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CREATIVE WRITING CLASS CATALOG Winter Quarter Cover Contest the Details:From Keats’S Urn to Kundera’S Kitsch, Writers Have Long Been Spurred Forward by Visual Stimuli

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CREATIVE WRITING CLASS CATALOG Winter Quarter Cover Contest the Details:From Keats’S Urn to Kundera’S Kitsch, Writers Have Long Been Spurred Forward by Visual Stimuli JANUARY through MARCH WINTER 2016 CREATIVE WRITING CLASS CATALOG Winter Quarter Cover Contest The details:From Keats’s urn to Kundera’s kitsch, writers have long been spurred forward by visual stimuli. Now it’s your turn: write a six-line poem or 100-word story based on the catalog cover image. The winning piece will be published in the next catalog, and the winner will receive fifty percent off their next Hugo class. Submit your piece to [email protected]. The winner will be announced upon publication of the next catalog. FALL QUARTER CONTEST WINNER GETTING UP We are ants looking at the universe through a straw. Just now, I thought I heard the doorbell—it’s I am home on disability—we’re hoping short- early; too soon for milk—so I haul myself up to check. term; too soon to tell—and when the milkman comes I catch the end of the sunrise; beams like striated 2x4s to the door, I never remember it’s him. On crutches, I bursting from a peephole-distorted core white as age. wobble to our oval (vintage) peephole where I usually see a face so sweaty it looks laminated before I open Megan Wildhood the door. How to Register hugohouse.org CREDIT AND TRANSFERS SATELLITE LOCATIONS If you need to cancel your regis- • University Heights Center tration for a class, the following 5031 University Way NE Seattle, WA 981 5 , Room #1 8 206-322-7030 refund schedule applies: 0 0 • El Centro de la Raza • 3 days or more before a class, 2524 16th Ave S DATES OF REGISTRATION a class credit or transfer will be Seattle, WA 98144, Room #105 issued less a $15 fee. Refunds • Good Shepherd Center registration begins at 10:30 am will be issued less a $35 fee. 4649 Sunnyside Ave N 11/30/2015 Seattle, WA 98105 48 hours or fewer $500+ donor registration • before the class starts, no refund is CATALOG KEY 12/1/2015 available. member registration satellite class 12/8/2015 REFUNDS general registration Hugo House cannot provide refunds, transfers, or makeup sessions for classes a student might miss. If Hugo House has to cancel a class, you will receive a full refund. QUESTIONS? If you want to know more about a class, email Angela: angela@hugo- house.org. Cover photo by Rodion Kutsaev Classes with Visiting Writers D. A. Powell, Heidi Julavits, Sierra Nelson, and Andrew Sean Greer, Claire Vaye Watkins, Roberto LIT SERIES OCNotes on the theme “What Goes Around Comes Ascalon, and Alex Osuch on the theme “All’s Fair in Around,” Feb. 12, 7:30 pm Love & War,” April 15, 7:30 pm POETRY AS RESISTANCE One session Saturday, Feb. 13, 1–4 pm General: $135 | Member: $121.50 Poems are deviant, nonstandard, subversive, and built on layers of meaning, both D. A. POWELL is the author of five collections, includingUseless visible and hidden. Even a poem that exhibits regular form can hold within its body Landscape, or A Guide for Boys which received the National Book subtle avoidances, competing rhetoric, threads of unconventional or surprising Critics Circle Award in poetry. He is a recipient of fellowships language, and an undermining of convention—even as it presents a familiar pattern from the Guggenheim Foundation and the NEA. A former on the surface. We’ll look at some of the many ways in which poetry is a vehicle for Briggs-Copeland Lecturer in Poetry at Harvard University, Powell social critique and change as well as a time-honored way to resist the ordinary and has taught at University of San Francisco, Stanford, Columbia, and the obvious. Participants should bring a poem, pen, pad of paper, and a point of view. the University of Iowa Writers’ Workshop. TIME IS AN OBJECT One session Saturday, Feb. 13, 1–4 pm General: $95 | Member: $85.50 In books, there is often the issue of time to contend with—past, present, future. HEIDI JULAVITS is the author of four novels, including the Characters typically have an implied amount of time behind them in addition to critically acclaimed The Mineral Palace. She is the managing editor a story in front of them. As a writer, how can you best manage all that time and of the literary review magazine the Believer and co-edited, with history? How do you set up limitations so that all of time is not your responsibility, Sheila Heti, the book Women in Clothes, which featured 639 or so that only a specific time is your responsibility? We will read a selection of short women’s voices from around the world reflecting on the meaning stories and novel excerpts that explore time management