BEGINNING FICTION WORKSHOP
Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in fiction is designed for students with little or no experience writing literary texts in fiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually produce their own writing for the critical analysis of the class. The focus of the course is on the rudiments of voice, character, setting, point of view, plot, and lyrical use of language. Students will begin to develop the critical skills that will allow them to read like writers and understand, on a technical level, how accomplished creative writing is produced. Outside readings of a wide range of fiction supplement and inform the exercises and longer written projects.
- M 2:10 p.m.-4 p.m.
- W 4:10 p.m.-6 p.m.
- W 2:10 p.m.-4 p.m.
- R 4:10 p.m.-6 p.m.
- T 6:10 p.m.-8 p.m.
-
Instructor:
Celine R Ipek
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Instructor:
Caroline E Johnson
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Instructor:
Mattie C Govan
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Instructor:
Gabrielle P McAree
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Instructor:
Alexandra R Banach
Info - 3 points
BEGINNING NONFICTION WORKSHOP
Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects.
- R 12:10 p.m.-2 p.m.
- R 6:10 p.m.-8 p.m.
- W 6:10 p.m.-8 p.m.
-
Instructor:
Ade Khan
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Instructor:
Diana M Heald
Info -
Instructor:
Emma W Decamp
Info - 3 points
BEGINNING POETRY WORKSHOP
Prerequisites: No prerequisites. Department approval NOT required. The beginning poetry workshop is designed for students who have a serious interest in poetry writing but who lack a significant background in the rudiments of the craft and/or have had little or no previous poetry workshop experience. Students will be assigned weekly writing exercises emphasizing such aspects of verse composition as the poetic line, the image, rhyme and other sound devices, verse forms, repetition, tone, irony, and others. Students will also read an extensive variety of exemplary work in verse, submit brief critical analyses of poems, and critique each others original work.
- R 10:10 a.m.-noon
- M 4:10 p.m.-6 p.m.
-
Instructor:
Jane H Crager
Info -
Instructor:
Sophia L Mautz
Info - 3 points
INTERMEDIATE FICTION WORKSHOP
Intermediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. By the end of the semester, each student will have produced at least seventy pages of original fiction. Students are additionally expected to write extensive critiques of the work of their peers. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
- R 2:10 p.m.-4 p.m.
- T 2:10 p.m.-4 p.m.
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Instructor:
Heidi S Julavits
CULPA: 1 Wikipedia Info -
Instructor:
Sophie F Kemp
Info - 3 points
APPROACHES TO THE SHORT STORY
The modern short story has gone through many transformations, and the innovations of its practitioners have often pointed the way for prose fiction as a whole. The short story has been seized upon and refreshed by diverse cultures and aesthetic affiliations, so that perhaps the only stable definition of the form remains the famous one advanced by Poe, one of its early masters, as a work of fiction that can be read in one sitting. Still, common elements of the form have emerged over the last century and this course will study them, including Point of View, Plot, Character, Setting and Theme. John Hawkes once famously called these last four elements the "enemies of the novel," and many short story writers have seen them as hindrances as well. Hawkes later recanted, though some writers would still agree with his earlier assessment, and this course will examine the successful strategies of great writers across the spectrum of short story practice, from traditional approaches to more radical solutions, keeping in mind how one period's revolution -Hemingway, for example - becomes a later era's mainstream or "commonsense" storytelling mode. By reading the work of major writers from a writer's perspective, we will examine the myriad techniques employed for what is finally a common goal: to make readers feel. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling fictions.
