Sunday, August 31, 2008
Accord to Gender Guesser, I write like a guy, a "weak male"--the "weak emphasis could indicate European." It's a pretty fun distraction: you paste in your own writing (I used a passage from ISYFTW), then receive an analysis that takes a stab at whether you're a man or a woman. To check it out, click here.
Thursday, August 28, 2008
Tuesday, August 26, 2008
Sunday, August 24, 2008
Thursday, August 21, 2008
English 343 Undergraduate Fiction Workshop
Professor Diana Joseph Office Hours: M 2-3; T 5-6
Interns: Tom Flynn E-hours: TH&F 9-12
Lesley Arimah Office: Armstrong Hall 201L
diana.joseph@mnsu.edu Phone: 389-5144
www.dianajosephsyllabi.blogspot.com
English 343: Fiction Workshop
This is an introductory-level fiction workshop. Through close reading of literary short fiction, we will study elements of craft. Through a variety of writing exercises and prompts, we will practice our craft.
Required Texts and Materials
Martone, Michael. The Scribner Anthology of Contemporary Short Fiction. (Please make sure you have the FIRST edition.)
Money for copying expenses
Assignments
1. Story Journal=25%
You will regularly receive writing exercises and prompts. You’ll begin many of these in class while some will be assigned for outside of class. These exercises must be typed and double-spaced and placed in a folder. Keep track of your work—when I collect your story journal, I’ll check for all exercises and prompts assigned throughout the semester. I’ll assess according to the strength of the work; evidence of your effort; and originality.
The full length story you’ll workshop toward the end of the semester will come from the entries in your story journal. In the meantime, we’ll workshop individual exercises as a way to jumpstart your writing process, generate ideas, and help you develop a full length story.
2. Two Self-Assessment Essays, each=25%
I don’t grade creative work; I do grade your ability to explain what you’ve come to understand about craft. Twice during the semester – once around mid-terms, and once by Finals Day – you will turn in a reflective narrative essay. In the first Self-Assessment, you’ll describe:
a. what you’ve learned about crafting fiction from the assigned readings
b. what you’ve learned about crafting fiction from the workshops
c. what participating in workshops – both as a reader and as a writer – has taught you about writing
d. any other aspects of the course that have guided or enhanced your understanding of fiction
In the second Self-Assessment, you’ll justify the craft choices you made in your full length story.
3. Participation=25%
I define participation as your active engagement with the class, demonstrated through evidence of preparedness, and thoughtful contributions to discussions and workshops. Each of you will offer an assessment of your peers’ workshop responses; I will take this into consideration when determining participation grades.
Workshop Philosophy
We’ll workshop your exercises, with an interest in what your piece is about, and in how it’s told, and how its form reinforces its content. If writing is a series of choices, then what are the effects of these particular choices? If there’s an infinite number of ways to say something, then why are you saying it in this particular way? Why use first person instead of third person limited? What’s the effect of present tense over past? What are the story’s significant images and how do they create meaning? This workshop centers on describing and interpreting your use of the elements of fiction—and describing how each works with the rest to create unity, a singular effect, a vivid and continuous dream.
As a workshop participant, you must read the drafts up for workshop. You’re expected to write feedback, positive and critical, on the manuscript(s), and you should have suggestions in mind for class discussion. Expect to be called on.
Finally, workshops are not about egos – fragile, super, or otherwise. Workshops are not about being defensive, nor are they about hurling insults. Workshops are about the text, locating its strengths and weaknesses, and finding ways to make it stronger. Be critical, but be constructive.
Class Policies
*Each absence over 3 will lower your final grade by 10%. I do not distinguish between excused and unexcused absence.
*Participation is 25% of your final grade; if you’re not here, you can’t participate. If you fail to turn in workshop material on the day it’s due, you lose your workshop spot—and participation credit. If you don’t come to class on the day of your workshop, it won’t be rescheduled—andyou lose participation credit. Frequent tardiness will affect your participation grade.
*All coursework must be completed to pass this class.
