This was our last class of the semester. Thanks so much for a delightful time. I found our discussions entertaining and, often, illuminating. I hope you enjoyed the course as much as I did.
FINAL PROJECT
Your final portfolio is due during Finals Week. You must turn in a collection of eight flash stories and/or prose poems. These pieces should be thoughtfully and thoroughly revised.
Turn in your portfolio to my office, Reed Hall 135.
Deadline: 4:15 p.m. on Thursday, Dec. 10. This is the second-to-last day of Finals Week.
Good luck!
Wednesday, December 2, 2009
Tuesday, November 24, 2009
Class 13
HOMEWORK FOR THE LAST CLASS:
1) FGCU Student Evaluation of Instruction -- please fill out your course evaluations immediately! And please spend a good amount of time on it. We have never offered this kind of course before, and so your feedback will be an important factor in deciding whether we will offer something like this again. Plus I value the feedback of my creative writing students as I continue to hone my own teaching practices. Please fill out the written part of the evaluation as thoroughly as you can.
2) Read Letters to Wendy's & write a Reading Response
3) Creative Assignment: Create a work that follows a grammatical system but does not make rational sense. Play with language, a la Gertrude Stein.
4) Bring a revised piece in to workshop.
P.S. Here are some of the things we looked at today:
"Venus of Urbino" by Titian
"Olympia" by Edouard Manet
"The Clarinet Player" by Pablo Picasso
"The Convergence of the Twain" by Thomas Hardy
"Be Drunk" by Charles Baudelaire
Colorless Green Ideas Sleep Furiously by Noam Chomsky
1) FGCU Student Evaluation of Instruction -- please fill out your course evaluations immediately! And please spend a good amount of time on it. We have never offered this kind of course before, and so your feedback will be an important factor in deciding whether we will offer something like this again. Plus I value the feedback of my creative writing students as I continue to hone my own teaching practices. Please fill out the written part of the evaluation as thoroughly as you can.
2) Read Letters to Wendy's & write a Reading Response
3) Creative Assignment: Create a work that follows a grammatical system but does not make rational sense. Play with language, a la Gertrude Stein.
4) Bring a revised piece in to workshop.
P.S. Here are some of the things we looked at today:
"Venus of Urbino" by Titian
"Olympia" by Edouard Manet
"The Clarinet Player" by Pablo Picasso
"The Convergence of the Twain" by Thomas Hardy
"Be Drunk" by Charles Baudelaire
Colorless Green Ideas Sleep Furiously by Noam Chomsky
Wednesday, November 18, 2009
Class 12
Today we discussed the "lyric argument," a technique used in many of the poems we read for today. Whereas the classic prosaic argument proceeds using hypotaxis (that is to say, its connections are explicitly made: A and B and C therefore X), the lyric argument proceeds using parataxis (that is, in a list, where the connections not explicitly made and the conclusions ambiguous: A, B, C, X).
Poems like "Vespers," "Women's Novels," and "Footnote" also proceed using antithesis: a duality between two things.
Poems like "Of Flesh & Spirit," "The Exodus," and "An Anointing" could be considered "braided arguments," in that they are a series of thematically linked stanzas.
In class we did two writing assignments to help you get started on this week's homework assignment:
1. ANTITHESIS
Set up a duality of competing desires (Men want X / Women want Y; Kids want X / Adults want Y; Liberals want X / Conservatives want Y, etc.). Make a list, using antithesis, and use this as the basis for a poem.
2. BRAIDING
First pick a theme, a "big" theme: love, death, birth, sex, and so on. Now write five stanzas:
The first stanza should be a narrative, a story involving this theme.
The second stanza should be an observation about society, with regards to your theme.
The third stanza should be a memory you have involving your theme.
The fourth stanza should provide some history of your theme.
The fifth stanza should tell a joke about your theme.
Now keep going, as you see fit.
HOMEWORK
1) Read "Syntax and Grammatical Inversion" & write a Reading Report.
2) Write a prose poem that uses lists, antithesis, or a "lyric argument."
3) Bring a revised peice to class for workshop.
IMPORTANT NOTE!
We meet on Tuesday of next week, not Wednesday.
Poems like "Vespers," "Women's Novels," and "Footnote" also proceed using antithesis: a duality between two things.
Poems like "Of Flesh & Spirit," "The Exodus," and "An Anointing" could be considered "braided arguments," in that they are a series of thematically linked stanzas.
In class we did two writing assignments to help you get started on this week's homework assignment:
1. ANTITHESIS
Set up a duality of competing desires (Men want X / Women want Y; Kids want X / Adults want Y; Liberals want X / Conservatives want Y, etc.). Make a list, using antithesis, and use this as the basis for a poem.
2. BRAIDING
First pick a theme, a "big" theme: love, death, birth, sex, and so on. Now write five stanzas:
The first stanza should be a narrative, a story involving this theme.
The second stanza should be an observation about society, with regards to your theme.
The third stanza should be a memory you have involving your theme.
The fourth stanza should provide some history of your theme.
The fifth stanza should tell a joke about your theme.
Now keep going, as you see fit.