- R 10:10 a.m.-noon
-
Instructor:
Celine R Ipek
Info - 3 points
INTERMEDIATE NONFICTION WRKSHP
The intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Outside readings supplement and inform the exercises and longer written projects. By the end of the semester, students will have produced thirty to forty pages of original work in at least two traditions of literary nonfiction. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
TRADITIONS IN NONFICTION
Prerequisites: No prerequisites. Department approval NOT required. The seminar provides exposure to the varieties of nonfiction with readings in its principal genres: reportage, criticism and commentary, biography and history, and memoir and the personal essay. A highly plastic medium, nonfiction allows authors to portray real events and experiences through narrative, analysis, polemic or any combination thereof. Free to invent everything but the facts, great practitioners of nonfiction are faithful to reality while writing with a voice and a vision distinctively their own. To show how nonfiction is conceived and constructed, class discussions will emphasize the relationship of content to form and style, techniques for creating plot and character under the factual constraints imposed by nonfiction, the defining characteristics of each authors voice, the authors subjectivity and presence, the role of imagination and emotion, the uses of humor, and the importance of speculation and attitude. Written assignments will be opportunities to experiment in several nonfiction genres and styles.
INTERMEDIATE POETRY WORKSHOP
Intermediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Intermediate poetry workshops pose greater challenges to students and maintain higher critical standards than beginning workshops. Students will be instructed in more complex aspects of the craft, including the poetic persona, the prose poem, the collage, open-field composition, and others. They will also be assigned more challenging verse forms such as the villanelle and also non-European verse forms such as the pantoum. They will read extensively, submit brief critical analyses, and put their instruction into regular practice by composing original work that will be critiqued by their peers. By the end of the semester each student will have assembled a substantial portfolio of finished work. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
- M 10:10 a.m.-noon
-
Instructor:
Alexander Dimitrov
Info - 3 points
TRADITIONS IN POETRY
Prerequisites: No prerequisites. Department approval NOT required.
“For those, in dark, who find their own way by the light of others’ eyes.” —Lucie Brock-Broido
The avenues of poetic tradition open to today’s poets are more numerous, more invigorating, and perhaps even more baffling than ever before. The routes we chose for our writing lead to destinations of our own making, and we take them at our own risk—necessarily so, as the pursuit of poetry asks each of us to light a pilgrim’s candle and follow it into the moors and lowlands, through wastes and prairies, crossing waters as we go. Go after the marshlights, the will-o-wisps who call to you in a voice you’ve longed for your whole life. These routes have been forged by those who came before you, but for that reason, none of them can hope to keep you on it entirely. You must take your steps away, brick by brick, heading confidently into the hinterland of your own distinct achievement.
For the purpose of this class, we will walk these roads together, examining the works of classic and contemporary exemplars of the craft. By companioning poets from a large spread of time, we will be able to more diversely immerse ourselves in what a poetic “tradition” truly means. We will read works by Edmund Spencer, Dante, and Goethe, the Romantics—especially Keats—Dickinson, who is mother to us all, Modernists, and the great sweep of contemporary poetry that is too vast to individuate.
While it is the imperative of this class to equip you with the knowledge necessary to advance in the field of poetry, this task shall be done in a Columbian manner. Consider this class an initiation, of sorts, into the vocabulary which distinguishes the writers who work under our flag, each of us bound by this language that must be passed on, and therefore changed, to you who inherit it. As I have learned the words, I have changed them, and I give them now to you so that you may pave your own way into your own ways, inspired with the first breath that brought you here, which may excite and—hopefully—frighten you. You must be troubled. This is essential
- R 2:10 p.m.-4 p.m.
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Instructor:
Jane H Crager
Info - 3 points
BODY & WORD
Our writing often appears primarily as a product of cognitive faculties, and we easily overlook the profound influence our bodies exert on our thoughts and, consequently, our writing. Our perception of language itself is tied to how we perceive our physical selves. We can understand our bodies materially, as intricate structures of bone, muscle, and cells, or kinesthetically, through movement, force, and tone, intertwined with a spectrum of sensations like pain and pleasure, which intersect with our psychological and emotional landscapes. Through a series of movement exercises, readings, and writing assignments, this seminar delves into the profound impact a deeper understanding of our bodies and their movement can have on our writing, and conversely, how writing can influence our bodily experiences. Using various artistic mediums such as dance, film, literature, and fine arts, we aim to enhance our ability to articulate and write the body's presence and movement through space and time. Students from all concentrations are encouraged to join.
