Table of Contents

GENERAL INTRODUCTION TO THE PROGRAM

1.0 EXECUTIVE SUMMARY 1.1 Brief History of the Program ………………………………………..1-2 1.2 Brief Synopsis of Previous Program Review Recommendations……2-5 1.3 Summary of How Program Meets the Standards…………………….6-7 1.4 Summary of Present Program Review Recommendations…………..7-8

2.0 PROFILE OF THE PROGRAMS AND DISCIPLINES 2.1 Overview of the Programs and Disciplines…………………………8-17 2.2 The Programs in the Context of the Academic Unit………………..17-22

HOW PROGRAM MEETS UNIVERSITY WIDE INDICATORS AND STANDARDS

3.0 ADMISSIONS REQUIREMENTS 3.1 Evidence of Prior Academic Success……………………………….22 3.2 Evidence of Competent Writing…………………………………….22 3.3 English Preparation of Non-Native Speakers……………………….23 3.4 Overview of Program Admissions Policy…………………………..23

4.0 PROGRAM REQUIREMENTS 4.1 Number of Course Offerings………………………………………..24 4.2 Frequency of Course Offerings…………………………………….24 4.3 Path to Graduation………………………………………………….24 4.4 Course Distribution on ATC………………………………………..25 4.5 Class Size…………………………………………………………...25 4.6 Number of Graduates……………………………………………….25 4.7 Overview of Program Quality and Sustainability Indicators……….25-26

5.0 FACULTY REQUIREMENTS 5.1 Number of Faculty in Graduate Programs…………………………..26-27 5.2 Number of Faculty per Concentration……………………………....27

6.0 PROGRAM PLANNING AND QUALITY IMPROVEMENT PROCESS…27-29

7.0 THE STUDENT EXPERIENCE 7.1 Student Statistics……………………………………………………29-31 7.2 Assessment of Student Learning……………………………………31-34 7.3 Advising…………………………………………………………….34-35 7.4 Writing Proficiency…………………………………………………35 7.5 The Culminating Experience………………………………………..36-38 7.6 Overview of Student Quality Indicators…………………………….38-43

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8.0 THE PROGRAM AND THE COMMUNITY 8.1 Professional Engagement of Students and Alumni…………………43-44 8.2 Civic Engagement…………………………………………………..44 8.3 Equity and Social Justice……………………………………………44-45 8.4 Internationalization………………………………………………….45-46

9.0 THE FACULTY EXPERIENCE 9.1 Faculty Statistics…………………………………………………….46-51 9.2 Research and Professional Engagement of Faculty………………....51 9.3 Supervision of Culminating Experiences…………………………...51-52 9.4 Discipline-Specific Standards for Teaching Graduate Courses……..52 9.5 Interdisciplinarity…………………………………………………...52-53 9.6 Overview of Faculty Quality Indicators…………………………….53-56

10.0 RESOURCE SUPPORT FOR THE PROGRAM 10.1 Internal Support……………………………………………………56-58 10.2 External Support ……………………………………………...…...58

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CREATIVE WRITING DEPARTMENT MASTER OF ARTS AND MASTER OF FINE ARTS

1.0 EXECUTIVE SUMMARY:

1.1 BRIEF HISTORY OF THE PROGRAM

In the Bay Area, the second largest center for writing in the country, aspiring poets, novelists, playwrights and nonfiction writers converge and provide a rich pool of applicants to the Department in addition to those who join the program from other regions and sometimes countries. As one of the largest and most popular creative writing in the country1, our program attracts those who wish to explore their interest in the four genres we offer. Both the M.A. and M.F.A. programs are notable for their rigor and innovation. We plan our curriculum to reflect our commitment to variety in writing and different preferences for modes of learning in students who in all cases have a choice of styles, subjects, and approaches. This flexibility responds to the distinctly different backgrounds and interests of our students and also recognizes the complexity and breadth of contemporary writing. Our philosophic approach to teaching creative writing is therefore always evolving and eclectic in the best sense of the word. A great many of our students go on to publish imaginative work of distinction. Others who continue to write move into positions of leadership in publishing firms, foundations, and arts organizations as well. Many follow teaching careers, some with tenure-track positions soon upon graduating and many others populating the adjunct positions in our own college, at other universities and at community colleges, many of which locally are staffed with graduates of our program.

Since its inception as a specialty in the English Department and since its independent role as a department since 1969, the program continues to attract excellent students, particularly in the most practiced genre, , and many more students than it can serve. Ours is among the nation’s largest graduate writing programs with our reasonable tuition and fees and tremendous opportunities in the Bay Area, allowing many students who cannot conceive of an “iffy” fine arts degree to follow their talents and their hopes here. Though the university has little support by the way of scholarships for our students and the department only some small and large awards for students already here, students make sacrifices to complete their degrees, and the department recognizes the priorities of their busy lives which often include work and family with once a week classes at three times of day that meet most students’ needs.

Our faculty as well comes from diverse backgrounds, cultures, classes, and styles of writing. Whether or not it were necessary for tenure, all of our faculty are writers who would continue to publish no matter the university requirements Those who “try out” for our positions (all t.t. applicants must teach a 2-hour workshop) note the extremely fine level of writing and confidence in our students. To take a group of disparate students and merge them harmoniously into classes which provide instruction and mutual support for

1 We average between 200 and 500 applicants a year. Many programs have 5-20 graduate students, ours: 40 in the MA and 100 in the MFA. 1 the group is a rare talent, but our well-selected faculty have the means necessary to achieve this reality in almost all cases. As writers with a need for feedback and support of peers and an as they complete their culminating experiences—books of poems, plays, , collections and creative non-fiction collections--some students choose to linger. They form close bonds with the faculty and one another that do not end with their engagement here. Many continue to meet in small groups to support each other’s work well after they leave, and through our newsletter we stay in touch with them—before our newsletter moved to an online format, its active mailing list contained 490 names.

The Center, which has sponsored 157 events in the last five years, and Archives, about to celebrate its 60th anniversary, is housed in our program. Its vital legacy and ongoing commitment to present the world’s finest writers is one of State’s finest achievements. As a source available to all people with computer access through the DIVA system, it shares its riches daily with video and audiotapes of poets since 1950. The site counts visitors and has had 66,561 “listens” and 7,015 downloads in its first 25 months. Funded by the university as well as the NEA, the Arts Council, the Hotel and Restaurant Tax Fund, the Creative Work Fund and private donations, it continues to be a respected and much appreciated member of the writing world. In addition, our three literary magazines, Transfer (which was the first publisher of Ernest Gaines Jr. (1957), and Anne Rice (1971) when they were SFSU students), 14 Hills, and New American Writing, the former two student-run, provide the world with a glimpse of our culture and a chance for our students to mingle with national and international writers of note.

With over 250 graduate writing programs in the country (www.awpwriter.org), judging from the continued success of our graduates tracked by our program newsletter and available also through news media that cover the arts, our program continues to be one of the most vital and successful writing programs in the country.2

1.2 Brief Synopsis of the Previous Program Review Recommendations

Our last MOU dated 11/16/04 cited our program’s support of students’ chosen creative genres, our students’ frequent production of “imaginative works of distinction” and our department’s ability, through offshoots such as the Poetry Center, to “create an essential community link.” It went one to praise the “diverse faculty’s award-winning publications that earn the respect of the students,” accomplishments that existed at that point “despite [our] heavy teaching and advising load.” Though our teaching load has improved, going from 4/4 to 3/3/, faculty on average still direct 6 or more theses a year, some voluminous novels, and advise the 140 graduate students in addition to the 394 undergrads that populate our major.

2 Poets and Writers produces a yearly ranking of MFA programs which disqualifies our MFA from the first quartile because of its lack of full funding for students. However, this somewhat unscientific list has us in the next quartile of programs for the past two years. Still, much of what one hears about a program’s reputation is anecdotal. Suffice it to say, the quality of the students who apply and how they fare once admitted and post-graduation make the case for the strong reputation of our MFA. 2

1.2a Curriculum It was recommended in the last report that we add a capstone class, which we have done. Creative Writing 601 launches graduating seniors into their post-SF State careers as writers with a focus on writing for the future and completion of a portfolio of writing they may use for graduate school applications and job interviews.

It was recommended that we add a course on the Business of Creative Writing, which introduces both undergraduate and graduate students to the agents, publishers, editors, playhouse directors and writers at every stage of development that will enhance their understanding of the field. This course, CW 506/806 is offered every fall and enrolls 50- 75 students.

Differentiation of the two graduate programs in Bulletin and department literature was recommended. Advising sheets for each program have been developed and also procedures for students enrolled in the MA, who find it opportune to apply to the MFA and finish both degrees while in residence here or transfer to the terminal degree program, the MFA.

The one unfulfilled recommendation is for more directed writing classes, the one-to-one tutorial in which students have a semester-long project prior to their thesis or their 601 project as undergraduates. Because of the downturn in the budget, we have not realized this goal and for a number of years (since 2009) actually have had to reduce our offerings in this area. With the budget now in better shape, we will be offering twice yearly sections of DW taught by all t.t. and tenured faculty beginning this fall; this development will boost student satisfaction and the ability of faculty to give students, especially those working on long projects, an effective means to explore their work. We are grateful to have this important aspect of our curriculum returned to us by Dean Sherwin.

1.2.b.) Faculty

As the MOU recommended, we now have a normative 3-course load. This has helped us to attract fine new faculty, one who received a Guggenheim Fellowship since joining us, and one, a fiction “superstar” with a Guggenheim already to her name, who will be joining us this fall. Faculty have received many awards since the last report, NEAs, Guggenheims, Northern California Book Awards, the Commonwealth Club Award, the PEN Playwriting Prize and the PEN Translation Prize. No doubt this intense level of recognition has in part to do with our ability to carry out our creative work more effectively with a reduced load. However, many creative writing departments or areas have lower loads still, which recognize the heavy burden of reading and critique that faculty in our discipline assume.

Faculty diversity was recommended in the MOU and we have since hired two African- American tenure track faculty, one now tenured. Our lecturer base has also shown an increase in diversity, which we continue to notice and try to enforce when possible in our hires.

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It was recommended that we rotate course load to give faculty who supervise theses a lower course load once a year. Though we have been unable to achieve this goal, we have limited the number of theses a tenure-track or tenured faculty member must do and have sought to balance the thesis load a bit more equitably among faculty. We still recommend 3WTUs of credit for six completed theses once yearly.

1.2.c.) Students

Finding ways to allow undergrad and graduate enrollments to be managed was a recommendation we have met. Because we are not a highly sequenced undergraduate degree or an overly prescriptive graduate degree, students are able to progress in timely fashion. Those who stay longer often do because of preference, work, or family obligations. The average stay of MA students graduating in spring 2013 is 4 semesters, and the average stay of those receiving their graduate degrees is 6 semesters, meaning that students enrolled in 9 units of credit a semester matriculate in a timely fashion. This sample of 31 students receiving their degrees in spring is now normative in the program. Among those surveyed, three took 8 semesters to finish, and one student, with a three- year hiatus in her studies, received her MA in 2006 and her MFA in 2013. In a survey we sent to recently graduated MA students, all graduated in 2-3.5 years. In our MFA survey 44% of all respondents took 3 years or less; 24% took four years; 16% took 5 years. The longer completion time for some indicates the frequency of students taking part-time loads of 6 or fewer units, not any bottlenecks in the courses we offer.

Reducing class size in undergraduate courses has happened largely because the GWAR requirement limits all 511, 512, and 513 GWAR classes. Undergraduate classes remain between 25 and 35 except for the large audience classes in which students have an experience appropriate to the objectives of the course.

Diversity and community have seen ongoing efforts with the hiring of more diverse faculty, the continuation of our magazines, and a student-initiated and run open reading series, VelRo, run by graduate students, at which all levels of students are invited to read weekly. Our MA and MFA readings at the end of each year celebrate the work of all graduate students leaving the program and our BA Student Reading, just before graduation, which was the subject of a favorable review of the SF State graduation in the , further cement the sense of community among students at this large commuter campus.

Our training of GIAs has added a level of supervision with CW 859, Practicum in Teaching. Through this class new GIAs receive a practical class in assisting in undergrad teaching and a group of peers to support their efforts as they do. Since 86% of students according to a recent survey of graduate MA students serve as GIAs and 76% of MFAs, this course will be very useful and was much needed.

We have also answered the report by diversifying and increasing the number of CW 810s and 880s, the writing intensive process classes that we offer. In addition, our revised MA

4 and MFA requirements make the requirement for these classes more flexible, especially for MFAs, whose 54 units contain a great deal of choice.

1.2.d.) Resources

The Poetry Center continues to apply for grants and work with Development to advance their needs. They recently received $35,000 from the Creative Works Fund for a series of readings and workshops on the Poetics of Healing in addition to a $25,000 bequest by former MFA poet Dotty Fowler for the yearly Oppen Memorial Lecture.

The attempt to secure more fellowship funds for graduate students is an ongoing effort. We have added several $500, the newest our Tillie Olsen Prize, and $1000 awards, the newest our Manoogian Award, but no source of major funding has come forward to support our many valuable students nor has the university agreed to tuition and fee waivers for our GTAs and TAs (who are paid) or our GIAs, who are not paid but receive course credit. Our GTAs teach the entry level CW classes; our TAs and GIAs assist in our beginning undergraduate major classes; they are an essential link to the undergraduate program and age-similar mentors for our undergraduate students. They in turn receive valuable experience for future teaching careers.

1.2.e.) Resource Needs

Staffing a program is an ongoing issue for most departments with deaths (one) and FERPS (two) and faculty leaves complicating the building process. However, since 2004, we have hired two poets, a fiction writer, and a fiction/creative non-fiction writer. With these new hires and our stable of fine adjunct faculty, and with occasional distinguished visiting faculty, we have been able to provide a high level of teaching to our students. If we were able to hire two more fiction writers and eventually another poet to replace Stacy Doris, who tragically died in 2011, we would have a fine core faculty in all genres.

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1.3 Summary of How the Program Meets the Standards

Table 2

Thumbnail of standards met Indicator Standard How standard is met Page discussed University-wide standards

3.0 ADMISSION REQUIREMENTS 3.1 Evidence of Prior Academic Success 2.75 GPA and Higher % of applicants meeting this standard 22 Transcript 3.0 or better preferred 98%

3.2 Evidence of Competent Writing GRE, GMAT, GET: No required % of applicants meeting this standard 22 Writing sample and statement of purpose and transcript Other: Writing sample, statement of Depending on number of applicants and purpose and transcript. quality of work in a given year, between 23 and 56%.

3.3 English Preparation of Non-Native Speakers TEOFL, IBT, IELTS as required by Grad. % of applicants meeting this standard 23 Division Not applicable—see 3.2 99% 4.0 PROGRAM REQUIREMENTS 4.1 Number of course offerings 2 graduate courses/semester Average # over 5 yrs Dept: 24 Total for dept: average of 65 courses /31grad Graduate courses: 31 per semester Graduate courses: 31/semester Gr 4.2 Frequency of course offerings At least once /2 yrs % that meet this requirement 24 Variables of all required classes offered every Yes 100% semester for grads and undergrads 4.3 Path to graduation Published map leading to graduation in Yes/No 24,

5 yrs @ ½ time attendance appendices Roadmap for undergrads Yes Advising grids for grads Yes 4.4 Course distribution on GAP (ATC) Proper distribution of grad, paired and % that meet this requirement 25

undergrad courses Follows our advising form, which students keep 100% throughout their stay in the program. Yes 4.5 Class size UNDERGRAD AVERAGE 24.8 Enroll 8-30 and 5-15 for seminars % of c lasses complying 25 Grad AVERAGE: 12.125 MA classes 18; MFA classes 11 89% (some over the average) 4.6 Number of graduates, 2008-2012 MA & MFA: 5 graduates per year average over 5 yr. Yes/No 25 296/average 59 per year Undergrads: 592/average 118 per year Yes, far more Yes 5.0 FACULTY REQUIREMENTS

5.1 Number of Faculty in Graduate Program(s) Minimum of 2 Yes Actual number 10 26-27 10 tenured and t.t. 10 5.2 Number of Faculty per Concentration tenured/ Minimum of 1 Yes Actual number Between 1.5 and 5 27 tt:5.5 fiction, 4 poetry, 2 creative non-fic., excluding adjunct faculty 1.5playwriting. 5,4,2,1.5 (some teach in 2 areas) Program-Specific Indicators and Standards

Indicator Standard met? Page discussed 6.0 PROGRAM PLANNING PROCESS Yes 27-29 7.0 THE STUDENT EXPERIENCE Yes 29-43 8.0 THE PROGRAM AND THE COMMUNITY Yes 43-46 9.0 THE FACULTY EXPERIENCE Yes 46-56 10.0 RESOURCE SUPPORT FOR THE PROGRAM Yes 56-58

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Both the MA and MFA meet the university and departmental standards for grade point average and writing for Graduate admission. The number of classes far exceeds the university requirement for graduate courses offered, and the number of graduates from the MA and the MFA yearly is robust, sometimes leading and always among the leading departments in our college.

1.4 Summary of the Present Program Review Recommendations

The continued hiring and retention of new faculty greatly insures the continued success of the program. Given our heavy and time-consuming thesis load, it would still be optimal for faculty to have a course off every year or every other year. A faculty member has recently taken a leave to teach at a state university in Colorado with a 2/2 load, which is normative for creative writing programs. Helping a student revise a thesis is a time-consuming and draining task, and that each faculty member does approximately six such theses is a feat of endurance. Given the number of tenured and tenure-track faculty and the pattern of faculty leaves, FERPS, and illness, it has also been necessary to “deputize” a lecturer in fiction and one in playwriting as second readers for spring thesis duties. It would be good to reach a level of faculty lines by which all thesis readers are tenured and tenure-track faculty. Human issues have deprived us of one fiction reader and two poets. However, because many faculty publish in more than one genre, with some ingenuity and flexibility on the part of the faculty, we have been able thus far to cover in this regard. In the next several years, three additional faculty will reach possible retirement age. Although there is no certainty as to their plans, we will need to continue vigorous hiring to keep up with the changing personal circumstances.

The other serious issue for us remains the dearth of support for graduate students who, often in smaller and well-endowed programs, receive full funding. We sometimes lose excellent candidates for the MA and MFA, particularly those who must pay out of state tuition, to programs in which they will be supported to attend or at least receive some relief regarding tuition. Currently, the Equity Fellowships and the one Provost Scholar Award are the only ways a tiny number of students (perhaps three yearly) are able to find themselves in a similar circumstance to those enjoyed in many programs. Our inability to fund students, which is a criteria of the ranking, keeps us lower than we would be in a national survey by Poets and Writers Magazine of writing programs in which we are as or more capable and successful in every other way than the programs that receive notice.3 A renewed attempt through Development for scholarship funds and the department’s own cultivation of its alumni may or may not bring relief for this problem. That the university will not grant waivers to the students we employ as GTAs and GIAs (10-12 yearly) exhibits an odd recalcitrance on their part. Given

3 Michael Bourne, a 1996 MFA graduate of the program is doing an article for this issue on how students in our program have fared since their graduation from the program. The chair has been interviewed for the article as has well-published authors Po Bronson, Karl Sohnlein, and Matthew Iribarne. 7

their goal of happy and productive relations with their alumni, it is a short-sighted stance and an inhibiting factor for our program.

We are not a technology-intensive program other than the Poetry Center and Archives, which use sophisticated digitization programs to convert their old reel to reel and video and audio cassettes to state of the art, properly preserved resources. It would be relatively simple to provide more support for our students without great outlay or replenishment of materials that become outdated. It continues to be a surprise and delight to us that so many worthy students support our program and wish to join it. In recent years, however, our number of applicants has dropped. Speaking to members of the graduate creative writing areas at CCA, Sonoma State and USF, a plummeting number of applicants seems to be universal and we fare far better than our more expensive local rivals. Though the economy drives these figures since it is an all-university trend, it is still possible that a growing number of competitors with better resources are wooing away some potentially fine students, particularly minority and out-of-state students.

Assigned time for a Graduate Director is imperative for the program. Some graduate students in a recent survey identify their lack of guidance at the beginning of the program. This feeling may be the result of there being no figurehead for the advising area. Though every tenured and tenure-track faculty is available for advising duties, it is not advantageous that the chair cover so many areas of responsibility. In the interim and based upon results of this new survey, we shall immediately provide a temporary solution: the faculty member assigned to the Community Projects 675/875 class will serve as Graduate Advisor in the interim beginning in spring of 2014 until assigned time is granted to the department. This is not a solution, only a stop-gap measure.

The final suggestion is one stated in our last MOU, that theses somehow be counted toward a course off at a designated interval, most optimally 3WTUS for six completed theses

2.0 PROFILE OF THE PROGRAMS

2.1.a) Overview of the MA

Our older graduate degree, the 30 unit MA, attracts students who often already have a profession and wish to advance their skills as creative writers without changing their occupational course in life or spend too many semesters attaining a higher degree. In addition, the MA is important to students who want to teach in the Community Colleges of California, which prefer the MA in English, Creative Writing, to the more advanced MFA studio degree. It is a more traditional and less flexible degree, allowing for 3 writing workshops in the genre of the student’s admission, 3 process courses, and three literature courses in English or other literatures (Comparative and World Literature, ethnic literatures, etc.). It can easily be finished in two years and also provides practicing

8 grade school and high school teachers a chance for salary advancement as well as a focus on themselves and their writing at least on a part-time basis. In addition, it is used for talented applicants whose experience with writing and literature seems primitive compared to their writing sample, which in some way indicates strong potential talent. A small number of these students sometimes finish the MA degree and then apply to the MFA degree for which their acceptance rate is over 80%. Because it is not the terminal writing degree required by most universities that hire graduates, it has become less frequently requested than in the past. However, given its use by those who have careers, by those who wish to teach at the community college level, and by those who are talented but less prepared as students, there is every reason to think of it as an asset to our graduate program and a necessary component of it.

2.1.b) Overview of the MFA

The MFA, which is viewed as the terminal degree by our professional association, AWP, is the coveted degree. Perhaps 50% of our applicants are applicants for the MFA in fiction, which makes competition strong at this level, as it is in poetry. Our playwriting, which has been the third area, is smaller. Because of increased interest in receiving the MFA in creative non-fiction as well as the expertise of three tenured and tenure-track faculty members, this fall we will begin offering it as an admission and thesis area. Within these four specializations, people take 48 units of classes and finish a 6-unit thesis, a publishable manuscript in one of the genres that we offer. The MFA degree with its workshop and process classes also contains a correlative in which students do a 12- unit emphasis. Correlatives are designed with an advisor and follow a number of predictable choices: some students choose a second genre within the program or do the teaching creative writing classes; others choose to emphasize editorship by working with the magazine for several semesters; others go outside the program to pursue a professional goal by taking the Composition Certificate or Adult Basic Literacy Certificate; still others seek out other departments with whom the CW Dept. has developed plans and agreements: in there is a 4 course sequence that our students may take and with art a new Book Arts emphasis that will be popular with our students. Playwriting students often do their correlative in Theater Arts. Still others with more specific and unusual interests get admitted in philosophy or history or environmental studies classes to enhance some aspects of their novels, poems, stories, non-fiction works or plays. Our MFA degree stresses the process with strong recommendations by faculty for experiments and expansion of interests. Our process classes for both degrees provide students with valuable models for their own writing. Our many hybrid and cross-genre process courses allow students to practice new modes of writing which they take back to their primary genre or use to find a way to expand their own writing horizons. The program also offers the course, Community Projects in Literature, in which students at all levels of the program (undergrad and grad) intern at schools, literary centers, publishers, reading series, theaters, and in our own Poetry Center as Archives interns. Our department is thriving and vibrant, with a great deal to offer our students and the writing community at large.

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With the institution of the option in creative non-fiction, our program has turned a new corner; we now have all genres that major writing programs have come to include over the last decade with the emergence of creative non-fiction as a field with many publishing opportunities. We must also note with pride that we are one of the few programs in which a curriculum in teaching pedagogy is offered to MA and MFA students. Students choosing this course of study will have the theoretical and practical advantage over those whose programs have them “walk cold” into their first teaching experience.

Reports by genre areas:

Poetry:

One of our faculty members writes, “We have one of the largest and oldest poetry programs in the country, as witnessed most publicly by the Poetry Center programming, which is diverse culturally and aesthetically and is international in scope. Two of our former students recently won the Pulitzer Prize for poetry within three years of each other: (1967) and (1975). Our cumulative list of student publishing credits, edited in 2006, is astonishing and includes famed poets Michael McClure (1955), (1985), (1981) (both of whom teach at ) and Barbara Jean Reyes(2005). The resources available in the are indispensable to adding to the strength of this program.” The Poetry Center, and all of its programming, its archives, and its library, is a rich resource for the Department. Students can take classes that connect them directly to the Poetry Center, and many students also serve as interns through the Poetry Center. These opportunities are unparalleled for their ability to bring students into contact with a major archive of and venue for American poetry. One faculty member says, “We can't stress enough the importance of the Poetry Center, and the vitality of all the arts on campus. I believe our undergraduate poetry students have been accepted to MFA programs all over the country and locally” partly due to the engaged experience they had at SF State.

One faculty member says, “I'm struck by the diversity of course offerings and the variety of styles and approaches. Genre fluidity and experimentation are valued and encouraged, and the students really seem to benefit. The students here are serious, passionate, and open-minded.” Another faculty member points out that we have “provided a continually evolving, dynamic poetry program and a progressive learning environment. Via varied course offerings poetry students are introduced to multiple approaches and styles. Students are afforded the opportunity to experiment with new creative processes and combine that experimentation with rigorous craft classes.” This is all crucial to developing a strong poetry concentration in this dynamic literary climate. A online course this summer “will expand our offerings and could potentially lead to increased enrollment.” This is another aspect of “an ever expanding curriculum.” Our department can boast “an

10 increase in new course offerings that expands the range of topics, subjects, creative process options available to grad and undergrad students.”

Our program, led by nationally-acclaimed poets who are committed teachers, allows for fluidity that means that students can write poetry into a variety of aesthetics and modes. What this translates to are graduates who are strong and flexible writers. “Ours is a compassionate and liberal program of study that allows for growth among students and faculty.” “Look at the output of our students’ work in the world, not only in areas of publication but how our students have gone on to have an important impact on the Bay Area literary scene and beyond. Our poetry students have created new literary series and community events and forged important alliances with progressive community organizations (Intersection for the Arts, etc.).” One faculty member says, “SF State is a great place to be a poet and to be among poets. It makes the task of being a poet a little easier when you are in such a strangely fantastical place.”

Playwriting:

The Playwriting Program at SFSU is a vibrant and much admired part of the SFSU arts scene. Though it is the smallest of the Creative Writing genres, the size of our program is comparable to many of the major programs across the country, and in fact we offer unique learning opportunities through our wide-ranging collaborative programs between the Creative Writing and Theatre Arts programs.

The graduate program especially has nurtured the skills and careers of a large number of writers who are major presences in the Bay Area and beyond. In addition, playwriting houses a vibrant undergraduate program with students from both Creative Writing and Theatre Arts taking classes that generate numerous original scripts, and that feed the various production possibilities that are part of the fabric of our collaborative nature. During the current (12/13) academic year, 20 playwrights saw their plays staged in productions ranging from fully budgeted productions to workshop staging to staged readings. It has become a commonplace part of our culture to have Theatre Arts students in every area from tech to performance lending their talents and skills to the production of original works by their fellow students in Creative Writing.

The graduate program, because it is housed in Creative Writing and maintains a strong collaborative relationship with Theatre Arts, offers workshops and projects that combine a deeply writerly approach with numerous opportunities to test scripts in rehearsals, workshops, and productions. The faculty resources of the program reflect that comprehensive nature with a basic group of four playwriting instructors, supplemented by wide-ranging opportunities to study both outside the genre and in the wider field of theatre.

Ongoing dialogue and collaborations among faculty, current students, and alumni continually feed the program new and innovative ideas for future programs, and the

11 enhancement of quality teaching. Current initiatives include: planning to reach more deeply into the Bay Area theatre community to create readings and master class workshops led by prominent local playwrights; exploration of enhancements to our GreenHouse reading series, an educational/professional partnership project. Enhancements sought include a permanent off-campus home at a local professional company in order to raise visibility and prime funding opportunities. We hope to bring a number of short play programs to Bay Area colleges, universities, and related educational institutions in order to build bridges to like-minded programs.

Like most of education in these times, Playwriting’s horizons are limited by budgetary constraints. Yet to counter that we have introduced a number of innovative programs that make use of facilities and talents that already exist on campus. For instance, the SFSU Fringe annually produces a large number of both graduate and undergraduate playwrights with a nearly non-existent budgetary footprint by leveraging the talents and skills of fellow students and faculty.

In sum, the Playwriting genre of the Creative Writing Department is a quality program with a demonstrable record of success as seen in the vitality of our creative programs, the excitement which surrounds our productions and classes, and the success of our alumni in the professional world. We do a lot with a small budgetary footprint, utilize the resources and synergy available to us on campus to provide a robust production program, and work continually to improve and innovate.

Fiction

Our fiction program has been vital to our Creative Writing Department and the writing community at large for over fifty years—it is responsive, rigorous, and respected. Our most recent hire, ZZ Packer, bestselling author, joins us in the Fall 2013 and, as one Professor said, “makes our already shiny program even shinier.” Faculty have received numerous prestigious writing awards including a Guggenheim and Lannan Fellowship (Orner); Pen Literary Award (Carter, Chernoff); and National Endowment for the Arts Fellowships (Caspers, Chernoff, Carter)—to name just a few. Our fiction lecturers and adjuncts contribute to the range and excellence of our large program. Writers including Dodie Bellamy, Camille Roy, Mathew Davison, Cooley Windsor, Junse Kim, and Katie Crouch publish and receive local and national recognition.

The faculty brings the same level of engagement and excellence demonstrated in the quality of their writing to their teaching and curriculum development. Students benefit from a program dedicated to hiring engaged, conscientious teachers with diverse teaching philosophies and pedagogies. Many of our undergraduate students in fiction go on to creative writing graduate programs across the country. Our list of student publishing credits demonstrates the strength of our student body and program and includes nationally recognized authors such as Po Bronson (1994), Kim Addonizio (1986), and Robin Romm (2005). Students also have edited major anthologies that have contributed to the literary dialogue about cultural and global

12 diversity such as Indispensable: Women’s Voices from India (Neela Banajeere, 2007) and Until Judgment Comes: Stories about Jamaican Men (Opal Palmer Adisa, 1986). The literary community in San Francisco is diverse and large, offering our students a plethora of events and exposure to acclaimed voices from all over the world.

