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.

• T 2:10 p.m.-4 p.m.
• W 4:10 p.m.-6 p.m.
• M 6:10 p.m.-8 p.m.
• W 10:10 a.m.-noon
• W 6:10 p.m.-8 p.m.
• W 2:10 p.m.-4 p.m.
• Instructor: Victor P Allard
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• Instructor: Samantha N Barron
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• Instructor: John A Boyle
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• Instructor: Julia D Cannon
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• Instructor: Sarah Y Klena
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• Instructor: Shalvi J Shah
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• 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.

• W 4:10 p.m.-6 p.m.
• R 2:10 p.m.-4 p.m.
• T 6:10 p.m.-8 p.m.
• Instructor: Aseye R Agamah
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• Instructor: Rachel E Keranen
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• Instructor: Taylor Zhang
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• 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.

• W 12:10 p.m.-2 p.m.
• T 4:10 p.m.-6 p.m.
• M 4:10 p.m.-6 p.m.
• Instructor: Julia S Burgdorff
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• Instructor: Shyanne M Figueroa Bennett
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• Instructor: Elias P Sorich
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• 3 points

INTERMEDIATE FICTION WORKSHOP

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. 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.

• T 4:10 p.m.-6 p.m.
• R 12:10 p.m.-2 p.m.
• Instructor: Heidi S Julavits
  CULPA: 1 Wikipedia Info
• Instructor: Crystal H Kim
  CULPA: 3 Info
• 3 points

APPROACHES TO THE SHORT STORY

TBA

• M 2:10 p.m.-4 p.m.
• Instructor: Julia S Pierpont
  Info
• 3 points

INTERMEDIATE NONFICTION WRKSHP

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. 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.

• M 6:10 p.m.-8 p.m.
• Instructor: Melody J Nixon
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• 3 points

INTERMEDIATE POETRY WORKSHOP

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. 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.

• Instructor: Alexander Dimitrov
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• 3 points

TRANSLATION SEMINAR

Prerequisites: No prerequisites. Students do not need to demonstrate bilingual ability to take this course. Department approval NOT needed. Corequisites: This course is open to undergraduate & graduate students. This course will explore broad-ranging questions pertaining to the historical, cultural, and political significance of translation while analyzing the various challenges confronted by the arts foremost practitioners. We will read and discuss texts by writers and theorists such as Benjamin, Derrida, Borges, Steiner, Dryden, Nabokov, Schleiermacher, Goethe, Spivak, Jakobson, and Venuti. As readers and practitioners of translation, we will train our ears to detect the visibility of invisibility of the translators craft; through short writing experiments, we will discover how to identify and capture the nuances that traverse literary styles, historical periods and cultures. The course will culminate in a final project that may either be a critical analysis or an original translation accompanied by a translators note of introduction.

• W 6:10 p.m.-8 p.m.
• Instructor: Katrine O Jensen
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• 3 points

DAILY LIFE

Prerequisites: No prerequisites. Department approval NOT required. In his poem A Few Days, James Schuyler reflects A few days / are all we have. So count them as they pass. They pass too quickly / out of breath. Before we know it, as Schuyler says, Today is tomorrow. This course will encourage us to slow down time and document today while it is still today. One of the courses main points is to pursue the ordinary, and to recognize that the ordinary -- whether presented as poems, essays, stories, fragments, etc. -- can become art. Assignments will provide broad examples of how to portray dailiness. Each week you will write a short piece (1-3 pages) that responds to these assignments while engaging your own daily life. The form is open. You could, for example, write a poem or story with a brief critical preface, or you could compose an essay that explores formal and/or thematic qualities. You can also create multimedia work. The important thing is to treat the materials we will read as springboards into your own artistic practice.

• R 10:10 a.m.-noon
• Instructor: John D Cotner
  Info
• 3 points

Incarcerated Yet Inspired: Exploring Cri

Welcome to the Incarcerated Yet Inspired, a cross-genre, creative writing seminar. Over the course of this semester, we will conduct a close reading of literary works that are based on the lives of individuals who have been ostracized, incarcerated, and isolated from their communities. While some of the writers we will  study have been personally affected by the criminal justice system, others have drawn upon their research, observations, and experiences working in prisons to tell a compelling story. Through our weekly analysis and discussion, we will explore the thematic elements and artistic choices each writer employs in their work. We will also challenge our existing thoughts about prisons as an institution and develop a better understanding of how the prism of art and justice can be valuable to you as writers.