- W 10:10 a.m.-noon
-
Instructor:
Matty Davis
Info - 3 points
WORD. ARTWORK. MIRROR. MULTIPLY: THE VIS
In Teresa Margolles’
Aire/Air, 2003,
two air conditioning units cool an otherwise empty exhibition space. Exhaled by the air conditioners, inhaled by gallery audience, the water once washed the bodies of unidentified murder victims in Mexico City’s public mortuaries. Invisible, yet tangible. Permeating. A year prior to the first installation of
Aire/Air, 2003
, Jenny Boully published
The Body: An Essay
—a book of largely blank pages, articulated through footnotes. In 2016, Solmaz Sharif’s poetry collection
Look
examined the physical and linguistic devastation of anglophone imperialism in a lexicon of erasure, redaction, and rupture. What can be understood from approaching Margolles’
Aire/Air, 2003
, Boully’s
The Body: An Essay,
and Sharif’s
Look
not as individual entities but as constellation, as works in orbit. What insights—critical and craft-based—might emerge in this triangulation of visions, subject matter, and techniques? If artworks and literature are positioned as mirrors, not to reflect but to multiply one another infinitely, how will each illuminate, complicate, and expand the other?
By examining literary nonfiction and poetry through the lens of the visual arts, by travelling the critical and formal “vocabularies” of one medium towards another,
Word. Artwork. Mirror. Multiply: The Visual Arts as a Poetics of Sentence, Line, and Form
invites students to radically rethink how they approach the sentence or line. Working from the premise that an exploration of one artform’s genres, methods, shapes, and traditions better clarifies the mechanisms, possibilities, and even boundaries of another, the course asks that students consider those material “impossibilities” of the written word and page, not as endings, but as beginnings, as opportunities for experimentation, originality, and the strange. How can writing walk us around, above or beneath its subject matter? How can an object of study imperceptibly permeate the “room” of the page? How can it rupture, correlate, multiply, map across dimensions?
Each week, students will receive a generative prompt (either to complete in class or after) specific to the themes and concerns of the relevant reading materials. These are opportunities to experiment as the work will not be workshopped or critiqued. Twice during the semester, students will lead discussions on assigned books, artworks,
ADVANCED FICTION WORKSHOP
Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
- R 12:10 p.m.-2 p.m.
- T 2:10 p.m.-4 p.m.
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Instructor:
Hannah L Assadi
Info -
Instructor:
Victor D Lavalle
CULPA: 2 Wikipedia Info - 3 points
SENIOR FICTION WORKSHOP
Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
- T 10:10 a.m.-noon
-
Instructor:
Rivka R Galchen
CULPA: 6
Info
- 4 points
VOICES & VISIONS OF CHILDHOOD
- T 10:10 a.m.-noon
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Instructor:
Clare Sestanovich
Info - 3 points
HOW TO BUILD A PERSON
Prerequisites: No prerequisites. Departmental approval NOT required. Character is something that good fiction supposedly cannot do without. But what is a character, and what constitutes a supposedly good or believable one? Should characters be like people we know, and if so, how exactly do we create written versions of people? This class will examine characters in all sorts of writing, historical and contemporary, with an eye toward understanding just how characters are created in fiction, and how they come to seem real to us. Well read stories and novels; we may also look at essays and biographical writing to analyze where the traces of personhood reside. Well also explore the way in which these same techniques of writing allow us to personify entities that lack traditional personhood, such as animals, computers, and other nonhuman characters. Does personhood precede narrative, or is it something we bestow on others by allowing them to tell their story or by telling a story of our own creation on their behalf? Weekly critical and creative exercises will intersect with and expand on the readings and discussions.
- W 2:10 p.m.-4 p.m.