The Faculty has a deep commitment to offering a diverse, stimulating, and comprehensive array of courses. Our program is unusual in that it offers workshop courses and process courses that focus on a range of literary and craft topics (Uses of Time in Fiction; Art of ; Experimental Fiction, Individual Vision; Uses of Personal Experience). In both workshop and process courses, students look closely at texts and are invited to explore deeply the material that really matters to them, to experiment and move beyond their comfort zones and to master the craft that will give them the power to embody their visions. The courses offered are continually rotated and expanded upon, allowing students to participate in a living curriculum responsive to their needs and fed by the passions of the faculty and by the literary climate and current literary conversations, Our wide-range of ever evolving courses, the larger Bay Area writing community, the invitation to explore across genres, and the faculty commitment to depth and rigor make our fiction program unique in and provide students with vocational and practical guidance along with what one professor called “a soulful education that expands the students’ worldview.”

We work to make our creative writing fiction program speak to this level of diversity through our text selections, topics, lectures, and classroom discourse. We believe that any literary community needs to integrate a variety of global and national voices to thrive. Our fiction undergraduate student body reflects the range of backgrounds and cultures and ethnicities on campus more than our graduate student body. Each year, due to our conscious effort to increase our applicant pool, the graduate student diversity increases. We are currently stepping up our advertisement for our MFA program, actively seeking new and varied voices. Increased financial support for students and the program, such as funds for student scholarships, faculty hires, fellowships, graduate instructional aide positions, student awards, visiting faculty and student organizations, would allow us to further diversify our faculty and attract an even wider range of graduate applicants. These funds would also allow us to compete with peer institutions—as one professor said, “on top of everything else we offer—the quality education and teeming literary community—if we could offer financial support to meritorious students and compensate competitively visiting professors I believe we would be recognized as one of the strongest programs in the country.”

There is high visibility of our most distinguished and successful fiction graduates, but in addition are the many less visible but perhaps equally important markers. We receive notes and cards and emails from students who report that studying fiction at SFSU “was the best thing they ever did.” One student reported, “I thought I was just going to learn how to build a character and . Instead I received an amazing education that has not only made me a better writer but a more generous 13 and compassionate human being. I see the world in a more complex way than I could have ever imagined. “

We are a faculty called by our imaginations to write and using our imaginations to teach. We will continue doing what it takes to keep our program relevant and meaningful.

Creative Non-Fiction

The Sixth Cycle Review comes at a particularly vibrant time for (CNF) at San Francisco State University. “Everyone wants Creative Nonfiction courses,” one faculty member said recently of our students. “There is lots and lots of interest.” Indeed, demand for opportunities in this field is so high, and our faculty’s expertise so wide, that in Fall 2013 we will for the first time begin offering both the MA and MFA admitting and thesis opportunities in CNF. In anticipation of this move, we have made two new tenure-track hires over the last year, both of whom bring significant experience in CNF (as well as fiction) to the table. All this has generated a great deal of enthusiasm among both our teachers and students, many of whom move fluidly and frequently between genres. The new CNF emphasis will further expand our students’ opportunities to study outside their primary genres. Moreover, it will allow us to attract an entirely new population of writers with diverse goals, emphases, and experiences.

Our commitment to teaching CNF is longstanding—and our success in doing so is highlighted by comments from a teacher from another department who taught a course for us this past fall. “I was astonished at how much more prepared those nonfiction writers were than even the best of my journalism students,” he said. “Most of the projects done both in-class and at home throughout the semester were ‘true’ (i.e. based on facts and events from their own lives), though not exactly memoir, and yet excellence was the norm, not the exception. The final long works were stupefyingly well-done and a joy to read. ”Maybe I just lucked out that semester,” he added, “but the experience shocked me as to how well the Creative Writing Department does in enhancing the innate skills of students, or in being a magnet for young people who seem boldly to have thought a lot about everything.”

Classes recently added: MFA Workshop in Creative Nonfiction: A writing workshop in which students will concentrate on the creation, development and revision of their creative nonfiction. The class format will include group discussion of student work and may also include in-class and at-home writing exercises.

Creative Nonfiction: Immersion Writing. This Creative Process course will explore the popular and fascinating branch of CNF known as immersion literature. From author Barbara Ehrenreich’s effort to survive on poverty-level wages to former New Yorker fiction editor Bill Buford’s initiation into the savage world of soccer hooliganism, the course will focus on writers who immerse themselves in lives and situations other than

14 their own, recording their experiences (sad, funny, frightening, moving) in books and essays. Throughout the semester, students will complete a series of writing exercises culminating in their own essay-length immersion projects.

Because we believe in the value of CNF as a form; because our students want to study CNF; and because mastering the craft of CNF increases our students’ ability to publish after graduating (according to some estimates, 70 percent of books published in the are nonfiction), we take seriously our role as SFSU’s primary address for instruction in long-form CNF.

As our CNF program develops and grows, we will, undoubtedly, continue to examine and refine our own definition of the term. For now, though, to quote one longtime faculty member, “I believe in a wide, wide tent when it comes to the genre, room for the fact- based crowd, the journalists, the slightly altered memoirists, and the fictionalized nonfiction gang. I’m in that last group and tend to teach courses that stretch the definition of CNF about as far as it can stretch to include the imagination whenever possible.” Also, the department could add an undergraduate survey course introducing people from any department to the borders separating various approaches to nonfiction writing. Reading would be at its core, augmented with lectures that give the flavor and feel of one form compared to another. In addition, we might consider partnering with other departments to bring quality writing to particular areas of specialization, seeking co-funding from other areas such as sports, music, and various disciplines within Creative Arts.

The Creative Writing Department is fortunate to have so many faculty members working successfully in multiple genres. This flexibility allows us to offer our students a literary perspective that is both far-reaching and profound. And while we have long offered high- quality instruction in Creative Nonfiction, the addition of the genre as a fourth emphasis solidifies our place as a thriving, attractive center for the study of CNF writing. The state of Creative Nonfiction at SFSU is strong and getting stronger.

Teaching Creative Writing: a 21st-Century Pedagogy:

Although creative writing classes had been offered in the U.S. as early as 1919 (at CCNY, by the legendary Teddy Goodman, mentor of Henry Roth, Bernard Malamud, et al), the first Creative Writing program was founded in 1946 by Norman Forester at the . Though other arts--music, dance, painting, theater--have intensive traditions of study and mentorship, Forester saw no pedagogical possibilities for aspiring creative writers. "Let us not presume," he wrote, "that writing can be taught"--and from such uninspired and uninspiring ground sprung the world's first Creative Writing workshop. Known by some as the Bobby Knight School of Writing Pedagogy--named for the famously abusive, chair-throwing college basketball coach--the workshop was designed to be a place where writers endured the bare-knuckled "critiques" of their fellow students. Since the aim of these critiques was to toughen writers for the criticism they'd inevitably have to withstand in the world outside the university, no critical or analytical method was implemented or even discussed. And since the workshop was intended to be

15 a free-for-all, there was no need for workshop instructors to do any advance preparation beyond giving the writer's story or poem a read.

In the late 20th Century--as the number of graduate writing programs in the US swelled into the hundreds--a few, very few, programs began moving beyond the workshop. The program at San Francisco State was one of the first in the country to introduce Creative Process Classes to its curriculum. Creative Process Classes explore a particular topic (The Lyric Poem; Writing on the Body; Family as Fictional Form; Poems, Plays, and Politics; Writers in Danger; ; etc.) through intensive reading and writing assignments. Further, Creative Writing instructors at SFSU have also long been inventive in their teaching of writing workshops, moving well beyond the University of Iowa workshop model in which the teacher's role is limited to mitigation of harm and student critique. The SFSU model of Creative Writing instruction is not merely interested in the honing of the product--the particular work submitted on a particular day by a student writer--but also the future growth of that student writer. To rob a phrase from , we are interested in expanding a student's sense of possibility. Our Teaching Creative Writing program is grounded in this pedagogical sensibility.

Our department provides a continuously evolving, dynamic teacher training program and a progressive learning environment. By means of varied course offerings, graduate students are introduced to multiple teaching approaches and styles. Students are afforded the opportunity to experiment with new teaching processes and combine that experimentation with rigorous craft and process classes. We offer an ever-expanding curriculum crucial to developing a strong teaching concentration in a dynamic literary climate.

In this concentration students are introduced to practical and theoretical aspects of the teaching of creative writing. Students design an introductory creative writing course with Creative Writing 301—an introductory course in the writing of fiction, poetry and playwriting—serving as our main prototype. We read and discuss various concepts and philosophies of teaching and students perform a variety of teaching activities. We discuss giving useful feedback to student writers; how to design effective writing assignments; the use of text and craft models; strategies for leading discussion of literary works and student works-in-progress. Students prepare and execute mini-lectures on a range of craft and process topics. We examine what expectations the new creative writing teacher brings to the profession and what can occur when one’s idealized perceptions of teaching meet the realities of the classroom. We discuss group dynamics vis-a-vis the classroom setting and develop strategies for and resolution. We examine the concept of ‘collaborative learning’ where the students and teacher share the responsibility for a positive learning experience. Most importantly, we look at how one’s own individual creative process can be used as a model for helping students locate and develop their own creative processes. This course, as well as the newer CW 859, Practicum in Teaching Creative Writing, allows students to learn as they practice assisting in an undergraduate class.

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In closing, our department has one of the most developed, innovative, progressive Teaching Creative Programs in the country. We are continuously developing ways to bring new pedagogical theories and practices to our students so that they will have the best preparation for teaching creative writing in a variety of public, private and community settings.

2.2 The Programs in the Context of the Academic Unit:

Table 3 FTES, FTEF and SFR for the last five years F a l l 0 7 F a l l 0 8 F a l l 0 9 F a l l 1 0 F a l l 1 1 F a l l 1 2 FTES FTEF SFR FTES FTEF SFR FTES FTEF SFR FTES FTEF SFR FTES FTEF SFR FTES FTEF SFR Lower Division 22.40 0.20 112.00 24.60 0.20 123.00 20.00 0.20 100.00 43.60 0.40 109.00 40.25 0.40 100.63 35.40 0.40 88.50 Upper Division 148.92 5.75 25.88 152.20 6.41 23.76 143.00 5.22 27.41 127.22 5.48 23.24 127.95 5.20 24.59 127.00 6.11 20.79 Undergraduate 171.32 5.95 28.77 176.80 6.61 26.76 163.00 5.42 30.08 170.82 5.88 29.08 168.20 5.60 30.02 162.40 6.51 24.95 Grad Division 103.13 8.64 11.94 101.73 8.92 11.40 113.43 7.84 14.47 109.85 8.56 12.83 102.87 8.36 12.30 102.75 9.73 10.56 All divisions 274.45 14.59 18.81 278.53 15.53 17.94 276.43 13.26 20.85 280.67 14.44 19.44 271.07 13.97 19.41 265.15 16.24 16.33

Our undergraduate and graduate numbers have remained relatively stable over the past five years, with a high FTES of 280 in 2010 and a low of 265. Within that number, the number of undergraduate to graduate students has also been fairly stable with a high in 2008 of 176 undergrad FTES and a low of 162 undergrad FTES in 2012. Of graduate students, 2009 saw a high of 113 FTES and 2011 and 2012 a low of 103 FTES. So, as a fairly stable average, our undergrads outnumber our grads by a ratio of 1.7 to 1.0. At the undergraduate level, we have only one lower division class, our CW 101, Introduction to Creative Writing, which is a large general education class. It is taught, depending on the semester, with summer often a very small class, in classes ranging in size during the regular year from 100- 40, giving it an extremely high student/faculty ratio. In our other undergraduate major classes, the average SFR is 24.28. Given the use of GIAs to break classes into small group discussion and workshopping groups, this seems a healthy ratio. Of the undergrad classes, four are paired with graduate classes, all of which are “audience” class experiences with guests to discuss the subject matter of the day: CW 506/806, Business of Creative Writing; CW 520/820, Writers on Writing; CW 550/850, the Poetry Center Workshop and CW 675/875, Community Projects in Literature, our internship class. All of our other classes are specific to the program they serve. For our graduate students, the SFR is approximately half that of the undergrads, an average of 12.25. In the year when we lost our ability to offer Directed Writing every semester, the number increased to 14.47 and this last fall when enrollments showed a slight dip, the SFR was as low as 10.56 with some courses that usually filled having lower enrollment. We believe this one semester to be anomalous and see in our numbers the calculated wish to stay at our current size and create stability for our faculty and students. Another factor enabling the undergraduate classes and providing a valuable link between graduate and undergraduate students is the fact our GIAs and TAs serve to enable small group discussions and exercises in nearly all undergraduate classes. Undergraduate students benefit from the mentoring of graduate students who assist the undergraduate faculty.

As to our faculty for graduate classes, the illness and death of a poetry professor, leaves for awards and visiting professorships and guest teaching, and the FERPing of two

17 faculty this past year have left us “even” in tenured and t.t. faculty, despite our hiring since the 5th Cycle review. Therefore, it remains necessary to augment our graduate faculty with well-published and fine lecturers who are selected from the Bay Area’s abundant reserves. The number has varied year to year and includes some long-term lecturers who are distinguished poets, fiction writers and playwrights. In fall 2008, 10 graduate classes were taught by 10 lecturers; in spring of 2009, 5 graduate classes were taught by 5 lecturers (15 of 66 classes or 22%); in fall 2009, 8 graduate classes were taught by 8 lecturers; in spring of 2010, 6 were taught by 6 lecturers (21%); in fall of 2010, 4 graduate classes were taught by 4 lecturers; in spring of 2011, 6 graduate classes were taught by 6 lecturers (10 of 56 classes or 18%); in fall of 2011, 13 graduate classes were taught by 8 lecturers for a total of 34% (a faculty death and a sabbatical changed the totals significantly); in spring of 2012, 8 graduate classes were taught by 8 lecturers (16 of 62 classes or 25%); in fall of 2012, 8 graduate classes were taught by 8 lecturers; and in spring of 2013, 8 graduate classes were taught by 8 lecturers (16 of 63 classes or 25%).

In all but academic year 2011 when a sabbatical and a death changed the number of tenured and tenure-track lecturers, including the chair’s .40 release, the department has had 9.5 tenured and tenure-track faculty. This takes into account the FERPing in 2012 of 2 members, one of whom was .50 in CW, and the addition the same year of a tenure-track faculty member. In various years the number of tenured and tenure-track faculty vs. lecturers has been 9.5 to 6.03(2008) for a percentage of 64% t and tt faculty to 36% lecturers in the graduate program; 9.5 to 3.76 (2009) for a percentage of 61% to 39%; 9.5 to 4.94 (2010) for a percentage of 65% to 35%; 8.5 to 5.74 (2011) for a percentage of 60% to 40%; and 9.5 to 6.74 (2012) for a percentage of 58% to 42%, which represents a dip caused by our FERPing faculty and the chair’s engagement in a Senate committee that precluded the teaching of classes. Lecturers teach more heavily in the undergraduate program. Although we would certainly like to see more tenure lines and expect one new hire in fiction next year, the number of talented local faculty who are lecturers provides us with some flexibility and helps the department through times of transition as well. We also want graduate faculty to teach in the undergraduate program if possible at least once a year. We feel this is fair to our undergraduate students and good for the faculty’s grasp of the continuum of skills from our self-selecting undergrad majors to our carefully selected graduate students. Were we to allow faculty to teach only graduate classes, the percentage of graduate lecturers would be lower, but it would actually harm the program. The current rather stable percentages are well within the national average of tenured and t.t. to adjunct faculty. Many of our lecturers have been here for many years and provide similar stability to full-time faculty; however, with more tenure lines, the thesis, admissions, and advising load would be lighter. We recognize this as we continue to ask for more tenure lines.

All but one undergraduate class, the lower division CW 101 (with an SFR averaging 100 students), are major classes. Our two gateway classes are CW 301, Fundamentals of Creative Writing and CW 302, Fundamentals of Creative Reading, which we added in spring 2004 because so many transfer students had taken an equivalent of 301 at their community colleges and we wanted them to have a first class in common. Our upper division classes are largely major classes; the two exceptions are CW 507, Writing on the

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Body, which is also a Segment 3 class and our newly added CW 508, Introduction to Environmental Literature, which is a new major class and also a component of the new GE, in which it satisfies the Environmental Interconnections topical perspective and the Environmental Sustainability overlay. Our two service classes at the undergraduate level are CW 685, Projects Teaching Creative Writing and CW 675, Community Projects in Literature.

Our four paired classes are ones in which students are part of an audience for invited guests. In Business of Creative Writing (506/806), the guests are agents, editors, playhouse directors, and publishers. In Writers on Writing (520/820), the guests are poets, novelists, playwrights, short story writers and memoirists with new collections of work; in CW 550/850, the Poetry Center Workshop, the guests are the poets and sometimes fiction writers that appear in the series. In the case of CW 675/875, Community Projects in Literature, the course meets to establish a foundation and to track and discuss internships that the students choose for 6 hours a week of work. In all cases, the graduate students have further assignments and responsibilities. In Business of Creative Writing, for instance, the graduate students are responsible for arranging several panels on small press publishing, writing a creative blog, etc., as well as a larger final project. In these classes, undergraduate students get to see and hear graduate students among them which may perhaps allow them to see themselves in that role and imagine the different expectations that will be required of them. The MA and MFA ATC forms typically have 80-100% of work in graduate-level, unpaired classes. In some instances when students in the MFA choose a correlative outside of the major, their 4 correlative classes of the fifty-four units for the degree, 22% of their degree might be in advanced undergraduate classes. For instance a student wishing to learn about the theory of space travel for a may choose four upper division physics classes. On the MA ATC form, students may enroll in upper division or graduate literature classes. Were a student to enroll in all undergraduate classes, his/her ATC would exhibit 30% of coursework in upper division undergraduate classes. It is not the norm, however, for these students to enroll only in undergrad classes. Many take the more interesting and rigorous graduate English seminars. Therefore, no graduate student would graduate with fewer than 70% of his/her work being in graduate classes, and that number is rare.

Our graduate classes for the MA number 18 in enrollment. Our graduate classes for the M FA degree enroll with 11 students. Some classes are mixed; students in either program can, for instance, take the 14 Hills class, the teaching creative writing sequence, the paired classes, and Community Projects. In a typical semester, there are an equal number of MA and MFA classes. In the MA classes, MFA students can also enroll. For instance, our two novel-writing classes are mixed enrollment classes as is our Craft of Translation class. Although there are more MFAs, their place in some MA classes explains the equal number of courses offered. Our MA students complete their major with courses in the English Department so that 70% of their degree is with us and 30% elsewhere. Should an MFA student choose a correlative outside of the major, 18% of their major would be in another department. Given that literature classes are also a choice they can additionally make, 36% of their major might be taken in another department but this number of classes outside of the department is extremely rare.

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As for thesis supervision, the most critical area is fiction. With the addition in the last two years of tenure-track faculty in fiction (both also able to teach non-fiction), we will now have 5 fiction faculty to supervise theses, 3 poets, and 2 playwrights. We don’t as yet know the number of students who will apply to our creative non-fiction track or how many we will admit. I assume the numbers will be small at first, and none of them will complete a thesis in fewer than two years from fall 2013.

With our current numbers and using our adjunct faculty as needed, we are able to provide a worthwhile experience for both undergraduate and graduate students who report a high level of satisfaction with their degree work here. On a recent survey of this year’s graduates to which 32 MA (7) and MFA (25) students replied online 85% of MAs and 97% of MFA students rated the quality of instruction in workshop and process classes as excellent to good. Given that novels often take longer to complete, we have many students who attend part-time and use as many as five or more years to finish their graduate degrees, all the while receiving assistance on what will be their thesis, a novel. With a small number of playwrights, a healthy number of poets and a large number of fiction writers, we can anticipate similar needs. Therefore, we are not interested in growth as much as a good balance of courses for all genres and with meeting the “marketplace” niche for creative non-fiction writers in a small cadre to begin. Will we at some point become even more selective regarding the students we take? This could happen if the number of applicants increases after its recent dip or if creative non-fiction turns out to be a very popular area. In any case, it has been our goal to remain roughly the same and to be a comprehensive creative writing program that allows students to try many possible pathways to imaginative writing. This, by the way, is quite unlike many CW programs that move students in a cohort through the same classes without fail. Those programs, including the famed Iowa Workshop, tend to be workshop-based and less processual than we at SF State choose to be. Whether lecturers or full professors, our faculty have in common that they are well-respected and often well-known writers who also know how to teach. We have passed up highly famous writers to make certain that we hired balanced individuals who are willing to share their writing lives with their students.

As for internationalization, our reading lists for all process classes are international in scope; our magazine New American Writing publishes substantial translation sections by international writers who often also appear at the Poetry Center. As for international students, those from non-English speaking countries have little luck getting into a creative writing program in which the writing sample, read and ranked by two faculty members, is the primary basis for acceptance. However, we do have some international students, several from India, one from Zimbabwe and and Hong Kong of recent note, and many American students who are Asian, Hispanic, and Eastern European and bring their wonderfully culturally specific stories and poems and plays to us. Our most recent fiction winner of the coveted Michael Rubin prize, which is a published book by the student, was born in Bulgaria, where his seven stories are set. The chair has recently worked one-on-one in Directed Writing with brilliant fiction writers born in Albania and Japan.

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Table 4

Number of applicants to the M.A. and M.F.A. programs, admittees and admittees enrolled in the program. Percentage Percentage of of Applicants Admittees Admittees Year/Program Applicants Admittees Admitted Enrolled Enrolled Fall 2007 M.A. 97 55 56.70% 28 50.90% Fall 2007 M.F.A. 245 84 34.30% 43 51.20% Fall 2008 M.A. 86 44 51.16% 25 56.82% Fall 2008 M.F.A. 322 77 23.91% 38 49.35% Fall 2009 M.A. 85 47 55.29% 20 42.55% Fall 2009 M.F.A. 251 88 35.06% 57 64.77% Fall 2010 M.A. 67 43 64.18% 18 41.86% Fall 2010 M.F.A. 272 64 23.35% 36 56.25% Fall 2011 M.A. 66 40 60.60% 18 45.00% Fall 2011 M.F.A. 221 80 36.20% 40 50.00% Fall 2012 M.A. 72 46 63.90% 16 34.80% Fall 2012 M.F.A. 184 76 41.30% 35 46.10%

From 2003-2006, the program had applicants numbering over 400 and reached a peak in 2005 with 489 applicants to the MA and MFA combined. With the downturn in the economy, our numbers have fallen into the three and two hundreds. This trend at first alarmed us, but we have found in the last two years of reading that the most appropriate candidates are still applying. We found as many excellent fiction writers, for instance, this year as last, and the same held true for poetry. Perhaps the poor economy has people looking harder at what a creative writing degree means and only the most committed and talented decide upon it. It could also, of course be, that the proliferation of programs that do offer funding makes a dent in our applicant numbers. Why seek a risky degree economically when another place might award one a spot for free? A further change might be that we have not offered the suddenly extremely popular creative non-fiction degree and that playwrights in particular have dwindled as more potential writers of scripts decide to pursue screenwriting (in Cinema) instead. The addition of the creative non-fiction track will be an interesting test of these premises as will the economic recovery. For the first time in ages, we are preparing an ad to announce our program, its excellent faculty and students, and our new genre area this summer. At the same time, the rates and rules on student loans are becoming harsher; this might be a further disincentive for students thinking of graduate education in general.

Our average of students admitted over the years of students pursuing the more esteemed MFA is 31%. This differs from genre to genre with fiction being the most difficult area followed by poetry. Were we to present it that way, our numbers by genre make the fiction MFA area 20% acceptances of our applicants. In choosing MFA candidates, we most closely examine their writing samples. This is also the reason why our age and ethnicity is so diverse—he or she who can write a strong piece of fiction or series of poems or a play gains admittance. The letters of recommendation, transcripts, and personal statements are secondary to us. For the MA applicants who are applying to the shorter and less rigorous program, we tend to be more generous. Still, the manuscript must be compelling, but we allow for writers who need far more development and exposure to literature than we do in the MFA. Therefore, our rate of admitting is higher with an average of 58%. This number is somewhat skewed by the fact that some of our

21 students submit to the MFA and check a box that states they also wish to be included in the MA pool if they are not chosen for the MFA. The lower number of accepted students that enroll in the MA may be due to the fact that the MFA, in which they were not accepted, had been their actual choice. Half or more of our students enroll in the MFA when accepted. I am not aware of a national average, but this seems in line with programs of merit, particularly if one takes into account our lack of financial support for these students. Fewer than half enroll in the MA, which also seems in line with the fact that MA applicants include students we have turned down for the MFA. Our newest faculty member, who holds an MFA from , has stated that his first year with our students stunned him as to their abilities and talents. “We simply didn’t have writers like this at Columbia.” The table also shows our cautions. We are not simply filling seats. In the year 2008 and 2010, for instance, we admitted only 23% of our MFAs because only those students merited admission. Between 51 and 77 students enrolled in both programs during the years surveyed. Each year we graduate approximately 50-60 students so the numbers add up in terms of keeping the student numbers fairly stable. Similarly, our undergraduate numbers remain fairly static with 351 total students at present, from a high of 403 in 2011.

3.0 ADMISSION REQUIREMENTS

3.1 Evidence of Prior Academic Success

Nearly 100% of our applicants meet the GPA requirement. The department in its review of files since the number changed to a 3.0 GPA has excluded applicants whose GPAs are below the standard. In past years we had read all applicant manuscripts and sometimes found a worthy writer below the required level, but in trying to keep with these standards, we no longer include those applicants in the pool. Previously, one or two applicants a year with GPAs near the cut-off have petitioned for admission with our support and been accepted.

3.2 Evidence of Competent Writing

Our students are admitted for the excellence of their writing; therefore, the literacy crisis has no effect upon our graduate admissions process. It is an extremely rare occurrence that a student of ours displays any issues in his/her writing. I can think of one case in which a Filipino student with competency in English and Tagalog had some strange errors of syntax and word endings. I remember him well because this is so unusual among our graduate students. We base our view of writing competency upon their statement of purpose and 15-20 page writing sample in poetry and fiction and full-length play in playwriting. For Level One competency, the official language is as follows: “Statement of purpose and writing sample (15 - 20 pages fiction or creative nonfiction, or 15 poems, or 1 full-length play or 2 short plays) scored 8.0 or higher on a scale of 1 to 10 based on the following criteria: 1) fluency and precision of expression; 2) ability to embody and illustrate ideas creatively; and 3) appropriateness of the applicant’s interests, life experiences and goals to the program.”

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3.3 English Preparation of Non-Native Speakers

Of students who have enrolled in our program, only two are non-native speakers of English. Other foreign students come from English-speaking countries. One student who is a non-native speaker holds a Ph.D. in Italian and teaches at the university. Her English is flawless. A second non-native speaker from Japan is a translator of English into Japanese texts. Still, her use of idioms is ‘slightly off,’ and she has sought extra help from a professor of TESOL in the English Department, whose work with her has been quite successful.

3.4 Overview of Program Admissions Policy

We are generally pleased with our graduate students and think we have a sound and also rigorous measure of their writing ability upon entrance. Of course, when one examines those missing, the students we do not attract or who do not come here once admitted, one must assume they have been admitted elsewhere where funding is fully or partially available. Since our graduate students come from every possible alma mater from Yale to Vassar to the University of Central Arkansas, where one of our MFA honorees received his degree, it is clear that talented writers spring from many different soils. The program does, however, suffer in recruiting the best minority students from our list of those admitted since other programs seeking diversity readily recruit them with funding. The Graduate Equity Scholarship is, of course, available, but it usually goes to only one or several student, and many more gifted ones must pay from pocket or loans or decide not to attend graduate school altogether if they do not receive funding elsewhere. When I phoned my first choice for this year’s Provost Scholar, a gifted South Asian student who had attended Oberlin on full scholarship, she told me that even with our in-state tuition, she would be unable to attend. She could, in fact, pay no tuition. This is a problem for the department and for the university as well, whose goal of social justice is undermined by its inability or unwillingness to offer at least waivers to needy and gifted students. The students who do attend meet faculty and other students of all races, sexual orientations, and class backgrounds. They are steered toward the best writers in the world on class syllabi as models for their own writing. They are offered many chances in classes and in the larger university to meet and befriend students of all interests, ages, and backgrounds. Several of our recent graduates are teachers for Writers Corp, a program that offers creative writing to underserved communities. One is head of the Voice of Witness Project, which also employs our student writers as ethnographers to take down accounts of societal troubles in our own country, for example, with undocumented workers and in the world in a recent book that focused on the failing economy of Zimbabwe. We are proud of their commitment to serving communities, and we offer them chances to explore this possibility in many of our classes, specifically in CW 675/875.

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4.0 PROGRAM REQUIREMENTS

Table 5 Course Rotation Schedule (Number in cells indicates the number of sections offered in that semester. In parentheses are the census enrollments for each section.) Course Fall 2007 Spring Fall 2008 Spring Fall 2009 Spring Fall 2010 Spring Fall 2011 Spring 2008 2009 2010 2011 2012 803 1 (17) 1 (13) 1 (18) 1 (12) 1 (16) 1 (17) 1 (18) 1 (15) 1 (15) 1 (15) 804 1 (16) 1 (12) 1 (16) 1 (12) 1 (14) 1 (11) 1 (15) 1 (17) 1 (17) 1 (4) 806* 1 (17) 1 (14) 1 (8) 1 (13) 1 (7) 807 1 (16) 1 (19) 1 (19) 1 (16) 1 (16) 808 1 (12) 1 (9) 1 (15) 1 (14) 1 (18) 809 11 (5, 6, 11 (6, 8, 11 (5, 6, 10 ( 6, 5, 6 (7, 6, 6 (10, 8, 6 (7, 6, 5, 7 (8, 6, 7, 6 (8, 9, 6 (7, 8, 8, 7, 7, 6, 5, 6, 4, 6, 5, 6, 2, 8, 5, 3, 6, 5, 5, 5, 8, 7, 5, 6, 5, 8) 9, 6, 7) 6, 7, 4, 6,) 9, 9, 3, 6, 6, 6) 7, 9) 5, 5, 2, 6, 7, 7, 4, 7, 3, 6, 6, 7) 9,) 7) 7) 5,) 810 3 (16, 3 ( 20, 2 (14, 4 (16, 11, 4 (18, 3 (8, 17, 3 (18, 17, 2 (16, 17) 4 (15, 9, 3 (20, 12, 13, 16) 10, 19) 19) 9, 17) 18, 17, 14) 16) 12, 11) 14) 21) 814 1 (14) 1 (5) 820* 1 (18) 1 (10) 1 (19) 1 (4) 1 (30) 1 (2) 1 (20) 1 (1) 1 (6) 1 (4) 825 1 (6) 1 (9) 1 (12) 1 (9) 1 (6) 840 1 (12) 1 (12) 1 (16) 1 (17) 1 (23) 1 (14) 1 (16) 1 (10) 1 (10) 1 (8) 850* 1 (5) 1 (1) 1 (3) 1 (3) 1 (8) 1 (9) 1 (1) 1 (10) 853 2 (11, 13) 2 (11, 7) 2 (12, 12) 2 (12, 10) 2 (15,11) 2 (8, 12) 2 (12, 11) 2 (12, 11) 3 (13, 11, 2 (12, 10) 10) 854 2 (11, 11) 2 (4,4) 1 (9) 1 (11) 1 (13) 1 (12) 1 (15) 2 (12, 12) 2 (12, 10) 1 (14) 855 1 (8) 1 (8) 1 (11) 1 (7) 1 (9) 856 1 (8) 1 (8) 1 (16) 1 (15) 1 (14) 859 1 (11) 1 (8) 1 (9) 1 (7) 1 (9) 860 2 (7, 9) 2 (7, 9) 2 (6, 10) 1 (11) 1 (12) 1 (11) 1 (11) 1 (11) 1 (11) 2 (10, 11) 866 1 (12) 1 (6) 1 (18) 875* 1 (10) 1 (10) 1 (10) 1 (12) 1 (22) 1 (20) 1 (9) 1 (9) 1 (13) 1 (12) 880 2 (12, 12) 2 (8, 9) 3 (12, 16, 2 (12, 9) 2 (13, 2 (15, 11) 2 (12, 11) 4 (11, 11, 4 (13, 14, 3 (6, 11, 11) 11) 11, 7) 13, 8) 10) 881 1 (11) 2 (8, 9) 1 (9) 2 (12, 12) 2 (11, 10) 2 (14, 10) 3 (13, 7, 2 (10, 12) 2 (14, 9) 1 (10) 10) 882 1 (11) 1 (12) 1 (12) 1 (11) 1 (13) 1 (7)

* Paired undergraduate/graduate class.

