Monday, May 5, 2014

Wednesday 5/7/2014 Assignment


FINAL PORTFOLIOS DUE

Assignments and Grading

  • Craft-based in and out of class assignments: 20%
  • A mid-term poetry portfolio: 25%
  • An end-of-semester fiction portfolio: 25%
  • Two essays in which you examine a poem and a story from the blog (you choose the poem and the story):  25%
  • Participation: 5%, includes attendance, class discussions and in-class writing.   

Wednesday, April 30, 2014

Monday 5/5/2014 Class

"A&P" by John Updike.

Rough drafts of your 5-pager paper using Flannery O'Connor as your guide.

FINAL PORTFOLIOS DUE WEDNESDAY 5/7/2014.


Wednesday, April 23, 2014

Wednesday 4/30/2014 Class

M&M:  "Writing Short Stories" continued:  the wooden leg. 

"The Hunger Artist" on the blog.

Story Cubes exercises.

Profluence.





List of Writing Exercises to Be Included in Your End-of-Semester Portfolio

1.  Poem transformed into the first paragraph of a story.
2.  10 sensate memories.
3.  Despicable character story constructed from the 10 sensate memories exercise.
4.  Write a description of the "bird of prey" photograph on the blog.
5.  Three characters fighting over an object (all the scenes that were transformed into a story).
6.  "The first time I heard _________, I was in ________."
7.  A paragraph describing what is right in front of you, and then the draft of a beginning of a story based on that paragraph.
8.  Story started from a title.
9.  Write a complete story without scenes.
10.  Write down an abstract emotion.  Then construct a scene depicting that emotion without using the abstraction.
11.  Write a vivid description of a neighbor you once had, give him/her a desire, and then generate a history for this fictionalized character.
12.  Story Cube exercise.

Sunday, April 20, 2014

Wednesday 4/28/2014 Class

"Writing Short Stories" from M&M, page 87 through 106:

"The peculiar problem of the short-story writer is how to make the action he describes reveal as much of the mystery of existence as possible.  He has only a short space to do it in and he can't do it by statement.  He has to do it by showing the concrete -- so that his problem is really how to make the concrete work double time for him."  (98)  What does "double time" mean here in this context?  How do you make "double time" happen? 

"When you can state the theme of a story, when you can separate it from the story itself, then you can be sure the story is not a very god one.  The meaning of a story has to be embodied in it, has to be made concrete in it.  A story is a way to say something that can't be said in any other way, and it takes every word in the story to say what that meaning is.  YOU TELL A STORY BECAUSE A STATEMENT WOULD BE INADEQUATE."  What does Flannery mean by "inadequate'?  How does a story "embody" a statement?

Key concept:  objective correlative.  Write down an abstract emotion.  Then construct a scene depicting that emotion without using the abstraction.

Draft of your final short story.  Exchange with a partner.  Analyze each other's stories based on the "key concepts."



Wednesday, April 16, 2014

Monday 4/21/14 Class

Flannery O'Connor's "Revelation" on the blog.  The crayon test:  draw elemental pictures, capturing the images you see in your head from the story.  Bring the drawings with you to class.  We will be talking about what it takes to be "selective" and to "create movement" by looking at the imagery that you drew, and also how Flannery relayed those images...

May 7, 2014 is the last class.  Your portfolios will be due then:

  • A 6-page (or more) short story written from one of the in-class assignments.
  • A five-page paper using Flannery O'Connor's  Mystery and Manners to review/investigate/praise/critique a short story from the blog. 
  • All the in and out of class writing exercises you did in the fiction portion of the class.
  • And revisions on the poetry paper.
  • And the poems you submitted previously.
How many in and out of class writing assignments have we done?  Let's make a list...

Write a complete story without using scenes.







Wednesday 4/16/2014 Class

Scene-by-scene stories:  couple up, and exchange.  "Map out" how the story moves forward using a storyboard.  Come up with a short two or three sentence prĂ©cis of the story, focusing on beginning, middle and end.  Discuss in class.

Titles:  let's list out all the titles you came up with, and then decide on which make the process of drafting a story easiest.  What does a title do and mean for a story?  How can it be "unpacked"?  Then each student selects his/her favorite title and starts a story in class.