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Instructor:
Mina Seckin
Info - 3 points
THE ECSTASY OF INFLUENCE
Ecstasy of Influence
What does it mean to be original? How do we differentiate plagiarism from pastiche, appropriation from homage? And how do we build on pre-existing traditions while simultaneously creating work that reflects our own unique experiences of the world?
In a 2007 essay for
Harper
’
s
magazine, Jonathan Lethem countered critic Harold Bloom’s theory of “the anxiety of influence” by proposing, instead, an “ecstasy of influence”; Lethem suggested that writers embrace rather than reject the unavoidable imprints of their literary forbearers. Beginning with Lethem’s essay—which, itself, is composed entirely of borrowed (or “sampled”) text—this class will consider the nature of literary influence, and its role in the development of voice.
Each week, students will read from pairings of older stories and novel excerpts with contemporary work that falls within the same artistic lineage. In doing so, we’ll track the movement of stylistic, structural, and thematic approaches to fiction across time, and think about the different ways that stories and novels can converse with one another. We will also consider the influence of other artistic mediums—music, visual art, film and television—on various texts. Students will then write their own original short pieces modeled after the readings. Just as musicians cover songs, we will “cover” texts, adding our own interpretive imprints.
- T 12:10 p.m.-2 p.m.
-
Instructor:
Adam Z Wilson
Info - 3 points
SENIOR NONFICTION WORKSHOP
Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
- M 12:10 p.m.-2 p.m.
-
Instructor:
Vanessa A Martir
Info - 4 points
HYBRID NONFICTION FORMS
Prerequisites: No prerequisites. Department approval NOT required. Creative nonfiction is a frustratingly vague term. How do we give it real literary meaning; examine its compositional aims and techniques, its achievements and especially its aspirations? This course will focus on works that we might call visionary - works that combine art forms, genres and styles in striking ways. Works in which image and text combine to create a third interactive language for the reader. Works still termed fiction history or journalism that join fact and fiction to interrogate their uses and implications. Certain memoirs that are deliberately anti-autobiographical, turning from personal narrative to the sounds, sight, impressions and ideas of the writers milieu. Certain essays that join personal reflection to arts and cultural criticism, drawing on research and imagination, the vernacular and the formal, even prose and poetry. The assemblage or collage that, created from notebook entries, lists, quotations, footnotes and indexes achieves its coherence through fragments and associations, found and original texts.
- T 12:10 p.m.-2 p.m.
-
Instructor:
Margo L Jefferson
CULPA: 1 Info - 3 points
WRITING ABOUT ART
Prerequisites: No prerequisites. Department approval NOT required.
This course will introduce students to writing about visual art. We will take our models from art history and contemporary art discourse, and students will be prompted to write with and about current art exhibitions and events throughout the city. The modes of art writing we will encounter include: the practice of ekphrasis (poems which describe or derive their inspiration from a work of art); writers such as John Ashbery, Gary Indiana, Eileen Myles, and others who for periods of their life held positions as art critics while composing poetry and works of fiction; writers such as Etel Adnan, Susan Howe, and Renee Gladman who have produced literature and works of art in equal measure. We will also look at artists who have written essays and poetry throughout their careers such as Robert Smithson, Glenn Ligon, Gregg Bordowitz, Moyra Davey, and Hannah Black, and consider both the visual qualities of writing and the ways that visual artists have used writing in their work. Lastly, we will consider what it means to write through a “milieu” of visual artists, such as those associated with the New York School and Moscow Conceptualism. Throughout the course students will produce original works and complete a final writing project that enriches, complicates, and departs from their own interests and preoccupations.
- W 12:10 p.m.-2 p.m.
-
Instructor:
Eliza B Callahan
Info - 3 points
LIFE STORIES
NF SEM - LIFE STORIES
In this seminar, we will target nonfiction that tells stories about lives: profiles, memoirs, and biographies. We will examine how the practice of this kind of nonfiction, and ideas about it, have evolved over the past 150 years. Along the way, we will ask questions about these nonfiction forms: How do reporters, memoirists, biographers, and critics make sense of their subjects? How do they create work as rich as the best novels and short stories? Can criticism explicate the inner life of a human subject? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? Along the way, we’ll engage in issues of identity and race, memory and self, real persons and invented characters and we’ll get glimpses of such key publications as
The Atlantic Monthly, The New Yorker, Esquire, Harper’s, and The New York Review of Books.
