CRWR

There’s really no such thing as the “voiceless.” There is only the deliberately silenced, or the preferably unheard.~~Arundhati Roy 

Invasion and occupation, waves of nomads and immigrants, the African slave trade, the Underground Railroad, the Great Migration, the Trail of Tears, the Dust Bowl, and the “southern border,” our American story contains multitudes, united in motion. Wanderers and drifters, exiles and refugees, we are on the run and in the mix, our collective experience one of forced migration as well as voluntary uprooting—we’re at once victims and agents, objects and subjects. Oral History, “the poetry of the everyday,” the literature of the street, is perfectly poised to open a unique window onto our migration stories, offering a narrative space where an interviewer, listening with empathy and identification, and a story-teller, seizing an occasion to perform an account of events and experiences, co-create a relationship and reveal a universe of meaning-making. Seeking authenticity, oral historians become attuned to contradiction, tension, disagreements, silences, inconsistencies, ambiguities, paradoxes, uncertainties, and every other kind of human muddle; we dive head-first into the wide, wild world of human experience and human meaning-making, offering an important antidote to propaganda, dogma, imposition and stereotype. We look for what happened, what people say happened, and the webs of significance people construct to make sense of what happened. In this seminar we will study the theory and practice of Oral History, and we will create original oral accounts of migration from our own families as well as from a much wider range of Chicago communities. 

Day/Time: Thursday, 9:40 - 12:40 PM

When life unfolds in a series of random senseless events, humans seek narratives that make order of the chaos. The literary essay gives us a tool to ask: Who are we? How did we get here? What drives us? What holds us back? Where are we headed? Students in this workshop will tackle some of life’s biggest questions alongside their lived experiences, dreams, and fantasies in a “field notebook” with the goal of developing— and helping each other develop in workshop— true, bold, idea-driven narratives or meditations that render us a little more lucid, strategic, and in love with the act of wondering. Topics of interest will include rhetoric, self-characterization, associative logic, conflict-resolution, and the possibilities of voice and truth in nonfiction. Along the way, we will read essayists and essayistic narrators who have honored reverie and introspection, such as E.B. White, Henry David Thoreau, Fernando Pessoa, Jean-Jacques Rousseau, Patricia Foster, and Sei Shonagon. Students will direct their own workshop discussions and attend one-on-one conferences with the instructor before revising two essays for a portfolio that demonstrates curiosity and discovery.

Day/Time: Wednesday, 9:10-11:10 AM

Writers at all levels learn through the careful reading of works they admire. We will spend more than a third of our time in this class reading stories worth learning from, both classic and contemporary, by writers like James Baldwin, Clarice Lispector, Sherman Alexie, Lorrie Moore, and Jhumpa Lahiri. Discussion will be lively --passionate opinions and enthusiasm are welcome --but most of our focus will be on the choices that writers make, the nuts and bolts of craft, including: point of view, tone, direct and summary dialog, setting, and use of time. In-class exercises will further hone your understanding of specific techniques, fire your creativity and get you writing. In writing workshop, each of you will each have the opportunity to present your work to the group. Critique will be respectful and productive, with emphasis on clarity and precision. By the end of the course, you will have generated significant raw material and completed at least one story, which will be revised and handed in as a final portfolio.

Day/Time: Wednesday, 1:50 - 3:50 PM

Style, it might be said, is a truce the writer makes between her material and what she can do with it. This course will focus on the latter—especially the things that beginning writers can do to take control of their writing.  Directed prose exercises will sharpen your technical self-mastery.  For larger issues of craft we'll examine stories by a succession of vivid stylists. You might be asked to experiment with the picaresque elaborations of Nikolai Gogol, the ruthless dreaming of Jamaica Kincaid, the limited point of view of a Katherine Mansfield character, or the supple empathy of David Foster Wallace's indirect discourse.  In the second part of the course, you will twice submit an original story for peer workshopping and will turn in polished revisions at the semester's end.

Day/Time: Friday, 12:40-3:50 PM

Where should a poem end and what should that ending feel like? We’ll acquaint ourselves with many possible answers to these questions as we read a range of poems from the past and present, seeking out new models to challenge and refine our ideas and habits around closure. To better understand closural strategies in our own and others’ poetry, we’ll examine narrative and lyric expectations, prosody, epiphany, seriality, anti-closure, and procedure, discussing the sociohistorical context and politics of poets’ formal choices. Course readings will be determined by the needs and interests of the group and will enrich the workshop dialogue around your own poetry. Students will be asked to write and share a new poem each week and to participate rigorously in discussion.

Day/Time: Friday, 1:50-3:50 PM

Whether a memoir operates in the past or present tense, its narrator must reckon with some kind of unfinished business. While memory is the raw material of an autobiographical story, the drama exists inside the act of remembering, of reckoning with the “why” or “how” a narrator’s previous character or worldview has been transformed. In this class, we will study the structural, tonal, and representational possibilities of the "privileged perspective”: the vantage point from which a narrator writes across time and emotional distance from an experience, usually with the goal of resolution, revelation, or the conveyance of something that can only be approximated. We will close-read a number of contemporary memoirists that teach us how the privileged perspective works to drive forward a narrator’s agenda while upholding the reader’s stake in a story, exploring a multitude of interpretations through student-led presentations. Authors may include Jean-Dominique Bauby, Vladimir Nabokov, Vivian Gornick, Hisham Matar, Darin Strauss, and Joan Didion. In addition to one group presentation, students will be expected to track and analyze the functions of the privileged perspective via critical reading reports and technical writing prompts.

Day/Time: Friday, 10:20-12:20 PM

“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.

Day/Time: Monday, 1:50 -3:50 PM

Writing fiction is in large part a matter of convincing world-building, no matter what genre you write in. And convincing world-building is about creating a seamless reality within the elements of that world: from character dynamics, to setting, to social systems, and even the story or novel’s conceptual conceit. And whether it be within a genre of realism, historical fiction, or science fiction, building a convincing world takes a good deal of research. So while we look closely at the tools and methods of successful world-building, we will also dig into the process of research. From how and where to mine the right details, to what to look for. We will also focus on how research can make a fertile ground for harvesting ideas and even story. Students will read various works of long and short fiction with an eye to its world-building, as well as critical and craft texts. They will write short weekly reading responses and some creative exercises as well. Each student will also be expected to make a brief presentation and turn in a final paper for the class. He class will also be linked with the History Department’s ExoTerra Imagination Lab:

https://history.uchicago.edu/sites/history.uchicago.edu/files/uploads/ExoTerraImaginationLab-StudentAnnouncement.pdf  

(Participation in ExoTerra will be for extra credit and optional.) 

Day/Time: Thursday, 9:40-12:40

In this advanced fiction workshop, students will work on novel-length projects, completing one to two polished chapters and an outline of a full novel. We will explore how to structure a book that is both propulsive and character-driven, and how to create a compelling, unique narrative voice. Works by James Baldwin, Edith Wharton, Ha Jin, Vladimir Nabokov, and Akhil Sharma will help us consider the crucial relationship between characters and their contexts.

Day/Time: Thursday, 9:40-12:40 PM

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: Friday, 1:50-3:50