*Writing done for this class is considered public text.
*Assignments are tentative and subject to change.
*Academic dishonesty will not be tolerated; it may result in failure of the class.
*I’m available for help outside class during my office hours or by appointment.
Schedule of Events
Monday, 8/25 First day of class
Wednesday, 8/27 “Sarah Cole,” 53
Monday, 9/1 No class—Labor Day
Wednesday, 9/3 “White Angel,” 229
Monday, 9/8 “Woman Hollering Creek,” 219
Wednesday, 9/15 “The Man Who Knew Belle Starr,” 112
PROMPTS PACKET DUE
9/17-10/8 Workshop
Monday, 10/13 “Gryphon,” 131
Wednesday, 10/15 “Wild Horses,” 96
Monday, 10/20 “Fiesta, 1980,” 244
Wednesday, 10/22 “In the Cemetery Where Al Jolson Is Buried,” 343
SELF-ASSESSMENT #1 DUE
Monday, 10/27 “First, Body,” 595
Monday, 10/29 “Strays,” 542
PROMPTS PACKET DUE
11/3-11/24 Workshop
11/10 STORY JOURNAL DUE
11/26 FULL LENGTH STORIES DUE
11/26-12/3 Small Group Workshops
Finals Day—Tuesday, 12/9 10:15 SELF-ASSESSMENT #2 DUE
Name_______________________________________________________________________________________
On a scale of 1-10, rate the time/effort you estimate each student put into your workshop critique. Use the back of this sheet for further comments, if necessary.
Andrews, Aaron P
Baden, Kaitlyn E
Bloomquist, Cynthia A
Brito, Rafael
Campbell, Sam J
Carda, Kari A
Cassidy, Ryan E
DeJoy, Jeremy P
Dinsmore, Sharon M
Dukart, Katherine M
Eiden, Holly A
Guffey, Brendan R
Harder, Chris
Mielke, Peter D
Niederkorn, Ashley J
Peterson, Jeffrey A
Rezmerski, Hilary R
Seipel, Nicholas J
Swiontkowski, Jeffrey N
Tarr, Tricia N
Thompson, Tonja N
Interns: Tom Flynn E-hours: TH&F 9-12
Lesley Arimah Office: Armstrong Hall 201L
diana.joseph@mnsu.edu Phone: 389-5144
www.dianajosephsyllabi.blogspot.com
English 343: Fiction Workshop
This is an introductory-level fiction workshop. Through close reading of literary short fiction, we will study elements of craft. Through a variety of writing exercises and prompts, we will practice our craft.
Required Texts and Materials
Martone, Michael. The Scribner Anthology of Contemporary Short Fiction. (Please make sure you have the FIRST edition.)
Money for copying expenses
Assignments
1. Story Journal=25%
You will regularly receive writing exercises and prompts. You’ll begin many of these in class while some will be assigned for outside of class. These exercises must be typed and double-spaced and placed in a folder. Keep track of your work—when I collect your story journal, I’ll check for all exercises and prompts assigned throughout the semester. I’ll assess according to the strength of the work; evidence of your effort; and originality.
The full length story you’ll workshop toward the end of the semester will come from the entries in your story journal. In the meantime, we’ll workshop individual exercises as a way to jumpstart your writing process, generate ideas, and help you develop a full length story.
2. Two Self-Assessment Essays, each=25%
I don’t grade creative work; I do grade your ability to explain what you’ve come to understand about craft. Twice during the semester – once around mid-terms, and once by Finals Day – you will turn in a reflective narrative essay. In the first Self-Assessment, you’ll describe:
a. what you’ve learned about crafting fiction from the assigned readings
b. what you’ve learned about crafting fiction from the workshops
c. what participating in workshops – both as a reader and as a writer – has taught you about writing
d. any other aspects of the course that have guided or enhanced your understanding of fiction
In the second Self-Assessment, you’ll justify the craft choices you made in your full length story.
