English 313, Writing of Creative Nonfiction
TR 9:30-10:45
Pullen 113
Spring 2012
Dr. Deborah Hodgkins
Normal 301
768-9423
[email protected]
Office Hours: MW 10:30-12:00
and by appointment
"Memory believes before knowing remembers.
Believes longer than recollects, longer than knowing even wonders."
William Faulkner, Light in August
Required Text:
Root and Steinberg, The Fourth Genre: Contemporary Writers of/on
Creative Nonfiction, 6th edition
Bradway and Hesse, Creating Nonfiction: A Guide and Anthology
Recommended:
Prentice Hall Reference Guide to Grammar and Usage. Muriel Harris
Online Resources:
Online journal, Brevity
http://www.creativenonfiction.org/brevity/index.htm
Bibliography of works of creative nonfiction, essays on the theory and craft of writing creative
nonfiction and essays, and some other material particular to his own course
http://nestersteachingblog.wordpress.com/essaymemoirbiblio/
Online Literary magazine—you will need to select nonfiction from the top menu
http://www.blackbird.vcu.edu/
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Telling Stories: Memoir, Essay, and the Performing Self in Writing
Creative nonfiction, also called literary nonfiction, is a relatively new term for nonfiction that
shares some of the literary features of fiction and poetry. In this course we will focus mainly on
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memoir and the personal essay, with some attention to nature writing, travel writing, literary
journalism, and autobiographical literary criticism/scholarship. Keep in mind that these
distinctions are slippery ones. Note the subgenres under which both texts list the works included.
The different tables of contents are also worth studying as you read the selections assigned. Note
the different places that many of the selections appear depending on the way the contents are
organized—whether by subgenre, the form or about the form, topic, or techniques and strategies.
As you review the syllabus you will notice that the course is frontloaded with reading, saving
more time at the end of the semester for workshopping. To learn to write—and write well—you
must read. You must like to read.
The word “telling,” in the title above, has multiple meanings. It does not, however, refer to a
solipsistic exercise of telling about oneself to the exclusion of others, nor an attempt to capture
an “essential,” unified self. Telling our stories means making an attempt to understand and
articulate something of the series of selves that we have been over time, and confronting how our
identities are linked to the meaning we make of our memories at any given moment.
Tell all the Truth but tell it slant—
Success in Circuit lies
These lines from Emily Dickinson may appear to contradict conventional notions of what it
means to write the personal—indeed, any form of nonfiction. But is it possible to write about the
self in any other way except by “telling it slant”? We cannot count on memory for factual
accuracy. In fact, often what we remember is either “wrong” (we discover this when others
remember the same events quite differently), unverifiable, or incomplete—we simply can’t
remember all of the details. So what is “T/truth”? (Yes, this question will keep coming up in
English courses!)
Our stories are always invented truth. This “fact” about the sharing of our “real” experiences
does offer us some measure of control—we make choices about what to tell, to whom, and for
what purpose. Our stories are also never just our own. Since we share experiences and memories,
we have a responsibility to others. But these two elements of autobiographical writing both
complicate the act of writing and public disclosure, and make for rich opportunities. We are the
only ones who can hope to negotiate the ways in which we are already written, a part of existing
cultural narratives, in order to represent something of our subjective experience.
And even the most intimate forms of creative nonfiction, memoir and the personal essay, are not
just about the self. They are “telling” in what they reveal about human beings and relationships,
knowledge and acts of meaning making, and the act of writing itself—its inherent limitations and
possibilities, its role in constructing our understanding of identity and our place in the world.
The self-absorption that seems to be the impetus and embarrassment of autobiography
turns into (or perhaps always was) a hunger for the world. Actually, it begins as a hunger
for a world, one gone or lost, effaced by time or a more sudden brutality. But in the act of
remembering, the personal environment expands, resonates beyond itself, beyond its
“subject,” into the endless and tragic recollection that is history.
Patricia Hampl
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A useful metaphor for the act of inserting our perspectives, our stories, into history, is that of
spinning a web, “in which anything that affects one strand of the web vibrates throughout the
whole” (Marilyn Cooper, quoted in Dobrin 20). So how does one write to make one’s self
heard—to create movement in the web?
Of course, not all works of creative nonfiction focus overtly on the first person singular. Some
literary journalism backs away from the first person—you’ll read one such example this
semester. Essays are frequently about ideas. But wherever the writer positions the self on a
continuum from central to removed, the first person perspective remains.
