CRWR

What natural and artificial boundaries do we impose on ourselves as writers? Are those boundaries clarifying or limiting? How might we push beyond them to more effectively tell the stories we need to tell? This workshop-based course will focus on these questions and ask you to expand the formal and also emotional, thematic, and aesthetic possibilities in your fiction. To that end, we’ll read the work of writers who offer distinct visions of the world through innovative storytelling approaches, and we'll examine how their risk-taking might be as personal as it is literary—an encouragement for you not necessarily to be “experimental” writers, but to explore more meaningful, honest, and expansive ways of telling your own stories. For the course, you will do writing exercises and weekly reading responses, as well as workshop one full-length story that attempts an approach in form or content that you have not tried before in your fiction.

Day/Time: Tuesdays, 2:00-4:50pm

To revise a piece of writing isn’t merely to polish it. Revision is transformation and yields an alternate reality. A new view, a re-vision. This course will examine the radical potential of revision, drawing case studies from a range of writers such as Marguerite Duras, Jorge Luis Borges, Elizabeth Bishop, Dionne Brand, Li-Young Lee, Janet Malcolm, Lydia Davis, Terrance Hayes, Yiyun Li, francine j. harris, Bhanu Kapil, Shane McCrae, and Chase Berggrun. We’ll start by tracking compositional process, looking at brilliant and disastrous drafts to compare the aesthetic and political consequences of different choices on the page. We’ll then study poems, essays, and stories that refute themselves and self-revise as they unfold, dramatizing mixed feelings and changing minds. We’ll end by considering erasure poetry as a form of critical revision. Our conversations will inspire weekly writing exercises and invite you to experiment with various creative revision strategies. Students will be asked to lead one presentation and to share their writing for group discussion.

Day/Time: Thursday, 2:00-4:50pm

This course studies how writers engage the senses to shape language into something actually felt and not just comprehended. We’ll track the sensual life of words—what they do to the mouth, to the ear, their musical kinships with one another—and learn how these qualities combine to generate mood and atmosphere. Alongside writing that renders embodiment and the physical world, we’ll read writing that makes abstraction feel concrete. Our reading will guide our ongoing inquiry into questions such as: what constitutes an image? How does writing enact feeling? How do the sensory elements of a piece intensify or erode or expand its subject, and to what end? Case studies may include poetry and prose by Bashō, Sei Shōnagon, Homer, John Keats, Gerard Manley Hopkins, Jean Toomer, D. H. Lawrence, Lorine Niedecker, Gwendolyn Brooks, James Baldwin, Sylvia Plath, Ai, Elaine Scarry, Wanda Coleman, Toni Morrison, Hai-Dang Phan, Nathaniel Mackey, Durga Chew-Bose, Justin Torres, and Jenny Zhang. These writers will provide inspiration for your own creative experiments on the page. Students will be asked to lead one presentation during the quarter and to write short weekly pieces to extend the group discussion.

Day/Time: Wednesday, 2:30-5:20pm

This course invites writers to reconsider the influence of Chicago’s public spaces on genre and artistic form, but in a city reimagined within the force of climate change. How does one tell a “Twenty-Second Century Chicago story?”Where does one reimagine the boundaries between water and wetland in thisredrawn city?Is there a “Chicago epic?” Working through these questions, students will analyze and explore Chicago writers’ work in fiction,poetry, and journalism. To these ends, we will examine work bywriters including Saul Bellow, Dan Egan, Eric Klinenberg, Nnedi Okorafor, Ed Roberson, Tariq Shah, and Lois Wille.Working from adopted critical approaches, participants will develop their own individual and collaborative creative responses to this “prairied Paris.”

Day/Time: Thursday, 2:00-4:50pm

How does language perform and represent mourning? How should writing commemorate the dead? Can an elegy address the full complexity of a person, resisting hagiography? We’ll begin our investigation of elegy by looking briefly at its Classical origins, reading examples by Catullus, Sappho, and Ovid, among others, and considering the early life of elegy as a poetic form not necessarily related to death and lament. We’ll then turn our attention toward a range of modern and contemporary interpretations of the elegy, spanning fiction, nonfiction, and poetry. Readings may include works by Virginia Woolf, Paul Celan, Jamaica Kincaid, Raúl Zurita, Samuel Delany, Federico García Lorca, Allen Ginsberg, Brandon Shimoda, Alice Oswald, Isaac Babel, and Solmaz Sharif. 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. Students will be asked to lead one presentation and to write weekly creative and/or critical responses for group discussion.