Some writers we will consider: Frederick Douglass, Louisa May Alcott, Walt Whitman, Henry Adams, Joseph Mitchell, Lillian Ross, James Agee, John Hersey, Edmund Wilson, Gore Vidal, Gay Talese, James Baldwin, Vladimir Nabokov, Janet Malcolm, Robert Caro, Joyce Carol Oates, Toni Morrison, Joan Didion, and Henry Louis Gates Jr. The course regularly welcomes guest speakers.
- M 6:10 p.m.-8 p.m.
-
Instructor:
Mark Rozzo
Info - 3 points
ADVANCED POETRY WORKSHOP
This poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. Students will be encouraged to develop their strengths and to cultivate a distinctive poetic vision and voice but must also demonstrate a willingness to broaden their range and experiment with new forms and notions of the poem. A portfolio of poetry will be written and revised with the critical input of the instructor and the workshop. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.
- W 12:10 p.m.-2 p.m.
-
Instructor:
Ariel Yelen
Info - 3 points
Ecopoetics
Poetry Seminar - Ecopoeti
“There are things / We live among ‘and to see them / Is to know ourselves.’”
George Oppen, “Of Being Numerous”
In this class we will read poetry like writers that inhabit an imperiled planet, understanding our poems as being in direct conversation both with the environment as well as writers past and present with similar concerns and techniques. Given the imminent ecological crises we are facing, the poems we read will center themes of place, ecology, interspecies dependence, the role of humans in the destruction of the planet, and the “necropastoral” (to borrow a term from Joyelle McSweeney), among others. We will read works by poets and writers such as (but not limited to) John Ashbery, Harryette Mullen, Asiya Wadud, Wendy Xu, Ross Gay, Simone Kearney, Kim Hyesoon, Marcella Durand, Arthur Rimbaud, Geoffrey G. O’Brien, Muriel Rukeyser, George Oppen, Terrance Hayes, Juliana Spahr, and W.S. Merwin—reading several full collections as well as individual poems and essays by scholars in the field.
Through close readings, in-class exercises, discussions, and creative/critical writings, we will invest in and investigate facets of the dynamic lyric that is aware of its environs (sound, image, line), while also exploring traditional poetic forms like the Haibun, ode, prose poem, and elegy. Additionally, we will seek inspiration in outside mediums such as film, visual art, and music, as well as, of course, the natural world. As a class, we will explore the highly individual nature of writing processes and talk about building writing practices that are generative as well as sustainable.
- M 12:10 p.m.-2 p.m.
-
Instructor:
Samantha Zighelboim
Info - 3 points
21STC AM POETRY & ITS CONCERNS
21STC AM POETY & ITS CONCERNS
The lyric has often been conceived of as timeless in its content and inwardly-directed in its mode of address, yet so many poems with lasting claim on our attention point unmistakably outward, addressing the particulars of their times. This course will examine the ways in which an array of 21st poets have embraced, indicted, and anatomized their cultural and historical contexts, diagnosing society’s ailments, indulging in its obsessions, and sharing its concerns. Engaging with such topics as race, class, war, death, trauma, feminism, pop culture and sexuality, how do poets adapt poetic form to provide meaningful and relevant insights without losing them to beauty, ambiguity, and music? How is pop star Rihanna a vehicle for discussing feminism and isolation? What does it mean to write about Black masculinity after Ferguson? In a time when poetry’s cultural relevancy is continually debated in academia and in the media, how can today’s poets use their art to hold a mirror to modern living? This class will explore how writers address present-day topics in light of their own subjectivity, how their works reflect larger cultural trends and currents, and how critics as well as poets themselves have reflected on poetry’s, and the poet’s, changing social role. In studying how these writers complicate traditional notions of what poetry should and shouldn’t do, both in terms of content and of form, students will investigate their own writing practices, fortify their poetic voices, and create new works that engage directly and confidently with the world in which they are written.