4.1 Number of Course Offerings Our program offers an abundance of graduate classes every semester.

4.2 Frequency of Course Offerings All courses required for graduation are offered every semester.

4.3 Path to Graduation

Students know that they have ample choices in both graduate programs. It is not always the case that the exact variable topic they wish is available when they might want it, but appropriate classes are available for each student in every genre that we teach. It had been the case about a decade ago that our 880-882 MFA process classes were difficult to get. Since then, we have added more of them. In addition, the two-phase registration that the university now employs allows students to register earlier for the classes they assume from experience will fill sooner.

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4.4. Course distribution on GAP (ATC)

All of our GAPs (ATC forms) are in compliance with the stated requirements.

4.5 Class Size

In the past review period all but a few of our courses met the class size requirement. Several times classes have been offered with four rather than five in a seminar but this is a rarity. The paired classes enroll far more undergrads than graduates, thus accounting for some small numbers of grad students there. Some popular special topics classes have enrolled over the limit of 18 for the MA and 11 for the MFA. This is a choice the faculty member has made and only happens rarely.

4.6 Number of graduates

Table 6 Number of Graduates Academic Year Undergraduate Graduate 2007-08 126 65 (MA 34, MFA 31) 2008-09 124 58 (MA 24, MFA 34) 2009-10 120 49 (MA 17, MFA 32) 2010-11 114 55 (MA 24, MFA 31) 2011-12 108 69 (MA 20, MFA 49) Five year average: 118 59/24MA/35MFA

Our program meets the standard for our MA and MFA classes.

4.7 Overview of Program Quality and Sustainability Indicators

Quality of the program and sustainability are high. We offer courses in a timely manner and students move toward their degrees with no difficulty regarding requirements being met. A student toward the end of the program may “slow down” because he/she has not brought his thesis (book-length manuscript) to completion to his or her satisfaction, but there is nothing in the program’s offering that slows a student’s degree completion.

The program seems to be the correct size and to serve its members well. We have added courses as various writing forms (creative non-fiction) and interests have arisen (810 sections on the body—What the Body Knows—, on the literature of trauma, etc.), and continue to be attentive to trends in writing that will engage the students. Our new

25 tenure-track hire for fall is a specialist on writing and cognition, and the chairs of CW and art are currently collaborating on a series of classes in writing and visual arts such as the book art correlative and a class on the graphic novel. Because of our excellent faculty, nominal cost compared to many programs, many successful graduates and ideal location, our program is highly regarded and continues to be a destination for writers.

5.0 FACULTY REQUIREMENTS

5.1 Number of Faculty in Graduate Programs

Faculty in the program (Note: All faculty teach only in the discipline(s) in which they write.) Professors: -- Professor Maxine Chernoff, Chair: Teaches fiction workshops, fiction process classes, and poetry workshop and poetry process classes. --Professor Dan Langton, ( FERPing): Teaches 2 undergraduate and one graduate poetry process class a year. --Professor Robert Gluck (FERPing).Teaches graduate fiction workshops and process classes, and occasional classes in the prose poem. --Professor Michelle Carter: Teaches playwriting, cross-genre process classes, and teaching pedagogy classes. --Professor Paul Hoover: Teaches poetry workshops and process classes and translation workshop. --Professor Camille Dungy: Teaches poetry workshops and process classes, some cross- genre. --Professor Toni Mirosevich: Teaches poetry and creative non-fiction workshops and process classes as well as teaching-pedagogy classes. --Professor Nona Caspers: Teaches fiction workshops and process classes, creative non- fiction process classes, and teaching pedagogy classes. --Professor Peter Orner: Teaches fiction workshops and process classes. --Assistant Professor Chanan Tigay: Teaches fiction workshops and process classes and creative non-fiction. --Professor Roy Conboy: Teaches one playwriting class and directing writing (half-time appt. in Theater Dept.). --Assistant Professor ZZ Packer (beginning in fall 2013): Teaches fiction workshops and process classes.

Since all assigned time has been lost, we have simply combined the chair Maxine Chernoff’s duties with those of the Graduate Coordinator. This is a failing of the university to understand the important role of compensated work. Though the job of advising and tracking our graduate students and discussing policy and pedagogical issues is spread throughout the program, at least one coordinator for the two programs or two separate coordinators for the two programs would need to be available to think of more possible opportunities for students and to handle some of the problems now taken on by the Chair and AOC. Students on their 2013 exit surveys have expressed dissatisfaction that graduate student advising is not centralized. New students sometimes feel

26 bewildered or lost, and the chair can be responsible only for so many activities before there is harm to the students. Upon reading this year’s exit surveys the department has decided that until it receives course release for at least one graduate coordinator for the two programs and preferably one for each program, beginning in spring 2014 the faculty member whose assignment includes CW 675/875 (the internship course) will also serve as graduate advisor. This is not a good solution but a better one than leaving the job with the chair who already has too many other responsibilities. Currently, some of the requests regarding newly admitted students who want to visit the program before they commit to it end up being handled by the office staff when they should be better coordinated by the Graduate Coordinator, as should special issues regarding ATC and Culminating Experience Forms and any variety of problems that may arise with them. It is a strong recommendation of this report that assigned time be given to the department for this position.

5.2 Number of Faculty per Concentration

What is interesting in our program among both faculty and students is how many write and publish in more than one genre. Faculty’s own careers as writers evolve over the years and their engagement in the program therefore changes. All of our writers except Dan Langton and Roy Conboy have published books or had plays produced in additional genres. Several of the poets (Hoover and Chernoff) are also award-winning translators. With core faculty proficient in several areas, covering concentrations has many possibilities and combinations. With the new fiction hires, we will be realigning our genres. I will list below the “primary assignment” and “secondary genre” of faculty in our program as of fall 2013:

Fiction: ZZ Packer, Chanan Tigay (secondary genre), Peter Orner, Nona Caspers, Maxine Chernoff (secondary genre), Robert Gluck.

Poetry: Camille Dungy, Paul Hoover, Dan Langton, Maxine Chernoff, Toni Mirosevich (secondary genre).

Playwriting: Michelle Carter, Roy Conboy

Creative Non-Fiction: Chanan Tigay, Toni Mirosevich, ZZ Packer (secondary genre)

Teaching Pedagogy emphasis (all second or third areas of expertise): Michelle Carter, Toni Mirosevich, Nona Caspers

6.0 PROGRAM PLANNING AND QUALITY IMPROVEMENT PROCESS

In monthly meetings of the faculty and in sub-group meetings of the specific genres, the department reviews its current status and emerging or continuing issues and plans for changes and improvements. It was out of this process over several long years of

27 discussion that we decided to add a thesis emphasis in creative non-fiction and prepared for its institution with the recruitment and hiring of Professor Tigay in fall of 2012.

It is out of these meetings that we at the undergraduate level decided to change our CW 601 class, Work-in-Progress, to a “work for the future” emphasis in the class objectives.

When we assessed our undergraduate program, it was through the cooperation of the CW 601 faculty that we first surveyed the strength of student writing, which we discussed and moved upon at a faculty meeting. We agreed as a group to the areas we found wanting in the less successful writing samples, and we discussed our own experiences as writers to reflect upon and inform our decisions about what to recommend as possible solutions.

Similarly, the implementation of changes to lower level classes such as the addition of CW 302 and more rigorous reading lists that clarify such complex issues as what makes popular and different from literary fiction were taken on as a necessity after our review of student writing in CW 601. They were developed and clarified and made into an plan in department meetings at which faculty exchanged ideas on how and what they teach in low-level writing classes. We have created our Department Learning Outcomes together at such a meeting though a subcommittee led the work and occasionally meets to further discuss assessment.

We find that the genre subgroups mostly have work when there is a specific activity (such as assessment or the self-study) or issue (How do we best serve students writing novels?) to address. Much of the planning of what we need to begin offering the creative non-fiction classes as a genre was discussed prior to the meeting by a subcommittee that met online.

In our meetings, we also discuss the affective changes needed to improve the student experience. We instituted the final BA reading as well as the graduate degree readings through a discussion of building a sense of community in the program. We discuss patterns we see of stress and serious mental health issues with occasional students in our program and how and where to refer them.

At times we have had guests at our meetings from VP Buckley, to the dean when furloughs were required, to members of the Counseling and Disability Services. Sometimes the Director of the Poetry Center gives a report or the supervising faculty of the magazines discusses the work of their students in the Transfer or 14 Hills classes.

Some problems that arise every semester seem currently incurable. There is no way, for instance, to distribute thesis work absolutely fairly. Students choose whom they wish for first readers and are wisely reluctant to switch if their reader is on leave or too busy the semester they had hoped to work with him/her. This results in a semester delay for some students ready to finish the degree at times. Some of the faculty teach in the undergraduate program as well and have less contact with graduate students. No student takes every teacher or bonds as well with a professor in every class. Therefore, preferences and the uncertainties of life itself make it impossible to make certain that one

28 professor doesn’t end up with eight theses to another’s four. We continue to seek a solution, but in the world of human will and specific allegiances, it seems impossible to fully solve. We do keep an eye on patterns and trends here and have sometimes on the approval of the student switched a first and second reader or moved a student to another faculty member who agrees to take him or her when the student also agrees.

With the intensive work that a creative writing thesis requires--be in novel, , short story collection, memoir, poetry collection or play-- there is no simple route to follow. Some theses are far more advanced than others; some take many rewrites. A student whose thesis is not yet acceptable may need the second semester of work that the “satisfactory progress:” grade that the thesis allows the first semester. This leaves the thesis reader with a second semester of work he/she hadn’t anticipated. In any case, many department meeting discussions have centered on this issue. Were there assigned time through WTUs for thesis or a means to reward the more active members of the graduate faculty for work they supervise, there would be less discussion. Many of our students do go on to get their theses or rewrites of their theses published. The difficulties the faculty observe and undergo do not affect the success of the student. Many theses acknowledgement pages begin by thanking the first and second reader. The job gets done but not without endless discussion.

It is out of these meetings that we are currently discussing how students in the graduate program write novels, whether the 3 specific workshops offered, CW 807 (Developing the Novel), which can be taken once and CW 808 (Novel Writing), which can be taken twice, along with opportunities for Directed Writing (4 allowed) are adequate.

Sometimes, based upon one faculty member’s experience, a new problem is recognized or a solution found, which the department learns of at a meeting. If implementation of a solution follows, it is discussed by the full faculty at a future meeting. Of course, day to day troubles or improvements may happen on the spot. Not every decision happens within a meeting. We may, for instance, realize by advising a graduate student that he or she has deviated from the approved schedule and taken a class that is not exactly one prescribed from our list of acceptable literature classes. A faculty member on his/her own will decide if the similar course can be counted.

7.0 The Student Experience

7.1 Student Statistics

A fact of education at San Francisco State is that it is one of the most diverse universities in the nation, whose graduate programs are cognizant of multiculturalism and recognizes its importance in recruiting students, in its curriculum, and in its hiring. The table below represents a composite of MA and MFA students in the program for academic year 2012.

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Table 7 Student Demographics SFSU All-University Creative Writing Graduate Graduate Student Student Demographics Demographics Female Male Female Male Ethnicity # % # % # % # % Native American/Alaskan Native 1 1.16 1 1.56 8 0.32 6 0.42 Black, African American 1 1.16 0 0.00 98 3.88 43 3.02 Chicano, Mexican-American 5 5.81 5 7.81 168 6.66 114 8.01 Other Latino 4 4.65 7 10.94 151 5.98 99 6.95 Asian 7 8.14 3 4.69 316 12.52 137 9.62 Filipino 0 0.00 3 4.69 64 2.54 49 3.44 Native Hawaiian/Pacific Islander 0 0.00 0 0.00 9 0.36 3 0.21 White, Non-Latino 49 56.98 43 67.19 1151 45.62 661 46.42 Two or More Races 8 9.52 2 3.13 121 4.80 62 4.35 Other Responses 0 0.00 0 0.00 0 0.00 0 0.00 Unknown 9 10.47 4 5.88 226 8.96 135 9.48 Non-Resident Alien 2 2.33 0 0.00 211 8.36 115 8.08 Transitory 0 0.00 0 0.00 0 0.00 0 0.00 Total Student Enrollment 86 68 2523 1424

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Table 8 Curriculum Alignment Matrix/Curriculum Map Course Outcome 1 Outcome 2 Outcome 3 Outcome 4 803, 804 I, D D 807, 808 I, D D 809 I, D D 810 (814 variant) D D D 820 D 825 D 840 D D 850 D 853 D D, M 854 D D, M 855/856 D D, M 859 D 860 D 866 D D 875 D

880, 881, 882 D D D 893 M M I = Introduced D = Developed and Practiced with Feedback M = Demonstrated at the Mastery Level Appropriate for Graduate Students

7.2 Assessment of Student Learning

MA Learning Objectives:

Learning Objective 1: Creative Work: Students will produce a publishable written creative work. The faculty has determined that over 90% of MA theses are publishable work upon completion of the program. This means that be they poetry, fiction, or playwriting, the student has reached a level of mastery that the work can be sent to publishers, agents, editors or playhouses for consideration and that publication of single works such as poems and stories are also probable at this juncture. Students who do not meet this standard further understand that their thesis is a strong but not absolutely final draft. A Of course, not all publishable work gets published nor can all projects reach the level of vision and lucidity required of them, but the elements of craft, structure, language, and form are being met in an imaginative and significantly professional way. In addition, the success on one supervised and extended piece of creative work will lead with more ease to further works the student may publish in the future.

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Learning Objective 2: Professional preparation for a field related to literature/creative writing. Informational skills in publishing, writing, teaching, editing, book arts, and arts management. Though it is not a requirement of the MA that students enroll in an internship, a GIA experience, in Writers on Writing or in the Business of Creative Writing or the 14 Hills class, all of which fulfill this objective, through other means as well such as one-on-one advising or by yearly panels of editors and publishers, information on these areas is available to all students and put into practice in one of the suggested courses by roughly 70 per cent of MA students. The business of writing class and the CW 859, Practicum in Teaching, arose from the last MOU as well as our assessment of how students were not being as well-prepared as we wished for careers in the areas that might pertain to CW MA degrees.

Learning Objective 3: Literature: Students will understand and appreciate work of a broad range of writers, an awareness of literature in general, and his or her genre in particular as it relates to the larger human experience. Students in the MA who with an advisor choose three literature classes in English or another discipline that offers literature meet this requirement 100% of the time. In addition, the classes we offer in process and workshop guarantee that a student applies tools and methods of literary analysis in approaching the writing of peers and most importantly in reflecting on their own writing.

Learning Objective 4: Craft Elements: Students will have a working knowledge of the major elements in the craft of fiction, playwriting, poetry, or creative non-fiction; to consciously incorporate these elements in the revisions of their own creative work and to discuss craft elements in written responses to their peers’ work. Through workshop and process class experience, in their roles as GIAs or training in CW 859, students’ nearly entire discussion of material is based on knowing and being proficient with craft elements of their peers’ writing and revision of their own. As to certification of this criterion, students in workshops write critiques to their peers in the class that are often collected by the instructor or posted on I-Learn. These constitute the basis for our professors agreeing that 95% of students are meeting this criterion.

MFA Learning Objectives:

Learning Objective 1: Students will produce a publishable written creative work. Faculty has determined that 98% of MFA theses are publishable work upon completion of the program. This means that be they poetry, fiction, or playwriting, the student has reached a level of mastery that the work can be sent to publishers, agents, editors or playhouses for consideration. Of course not all publishable work gets published, but the elements of craft, structure, language, and form are being met in an imaginative and significantly professional way. Because of the three year program length with 54 units, students have more time to get their future thesis material into publishable shape prior to the thesis. This means that time discussing the thesis can be about further refinements in what is often already upon presentation an excellent manuscript. If the manuscript gets taken by a publisher, agents or editors, further suggestions may be recommended—

32 nothing is ever perfect, especially in everyone’s view—and this is an inescapable fact in the field of publishing, however strong the writing.

Learning Objective 2: Professional Preparation: Though it is not a requirement of the MFA that students enroll in an internship, a GIA experience, in Writers on Writing or in the Business of Creative writing or the 14 Hills class, most students with the 54-unit total choose one of our “information and activities classes” listed under the MA for professional preparation. Indeed, many as their correlatives enroll in a job-related skill area such as the Composition Certificate, the Adult Basic Learning Certificate, or the Professional and Technical Writing Certificate, or the Teaching Creative Writing concentration. Some stay several semesters on the 14 Hills staff, becoming one of its editors, or intern at the Poetry Center and Archives to attain archival experience. It is the case that 92% pursue a writing vocation-related activity while in the MFA. In fact, upon completing the degree, a great number of students begin adjunct teaching careers with the skills they learned in their pursuit of the certificate or other pedagogical activities. Others get employed as editors or writers or researchers for large local businesses such as Google, where several of our recent grads work in high level jobs. Of students surveyed this year who graduated with MAs or MFAs in fall 2012 or spring 2013, one writes, “I am teaching English skills at Contra Costa College;” another states, “I am teaching English and creative writing at a small college in Hudai,;” “I am seeking a job as an editor and will continue my current employment until then,” another remarks, “I have a career in nursing; the MFA was not a career path, but an enrichment path. I write, I’m publishing, and I enjoy doing that. Worth every penny and more—a wonderful experience,” says another student who finished her BA, MA, and MFA in our program.

Learning Objective 3: Literature: Students in the MFA are not required to take literature classes but many do outside the program and those who don’t with their requirement of MFA-level process classes discuss and analyze with great seriousness certain types of literature that directly pertain to the type of writing they are studying in the process class. In CW 810, the Novella, for instance, students read 8 classic and produce an outline and the first 30 pages of a novella in addition to giving seminar reports on a novella of their choice. Through the process classes and sometimes additional elective literature classes, students meet this outcome 100% of the time. In addition, the classes we offer in process and workshop guarantee that a student applies tools and methods of literary analysis in approaching the writing of peers and most importantly in their own writing.

Learning Objective 4: Craft Elements: Through workshop and process class experience, in their roles as GIAs or training in CW 859, students’ nearly entire discussion of material is based on knowing and being proficient with craft elements of their peers’ writing and revision of their own. As to certification of this criterion, students in workshops write critiques to their peers in the class and often post them on I-learn, on which faculty survey their quality. These constitute the basis for our professors agreeing the 95% of students are meeting these criteria. In completing the thesis and working with the professor, the discussion of their work depends on the use and manipulation of craft elements, which 100% of students must apply to improve their final manuscript.

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In general:

In addition to on-going program assessment, students assess each class (TEEF) and the department sends out three exit surveys which are included in the appendix and are indirect measures of the students’ own analysis of their experiences in the program. These give the chair and faculty knowledge of whether we are succeeding in the students’ perception at giving them what is needed in the four areas cited above.

7.3 Advising

As soon as a student is accepted in the program, he or she is given a list of tenured and tenure-track advisors to call upon and a list of classes to visit. Upon such a visit the applicant would meet with a professor in his or her genre and of course the instructor of the course as well. In addition, he or she is given an approved (by the grad students) list of emails for contact with current MA and MFA students in each genre. This availability of information and welcoming is one of the ways in which we hope to help potential enrollees decide on attending our program.

The first meeting of the fall involves a 2-hour reception for all new grad students at which the faculty introduces themselves, the students introduce themselves, and they receive an MA or MFA advising sheet which is then carefully discussed at the meeting. The advisors are introduced as well, and students are instructed to meet with an advisor of his/her choice once a semester. See appendix for advising sheets. In addition our website contains a careful statement of our requirements for every program, which students are encouraged to read and discuss with an advisor if there are aspects of interest or confusion.

Because we assume that our graduate students may be working or raising families, the faculty is available at all hours most days for advising. If any student is having trouble finding a faculty member with comparable advising hours, the AOC can set up a phone or in person advising session with the chair.

Some students in our 2013 exit survey with a response of 32 graduating MAs and MFAs expressed confusion about the program upon entering. Rather than have the chair also serve as graduate advisor, it would helpful if students had another professor who had selected weekly hours to serve as the graduate advisor in addition to the readiness of all tenured and tenure-track faculty to perform these duties. Until the department is allowed assigned time for such a person and based upon our most recent survey results in which 29% of MFA graduates and 14% of MA graduates viewed their advising experience as fair to poor, the Department will temporarily have the tenured or tenure-track faculty member teaching Community Projects serve as the graduate coordinator beginning with the spring 2014 semester. Having a familiar location and person to coordinate the graduate program, especially advising, will provide visible assurance that this need is being met.

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Of course, having an MA and MFA graduate advisor with assigned time would be a better solution and perhaps provide more follow through and especially attention to those few students who have difficulties due to work or family obligations in meeting the degree requirements or occasional psychological issues that require a different degree of attention. This is one of the recommendations of our review.

It must be noted that more advanced grad students also serve informally as advisors to their peers, helping them with class choices and details regarding forms and format as they approach the filing of their ATCs and Culminating Experience form. Another way to formalize this arrangement would be to make several advanced grad students, perhaps one from the MA and one from the MFA, paid TA peer advisors.

7.4 Writing Proficiency

Because the entire focus of our two graduate degrees is on writing and the goal of both the MA and MFA degrees is for the production of a publishable work, the aim of all our classes is to attain not only writing proficiency but writing excellence. By the use of excellent and culturally diverse models in our MA and MFA level process classes, by the attention to critique and revision in all writing-intensive classes (803,804, 807, 808, 809, 810, 853,854, 855 and 856, 866, 880, 881, and 882) a constant review takes place as part of the process of critique and revision of work. Stories, chapters of novels, plays, poems, and creative non-fiction are held up to professional models which vary distinctly regarding the student’s project and level of immersion in it. If, for instance, a student is writing stories with a Fabulist bent, he/she will be sent to writers such as Cortazar, Calvino, Borges, and Allende and Angela Carter for expert examples of the form. At the same time in class, students will evaluate the strengths and weaknesses of the student’s creative piece, noting where the writing is succeeding and where it needs to be repurposed, sharpened, or remade. It is assumed that every piece of writing a student wishes to keep among his serious and finished works will undergo a series of revisions both in class and in subsequent work on the piece. It might, for instance, be the case that the short fabulist experiment a student did in his process course, CW 810, Experimental Fiction, may turn into a longer and fuller piece when he/she enrolls in CW 809 and revises it yet another time. Similarly, when he/she includes this piece as part of his Culminating Experience, publishable work, the piece will be reexamined for its completeness and polish and appropriateness as part of the thesis in line with the other pieces of creative work contained therein. So at one point a simple experiment may be worked into a story that will find its final home in the student’s thesis at the end of the degree. This piece will have gone through at least three drafts and probably twice that many by the time it is deemed suitable for the thesis. Critique of peers and of various professors will guide the student as he brings his writing to a satisfying degree of completion. Students who go on to publish stories or entire collections, single poems or books of poems, short and long plays, often trace the genesis of their work as it began as an exercise in a class years ago and became a piece the writer by the end had fully explored and come to know.

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7.5 The Culminating Experience

We used to have students who were writing a “secret thesis,” in that none of the work in the student’s final project had been seen in any process class, workshop or semester of Directed Writing. It is clearly stated at opening meetings and on signs on our various bulletin boards that the thesis is a culmination of work originating in the program and discussed and workshopped in the program. We therefore no longer have the problem of a thesis appearing out of thin air with no prior input from many peers and several professors as occasionally occurred in the past.

It is now widely disseminated and understood by all members of the program that the Culminating Experience, CW 893 (3 units for the MA) and the Culminating Experience 893 (6 units for the MFA) is a work-in-progress written at SFSU by 100% of our MA and MFA students. The idea that a student produce a publishable work for either degree is a rule we seek to enforce. It is met by nearly all poets, short story writers, and playwrights. By the end of their stay with us, most novelists also have a polished and possibly published novel. However, it must be understood that even a fine manuscript produced in our program does not have a promise of being received that way in the publishing world. To the end of students succeeding with the best work we see in the program, the poets, fiction writers, non-fiction writers and playwrights use their own broad experience in publishing to 1) help place a student’s thesis in association with the published writing it best resembles and to send students in the right direction as he/she approaches agents, publishers, or dramaturges. 2) Faculty make recommendations to students when possible of where their individual poems, stories, chapters of novels, creative non-fiction pieces may find a home, once again referring them to predictable experts and journals for their possible success. 3) Faculty with current publishing connections with active presses seeking work write letters of support and recommendation to agents, editors and publishers on behalf of students whose work seems appropriate in the venues in which a faculty member has access. Of course not every student fits the cultural and publishing niches that a faculty member has access to. Many students make their connections independent of the program. Some fine students have no early success with publishing while others do. Some need to write subsequent novels or books of stories or poems or plays before they have a work that is not only publishable but gets published, and some, of course, never reach that goal. Through our newsletter we stay in touch with alumni who report their early triumphs or later successes. Sometimes many years after graduation an alumnus will report his or her news of publication. For instance, Jon Boilard, who finished the program in 1996, reported excitedly to us that his first novel, published by a well-respected press in 2012, was a finalist for the Northern California Book Award, a major achievement. It is something which makes us proud and certainly reassures us when we hear such news. It also illustrates that writers whose successes come much later in life still feel allegiance to their MFA or MA degrees from our department.

Our culminating experiences are read very closely with a first reader of the thesis who helps the student shape and organize the final manuscript. The second reader does a more cursory job of corroborating that the first reader’s assessment is largely correct and

36 offering any other pertinent comments he/she wishes to make. In the course of a semester a student will have 3-5 meetings with his/her first reader and one with the second reader who sees the work after the student and the first reader deem it acceptable.

All theses need to be book-length, which means an approximate length of 50-75 pages for a poetry manuscript, 100 pages for a book of stories, 60 pages for a play and 200 pages for a novel. Of course, there are instances when a book is slightly shorter than the prescribed length and more frequent instances in which a novel may well be 400 or 500 pages in length. Theses must be approved for their appropriate length by the first reader who makes an agreement prior to setting out on the project with the student.

Those students who choose to get the MA degree and later the MFA degree must produce two different theses to attain both degrees. A student therefore will write, for instance, a book of stories and a novel; two completely different collections of poems; two plays, etc. This is a huge attainment for students who often illustrate in a span of 3-5 years their ability to work well more than once in a genre or equally well in several genres. We are proud of our students who obtain both degrees. Many of them go on to publishing both manuscripts or excerpts of those manuscripts in literary journals.

Of course, not all students are able to get their Culminating Experiences quickly or easily published. This would hold of literature Ph.D. candidates as well, whose dissertations do not easily or quickly get taken by a press for book publication even after they are greatly revised. Some of our students abandon their theses for new works upon graduation, but even in those cases the skills they learned and close reading and critique they received allow them to complete the next book with more insight and power.

The department, as noted previously, often discusses the quality of the culminating experience for students as well as the quality of the product the student presents. We have through these discussions moved to the stricter rules mentioned in paragraph one of this section to assure that all thesis work is done with supervision within the confines of the program. We have standardized within a range the number of times a thesis student can reasonably hope to meet with his/her advisor. We have talked at length about the difficulty that novelists face in having enough classes and time to complete their degrees and are still looking for ways such as the possible designation of fiction (novel) vs. fiction (short story) workshop at the MFA level, a practice, which after further discussion, we may adopt in the near future. We have discussed common standards but know from the way we collaborate so closely on admissions and by the trust we put into one another as being fine writers of fiction, poetry, creative non-fiction or plays that our students will produce comparable theses no matter their director. That isn’t to say that some students don’t “break the mold.” We have seen students arrive in the program with writing so excellent that were there enough, he/she could finish a thesis that day, and there are, of course, occasional students whose talents we misjudge or who simply are ambivalent about their own writing or uncertain humanly in ways that undermine their projects or simply yield no outcome. With the fine skills one learns in our program, the excellent peers and faculty who serve to accompany their fellow students into their careers as writers, and the many opportunities available to newer writers both in the

37 printed and on-line media which we in the program make them cognizant of, most students will find some degree of success as writers if they wish to persist. Not all writers, of course, receive the remuneration or notoriety of others any more than MA or MFA graduates of arts or cinema find their movies featured at Cannes or in the permanent collection of the Guggenheim.

Faculty are not compensated monetarily or by WTUs or assigned time for the extensive thesis work they do. A change in this area is highly recommended. We as a group do more thesis work than at most universities and probably the most time-consuming supervision of MFA programs in the university. We are also well above the norm for creative writing programs which are often smaller or employ outside readers for a fee to work on student theses.

Students, as the survey in the appendix shows, mostly understand the complexities of life in a creative genre and its possible futures. We try the best to prepare them for many possibilities in both the MA and MFA programs.

7.6 Overview of Program Quality Indicators

Through the newsletter which tracks student progress once having completed a degree and through continuing mentoring relationships with students as well as the press which announces major awards, we know that our most recent as well as previous receivers of our graduate degrees have done extremely well. Our department website has a 22 page list of graduates from our programs and their many books (see appendix). If the list were to contain all the alums who go on to publish single poems and stories and are included in anthologies, the list would most likely be ten times as long. We are also aware that some of our graduates have gone on to be “superstars in the world of publishing.” For their fame as popular writers alone, Anne Rice (1971), Frances Mayes (1975), and Po Bronson(1994) merit mention. Along with these “household names” are Pulitzer Prize winners Philip Schultz (1967) and Rae Armantrout (1975). Ernest Gaines, Jr. (1957), whose first story was published in our student magazine, Transfer, a fact he often references, is a MacArthur genius grant award winner whose books, The Autobiography of Miss Jane Pittman and A Lesson before Dying, have become popular novels and films. Alumni of the program, Forrest Gander (1981) and Cole Swensen (1983) have been nominated for a Pulitzer Prize and the National Book Award respectively in poetry. Novelist Gail Tsukiyama (1981) makes a wonderful living from her novels celebrating Japanese-American families. Poet and novelist Carol-Muske Dukes (1975) is chair of the PhD program in Creative Writing at USC and the author of many novels and books of poems. She was the state’s first . Alejandro Murguia (1992), an MA graduate of our program, is San Francisco’s Poet Laureate. All of these luminaries are graduates of the program from previous decades, but more recently, there are any number of success stories as well: I am taking these from the genre reports submitted this year for the 6th Cycle Review.