All acts of presenting the self in writing are performances. We must “compose” our selves in
each text. Which leads me to a final point about writing the personal that is both potentially
threatening and liberating:
My advice to memoir writers is to embark upon a memoir for the same reason that you
would embark on any other book: to fashion a text. Don’t hope in a memoir to preserve
your memories. If you prize your memories as they are, by all means avoid—eschew—
writing a memoir. Because it is a certain way to lose them. You can’t put together a
memoir without cannibalizing your own life for the parts. The work battens on your
memories. And it replaces them. (Annie Dillard, “To Fashion a Text” 242)
Consider yourself forewarned. Now I invite you to tell your stories, “to fashion a text.”
Course Requirements
Attendance is mandatory. As this is a workshop style course, our in-class activities are part of
the “material” and assigned work of the course and such work cannot be made up outside of
class. Regular attendance and active participation is essential, and both will be reflected in your
final grade. A maximum of three absences are allowed; after three, your final grade will be
reduced by a step for each class missed (if your grade is a B, it will become a B-, and so on).
Reading Responses/Discussion on Blackboard Discussion Board. Posts of 300-500 words
(about one single spaced page) each day that reading is assigned. Please post both your own
reading responses and respond to the posts of others, when possible, so that the discussion board
is a site for both sharing your thinking and engaging in lively discussion in preparation for class.
The purpose of response writing is to explore your reading experience and pose questions for
discussion. Try to work directly with the text and make connections with other readings and the
work of your classmates as the semester progresses. Responses are informal—it is your thinking
that I am most interested in seeing. Be clear, but feel free to free-write, experiment. Each
response must address the material assigned for the upcoming class, but you can do so by
working with one particular reading, multiple readings, or by building on the readings to begin
projects of your own (we must, however, be able to see how the readings inspired said project).
All responses must be posted prior to 7:00 a.m. the day of class to receive credit. Please read all
responses posted prior to coming to class in preparation for class discussion. NB: discussion on
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Blackboard accounts for 25% of your grade, so detailed, thoughtful, and ‘on time’ responses
are essential. Incomplete or superficial posts will not count.
All writing submitted, including reading responses, must be typed with pages numbered (all but
page one) and stapled. Assignments turned in after the class in which they are due will be
marked late which may have an effect on your final grade.
Your Final Portfolio must include at least 25-30 pages of revised, polished prose. Two of the
pieces included must involve critical analysis in response to assigned readings. I also ask that
you include a brief connective/meta-reflective piece commenting on the writing you have
included and your experience in the course. Grades will not be given on individual pieces, but I
will give you an estimate of where you stand at mid-semester (I may also be persuaded to grade
one individual revised piece for anyone who may be feeling nervous).
Final Grades: Participation
Blackboard/Reading Responses
Final Portfolio
25%
25%
50%
Matters that should go without saying . . .
Academic Honesty Statement
The academic community of the University of Maine at Presque Isle recognizes that adherence to
high principles of academic integrity is vital to the academic function of the University.
Academic integrity is based upon honesty. All students of the University are expected to be
honest in their academic endeavors. All academic work should be performed in a manner which
will provide an honest reflection of the knowledge and abilities of each student. Any breach of
academic honesty should be regarded as a serious offense by all members of the academic
community.
Plagiarism is the representation of another's words or ideas as one's own (see the University of
Maine at PI Student Academic Integrity Policy, available from the Dean of Students Office).
Violations of academic integrity also include turning in work previously submitted in other
courses (so, in a sense, it is possible to plagiarize yourself). Students found to have committed
acts in violation of this policy will fail the course and may face additional university sanctions.
Not all examples of plagiarism in student work are intentional, however. Students often have
difficulty learning to work well with source materials, so please consult me any time you have a
question. We can work together on how to properly use quotations, to paraphrase and
summarize ideas and arguments, and to cite sources in your work. You may also work from
writing you have done prior to this course, as long as you show me the original piece and then
develop new work.
Classroom Etiquette
All cell phones and other electronic devices (including mp3 players) must be turned off during
class. Do not leave cell phones on vibrate or “manner” modes. See me if you are emergency
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personnel, etc. Laptops should also be closed during class unless we are all working on a project
together, or you have spoken to me regarding a reason you need to use a laptop for notes.