- M 6:10 p.m.-8 p.m.
-
Instructor:
Quincy Jones
Info - 3 points
STORIES WITHIN STORIES
The science fiction writer Ursula K. Le Guin, in her sly, radical manifesto of sorts “Carrier Bag Theory of Fiction,” proposes an idea of the “bottle as hero”: instead of conflict serving as our central organizing theory for narrative, she suggests that “the natural, proper, fitting shape of the novel might be that of a sack, a bag.” In other words: a container. These containers needn’t only apply to novels, I contend, but many types of literary narratives, whether they are classified as fiction, nonfiction, poetry, or some hybrid of forms.
With this in mind, the generative cross-genre craft seminar Stories within Stories aims to uncover beautiful and practical approaches to gathering small narratives into a larger, cohesive whole. Readings will include Svetlana Alexievich’s devastating novels in voices, Percival Everett’s incendiary novel-within-a-novel
Erasure
, Ted Chiang’s mesmerizing historical fantasy, Robin Wall Kimmerer’s braided essays of restoration, Nâzım Hikmet’s epic in verse
Human Landscapes from My Country
, Renee Gladman’s cross-disciplinary approaches to writing and drawing, Yevgenia Belorusets’s dispatches from Ukraine, Edward Gauvin’s identity-memoir-in-contributors’ bios, Saidiya Hartman’s speculative histories, Gary Indiana’s gleefully acerbic roman à clef
Do Everything in the Dark
, Alejandro Zambra’s standardized test-inspired literature, W. G. Sebald’s saturnine essay-fiction, and Lisa Hsiao Chen’s meld of biography and autobiography, as well as fiction and nonfiction by Clarice Lispector, Vauhini Vara, Eileen Myles, Olga Tokarczuk, and Julie Hecht, among other texts.
In addition, we will also read essays on craft and storytelling by Le Guin, Gladman, Zambra, Lydia Davis, Walter Benjamin, Garielle Lutz, Ben Mauk, and more. What we learn in this course we will apply to our own work, which will consist of regular creative writing responses drawn from the readings and a creative final project. Students will also learn to keep a daily journal of writing.
- T 2:10 p.m.-4 p.m.
-
Instructor:
James C Yeh
Info - 3 points
FICTION WORKSHOP
- W 2 p.m.-5 p.m.
- R 1:10 p.m.-4:10 p.m.
-
Instructor:
James Canon
Wikipedia Info -
Instructor:
Nicholas Christopher
Wikipedia Info -
Instructor:
Joanna B Hershon
CULPA: 3 Info -
Instructor:
Heidi S Julavits
CULPA: 1 Wikipedia Info -
Instructor:
Victor D Lavalle
CULPA: 2 Wikipedia Info -
Instructor:
Hilary J Leichter
Info -
Instructor:
Samuel Lipsyte
CULPA: 5
Info
-
Instructor:
Madelaine Lucas
Info -
Instructor:
Benjamin Marcus
Info -
Instructor:
Sophie M Dess
Info -
Instructor:
Han Ong
Info - 6 points
NONFICTION WORKSHOP
- R 4:15 p.m.-7:15 p.m.
- W 4:15 p.m.-7:15 p.m.
- T 1:10 p.m.-4:10 p.m.
- M 1:10 p.m.-4:10 p.m.
-
Instructor:
Cristen A Beam
Info -
Instructor:
Wes Enzinna
Info -
Instructor:
Susan Hartman
Info -
Instructor:
Michelle Orange
Info - 6 points
POETRY WORKSHOP
- F 1:10 p.m.-4:10 p.m.
- T 5 p.m.-8 p.m.
- W 4:15 p.m.-7:15 p.m.