Just out of the program this year fiction writers May-Lee Chai (2013) and Moses (2013) have gotten tenure-track positions at CSU San Bernardino and at

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SUNY Plattsburg in fiction. Several years ago poet Chad Sweeney (2006) also received a tenure-track position at CSU San Bernardino as did fiction writer Robin Romm (2005) at a small college in New Mexico.

Peter Nachtrieb (2005) was recently the most produced playwright in the country, and is now playwright in residence at Z Space, a prominent producer of new and adventurous work in the Bay Area. Claire Rice (2006) is a renowned local writer and stage director whose work focuses on raising the visibility of women writers and performers. Christopher Chen (2008) is currently one of the hottest young Asian-American writers, and his work has been nationally lauded as well as widely produced. Prince Gomolvilas (1997), a Thai-American writer and performer, was recently featured as one of the 40 top arts innovators in the Los Angeles Arts scene. Garret Groenveld (1997) has garnered international awards and numerous productions throughout Europe. Safiya Martinez (2012) is currently at the Marsh Theater performing in a long-running engagement of her solo show based on her experiences as a teacher in a dysfunctional public school – a piece that was premiered on campus in the SFSU Fringe Fest. And writers such as Liz Gjelton (2007), Marilyn Kriegel (2011), and Evelyn Pine (2010) are mainstays of the Bay Area theatre scene working in programs such as the Olympians Festival and Playground.

Our students have gone on to become huge presences in the poetry world. Tsering Wangmo Dhompa (1998), Truong Tran (1995), Laura Walker (2003), Barbara Jane Reyes (2005), Catalina Cariaga (1997) , Roxane Beth Johnson (2011), and Keeley Hsylop (2012) are just a few examples of poets who are becoming important presences in the world of poetry with award- winning poetry collections from major poetry presses. Last year, our students Gerardo Pacheco (2011) and Carolyn Ho (2014 MFA candidate) won the Jackson and Phelan Awards, competitive prizes open to all Bay Area writers. “A number of our students have gone on to become adjunct or tenured poetry faculty at respected poetry programs in the Bay Area: , St. Mary's, USF, Santa Clara University, UC Berkeley. And beyond: Cal State San Bernadino (Chad Sweeney), SUNY Plattsburgh (Kate Moses), etc. And then there's Forrest Gander, Frances Mayes, many others, all former poetry students in our program,” says one member of the Department. “Look at the output of our students’ work in the world, not only in areas of publication but how our students have gone on to have an important impact on the Bay Area literary scene and beyond. Our poetry students have created new literary series and community events (e.g., NEA winner Sarah Mangold (1998) initiated a Seattle-based reading series), and others have forged important alliances with progressive community organizations (Intersection for the Arts, etc.).

In fiction there are numerous examples of recently successful students with first novels and story collections including Bridgid Hoida (1999), Jon Boilard (1995) (whose novel was nominated for the Northern California Book

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Award), Dan Coshnear(1995) (whose book of stories won the Northern California Book Award), Gabe Roth(2009), Scott Landers (2003), Anita Amirizvani (2010) (whose novels about historical Iran, both of t hem written while in the program, have been translated into 20 languages). Annie Holmes (2008) who has a book of stories in her native Zimbabwe and a monograph on life in Zimbabe from the U of Press (her thesis supervised by Prof. Chernoff). Matthew Iribarne (1996) (who teaches at USF has published a well-received book of stories; Karl Soehnlein (1996), also on the USF Faculty, has published two novels on gay themes, one his thesis in the program; Jan Ellison (2007) is about to publish a novel with a six-figure advance based upon a short story she wrote her first semester in the program, revised and lengthened for her thesis and made into its current form as a novel. No two writers have had such success so quickly in fiction in recent years as Robin Romm (2005), whose book of stories won the Michael Rubin Chapbook Award and then was picked up by Simon and Schuster for an expanded short story collection, The Mother Garden, reviewed in , as well as a creative non-fiction book begun toward the end of the program, The Mercy Papers, which received a cover review in the New York Times in 2011. Don Waters (2005) won the Iowa Short Fiction Prize for his book of stories, Desert Gothic, many of whose stories were included in his thesis) and will have his first novel out from a major press in fall. Richard Martin (2009) co-edited two anthologies of stories by Bay Area sex workers, one of which was a first page New York Times Book Review choice. Another recent fiction graduate, Shruty Swamy (2012), won the Rose Fellowship of $54,000 based upon her writing sample and awarded by to one alumna working in the arts a year. This is a huge prize in literary circles. We were intrigued by her writing as our student and proud of her Rose Fellowship as well.

In creative non-fiction, our newest genre, people have been producing all along: for instance, Elizabeth Scarboro’s (2007) heart-breaking account of her relationship and relatively brief marriage to her husband who suffered from cystic fibrosis and died shortly after a lung transplant, was her project during her entire recent stay in our MFA Program. The book, My Foreign Cities, was recently published to acclaim by Norton. Another creative non- fiction author from our program and later a professor in our department is Frances Mayes, whose memoir Under the Tuscan Sun was an international best-seller. Robin Romm’s Mercy Papers, begun in our program, was also a New York Times front page review. The other effort I wish to mention in creative non-fiction is the use of our students who receive 699 and 899 credit as interviewers and editors for the Voice of Witness Series run by a former MFA graduate of our program, Mimi Lok (2007), and published by McSweeney’s. These ethnographic collections focus on dangerous and troubled parts of the world and tell of the lives of people who inhabit them. No fewer than 15 BA, MA, and MFA students have interviewed and compiled interviews for their various books, edited and co-edited by Peter Orner and 40

MFA graduates of our program, Annie Holmes and Aurora Brackett (2008). Books on undocumented workers, the crisis in Zimbabwe and many more topics have been reviewed in many newspapers and a large article based upon our faculty and alum’s take on Zimbabwe received a major review in Harper’s. It is a rare opportunity to have such a rich experience while still a student in a creative writing program. With SF State’s commitment to issues of social justice, we are pleased that our students have this outlet for their many talents and concerns.

Other important contributions to the community by our graduate student and alums include vibrant and innovative members of the National and Bay Area literary community. Students have created reading series and small presses and literary journals: Gravity Goldberg (2009), editor of Instant City; Kirk Read (2007), creator of the Smack Dab reading series noted as one of the most exciting literary venues in San Francisco. Brandon Mise (2006) founded BlueBarnhouse Press, publishing hand-made books—the press has now become a letterhead press and Mise’s forthcoming book Adventures In Letterpress, is forthcoming from Random House. Janis Newman (candidate fall 2013) directed and developed LitCamp, the Grotto/Litquake writers’ conference featuring NY agent Amy Williams, McSweeney editor Ethan Nsowsky, and author of the Pulitzer Prize winning novel, The Orphan Master’s Son. Numerous students have participated in nationally recognized literary events such as LitQuake and educational programs such as 826 Valencia. This is a short list representing the vital contributions our students make to the literary world. This list could be pages long, but is a brief example of how life measures our program: our well-prepared and often highly gifted and successful writers in all genres are proof of our strength.

In addition to writing careers, some of our MFAs and MAs are admitted to PH.D. programs in literature, comparative literature, and other fields: among recent graduates are Aurora Brackett(2008) at UNLV; Nicole Pollentier (2004) in Cultural Studies at University of Pittsburgh; Chad Sweeney (2006) and Aimee Valentine (2013) at Western Michigan University; Hillary Kaplan (2010) at Brown University in Comparative Literature, Tim Willcutts (2009), Lauren Shufran (2008), Kelly Holt (2001), and Eireene Neeland (2005) at Santa Cruz, and Christopher Hayter (2010 ) at Georgia State University. Pony Smith (2005), Nicole Pollentier (2004) and Christopher Chen (2008) received Fulbrights to Japan, , and Germany.

Visits to the program in our Writers on Writing class, our Business of Creative Writing class, and our Poetry Center class put our students into contact with many famous writers weekly. In spring we have a special fiction event, the Gina Berriault Prize, given to a well-known writer who offers a public reading and lectures to our students. The prize is named after another alumna from the 70s, who wrote 41 brilliant short stories that were recognized with numerous prizes by the time of her death, including the National Book Award; the reading is regularly introduced by her partner, another alum of our program, Leonard Gardner, whose novel Fat City is a classic. In addition, our own faculty is comprised of well-known and award- winning writers. Maxine Chernoff, Camille Dungy, Nona Caspers, Michelle Carter and Paul Hoover have won NEAs. Hoover and Chernoff have won the PEN USA Translation Award; Carter, a PEN USA playwriting Award; fiction writers Peter Orner received a Guggenheim Fellowship while teaching here; new fiction writer ZZ Packer joins our faculty with a Guggenheim and Whiting Award already to her name. Students have rich resources for mentoring and modeling in our program, which produces manifold fine graduates in all genres.

One continuing issue in our graduate programs, as affordable as they are in comparison to many national and local programs (with the CCA MFA in CW costing a student $52,000 a year) is our lack of large fellowships or scholarships for our students. Though needy new students can apply for Graduate Equity Fellowships and sometimes receive them and for the past five years one of our best entering out-of-state students has received in-state tuition for his/her first year through the Provost Scholar Award, we have no other prizes or awards for entering students before they reach the program. This cuts down on the number of students willing to attend and certainly makes us lose some of our best students of color who are vigorously recruited by schools that do offer financial support.

Once in the program, many prizes and awards are available to students from the $2000 Highsmith Award for a play on a gay or to the two William Dickey Scholarships of $1000 each offered to an outstanding new MA and MFA poet in the program to the $800-1000 prize for merit and financial need, the Manoogian Award offered to a new student in any genre to the Ylvisakar Prize, offered to a new graduate fiction student of merit in the amount of $500. Many smaller awards of $100 are also given to students for poems and stories written in the program. Also yearly we give a Michael Rubin Award, which is the publication of a 50-100 page book of poems or stories in alternating years. This book, published in an edition of 300, is the student’s prize and is produced by the staff of 14 Hills. Judged by a well-known outside writer, it is perhaps the most coveted prize in the department.

Given the talent of our students and the practicality of attaining an MFA degree which will eventually “pay for itself,” we find this a striking lack in such a prominent and highly successful program. For there to be no major donors or “angels” for the welfare of our students constitutes an ongoing problem. Other alternatives to major donors would be the university’s willingness to allow GTAS (paid), TAs (paid) and GIAs (unpaid) to have tuition and fee waivers. Without any of these prospects, we lose fine candidates for the program. We lose our ability “on paper” to compete in surveys that rank top programs by level of endowments. We lose fine minority students who are actively recruited elsewhere, and we make a hardship for students who would like more time for their writing instead of an additional burden in their already busy lives. We continue to work with Development on possible donors, but there has been little progress and certainly no consistent progress. Now and then someone entertains the notion that a

42 person or persons should be “groomed “ for endowments or a bequest, but none of the possibilities has been realized, and the higher the tuition soars, the more trouble our students have meeting demands of living without fellowships and scholarships in an expensive area of the country such as this.

8.0 The Program and Community

8.1. Professional Engagement of Students and Alumni

Research, internships, collaborations, conference participation and publications are areas in which there is a high amount of engagement between the program and its students. Several examples of research involvement include the already described use of our students, both graduate and undergraduate, to conduct interviews and transcribe and edit transcripts for the Voice of Witness program, usually for 699, 899, or 675/875 credit. This is an ongoing connection that we have forged with the program through its director Mimi Lok, our alum, and through the supervision of Professor Peter Orner. Another example of research and collaboration in it is the work of Nona Caspers on her forthcoming collection, Here Comes the Brides, for which, once again, graduate student researchers were used as ethnographers and editors of the book and videotapes. A third recent example was Professor Toni Mirosevich's Pacifica Boardwalk Poetry project, funded bythe Office of Research and Sponsored Programs, that engaged students as poetry readers at events, event organizers, and researchers into the history of the pier and its rich cultural legacy. Poetry faculty Maxine Chernoff and Paul Hoover, whose careers as editors of New American Writing and a former literary magazine have involved several students in archiving the letters and documents contained in its folders for donation to the University of Library. Thus, natural bridges grow between faculty and students and provide them with rich opportunities in this area.

In order to give papers or present their plays at events and conferences from the MLA regional meetings to the Lincoln Center's Playwright initiatives, between 3 and 5 students a year have gotten partial financial support. Unsupported regarding funding, many students are nevertheless encouraged to attend the annual meeting of the Associated Writing Program, where they have attended panels and workshops and on several occasions (with partial support) represented our magazine 14 Hills at the Book Fair. Through Camille Dungy, students have been invited and have attended workshops of the Cave Canem group of African-American writers, a highly prestigious and prominent organization. Through Professor Chernoff’s connection to the Naropa Institute in Boulder, Colorado, the Prague Summer Workshops in Prague, and SLS, the Summer Literary Seminars in St. Petersburg, Russia, students have received partial and on occasion full scholarships to attend their week to month-long summer programs, where they study with renowned guest writers and learn about another region of the US or another country. There is also a connection with Australia's largest creative program in Sydney and possible faculty and student exchanges. Another recent contact through Prof. Chernoff is at Exeter University in England, which hopes to develop an exchange program for our graduate students with theirs. Creative Writing is a community affair and at every juncture we encourage students to participate in such activities and provide them

43 important links and introductions as appropriate to our status not only as professors but as mentors well into their careers as writers.

Our alumni efforts have also been discussed. The once or twice yearly newsletter is now online at our department website as is a list compiled in 2007 of all known book publications by our alumni. The list will be updated no later than spring 2014, and through our department website, we will continue to track the progress of our alumni. With the Poetry Center and American Poetry Archives celebrating its 60th anniversary this year, there is also the plan to host a benefit alumni reading in early 2014 to celebrate our students as well as the Poetry Center. A letter explaining our current efforts and need for support is currently being readied for our major donors who appear on a list provided by Development.

We have not made an effort to establish an advisory board since we are already a department of engaged writers who know the literary community both locally and nationally.

We of course want to continue our efforts in the ways suggested above and hope that funds remain available for students to travel and otherwise engage in professional activities. It would be beneficial to our students to extend funding of these opportunities and for our faculty to feel that connections forged for students regarding travel and other opportunities are generous.

8.2 Civic Engagement

Although we offer over 50 internships to our students (see Appendix) through our Community Projects in Literature class, they are not vetted through the Service Learning office, and students do not therefore receive transcript recognition for them. Were there to be more assigned time for assistance in the program, this might be an area in which there could be a coordinator of internship activities who would formalize these arrangements and visit the sites where the work occurs.

8.3 Equity and Social Justice

Our diverse faculty and students are in a continued and deepening dialogue about issues of a writer's role in the larger world. Not only do we offer such classes as the Poetry of Witness, The Lyric Documentary, and The Displaced Person, courses in which the idea of "voicing" the issues of broad or narrow cultural groups who are under or misrepresented or "hidden" by their larger cultures are the grist of the course, but numerous activities and connections we have forged in the world (Voice of Witness, interning at 826 Valencia with children from the Mission, partnerships mentoring at School of the Arts, where our MFA Heather Woodward (2004) runs the creative writing concentration, bilingual plays launched by Roy Conboy at venues in the Mission, students who teach writing at Juvenile Hall and at San Quentin and at Kearney Street Workshop) all speak to the department's high level of engagement with issues of social justice. In addition, our Writers on Writing class and our Poetry Center Workshop via

44 their many guests represent all perspectives in writing. In this season alone the Poetry Center featured readings and performances on the subject of healing and the Arts of Crisis, on the subject of How to Live on the Planet Earth, and performances by National Book Award winning African American poet Nikky Finney as well as by other African American poets and musicians including India Cooke and Will Alexander, and Wanda Coleman (recipient of the Poetry Center Book Award). This is just an example of the Center’s diverse offerings. The Poetry Center is also responsive to new opportunities for showcasing writers. In June 2013, there was a rare instance of a summer reading featuring, an Afro-Cuban poet who is visiting from Cuba. In fall 2012 they co-sponsored an event with the Dilena Takeyama Center for the Study of Japan and Japanese Culture. In spring 2012 it organized a panel of poets and performance artists to accompany the Fine Art Gallery’s installation on South Asian painters. In this highly multi-cultural environment, there are any number of opportunities to stress diversity, equity, and social justice.

As to issues of equity and diversity, our department not only has lecturers and professors of many backgrounds including African-American, Korean-American, Hispanic, and Vietnamese, but we have faculty who range in age from 86 to 23 (GTAs) and we have three gay or lesbian faculty members among our tenured and tenure-track hires, three writers of color among our tenured or tenure-track faculty, and many other gay and lesbian lecturers, GTAs, GAs, and students. Our writers address issues from same sex marriage to the vicissitudes of slavery to the struggle of residents of the New Orleans area to Namibians after that nation’s civil war in their poems, stories, novels, plays and nonfiction work. Our students write freely about "edgy" topics and are treated with respect and encouraged by the permission we allow in classes and model in our department.

We explore any manner by which we can extend our inclusion to a greater number of people and forge more outside partnerships that allow students and the community to join in the discussion.

8.4 Internationalization

Though at the graduate level Creative Writing is not an area that attracts many international students or in which international students can compete, we have had several memorable and highly successful international students in our program, poets Tsering Wangmo Dhompa (Tibet), Gerardo Pacheco( Mexico), Jennifer Tsang (Hong Kong) and fiction writers Mimi Lok (Hong Kong), Sara Marinelli (Italy) and Annie Holmes (Zimbabwe). A playwright from Mexico just completed our program. With the previously mentioned summer seminar opportunities for students in Prague and St. Petersburg, and with poet Paul Hoover teaching in a winter institute in Mexico which our students may attend, there are many informal opportunities for students to write and study abroad. In addition, our undergraduate students enjoy a relationship with the University of East Anglia. A second university in Kenya has just signed an agreement that will allow our two institutions to exchange students as will a university in Sydney, Australia, and a second British university, Exeter. It is hoped that there will be exchanges of faculty

45 between the university in Sydney and SF State, and various faculty in the past several years have taken their writing projects to other nations or given readings in international settings: Paul Hoover has been an invited poet and speaker at conferences in Argentina, Venezuela, Vietnam, Lithuania, and Mexico. Poet Camille Dungy has taught in Namibia and visited Ghana. Poet Maxine Chernoff has taught in Prague and at Exeter. Fiction writer Peter Orner has visited Haiti and Zimbabwe for Voice of Witness projects. Professor Stacy Doris at the time of her death was involved in several sound and poetry projects in . Poetry Center Director Steve Dickison has spent several summers in Greece working on group translations of younger Greek poets. Poets in the program are active translators in German, Spanish, Vietnamese, and Greek. In addition our Craft of Translation course, CW 866, invites students to write translations of their own and explore this rich field of imaginative collaboration.

We hope to broaden the range of international opportunities for faculty and students as well as manners of engagement and try at all times to accommodate new and interesting plans by either group.

9.0 The Faculty Experience

9.1 Faculty Statistics

Table 9 Table 10 Faculty Distribution by Rank and Gender Faculty Distribution by Age Number of Faculty Age # of Faculty Rank Female Male Professor 5 5* <30 3 Associate 30-34 0 Professor 35-39 2 Assistant 40-44 4 Professor 1 45-49 1 Lecturer 8 8 50-54 4 Graduate 55-59 2 Teaching 60-64 6 Associate 1 2 65-69 2 70-74 0 Total 14 11 75-79 0 * 2 Male Professors are currently participating in the Faculty Early Retirement 80-85 1 Program (FERP).

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Table 11 Faculty Distribution by Ethnicity Number of Ethnicity Faculty Native American African American 2 Chicano, Mexican American 1 All Other Latino Asian 2 Filipino Pacific Islander White Non-Latino 20 All Other 1

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Table 12 Faculty Workload Distribution: Tenured/Tenure-Track (Numbers in parentheses indicate number of sections.) Fulltime 2007 2008 2008 2009 2009 2010 2010 2011 2011 2012 2012 2013 Faculty Fall Spr Fall Spr Fall Spr Fall Spr Fall Spr Fall Spr Carter 809, 809, 809, 809, 810, 809, 810, 809, 810, ?on 855, 809, 810, 810, 860, 810, 875* 855, 859 860, 859, leav 859, 810, 860 860 880 855 860 880 860 e? 880 860 Caspers 809, 809, 809, ?on 810, 809, 820*, 809, 875*, 809, 880 809, 810 853 880 leave? 880 853 880 853 880 860 (2) 860 Chernoff 809, 803, 809 809, 820* 803, 810 809, 810 809 853 809 853 809 820* Conboy 809, 809 809, 809 856 809 856 809 809, 809 809 809 856 856 856 Doris† 809, 809, 809, 806*, 809, 809, 809, 854, 810, 875* 809, 881 866, 854 881 854 881 881 Dungy 809, 804, 809, 804, 809, 810, 809, 804, 809, 809, 809, 804, 810, 809 881 809, 810 854 875*, 881 810, 820* 810, 820*, 854 881 881 854 , 881 854 881 Glück** 809, 809, 806*, 809, 810, 809, 806*, 809, 809, 809, 875*, 820*, 809, 810, 820*, 810, 853, 820*, 853, 820*, 880 853 853 820* 853 853 880 880 875* 853 Hoover 809, 809, 809, 809, 809, 804, 809, 810, 809, 854, 804, 854, 881 854, 814*, 810, 854 881 814*, 881 881 866 809, 881 881 875* 881 854 814* Langton** 804, 809 804, 809 804 809 804 809 804, 804 809, 809 809 809 881

Mirosevich 809, 809, 809, 809, 809, 859, 809, 854, 809, 860, 809, 860, 860, 860, 854, 860, 880 860, 859, 860 875*, 859, 880 875* 880 860 881 881 880 881 880 Orner 809 809 809, 809, 803, 809, 809 809, 810, 809, 810 880 880 810 853, 853, 853 880 859 Tigay na na na na na na na na na na 809, 853, 810 875*, 880 * Paired graduate/undergraduate courses. ** Faculty Early Retirement; faculty teach a reduced load, three courses in Fall. Anticipated last semester for each FERP faculty: Glück and Langton: Fall 2016. † Stacy Doris passed away January 2012.

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Table 12.1 Faculty Workload Matrix: Lecturers (Numbers in parentheses indicate number of sections.) Courses 2007-08 2008-09 2009-10 2010-11 2011-12 2012-13 803 Fall (1) Spring (1) Fall (1) Spring (1) Fall (1) Fall (1) Spring (1) Spring (1) Spring (1) 804 806* Fall (1) Fall (1) Fall (1) 807 Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) 808 Spring (1) Spring (1) Spring (1) Spring (1) Spring (1) Spring (1) 809 Fall (1) Spring (1) Spring (2) Spring (1) 810 Spring (2) Spring (1) Fall (1) Fall (2) Fall (1) Spring (1) Spring (2) 814 820* Fall (1) Fall (1) 825 Spring (1) Spring (1) Spring (1) Spring (1) Spring (1) Spring (1) Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) 840 Spring (1) Spring (1) Spring (1) Spring (1) Spring (1) Spring (1) Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) 850* Spring (1) Spring (1) Spring (1) Spring (1) Spring (1) Spring (1)

Fall (1) Spring (1) Spring (1) Fall (2) Fall (1) 853 Spring (1) 854 Fall (1) Fall (1) Fall (1) 855 Spring (1) Spring (1) Spring (1) 856 859 860 866 Spring (1) 875* 880 Spring (2) Spring (1) Fall (1) Spring (1) Fall (2) Fall (1) Spring (3) Spring (1) 881 Fall (1) 882 Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) Fall (1) Spring (1) * Paired Graduate/Undergraduate Class

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Table 13 Tenured/Tenure-Track Faculty Publications, Awards, Commissions Faculty Books / Plays Published Edited / Anthology / Readings Awards, Honors Residencies, Commissions, etc. Translated Journal Presentations Publications Productions Carter Undiscovered , 2013; After All , 2013; 2012 2013 (3); 2012 (3); Pen USA Literary Award in Drama, 2012; Book Wings Russia joint commission 2012; Lunch , 2012; Patience 2011(2); 2010 (4); Susan Glaspell Award in Drama, 2010 Moscow Art Theatre and Univ. Iowa, Worth , 2011; How to Pray , 2009; 2009 2014; Symmetry Theatre, 2011; Ukulele Dreamspiel , 2008; Kings Play Orchestra of Great Britain commission, Chess on Fine Green Satin , 2008 2008

Caspers Little Book of Days ,2009; Heavier 2011 (2); 2010 (5); 2010 (3); 2009 (12); San Francisco Arts Commission Cultural Than Air: Stories ,2008 - reprint. 2008 (2) 2008 (12) Equity Grant(2011); Glimmer Train Nat.l Fiction Open, 2010; Small Press Distribution Best Selling Book, 2009; NEA Fellowship, 2008 Chernoff Here 2014; Without, 2012; To Be 2013, 2012, 2013 (7), 2012 (7), 2013, 2012 (4), 2011 NEA 2013; Berkeley Library Literary Intl Visiting Scholar, Exeter, UK 2013; Read in the Dark, 2012; A House 2011, 2010, 2011 (1), 2010 (11), (3), 2010 (6), 2009 Laureates 2013; Pen USA Translation Prague Summer Seminar, 2010; Naropa in Summer , 2012; The Turning, 2009, 2008 (4), 2009(6), 2008 (5), (11), 2008 (8), 2007 Award 2009. Institute, 2009 2008. 2007 2007 (13) (11)

Conboy In Hollow Time/En El Tiempo Sin 2014; 2012; 2011; Alma - A Blues Opera , 2013; My 2010; 2009; 2008 Tia Loca's Life of Crime , 2010; El Canto del Roble/The of the Oak , 2009; Hot Tamale/Tamale Caliente, 2008 . Doris Fledge: A Phenomenlogy of Spirit , 2012; The Cake Part , 2011 Dungy Smith Blue , 2011; Suck on the 2009 (2) 2013(7); 2012 (22); 2013 (10); 2012 (11); 2013: Sustainable Arts Foundations 2013: US State Dept, Speakers and Marrow , 2010 2011 (11); 2010 2011 (15); 2010 (17); Promise Award. 2012: SFSU Prof. Dev. Specialists Program, Namibia. 2012: (14); 2009 (14); 2009 (13); 2008 (8) Excellence. 2011: Distinguished Univ. Iowa/US State Dept. Reading Tour 2008 (14) Alumna, West High School; American Zimbabwe; Faculty, Sanibel Island Book Award/Before Columbus Found.; Writers Conference (2); Faculty, California Book Award Silver Medalist; Kachemak Bay Writers' Conference; Northern California Book Award. 2010: Faculty, Between the Lines:University Crab Orchard Open Prize for Poetry; of Iowa. 2011: Philip J. Otis Lecturer, Northern California Book Award - Bates College; Presidential Lecturer, Special Recognition. 2009: Dr. Sherwin Univ. Maine; workshop facilitator, W. Howard Poetry Award. Mendocino Coast Writers Workshop; Parsons Memorial Lodge Summer Series. 2010: Casa Libra en La Solana. 2009: Centrum Writers Conference, Port Townsend; workshop facilitator Sacramento Poetry Center. 2008: Faculty, Tomales Bay Writers' Workshop. Glück Elements of a Coffee Service , 2013 2013 (7); 2012 (2); 2013; 2012; 2011; 2010: Residency, Millay Colony. 2009: reprint; Pig Speech , with Jocelyn 2011 (2); 2010 (3); 2010; 2009(2); 2008 Faculty, CSU Summer Arts, Fresno; Saidenberg, 2012; The Dead , 2009(2); 2008 (2) with Sarah Schulman, 2008. Hoover Desolation Souvenir , Intention 2013(2);2012(1); 2013 (4); 2012 (5); 2012; 2011; 2010; 2010: Frederick Bock Award. 2009: Pen and Its Thing , In Idiom and Earth, 2011(2); 2010(2); 2011(9); 2010(6); 2009; 2008(7) USA Translation Award. 2012; Coraz ón , 2009; Sonnet 56 , 2009; 2010(4) 2009(14); 2008(18) 2009 Langton Personal Effects, 2013; During Our Walks, 2012; The Sonnets, 2010; Greatest Hits , 2008. Mirosevich The Takeaway Bin , 2010 2013(4); 2012(4); 2013(7); 2012(6); 2012: SFSU/ORSP Grant. 2013 and 2011: Hedgebrook Writers 2011(4); 2010 (3); 2011 (13); 2010(5); Residency. 2010 and 2009: Blue 2009; 2008(9) 2009(5); 2008(11) Mountain Center Writers Residency. Orner Last Car Over the Sagamore 2010; 2008 2013; 2012(3); 2012: California Book Award, New York Bridge , 2013; Love and Shame 2010(2); 2009; Times Editors Choice. and Love , 2011; Esther Stories , 2008(4) 2013 (reprint) Tigay Nuclear Meltdown , 2012; Unholy 2013; 2012; 2011; 2013(2); 2012(4); 2013: Pushcart Prize, Special Mention; 2011-12: Investigative Reporting Scriptures: Fraud, Suicide, 2010(4); 2009(3); 2011; 2010(2); 2009; Fellowship, UC Berkeley. 2011: Yaddo Scandal and the Bible that 2008(3) Artists' Residency; Mesga Refuge Rocked the Holy Artists' Residency. 2011-2008, Adjunct City (forthcoming, 2015) Faculty, . 2009 and 2008: Blue Mountain Center Artists' Residency.

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Table 13.1 Adjunct Faculty (Lecturers) Publications, Awards, Commissions Year Books Edited / Anthology / Readings Commissions, Published Translated Journal Presentations Grants, Residencies Plays Produced Publications Productions 2013 3 1 19 30 3

2012 3 4 23 15 4

2011 6 1 19 27 9

2010 5 2 9 17 5

2009 5 2 16 17 9

2008 5 2 18 27 6

9.2 Research and Professional Engagement of Faculty

Table 9.1 illustrates the high level of involvement of our faculty, both tenured and tenure-track and active lecturers. Among our tenured and tenure-track faculty, 12 people have published or had a total of 42 books and plays produced and won ten major literary awards, including NEAs, PEN USA Translation and Playwriting Awards, a Northern California Book Award, two California Book Awards, and an American Book Award from the Before Columbus Foundation.

Our lecturer faculty is also extremely well-published with 35 books published and plays produced in that same period.

Many of the grants and commissions involve student internships and collaborations. We are a well-published faculty who includes many students in projects such as the ORSP/Funded Pacifica Project of Professor Toni Mirosevich, the Voice of Witness books edited by Peter Orner and involving student editors and writers, and a book by Robert Gluck in collaboration with MFA grad Jocelyn Saidenberg. Our faculty gets published in the most prestigious magazines, commonly presents at our national AWP Convention, and gets invited to read and teach at many celebrated creative writing residencies in summer and at other institutes and institutions of higher education. (CVs in Appendix provide further details.)