3. Participation=25%
I define participation as your active engagement with the class, demonstrated through evidence of preparedness, and thoughtful contributions to discussions and workshops. Each of you will offer an assessment of your peers’ workshop responses; I will take this into consideration when determining participation grades.
Workshop Philosophy
We’ll workshop your exercises, with an interest in what your piece is about, and in how it’s told, and how its form reinforces its content. If writing is a series of choices, then what are the effects of these particular choices? If there’s an infinite number of ways to say something, then why are you saying it in this particular way? Why use first person instead of third person limited? What’s the effect of present tense over past? What are the story’s significant images and how do they create meaning? This workshop centers on describing and interpreting your use of the elements of fiction—and describing how each works with the rest to create unity, a singular effect, a vivid and continuous dream.
As a workshop participant, you must read the drafts up for workshop. You’re expected to write feedback, positive and critical, on the manuscript(s), and you should have suggestions in mind for class discussion. Expect to be called on.
Finally, workshops are not about egos – fragile, super, or otherwise. Workshops are not about being defensive, nor are they about hurling insults. Workshops are about the text, locating its strengths and weaknesses, and finding ways to make it stronger. Be critical, but be constructive.
Class Policies
*Each absence over 3 will lower your final grade by 10%. I do not distinguish between excused and unexcused absence.
*Participation is 25% of your final grade; if you’re not here, you can’t participate. If you fail to turn in workshop material on the day it’s due, you lose your workshop spot—and participation credit. If you don’t come to class on the day of your workshop, it won’t be rescheduled—andyou lose participation credit. Frequent tardiness will affect your participation grade.
*All coursework must be completed to pass this class.
*Writing done for this class is considered public text.
*Assignments are tentative and subject to change.
*Academic dishonesty will not be tolerated; it may result in failure of the class.
*I’m available for help outside class during my office hours or by appointment.
Schedule of Events
Monday, 8/25 First day of class
Wednesday, 8/27 “Sarah Cole,” 53
Monday, 9/1 No class—Labor Day
Wednesday, 9/3 “White Angel,” 229
Monday, 9/8 “Woman Hollering Creek,” 219
Wednesday, 9/15 “The Man Who Knew Belle Starr,” 112
PROMPTS PACKET DUE
9/17-10/8 Workshop
Monday, 10/13 “Gryphon,” 131
Wednesday, 10/15 “Wild Horses,” 96
Monday, 10/20 “Fiesta, 1980,” 244
Wednesday, 10/22 “In the Cemetery Where Al Jolson Is Buried,” 343
SELF-ASSESSMENT #1 DUE
Monday, 10/27 “First, Body,” 595
Monday, 10/29 “Strays,” 542
PROMPTS PACKET DUE
11/3-11/24 Workshop
11/10 STORY JOURNAL DUE
11/26 FULL LENGTH STORIES DUE
11/26-12/3 Small Group Workshops
Finals Day—Tuesday, 12/9 10:15 SELF-ASSESSMENT #2 DUE
Name_______________________________________________________________________________________
On a scale of 1-10, rate the time/effort you estimate each student put into your workshop critique. Use the back of this sheet for further comments, if necessary.
Andrews, Aaron P
Baden, Kaitlyn E
Bloomquist, Cynthia A
Brito, Rafael
Campbell, Sam J
Carda, Kari A
Cassidy, Ryan E
DeJoy, Jeremy P
Dinsmore, Sharon M
Dukart, Katherine M
Eiden, Holly A
Guffey, Brendan R
Harder, Chris
Mielke, Peter D
Niederkorn, Ashley J
Peterson, Jeffrey A
Rezmerski, Hilary R
Seipel, Nicholas J
Swiontkowski, Jeffrey N
Tarr, Tricia N
Thompson, Tonja N
Monday, August 18, 2008
English 649 Teaching Creative Writing/Fall 2008
Professor Diana Joseph Office Hours: M&W 2-3; T 5-6
English 649 E-Hours: TH&F 9-12
Email: diana.joseph@mnsu.edu Office: Armstrong 201L
www.dianajosephsyllabi.blogspot.com Phone: 389-5144
______________________________________________________________________________
Teaching Creative Writing
This course asks you to explore and consider various approaches to the teaching of creative writing. Discussions of classroom practices and pedagogical theories as well as teaching demonstrations prepare you to plan and develop an introductory-level creative writing course.
