CRW 210 Bilingual Fiction Writing: Novella- Juana Moriel- Payne
Latin American Novella of the Boom and Post-Boom
In Latin America, the universal literary genre of the novella has had a unique development. It has had a lively progress, from the Iberian tradition to the early 19th Century, and again, from the mid 20th Century to the early 21st Century. Readings will include pre-boom ovellas of José Joaquín Fernández de Lizardí and Alejo Carpentier, boom novellas of Álvaro Mutis, Gabriel García Márquez, G. Cabrera Infante, Julio Cortázar, and post-boom novellas of Ana Lydia Vega, Roberto Bolaño, and Laura Restrepo. Students will analyze these in order to understand how Latin American writers transformed this universal-literary genre according to their own realities. At the same time, students will analyze the genre’s form and structure. Students will write their own novellas using mechanisms of the short story and the vovel: a technique that combines intensity and expansion, elements that show contrary forces, and create a specific-unique rhythm, as Judith Leibowitz says in Purpose in the Novella.
- Joaquín Fernández de Lizardí, The Itching Parrot/El periquillo sarniento
- Alejo Carpentier, The Road to Santiago/El camino de Santiago
- Álvaro Mutis, The Snow of the Admiral/La nieve del admiral
- Gabriel Garía Márquez, The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother/ La increíble y triste historia de la candida Eréndira y de su abuela desalmada.
- G. Cabrera Infante, I Heard Her Sing/ La escuché cantar
- Julio Cortázar, The Pursuer/ El perseguidor
- Ana Lydia Vega, Miss Florence’s Trunk/El baúl de Miss Florence
- Roberto Bolaño, Distant Star-Estrella distante
- Laura Restrepo, The Scent of Invisible Roses/Olor a rosas invisibles
Students can read and write in either English or Spanish.
CRW 233: Creative Non-fiction Writing- JoAnna Novak
"Sharing food with another human being is an intimate act that should not be indulged in lightly," writes MFK Fisher. And sharing writing about food is equally intimate, conjuring sensations and memories, evoking experience and heritage. In this course, we'll read and write about all things gustatory, guided by the works of writers such as Elizabeth David, Richard Olney, Gabrielle Hamilton, Adrian Miller, Holly Hughes, Anthony Bourdain, and more. Creative non-fiction offers students the opportunity to explore several platforms for expression that may include memoir, essays, and articles. Students draw on public and private events to create stories, offer informed commentary, satire, and comedy. The course will culminate in a portfolio of short-form non-fiction.
CRW 240: Fiction Writing II- JoAnna Novak
Weird. Unnerving. Strange. Disarming. How does horror reflect the real and how does the real depict horror? In this course, we'll read texts that straddle fictive modes (realism, horror) to take the reader on gripping, unforgettable journeys. Course texts will include short fiction and novels by writers such as Brian Evenson, Chris Dennis, Mariana Enriquez, Alma Katsu, Melanie Golding, Dan Bevacqua, Amanda Goldblatt, and Samanta Schweblin. Through both reading and writing, this class considers point of view, pacing, tone, structure, and setting. The course will culminate in a portfolio of short stories.
CRW 246 Poetics – Johnny Payne
This course will ground you in conventional poetics and the Western tradition in poetry dating back to the 15th century up to the modern. We’ll look at rhyme schemes and types, meter, and verse form including such prosodic elements as enjambment, assonance, consonance, and other aspects that contribute to a well-made poem. This approach is meant to complement free-form and experimental approaches. We will focus on the sonnet, ode, ballad, sestina, villanelle and elegy as forms. Though you will write multiple poems, this is not merely a workshop. Rather, you will be assigned intensive reading in theory and poems, as well as practice in creative exercises that allow you to understand and emulate these challenging forms, in the hope that they will shape your sense of poetics and of the great and varied history of Western poetry that has endured alongside more recent developments in the genre.