• R 12:10 p.m.-2 p.m.
• Instructor: Christopher P Wolfe
  Info
• 3 points

Inhabiting Form: Writing the Body

The body is our most immediate encounter with the world, the vessel through which we experience our entire lives: pleasure, pain, beauty, horror, limitation, freedom, fragility and empowerment. In this course, we will pursue critical and creative inquiries into invocations and manifestations of the body in multiple genres of literature and in several capacities. We will look at how writers make space for—or take up space with—bodies in their work. The etymology of the word “text” is from the Latin
textus
, meaning “tissue.” Along these lines, we will consider the text itself as a body. Discussions around body politics, race, gender, ability, illness, death, metamorphosis, monstrosity and pleasure will be parallel to the consideration of how a text might function itself as a body in space and time. We will consider such questions as:
What is the connective tissue of a story or a poem? What is the nervous system of a lyric essay? How is formal constraint similar to societal ideals about beauty and acceptability of certain bodies? How do words and language function at the cellular level to build the body of a text? How can we make room to honor, in our writing, bodies that have otherwise been marginalized?
We will also consider non-human bodies (animals & organisms) and embodiments of the supernatural (ghosts, gods & specters) in our inquiries. Students will process and explore these ideas in both creative and analytical writings throughout the semester, deepening their understanding of embodiment both on and off the page.

• M 12:10 p.m.-2 p.m.
• Instructor: Samantha Zighelboim
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• 3 points

ADVANCED FICTION WORKSHOP

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. 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.

• W 12:10 p.m.-2 p.m.
• M 2:10 p.m.-4 p.m.
• Instructor: Lincoln M Michel
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• Instructor: Marie G Lee
  CULPA: 3 Info
• 3 points

SENIOR FICTION WORKSHOP

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. 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.

• M 10:10 a.m.-noon
• Instructor: Jean K Frazier
  Info
• 4 points

Animal Tales

"We polish an animal mirror to look for ourselves."  -Donna Haraway In the last several decades, Animal Studies has emerged as a robust interdisciplinary field that once again seeks to engage with “the question of the animal,” as Derrida puts it. In this course, we will look at works of cultural production that explore the myriad relationships between human and nonhuman animals. We will read stories that dissolve the barrier between the domestic and the wild. We will read stories about human-animal hybrids. We will read stories from an animal’s-eye-view, imagining the world as an animal might: as a worm digging through the dirt toward an imagined utopia, as an elephant seeking vengeance against poachers, as a cultivated monkey exhausted by the cruelty of human society. As the popular post-humanist scholar Donna Haraway puts it: We polish an animal mirror to look at ourselves. What can animals teach us about ourselves, and more importantly, what can animals teach us about how to survive our own nature? In the midst of this sixth extinction, animals are disappearing at a rapid rate due to human activity. Will it still be possible to cohabit peacefully, ecologically, with one another? By imagining the private lives of animals and writing stories from their perspective, can we still intervene and cultivate the necessary cross-species connections that will carry us into a more just and entwined future?

• Instructor: Anelise I Chen
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• 3 points

Time Moves Both Ways

What is time travel, really? We can use a machine or walk through a secret door. Take a pill or fall asleep and wake up in the future. But when we talk about magic machines and slipstreams and Rip Van Winkle, we are also talking about memory, chronology, and narrative. In this seminar, we will approach time travel as a way of understanding "the Fourth Dimension" in fiction. Readings will range from the speculative to the strange, to the realism of timelines, flashbacks, and shifts in perspective. Coursework will include short, bi-weekly writing assignments, a completed short story, and a timeinflected adaptation.