Flannery O’Connor in Mysteries and Manners:  “I know a good many fiction writers who paint, not because they’re any good at painting, but because it helps their writing.  It forces them to look at things.  Fiction writing is very seldom a matter of saying things; it is a matter of showing things.   However, to say that fictions proceeds by the use of detail does not mean the simple, mechanical piling-up of detail.  Detail has to be controlled by some overall purpose, and every detail has to be put to work for you.  Art is selective.  What is there is essential and creates movement.”   What does it mean to “look”?  How do you “look” at things/people/places/events/etc?  Is there a difference between “looking” and “seeing”?  How is art “selective”?  In class writing:  describe what is right in front of you in a beautifully constructed paragraph. 





Tuesday, April 8, 2014

Monday 4/14/14 Class

No class today.  I have to be out of town.

Please use the time to work on finishing the scene-by-scenes you exchanged in class on 4/7/2014.  Bring a typed copy of the completed story to class on 4/16.

Thanks!

Sunday, April 6, 2014

Wednesday 4/9/2014 Class

Let's talk about this:
The first time I heard ________________________, I was in _____________________________.

Read "The Nature and Aim of Fiction," page 63 in Mystery and Manners.  Write a paragraph or two in response to these quotes from the text::

"The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with reality, and its sense of reality deepened by contact with mystery."  What does she mean by "contact with reality and contact with mystery"?  How are these deepened by contact with one another?

"Conrad said that his aim as a fiction writer was to render the highest possible justice to the visible universe....  It means that he subjected himself at all times to the limitations that reality imposed..."  Explain "limitations that reality imposed."  What's Flannery's point here?  How can you contextualized it in your own writing?

"It means that when you write fiction you are speaking with character and action, not about character and action."  Explain the difference between "with" and "about" in this statement.  How do you differentiate between speaking with and speaking about?  What does she mean by "action"?

Read "The Shawl" on the blog.

Titles...

Wednesday, April 2, 2014

Monday 4/7/2014 Class

Read "The Nature and Aim of Fiction," page 63 in Mystery and Manners.  In 3 groups discuss: 

"The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with reality, and its sense of reality deepened by contact with mystery."  What does she mean by "contact with reality and contact with mystery"?  How are these deepened by contact with one another? 

"Conrad said that his aim as a fiction writer was to render the highest possible justice to the visible universe....  It means that he subjected himself at all times to the limitations that reality imposed..."  Explain "limitations that reality imposed."  What's Flannery's point here?  How can you contextualized it in your own writing?

"It means that when you write fiction you are speaking with character and action, not about character and action."  Explain the difference between "with" and "about" in this statement.  How do you differentiate between speaking with and speaking about?  What does she mean by "action"?

In-class writing exercise:  Exchange the exercises you did in the last two class in which characters are fighting over an object.  Now take someone else's scenes and find a way to end the story in a couple scenes.

In-class exercise (in groups):  Choose a commonplace fairy-tale.  Dissect the tale into scenes on notecards.  Distribute cards among group members.  Each member writes the scene he/she is given.  Regroup and talk about sequencing, chronology, what you need and don't need to convey the story...

Start a story with this:

The first time I heard ________________________, I was in _____________________________.


Saturday, March 29, 2014

Wednesday 4/2/2014 Class

From the last in-class writing exercise:  write a scene in which 2 characters are fighting over an object of your choice.  Begin with the first attempt of one character to take the object. 

Now take this in-class exercise and add another character who is assisting one character in his/her pursuit of getting the object.

"Tenth of December" by George Saunders on the blog.  Think about the moves Saunders makes in the narrative, how he moves the story forward, scene by scene.  Storyboard it in groups.

Continue working on the "memory" story:  let's talk about what you have come up with.

Write a description of this scene:

  

Monday 3/31/2014 Class

Use some or all of your sensate memories in a story draft with the despicable character as the narrator, the point of view.  How do your sensate memories create movement?  How do you construct narrative based on those memories? 

How do you create character?  Let's talk about a "recipe" for creating characters in fiction.  What elements do you need?

What is a clichĂ©?  A phrase or opinion that is overused and betrays a lack of original thought.  Why do you use them?  Why don't you use them?  Let's do an exercise:  write down as many clichĂ©s as you can, and then we'll regroup and take some of them and reinvent them together.

In-class writing exercise:  write a scene in which 2 characters are fighting over an object of your choice.  Begin with the first attempt of one character to take the object. 