Required Texts
Hyde, Lewis. The Gift: Creativity and the Artist in the Modern World.
Carlson, Ron. Ron Carlson Writes a Story.
Baxter, Charles. Burning Down the House.
Dobyns, Stephen. Best Words, Best Order.
Hugo, Richard. The Triggering Town.
You will also need to select a short story you love from any edition of Best American Short Stories 1995-present, and a poem from any edition of Best American Poetry 1995-present. You'll make enough photocopies of these works for everyone in the class.
Assignments
1. Participation=20%
Participation is not merely showing up for class—that’s called attendance. I define participation as your active engagement with the class demonstrated through thoughtful contributions to class discussion, evidence of preparedness, and helpful feedback during presentations.
2. Teaching Demonstration for Fiction=20%
Present a 45 minute lesson on a story of your choosing from Best American Short Stories. The class will take notes, pose questions, and make observations about your lesson; you will have a short meeting with me to discuss your teaching. Due on the assigned day.
3. Teaching Demonstration for Poetry=20%
Present a 45 minute lesson on a poem of your choosing from Best American Poetry; the class will take notes, pose questions, and make observations about your lesson; you will have a short meeting with me to discussion your teaching. Due on the assigned day.
4. Dilemma Responses=20%
Write a one-page, single-spaced response to the assigned “dilemma.” While these papers are informal, they are meant to provoke thoughtful conversations about various issues unique to teaching creative writing. Provide serious, insightful responses; go beyond superficial first reactions. Outside research is strongly recommended. Due on the assigned day.
5. Syllabus=10%
Write a mock syllabus for an Introduction to Creative Writing course. This syllabus should contain detailed information including but not limited to a course description, readings, assignments, grading procedures, workshop procedures, class policies, and a schedule of events. Due on Final’s Day.
6. Teaching philosophy=10%
Describe your teaching philosophy for an Introduction to Creative Writing course; this essay should be no longer than one page, single-spaced. Due on Final’s Day.
Class Policies
Do the work; volunteer for presentations. Missing more than one class results in dropping a full letter grade. Show up on time. If you’re not here, you can’t participate. No handwritten work will be accepted. All coursework must be completed to pass this class. Late work will not be accepted. Assignments are tentative and subject to change.
Schedule of Events
Monday, August 25 Can creative writing be taught?
Monday, September 1—LABOR DAY
Monday, September 8 Setting up a workshop.
Baxter
Monday, September 15 “Isn’t it just your opinion?”
Carlson
Monday, September 22 Grading creative work.
Dobyns
Monday , September 29 Balancing lecture/discussion/in-class writing
Hugo
Monday, October 6 BASS presentations
Monday, October 13 BASS presentations
Monday, October 20 BASS presentations
Monday, October 27 BASS presentations
Monday, November 3 BAP Presentations
Monday, November 10 BAP Presentations
Monday, November 17 BAP Presentations
Monday, November 24 BAP Presentations
Monday, December 1 Lewis Hyde
Finals Day Your Syllabi/Teaching philosophy
English 649 E-Hours: TH&F 9-12
Email: diana.joseph@mnsu.edu Office: Armstrong 201L
www.dianajosephsyllabi.blogspot.com Phone: 389-5144
______________________________________________________________________________
Teaching Creative Writing
This course asks you to explore and consider various approaches to the teaching of creative writing. Discussions of classroom practices and pedagogical theories as well as teaching demonstrations prepare you to plan and develop an introductory-level creative writing course.
Required Texts
Hyde, Lewis. The Gift: Creativity and the Artist in the Modern World.
Carlson, Ron. Ron Carlson Writes a Story.
Baxter, Charles. Burning Down the House.