• T 12:10 p.m.-2 p.m.
• Instructor: Hilary J Leichter
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• 3 points

SENIOR NONFICTION WORKSHOP

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Senior Nonfiction Workshop

• T 10:10 a.m.-noon
• Instructor: Phillip Lopate
  CULPA: 1 Wikipedia 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 2:10 p.m.-4 p.m.
• Instructor: Margo L Jefferson
  CULPA: 1 Info
• 3 points

WRITING AS COLLECTING

In Writing as Collecting we will examine how the concept of collecting provides a way to think through writing. We will read writing based from art, archives, and other collections, from antiquity to the contemporary, from the commonplace to the rarified. We will consider how writers have written distinctively through a collecting impulse or about specific collections. While our focus will be on works of nonfiction, we will also take forays into fiction, poetry, visual art, and the cinematic essay. Students will present on specific objects or collections, and two classes will take place in the Rare Book and Manuscript Library (located on the 6th floor of Butler Library): the first as an introduction and orientation to the collections with a discussion of how research can feed creative writing, and, the second, for an in-class exercise in writing creatively about an specific object or collection (a book, manuscript, archival box, etc.). Students will be encouraged to write about their own collections and to use the many public (or private) collections found throughout the city of New York.

• R 12:10 p.m.-2 p.m.
• Instructor: John Vincler
  Info
• 3 points

ADVANCED POETRY WORKSHOP

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. 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.

• Instructor: Dorothea S Lasky
  Wikipedia Info
• 3 points

SENIOR POETRY WORKSHOP

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. 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.

• R 4:10 p.m.-6 p.m.
• Instructor: Asiya Wadud
  Info
• 4 points

POETIC METER AND FORM

Prerequisites: No prerequisites. Department approval NOT required. This course will investigate the uses of rhythmic order and disorder in English-language poetry, with a particular emphasis on formal elements in free verse. Through a close analysis of poems, well examine the possibilities of qualitative meter, and students will write original creative work within (and in response to) various formal traditions. Analytical texts and poetic manifestos will accompany our reading of exemplary poems. Each week, well study interesting examples of metrical writing, and Ill ask you to write in reponse to those examples. Our topics will include stress meter, syllable-stress meter, double and triple meter, rising and falling rhythms, promotion, demotion, inversion, elision, and foot scansion. Our study will include a greate range of pre-modern and modern writers, from Keats to W.D. Snodgrass, Shakespeare to Denise Levertov, Blake to James Dickey, Whitman to Louise Gluck etc. As writers, well always be thinking about how the formal choices of a poem are appropriate or inappropriate for the poems content. Well also read prose by poets describing their metrical craft.

• T 2:10 p.m.-4 p.m.
• Instructor: Joseph N Fasano
  CULPA: 1 Info
• 3 points

Provocations in Twentieth-Century Poetic

Provocations in 20th C Po

This is a class about poetry and revolt. In a century of wars, unchecked proliferation of industrial and market systems in the continued legacy of settler-colonialism and the consolidation of state powers, does language still conduct with revolutionary possibilities? In this class, we will read manifestos, philosophical treatises, political tracts, literary polemics, poems, scores, and so on, as we consider poetry’s long-standing commitment to visionary practices that seek to liberate consciousness from the many and various structures of oppression. The term “poetry” is not limited to itself but becomes, in our readings, an open invitation to all adjacent experiments with and in the language arts. As such, we will look at the emergence of the international avant-gardes as well as a few student movements that populate and complicate the explorations of radical politics in the twentieth-century. In addition to our readings, students will be asked to produce creative responses for class discussion. Final projects will be provocations of their own design. Required Texts: Friedrich Nietzsche: On the Genealogy of Morality Karl Marx and Friedrich Engels: The Communist Manifesto Aimé Césaire: Notebook of A Return to the Native Land Hilda Hilst: The Obscene Madame D Marguerite Duras: Hiroshima Mon Amour Guy Debord: Society of the Spectacle

• W 12:10 p.m.-2 p.m.
• Instructor: Lynn Xu
  Info
• 3 points

WITNESS,RECORD,DOCUMENT

Prerequisites: No prerequisites. Department approval NOT required. This seminar takes up the terms witness, record, and document as nouns and verbs. What is poetry of witness? Documentary poetry? Poetry as (revisionist ) historical record? What labor and what ethical, political, and aesthetic considerations are required of poets who endeavor to witness, record, or document historical events or moments of trauma? How is this approach to poetry informed by or contributing to feminist theories, aesthetic innovation, and revisionist approaches to official histories? Course materials include: 1) essays that explore the poetics and politics of poetry of witness or documentary poetry; 2) a range of contemporary American Poetry that has been classified as or has productively challenged these categories; 3) and audio, video, and photographic projects on which poets have collaborated. Our encounters with this work will be guided by and grounded in conversations about ideas of truth, text, the power relations of documentation, and issues of language and representation in poetry. We will also critically examine the formal (rhyme, rhythm, diction, form, genre, point of view, imagery, etc.) and philosophical components and interventions of the work we study and create.