HOMEWORK
1) Read "Syntax and Grammatical Inversion" & write a Reading Report.
2) Write a prose poem that uses lists, antithesis, or a "lyric argument."
3) Bring a revised peice to class for workshop.
IMPORTANT NOTE!
We meet on Tuesday of next week, not Wednesday.
Wednesday, November 4, 2009
Class 11
Materials for today's class: The "Whither Prose Poetry" handout.
Notes from today's discussion:
What are the differences in expectations when a reader approaches a story versus a poem?
Reader expects a plot, beginning, middle, end, characters in a story.
Line breaks, meter, rhyme in poetry.
Meaning is on the surface in a story, but “hidden” in a poem. Requires more thought. Encourages a “mental free play.”
Full meaning in a poem is never fully disclosed.
Stories are more concrete. Poems can be more a snapshot of emotion or various abstractions, eg. Love.
What are the differences in responsibilities when a writer creates a story versus a poem?
In a story: character development, language has more breadth, concrete language, rising action, climax etc., filling in “what” details, larger focus on reader reaction
In a poem: Language has more depth, abstract thought, more pressure on each word, more “why” questions, purpose can be more “personal,” less focus on a “target audience”
Stories affected by the “cultural moment” in terms of genre, topic, subject, style, social trends. In poetry, trends tend to be slower; easier to look back; trends in form rather than subject
In poetry, the language is often more figurative; the poem seems to be spoken to you , the reader; the poet can have more “patience” to describe things, as opposed to the clarity/brevity/efficiency model of prose.
Poetry often features the struggle of language to create the intangible.
What does a story do that a poem does not? What are the essential components of a story?
Story can be digested in one reading.
Story has a plan, asks you to follow the plan, timeline
Story is external
Story isn’t necessarily “about” the writer, can be made up
Main character/protagonist, sense of yearning, movement based on their desire, conflict
What does a poem do that a story does not? What are the essential components of a poem?
Asks to be read more than once.
Poem might be immersive
Poem is internal
Poem is about the writer/speaker, relating real experience
No responsibility to “movement”: can focus on stationary object, description, emotion, etc.
Doesn’t require characters, struggle, conflict
What are the differences in the various reactions elicited by a story versus a poem?
Stories can be dissected in a “normative” way: plot, character, believability
Stories often try to entertain, whereas poems often try to enlighten
HOMEWORK
1) Read the Prose Poems for next week ("The List: Poetic Parataxis") and write a Critical Reading Response. Be sure to include in your response some of the items from today's discussion. Whither prose poetry? What does the genre let us do that other genres do not?
2) Creative Assignment: Write a prose poem that focuses, as this week's readings do, on "The Lyric Moment." In class we defined the Lyric Moment as a moment of grace or beauty; a moment that can't be improved on; a highly detailed instant; a poem that uses figurative language and heightened imagery & emotion; a poem that begins in the external world but quickly moves inward.
Notes from today's discussion:
What are the differences in expectations when a reader approaches a story versus a poem?
Reader expects a plot, beginning, middle, end, characters in a story.
Line breaks, meter, rhyme in poetry.
Meaning is on the surface in a story, but “hidden” in a poem. Requires more thought. Encourages a “mental free play.”
Full meaning in a poem is never fully disclosed.
Stories are more concrete. Poems can be more a snapshot of emotion or various abstractions, eg. Love.
What are the differences in responsibilities when a writer creates a story versus a poem?
In a story: character development, language has more breadth, concrete language, rising action, climax etc., filling in “what” details, larger focus on reader reaction
In a poem: Language has more depth, abstract thought, more pressure on each word, more “why” questions, purpose can be more “personal,” less focus on a “target audience”
Stories affected by the “cultural moment” in terms of genre, topic, subject, style, social trends. In poetry, trends tend to be slower; easier to look back; trends in form rather than subject
In poetry, the language is often more figurative; the poem seems to be spoken to you , the reader; the poet can have more “patience” to describe things, as opposed to the clarity/brevity/efficiency model of prose.
Poetry often features the struggle of language to create the intangible.
What does a story do that a poem does not? What are the essential components of a story?
Story can be digested in one reading.
Story has a plan, asks you to follow the plan, timeline
Story is external
Story isn’t necessarily “about” the writer, can be made up
Main character/protagonist, sense of yearning, movement based on their desire, conflict
What does a poem do that a story does not? What are the essential components of a poem?
Asks to be read more than once.
Poem might be immersive
Poem is internal
Poem is about the writer/speaker, relating real experience
No responsibility to “movement”: can focus on stationary object, description, emotion, etc.
Doesn’t require characters, struggle, conflict
What are the differences in the various reactions elicited by a story versus a poem?
Stories can be dissected in a “normative” way: plot, character, believability
Stories often try to entertain, whereas poems often try to enlighten
HOMEWORK
1) Read the Prose Poems for next week ("The List: Poetic Parataxis") and write a Critical Reading Response. Be sure to include in your response some of the items from today's discussion. Whither prose poetry? What does the genre let us do that other genres do not?