Monday, March 17, 2014

Wednesday 3/19/2014 Class


Use some or all of your sensate memories in a story draft with the despicable character as the narrator, the point of view.  How do your sensate memories create movement?  How do you construct narrative based on those memories?  How do you create character? 

Read "Bullet in the Brain" aloud.  Talk about the structure of the story.  Also about the way the writer constructs narrative based on memory.

Talk about the narrative strategies involved in the TV shows you watched and analyzed.

Wednesday, March 12, 2014

Monday 3/17/14 Class

Discuss "Signs and Symbols" by Nabokov in groups, using the Key Concept story arc.

Check out:

Part One:
http://www.youtube.com/watch?v=PFYrJOp_Oqw&feature=share
Part Two:
http://www.youtube.com/watch?v=gdjawu_VRBo&feature=share

How are the objects used in this sketch?
How do the characters relate to one another?
What's the inciting incident?
What's the denouement? 

Write ten sensate memories from your life...  Read some of those aloud, and talk about narrative -- where does this description "take you"? 

In-class assignment:
Come up with a long list of despicable characters.

Monday, March 10, 2014

Wednesday 3/12/2014 Class

Go over Key Concepts (on the right).

Read "The School" by Donald Barthelme (on blog).  Talk about why this is a story, and what makes it a story.  Also:  who is the narrator?  How does the narrative progress?

In-class writing exercise:

Nabokov writes:  “Poetry involves the mystery of the irrational perceived through rational words.”  Think of irrational situations you’ve gone through, ideas, mysteries.  Now think of rational words, phrases, sentences.  Write a short poem intermingling the two.  Good example:

The Red Wheelbarrow
by William Carlos Williams
 
So much depends
upon

A red wheel
barrow

glazed with rain
water

beside the white
chickens.

Now take your poem and “transform” it into the first paragraph of a story.  IE:  “The rain had stopped earlier that morning, and the red wheelbarrows beside the chicken coop was glazed with it.  So much had depended on that wheelbarrow, and yet now it was abandoned, purposelessness.  Mary felt herself completely connected to it, staring out from the kitchen window above the sink, telling herself there was no alcohol in the house.”   

Wednesday, March 5, 2014

Monday 3/10/2014 Class

Poem portfolios due:  4 poems in manuscript form, 1 5-page paper, double-spaced, concerning your reaction to a poet we've discussed, using The Art of Syntax as your guide.

Poetry reading.  

Monday, March 3, 2014

Wednesday 3/5/2014 Class

Camera-phone haiku(s): 
  • What came out of that process? 
  • What could you make happen by looking at a picture? 
  • How did you "translate" image into language? 
  • How did you choose the language that "built" the haiku(s)? 
  • What makes a haiku different than other forms? 

Forward motion poem:
  • How did you imitate Plath's style in "Aerial"?
  • How did you make forward motion happen?  How does she?
  • What is the first image in your poem, and the last?

Art of Syntax, pages 127 through 144, starting with "Snake" poem.

Emily Dickinson on poet.org

I heard a Fly buzz (465), Emily Dickinson

            
I heard a Fly buzz – when I died –  
The Stillness in the Room
Was like the Stillness in the Air –  
Between the Heaves of Storm – 

The Eyes around – had wrung them dry –  
And Breaths were gathering firm
For that last Onset – when the King
Be witnessed – in the Room –  

I willed my Keepsakes – Signed away
What portions of me be
Assignable – and then it was
There interposed a Fly –  

With Blue – uncertain stumbling Buzz –  
Between the light – and me –  
And then the Windows failed – and then
I could not see to see – 

Tuesday, February 25, 2014

Monday 3/3/14 Class

Wild-animal-is-the-final-stanza poem.  Read a few aloud.  Let's talk about the moment when something "outside of the poem" enters it. 

Draft of poet paper.  Couple up.  Switch papers.  Look for how the writer uses Art of Syntax to explain the work of the poet he/she chose. 

Look at the picture you took with your camera phone.  Write down all the words generated from the image.  Use the generated words to write a haiku.

Sylvia Plath on poet.org.  Take a look at "Aerial."  Let's talk about how she gets the poem moving...

Ariel, Sylvia Plath    

Stasis in darkness.
Then the substanceless blue   
Pour of tor and distances.