- R 10 a.m.-1 p.m.
- F 1:10 p.m.-4:10 p.m.
-
Instructor:
Mark Bibbins
Wikipedia Info -
Instructor:
Alan Gilbert
Info -
Instructor:
Dorothea S Lasky
Wikipedia Info -
Instructor:
Shane McCrae
Wikipedia Info -
Instructor:
Emily F Skillings
Info - 6 points
SPECIAL PROJECTS WORKSHOP
- T 6:30 p.m.-9:30 p.m.
-
Instructor:
Thomas A Donovan
Info - 6 points
INDEPENDENT STUDY
-
Instructor:
Shane McCrae
Wikipedia Info -
Instructor:
Heidi S Julavits
CULPA: 1 Wikipedia Info - 0.5-6 points
CROSS-GENRE SEMINAR
THE WRITER AS TEACHER
CROSS-GENRE SEMINAR
- W 2 p.m.-5 p.m.
-
Instructor:
Keri E Bertino
Info - 3 points
CROSS-GENRE SEMINAR
MOSAICS: FICTION AND POETRY
CROSS-GENRE SEMINAR
- R 10 a.m.-noon
-
Instructor:
Nicholas Christopher
Wikipedia Info - 3 points
CROSS-GENRE SEMINAR
POETRY FOR PROSE WRITERS
CROSS-GENRE SEMINAR
- T 10 a.m.-noon
-
Instructor:
Shana M Ferrell
Info - 3 points
CROSS-GENRE SEMINAR
THE COMMA SUTRA: GRAMMAR
CROSS-GENRE SEMINAR
- T 4:15 p.m.-6:15 p.m.
-
Instructor:
Barbara K Fischer
Info - 3 points
CROSS-GENRE SEMINAR
Editing and the Writer
CROSS-GENRE SEMINAR
- W 10 a.m.-noon
-
Instructor:
Brigid Hughes
Wikipedia Info - 3 points
CROSS-GENRE SEMINAR
SHORT PROSE FORMS
CROSS-GENRE SEMINAR
- W 5:15 p.m.-7:15 p.m.
-
Instructor:
Alan Ziegler
CULPA: 5
Info
- 3 points
FICTION SEMINAR
TIME IN FICTION
.
- R 4:15 p.m.-6:15 p.m.
-
Instructor:
Joshua Furst
Wikipedia Info - 3 points
FICTION SEMINAR
NOT EXACTLY SCI FICTION
.
- T 4:15 p.m.-6:15 p.m.
-
Instructor:
Rivka R Galchen
CULPA: 6
Info
- 3 points
FICTION SEMINAR
Word, Sentence, Paragraph
.
- T 4:15 p.m.-6:15 p.m.
-
Instructor:
Binnie Kirshenbaum
Wikipedia Info - 3 points
FICTION SEMINAR
SPORTS CONTEMP WRITING
.
- W 2 p.m.-4 p.m.
-
Instructor:
Samuel Lipsyte
CULPA: 5
Info
- 3 points
FICTION SEMINAR
Future of the Short Story
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- R 1:10 p.m.-3:10 p.m.
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Instructor:
Benjamin Marcus
Info - 3 points
FICTION SEMINAR
READINGS - HIGH MODERNISM
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- M 4:15 p.m.-6:15 p.m.
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Instructor:
Erroll G McDonald
Info - 3 points
FICTION SEMINAR
SPECULATIVE FICTION
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- T 1:10 p.m.-3:10 p.m.
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Instructor:
Lincoln M Michel
Info - 3 points
FICTION SEMINAR
ELASTIC REALITIES
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- T 10 a.m.-noon
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Instructor:
Hilary J Leichter
Info - 3 points
FICTION SEMINAR
BUILDING A SCENE
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- W 10 a.m.-noon
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Instructor:
Lara Vapnyar
Wikipedia Info - 3 points
NONFICTION SEMINAR
SPECULATIVE FUTURES
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- T 10 a.m.-noon
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Instructor:
Jaquira Diaz
Wikipedia Info - 3 points
NONFICTION SEMINAR
WRITING OTHER PEOPLE'S LIVES
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- T 10 a.m.-noon
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Instructor:
Ruth Franklin
Wikipedia Info - 3 points
NONFICTION SEMINAR
ART CULTURE AND CRITICISM
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- W 2 p.m.-4 p.m.