Dobyns, Stephen. Best Words, Best Order.
Hugo, Richard. The Triggering Town.
You will also need to select a short story you love from any edition of Best American Short Stories 1995-present, and a poem from any edition of Best American Poetry 1995-present. You'll make enough photocopies of these works for everyone in the class.
Assignments
1. Participation=20%
Participation is not merely showing up for class—that’s called attendance. I define participation as your active engagement with the class demonstrated through thoughtful contributions to class discussion, evidence of preparedness, and helpful feedback during presentations.
2. Teaching Demonstration for Fiction=20%
Present a 45 minute lesson on a story of your choosing from Best American Short Stories. The class will take notes, pose questions, and make observations about your lesson; you will have a short meeting with me to discuss your teaching. Due on the assigned day.
3. Teaching Demonstration for Poetry=20%
Present a 45 minute lesson on a poem of your choosing from Best American Poetry; the class will take notes, pose questions, and make observations about your lesson; you will have a short meeting with me to discussion your teaching. Due on the assigned day.
4. Dilemma Responses=20%
Write a one-page, single-spaced response to the assigned “dilemma.” While these papers are informal, they are meant to provoke thoughtful conversations about various issues unique to teaching creative writing. Provide serious, insightful responses; go beyond superficial first reactions. Outside research is strongly recommended. Due on the assigned day.
5. Syllabus=10%
Write a mock syllabus for an Introduction to Creative Writing course. This syllabus should contain detailed information including but not limited to a course description, readings, assignments, grading procedures, workshop procedures, class policies, and a schedule of events. Due on Final’s Day.
6. Teaching philosophy=10%
Describe your teaching philosophy for an Introduction to Creative Writing course; this essay should be no longer than one page, single-spaced. Due on Final’s Day.
Class Policies
Do the work; volunteer for presentations. Missing more than one class results in dropping a full letter grade. Show up on time. If you’re not here, you can’t participate. No handwritten work will be accepted. All coursework must be completed to pass this class. Late work will not be accepted. Assignments are tentative and subject to change.
Schedule of Events
Monday, August 25 Can creative writing be taught?
Monday, September 1—LABOR DAY
Monday, September 8 Setting up a workshop.
Baxter
Monday, September 15 “Isn’t it just your opinion?”
Carlson
Monday, September 22 Grading creative work.
Dobyns
Monday , September 29 Balancing lecture/discussion/in-class writing
Hugo
Monday, October 6 BASS presentations
Monday, October 13 BASS presentations
Monday, October 20 BASS presentations
Monday, October 27 BASS presentations
Monday, November 3 BAP Presentations
Monday, November 10 BAP Presentations
Monday, November 17 BAP Presentations
Monday, November 24 BAP Presentations
Monday, December 1 Lewis Hyde
Finals Day Your Syllabi/Teaching philosophy
Friday, August 15, 2008
English 640 Form and Technique/Fall 2008
Professor Diana Joseph Office Hours: M&W 2-3; T 5-6
English 640 E-Hours: TH&F 9-12
Email: diana.joseph@mnsu.edu Office: Armstrong 201L
www.dianajosephsyllabi.blogspot.com Phone: 389-5144
______________________________________________________________________________
Form and Technique in Prose
This course examines the technical underpinnings of fiction and nonfiction genres. Through lectures, readings, class discussions, imitation exercises, and workshops, we will study the relationship between form and content. Specifically, we’ll pay attention to issues of craft including point of view, characterization, setting/place, tone, style, imagery, structure, plot and theme.
Required Texts
Alexie, Sherman. The Absolutely True Diary of a Part-Time Indian.
Crews, Harry. Classic Crews: A Harry Crews Reader.
Davis, Amanda. Wonder When You’ll Miss Me.
Ferris, Joshua. And Then We Came to the End.
Grealy, Lucy. Autobiography of a Face.
Martone, Michael. The Scribner Anthology of Contemporary Short Fiction. (Please make sure you have the FIRST edition.)
Patchett, Ann. Truth and Beauty.