God’s lioness,   
How one we grow,
Pivot of heels and knees!—The furrow

Splits and passes, sister to   
The brown arc
Of the neck I cannot catch,

Nigger-eye   
Berries cast dark   
Hooks—

Black sweet blood mouthfuls,   
Shadows.
Something else

Hauls me through air—
Thighs, hair;
Flakes from my heels.

White
Godiva, I unpeel—
Dead hands, dead stringencies.

And now I
Foam to wheat, a glitter of seas.   
The child’s cry

Melts in the wall.   
And I
Am the arrow,

The dew that flies
Suicidal, at one with the drive   
Into the red

Eye, the cauldron of morning.


Sunday, February 23, 2014

Wednesday 2/26/14 Class

Poem mimicking CK Williams' style:  autobiographical, about an important moment in your life that you've never considered before as "important."  Couple up.  Review.  Is there anything you would take out?  What moment(s) do you remember most?  What makes what you did poetic?  What makes it prose?  Is there a difference?

The Art of Syntax, pages 145 through 169.  This is the glossary section of the book.  I want you to choose 2 concepts from here, and then find examples that represent those concepts from the poet you've chosen for your paper. 

Skunk Hour

By Robert Lowell


(For Elizabeth Bishop)


Nautilus Island's hermit
heiress still lives through winter in her Spartan cottage;
her sheep still graze above the sea.
Her son's a bishop. Her farmer
is first selectman in our village;
she's in her dotage.

Thirsting for
the hierarchy privacy
of Queen Victoria's century,
she buys up all
the eyesores facing her shore,
and lets them fall.

The season's ill--
we've lost our summer millionaire,
who seemed to leap from an L. L. Bean
catalogue. His nine-knot yawl
was auctioned off to lobstermen.
A red fox stain covers Blue Hill.

And now our fairy
decorator brightens his shop for fall;
his fishnet's filled with orange cork,
orange, his cobbler's bench and awl;
there is no money in his work,
he'd rather marry.

One dark night,
my Tudor Ford climbed the hill's skull;
I watched for love-cars. Lights turned down,
they lay together, hull to hull,
where the graveyard shelves on the town. . . .
My mind's not right.

A car radio bleats,
"Love, O careless Love. . . ." I hear
my ill-spirit sob in each blood cell,
as if my hand were at its throat. . . .
I myself am hell;
nobody's here--

only skunks, that search
in the moonlight for a bite to eat.
They march on their soles up Main Street:
white stripes, moonstruck eyes' red fire
under the chalk-dry and spar spire
of the Trinitarian Church.

I stand on top
of our back steps and breathe the rich air--
a mother skunk with her column of kittens swills the garbage pail.
She jabs her wedge-head in a cup
of sour cream, drops her ostrich tail,
and will not scare.

                                                  1959

How does this poem rhyme?  How does it work?  What about the specifics?  How do they build into abstraction?  How does meaning happen?  What the hell does the skunk have to do with it? 

Robert Lowell on poets.org

Write a poem in which a wild animal is the final stanza. 


Wednesday, February 19, 2014

Monday 2/24/14 Class

Do a rondeau, and also "undo" a rondeau.  Couple up, read each other's work, talk about what it takes to create a poem with a set structure involved, and what it takes to dismantle that structure and maintain "poem-ness."   

Art of Syntax, page 79 to 97, "A Varied Pulse."

Elizabeth Bishop's "The Moose," page 82 to 85 and...

Page 97:  "Bishop had to discover her [rhythm] through trial and error, much tinkering, much listening.  Bishop's attention to small syntactical chunks was crucially enabling to that rhythm, supplying a flexible underlying grid or pulse that allowed delicate syntactical complication.  We can reasonable surmise that the interplay between large-scale and small-scale systems prompted, shaped, recofused, or reinforced the complex hierarchies of the piece as it emerged through slow, patient drafting.  WHAT DIRECTED THAT INTERPLAY IN BISHOP'S MAGNIFICENT POEM WAS SYNTAX."

Choose a poet for upcoming paper... 
  • Denise Levertov
  • Anne Sexton
  • Theodore Roethke
  • Laurie Anderson
  • Wallace Stevens
  • e e cummings
  • Philip Larkin
  • Elizabeth Bishop 
  • Stanley Kunitz

  • CK Williams on poets.org