9.3 Supervision of Culminating Experiences

Because all of our students in the MA and MFA must present a thesis of publishable quality in their genre, it is a labor-intensive task, and though we record how many theses faculty complete, there is no current means by which they are compensated with WTUs, honoraria, or by other means. It would be advantageous to the program if a certain

51 number of theses (six for a year, twelve over a two year period) led to a course release, but it is not currently the case.

9.4 Discipline Specific Standards for Teaching Graduate Courses

All faculty teaching graduate classes are published writers in the field of expertise in which they are employed or playwrights whose work is staged. Among those who teach a course in the undergraduate program and one in the graduate program, there are two fiction writers who do not have books but have had many individual stories published and grants from the San Francisco Arts Commission. Many of our adjunct faculty have won awards and regularly give readings and presentations at national conferences. Many would most likely hold full-time teaching positions if they did not live in the highly competitive Bay Area.

Of course, with the number of MA and MFA students, all of whom do time-consuming thesis work, it would be optimal to have two more fiction/creative non-fiction writers, two more poets, and one additional playwright. This would allow for less pressure with labor intensive thesis work, application reading, advising, and mentoring. We have not been at this level of tenure-track lines since before the budget crisis of the early 1990s. At the same time we have added an entire program, the MFA, and managed to staff it with qualified and talented writer/teachers.

9.5 Interdisciplinarity

If interdisciplinarity is defined narrowly as a course taught by faculty collaborating with one another from different fields in one classroom, our program lacks such engagement in all but one course, Literary Journalism (Journalism 667), which was recently co-taught by Peter Orner of our department and Yumi Wilson of Journalism. Our course CW 605 is paired with Theater 605, Writing and Performing Monologues, and has 15 possible students from each department. Both are examples of interdisciplinarity at the undergraduate level.

If interdisciplinarity includes multi-disciplinarity, then many of our courses taken in other departments at the university qualify. The MA stipulates three literature courses which are taken in English, Comparative Literature, ethnic literatures, foreign literatures or some combination thereof. Students in the MFA quite normally take classes in other disciplines for their correlatives: English (certificate in Composition or Adult Basic Literacy, literature classes), Theater (history, directing, acting), Cinema (screenwriting), Art (book arts, animation), advanced level foreign languages and literatures, and sometimes in history, urban planning, environmental studies, and music, to name a few. When the ability to devise new classes is once again offered to the faculty upon completion of a new information system, the department has plans for further collaboration. With Cinema we hope to develop a jointly offered graduate course in the writing and adaptation of fiction to , and in art we are planning courses in the graphic novel and other hybrids of text and writing. With theater we have discussed more ways for our writers to get their writing staged and to learn the performative aspects of

52 writing. Within the department, students often experiment with other genres and sometimes produce wonderfully creative hybrid projects including prose and poetry or sometimes a cross between.

With new media constantly increasing, it is important that students see and create different milieus and sources of dissemination for their work. Increasing multi- disciplinarity if not interdisciplinarity seems to be a likely path to means of success for our graduates.

9.6 Overview of Faculty Quality Indicators

The graduate coordinator position without assigned time is currently handled by the Chair in association with her AOC. This is an area in which assigned time is absolutely necessary. Given the full loads that the tenured and tenure-track faculty carry, it is unfair and also questionable whether another faculty member should or could handle the extra duties. With such a person or persons, however—one for each degree program—the chair’s time could be freed for other departmental duties and more emphasis on fundraising, and the AOC would not have to handle basic issues of advising and coordination of visits by new or interested graduate students.

All tenured and tenure-track faculty participate in the graduate program (100%). The department tries to have several tenured and tenure-track faculty a semester also teach in the undergraduate program to provide continuity and allow the undergraduate students to see the department in all its aspects.

Our faculty is nimble and writing careers are long. Therefore, many of our faculty engage in more than one literary art, and one of our continuing lecturers, Truong Tran, is not only a fine poet but also a painter whose work is regularly displayed. The following is a list of faculty in their first and second genres, as well as their use in our pedagogy classes.

Carter: originally a novelist; now writes plays and teaches playwriting, multi-genre courses and pedagogy classes.

Caspers: fiction writer with two creative non-fiction books; teaches fiction, creative non- fiction, and pedagogy.

Chernoff: hired as a fiction writer; teaches fiction, fiction theory, and poetry, which she has mainly written for a decade. Also translates and can teach translation.

Conboy: Playwright and Director; teaches both aspects of his career in CW and Theater Dept.

Doris: deceased in 2012. Taught and wrote poetry and translation.

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Dungy: poet, anthologist, and essay writer. Teaches poetry and classes related to the themes of nature and ecology. (Partial leave 2013-2014).

Gluck: fiction writer, expert on modernism, the post-modern, gay literature, and art and design. Teaches fiction and occasional classes in the prose poem. (FERPing).

Hoover: Poet, essayist, translator, anthologist (expert on American poetry and the postmodern). Published a novel as well and a book of literary essays (university of Michigan) as well. Teaches poetry and translation.

Langton: Poet, teaches poetry. (FERPing).

Mirosevich: Hired as a poet. Writes poetry and creative non-fiction and teaches both. Also specializes in courses on pedagogy.

Orner: Novelist and short fiction writer, interest in legal writing, cultural conflicts, modernism. Teaches classes in short fiction, the novel, and creative non-fiction, including one in literary journalism in collaboration with the Journalism Department.

Tigay: Hired as creative non-fiction and fiction writer. Teaches courses in both. Interest in Jewish writing, Israeli-Arab writing, the Middle East, and journalism.

New Hire, ZZ Packer: Fiction and essay writer. Expert on fiction theory and cognition. Will teach fiction classes including the novel and narrative theory; will also teach creative non-fiction if she wishes.

All adjunct faculty as the tenured and tenure-track faculty who teach graduate classes are publishing writers. All but two have full collections of poetry or fiction or write and regularly get their plays produced. Anne Galjour, for instance, was commissioned to write a play by the Hopkins Center at Dartmouth, where she was in residence for a semester; playwright Brian Thorstensen is frequently produced and does collaborations with dancers as well; Truong Tran, Dodie Bellamy, Heather June Gibbons. Barbara Tomash, Donna de la Perriere, Katie Crouch and Cooley Windsor are prolific and well- published Bay Area writers with national awards and reputations. Fiction writers Junse Kim and Matthew Davison, who sponsors 14 Hills Magazine, are well-published in magazines and journals but have no books as yet. One of our long-term lecturers, Alice LaPlante, recently published a book so successful and so well-recognized (Turn of Mind, 2011), that she no longer needs to teach to make a living and has retied to a house in .

As can be seen, our faculty are capable of playing many different roles. From teaching undergraduate classes to specializing in several genres to providing links to the literary world, our professors and lecturers serve the department as needed. All students have advisors to see and people to recommend them for more opportunities as they arise. Our community is flexible and allows its members to form brief or lasting associations as

54 needed. Since writing is a community activity as can be seen by the many classes, readings, magazines and events related to our department, it can be said that we respond well to student needs. Those students who struggle, and this mainly happens in undergraduate classes, also have ample opportunities to talk to advisors and get referrals elsewhere if needed. Those who succeed as students sometimes return as published writers and teach for us as is the case with Caspers (1995), Tomash (1998), Tran (1995), Thorstensen (2001), Gluck (1971), Davison (2001), and Mirosevich (1993).

The faculty ranges over six decades, with GTAs in their 20s, lecturers, tenured and tenure-track faculty in their 30s, professors in their 40s, 50s, 60s, and beyond. Of the tenured faculty, we have a Mexican-American professor, two African-American professors, and three gay or lesbian professors. Our lecturer staff tends to be younger and contains two Asian faculty, and four gay or lesbian faculty. Our students tend toward a fairly high representation of gay/lesbian/bisexual, and transgendered. Several of our faculty provide writing models for them and inclusion in a community that speaks to these issues. As we hire further, we will strive to increase our diversity as well.

The 3/3 load for our faculty is the norm. Even with this reduction from 4/4 and the recent reinstatement of Directed Writing for both semesters of the year, it is a high teaching load for the creative writing faculty. Ways to count thesis toward course release at least every 4th semester would be a toward recognizing the volume of work that we carefully read and critique and inspire and reshape in this department. All tenured and tenure track faculty serve as advisors, and at our monthly meetings, we discuss any news about changes in the advising or issues we see erupting. About seven or eight years ago, for instance, we noticed that advanced MA and MFA students were lingering and taking far more 880, 881,and 882 than is needed to graduate. Upon discussion we changed the rules for how many MFA-level process classes one could have. A strong degree of collaborative effort makes the department function smoothly as does the oversight of its long-serving chair, who deals efficiently with the large and small issues of the department and serves on many university-wide committees, where she represents the department to the university community.

Research and funding, scholarship and publications are well-represented on the 9.1 matrix and in the appendix on CVs. We are a greatly talented and active group of writers, editors, playwrights, and translators whose interests grow and develop and similarly create new opportunities for our students. As many people as there are who write, still the world of literature is relatively small. We have many high profile writers here, and their acquaintance with other writers, editors, agents, reading forums, playhouses, and publishers serves us and our students well.

The department itself is a bustling community; outside of this community, our faculty engages in many types of service, often involving students. From the international literary magazine New American Writing to our 14 Hills and Transfer Magazine to our Poetry Center and Archives, we create a strong literary community on campus. In addition, our faculty in various efforts serve other communities: from Toni Mirosevich’s engagement with the Pacifica Pier and its inhabitants in her ORSP-funded project to

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Nona Casper’s interest in same-sex marriage in her book and videos for Here Come the Brides to Peter Orner’s attention to oppressed and suffering communities from undocumented workers here to strife in Zimbabwe to his current project on the victims of Haiti’s hurricane to Anne Galjour’s sensitive and timely one-woman shows about Gulf Coast poverty and destruction to the Poetry Center’s collaborative efforts with the art gallery’s Asian and South Asian shows to their presentations in collaboration with the Dilena Tekeyama Center for the Study of Japan and Japanese Culture, our department members are in frequent collaboration with extensive and varied communities. Our lecturer Truong Tran has taught at the Kearney Street Workshop and written children’s books for Vietnamese- American children; Professor Robert Gluck has written movingly in fiction and essay form on the AIDs crisis and is in the forefront of writing on the lives of gay men; Professor Tigay’s forthcoming novel deals with a jailed Palestinian zoo keeper who is given a gift of an orangutan by the Israeli government; Professor ZZ Packer’s forthcoming novel is about freed slaves in Louisiana and Buffalo Soldiers who are sent to fight the last band of Apache Indians. Professor Chernoff has had several poems about the Iraq War and the use of drones published in prominent journals including and the National Endowment for the Arts Writer’s Corner. Professor Hoover co-translated the first book of “outsider” poets (non- government sponsored writers) from Viet Nam; Professor Carter’s Writing from Without class asks students to investigate and spend time writing about a social service organization or an at-risk community. Our faculty coordinates residencies for our graduate students at School of the Arts, where they read and critique the final projects of graduating seniors. There is no end to the engagement that our faculty model in their lives and in their writing efforts.

Recognition and honor occur in several arenas for our faculty. The department has a showcase for new works, announcements of awards, and prizes. In addition our newsletter acknowledges our successes in four sections: faculty, former faculty, alums, and students. The college website contains news of faculty honors and awards. The chair writes yearly letters acknowledging our faculty honors and publications. The university sometimes recognizes faculty books in their SF State Magazine. Dean Sherwin is a strong supporter of professors as they move toward tenure and promotion and thereafter, and occasionally our provost or president send congratulatory notes to faculty.

10.0 Resource Support for the Program

10.1 Internal Support

10.1.a Tenured and Tenure-Track Faculty

The current size of the MA and MFA programs and the faculty student ratio are optimal. With pending retirements, current FERPs, leaves, and a death, it is necessary to keep hiring in our areas. The genres could best be served by two more tenure-track faculty in fiction and one in poetry. Our creative non-fiction area is currently well-handled by our two new tenure-track hires as well as current tenured faculty partially leaving other areas

56 for that new genre. Though our lecturer employment stayed fairly steady during the difficult budget years, it provides more stability for the number of tenure track faculty to increase. Were the “soft money” used to hire lecturers to drastically alter, we would not be able to offer all three programs in our department, the BA, MA, and MFA, as we now do. Appointment of more tenured and tenure track faculty would also therefore secure our future to some degree.

10.1.b Technical Staff

As for clerical staff, our AOC, supported by a ten-hour a week graduate assistant and a ten hour a week work-study student, must fulfill many tasks. The AOC must oversee all aspects of the three degree programs including the many graduate applications in winter and the acceptance process in spring, as well as the pool for any tenure-track searches we mount. At times this is too much work for one person, even with student assistants to cover the busy desk and phone in our department and the number of queries we receive from possible applicants between August 15 and December 15. It would be optimal for the AOC to receive further assistance, either in the form of a 20-hour a week graduate assistant or a .25 office staff person who might be shared with another program.

10.1.c Assigned Time for Graduate Coordinator

The college or university should provide assigned time for at least one graduate coordinator to assist both MA and MFA students or, most preferably, separate coordinators to oversee the specific programs. Even if we employ the measure suggested for spring 2014 and tack the graduate coordinator responsibilities onto the Community Projects 675/875 professor of record instead of having the Chair double as graduate coordinator, it is not the same as an active and involved person or persons to shepherd the students and make them feel connected to the program and clear-minded about their goals from the start.

10.1.d Thesis Load

The program is also requesting assigned time or WTUs to accumulate toward an occasional course off to acknowledge thesis load. If 6 theses meant a course release, the most busy faculty would receive one every other semester. If, however, funds are short, the department would be satisfied as a first step with a course off every 4th semester for 12 accumulated theses.

10.1.e Tuition and Fee Waivers

The program finally asks the university to reconsider its position on tuition and fee waivers for incoming, highly desirable candidates for the MA and MFA, particularly those who volunteer for course credit as GIAs or are TAs or GTAs. This would sweeten relations with future alumni and allow the department to become more competitive in recruiting fine out of state and minority students.

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Summary of Internal Support

1. Provide more tenure and tenure track hires now and as needs arise with further retirements and FERPs.

2. Increase technical staff support with ten more hours a week for a graduate assistant or a .25 office staff person.

3. Provide assigned time for a graduate coordinator to oversee both graduate programs, or more optimally, a graduate coordinator for each program.

4. Let faculty accumulate WTUs toward a course off once a year for 6 theses or a course off once every two years for twelve theses.

5. Have the university provide tuition and fee waivers for highly desirable new students and for GIAs, TAs. And GTAs.

10.2 External Support

At present time the department’s Poetry Center and American Poetry Archives receives a high degree of external support and continues to expand its opportunities in that area with regional, state, and local organizations. It is currently applying as well to a private foundation to secure more money to digitize work for the DIVA project. This entity will continue to do as it has with external foundations, and given its history, impact, longevity and success continue to receive funding for its ongoing archives project as well as for its series of fine readers who do an average of 32 events in a school year. With its 60th anniversary this coming year, there will also be an opportunity for a fundraising event to honor and support the Center’s contributions to literature, locally, nationally, and even internationally.

The department, meanwhile, would like to work with Development and its own leads to create an endowment that would more richly support deserving MA and MFA students aside from its various $2000-$500 prizes that continuing students can receive. Since creative writing is not a highly technical area or one that traditionally supports programs with funds from publication media, private donors are most likely the only alternative. Given the strong record of donations from a small number of donors, we hope to cultivate these interested parties and identify new parties who may be interested in supporting us. The chair knows of a private funding source that may be willing to make a substantial donation this fall. She will pursue this outcome as the department identifies and develops other outside donors with the aid of Development.

Summary of Outside Support

1. Continue to apply for and receive monies to support the Poetry Center and American Poetry Archives.

2. Seek with the help of development to create an endowment to support MA and MFA students.

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APPENDIXK

Syllabi and Course

SYLLABUS Cooley Windsor Class: HUM 218. Office: HUM 561. Office hour: 6 - 7 PM, Tuesdays. email: cooleywindsor at yahoo dot com. Phone: 510-238-8441. (Phone is better.) CW 803: Advanced Short Story Workshop

John Laskey stated that the purpose of writing school is for you to learn everything you can about your own writing process. Emphasis in this course will be development of personal vision, imagination, voice, ability to create and inhabit characters and propel them through action, increased intentionality over your own literary forms and work habits, and an enhanced sense of audience and meaning.

TEXTBOOKS: Impro by Keith Johnstone, and The Art of Acting by Stella Adler

· GRADES: Grading in this course Vvillbe mechanical and ,,ithout subjective factors. Twenty points are possible at each session: five points for being in the workshop by 7:05 PM, five points for remaining in class until the session is formally concluded, and ten points for presenting your work appropriately at each session. In addition, forty points can be earned at the final session for showing your portfolio entitled "Diagnostic Photograph" (suggested by Adler,p. 14: "But beyond that you must understand that soon [for us, middle of Decemberf Jou'n have in front of you a picture of your whole self, a diagnostic photograph. And this photograph [portfolio] will say, 'This is what I am capable of, and this is what! must work on.')"

'I'hese points are all or nothing: You are either sitting down at 7:05 or you are not; you either have your work to read to us in the appropriate format or you don't; you are either here at the end of the session or you're not. No other factors (such as intentions or circumstances or the instructor's feelings for or against you) will affect your grade.

'TEACHING METHODS: Teaching in this course is based on the psychological work of B. E Skinner and Karen Pryor, and on the theatrical work of Keith Johnstone and the early David Mamet To get a sense of these methods, visit the website nytimes dot com, search for ''.Amy Su.therland" and read her article "What Shamu Taught Me About a Happy Marriage:·

DlSABILITY ACCESS: Students with disabilities who need reasonable accommodations are encouraged to contact the instructor. The Disability Programs and Resource Center (DPRC) is available to facilitate the reasonable accommodations process. The DPRC is located in the · Sll.tdent Service Building; and can be reached by telephone (voice/TTY 415-338-2472) or by email (dprc at sfsu dot edu).

STRUCTURE: Our workshop format \\'ill be developed during our first meeting on Tuesday; August 28, and you will be provided with handouts. Cooley Windsor

The purpose of writing school is to learn everything· you can about your own writing process. --John Laskey, founder of the CCA MFA in Writing Program

It was an era when things could be tried, and there was a space for the tryout. --Cynthia Carr, describing the East Village art scene in the 80s.

I want to draw. I want to paint. I have something to say, to everyone and as many as I possibly can. I am doing it on the streets, I am doing it in my room, I am doing it underground. I am doing it on the trains, on the billboards, in the mail. The palaces are full. But new ones are being built: in the nightclubs and in the bathrooms. I will work with and on whatever I can lay my hands on. I will carve on a tree or on a rock. I will use paint, chalk, or any stick that leaves a mark.. I will draw pictures and color them. I will write words, in my language and in yours. I will build toys. I will make sounds and instruments that make sounds. I will rap and I will sing and I will dance to it all. I want you to know my name. I want you to know my sign. --Nicholas Moufarrege, in his essay ''Another Wave, Still More Savagely than the First"

You always have a partner. --Stella Adler

We all did whatever we wanted[ ... ] I think we had Nick Zedd do a poetry thing, and the readings were energized by the environment. There was so much movement within the artwork it unsettled people. It exposed a wildness in the viewers that we were unprepared for. --Marguerite. Van Cook, as quoted by Cynthia Carr in Fire in the Belly

The world is in front of you. You have to take it in. You have to see things you never saw before. Then you have to give it back to the world. [... ] Your job is not to show us how clever and sophisticated you are, how you can use literary words. [... ] The need you feel to make the audience actually see what you've seen will push your voice forward.[ ... ] You will hear me say very often what Stanislavski said-truth in art is truth in circumstances, and the first circumstance that governs everything is, Where am I? [... ] We have to understand what it demands ofus. Otherwise we can't communicate it and we become fake. Is anything worse? [... ] What I am after is your best. You have to understand your best. Your best isn't Barrymore's best or Olivier's best or my best, but your own. Every person has his norm. And in that norm every person is a star. O!itj.er could stand on his head and still not be you. Only you can be you. What a privilege! Nobody can reach what you can if you do it. So do it. We need your best, your voice, your body. We don't need for you to imitate anybody, because that would be second best. And second best is no better than your worst. -Stella Adler

I knew I could talk freely with [my friend] about this project, especially my doubts about it. He CW 804 + ADV Poetry Writing (3 units)+ Monday 4:00-6:45+ HUM 279 Professor Camille Dungy• Office Hours: T 10:00-12:00 • Office: HUM 422 • 415-338-1075•. [email protected]

Course Objectives and Requirements: An intensive, interactive poetry workshop focusing on creating and critiquing student· generated poetry. You will produce.and revise at least 6 new poems over the·cours.e:ofthe term. Our classes will focus on the production, development, and revision•ofthese poems within the context of the students' own body of work as well as larger creative. · communities'. To facilitate these discussions, you must carefully read and critique poems, attend class regularly, actively participate in each of our sessions, and complete your own poems or assignments according to schedule .. P,lease bring the appropriate .number. of. poems to workshop. I will often give you assignments and reqt1est that your poeminter~~t with this assignment. We will usually workshop one of your poems every other w'eek,..•. though there will be occasional changes to this schedule to accommodate some viniations.

Learning Objective Outcomes: Preparation for field relating to literature/creative writing.

Prerequisite: Classified graduate status in Creative Writing·or consent of instructor.

Grading: 70% Written Work/ 30% Participation

Workshop Schedule: Jan 28: First Day of Class, Gilbert, Mo.ore,Kaminsky, Raine February 4: Group A (Assignment i{l) ,. . .· .. February 11: Group B (Assignment #1) February 18: Group A (Assignment #2) · February 25: Group B (Assignment #2) March 4: Group A (Assignment #3) March 11: Group B (Class must end by 6 PM) (Assignment#3) · March 18: Research Day, no class March,25: Spring Break, no class April 1: Cesar Chavez Day, no class April 8: Group A (Free Choice) April 15: Group B (Free Choice) April 22: Group A (Assignment #4) April 29: Group B (Assignment #4) May 6: T. Groups A & B (Free Choice) (Last Day of Class)

CW 810-02 + Visions of Childhood (3 units)+ Monday 12:10-2:55 + HUM 288 Professor Camille Dungy Office Hours: M 11-12, T 5:45-6:45 • Office: HUM 422 • 415-338-1075 • [email protected]

Course : Prerequisite: Classified graduate standing in Creative Writing. Childhoods: We all had one, and most ofus have opinions about our own and about other people's too. In this multi-genre course we will read several texts that view childhood from the perspectives of children, parents, peers, admirers, and passersby. Through our reading and creative responses, we'll explore voice, point of view, , subject, and choice of genre and other authortial decisions as you discover how to best capture childhood on the page.

Prerequisite: Classified graduate standing in Creative Writing or consent of instructor.

Learning Objective Outcomes: Preparation for field relating to literature/creative writing.

Required Texts/Schedule: Aug. 27: First Day, "Eleven," Sept. 3: No Class, Labor Day

Sept. 10: One Hundred Demons, Linda Barry Sept. 17: Leaving , Tayari Jones Sept. 24: Miscreants, James Hoch

Oct. I: http://www.newyorker.com/online/podcasts/fiction: See iLearn for links October 13, 2009: "Books and Blades" (Orhan Pamuk reads Vladimir Nabokov's "My Russian Education.") September 11, 2008: "Off Base" (Tobias Wolff reads Stephanie Vaughn's short story "Dog Heaven.") "The Lesson," : http://cai.ucdavis.edu/gender/thelesson.html

Oct. 8: My Antonia, Willa Cather Oct. 15: Reflection Day

Oct. 22: The Wellspring Oct. 29: Thousand Days of Wonder, Charles Femyhough Nov. 5: Maud Martha, Gwendolyn Brooks

Nov. 12: No Class, Vet er ans Day Nov. 19: No Class, Thanksgiving Nov. 26: The Oracle of Stamboul, Michael David Lucas Dec. 3: Goodbye, Flicker, Carmen Gimenez Smith

Dec. 10: Final Reflection Day

Grading: Attendance/Participation: 60% First Project: 20% Second Project: 20% Course Requirements and Expectations: The bulk of this class is focused on reading various treatments of childhood and, through discussion and reflection, analyzing how and why the writing is ( or is not) compelling. You will be responsible for synthesizing the techniques you recognized as you read. This close reading will feed your writing. During the weeks ofreading, you will be focusing on that . Take notes as you need to, write creative responses as you must, and do what it takes to be able to fully and deeply engage in our discussions of the texts, but you will not be required to submit weekly homework assignments. I'll share writing prompts and discussion points in class to help you access aspects of the authors' subjects and approaches. These are intended to help you in this class and beyond. Sometimes we will use your responses to these prompts as points of departure for discussion, but more often they will be yours to help with your larger projects.

Twice during the semester you will have opportunities to share portions of your work. As you would with a traditional midterm and final, this will be your opportunity to demonstrate your new skills and knowledge. On October 8 and December I 0, I will collect these projects. Each should be between 3 and IO pages, accompanied by a commentary of no more than I-single spaced page. (This is a mixed-genre class , so there will be various appropriate lengths for projects.) This will be your opportunity to implement some of the strategies we encounter during the semester. Your commentary should summarize your intentions for your creative project as well as observations on its influences and reflections on epiphanies or challenges. Feel free to write about what genre(s) you chose and what influenced your choice.

Regular attendance and participation are required for this course. It is imperative that each student in the class actively participate in all class discussions. If you foresee yourself missing more than 2 classes over the course of the semester, I suggest you wait until a semester when you can be fully involved in class sessions.

The Fine Print: o Policy on surface errors: Presumably you are in this class because you want to be a compelling writer. One way to make sure people pay attention to what you write is to prove that you have paid attention to what you write. What's an easy way to do this? Don't be sloppy: proofread, spell check, take some time to learn and apply the rules of the language you have chosen to explore. Surface errors in written work, including unintentional misspellings, typographical or punctuation errors, and other evidence of poor editing, will negatively effect the evaluation of your work.

o Policy on Plagiarism: "Plagiarism is a fonn of cheating or fraud; it occurs when a student misrepresents the work of another as his or her own. Plagiarism may consist of using the ideas, sentences, paragraphs, or the whole text of another without appropriate acknowledgment, but it also includes employing or allowing another person to write or substantially alter work that a student then submits as his or her own. Any assignment found to be plagiarized will be given an "F" grade. All instances of plagiarism in the College of Humanities will be reported to the Dean of the College and may be reported to the University Judicial Affairs Officer for further aetion." (http://www.sfsu.edu/--<:ollhurn/plagiarism.html)

o Statement on Classroom Community: Our classroom should be a supportive environment that encourages the risk taking necessary for developing critical and creative skills. Students should be wiling and able to push their writing and reading abilities beyond their current position, and they are responsible for helping to promote learning and growth in others. Though individuals might hold differing opinions, each student must learn to articulate and respond to poems, ideas, and criticism in a thoughtful and respectful manner, taking into account differences of perspcetive. The course will cover material over which some students might develop strong opinions. It is essential, therefore, that each student respects other students, small group facilitators, and the professor. Please tum your cell phone and pagers off before entering the classroom, and refrain from other distracting, disruptive, or disrespectful behavior. Failure to conduct oneself in a manner conducive to a positive classroom community is subject to disciplinary action (including, but not limited to, removal from class). o Statement on Accommodations for Students with Disabilities: "Students with disabilities who need reasonable accommodations are encouraged to contact the instructor. The Disability Programs and Resource Center is available to facilitate the reasonable accommodations proc~ss. The DPRC, located in SSB 110, can be reached by telephone at 338-2724 (voice/ITV) or by e-mail at [email protected].

"It is University policy to provide, on a flexible and individualized basis, reasonable accommodations to students who have disabilities that may affect their ability to participate in course activities or to meet course requirements. Students with documented disabilities must register with the DPRC to facilitate the reasonable accommodations process. Students with disabilities are encouraged to contact their instructors to discuss their individual needs for accommodation; instructors are encouraged to contact the DPRC for assistance in providing accommodations." (http://www.sfsu.edu/-dp

Course Description, Objectives, and Teaching Methods Classified graduate status: MF A. In this workshop we will dissect the intricacies of fiction craft through discussions of assigned readings, students' work, and in-class exercises. We will analyze character, conflict, development, , as well as other aspects of craft, and consider how they all work together in fulfilling a narrative's dramatic intent. There will be an emphasis on integrating this knowledge into your own writing process, from initial draft to revision, in order to make your work fully realized.

The workshop will be a safe place where your critical analysis skills will be honed. We will provide constructive, critical feedback that respects the writer's intent and avoids un-invited prescriptive comments. For each submission students will be encouraged to take risks with their work, taking the next step in their growth as writers by exploring new ways to make their prose come alive.

Learning Outcome You will hone your critical analysis skills from a writer's perspective, examining how meaning is evoked from a text. With this deeper understanding of craft, you will become more proficient at providing constructive feedback for others, as well as become a better critical reader for your own drafts. In your writing, you will practice the application of craft, becoming familiar with different techniques discovered in the course, while staying true to your artistic vision.

Texts: Readings available on iLearn

Course Requirements • Submit two original manuscripts, either novel excerpts or completed short stories (no excerpts of short stories) and a revision of one of these submissions. In the first class we will create a deadline schedule. (Submission guidelines are under the next heading.) • You will read your workshop peers' submissions assigned for each class and submit a one page critique for each story. You will bring two copies of the critique, one for the student and one for me. In your critique your comments should focus on the craft behind the work's strengths, and also how and when craft falls short on narrative aspects you find not as successful. Critiques should be typed, single-spaced, 12 point type, and include your name. Keep in mind the community aspect of the workshop and put as much work into your analysis of your workshop mates' stories as you would expect of them for yours. • Participate in all class discussions and workshops.

Submission Guidelines • Submissions should be typed, double-spaced, 12 point type, 1.25" side margins, 1" top & bottom margins, and include name and page numbers. • Maximum of20 pages per submission. • On deadline dates you will bring photocopies of your work for everyone in the workshop, including me. • If a student misses a deadline the story will not be accepted and will be considered an "F" for that assignment. Submissions are not to be e-mailed in lieu of a hard copy unless requested by an absent student. Students who are absent are responsible for collecting their peers' manuscripts submitted that class, and if a student is absent on her/his deadline, that student is responsible for distributing their story to the rest of the workshop. Once the workshop schedule is set, you cannot change your workshop day without my consent-it will only be considered under extraordinary circumstances. Grading 30% Submissionof two manuscripts and a revision of one of those works on your assigned deadlines 20% Written Critiques of your workshop peers' stories handed in on time 15% Attendance 15% Reading assigned readings and participationin class discussions, exercises, and workshops 20% Application of narrative craft techniques and concepts covered in class into your creative work

Attendance Policy If you must miss a class, or if you must arrive late or leave early, you are required to consult with me before the class of which you will miss all or part. Arriving fifteen minutes late to class three times will be equivalent to one day absent. More than three absences will affect your grade, and if you are absent more than four times, you will not receive a passing grade.

