workshop-centered course invites writers to navigate the "sublime" in poetry and prose, that boundary between beauty and horror in contemporary writing. What defines a moment of insight or the impulse of horror? How does the sublime offer means of engaging the boundary between the human and nonhuman worlds in the present moment? What formal play has previously explored these boundaries? To these ends, we will examine work by writers including Angela Carter, Xi Chuan, Lauren Groff, Mona Susan Power, and Dubravka Ugresic.

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 degradation 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 Daniel Borzutzky, Barry Pearce, Sterling Plumpp, Ed Roberson, and Ava Tomasula y Garcia, as well as the city's rich legacies in documentary and the visual arts.

This creative writing course, focused on the art of writing and reading poetry, addresses the fundamentals of craft. Through creative writing exercises and assignments, students will explore precise imagery, unpredictable figuration, intentional musicality, the use of line and stanza, and the relationship between form and content. Students can expect to read deeply, respond creatively, and to engage with their peers in a workshop setting. This course is designed both for writers with a passion for the genre and those who are interested in gaining experience. Successful completion of Poetry Workshop I is a prerequisite for enrollment in Poetry Workshop II.

This studio course introduces students to essential graphic design skills and concepts. Through a series of hands-on assignments, we’ll explore how graphic information—type, image, composition, and layout—shapes the way we communicate and understand the world. You will experiment with accessible tools like photocopiers and laser printers, and work through the phases of the design process: from research, conception and ideation, to sketching, evaluation and the development of form, to final execution and production. 

In this workshop-based course we'll investigate how strangeness and magic function in short fiction. We'll explore concepts like defamiliarization, versimilitude, and the uncanny. We will contemplate how magical realism and surrealism differ from sci-fi and fantasy genre writing, and ask how we, as writers, can make the quotidian seem extraordinary and the improbable seem inevitable, and to what end? Students will complete several short creative exercises and workshop one story that utilizes magic or strange effects. Students will also be expected to write thoughtful, constructive critiques of peer work. Throughout the course, we'll consider how the expectations of literary fiction might constrain such narratives, and we can engage with and transcend these archetypes.

In this advanced fiction workshop, we will examine and write narratives set at college, the so-called campus and varsity novels (and, in our case, short stories). We will try to capture the attendant promise and uncertainty of life on the cusp of adulthood, asking what it means to come of age, to age, to experiment, and possibly, to regress. We’ll attempt to veer away from cultural cliché and caricature to portray the truth of life on campus and come to grips with the way you live right now, as we consider what it means—to borrow the title of one novel—to make our home among strangers. Students will read published works and submit two stories or novel excerpts for workshops. Please expect a rigorous but constructive workshop environment where being a critic and an editor is essential.