Day/Time: Friday, 1:30-4:20pm

Despite common misconceptions women have been at the forefront of the speculative genre from its earliest inceptions. Not merely defying the limitations and restraints of literature as defined by their contemporary society’, but inventing whole worlds and genres which continue to influence writers and writing as a whole today. Mary Shelley’s 1818 publication of Frankenstein, to Virginia Woolf’s 1928’s publication of Orlando, and even Margaret Cavendish’s 1666’s novel, “The Description of a New World, Called The Blazing-World. This course will be a brief foray into the strange and yet familiar worlds of various women across the history of speculative writing. From Mary Shelley to Ursula K. Le Guin, from Lady Cavendish to Margaret Atwood, from Alice Walker to Octavia E. Butler.

Day/Time: Tuesdays, 11:00am-1:50pm

In this Arts Core course, students will be introduced to a range of the utopian and dystopian fantasies that writers have produced in response to the metropolis of London as the imperial epicenter of manufactured ecologies, from the late nineteenth century through the present day. They will study early responses to modernism and modernization in the city by figures like William Blake, Frederick Engels, Henry James, Ezra Pound, and Virginia Woolf before moving on to contemporary writers such as R. Murray Schafer, who apprehends the city through “earwitnessing” of noise pollution, and Bhanu Kapil, who recalls the race riots of the 1970s against the backdrop of the Nestle factory on the site of King Henry VIII’s hunting grounds. Students will be exposed first-hand to how London is read by writers confronting planetary and political crisis through meetings with living publishers, authors, and art collectives like the Museum of Walking, grappling with the continual metamorphosis of the landscape—and through a sequence of on-site visits and psychogeographical experiments, they will have the opportunity to respond to the city in their own writing across a range of genres. 

To revise a piece of writing isn’t merely to polish it. Revision is transformation and yields an alternate reality. A new view, a re-vision. This course will examine the radical potential of revision, drawing case studies from a range of writers such as Marguerite Duras, Jorge Luis Borges, Elizabeth Bishop, Dionne Brand, Li-Young Lee, Janet Malcolm, Lydia Davis, Terrance Hayes, Yiyun Li, francine j. harris, Bhanu Kapil, Shane McCrae, and Chase Berggrun. We’ll start by tracking compositional process, looking at brilliant and disastrous drafts to compare the aesthetic and political consequences of different choices on the page. We’ll then study poems, essays, and stories that refute themselves and self-revise as they unfold, dramatizing mixed feelings and changing minds. We’ll end by considering erasure poetry as a form of critical revision. Our conversations will inspire weekly writing exercises and invite you to experiment with various creative revision strategies. Students will be asked to lead one presentation and to share their writing for group discussion.

Day/Time: Fridays, 1:30-4:20pm

This course studies how writers engage the senses to shape language into something actually felt and not just comprehended. We’ll track the sensual life of words—what they do to the mouth, to the ear, their musical kinships with one another—and learn how these qualities combine to generate mood and atmosphere. Alongside writing that renders embodiment and the physical world, we’ll read writing that makes abstraction feel concrete. Our reading will guide our ongoing inquiry into questions such as: what constitutes an image? How does writing enact feeling? How do the sensory elements of a piece intensify or erode or expand its subject, and to what end? Case studies may include poetry and prose by Bashō, Sei Shōnagon, Homer, John Keats, Gerard Manley Hopkins, Jean Toomer, D. H. Lawrence, Lorine Niedecker, Gwendolyn Brooks, James Baldwin, Sylvia Plath, Ai, Elaine Scarry, Wanda Coleman, Toni Morrison, Hai-Dang Phan, Nathaniel Mackey, Durga Chew-Bose, Justin Torres, and Jenny Zhang. These writers will provide inspiration for your own creative experiments on the page. Students will be asked to lead one presentation during the quarter and to write short weekly pieces to extend the group discussion.

Day/Time: Thursdays, 2:00pm-4:50pm

In this class we'll study how writers define and make use of truth--whatever that is. In some cases it's the truth, singular; in others a truth, only one among many. Some writers tell it straight, others slant. Some, like Tim O'Brien, advocate story-truth, the idea that fiction tells deeper truths than facts. To get at the heart of these and other unanswerable questions we'll read writers who've written about one event in two or more modes. Nick Flynn's poems about his father, for example, which he's also set down as comic strips as well as in prose. Jeanette Winterson's first novel as well as her memoir, sixteen years later, about what she'd been too afraid to say in it. Karl Marlantes' novel about the Vietnam war, then his essays about the events he'd fictionalized. Through weekly responses, creative exercises, and longer analytic essays you'll begin to figure out your own writerly truths, as well as the differences-and intersections-between them.

Day/Time: Tuesday, 9:30am-12:20pm