Plagiarism Plagiarism is a form of cheating or fraud; it occurs when a student misrepresentsthe work of another as his or her own. Plagiarism may consist of using the ideas, sentences, paragraphs, or the whole text of another without appropriate acknowledgment,but it also includes employing or allowing another person to write or substantiallyalter work that a student then submits as his or her own. Any assignment found to be plagiarized will be given an "F" grade. All instances of plagiarism in the College of Humanities will be reported to the Dean of the College, and may be reported to the University Judicial Affairs Officer for further action.

SFSU Disabilities Policy & Information Students with disabilities who need reasonable accommodationsare encouraged to contact the instructor. The Disability Programs and Resource Center (DPRC) is available to facilitate the reasonable accommodationsprocess. The DPRC is located in the Student Service Building and can be reached by telephone (voice/TTY 415-338-2472)or by email ([email protected]). Weekly Schedule (DRAFT, subject to change based on final class size and the workshop's craft needs as they are discovered)

Jan.30 Course overview, Set Workshop Schedule; Setting; Character Details (External/Internal) Read: -"Officers Weep," by Daniel Orozco

Feb.6 Conflict, Generosity, Plot structure, Rendering Scene/Swnmary/Half Scene and their purpose Read: -"Driving the Heart," by Jason Brown -"The Stucco House," by Ellen Gilchrist -Optional: "Bohemians," by George Saunders DEADLINE GROUP 1: Adam, Emil, Sylvia

Feb. 13 Earning Emotion and how it's related to plot; Symbolism & the OC Read: -"Interpreter of Maladies," by Jhumpa Lahiri -"The Ugliest House in the World," by Peter Ho Davies -"Theories of Rain," by Andrea Barrett WORKSHOP GROUP 1: Adam, Emil, Sylvia DEADLINE GROUP 2: Katrin, Andrew

Feb.20 Dialogue: When? Why? What? NON-WRITTEN HOMEWORK: pay attention to conversations you have or eavesdrop on this week. Pinpoint a moment in which you perceived someone was not being honest with what he or she was thinking/feeling. Consider the objective detail(s) that evoked this meaning for you. You will share these anecdotes in class Read: - "In the Gloaming," by Alice Elliott Dark WORKSHOP GROUP 2: Katrin, Andrew DEADLINE GROUP 3: Da'Shay, Tyler

Feb.27 Psychic Distance and how its related to POV & Character Development Read: -"The Depressed Person," by David Foster Wallace WORKSHOP GROUP 3: Da'Shay, Tyler DEADLINE GROUP 4: Dylan, Emanuella

March 6 How Risk affects the Writing Process Read: -"People Like That Are the Only People Here," by Lorrie Moore WORKSHOP GROUP 4: Dylan, Emanuella DEADLINE GROUP 1: Adam, Emil, Sylvia

March 13 Craft Discussion: Research Read: -"Sans Farine," by Jim Shepard WORKSHOP GROUP 1: Adam, Emil, Sylvia DEADLINE GROUP 2: Katrin, Andrew

March20 Craft Discussion: Structure/Form Read: -"Winter Barley," by Andrea Lee - Consider "Officers Weep," by Daniel Orozco WORKSHOP GROUP 2: Katrin, Andrew DEADLINE GROUP 3: Da'Shay, Tyler

March27 SPRING BREAK, no class April 3 Revision Stratagies and Approaches; Read: -"Fiesta, 1980," from Drown, by Junot Diaz -"Fiesta, 1980," from BASS WORKSHOP GROUP 3: Da'Shay, Tyler DEADLINE GROUP 4: Dylan, Emanuella

April 10 Craft Discussion: TBA Read: -"Tumblers," by Nathan Englander -"A Good Scent From a Strange Mountain," by Robert Olen Butler WORKSHOP GROUP 4: Dylan, Emanuella REVISION DEADLINE GROUP 1: Adam, Emil, Sylvia

April 17 Language:Rhythm Read: -"Scordatura," by Mark Ray Lewis -"The Pugilist at Rest," by Thom Jones REVISION WORKSHOP GROUP 1: Adam, Emil, Sylvia REVISION DEADLINE GROUP 2: Katrin, Andrew

April 24 Craft Discussion: TBA Read: -"Big Me," by Dan Chaon -"Bullet in the Brain," by Tobias Wolff REVISION WORKSHOP GROUP 2: Katrin, Andrew REVISION DEADLINE GROUP 3: Da'Shay, Tyler

May 1 Crossing Cultures Read: -"The House Behind A Weeping Cherry," by Ha Jin, -"After a Life," by Yiyun Li -"Cosmopolitan," by Akhil Sharma REVISION WORKSHOP GROUP 3: Da'Shay, Tyler REVISION DEADLINE GROUP 4: Dylan, Emanuella

May 8 Craft Discussion: TBA Read: -"Hurricanes Anonymous," by Adam Johnson REVISION WORKSHOP, GROUP 4: Dylan, Emanuella

May 15 Course Wrap up; TBA Creative Writing 854-01: MFA Poetry Workshop Instructor: Paul Hoover Spring 2013 (3 credit hours) Office: 447 HUM Wednesday 4:10-6:55 Office Hours: Tuesdays 10-12 and 3:30 Location: HUM 279 Thursday 10-12 and 3:30 [email protected] Office Phone: (415) 338-3157

Prerequisite: Classified Creative Writing graduate status in the M.F.A. program or consent of instructor. Enrolhnent priority will be given to M.F.A. poetry students.

Description: Students will concentrate on the creation and revision of their poetry. The class format will include discussion of reading assignments,group discussion of student work, and may also in-class and at­ home writing assignments.

Objective: Preparation for CW 893, in which students will produce a publishable written creative work.

Texts: PostmodernAmerican Poetry: A Norton Anthology,2"" Edition (2013), ed. Paul Hoover. The text is required and will probably arrive in the bookstore around March l 0. Bring the book to class every week. In the meantime, if you already have PAP, frrst edition, bring that to class.

Requirements: Students are to produce a minimum often new poems and respond to all reading and writing assignments. Revision is encouraged and will be considered part of your production. It is your responsibility to provide photocopies of your work for class discussion.

The enrolhnent will allow everyone to present poems each week. If you don't have a new poem to present, which is preferred, bring an older work.

Portfolios: All work that you produce will be placed into a portfolio, which the instructor will hand out at the beginning of each session. Portfolios are to be rettrrned to the instructor at the end of each class meeting. You can obtain them after grades are given at the end of the semester.

Grades: 80% of the grade will depend on the quality and improvement of the student's poetry. 20% of the grade will depend on meaningful class participation and attendance.

Assignments: Most class meetings will begin with a 30-minute discussion of reading from the assigned anthology and other materials. The remainder of the session will always be devoted to group discussion of student writing.

Attendance: Weekly attendance is ideal. More than three absences will negatively affect your grade.

University Plagiarism Statement: Plagiarism occurs when a student misrepresents the work of another as his or her own. Plagiarism may consist of using the ideas, sentences, paragraphs, or the whole text of another without appropriate acknowledgement,but it also includes employing or allowing another person to write or substantially alter work that a student then submits as his or her own. Any assignment found to be plagiarized will be given an "F" grade. All instances of plagiarism in the College of Humanities will be reported to the Dean of the College, and may be reported to the University Judicial Affairs Officer for further action. (Quotation taken from "College of Humanities Plagiarism Resources," www.sfsu.edu/-collhum/plagiarism.html)

University Disability Statement: The instructor wishes to make this course as accessible as possible to students with disabilities or medical conditions that may affect any aspect of course assignments or participation. You are invited to communicatewith the instructor at the outset of the course or at your discretion about any accommodationsthat will improve your experience ofor access to the course. You can also contact the Disability Resource Center at 338-2472 (Voice/TDD).

Schedule of Classes:

Week 1 (1/29): Introduction to the course. (A) Each student is to bring to class a poem (not your own) that he or she admires to read out loud. (B) Bring also fourteen copies of one of your own poems that you would like to present for discussion.

Lisa Jarnot:"They Love the Sea,""Gang Angles," "Manx Kippers," "Husband Sonnet One," and "RightPoem" Graham Foust: "1984," "Panama," "Of What Seems Like My Father," and "Interstate Eighty" Jean Arp: "I am a Horse," "A Droplet of Man," and "What Violins are Singing in Their Beds of Lard"

All students present poems.

Week 2 (2/5): Read "re:searches (fragments, after Anakreon, for Emily Dickinson)" by Kathleen Fraser, p.357 PAP, and "Out of the Identical" and "What the Music Wants" by Gustaf Sobin, p. 319.

· Also an excerpt from "Slowly" by Lyn Hejinian.

Group A presents poems.

Week 3 (2/12): Lorine Niedecker poems from The Granite Pail (copies provided).

Group B presents poems.

Week 4 (2/19): "Inserting the Mirror'' by Rosmarie Waldrop, p.314 PAP "Conjugal" and "Ape" by Russell Edson, p. 323 PAP "The Man Struck Twenty Times by Lightning" and "How Lies Grow" by Maxine Chernoff, p. 582

Group A presents poems.

Week 5 (2/26): "Wild Gardens Overlooked by Nights Lights" and "An Emphasis Falls on Reality" by , pp. 65-67 PAP and "Mimetic" and "Platonic Subject" by Ann Lauterbach, p. 409

Group B presents poems.

Week 6 (3/5): Charles Bukowski: "My Old Man," p. 60 PAP : "A Poem for Trapped Things," p. 298 PAP Wanda Coleman: "Brute Strength," p. 475 PAP Hilda Morley: "For ," p. 54 PAP

Group A presents poems.

Week 7 (3/12): Charles Simic: "The Partial Explanation," "Watch Repair," "Position without Magnitude," and the short essay, "Shop, Les Bacares" ( copies provided)

Group B presents poems.

Week 8 (3/19): Rae Armantrout: "Necromance," "Language of Love," and "Attention," p. 514 PAP

2 : "I Keep to Myself Such Measures ... " and "The Language," p. 149-150.

Group A presents poems.

Week 9 (3/26): Spring Break

WeeklO (4/2): : "The Rick of Green Wood" and "Geranium" (pp. 195-196 PAP) : "A Poem Beginning with a Line by Pindar," part I, p. 30 PAP : "The Rare Birds" ( copies provided)

Group B presents poems.

Week 11 (4/9): C.S. Giscombe: "Here" I-III and John Yau "Ingrish" (copies provided) Amiri Baraka: "Expressive Language" ( copies provided)

Group A presents poems.

Week 12 (4/16): Kenneth Goldsmith: "Being Boring" and "Seven American Deaths and Disasters," part 4: John Lennon's death announced on Monday Night Football (copies provided) Drew Gardner: "Chicks Dig War" (copies provided)

Group B presents poems.

Week 13 (4/23): Proceduralism: "My Life" by Lyn Hejinian, p. 385 PAP; "Index" by Paul Violi, p. 436; "Et in Leucadia Ego" by Michael Davidson, p. 439.

Group A presents poems.

Week 14 (4/30): Formalism: "First Offense" by , p.545 PAP; "A Date with Robbe-Grillet" by Elaine Equi, p. 601PAP; "Chronic Meanings" by Bob Perelman; "Amble" and "Black" by Maxine Chernoff, p. 585 PAP.

Groups A and B present their work for discussion (bring more than one poem if you wish).

Week 15 (5/7): Group A and B present their work for discussion (bring more than one poem if you wish).

Week 16 (5/14): Final class meeting.

Groups A and B present their work for discussion (bring more than one poem if you wish).

All portfolios must be complete by the end of the class session.

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Michelle Carter Email: [email protected] Office Hours: M 2-4, W 3-4 HUM562

Creative Writing 860 Teaching Creative Writing Spring Semester 2013

Course Objective

This course engages MFA and MA students in practical and theoretical exploration of the teaching of creative writing. Creative Writing 301--an introductory course in the writing of fiction, poetry, and drama--will serve as the prototype for our semester's work. Alternatively, each student may develop a different sort of class--a creative writing course set in a non­ university context--for his/her course prototype, adapting the course's materials and activities accordingly.

Admission Priority

Priority must be given to classified students in the MFA and MA programs in Creative Writing. Attendance at the first two course meetings is a pre-requisite for permanent enrollment in the course.

It could be argued that this course is best saved for the latter part of the degree, after the majority of one's coursework is completed. It's strongly recommended that those not yet in the advanced stages of their degrees consider postponing this course until their latter semesters.

Methods

Flannery O'Connor said: "The only way to learn to write short stories is to write them, then look back and try to discover what you have done." We'll be doing a lot of doing and a lot of looking back at what we've done. Our deepest objective, however, is to begin to investigate the passions and identities that will inform each of our best teaching.

Our methods and activities will be diverse. (I'll be distributing written guidelines for each of the following and giving sample presentations to help kick you into gear.) 2

1) Mini-lectures on selected craft and process topics. Throughout the semester, you'll be giving five, ten, and twenty minute lecture/presentations, followed by constructive feedback from me and your fellow class members. Each student developing a 301 syllabus must, in the course of the semester, give presentations in at least two different genres. As issues of particular interest arise, we'll pursue and explore them. In this way, the course will evolve with our understanding of the particular needs, interests, fears, hopes, and beliefs of the members of our particular group.

2) Critical feedback--oral and written--for student works­ in-progress. We'll be examining the art of giving constructive, effective critical responses. We'll explore this topic in class, as well as through take-home assignments.

3) Leading class discussions. Through practice sessions we'll explore ways in which an activity that can appear to be effortless can be so mystifying and challenging. We'll develop strategies, attitude~, useful approaches.

4) Selecting and employing texts and models. We'll discuss ways of using text models with creativity, clarity, flexibility, and imagination.

5) Discussion of Creative Writing pedagogy, as stimulated by essays and interviews in the course reader. The reader will cost around fifteen dollars. Please come to the third class meeting prepared to pay for the reader.

6) Syllabus preparation. By the end of the semester, each student will have prepared a week-by-week prospectus for a fifteen-week undergraduate course in creative writing. You may also develop syllabi for courses in other genres of choice or courses set in non-university contexts.

Grading Policy

You grade will be based upon the ambitiousness, energy, and diligence with which you tackle the course's requirements.

Each course meeting begins at 12:10: plan to be in your seats at 12:05 so we can hit the ground running. Anyone arriving late disrupts the work of this small group. Every minute of the session is accounted for. If you anticipate difficulty arriving on time, this is not the course for you.

Attendance is mandatory; no missed class can be made up. Two unexcused absences drop your grade a full step (or one unexcused absence if you're scheduled to make a presentation). Three unexcused absences will be taken to mean that you have dropped the class. Toni Mirosevich Office: HUM 550 Spring20B Phone: x87439 Tues 12:35-3:20 PM Office hrs: T 11:30-12:30 and by apt.

CW 880-01: Creative Nonfiction: Beyond Just the Facts, Ma'am

"But where, he continued, shall I take up my story?"

"I began to assemble and recast anything that still passed muster in order to re-create before my own eyes, as if in the pages of an , the picture of the landscape, now almost immersed in oblivion, through which my journey had taken me. " From Austerlitz, by W.G. Sebald

Required Texts: AutoBioDiversity, ed. Howard Junker A Small Place, Kincaid Various handouts

Course Objectives:

In this M.F .A. creative process course we will read and discuss works by contemporary writers which explore the world of fictionalized nonfiction. We will focus on autobiographical work, the true or semi-true story that" ... shuttles between the world of fact and possibility." (Mimi Schwartz). We will experiment with stretching the truth, examine how form choices can alter and enhance a work of creative nonfiction, and explore finding a balance between the use of objective facts and subjective takes. We will begin by a study and analysis of selected texts, including essays which target issues particular to the genre. Through discussions we will explore our reactions to the subject matter at hand and begin to identify various issues and themes to be addressed during the course of the semester. Texts and sources we will draw from include; A Small Place by Jamaica Kincaid, AutoBioDiversity: True Stories from Zyzzyva, selected works by W.G. Sebald, , Haruki Murakami, Alain de Botton, Joan Didion, David Shields, Brian Hoffman, Virginia Woolf Tsering Wangmo Dhompa and others. · The course is limited to 11, with preference given to MF A candidates. This is not a workshop. While students will share their written responses to writing exercises the focus of this course will be on the discovery of new material and experiments with the genre, not on the revision and/or editing of new or existing drafts.

Collaborative Teams

In a model based on the concept of collaborative practice-where health care providers use their shared knowledge and expertise to offer care for a patient-two students will choose a selected texts from AutoBioDiversity, and give a presentation. The collaborative team will be responsible for a providing a close reading of the text, will give an oral presentation of issues and themes that arise in the work, and will co-lead a seminar discussion on an issue relating to creative nonfiction raised by the selected work. The collaborative team may also bring in texts from other sources to add additional focus to the discussion. To aid in the discussion process the collaborative team will be responsible for providing written "chart notes" in response to the text fashioned after the notes nurses take at the end of shift to explain and relay pertinent informationto the next shift. These chart notes will be used in discussion of the material and may also provide clues to the writer's own questions and investigationsthat can, in turn, be mined for potential writing projects. Throughout the course I will provide generative exercises-triggered by the readings and discussions-to stimulate new work. Students will present and share their writtenfindings-­ unpolished written responses to those exercises. The presentation of findings is an opportunity for students to share some of their individual investigations on the subject matter and at the same time allows all of us the chance to examine the range and shape of the collective investigation.

Grading policy:

Grading is based on your active involvement in all of the diverse tasks of the course. A breakdown by percentage is as follows: Completion of written exercises and written responses to the text= 50%. Participation in the life of the course which includes discussions, presentations, attendance = 50%. More than two missed classes will result in a lowering of your final grade. Class will begin promptly at 12:35 if the creek don't rise. CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule- http://www.sfsu.edu/online/clssch.htm- this has the most up-to-date infonnation regarding days/timesand sections being offered. Check back often. CW 101.01 Intro Creative Writing Anne Galjour W 1610-1855 CW 101.02 Intro Creative Writing Miya Reekers T 1900-2145 This course is an introduction to the creative writing process, in which you' 11do exercises in writing poetry, fiction, and dramatic scripts. There will also be selected readings of exemplary stories, poems, and plays. Open to all students. CROSS GENRE COURSE.

CW 301.01 Fundamentals Creative Writing Carson Beker M 1210-1455 CW 301.02 Fundam.entals Creative Writins A~s Dixson TH 1900-2145 Mdilfi@\ti.lDIEIIMiiwe+ 1Mlal.11??35??"WPffilll'• Prerequisite: English 114, or equivalent. Priority enrollment given to Eng: Creative Writing, Eng: Ed w/ Creative Writing concentration and Cinema majors. Instruction and extensive practice in writing poetry, fiction, and plays, with selected readings of exemplary stories, poems, and plays. This course is the prerequisite to Short Story Writing, Poetry Writing, and P1aywritinInstructors' names will b~ublished in June. CROSS GENRE COURSE. D'Jm ~i~-Nlt41IBIIBitiih4it@hflM80 1mttJtnffl1. CW 302.01 Fund Of Creative Reading Brian Thorstenson M 1210-1455 CW 302.02 Fund Of Creative Reading Luke Dani Blue W 1210-1455 CW 302.03 Fund Of Creative Reading Sarah Broderick TH 1235-1520 Prerequisite: English 114, or equivalent. Priority enrollment given to Eng: Creative Writing, Eng: Ed w/ Creative Writing concentration and Cinema majors. This course will emphasize developing methods and habits of reading, by focusing on exemplary writings in poetry, narrative prose, and drama (with possible forays into its extension cinema). A course in basic elements: time, space, sound, rhythm, silence, texture, color, movement, shape, weight, etc. Poetry (as poesis = making) is intrinsic to all modes of written art, whether narrative prose with its modes of telling, or drama that incorporates action, "the play." Students will get exposed to writings historical and contemporary, come to cultivate a habit of active reading and interpretation, build one's desire for reading, and learn ways to talk and write about another's writing (key to reading one's own). Writing assignments will be in response to the assigned readings. CROSS GENRE COURSE.

NOTE: The prerequisite for all the undergraduate craft, creative process and writing workshops (CW 510, 511, 512, 513, 600, 602, 603, 604 and 605) is CW 301, Fundamentals of Creative Writing, with a grade of "C" or above. Enrollment in undergraduate writing workshops is limited to undergraduate majors in English: Creative Writing and English: Education (Creative Writing). Non-majors are admitted only with consent of instructor.

CW 465.01 Mod Greek Poetry Comp Perspective Martha Klironomos T 1810-2055 A survey of Greece's prominent modern and contemporary poets against the backdrop of major European literary movements. Poets to be studied include Cavafy, Seferis, Elytis, Mastoraki, and Vakalo. Cross-comparisons with poets of other national traditions will be conducted. Prerequisite:ENG 214 or equivalent.

CW 506.01 Business Of Creative Writing Donna De La Perriere W 1900-2145 In this class we will explore some aspects of the "business" of creative writing-how writers find and create for their work, find editors and publishers, and pay the rent--as well CREATIVE WRJTING DEPARTMENT COURSEDESCRJPTIONS FALL 2013 Class schedule - http://www.sfsu.edu/online/clssch.htm-this has the most up-to-date infonnation regarding days/times and sections being offered. Check back often. CW 506 continued - as how they create lives in which art and the creative process are central. This is a survey class, not a seminar, so while this class will not teach you how to become a best-selling writer in ten easy steps, it will provide you with a larger sense of the business side of creative writing, while encouraging you to develop your ability to distinguish between the business of creative writing and the art. Each class period will involve lecture & discussion by guest speakers (poets, writers, literary agents, book editors, literary journal publishers, reading series curators, book distribution managers, free-lance writers and editors, literary nonprofit managers, and the like). You will be given a writing and/or research assignment the week before each presentation to lead you into the speaker's field.

CW 507.01 Writing On The Body Dodie Bellamy T 1610-1855 Through creative writing exercises and examining various texts we will discuss strategies for the translation of bodily states into writing. We will focus on themes of human sexuality and gender, as well as other body experiences, such as ingestion, expulsion, illness, sensory stimulation. We will also consider the politics and challenges of writing about the body.

CW 510.01 Personal Narrative Yumi Wilson W 1610-1855 Priority enrollment given to Eng: Creative Writing; Eng: Ed w/ Creative Writing concentration and Cinema majors. Study of personal narrative in books, essays and films to explore how writers transform everyday life experiences into art. Selected works will include: Against Joie de Vivre by Phillip Lopate, I Know Why the Caged Bird Sings by Maya Angelou, selected essays from When You Are Engulfed in Flames by David Sedaris. Other works to be announced.

CW 510.02 Poetics Of Place Heather Gibbons TH 1235-1520 Priority enrollment given to Eng: Creative Writing, Eng: Ed w/ Creative Writing concentration and Cinema majors. An examination of poetry that responds to specific geographic locations, exploring the ways poetic imagination and practice can be grounded in, released by, and otherwise in dialogue with various places and notions of place. Poets to be studied may include William Wordsworth, Lorine Niedecker, , James Wright, , , and Eleni Sikelianos.

CW 51 I.OJ Craft Of Poetry- GWAR Daniel Langton W 1210-1455 Prerequisites: CW 301; ENG 114; ENG 214; B.A. majors in ENG: Creative Writing and ENG: Edu. (Creative Writing). This course focuses on basic craft elements of poetry: , , rhythm, voice, form, and the vocabulary of the genre. It also investigates the historical and cultural influences that give us our current assumptions about poetry. Lectures are supplemented by discussion of student and professional poems. Satisfies the General Education GW AR/CWEP requirement.

CW 512.01 CraftOfFiction-GWAR Matthew Davison TH 1235-1520 CW512.02 CraftOfFiction-GWAR DonMenn Ml900-2145 Prerequisites: CW 301; ENG I 14; ENG 214; B.A. majors in ENG, Creative Writing and ENG, Edu. (Creative Writing). Explore craft elements of fiction: plot, dialogue, character, point of view, place, etc. Focus is on published writing and exercises. Some student work is discussed. Satisfies the General Education GWAR/CWEP requirement. CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule http://www.sfsu.edu/online/clssch.htm this has the most up-to-date information regarding days/times and sections being offered. Check back often. CW 513.01 Craft Of Playwriting- GWAR Anne Galjour M 1210-1455 Prerequisites: CW 301; ENG 114; ENG 214; B.A. majors in ENG: Creative Writing and ENG: Ed (Creative Writing). Study of the principles used in the craft of dramatic writing. Focus on action, character, conflict, crisis, , structure, scene, setting, plot, story, subtext, with an emphasis on the art of writing good dialogue. Origins of play writing through the study of OEDIPUSby Sophocles, to the birth of modern theatre as expressed through Chekhov's UNCLE VANYA, all the way to modern master works by , Nilo Cruz, David Mamet, and Caryl Churchill. Students will write critical essays in response to these playwrights' use of language, strategies in craft elements, themes, individual voice, and sources of inspiration for their works. Discover why these works continue to get produced to this day. Students will learn proper page formatting for playwriting. Write scenes and short plays generated from in-class and take home writing assignments throughout the entire semester. Satisfies the General Education GWAR/CWEP requirement.

CW 520.01 Writers On Writing Donna De La Perriere M 1900-2145 Faculty and visiting writers representing a wide range of styles and subjects will visit the class to read and discuss their writing. Students will respond to the readings and visits on an ongoing basis through critical essays and creative writing exercises. Paired with CW 820. Note: this course can be used to fulfill 3 units of the "creative process" requirement. It can only be taken once for credit. Students who have completed CW 820 may not take CW 520 for credit. CROSS GENRE COURSE.

CW 550.01 Poetry Center Workshop Steve Dickison TH 1535-1820 Visiting writers in the celebrated Poetry Center Reading Series provide the basis for exploring both the work of outstanding contemporary poets and student writing generated in response. Guests offer a wide range of aesthetics and concerns, ample opportunity for interaction, and new directions for student writing. Paired with C W 850. Students who have completed C W 550 may not take C W 850 for credit.

CW 600.01 Journal Writing JunseKim W 1900-2145 Priority enrollment given to Eng: Creative Writing, Eng: Ed w/ Creative Writing concentration and Cinema majors. A writing course which teaches students how to use the journal as a writer's notebook, both as a tool for discipline and for experimentation.The journal form as a literary form is also used°to create texts of poetry and prose. ·

CW 600.02 Uses Of Personal Experience Frances Phillips T 1900-2145 Priority enrollment given to Eng: Creative Writing, Eng: Ed w/ Creative Writing concentration and Cinema majors. In Uses of Personal Experience we will read a wide array of U.S. and international writers and write in response to styles, content, and questions their works raise. We will write frequently, workshop drafts in class, and complete polished pieces of three distinct types: journal/log/diary-inspiredpieces from daily life, personal essays, and memoirs. Your investigations will grapple with the immediate "now" and the richly unreliable realm of memory. You also will read and review (either as a short paper or a class presentation) one book of letters, diary, memoir, personal essay, or creative nonfiction. CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule- http://www.sfsu.edu/online/clssch.htm-this has the most up-to-date infonnation regarding days/times and sections being offered. Check back often. CW 601.0 I Work In Progress Heather Gibbons M 16 I 0-1855 CW 601.02 Work In Progress Steve Dickison T 1235-1520 Prerequisite: Senior standing in Creative Writing. Enrollment is limited to undergraduate majors in English: Creative Writing and English: Education (Creative Writing). In WorkIn Progress students will identify, investigate and work to revise and re-see a creative project of their choice. Students will spend the semester working on this particular body of work, not to bring it to completion per se, but to help the work illuminate itself. Students will participate in large group discussions and small group investigations and should possess a sincere commitment to reading and writing. The course will help students establish both a rigorous and creative revision practice. CROSS GENRE COURSE.

CW 602.0 I Playwriting Brian Thorstenson M I 6 I 0-I 855 Priority enrollment given to Eng: Creative Writing, Eng: Ed w/ Creative Writing concentration and Cinema majors. The study of act design and character analysis in selected contemporary classic plays. Writing exercises will explore voice, character development, structure and dialogue. Students will write a one act play.

CW 603.01 Short Story Writing Matthew Davison TH 1610-1855 CW 603.02 Short Story Writing Katie Crouch W 1210-1455 Prerequisite: CW 301 and CW 512. Enrollment is limited to undergraduate majors in English: Creative Writing and English: Education (Creative Writing). The course includes the writing and analysis of short fiction in a workshop setting, with emphasis on developing character and voice.

CW 604.01 Poetry Writing· Truong Tran TH 1900-2145 Prerequisite: CW 30 I and CW 511. Enrollment is limited to undergraduate majors in English: Creative Writing and English: Education (Creative Writing). The aim of this poetry writing workshop is to foster your growth as a working poet. Class meetings will be spent engaging in the development of the poetic craft. It will also be a time devoted to experimentation as we enter or re-enter your work and that of your classmates. We will examine the effectiveness of voice, form and the word as it relates to the page. The workshop will hone your craft as both writer and reader, poet and editor through the process of discussions and feedback. Through a series of process oriented exercises, the workshop will enable you to generate new works.

CW 609 Directed Writing BA Student: Permission of the instructor is required to take this course; you will be dropped without prior consent of the instructor. By the middle of the semester before you plan to enroll in Directed Writing, submit a sample of your writing in the instructor's mailbox along with a note explaining that you want to take their Directed Writing class. Be sure you include your name, address, phone number and e-mail. If the instructor is off campus, the Creative Writing Office will mail your writing sample for you. CW 609.01 Directed Writing B.A. Students Playwriting Roy Conboy CW 609.02 Directed Writing B.A. Students Poetry Camille Dungy CW 609.03 Directed Writing B.A. Students Fiction, Poetry Bob Gliick CW 609.04 Directed Writing B.A. Students Poetry Paul Hoover CW 609.05 Directed Writing B.A. Students Poetry Dan Langton CW 609.06 Directed Writing B.A. Students CNF, Poetry Toni Mirosevich CREATIVE WRITING DEPARTMENT COURSE DESCRIPTIONS FALL 2013 Class schedule http://www.sfsu.edu/online/clssch.htm this has the most up-to-date infonnation regarding days/times and sections being offered. Check back often. CW 609.07 Directed Writing B.A. Students Fiction Peter Omer CW 609.08 Directed Writing B.A. Students CNF, Fiction Chanan Tigay CW 609.09 Directed Writing B.A. Students Fiction, Playwriting Michelle Carter CW 609.10 Directed Writing B.A. Students Fiction Nona Caspers CW 609.11 Directed Writing B.A. Students Fiction ZZPacker

CW 640.01 Transfer Lit Magazine Nona Caspers T 1610-1855 Prerequisite: CW 301 and either CW 602,603,604 or consent of instructor. "The important thing to do is to commit to writing as much as possible ... Make a commitment to an independent magazine or publication ... We're all connected to this large community and we all need to take an active part in it. If writers can make those kinds of commitments, they'll feel connected" (Jewelle Gomez). Join the staff of Transfer,the literary magazine of the Creative Writing Department. The course is designed to give you a working taste of what it takes to put out a literary magazine (including critical analysis and discussion of short-listed submissions, proofreading, solicitation and distribution) and to make you think about the world of literary magazines and your own beliefs in literature. Come prepared to analyze and discuss text and investigate your own literary aesthetics. This is a process course (not a lab) and can be used to fulfill 3 units of the Creative Process requirement. CROSS GENRE COURSE.