Campus Resources
UMPI Writing Center
Yes, creative writers can work with the writing center, too! Located on the first floor of South
Hall, the writing center offers one-on-one consultations for writers at all levels of course work, at
all stages of the writing process. Call 768-9615 or stop by to set up an appointment. For more
information you can also check out our web page:
http://www.umpi.edu/programs/cas/english/writing-center
Monday
Tuesday
Wednesday
Thursday
Friday
11:00-4:00
10:00-4:00
10:00-4:00
10:00-4:00
12:00-3:00
Accommodations
The University of Maine at Presque Isle provides reasonable accommodations upon request to
qualified individuals with documented disabilities. Students with documented disabilities have a
right to ask for accommodations and are encouraged to talk directly with the responsible faculty
member, supervisor or other staff person to explore possible accommodations. For assistance
with accommodations or academic support services, contact Mary Kate Barbosa, Director of
Student Support Services, South Hall, at 768-9613 or by email at [email protected] . A
copy of the accommodations request form can be found at http://www.umpi.edu/currentstudents/sss/disability-services/registration.
Course Schedule
(subject to change)
Week One
Jan.
17
19
Introductions, discussion of creative nonfiction as a genre, in-class reading and
writing
Shorts: Terry Tempest Williams, “Why I Write”; Stuart Dybek, “Lights”; Gretel
Ehrlich, “A Match to the Heart”; Kathleen Norris, “Rain”
Memoir and the Personal Essay: Memory, “Truth,” Exigency, and Process
Patricia Hampl, “Red Sky in the Morning” (from I Could Tell You
Stories--begins with her address to the reader)
Phillip Lopate, “Writing Personal Essays: On the Necessity of Turning
Oneself into a Character”
Michael Pearson, “Researching Your Own Life”
Vivian Gornick, “On the Street: Nobody Watches, Everyone Performs”
Judith Ortiz Cofer, “Volar”
Brian Doyle, “Two Hearts” (see documents page)
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Discussion Board post due. Remember, this is a reading response, so there are at
least as many approaches to take to responding as there are students in the class.
But here are some ideas for how to start:
Respond to what one or more of the authors have to say. Choose a specific
idea, metaphor, or passage (or two) as your starting place, and, in light of their
thoughts and our class discussion, present your own thoughts on memoir and
other forms of autobiographical writing. You may do this in some depth, and
stick with working with the readings, or do so quickly and move on to any one
or more of the following:
1. Begin to work with your own experience and memory (memories?), as Hampl
does (and many of us do even as we read), or experiment with an ideas from
our exercise in class (or see “Practice Strategy” following last reading) and
begin what could turn into a longer piece.
2. What might you write about this semester? Why might these topics, events,
etc. be rich ones to pursue? What potential problems might you face?
3. Why do you write?
Week Two
24
26
Week Three
31
Feb.
2
Creating Nonfiction (hereafter CN) chapter 1, Defining Creative Nonfiction (3-8)
The Fourth Genre (hereafter 4th G) Introduction, “Creative Nonfiction, the Fourth
Genre” (xxiii- xxxvii)
Michael Steinberg, “Finding the Inner Story in Memoirs and Personal Essays”
(333-6)
Steven Church, “I’m Just Getting to the Disturbing Part” (4th G, 46-53)
Margaret Atwood, “A Path Taken, with All the Certainty of Youth” (CN 171-3)
Michael Martone, “Manufacturing Place” and following interview (571-6)
David Sedaris, “Go, Carolinia” (documents)
CN, chapter 2, The Plentiful Permutations of Creative Nonfiction, and chapter 3,
Form (10-54)
Anne Lamott, chapters from Bird by Bird: Some Instructions on Writing
and Life (documents)
Also: Please bring at least one photo to class, preferably a
snapshot or two (or more, if you can’t decide!) from childhood, but if
that is not possible, at least from a few years back.
On Bb, post on the readings and/or begin to describe and work with your
photograph(s)
Draft due: at least 3-5 pages of narrative.
Workshop
CN, chapter 4, Description (55-65)
Robert L. Root, Jr. “Collage, Montage, Mosaic, Vignette, Episode, Segment”
(4th G 318-29)
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Workshop
Week Four
7
9
Week Five
14
16
Truth, Ethics, and Creative Nonfiction
Patricia Hampl, "Memory and Imagination" (4th G 264-73)
Mimi Schwartz, “My Father Always Said” (194-201)
Mary Clearman Blew, "The Art of Memoir" (334-7)
Annie Dillard, "To Fashion a Text"
Bronwyn T. Williams, “Never Let the Truth Stand in the Way of a Good Story: A
Work in Three Voices” (documents)
We will also discuss controversy surrounding James Frey’s A Million Little
Pieces
Bb post. Address issues of craft, memory, and truth raised by the readings.