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Instructor:
Margo L Jefferson
CULPA: 1 Info - 3 points
NONFICTION SEMINAR
REPORTING NON-NEWS
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- M 1:10 p.m.-3:10 p.m.
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Instructor:
Gideon Lewis-Kraus
Info - 3 points
NONFICTION SEMINAR
THE FINGERPRINT OF STYLE
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- R 4:15 p.m.-6:15 p.m.
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Instructor:
Benjamin Taylor
Wikipedia Info - 3 points
NONFICTION SEMINAR
THE BRILLIANT VOICE
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- T 1:10 p.m.-3:10 p.m.
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Instructor:
Wendy Walters
Info - 3 points
POETRY SEMINAR
SURREALISM & PROSE POETRY
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- M 11 a.m.-1 p.m.
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Instructor:
Jared D Fagen
Info - 3 points
POETRY SEMINAR
READING AND REVOLUTION
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- W 10 a.m.-noon
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Instructor:
Farnoosh Fathi
Info - 3 points
POETRY SEMINAR
BEAST OF NO POETICS
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- F 1:10 p.m.-3:10 p.m.
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Instructor:
Marwa Helal
Info - 3 points
POETRY SEMINAR
UNLEASHING THE POETIC DEMON
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- R 1:10 p.m.-3:10 p.m.
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Instructor:
Dorothea S Lasky
Wikipedia Info - 3 points
POETRY SEMINAR
GENRES & FORMS OF POETRY
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- F 1:10 p.m.-3:10 p.m.
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Instructor:
Michael Dumanis
Info - 3 points
TRANSLATION WORKSHOP
LIT TRANSLATION WRKSHP
- R 10 a.m.-12:30 p.m.
- W 2 p.m.-4:30 p.m.
- R 4:15 p.m.-6:45 p.m.
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Instructor:
Susan Bernofsky
Wikipedia Info -
Instructor:
Michael Moore
h-index: 2 Info -
Instructor:
Yasmine Seale
Info - 3 points
TRANSLATION SEMINAR
TRANSLATING LYRIC
TRANSLATION SEMINAR
- R 10 a.m.-noon
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Instructor:
Rosanna Warren
Info - 3 points
TRANSLATION SEMINAR
LANDSCAPES ACROSS TIME
TRANSLATION SEMINAR
- M 10 a.m.-noon
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Instructor:
Natasha Wimmer
Info - 3 points
FICTION LECTURE
Story, Plot, Narrative
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- M 1:10 p.m.-3:10 p.m.
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Instructor:
Joshua A Cohen
Wikipedia Info - 3 points
NONFICTION LECTURE
NARRATIVE STRUCTURE
NONFICTION LECTURE
- W 10 a.m.-noon
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Instructor:
Chloe Jones
Info - 3 points
POETRY LECTURE
POETS ON POETS
POETRY LECTURE
- M 4:15 p.m.-6:15 p.m.
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Instructor:
Alice Quinn
Info - 3 points
MASTER CLASS
TEACHING WRIT TO YOUNG PEOPLE
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- R 6:30 p.m.-8:30 p.m.
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Instructor:
Matthew Burgess
Info - 1.5 points
MASTER CLASS
WRITING THROUGH ILLNESS
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- T 4:15 p.m.-6:15 p.m.
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Instructor:
Emmeline L Clein
Info - 1.5 points
MASTER CLASS
FROM THESIS TO BOOK
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- T 4:15 p.m.-6:15 p.m.
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Instructor:
Lilly Dancyger
Info - 1.5 points