Sheffield, Rob. Love is a Mix Tape.
Assignments
1. Craft Analysis=25%
Over the semester, you’ll write seven craft analyses; which seven texts you write about is up to you.
This assignment requires close analysis of how a text is crafted, but the technique studied is up to you. You might want to examine the release of information in a story’s opening paragraph; how a character is created through action or dialogue; how to write a long passage of indirect dialogue; why a writer might opt to write unquoted dialogue; how to establish setting through sound; or through weather; or through geology. You might want to examine how a writer locates a story in time by using a clock; or a calendar; or the seasons; or how a writer manages quick shifts in time; or uses white space. Point of view, establishing psychic distance, creating a voice, moving into or out of a dramatic moment: each requires the writer understand his or her craft.
For each book or story we read, 1.) Decide what technique you want to examine more closely. 2.) Type a specific passage from the text that shows that specific technique in motion. This passage can be as short as a single paragraph or as long as several paragraphs. 3.) Write a short (no longer than ONE single-spaced page) analysis of what the writer achieved and how he/she achieved it.
Bring 2 copies of your passage/analysis to class (one for me, and one to put on the document camera) for an informal presentation.
2. Imitations=25%
Over the semester, you’ll write seven imitations; which seven texts you imitate is up to you.
1.) Type a short passage from the text—be sure to choose a passage that intrigues you, that you think you can learn something from; 2.) write a close imitation of that passage, paying close attention to the author’s voice, tone, style, level of diction, sentence length and sentence structure, but inserting your own content. Bring 2 copies to class (one for me, and one to put on the document camera) for an informal mini-workshop.
3. Participation=25%
Participation in not merely showing up for class—that’s called attendance. I define participation as your active engagement with the class demonstrated through thoughtful contributions to class discussion, evidence of preparedness, and helpful feedback during workshops.
4. Form project=25%
What are all the forms a piece of writing can take? There are books and magazines, of course, and broadsides and chapbooks, but there are also take-out menus and checkbook ledgers, classified ads and vanity license plates. Your assignment is to experiment with form, by creating a text whose form reinforces its content in artistic and interesting ways. My only limitation is the text itself must be something I can hold in my hand. Make a copy for each member of our class.
Class Policies
Do the work; volunteer for presentations. Missing more than one class results in dropping a full letter grade. Show up on time. If you’re not here, you can’t participate. No handwritten work will be accepted. All coursework must be completed to pass this class. Late work will not be accepted. Assignments are tentative and subject to change.
Schedule of Events
Tuesday, September 2 Sheffield
Tuesday, September 9 Patchett
Tuesday, September 16 Crews
Tuesday, September 23 Grealy
Tuesday, September 30 Banks, p. 53
Tuesday, October 7 Davis
Tuesday, October 14 Sontag, p. 569
Tuesday, October 21 Alexie
Tuesday, October 28 Proulx, p. 521
Tuesday, November 4 Ferris
Tuesday, November 11 Thon, p. 595
Tuesday, November 18 Cunningham, p. 229
Tuesday, November 25 Braverman, p. 167
Tuesday, December 2 Hansen, p. 338, Dybek, p. 256
English 640 E-Hours: TH&F 9-12
Email: diana.joseph@mnsu.edu Office: Armstrong 201L
www.dianajosephsyllabi.blogspot.com Phone: 389-5144
______________________________________________________________________________
Form and Technique in Prose
This course examines the technical underpinnings of fiction and nonfiction genres. Through lectures, readings, class discussions, imitation exercises, and workshops, we will study the relationship between form and content. Specifically, we’ll pay attention to issues of craft including point of view, characterization, setting/place, tone, style, imagery, structure, plot and theme.
Required Texts
Alexie, Sherman. The Absolutely True Diary of a Part-Time Indian.
Crews, Harry. Classic Crews: A Harry Crews Reader.
Davis, Amanda. Wonder When You’ll Miss Me.
Ferris, Joshua. And Then We Came to the End.