• Instructor: Deborah Paredez
  CULPA: 3 Wikipedia Info
• 3 points

FICTION WORKSHOP

• R 10 a.m.-1 p.m.
• R 2 p.m.-5 p.m.
• M 2 p.m.-5 p.m.
• W 2 p.m.-5 p.m.
• T 10 a.m.-1 p.m.
• Instructor: Diksha Basu
  Wikipedia Info
• Instructor: James Canon
  Wikipedia Info
• Instructor: Joshua Furst
  Wikipedia Info
• Instructor: Elissa Schappell
  Wikipedia Info
• Instructor: Lynn S Strong
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• 6 points

NONFICTION WORKSHOP

• R 5:35 p.m.-8:35 p.m.
• F 2 p.m.-5 p.m.
• T 2 p.m.-5 p.m.
• M 2 p.m.-5 p.m.
• M 10 a.m.-1 p.m.
• T 2 p.m.-5 p.m.
• M 10 a.m.-1 p.m.
• Instructor: Morgan Jerkins
  Wikipedia Info
• Instructor: Adrian N Leblanc
  Info
• Instructor: Richard Locke
  CULPA: 6 Wikipedia Info
• Instructor: Phillip Lopate
  CULPA: 1 Wikipedia Info
• Instructor: Jennifer Percy
  Wikipedia Info
• Instructor: Wendy Walters
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• Instructor: Kate Zambreno
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• 6 points

POETRY WORKSHOP

• F 2 p.m.-5 p.m.
• T 10 a.m.-1 p.m.
• W 9:30 a.m.-12:30 p.m.
• Instructor: Jay A Deshpande
  CULPA: 2 Info
• Instructor: Lynn Melnick
  Info
• Instructor: Deborah Paredez
  CULPA: 3 Wikipedia Info
• 6 points

SPECIAL PROJECTS WORKSHOP

• T 5:35 p.m.-8:35 p.m.
• Instructor: Thomas A Donovan
  Info
• 6 points

INDEPENDENT STUDY

• Instructor: Lis Harris
  Wikipedia Info
• 0.5-6 points

INTERNSHIP

• Instructor: Lis Harris
  Wikipedia Info
• 1-3 points

CROSS-GENRE SEMINAR

THE WRITER AS TEACHER

• W 4:10 p.m.-7:10 p.m.
• Instructor: Alan Ziegler
  CULPA: 5 Info
• 3 points

CROSS-GENRE SEMINAR

ART OF LYING: FICTION WORKSHOP

• T 10 a.m.-noon
• Instructor: Shana M Ferrell
  Info
• 3 points

CROSS-GENRE SEMINAR

THE COMMA SUTRA: GRAMMAR

• R 1:10 p.m.-3:10 p.m.
• Instructor: Barbara K Fischer
  Info
• 3 points

CROSS-GENRE SEMINAR

PROCESS WRITING

• M 3:50 p.m.-5:50 p.m.
• Instructor: Ross Simonini
  Info
• 3 points

CROSS-GENRE SEMINAR

TALK TALK TALK

• F 10 a.m.-noon
• Instructor: Daniel A Magariel
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• 3 points

FICTION SEMINAR

THE ART OF PRACTICE

.

• R 10 a.m.-noon
• Instructor: Keri E Bertino
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• 3 points

FICTION SEMINAR

READING SHORT STORIES TOGETHER

.

• T 1:10 p.m.-3:10 p.m.
• Instructor: Richard Ford
  Info
• 3 points

FICTION SEMINAR

NONHUMAN CONSCIOUSNESS

.

• R 1:10 p.m.-3:10 p.m.
• Instructor: Benjamin Hale
  Info
• 3 points

FICTION SEMINAR

WEIRD FICTION: POLITICAL TOOL

.

