LTWR 8A - WRITING FICTION
Instructor: Anna Joy Springer
This course introduces many of the basic elements of contemporary fiction, including characterization, style, point-of-view, dialogue, theme, and narrative structure. Emphasis will be placed upon writing first from your most unfettered imagination, AND upon sculpting these wild writings into shapely short stories through a variety of creative revision techniques.
LTWR 8C (A00) - WRITING NONFICTION
This course is generally titled “writing nonfiction” but we'll take a focus further, on what has been called “creative” or “literary” nonfiction. What’s the difference? We’ll use a basic definition. For our purposes, “literary” nonfiction has three central characteristics: it’s based on actual events, people, and places; it’s written with a special focus on language; and it’s written generally with more engagement with the personal (view and experience) than other types of nonfiction writing. For us, creative nonfiction will exclude: journalism, with its focus on accuracy, straightforwardness and objectivity (whether realized or not); academic writing (reports, academic research, and other scholarly writing); and fiction, as invented material, characters, etc. (although we might argue about the details).
LTWR 100 - SHORT FICTION WORKSHOP
Students will write 2 complete short stories in drafts. The first draft of story #1 will be critiqued in small peer groups. Your revised version of this story is due finals week. But you can turn it in any time before that for more feedback, then continue to revise it for a final grade. Everyone's first drafts of story #2 will be read and discussed by the whole class: you'll provide written critiques for about half of these papers. We'll be reading a variety of short stories (there are reading quizzes) by Edith Wharton, Jane Bowles, Kenzaburo Oe, Clarice Lispector, Nella larsen, Duo Duo, Yoko Tawada and others.
LTWR 100 (A) - SHORT FICTION WORKSHOP
This will primarily be a generative writing workshop with an emphasis on stories that feature elements of magic yet remain grounded in the mundane. A generative writing workshop cuts through everyday use of language. It makes the writer beautifully uncomfortable, on the other side of that discomfort the students of this class will find a break-through to the core of what their writing is. The unpracticed bloody heart of it all. This course is not about what you have written but what you will write. A generative class in writing keeps you moving forward. As in any good story it beckons you forward— line by line. This will be our very first attempts of making the unknown known.
LTWR 101 - WRITING FICTION IN SPANISH
In this workshop we will explore a range of documentary-writing practices in the Spanish-speaking world (which includes Latin America, Spain and the United States). Readings will include contemporary writers such as poets Sara Uribe, Luis Felipe Fabre and Patricia Binome, fiction writers such as Agustín Fernández Mallo, Patricio Pron, Lina Meruane, and Yussel Dardón, and non-fiction writers such as Bruno Piché and Gabriela Wiener. Based on prompts issued in class, we will use materials from the Archive of Contemporary Poetry as well as personal and/or other community-related documents to write weekly assignments, and to complete a final piece at the end of the quarter. Most readings will be available both in Spanish and English. While guidelines will be written in Spanish, writing exercises may also explore the in-between worlds of Spanish and English. Lectures and workshop sessions may move easily from Spanish into English and viceversa. With credits in Creative Writing and Spanish.
LTWR 102 - POETRY WORKSHOP
Please contact instructor for course description.
LTWR 114 - GRAPHIC TEXTS WORKSHOP
There is art that uses writing (performance art) and writing that uses art (concrete poetry). There are also art-texts, work that works as both art and writing (Fluxus). From turn of last century Futurism to today’s conceptualism, this third practice has a rich and dynamic history. This course will consider how image and language go together and fall apart, and how framing something as art or as writing changes how we look at art and writing. Students will be expected to read and think in visual and literary terms, and to create work that reflects this thinking.
LTWR 115 - EXPERIMENTAL WRITING WORKSHOP
This class will be a party of forms and practice. What this means is that we will responsibly navigate various forms of writing that is identifiably "experimental". What is "experimental writing'? We will figure out the parameters and limitations for what might constitute certain literary works as experimental. We will even try to define it ourselves. This class will provide you a piñata of forms to hit and run after, blindfolded. There will be 10 different literary forms and styles to digest, some of which include the epistolary, lyric essay, found text/collage or appropriation, conceptual writing practices such as transcription, time-based/durational works, somatic writing exercises, writing as performance art, gleaning inspiration from The Archive for New Poetry at UCSD, and more. We will study one poetic/literary form per week and compose one piece based on that form. During the last week you will develop your own form and practice. A collection of your writings and compositions will be assembled into a chapbook at the end of the semester. This chapbook will serve as a time capsule for what you've written and made in the 10 weeks of the Spring quarter. No books will be assigned. A course packet of carefully curated readings and material will be available at the bookstore. We will view digital material from sources such as UbuWeb, PennSound, Electronic Poetry Center, and others. There will also be a trip to The Archive for New Poetry at the Geisel Library.
LTWR 120 - PERSONAL NARRATIVE WORKSHOP
Students will work with autobiographical materials in a variety of ways: readings include sections of autobiographies and memoirs, vignettes based on sensory memories, language learning and usage, experiences of travel and dislocation, and emergent social and political awareness. Students will develop one long paper in stages, using the readings as possible models. The second half of the quarter will be taken up with everybody discussing their class members' first drafts: each student will provide written critiques of about half the class, Final, revised drafts will be due finals week. Readings include sections of James Agee's LET US NOW PRAISE FAMOUS MEN, Michael Pollan's THE OMNIVORE'S DILEMMA, Ann Moody's COMING OF AGE IN MISSISSIPPI, Simone de Beauvoir's MEMOIRS OF A DUTIFUL DAUGHTER, LeAlan Jones & Lloyd Newman OUR AMERICA: Life and Death on the South Side of Chicago, pieces by Elias Canetti, from punk zines, and others. There will be reading quizzes.
LTWR 121 - MEDIA WRITING WORKSHOP
Please contact instructor for course description.
LTWR 126 - CREATIVE NONFICTION WORKSHOP
In this writing workshop we’ll be reading a number of short travel narratives written by Ryszard Kapuscinski, Rory Stewart, Jules Verne, Charles Baudelaire, Elias Canetti, and lots of other writers. Classes alternate from workshop (Thursdays) to discussion of the readings, and whatever else arises (Tuesdays). You’ll be asked to compose twenty pages of new travel writing. Not from memory: you’ll have to really travel somewhere. You can travel here.
LTWR 143 - STYLISTICS AND GRAMMAR
“Like everything metaphysical the harmony between thought and reality is to be in the grammar of the language” (Wittgenstein).