Ground your discussion in specific examples.
CN, chapter 5, Dialogue, and chapter 6, Style (66-93)
David Eggers, from A Heartbreaking Work of Staggering Genius” (342-67)
(memoir)
More on Subgenre within the Fourth Genre
Essays
Jonathan Rauch, “Caring for Your Introvert”(CN 652-5)
Philip Lopate, “Portrait of My Body” (4th G 107-14)
Scott Russel Sanders, “Cloud Crossing” (4th G 188-93) also Nature Essay
Check out This I Believe, http://thisibelieve.org/, and listen to a couple of the
contemporary audio essays. Most are written by average folks, but there are a few
well known figures (writers and otherwise on there as well
Lyric and Reflective Essays
Lia Purpura, “Glaciology” (4th G 162-6)
Judith Kitchen, “Mending Wall” (292-5)
Kathryn Winograd, “(Note to Self): The Lyric Essay” (342-3)
Annie Dillard, “Total Eclipse” (4th G 95-7) and “Living Like Weasels”
(documents) also Nature Essays
Literary Journalism
Vivian Gornick, “On the Bus” (4th G 87-90) “A Narrator Leaps Past Journalism”
(261-3) (personal reportage)
Dennis Johnson, “Run, Rudolph, Run” and interview (CN 451-62)
Brief Nonfiction
Peggy Schumaker, “Prose Poems, Paragraphs, Brief Lyric Nonfiction” (CN
330-2)
Lisa Groen Baner, “Soundtrack” (4th G 29-30)
Humor
David Sedaris, TBA
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February Vacation
Week Six
28
March 1
Draft Due. Workshop
Workshop. Discussion of book length works for critical
analysis/autobiographical literary criticism essay due
Week Seven
6
Conferences in my office. No class.
8
Week Eight
13
15
Week Nine
20
22
“Alternative” Forms
Video Essay
Eula Biss / John Bresland, “Ode to Everything” (4th G 8-10)
John Bresland, “On the Origin of the Video Essay” (254-7)
Digital Essay
Sonya Huber, “The Digital Essay: An Introduction” (4th G 276-7) and “How Do I
Write?”( http://community.muohio.edu/oxmag/files/oxmag/wfm/XXII/HuberSonya/How-Do-I-Write/fourmenu.html)
Graphic Memoir
Gabrielle Bell, From Lucky and following interview (CN 206-16)
Craig Thompson, From Blankets (699-23)
More on Process, “The Art, the Craft, the Business” and
Examples of the Form(s)
Elizabeth Gilbert, From Eat, Pray, Love (CN 398-402)
Edwidge Danticat, “A Little While” (4th G 61-3)
Maureen Stanton, “Zion” and “On Writing Zion” (402-15)
Richard Selzer,“The Exact Location of the Soul” (documents)
Workshop
Workshop—perhaps discussion of drafts due Wednesday
Critical Essay due. Working closely and critically with many of the works we
have read as your examples, as well as your own work, craft your own essay
“talking about” the craft of Creative/Literary Nonfiction—what it “is” and the
characteristics, possibilities, and challenges of the genre and its subgenres. You
might explore the issues of truth, memory, bringing people into the writing; form
and/or the stretching of the form with alternative subgenres like the video essay or
blog; etc. You may also reflect on composing.
Small group workshop.
Spring Vacation
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Week Ten
April 3
5
Workshop
University Day
Week Eleven
10
Draft due. Small group workshops.
12
Workshop
Week Twelve
17
Critical Essay of self selected longer autobiographical work due.
19
Workshop
Week Thirteen
24
TBA
26
Workshop—Drafts of reflective/theoretical/autobiographical piece on the writing
you have done this semester. May be a process piece (see essays we have read
from the section on Composing Creative Nonfiction) and/or toward developing
your own theory of creative nonfiction or autobiographical writing.
Week Fourteen
May 1
Workshop
3
Workshop
-------------------------Final Portfolio due Tuesday, May 8, at my office, 301 Normal