CW 675.01 Community Projects In Lit Michelle Carter M 1900-2145 Prerequisite: CW IOI or 301 with a grade ofC or better. Enrollment is limited to undergraduate majors in English: Creative Writing and English: Education (Creative Writing). Non-majors admitted with consent of instructor. Take this course if you want to do an internship. Students secure internship positions at community arts and literary organizations such as Intersection for the Arts, City Arts and Lectures, 826 Valencia, and other centers so that they acquire practical knowledge of writing in the larger social context. Check out our Community Projects in Literature Internships Leads at http://creativewriting.sfsu.edu/courses. May be taken twice for 6 units of credit. CROSS GENRE COURSE.

CW 685 Projects in Teaching Creative Writing ARR Prerequisites: Advanced undergraduate standing, grade of B+ or better in the course in which the student will be an aide, and approval of the department Chair. Students are placed with a creative writing faculty member in a supervised practicum/internship experience, in which they explore the theoretical and practical aspects of teaching creative writing. This is the course to sign up for if you want to be an instructional aid, (I.A.) in a specific undergraduate class for 3 units of credit. Email the Creative Writing Department the first two weeks of the semester in which you wish to be enrolled in Projects TeachingCreative Writing. Please include all of the following information in your email: your first and last name, your enrollment status (major; undergraduate status), your sfsu id number or sfsu email address, the instructor's name and class. You will receive an email response with the schedule and permit numbers to use to enroll in this class. CROSS GENRE COURSE.

CW 699 Independent Study ARR Prerequisite: Consent of instructor and a 3.0 GPA. Upper division students may enroll in a course of Independent Study under the supervision of a member of the Creative Writing department, with whom the course is planned, developed, and completed. This course may be CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule- http://www.sfsu.edu/online/clssch.htm -this has the most up-to-date information regarding days/times and sections being offered. Check back often. taken for one, two, or three units. No priority enrollment; enrollment is by petition, and a copy of your unofficial SFSU transcript. Petition Individual Study forms are available online CW CW 699 Independent Study continued- http://www.sfsu.edu/-admisrec/reg/formstoc.html under the section titled Records and Registration Forms, choose Independent Study (699, 899). This form must be signed by the instructor you will be working with, and the department chair. Your instructor will give you the schedule and permit numbers to add the course during the first week of the semester.

GRADUATE CLASSES: Note: Preference in all Creative Writing graduate courses will be given to students admitted to either the M.A. or the M.F .A. programs in Creative Writing. Preference in M.F .A. level courses will be given to students admitted to the M.F .A. program. Priority in M.A. and M.F .A. writing workshops and creative process courses will be given to students admitted in the genre of the course. Other Creative Writing M.A./M.F.A. students may enroll in these courses only with the permission of the instructor.

CW 803.01 Adv Short Story Writing Chanan Tigay TH 1610-1855 Prerequisite: Classified°graduate standing in Creative Writing. Priority enrollment given to graduate Creative Writing fiction students; open to Creative Writing students in other genres only on a space available basis, to be determined at the first class meeting. An advanced short story writing course taught in a workshop setting. There will be an emphasis on developing critical thinking skills from the perspective of a writer and the conscious application of narrative craft for the purpose of fulfilling one's artistic intent.

CW 804.01 Advanced Poetry Writing Paul Hoover T 1610-1855 Prerequisite: Classified graduate standing in Creative Writing. Priority enrollment given to graduate Creative Writing poetry students; open to Creative Writing students in other genres only on a space available basis, to be determined at the first class meeting. May be repeated for a total of 9 units. Writing poetry with emphasis on analysis of student work and growth of critical abilities. Each class will also include discussion of professional craft models to be provided by the instructor.

CW 806.01 Business Of Creative Writing Donna De La Perriere W 1900-2145 Prerequisite: Classified graduate standing in Creative Writing. In this class we will explore some aspects of the "business" of creative writing-how writers find and create audiences for their work, find editors and publishers, and pay the rent-as well as how they create lives in which art and the creative process are central. This is a survey class, not a seminar, so while this class will not teach you how to become a best-selling writer in ten easy steps, it will provide you with a larger sense of the business side of creative writing, while encouraging you to develop your ability to distinguish between the business of creative writing and the art. Each class period will involve lecture & discussion by guest speakers (poets, writers, literary agents, book editors, literary journal publishers, reading series curators, book distribution managers, free-lance writers and editors, literary nonprofit managers, and the like). You will be given a writing and/or research assignment the week before each presentation to lead you into the speaker's field. CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule http://www.sfsu.edu/online/clssch.htm this has the most up-to-date information regarding days/times and sections being offered. Check back often. CW. 807.01 Developing The Novel Katie Crouch T 1235-1520 Prerequisite: Classified graduate standing in Creative Writing. Priority enrollment given to graduate Creative Writing fiction students; open to Creative Writing students in other genres only on a space available basis, to be determined at the first class meeting. This class is a writing workshop geared toward the early phases of students in the early phases of developing and writing a novel.

809.01-11 Directed Writing for Graduate Students ARR Prerequisite: Classified graduate standing in Creative Writing. Permission of the instructor is required to take this course; you will be dropped without prior consent of the instructor. The · semester before you plan to enroll in Directed Writing, submit a sample of your writing in the instructor's mailbox along with a note explaining that you want to take their Directed Writing class. Be sure you include your name, address, phone number and e-mail. If the instructor is off campus, the Creative Writing Office will mail your writing sample for you. CW 809.01 Directed Writing Grad Students Playwriting Roy Conboy CW 809.02 Directed Writing Grad Students Poetry Camille Dungy CW 809.03 Directed Writing Grad Students Fiction, Poetry Bob Gliick CW 809 .04 Directed Writing Grad Students Poetry Paul Hoover CW 809.05 Directed Writing Grad Students Poetry Daniel Langton CW 809.06 Directed Writing Grad Students CNF, Poetry Toni Mirosevich CW 809.07 Directed Writing Grad Students Fiction Peter Omer CW 809 .08 Directed Writing Grad Students CNF, Fiction Chanan Tigay CW 809.09 Directed Writing Grad Students Fiction, Playwriting Michelle Carter CW 809.10 Directed Writing Grad Students Fiction Nona Caspers CW 809.11 Directed Writing Grad Students Fiction , ZZ Packer

CW 810.01 Sem-Art Of Narrative Junse Kim TH 1900-2145 Prerequisite: Classified graduate standing in Creative Writing. Priority enrollment given to graduate Creative Writing fiction students; open to Creative Writing students in other genres only on a space available basis, to be determined at the first class meeting. Movies, television shows, comic books, and other non-written narrative genres can inspire us, can make us want to create a piece of writing that is as affecting as we have been affected. Then comes the difficult part: how does one do this? This graduate process class will delve into how one can answer this . In this course we will 1) develop our critical analysis skills through discussions of reading assignments, 2) analyze how differing narrative genres use similar craft techniques, but have different tools to apply the techniques, 3) develop the process of identifying (or creating) fiction tools that can best mimic the craft perceived in other narrative genres, and then 4) practice applying these techniques through in-class writing exercises. There will also be creative and critical writing assignments and craft presentations. Through this process, we will discover how creativity isn't limited to our wonderful ideas for stories, but also includes the technical aspect of how to bring these ideas to life.

CW 810.02 Experimental Fiction Peter Omer TH 1235-1520 Prerequisite: Classified graduate standing in Creative Writing. Priority enrollment given to graduate Creative Writing fiction students; open to Creative Writing students in other genres only on a space available basis, to be determined at the first class meeting. Structure and Time CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule-http://www.sfsu.edu/online/clssch.htm -this has the most up-to-dateinfonnation regarding days/timesand sectionsbeing offered. Check back often. CW 810.02 ExperimentalFiction continued- in the Short Novel. Yes, there is a structure in Pedro Paramo, but it is a structure made·of silences, of hanging threads, of cut scenes, where everything occurs in a simultaneous time which is a no-time. - Juan Rulfo We'll be reading, discussing, and writing short essays about (as well as fiction inspired by) short novels with (what I consider) strange/ experimental structures. Why is it that certain short novels linger more intensely in our minds than books twice their length? It may be that the source of their power has something to do with the way certain short books experiment with time, either to compress it, contort it, isolate it, expand it, etc, depending on the story. We'll be looking closely at a varied group of short novels with a particular eye on, among other things, structure and time. Books will include such well known books as Faulkner's As I Lay Dying and Dostoevsky's Notes from the Underground, as well as lesser known but influential works, including, Juan Rulfo's (Mexico) remarkablejourney into the underworld of the past and dreams, Pedro Paramo, Jane Bowles' (U.S.) hallucinatory Two Serious Ladies (named by Tennessee Williams as his favorite book, initial reviews were mostly uncomprehending, however), Leonid Tsypkin's (Russia) strange and beautiful homage to Dostoevsky, Summer in Baden-Baden, Clarice Lispector's () brief, haunting The Hour of the Star, Dambudzo Marachera's (Zimbabwe) brutal and feverish novella, House of Hunger, among others. To mix things up, we'll also be reading a (relatively) unified collection of stories set in Tibet, Ma Jian's (China) Stick Out Your Tongue.

CW 810.03 Oral Poetics Bob Glilck M 1610-1855 Prerequisite: Classified graduate standing in Creative Writing. Performing fiction and poetry. This is a class in performance. We will discuss the history of the literary reading and analyze selected prose and poetry readings from the American Poetry Archives. But the heart of the class will be learning to perform your work. But the end of the semester, you will have gained skills and a great deal of confidence. You will also have developed a language to understand and critique the performance aspects of literary readings. This is a subject that is not addressed in most Creative Writing programs, and yet readings are an important aspect of a literary community and a writing career.

CW 820.01 Writers On Writing Donna De La Perriere M 1900-2145 Faculty and visiting writers representing a wide range of styles and subjects will visit the class to read and discuss their writing. Students will respond to the readings and visits on an ongoing basis through critical essays and creative writing exercises. Paired with CW 520. Note: this course can be used to fulfill 3 units of the CW,810 (creative process) requirement. It can only be taken once for credit. Students who have completed CW 520 may not take CW 820 for credit. CROSS GENRE COURSE.

CW 840.01 14 Hills Lit Magazine Matthew Davison W 1900-2145 Prerequisite: Classified graduate standing in Creative Writing. Through assigned reading on different aspects of American literary magazines, learn an insider's view of the life of the magazine editor, and the particular challenges it entails. Learn how to read and discuss work for the magazine (as differs from discussing work in a workshop), and the very marketable skills of double-proofing,copyediting, and proofreading. Apply on a practical level the skills learned, to the production of Fourteen Hills, taking part in discussions of material to be published, editing the text of the magazine, and marketing. The goal of this is class is that CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule- http://www.sfsu.edu/online/clssch.htm-this has the most up-to-date informationregarding days/timesand sections being offered. Check back often. students will have gained a new understanding--as people applying for jobs in the field of publishing, as writers submitting their work to magazine editors, and as appreciative (and informed) readers of the literary magazine. CROSS GENRE COURSE.

CW 850.01 Poetry Center Workshop Steve Dickison TH 1535-1820 Visiting writers in the celebrated Poetry Center Reading Series provide the basis for exploring both the work of outstanding contemporary poets and student writing generated in response. Guests offer a wide range of aesthetics and concerns, ample opportunity for interaction, and new directions for student writing. Paired with CW 550. Students who have completed CW 850 may not take CW 550 for credit. Creative process course open to graduate CW students in all genres.

CW 852.01 MFA Workshop In Creative Nonfiction Toni Mirosevich W 1610-1855 Prerequisite: Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority given to M.F .A. students; open to M.A. students only on a space available basis, to be determined at first class meeting. A writing workshop where students will concentrate on the creation, development and revision of their creative nonfiction. The class format will include group discussion of student work and may also include in-class and at-home writing exercises.

CW 853.01 MFA Workshop In Fiction Bob Gluck T 1900-2145 CW 853.02 MFA Workshop In Fiction Peter Orner W 1610-1855 Prerequisite: Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F .A. fiction students; open to other M.F .A. genre and M.A. fiction students only on a space available basis, to be determined at the first class meeting. A writing workshop in which students will be expected to concentrate on revision of fiction, on bringing work to a finished, publishable state. The course will emphasize the short story.

CW 854.01 MFA Workshop In Poetry Truong Tran M 1900-2145 CW 854.02 MFA Workshop In Poetry Maxine Chernoff W 1210-1455 Prerequisite: Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F .A. poetry students; open to other M.F .A. genre and M.A. poetry students only on a space available basis, to be determined at the first class meeting. In this course designed for classified students in the MF A program, students will concentrate on the creation and revision of their poetry. The class format will include discussion of reading assignments, group discussion of student work, and may also include in-class and at-home writing assignments.

CW 856.01 MFA Workshop Short Plays Brian Thorstenson W 1900-2145 Prerequisite: Classified graduate standing in M.F .A. Creative Writing. M.F .A. course, priority enrollment given to M.F .A. playwriting students; open to other M.F .A. genre and M.A. fiction students only on a space available basis, to be determined at the first class meeting. In this course we'll explore plays and playwriting as an active form of theater. We'll shrink the distance between the written word and the acted word by putting the work we create directly on its feet. In this way we'll be able to turn our attention not only to the solitary wiring experience, but also to the writer's experience in the artistic interactions that bring plays to theatrical life. We'll concentrate on short plays and scenes in order to focus our attention on CREATIVE WRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule- http://www.sfsu.edu/online/clssch.htm-this has the most up-to-date infonnation regarding days/timesand sections being offered. Check back often. the fundamental building blocks of plays and the theatrical experience; and we'll work in an improvisational and free-wheeling atmosphere that is conducive to risk-taking and stylistic experimentation. While more of our work will be created and presented in the privacy of the workshop, we'll also look for opportunities to present showcases of our work in public.

CW 859.01 Practicum In Teaching Nona Caspers T 1900-2145 Prerequisite: Classified graduate standing in Creative Writing and an instructional aid placement in an undergraduate CW course--or a weekly volunteer teaching position in creative writing in another academic or community setting--during Fall semester 2013. This course will provide pedagogical grounding for pragmatic classroom teaching work and provide graduate students with a structured forum to discuss their work with undergraduates under the supervision of an experienced teacher and in collaboration with other graduate students and the CW 859 instructor. Students will learn new pedagogical practices and strategies for dealing with key issues that arise in teaching undergraduate creative writing students. In scheduled practicum meetings students will share experiences, discuss strategies, share materials being used in class by their mentors, discuss selected readings, and meet with guest teachers who will present useful teaching perspectives. In addition to group meetings one-on-one mentoring conferences will occur between student and instructor. CROSS GENRE COURSE. Open to both M.A. and M.F.A. Creative Writing students.

CW 860.01 Teaching Creative Writing Toni Mirosevich T 1235-1520 Prerequisite: Classified graduate standing in Creative Writing. This course introduces advanced graduate students to the art and practice of teaching creative writing. Creative Writing 301 will serve as our prototype. We'll be reading essays and interviews, discussing aspects of creative writing pedagogy, and performing a variety of rigorous teaching activities. We'll discuss giving useful feedback for student writers; designing effective writing assignments; use of texts and craft models; strategies for leading discussions of literary works and student works-in-progress. Students will also prepare and execute mini-lectures on a range of craft and process topics, and develop a detailed syllabus for an introductory creative writing course. CROSS GENRE COURSE.

CW 866.01 Craft Of Translation Paul Hoover T 1235-1520 Prerequisite: Classified graduate standing in Creative Writing. Priority enrollment given to poetry students; open to other genres only on a space available basis, to be determined at the first class meeting. This seminar will serve as a workshop to explore and generate writing that functions by techniques of translation. We will consider questions of translation as a model for thinking and making poetry, as well as language contexts, idioms and temporalities.

CW 875.01 Community Projects-Lit Michelle Carter M 1900-2145 Prerequisite: Classified graduate standing in Creative Writing. Take this course if you want to do an internship. Students secure internship positions in community arts and literary organizations such as Intersection for the Arts, City Arts and Lectures, 826 Valencia, and other centers so that they acquire practical knowledge of writing in the larger social context. Check out our Community Projects in Literature Internships Leads at http://creativewriting.sfsu.edu/courses. May be taken twice for up to 6 units of credit. CROSS GENRE COURSE. May be taken for two times for credit. CROSS GENRE COURSE. CREATIVEWRITING DEPARTMENT COURSEDESCRIPTIONS FALL 2013 Class schedule http://www.sfsu.edu/online/clssch.htm- this has the most up-to-dateinfonnation regarding days/timesand sections being offered. Check back often. CW 880.01 Poetics Of Narrative ZZ Packer M 1210-1455 Prerequisite: Classifiedgraduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F.A. fiction students; open to other M.F.A. genre and M.A. fiction students only on a space available basis, to be determinedat the first class meeting. Examine CW 880.01 Poetics Of Narrative continued- narrative theory by published writers and apply the reading to contemporarynovels, with a view toward informingstudents' own writing.

CW 880.02 Writing Public Context Michelle Carter W 1610-2155 Prerequisite:Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F.A. students; open to M.A. students only on a space available basis, to be determined at the first class meeting. In this graduate process seminar for writers in all genres we'll explore resonances between the "private" and the "public"--innerworld and outer, familiar and unfamiliar, accessible and inaccessible,known and unknown. We'll target material outside the province of personal history, seeking out worlds and subjects that lure us for reasons we may not fully understand. Most weeks, we'll leave the classroom and meet up at an undisclosed location for a group expedition. Through reading and writing assignments, we'll consider strategies for engaging and questioningthe material we collect, remaining alert to resonances in our own lives, personalities,and personal histories. Each student will also devise his or her own "Contact Project," a nonliterary explorationintended to force us out of the "private" and into the "public." N.B.: This course will meet from 4:10 until 9 to 10pm, from August 28 to October 23rd ONLY. The extended class meetings will allow us to meet on campus for part of the session and then take ourselves out into the world.

CW 880.03 The Art Of Short Fiction Cooley Windsor TH 1610-1855 Prerequisite: Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F.A. fiction students; open to other M.F.A. genre and M.A. fiction students only on a space available basis, to be determinedat the first class meeting. A close, in­ depth reading and study of contemporaryshort story techniques as seen in other published writers. Writing assignmentsgeared to focus on key aspects of the author's art.

CW 880.04 Creative Nonfiction Chanan Tigay W 1900-2145 Prerequisite: Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F.A. fiction students; open to other M.F.A. genre and M.A. fiction students only on a space available basis, to be determinedat the first class meeting. This Creative Process course will explore the popular and fascinating branch of Creative Nonfiction known as immersion literature. From author Barbara Ehrenreich's effort to survive on poverty­ CW 880.04 Creative Nonfiction continued - level wages to former New Yorker fiction editor Bill Buford's initiation into the savage world of soccer hooliganism;and from Esquire writer AJ Jacobs' effort to spend a year living according to biblical mandates to Sebastian Junger' s embeddingwith a group of American soldiers on an isolated and dangerous outpost in Afghanistan,this course will focus on these and other writers who immerse themselves in lives and situations other than their own, chroniclingtheir experiences (sad, funny, frightening, moving) in books and essays. Throughout the semester, students will complete a series of writing exercises culminating in their own essay-lengthimmersion projects. CREATIVE WRITING DEPARTMENT COURSE DESCRIPTIONS FALL 2013 Class schedule- http://www.sfsu.edu/online/clssch.htm-this has the most up-to-date infonnation regarding days/timesand sections being offered. Check back often. CW 881.01 Individual Vision Daniel Langton T 1410-1655 Prerequisite: Classified graduate standing in M.F .A. Creative Writing. M.F .A. course; open to M.A. students on a space available basis, to be determined at the first class meeting. We'll cover the basics and the advanced subtleties of prosody. This class will include, but not be limited to, Notation, Theories of Literature, the -isms from Classicism to Modernism, , Imagery, Symbols, Translation, Obscurity, perception and imagination. We will also talk about the poetry of the preliterate peoples of the contemporary world, particularly the Inuit of Canada, the peoples of the Marianas and the Forest and Bush peoples of the Gabon. There will be many poets, depending on what you need, but you can count on Richard Wilbur, W.C. Williams, and Emily Dickinson.

CW 881.02 Contemporary U.S. Poets & History Dodie Bellamy M 1210-1455 Prerequisite: Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F.A. poetry students; open to other M.F.A. genre and M.A. poetry students only on a space available basis, to be determined at the first class meeting. How do poets use personal and collective history? Explore the use of tools like found text, appropriated materials, and formal experimentation to strengthen student poems.

CW 882.01 Contemp Amer Playwrights Michelle Carter M 1610-1855 Prerequisite: Classified graduate standing in M.F.A. Creative Writing. M.F.A. course, priority enrollment given to M.F .A. playwriting students; open to other M.F .A. genre and M.A. fiction students only on a space available basis, to be determined at the first class meeting. In this graduate process course, we'll read an extensive range of new plays by playwrights from the U.S., the U.K, and Ireland. We'll set out to discern each writer's intentions and how particular craft elements are used to manifest those intentions. Each student wiH also do weekly creative assignments that spring from craft analyses of our playwrights. W e'II be studying very recent plays by American playwrights Annie Baker, Amy Herzog, Tarell Alvin McCraney, Will Eno, Quiara Alegria Hudes, Samuel D. Hunter, Marisa Wegrzyn, Bathsheba Doran, Jennifer Haley, Lodato, Bruce Norris, Luis Alfaro, Jenny Schwartz, Danai Gurira, Anne Washburn, and others. We'll also be studying recent work by U.K. and Irish playwrights Caryl Churchill, Simon Stephens, Philip Ridley, Lucy Kirkwood, Martin Crimp, Nick Payne, Enda Walsh, Tim Crouch, Linda McLean, and others. CW 893 Written M.A. Creative Project (3 units) Prerequisite: advancement to M.A. candidacy in English: Creative Writing. Advancement To Candidacy (A TC) and Culminating Experience Proposal forms must be on file in the Division of Graduate Studies the semester before registration. These 3 units M.A. students sign up for while working on the culminating experience/thesis/written creative project, which may be a collection of short stories, a group of poems, a novel or a play. To enroll: contact your thesis/written creative work committee chair the first week of the semester for the schedule and permit numbers to add the class. You must enroll in this course or you will not receive credit for your thesis. CW 893 Written M.F.A. Creative Work (6 units) Prerequisite: advancement to M.F.A. candidacy in Creative Writing; Advancement To Candidacy (A TC) and Culminating Experience Proposal forms must be on file in the Division of Graduate Studies the semester before registration. These 6 units M.F .A. students sign up for CREATIVE WRITING DEPARTMENT COURSE DESCRIPTIONS FALL 2013 Class schedule - http://www.sfsu.edu/online/clssch.htm - this has the most up-to-date infonnation regarding days/times and sections being offered. Check back often. while working on the culminating experience/thesis/written creative project, which is expected to be a book length collection of short stories, or poems, or a novel or a play of publishable quality. To enroll: contact your thesis/written creative work committee chair the first week of the semester for the schedule and permit numbers to add the class. You must enroll in this course or you will not receive credit for your thesis. You must enroll in this course or your will not receive credit for your thesis. CW 899 Special Study Prerequisite: consent of instructor and a minimum GPA of3.25. A special study is planned, developed, and completed under the direction of a faculty member. This course may be taken for one, two, or three units. No priority enrollment; enrollment is by petition, and a copy of your unofficial SFSU transcript. Petition Individual Study forms are available online http://www.sfsu.edu/-admisrec/reg/formstoc.htrnl under the section titled Records and Registration Forms, choose Independent Study (699, 899). This form must be signed by the instructor you will be working with, and the department chair. Your instructor will give you the schedule and permit numbers to add the course during the first week of the semester. I APPENDIXL

Community Projects in Literature Internship List

8/10/2012 CW 675/875 CommunityProjects in Literature CW 675/CW 875 Community Projects in Literature Internship Leads (updated July 31, 2012) CW 675/875 Community Projects in Literature gives you, the student the opportunity to gain experience in the fields of publication, teaching, and arts administration, which will make valuable additions to your re­ sume. Though each internship will be individually shaped, you will make a commitment of at least six hours a week for the length of the semester to earn three units credit. If you make that commitment, you will be expected to keep it. The instructor will approve the project and confer with the internship supervi­ sor. (Most of these organizations have had both good and bad experiences with our student interns, and have asked us to send them ONLY reliable people. Be reliable.) Use this list of organizations as a guide to finding an internship, or you can find one on your own. This list includes on-campus internship opportunities, such as the Poetry Center. You also may create your own project as well; for example, teaching writing workshops in community, institution or school settings, or creating a reading series. Typically, the organizations listed will ask you for a brief resume; try to give them some idea of the kinds of experience you already have. For example, did you work on a campus journal, can you operate a com­ puter, file, write clearly? NOTE that some of these organizations might not be accepting interns this semester, or may have changed their contact information, or may no longer exist. Please let us know via email, [email protected], if any of these leads are dead ends; we're grateful for your help keeping the list current!

826 Valencia Street, www .826valencia.org/ 826 Valencia is dedicated to supporting students ages 6-18 with their writing skills and to helping teachers get their students excited about the literary arts. Like kids? Pirates? Photocopying? Come exercise your writ­ ing and editing skills, work directly with teachers and students, and gain valuable experience in the many aspects of educational programming, nonprofit administration, and event planning. Requirements: minimum commitment of 15-20 hours per week for at least four months; excellent written and verbal communication skills Proficiency with Microsoft Office programs; editing/proofreading experience preferred; experience with kids in a professional setting a plus; Spanish language and design software skills a plus. Perks: free ad­ mission to 826 Valencia events; 15% discount at the Pirate Supply Store; opportunity to work with local writers; immeasurable joy. To apply, please send an email with a current resume (with references) that re­ flects relevant experience and skills to [email protected]_. Also include a cover Jetter that explains what you will bring to the position, as well as what you hope to gain from the experience. More information: http://826valencia.org/internships/ .

Adult Learning & Tutorial Center City College of SF 31 Gough St.#209 San Francisco, 94103 Contact: Shawn L. Crater, 415-241-2300

Agola Television PO Box 401193 San Francisco, 94140 Contact: Jean-Paul Petraud, Director, 415-826-0310 Working with high school students to produce television documentaries on current social issues of concern to teenagers. 8/10/2012 CW 675/875 CommunityProjects in Literature Apogee Press, P.O. Box 8177, Berkeley, CA 94707-8177 www.apogeepress.com Contact: Alice Jones, Editor editors @apogeepress.com, 510-845-8800 Intern duties: first-reader for some unsolicited manuscripts; mailings, including sending out review copies of forthcoming publications; preparing manuscripts for printing; copyright and isbn applications. Weekly work schedule that's ideal for you and the press: variable, possibly Friday morning, or late Wed. afternoon. Most of the tasks could be done on one's own time, ·

ASSERT (Asian Society for Education, Research, and Technology) Contact: J. Wong, Project Administrator, [email protected] ASSERT, located in San Francisco, needs the following interns: Web Forum Editor, Web Network Editor, Intl. News Editor, Agency Correspondent, Technical Writer. Email resume and writing sample.

Aunt Lute Books, auntlute.com Box 4106878, San Francisco CA 94141 Contact: Gina Gemello, Phone: 826-1300, [email protected] Multi-cultural women's press in San Francisco; when they need interns, look for part-time unpaid interns to assist in all phases of book production. Interns would be assisting staff with order fulfillment, marketing, web-research, grants and production.

Avalon Travel Books Located in Berkeley, this imprint of Perseus books publishes the Rick Steves and Moon travel books. They have a number of internship opportunities, go to their internship page for more information. http://www.avalontravelbooks.com/internships.php

Jesus Angel Garcia, badbadbad.net Contact: postpulpproductions@gmaiLcom Responsibilities to include: scheduling readings/screenings, etc.; marketing; advertising; e/audio book/video production. 10 hours per week minimum (remotely via internet with occasional in-person meetings). Quali­ fications: interest in transmedia; positive enthusiasm, resourcefulness, clear communication skills -written and verbal; creative problem solving, ability to meet deadlines; organized and detail oriented; experience preferred, but not necessary. To apply: email following (ALL in body of email): cover letter, resume, fic­ tion or poetry writing sample (500 word or less)to [email protected] Links to published clips are also acceptable.

Bang Out Reading Series http://bangoutsf.com/ Contact: [email protected]

Barnabe Mountain Review PO Box 529, Lagunitas, CA 94938 Contact: Gerald Fleming, Editor This busy editor needs help getting his magazine to press. Responsibilities include the many facets of maga­ zine work.

Bay Area Playwright's Festival Contact: Amy Mueller 626-0453

Bay Area SCORES http://www.americascores.org, 415-486-1310 San Francisco non-profit that provides an after school program for 8-11 yr olds in Bayview/Hunters Point,

2 8/10/2012 CW675/875 Community Projects in Literature Excelsior districts, and Visitacion Valley; children go for two hours every day after school alternatingbe­ tween writing and soccer classes. They are looking for writing mentors to help out in the writing class two days a week for 2 hours.

The Bay Citizen, www.baycitizen.org/is a new nonprofitnews organization publishing baycitizen.org, and also the twice-weeklyBay Area section of The New York Times. They seek an intern to assist with marketing and fundraising activities. Tasks may include helping with public events, conducting research on foundations,helping to build our press list, assisting with database management, and helping to produce marketingor fundraising materials. The intern would gain insight into the emerging field of nonprofitjour­ nalism and an online start-up. Our office is convenientlylocated downtown, off of Union Square. To apply contact Jennifer Benka, [email protected].

The Beat Within www.thebeatwithin.org Contact: Autumn Darbrow [email protected],415-503-4170 Writing and conversationprogram in juvenile halls, is looking for a Workshop Facilitator for weekly work­ shops on Tuesday Evenings in the Alameda Countyjuvenile hall (in San Leandro). During the training peri­ od, this will be a volunteer post. It will turn into a paid position/stipendat the rate of $25/hr for facilitating workshops and $25/hr for editing their units' work. 2 hours per week workshop commitment. Tuesdays from 7 p.m. - 9 p.m. Eventual editing hours will vary depending on unit size and quantity of writing generated by the young people. All successful applicants will go through a background check and a "livescan" finger­ printing process.