Paul Fussell, Poetic Meter and Poetic Form
Robert Hass, A Little Book of Form
Mark Strand and Eavan Boland, The Making of a Poem
Willis Barnstone, Six Masters of the Spanish Sonnet
CRW 212: Bilingual Poetry Writing I – Juana Moriel-Payne
Latin American Poetry in Cultural Context: A Poetry of Identity
As Stephen Tapscott proposes in his bilingual anthology, Twentieth-Century Latin American Poetry, this course examines the works of Latin American poets within historical terms; writers that have produced a self-reflexive poetry in search of its identity. The course will be divided into three cultural/historical phases: the identity of Latin America, the identity of the Latin American poet, and the identity of the Latin American poem. Within this division, the readings will cover the most significant Latin American literary movements: Romanticism to Modernism, Modernism to Post-Modernism/Vanguardism, and the self-reflexive/philosophical poetry of the Twentieth Century. The course will include the following poets: José Martí, Manuel Gutierrez Nájera, Ruben Darío, Leopoldo Lugones, Cesar Vallejo, Vicente Huidobro, Pablo Neruda, Delmira Agustini, Gabriela Mistral, Alfonsina Storni, Juana de Ibarbourou, Jorge Luis Borges, Gioconda Belli, and Octavio Paz. Students will write a set of poems with Identity in cultural context as the central theme.
CRW 217 Bilingual Non-Fiction: Crónica – Juana Moriel-Payne
Latin American Chronicle and Travel Writing
Since its beginning after the European and (Latin) American encounter, to the Twentieth Century, Latin American Chronicle has observed the complex reality of urban spaces. It has included journalistic and literary elements, with a narrator/observer that is emotionally involved in his/her socio-historical narratives, perceptions that makes the genre a subjective one. In this sense, chroniclers are enunciator-narrators who take a significant distance from journalism to transgress the official-social representations by exposing social tensions and conflicts.
In this course, before/during Peru visit writers will:
- Examine videos about the Conquest of Mexico and Peru, texts of Colonial-Era chroniclers, and theories and historical approaches about race/resistance in Latin America.
- Analyze Travel Chronicle as literary genre.
- Write 4 original Travel Chronicles (1000-words each) – one about physical space, one about an event, one about nature, and one about people– integrating aspects of the Travel Chronicle and Latin American chroniclers.
After Peru visit writers will:
- Examine the works of 19th, 20th & 21st Centuries’ Latin American chroniclers in Literary and Historical context.
- Write 4 original Chronicles (1000-words each/ double space) – one inspired by 1930’s chronicles, one inspired by chronicler Carlos Monsivaís, and two inspired by contemporary Latin American chroniclers.
CRW 240 Fiction Writing 1: The Novel – Johnny Payne
This course, using both theory/craft essays and creative exercises, will culminate in the writing of 80 pages of fiction. The focus will be the Latin American novel, especially Peruvian writers. The first two weeks of this course will be taught in the Peru summer program, after which the rest will be conducted online and in weekend sessions. Students will get grounding in the literary phenomenon called the Boom, when an explosion of Latin American novels in translation swept the world, and the post-Boom, during which a new generation of novelists threw off some of the conventions of their predecessors.
Mario Vargas Llosa, The War of the End of the World
José María Arguedas, Deep Rivers
Julio Ramón Ribeyro The Word of the Speechless
Cristina Rivera Garza, The Taiga Syndrome
Silvina Ocampo, The Promise
Gabriel García Márquez, One Hundred Years of Solitude
CRW 242 Screenwriting: Feature Film Writing in the Industry – Andrew Ruiz
Learn to write screenplays that both reflect your voice and have commercial appeal. In this accelerated writing course, we will move from initial ideas through treatments and ultimately the first draft of a screenplay. Focus will be on developing ideas that are timely, well-crafted, and ultimately can serve as a portfolio piece as you seek employment in the film industry. We will also discuss various methods for breaking into the Hollywood system, from fellowships and festivals to career path advice from guest speakers. We will create an online workshop setting, where your peers will help you develop your scripts to their full potential.
CRW 299C Publishing Seminar – Thomas Cook
What is a novel? What aesthetic and social movements shape the publishing landscape? This seminar exposes students to the theories and practices that drive commercial and academic publishing across selected genres and markets. The course culminates in a hands-on editing and publishing project directed by students.