Grealy, Lucy. Autobiography of a Face.
Martone, Michael. The Scribner Anthology of Contemporary Short Fiction. (Please make sure you have the FIRST edition.)
Patchett, Ann. Truth and Beauty.
Sheffield, Rob. Love is a Mix Tape.
Assignments
1. Craft Analysis=25%
Over the semester, you’ll write seven craft analyses; which seven texts you write about is up to you.
This assignment requires close analysis of how a text is crafted, but the technique studied is up to you. You might want to examine the release of information in a story’s opening paragraph; how a character is created through action or dialogue; how to write a long passage of indirect dialogue; why a writer might opt to write unquoted dialogue; how to establish setting through sound; or through weather; or through geology. You might want to examine how a writer locates a story in time by using a clock; or a calendar; or the seasons; or how a writer manages quick shifts in time; or uses white space. Point of view, establishing psychic distance, creating a voice, moving into or out of a dramatic moment: each requires the writer understand his or her craft.
For each book or story we read, 1.) Decide what technique you want to examine more closely. 2.) Type a specific passage from the text that shows that specific technique in motion. This passage can be as short as a single paragraph or as long as several paragraphs. 3.) Write a short (no longer than ONE single-spaced page) analysis of what the writer achieved and how he/she achieved it.
Bring 2 copies of your passage/analysis to class (one for me, and one to put on the document camera) for an informal presentation.
2. Imitations=25%
Over the semester, you’ll write seven imitations; which seven texts you imitate is up to you.
1.) Type a short passage from the text—be sure to choose a passage that intrigues you, that you think you can learn something from; 2.) write a close imitation of that passage, paying close attention to the author’s voice, tone, style, level of diction, sentence length and sentence structure, but inserting your own content. Bring 2 copies to class (one for me, and one to put on the document camera) for an informal mini-workshop.
3. Participation=25%
Participation in not merely showing up for class—that’s called attendance. I define participation as your active engagement with the class demonstrated through thoughtful contributions to class discussion, evidence of preparedness, and helpful feedback during workshops.
4. Form project=25%
What are all the forms a piece of writing can take? There are books and magazines, of course, and broadsides and chapbooks, but there are also take-out menus and checkbook ledgers, classified ads and vanity license plates. Your assignment is to experiment with form, by creating a text whose form reinforces its content in artistic and interesting ways. My only limitation is the text itself must be something I can hold in my hand. Make a copy for each member of our class.
Class Policies
Do the work; volunteer for presentations. Missing more than one class results in dropping a full letter grade. Show up on time. If you’re not here, you can’t participate. No handwritten work will be accepted. All coursework must be completed to pass this class. Late work will not be accepted. Assignments are tentative and subject to change.
Schedule of Events
Tuesday, September 2 Sheffield
Tuesday, September 9 Patchett
Tuesday, September 16 Crews
Tuesday, September 23 Grealy
Tuesday, September 30 Banks, p. 53
Tuesday, October 7 Davis
Tuesday, October 14 Sontag, p. 569
Tuesday, October 21 Alexie
Tuesday, October 28 Proulx, p. 521
Tuesday, November 4 Ferris
Tuesday, November 11 Thon, p. 595
Tuesday, November 18 Cunningham, p. 229
Tuesday, November 25 Braverman, p. 167
Tuesday, December 2 Hansen, p. 338, Dybek, p. 256
Thursday, August 14, 2008
Saturday, August 9, 2008
Friday, August 8, 2008
The title story from Paula K. Gover's 1995 collection WHITE BOYS AND RIVER GIRLS: click here.
To read the NY Times review of the collection, click here.
I read this book when it first came out, loved it, then forgot about it until today until I came across it on my shelf. Reading the title story again, it was even better than I remembered.
To read the NY Times review of the collection, click here.
I read this book when it first came out, loved it, then forgot about it until today until I came across it on my shelf. Reading the title story again, it was even better than I remembered.
Tuesday, August 5, 2008
Sunday, August 3, 2008
Saturday, August 2, 2008
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