• R 3:30 p.m.-5:30 p.m.
• Instructor: Gabriel Hudson
  Info
• 3 points

FICTION SEMINAR

MYTH AND ART OF STORYTELLING

.

• T 10 a.m.-noon
• Instructor: Nalini M Jones
  CULPA: 1 Info
• 3 points

FICTION SEMINAR

THE PERIPHERAL WRITER

.

• M 3:50 p.m.-5:50 p.m.
• Instructor: Erroll G McDonald
  Info
• 3 points

FICTION SEMINAR

STRANGERS IN A STRANGE LAND

.

• T 3:30 p.m.-5:30 p.m.
• Instructor: Gary Shteyngart
  Wikipedia Info
• 3 points

FICTION SEMINAR

WRITING FROM THE MARGINS

.

• M 1:10 p.m.-3:10 p.m.
• Instructor: Ira Silverberg
  Wikipedia Info
• 3 points

FICTION SEMINAR

ARCHITECTURE OF A STORY

.

• W 10 a.m.-noon
• Instructor: Lara Vapnyar
  Wikipedia Info
• 3 points

NONFICTION SEMINAR

THE WRITER AS CRITIC

.

• W 10 a.m.-noon
• Instructor: Ruth Franklin
  Wikipedia Info
• 3 points

NONFICTION SEMINAR

CRIME REPORTING

.

• R 3:30 p.m.-5:30 p.m.
• Instructor: Rebecca Godfrey
  Info
• 3 points

NONFICTION SEMINAR

PROFILES

.

• T 2 p.m.-4 p.m.
• Instructor: Lis Harris
  Wikipedia Info
• 3 points

NONFICTION SEMINAR

THE CLIMATE CRISIS

.

• M 6:30 p.m.-8:30 p.m.
• Instructor: Mary Heglar
  Info
• 3 points

NONFICTION SEMINAR

THIRD FORM NARRATIVES

.

• W 2 p.m.-4 p.m.
• Instructor: Margo L Jefferson
  CULPA: 1 Info
• 3 points

NONFICTION SEMINAR

GOING TO EXTREMES

.

• R 1:10 p.m.-3:10 p.m.
• Instructor: Richard Locke
  CULPA: 6 Wikipedia Info
• 3 points

NONFICTION SEMINAR

THE UNCONVENTIONAL MEMOIR

.

• T 10 a.m.-noon
• Instructor: Maria Venegas
  Info
• 3 points

NONFICTION SEMINAR

THE ART OF RESEARCH

.

• M 4:10 p.m.-6:10 p.m.
• Instructor: Brenda Wineapple
  Wikipedia Info
• 3 points

POETRY SEMINAR

THE PERIOD STYLE

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• F 10 a.m.-noon
• Instructor: Shane McCrae
  Wikipedia Info
• 3 points

POETRY SEMINAR

THE POLITICS OF IDENTITY

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• M 1:10 p.m.-3:10 p.m.
• Instructor: Camille A Rankine
  Wikipedia Info
• 3 points

POETRY SEMINAR

PROVOCATIONS IN 20THC POETICS

.

• W 4:10 p.m.-6:10 p.m.
• Instructor: Lynn Xu
  Info
• 3 points

TRANSLATION WORKSHOP

Word-for-Word Workshop

• R 10 a.m.-12:30 p.m.
• Instructor: Susan Bernofsky
  Wikipedia Info
• 3 points

TRANSLATION WORKSHOP

LITERARY TRANSLATION WORKSHOP

• M 10 a.m.-12:30 p.m.
• Instructor: Bela Shayevich
  Info
• 3 points

TRANSLATION SEMINAR

WOMEN OF THE WORLD

• W 4:10 p.m.-6:10 p.m.
• Instructor: Susan Bernofsky
  Wikipedia Info
• 3 points

TRANSLATION SEMINAR

ESSAY AS PORTRAITURE

• R 3:30 p.m.-5:30 p.m.
• Instructor: Katrina Dodson
  Info
• 3 points

FICTION LECTURE

LONG CENTURY SHORT NOVELS

.

• W 10 a.m.-noon
• Instructor: Joshua A Cohen
  Wikipedia Info
• 3 points

POETRY LECTURE

THE POET'S STORY

.

• T 3:30 p.m.-5:30 p.m.
• Instructor: Alice Quinn
  Info
• 3 points

MASTER CLASS

TOXIC RELATIONSHIPS

.