2) Creative Assignment: Write a prose poem that focuses, as this week's readings do, on "The Lyric Moment." In class we defined the Lyric Moment as a moment of grace or beauty; a moment that can't be improved on; a highly detailed instant; a poem that uses figurative language and heightened imagery & emotion; a poem that begins in the external world but quickly moves inward.
Tuesday, October 27, 2009
Class 10
ANNOUNCEMENT: There are new readings for the last four classes. Disregard the schedule I gave you with the syllabus. Download the new schedule here. Note that we're done with the Flash Fiction Reading Packet now, and moving on to the Great American Prose Poems anthology.
We began today's class with a small workshop of the story due today. I asked everybody to write short letters to their colleagues identifying favorite moments and moments that could use revision.
Then we talked about the "Metafiction" stories we read for today, focusing primarily on "Borges and I." For an interesting perspective on this story, check out John Perry's lecture.
IN-CLASS WRITING: Write the story of writing one of the stories for this class. What is the story based on? Who is it based on? When did you write it? Why? What choices did you make? What choices were most difficult? What do you regret?
HOMEWORK:
1) Read the "Investigating the Moment" prose poems from the Lehman anthology & write a Reading Response.
2) Write a flash story that uses techniques of metafiction discussed in class. Possibilities include: Writing the story of writing a story for this class (as we did for the in-class prompt); writing a story where you, as a writer, are a main character; writing a story about the usage of language in storytelling.
We began today's class with a small workshop of the story due today. I asked everybody to write short letters to their colleagues identifying favorite moments and moments that could use revision.
Then we talked about the "Metafiction" stories we read for today, focusing primarily on "Borges and I." For an interesting perspective on this story, check out John Perry's lecture.
IN-CLASS WRITING: Write the story of writing one of the stories for this class. What is the story based on? Who is it based on? When did you write it? Why? What choices did you make? What choices were most difficult? What do you regret?
HOMEWORK:
1) Read the "Investigating the Moment" prose poems from the Lehman anthology & write a Reading Response.
2) Write a flash story that uses techniques of metafiction discussed in class. Possibilities include: Writing the story of writing a story for this class (as we did for the in-class prompt); writing a story where you, as a writer, are a main character; writing a story about the usage of language in storytelling.
Thursday, October 22, 2009
I'm Reading Tonight!
I'll be reading some of my fiction tonight at 7 p.m. at the FGCU Bookstore. It's the kick-off reading of the Sam Pepys Reading Series, and I hope to see you all there!
My reading will be followed by an open-mic, so please do bring some writing you'd like to share.
My reading will be followed by an open-mic, so please do bring some writing you'd like to share.
Wednesday, October 21, 2009
Class 9
We began today talking about your creative responses, about which myths you worked with and the strategies you employed to write about them.
We then did a short writing exercise designed to get you writing more in images & detail rather than abstraction. Here's the exercise: Draw an alien. Now describe the alien in words so that someone else could draw the same thing you did. The idea is that you have to describe something so closely and accurately that someone else can see what you see.
We then talked about this weeks' readings, looking closely at how each author works with irony. We also discussed the different kinds of irony:
Situational Irony: When the outcome of an action is the opposite of what was expected and/or desired.
Dramatic Irony: When the audience or reader is aware of something that the character is not.
Verbal Irony: When what is said is the opposite of what is meant. Or when the message is undermined by the presentation.
Ultimately, irony is about discordance, tension, and discrepency. Each of the stories we read this week uses irony to achieve its effect.
Finally, we broke up into groups to discuss two important questions:
1) Why were this week's stories told using the Flash Fiction form?
2) What are the advantages and disadvantages of the Flash Fiction form?
HOMEWORK
1) Next week we'll discuss the answers you came up with to those two questions. Please post your answers as comments in the posts below.
2) Write a Flash Fiction piece that uses juxtaposition and irony.
3) Read the stories for "Metafiction: Stories About Storytelling" & write a Critical Response
We then did a short writing exercise designed to get you writing more in images & detail rather than abstraction. Here's the exercise: Draw an alien. Now describe the alien in words so that someone else could draw the same thing you did. The idea is that you have to describe something so closely and accurately that someone else can see what you see.
We then talked about this weeks' readings, looking closely at how each author works with irony. We also discussed the different kinds of irony:
Situational Irony: When the outcome of an action is the opposite of what was expected and/or desired.
Dramatic Irony: When the audience or reader is aware of something that the character is not.
Verbal Irony: When what is said is the opposite of what is meant. Or when the message is undermined by the presentation.
Ultimately, irony is about discordance, tension, and discrepency. Each of the stories we read this week uses irony to achieve its effect.
Finally, we broke up into groups to discuss two important questions:
1) Why were this week's stories told using the Flash Fiction form?
2) What are the advantages and disadvantages of the Flash Fiction form?
HOMEWORK
1) Next week we'll discuss the answers you came up with to those two questions. Please post your answers as comments in the posts below.
2) Write a Flash Fiction piece that uses juxtaposition and irony.
3) Read the stories for "Metafiction: Stories About Storytelling" & write a Critical Response
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