through objects. of their clothes. EXPERIMENTS WITH REPETITION IN POETRY One session Saturday, Feb. 13, 1–4 pm General: $75 | Member: $67.50 Each time we approach the page we are the same person, yet unique in that moment. SIERRA NELSON (Typing Explosion, Vis-à-Vis Society), poet, How does the act of repetition help us discover something new in our work and in performer, and text-based artist, is author of I Take Back the Sponge ourselves? Taking a generative approach to this question, we’ll create new drafts in Cake (Rose Metal) and the chapbook In Case of Loss. She is a class by playing with some traditional forms (such as the villanelle, pantoum, sestina, MacDowell Colony Fellow and teaches in Seattle, Friday Harbor, and ghazal), as well as experimenting more wildly using movement, dreams, Surreal- and Rome. ist games, collaboration, and radical revisions to spark new work. READING FOR YOUR WRITING One session Saturday, April 16, 1–4 pm General: $135 | Member: $121.50 You will learn to read fiction not as a fan or distant admirer but as a writer looking ANDREW SEAN GREER is a novelist and short-story writer. His for techniques and inspirations for your own work. Beginning at the level of the sen- second novel, The Confessions of Max Tivoli, earned him compar- tence, we will experiment, through exercises, with the myriad possibilities of fiction. isons to Proust and Nabokov from critic John Updike. His stories By the end, you will learn how to turn to your own bookcases to solve the puzzles in have appeared in Esquire, the Paris Review, the New Yorker, and your work. In the process, you will be introduced to dozens of new authors to whom other national publications. you might turn in the dark hours of creation. FIRST PAGES WORKSHOP One session Saturday, April 16, 1–4 pm General: $95 | Member: $85.50 We will workshop the opening pages of your story or novel with meticulous atten- CLAIRE VAYE WATKINS has appeared in Granta, One Story, the tion to the promises made by your language. We’ll scrutinize the openings of your Paris Review, Ploughshares, Glimmer Train, Best of the West 2011, story or novel the way fatigued and time-crunched editors, agents, and slush readers New Stories from the Southwest 2013, the New York Times, and Rebecca Hoogs, Detar, Kaliel Shae Roberts, Fields, Alice and O’Malley Ken top) by: from Photos (starting at literary magazines do, then rework them to be more instantly absorbing, narrative- elsewhere. She was named one of the National Book Foundation’s ly propulsive, authoritative, and elegant. Bring the first two pages of your manuscript. “5 Under 35.” 1 Classes with Visiting Writers LIT SERIES, cont. TOWARD AN IMPURE POETRY One session Saturday, April 16, 1–4 pm General: $75 | Member: $67.50 In “Toward an Impure Poetry,” Pablo Neruda wrote, “A poetry impure as the cloth- ROBERTO ASCALON is a poet, writer, arts educator, and spo- ing we wear, or our bodies, soup-stained, soiled with our shameful behavior.” Some ken-word performance artist who lives in the historic Youngstown/ say that the body and the poem are one and the same. How must we poets reconcile Cooper School in West Seattle. The recent recipient of the 2013 what we are with what we create? How can we craft poems that arise out of the Rattle Poetry Prize, Ascalon has taught at Nova High School and richness of blood, bone, and gristle? We will read and write visceral poems that revel participated in Seattle Arts and Lectures’ Writers-in-the Schools in the stuff of the body. program. He currently works as a teaching artist and mentor for Arts Corps, Youth Speaks Seattle, and the Service Board. Maggie Nelson on the WORD WORKS Writing Body, Jan. 28, 7 pm THE BODY IN TIME One session Friday, Jan. 29, 10 am–1 pm General: $150 | Member: $135 In his review of French writer Herve Guibert’s collected journals, The Mausoleum MAGGIE NELSON is the author of five books of nonfiction and of Lovers, Wayne Koestenbaum writes: “I hope that Guibert’s journal will bring this four books of poetry. Her 2011 book of art and cultural criticism, philosophically inclined subset of body-smeared literature back into prominence. The Art of Cruelty: A Reckoning was named a New York Times No- What else is there to write but the body?” This class is shaped by that same hope, and table Book of the Year and Editors’ Choice. Her other nonfiction will inquire into that “philosophically inclined subset of body-smeared writing.” To books include The Argonauts and the cult hit Bluets. Her poetry do so, we will look at examples of writing that engages problems of embodiment, has been widely anthologized. Her books of poetry include Jane: temporality, mortality, pleasure, and pain while also producing our own texts and A Murder, a finalist for the PEN/Martha Albrand Award for the discussing them.
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