• F 10 a.m.-noon
• Instructor: Gila Ashtor
  Info
• 1.5 points

MASTER CLASS

THE GHOST STORY

.

• R 6 p.m.-8 p.m.
• Instructor: Hannah L Assadi
  Info
• 1.5 points

MASTER CLASS

REVISE LIKE AN EDITOR

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• F 2 p.m.-4:20 p.m.
• Instructor: Corinna K Barsan
  Info
• 1.5 points

MASTER CLASS

TEACHING WRIT TO YOUNG PEOPLE

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• R 10 a.m.-noon
• Instructor: Matthew Burgess
  Info
• 1.5 points

MASTER CLASS

(SOMA)TIC POETRY RITUALS

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• M 10 a.m.-noon
• Instructor: Craig Conrad
  Info
• 1.5 points

MASTER CLASS

WRITING IN HARD TIMES

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• M 6:30 p.m.-8:30 p.m.
• Instructor: Ruvani S Freeman
  Info
• 1.5 points

MASTER CLASS

NARRATIVE PODCASTING

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• F 10 a.m.-noon
• Instructor: Jason A Gots
  Info
• 1.5 points

MASTER CLASS

KITCHEN TABLE TRANSLATION

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• W 2 p.m.-4 p.m.
• Instructor: Madhu H Kaza
  Info
• 1.5 points

MASTER CLASS

MUSIC AND WRITER'S IMAGINATION

.

• T 1:10 p.m.-3:10 p.m.
• Instructor: Sarah Rothenberg
  Info
• 1.5 points

MASTER CLASS

INNER LIFE & HOW TO REVEAL IT

.

• W 4:30 p.m.-6:30 p.m.
• Instructor: Benjamin Taylor
  Wikipedia Info
• 1.5 points

MASTER CLASS

REWRITING SHAKESPEARE

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• T 6 p.m.-8 p.m.
• Instructor: William Wadsworth
  Info
• 1.5 points

Teaching Beyond the Gates: A Practicum o

Art Admin & Pedagogy Prac

The Writing Program has in place several programs that involve more than 70 students a term going beyond the Columbia gates to teach writing in community groups and schools. These programs include Columbia Artist/Teachers (CA/T), Our Word, The Incarcerated Artists Project (IAP), The Incarcerated Writers Initiative (IWI), as well as public programs on and off campus (including Lenfest) that are produced collaboratively. The diverse array of partner organizations (see attached)—curated to provide a multiplicity of teaching experiences as well as service to the community—require various modalities of pedagogy and administration. About  14 students (see attached) are in leadership positions, with dual responsibilities of working with the partner programs in structuring and troubleshooting programs while also supervising the MFA participants and providing pedagogical guidance. In effect, these leaders are acting as arts administrators, an experience that may be useful for them in pursuing post-MFA employment. The Writing Program’s Director of Community Outreach oversees these programs and student leaders on an ad hoc basis. The purpose of this no-credit, no-tuition course is to formalize faculty supervision and support for the Writing Program’s outreach component. The shape of this course will be mutable, tailored to the ongoing needs of the students, their partner organizations, and the Writing Program. Contact hours will comprise in-person meetings as well as emails and phone calls, focusing on: setting up and running programs and events, working collaboratively, implementing pedagogy, and troubleshooting. Student leaders will meet as a group with the instructor three times a term. Individuals leaders will meet with the instructor an additional minimum of twice a term. The CA/T Director and the instructor will meet about eight times a term.

• Instructor: Alan Ziegler
  CULPA: 5 Info
• 0 points

FICTION THESIS WORKSHOP

• R 2 p.m.-5 p.m.
• F 10 a.m.-1 p.m.
• M 2 p.m.-5 p.m.
• T 2 p.m.-5 p.m.
• T 10 a.m.-1 p.m.
• Instructor: Paul Beatty
  Wikipedia Info
• Instructor: Anelise I Chen
  Info
• Instructor: Heidi S Julavits
  CULPA: 1 Wikipedia Info
• Instructor: Binnie Kirshenbaum
  Wikipedia Info
• Instructor: Victor D Lavalle
  CULPA: 2 Wikipedia Info
• 9 points