Over on the Hugo House blog, I’ve got a mini-lesson previewing my upcoming one-day class at the Henry Art Gallery. The excerpt of class reading I chose comes from the opening of Mercè Rodoreda’s novel Death in Spring, which is the new book integrated into Ann Hamilton: the common S E N S E. (The first book was J.A. Baker’s The Peregrine.)
Death in Spring is a stunning novel, for its poetic language, lush imagery, and its tackling cruelty among humans as well as violence in nature. Rodoreda was a Catalan writer living during Franco’s dictatorship, and the novel can be read as a metaphor for that regime or for any oppressed society.The violence is also of mythological proportions, and the beauty of the language helps make reading it bearable. This technique was something that was made explicit for me by Rikki Ducornet speaking at an AWP panel on “Magic and Intellect”: “For a difficult book to be readable, find a language that levitates somehow, that is scintillating.”
The class will go beyond this topic, delving into the many layers of Ann Hamilton’s monumental show, on our relationship to animals, the sense of touch, and being touched–emotionally and intellectually–through the private act of reading. Death in Spring will definitely bring home this last idea of being touched–being moved in profound ways by another’s experience and creation.
This winter, I’m teaching Intro to Fiction: Writing the Short Story, a six-week class at Hugo House laying out crucial elements of story. Here’s the course description:
This class will zero in on the three-part backbone of story: character, plot, and landscape. Who is your main character? What do they want? What keeps them from getting what they want? Readings and discussions will include canonical and contemporary stories from James Joyce, Anton Chekhov, Mavis Gallant, Jamaica Kincaid, Louise Erdrich, and others. Writing exercises will focus on crucial craft elements as well as generative exercises to get started.
I’m also teaching a special one-day class at the Henry Art Gallery in conjunction with Ann Hamilton’s show the common S E N S E, which I’ll write more about in a separate post. Registration for Hugo House members begins on December 9 and for the general public on December 16. Hope to see you there!
I’m excited to be offering a six-week fiction workshop at Richard Hugo House this fall. The class meets Wednesday nights 7-9 pm, October 29-December 10 (with no class November 26). Here’s the course description:
Many students of fiction say they learn more by workshopping others than when their own work is up for critique. If you have some drafts you don’t know what to do with and want to learn by giving others helpful feedback, this class is for you. We’ll touch on forming neutral questions and focus on helping the writer achieve his or her intentions. All students will workshop one story up to 5,000 words, getting feedback from their peers and the instructor. Time permitting, students may workshop a second story.
Scholarships are available and applications are due August 19. Member registration opens August 12 and general registration opens August 19. Hope to see you there!
My sixth set of writing prompts for the Ploughshares blog dives into the vast territory of creative writing involving music, with wisdom from E.M. Forester, Milan Kundera, and Maya Sonenberg, and a short list of reading suggestions from Baldwin’s “Sonny’s Blues” to a forthcoming novel on the inventor of the theremin.