Berkeley City College Contact: Jenny Lowood,[email protected] They l)eed tutors. Beyond Chron Contact: [email protected] http://www.beyondchron.org/ San Francisco-basednews and entertainment website. Interns will be expected to write articles, conduct in­ terviews and compile listings. Interest in local politics and background in journalism preferable. Internship will require a commitment of 10-20 Hours per week. Please email resume, cover letter, and three clips. Bindlestiff Studio www.bindlestiffstudio.org I 072 Folsom Street #470 San Francisco, CA 94103 Contact: [email protected],415-255-0440 Bindlestiff is a communitysbasedperforming arts venue dedicated to showcasing emerging Filipino Ameri­ can and Pilipino artists. Brava! Theater Center, www.brava.org Contact: Jocelyn Thompson, [email protected] 278 I 24th Street, San Francisco, CA 94110 There are a number of internship opportunities available; go to their website and follow the link under "job opportunities"and choose "internships." To apply submit (all together): resume.or curriculum vitae, cover letter of interest (which department), personal statement which discusses the following: long term profes­ sional arts goals, how you feel you would benefit from program, your unique contribution to Brava Theater Center in the upcoming season, letter of recommendationfrom mentor of choice.

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Andrea Brown Literary Agency, Inc, 2225 E. Bayshore Road, Suite 200, Palo Alto, CA 94303 www.andreabrownlit.com Contact: Laura Rennert, [email protected], Tel: 650-320-7684 Established Bay Area literary agency seeks a part-time reader to vet manuscripts submitted by authors. Can­ didate must be widely read, and a fast but discriminating reader to read through manuscripts on a variety of genres including thrillers, mysteries, literary fiction, narrative nonfiction, and possibly young adult fiction. Qualifications: strong computer skills, a minimum six- to 12-month commitment. Ideally we seek someone in Palo Alto or Menlo Park, or willing to make the drive to their Palo Alto office once a week. To apply: email a description of your qualifications and interest to Laura Rennart, Senior Agent.

Chronicle Books 85 Second Street San Francisco, CA 94 I 05 Michaela Heekin, [email protected], 415 537-4389 Description: Draft copy for title memos, catalog copy, tipsheets; read and comment on incoming manu­ scripts; input corrections to manuscripts; proofread galleys and proofs; log in artwork ready for design stage; internet and field research on upcoming projects; read and evaluate incoming submissions, maintain submis­ sion log, send out rejection letters; reprint notices, send publicity reviews out to authors; sending and receiv­ ing of packages, photocopying, filing. This specific internship was listed in a previous year, so there may be others available. The general internship application page is www.chroniclebooks.com/internships

CLASH- San Francisco's Premiere Scavenger Hunt Company Contact: [email protected], www .clashsf.com CLASH produces scavenger hunts for the general public every week in a different San Francisco neighbor­ hood and provides large corporations ideal team building events through scavenger hunts. Seeking creative, history lovers to design scavenger hunts. Responsibilities: Design location based scavenger hunt challenges for various neighborhoods in San Francisco and possibly other cities in the future based on historical and pop-culture information about the neighborhoods; sequence challenges in the proper order to minimize distance in between locations; coordinate with CLASH team to make sure that hunts are executed correctly, and on time. Requirements: creativity to make challenges that incorporate fun and interesting his­ torical and pop-culture facts around the neighborhood. Compensation and hours dependent upon skill level and qualificati?ns. To apply, send your resume to [email protected]. ComePlayLearn is looking for great writers to help us develop content on a children's activity site. Also po­ tential opportunities to write for our blog, newsletters and marketing material. Location: San Francisco Bay Area (or anywhere with internet access). Responsibilities: Work closely with our team to create outstanding content for the site, primarily creating listings based on merchant content. Requirements: Prior writing ex­ perience (published or unpublished OK) Passion for telling great stories You work well in a collaborative en­ vironment and enjoy taking ownership over projects Also awesome: Prior copywriting experience. Experi­ ence with children's activity or education businesses. What you'll get: Hourly compensation ($10/hour)Flexibility to work from homeCommunication, community, design and business experience from some of the best in the fieldOpportunities for future paid positions To apply: email [email protected] Conard House, Inc,, www.conard.org 1385 Mission Street, Suite 200, San Francisco, CA 94103-2631 SF-based housing non-profit, is looking for a talented writing instructor/editor who can work with our clients - who are mostly formerly homeless and struggle with issues of substance abuse and mental illness - to pro­ duce a volume for publication of essays about their experiences. Our population is quite diverse in terms of background, race, gender, sexual orientation, age, etc. This project is still in its early stages of development. As they are in the early stages of development, they are not sure if they funding for paid internships or not.

4 8/10/2012 CW 675/875 CommunityProjects in Literature To apply: Email your resume to: [email protected]

Counterpoint Berkeley CA Contact: [email protected] Editorial and publicity internships available at publishing house in Berkeley. Soft Skull Press, one imprint of Counterpoint, publishes a wide range of books focusing on current affairs/politics, fiction, poetry, antholo­ gies, and graphic novels. To apply please send a letter of interest to [email protected].

The Creosote Journal, http://creosotejournal.com San Francisco, CA Contact: Aurora King, Arts Editor, 415-410-5357 Online internet magazine, publishing an alternative take on news, as well as creative writing, art, interviews. Last fall they were looking for an editorial intern. The right person will have a vision compatible with the magazine. The editorial intern will have the following responsibilities: Help solicit and review submissions of writing; write regular features, reviews, and biogs for the online journal; help plan and edit the forthcom­ ing print edition; attend bi-weekly editorial meetings; proofread using (a) common sense and (b) Chicago Manual of Style (if you don't know it, that's okay, but be willing to learn it); other tasks, including conduct­ ing and transcribing interviews, internet research, etc. and a limited amount of promotional activities, i.e. so­ cial media and email marketing.

Create your own workshop: teach playwriting to senior citizens, poetry to new mothers, short story writing to Boy Scouts ... find a need in your community, and design a workshop!

Create your own reading series: for space, contact venues such as Place Pigalle, San Francisco Coffee Company, Z Space, Mills College, UCSF, Hamlin School, Fillmore Grind, Ground Zero, City Lights, Velo Ro,uge or your own neighborhood bookstore or coffee house.

Creative Writing Department Contact: Maxine Chernoff, Chair, Creative Writing Department HUM 380, 338-1891 The Creative Writing Department sometimes has internship possibilities, such as: I) Velvet Revolution Reading Series Coordinator- CW Faculty and students love to read to the rest of us several times during each semester. We need someone to plan and coordinate all the details of a Creative Writing Student/Faculty Reading Series, from finding readers to reserving a room. 2) Wordsmith Guild of­ ficers - the graduate student organization always needs people to organize get-togethers, readings, etc. 3) Department office assistant - answering student and faculty questions, photocopying, filing, answering the phone, scheduling appointments, typing up notes, etc.

Albert Flynn DeSilver, www.albertflynndesilver.com Contact: Albert Flynn DeSilver, [email protected], Box 126 Woodacre, CA 94973 Internship with published poet, artist, speaker, publisher. Commitment: 4-16 hours a week, minimum 6 months and up to a year, with possibility of becoming a paid position. Will work I day in Marin County, but can also work remotely and via Skype. REQUIREMENTS:enthusiasm; kindness and patience; interest and commitment; strong organizational skills; exceptional communication skills,written and verbal; well-versed in web research, social media and experienced with craigslist, biogs, facebook, twitter, etc. DESIRED: some experience with video editing and posting. DUTIES include: general office assistance and organization; so­ cial media postings, organization, communication and internet marketing; e-mail correspondence manage­ ment; internet research for novel-in-progress and for marketing research; video production and editing. AP­ PLICATIONPROCESS, send via e-mail the following: one page letter of interest; resume; three references, either academic or professional.

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Dzanc Books, www.dzancbooks.org Interns will deal directly with the co-founders of Dzanc, as well as authors, booksellers, libraries, literary journals, distributors, and teachers. All assignments will be conducted online and include editing, market­ ing, distribution, proofreading, fundraising and grant writing. Dzanc Books, as a unique nonprofit press ·with a large list of remarkable authors and dozens of charitable programs involving literacy and writing, provides a great opportunity to experience publishing first hand. Not to mention the free books! Read de­ tails at the following webpage before applying http://www.dzancbooks.org/internships/. To apply: email a cover letter explaining your interest in obtaining a Dzanc Internship, and which specific internship you are interested in, along with your resume (attached MS Word Document) and the name and email addresses of at least two references that we can contact.

Steve Emrick, Artist FacHitator P0Box400 Tracy CA 209-466-8050, x4270 This man works at a prison in Tracy, CA, bringing in visiting artists. English 656 Reading Theory and Methods: Training At-Risk Students to Achieve Literacy Enroll in Eng­ lish 656, a weekly 3 unit seminar (Mondays 4-7pm); tutor elementary school children in reading and writing at Lakeshore Alternative Elementary School (IO-minute walk from SFSU). Interns will tutor a mini­ mum of 5 hours per week, a maximum of 20. Applications in the Composition Office, HUM 209. Contact: Jasmine Kitses, [email protected], 415.338.7033

Family Crossroads Home.less Shelter, Daly City Contact: Darleen 650-994-8169 T & Th or 650-364-8264 M & W Work with children K-12, reading and writing poetry. Fifty Dates Fifty States, www.facebook.com/5050ADatingDocumentary A documentary project, following one woman who'll go on fifty dates in fifty states, exploring the concept and practice of dating, and how it may or may not differ from one region in the U.S. to another. And hopeful­ ly to show a much more realistic side to being single/dating than what we see in the media on reality TV or shows like "Girls" and "Sex in the City." They're looking for an intern with interest or skills in film/photoshop, who is also a good writer. To apply: email [email protected]

Fine Arts Museums of San Francisco The De Young Museum and the Palace of the Legion of Honor Museum www.thinker.org 75 Tea Garden Drive, Golden Gate Park, San Francisco CA 94118 Internships (information): 415-750-3522; Fax: 415-750-3523 Contact: Wei Fang, Resource Center for Education MH de Young Memorial Museum Fine Arts Museums of San Francisco Many volunteer opportunities are offered, including research and work with objects in the Study Collection, working in the Resource Center for Education, and assisting with documentation and grant proposals. Send a cover letter, a resume, and three references to address listed above. From the Fishouse (fishousepoems.org), an online audio archive of emerging poets, based in Maine. Fishouse also hosts a live reading series in Maine and podcasts recordings of the live readings recordings on its website and on iTunes. Fishouse is based in Maine, work will be done remotely, student's own computer is required, with most communication taking place via email, instant messenger, Skype, etc. I. Editorial As­ sistant: detail-oriented, with strong organizational skills. Familiarity with web publishing and basic HTML,

6 8/10/2012 CW675/875 Community Projects in Literature a plus. Primary responsibilities will include updatingthe Fishouse website, corresponding with poets for updated bios, maintainingthe Fishouse social media outlets such as Facebook, YouTube, and Twitter. 2. Grant Writer: responsible for researching grant opportunities,working with the executive director and select board membersto draft grant proposals and to submit completed grant applications, and reporting complet­ ed programs to grantors. The successful candidate will be detail-orientedand deadline driven, with the abil­ ity to work independently.To apply contact Matt O'Donnell, Editor & Executive Director, [email protected]. Five Fingers Review wwwJivejingersreview.org Contact: Jaime Robles,Editor, [email protected] All aspects of publishing a high quality literary magazine with an international audience. Qualifications: strong verbal and typing skills, an interest in literarywriting, and some understanding of computers. Duties: I. Maintenanceof the email and snail mail lists. 2. General production editing: keyboarding manuscript for typesetting, inputting proofreader's and author's corrections.3. General marketing: writing and designing ads and flyers for mailings, researching distributorsand outlets with the idea of increasing the magazine's distribution and public presence, helping with mailings. 4. Organization of local readings. 5. General editori­ al: reading through unsolicited manuscripts and selectingpossible contributions. To apply: email Jaime Ro­ bles. [email protected] Fourteen Hills/SFSU Review Contact: Chad Koch 415-338-3083,HUM 373, [email protected] This graduate-run,international magazine and needs your expertise in the following areas: fundraising, dis­ tribution, art direction, event coordination, and gruntwork. If you're interested in helping to build a strong foundation for your department's magazine, please call. Golden Gate Park Senior Center6101 Fulton St. (at 34th Avenue), San Francisco CA 415-666~7015 Seeking someone to lead a Writing/Poetryworkshop for senior citizens. Haight Ashbury Literary Journal, San Francisco's oldest and coolest literary magazine, is seeking an intern. The Journal publishes mostly poetry, but we also publish short stories. The intern would read poetry submis­ sions and provide input on the selection of poems to be published; attend monthly editorial meetings; assist with clerical duties; update our Web site. This position can become a paid one if the intern wishes to engage in sales. To apply: email Cesar Love at cesar7l [email protected] . Hamilton Family Center, 1631 Hayes Street, San Francisco, CA 94117 415-409-2100xi 16 Contact: [email protected] A nonprofit organization in San Francisco working with homeless and at-risk families, is seeking a volunteer graduate student or professional in the fields of creative writing or education to lead a writing workshop for parents in one or more of their residential programs in San Francisco. The facilitator will have a lot of free­ dom in developingthe workshop format and content. Interested M.A. and M.F.A. students, please contact Megan Owens. HarperOne Publishers Contact: Jamsheed, [email protected] Publisher of books across the full spectrum of religion and spiritual literature seeking Publicity Intern for one semester, minimum 20 hours per week, unpaid. Publicity intern will assist 5 person publicity team with all aspects of the business, including but not limited to: creating, maintaining, and updat­ ing press lists using online databases; preparing galley and final book mailings; processing review copy re­ quests; follow-up calls to book reviewers and reporters participation in weekly department team meetings;

7 8/10/2012 CW 675/875 CommunityProjects in Literature assisting publicists in their varied and diverse tasks (including general clerical work.) To apply: Please email cover letter, resume, and availability to Sheeda Jamsheed, [email protected] HarperOne Publishers, 353 Sacramento Street, Suite 500, San Francisco CA Contact: Jennifer Jensen, [email protected], 4 I 5-477-4468 Publisher of books across the full spectrum of religion and spiritual literature seeking Sales and Marketing intern, a motivated university student who would like to learn the ins and outs of marketing in the publishing industry. By taking part in regular office administration duties, research projects, and important marketing meetings, the intern will learn all this and more. 1-3 days per week; flexible schedule for I semester/term. One position available, unpaid. Intersection for the Arts www.theintersection.org, 446 Valencia St., San Francisco, 94103 Contact: Mona Baroudi, [email protected], 415-626-2787; Intersection houses many programs-- a reading series, plays, musical events. Responsibilities may include researching authors for current and future events, coordinating the production oflntersection's literary series, creating program materials and archives, administering the Literary Awards program, and assisting with pro­ gram and audience development. They require I 0-12 hours per week.

Jossey-Bass Publishers, www.josseybass.com/WiieyCDA/ Editorial Production Department Contact: Rachel Anderson, 433-1740 A wide variety of tasks in the Production Department of a publishing house, which will enable you to learn the rudiments of book publishing. Jump! Theatre Company A small San Francisco based theater company producing new works addressing mental illness is seeking an intern to help with various administrative and marketing tasks. This will be a great opportunity for a student with an interest in non-profit theater administration as well as working collaboratively with a group of art­ ists, some of whom are mental health consumers. Tasks may include but not limited to: sending infor­ mation to venues and collaborators about our work; helping organize tasks for upcoming reading series; re­ vising and editing our operations manual (with help from the Artistic Director and Communications Man­ ager); possibly learning WordPress to update our web site on a regular basis. To apply contact Roberta D'Alois, radjump!yahoo.com

Kearny Street Workshop 1436 Howard Street SF, CA 94103 4 I 5-503-0520, [email protected] http://kearnystreet.org/about/job-opportunities/ KSW's mission is to "produce and present art that enriches and empowers Asian Pacific American (APA) communities." They offer gallery showings, poetry readings, and workshops in creative writing, and drawing and painting. If you are interested please submit their Volunteer Application (available at online address above). If you have questions, please call (4 I 5) 503-0520 or email [email protected].

Kelsey St. Press 2824 Kelsey St. Berkeley, 94705 5 I 0-845-2260, www.kelseyst.com Contact: Patricia Dienstfrey Female interns wanted to assist at a small independent woman's press.

KRON4.com

8 8/10/2012 CW 675/875 Community Projects in Literature Con.tact: [email protected] 415-561-8139 KRON4.com seeking intern whose duties will include: write news/sports stories; research stories on-line for expanded web coverage; encode and edit digital video and other media; design and post web graphics; blogging; sales support; promotions support. Qualifications: strong writing skills (grammar, spelling, etc.); interest/knowledge of news and sports; basic computer skills (html and flash. experience helpful but not re­ quired); junior, senior or graduate level, getting course credit, cumulative grade point average above C+ ; access to a PC and broadband connection; available to work l 5-to-20 hours a week either out of our San Francisco newsroom or remotely. Hours are flexible but may include mornings and some weekends. Eligi­ bility: Students are required to provide "proof of credit" for the internship from SFSU. To Apply: email a resume with a cover letter, indicating dates and times of availability. The Lab, www.thelab.org, 2948 16th Street, San Francisco, CA , Contact: Mary Anne Kluth, [email protected] The Lab offers a variety of dynamic, hands-on internships. Work with local, national, and international art­ ists and performers, and a first-hand look at the functioning of a busy non-profit organization. All intern po­ sitions are unpaid and require a basic commitment of I 00 hours spread over at least 3 months.

Litquake Contact: Elise Proulx, [email protected] (or [email protected]) Duties will vary for this large San Francisco literary festival: Working with authors at the events; Helping staff events; Collaborating on the program design and proofreading; Assisting the Executive Director; other fun and interesting tasks. Begins late August/early September. Should be available to attend meetings every Tuesday evenings 6:30-8:00 at SOMA office.

Litseen, http://litseen.com/ Contact: Evan Karp, [email protected] Little more than a year old, Litseen among other things, hosts online book reviews, commentary, author in­ terviews, profiles of local organizations and a comprehensive, daily event calendar and an extensive video archive of the readings they've recorded (4,000 videos and counting). They are currently looking for interns to help maintain and expand the calendar, attend events, and/or write book reviews and conduct author inter­ views. No experience is necessary. All interested parties should contact Evan Karp at [email protected].

The Loin's Mouth San Francisco, CA www.theloinsmouth.com Contact: Rachel M., editor-in-chief, [email protected] Tenderloin/Downtown based literary paper with a circulation of approximately 5,000 - 6,000 in San Francis­ co. Content includes funny stories about living downtown (Tenderloin, Tenderloin Heights, Civic Center, · etc), and includes political features, interviews, short stories, an "Ask a Bartender" column, art work, photog­ raphy, etc. Focus is on humor, but also on serious issues as well due to the nature of the neighborhood. In­ tern will provide general office support as well as website updating, maintenace; editing; contributing to edi­ torial brainstorming sessions, group projects, etc.; taking on various writing projects for publication; help organizing special events like release parties, photo shoots, readings, etc. Intern must be over 21 and preferably live close to downtown and have familiarity with the area.

Lyric House www.lyrichouse.org, www.sfsota.org 555 Portola Drive ,San Francisco, CA 94131 Contact: Vanessa Morrison, Director of Lyric House, 415-305-7233 Lyric House a non-profit educational organization that teaches public school students how to write through songwriting, poetry, performance and recording, is looking for one to two student volunteers to aid one of

9 8/10/2012 CW 675/875Community Projects in Literature our high-school urban songwriting classes at School of the Arts. This fun volunteer gig could tum into a paid position. Ideally, they need a volunteer who can consistently come in for at least one day a week for at least two months - more often would be ideal.

Manilatown Heritage Foundation http://www.manilatown.org 953 Mission Street SF, CA 94103 415-777-1130 One ofMHF's projects, Manilatown Center, is located on the ground floor of the new International Hotel, and will provide performing and visual arts space, and a permanent collection of historical photos, artwork, and artifacts of the International Hotel and Manilatown.

The Marsh Theatre www.themarsh.org 1062 Valencia St., San Francisco CA 94110 415-641-0235 (press# to bypass long message); www.themarsh.org The Marsh needs a literary intern to review theatre proposals (scripts, videos, cassettes) for Monday night Marsh performances; contact performers by phone and by mail; schedule Monday night shows; make pro­ grams for shows on Macintosh computer and copying; attend Monday night shows and learn box office and stage managing skills; help straighten theater before/after show. Please have strong communication skills! Days/times: Mondays 4 to 10 pm (dinner-break 6:30-7) Commitment: 6 months. Must be Macintosh computer literate.

Maximum PC Brisbane, CA Contact: Katherine Stevenson, [email protected] Market-leadingpublisher of music, computer and video gaming magazines is seeking a skilled, reliable Edi­ torial Intern, unpaid, (may lead to an opportunity for freelance work with extensive knowledge of PC hard­ ware who can commit to 10-15 hours a week for a monthly PC enthusiast print magazine (300,000 + circula­ tion across North America). Responsibilitieswill include: assisting editors in day-to-day tasks, running benchmarks, and writing bylined reviews, news articles, and features for the magazine. Plus you get to play with all the latest, greatest PC gear! Please e-mail resume and cover letter to Katherine Stevenson.

McSweeney's and The Believer ... www.mcsweeneys.net/contact/intems.html ... internships are haphazard, disorganized, and entirely unpaid. On the other hand, interns are vital to our whole operation, and they generally seem to have good experiences. And they do receive free books, not to mention our gratitude. Duties include reading submissions, finding images, checking facts, and going to the post office. Post-office trips aren't a huge percentage of the job, but they are one of its spiritual cores and must be undertaken with extreme enthusiasm. However, no one is ever asked to get coffee for anyone else. To apply, send a brief e-mail to [email protected] discussing relevant experience, why McSweeney's in particular, what you hope to get out of the internship, and when you'd be available. Please include a resume. Interns must be at least eighteen years old and be based in the San Francisco Bay Area. We are currently booked through September 20 I 0.

Memoir MAILING ADDRESS LOCATION P.O. Box 1398 80 Liberty Ship Way,Suite #22, Sausalito, CA 94966 Sausalito CA 94941 415- 339-4130 www.memoirjoumal.com

10 8/10/2012 CW 675/875Community Projects in Literature Contact: Joan E. Chapman, Managing Editor, [email protected] Sausalito-based,new, memoir-themedjournal, seeks unpaid interns, for help in many aspects of literary pub­ lishing, including editorial, production, and administration.Intern responsibilitiesinclude: reading and cri­ tiquing submissions; assisting with circulation and general administration;assisting with web production and maintenance;assisting with subscriptionfulfillments. To apply: request an application, by e-mailing a cover letter and resume to [email protected],attention: Joan E. Chapman, Managing Editor Metwest High School www.oaklandschoolsfoundation.org/metwest Contact: [email protected], 510-451-5902. In Oakland, an alternative program that engages students in their learning by asking the question, "What is your passion?" They offer a unique environmentwhere students design their own learning plans and have real world internships. Committed to building a community of respect and active learning. They are open to more than one intern and can provide experiencesthat range from one-on-one tutoring to leading book groups of 8-10 students. New American Writing www.newamericanwriting.com Contact: Maxine Chernoff, [email protected], NAW is looking for two or possibly three GRADUATESTUDENT interns for fall 2012 to do the following: go through our archival holdings (all at school, mostly poets' short letters and their poems) and record what we have in issues for a future contribution or sale to a special collection; and to occasionally sell and distrib­ ute the magazine, to exchange or sell ads, and to do a number of administrativetasks, mostly at school or from home. One person may do both jobs, another do archival work only.

The Office of Letters and Light, www.LettersandLight.org,www.NaNoWriMo.org Oakland CA Contact: [email protected] Oakland based non-profit seeking an intern who can commit 8-12 hours a week for National Novel Writing Month. Duties will include editorial, communicationsand media, relations, and event-planning interns. In­ terns may be asked to perform duties in all three categories. Interns may also be asked to answer customer service emails, and assistour Store Manager in shipping NaNoWriMo goods, donations goodies, volunteer kits, and teacher kits. To apply: email [email protected] a couple of paragraphs discussing rel­ evant experience, why the Office of Letters and Light appeals to you in particular, what you hope to get out of the internship, and your availability.

Neighborhood Learning Center 510-835-0391 Contact: Ada Cole of the Marcus A. Foster Educational Institute seeks interns interested in transforming a neighborhoodhouse into a learning/tutoringcenter for children, call Ms.Cole. Omnidawn Publishing, www.omnidawn.com 311 Monterey Street, Vallejo, CA 94590 Contacts: Ken Keegan, Rusty Morrison, Rebecca Stoddard, 510-237-5472 Omnidawn is an independent small press publisher of innovative poetry and fabulist and new wave fabulist fiction. The press if run from a small home, in the Richmond Hills, near El Cerrito border, in the East Bay. They seek an intern to work one day a week,to help with many areas of press work. The intern would work under direct supervision. Intern duties would include: telephoning; mailing; correspondence;filing; email; copyediting/ proofreading (as one of the second readers); second reader for submissions; other needs as they arise.

Osher Lifelong Learning Institute San Francisco State University College of Extended Learning Contact: [email protected], 415-817-4243,olli.sfsu.edu/about/volunteer-opportunities

11 8/10/2012 CW 675/875 CommunityProjects in Literature OLLI-SFSU is an innovative educational program for people 50 years old and above. This program offers topical curriculum, field trips, forums, and other exciting educational opportunities taught by academics, writers, artists and professionals. OLLI-SFSU needs interns to assist administration and faculty.

Parthenon West Review www.parthenonwestreview.com Contact: David Holler, Co-Editor, [email protected], 415-994-3853 Parthenon WestReview is a new non-profit poetry journal featuring local and national talent of every style of poetry. They host several events each season in the Bay Area and have a website where some of the poems are available for reading. Their infrastructure and fan-base are still growing, and they are engaged in seeking submissions and subscriptions nationally. They need interns to help with a variety of tasks, especially public outreach and events, blogging, web building/maintenance.

Pine Crest School, 7285 Hayden Ave., Sebastopol, CA 95472 Contact: Laurie Maguire, Teacher grades 3-5, 707-823-5192 A previous intern worked with an Open Classroom teacher to develop a creative writing enrichment program at Pine Crest School. The Open Classroom tries to develop self-awareness and responsibility in an atmos­ phere of choice making. Work with younger students in an "alternative" educational setting.

Poetry Center, SFSU www.sfsu.edu/-poetry Hum 511/512, SFSU campus Contact: Elise Ficarra, Assistant Director, 415-338-2227 The Poetry Center is a nationally recognized arts organization. It hosts a distinguished reading series and houses the most elaborate poetry archives in the nation. Library materials are available in book, audio and video form. To apply, submit a hardcopy application; available outside the Poetry Center, HUM 511. Poetry Flash www.poetryllash.org Contact: Joyce Jenkins, [email protected], 510-525-5476 Located in the east bay, Poetry Flash, (22,000 distribution per issue) an historic landmark publication of the S.F. Bay Area, is a free journal of poetry, essays, book reviews, interviews and an all-important calendar of events. Poetry Flash runs a prestigious reading series. Poetry Flash needs interns for all sorts of exciting work, including helping to create each issue, to help organize the reading series. Editors Joyce Jenkins and Richard Silberg are long-time community leaders/poets/essayists. They need an intern to work in their office once a week for a few hours, with occasional work out and about, doing outreach. Poetry Inside Out, Center for the Art of Translation, 35 Stillman St., S.te 201, San Francisco, CA 94107 www.catranslation.org 415- 512-8812, Fax:415-512-8824, Contact John Oliver Simon, PIO Artistic Director, [email protected] In-school writing program dedicated to literary translation, teaching Bay Area elementary and middle-school students, most of them bilingual. Duties will include: classroom aid in mostly bilingual classrooms with Spanish and English speakers, and possibly in the future Chinese (Mandarin and Cantonese); input, layout, and edit some of the PIO classroom anthologies; attend and assist at special events and readings. Course­ work/Skills Preferred: past experience working with students ( ages 8-15) in classroom or other setting, course work in literature, poetry, or literary translation (Spanish and English). Bilingual or high level of flu­ ency (Spanish and English) Editing experience (Spanish and English) Familiarity with Microsoft Office Suite and Adobe InDesign. If hired, intern will be required to have a TB test and fingerprints completed prior to working in the public schools as required by law. The Center will pay for the cost of both. This is an un­ paid internship; however, interns receive credit in our publications, and participate in cultural events. To Apply: Mail, fax, or email resume and letter of interest to the contact information listed above.

Post Apollo Press http://www.postapollopress.com

12 8/10/2012 CW 675/875 Community Projects in Literature [email protected]

Post-Nihilist Theater (415) 821-6112 Contact: Lynn Born They have used student interns in the past--contact them to see what they might need for this semester. This will be a professional theater experience. They use tech people to help with the set, running lights, sound, and setting up and breaking down the set for each performance. Interns are expected to attend rehearsals, tech rehearsals, and to do the tech for each performance. This project will give you practical experience in a real theater setting.

Project Read, San Francisco http://sfpl.lib.ca.us/librarylocations/accessservices/pr/projectread.htm, 415-557-4388 Interns needed for adult literacy program; teach adults to read.

Project Rebound San Francisco State University Cesar Chavez Student Center, T-138 415-405-0954 Project Rebound is a special admissions program for people who were formerly incarcerated wanting to enter SFSU, offering an alternative to the revolving door policy of the criminal justice system by offering a pro­ gram which encourages students to excel in a course of study. If you would like to volunteer, they may need tutors, call them or stop by their office. They are located on the top level of Cesar Chavez Student Center. Reece-Halsey North Literary Agency, www.reecehalseynorth.com, Tiburon, CA Contact: Phil Lang, [email protected], 415-789-9191 Seeking an unpaid intern. Located in Tiburon, CA (fifteen minutes north of San Francisco), the agency is looking for a passionate, dependable reader to be our first eyes on incoming submissions and work closely with agents. Two days a week (whichever days work best for you). This is great resume material for students looking for an introduction into the publishing industry. To apply email resume to Phil Lang. Refugee Transitions, http://www.reftrans.org/, San Francisco, CA Contact: 415-989-2153 Offer your assistance as a tutor to a refugee or a new immigrant. Tutors help newcomer families adjust to urban American life, and reduce isolation by offering their friendship. Apply online: www.reftrans.org/volunteer-application/

San Francisco Arts Commission, Writers Corps, www.sfartscommission.org/WC San Francisco CA This program places writer/teachers in community settings to teach creative writing to youth. There are a number of ways to get involved. www.sfartscommission.org/WC/about-writerscorps/get-involved/

San Francisco Citywide Tutorial Program Contact: (415) 695-5359 / Fax: (415) 920-5144 A collaborative program of San Francisco Unified School District, San Francisco Housing Authority and SFSU. Work at 15 after-school tutoring sites located at churches, community centers, and public housing sites throughout San Francisco. Work with San Francisco African American school children (grades 2-8) on literacy, math, and computer skills.

San Quentin State Penitentiary Contact: Aida Dearteaga, Director of Arts in Corrections 415-454-1460 Ext.2337

13 8/10/2012 CW 675/875Community Projects in Literature

School of the Arts (SOTA), 555 Portola, San Francisco CA Contact: Heather Woodward, 415-552-9682 voicemail; 415-695-5700ext. 3202 SOTA (a SFUSD High School) needs a graduate student interested in working with teenaged writers. Must be able to commit to IO hours a week. Most of the time would be in the classroom (there is some flexibility). The graduate student would also actively work with the teacher to develop a permanent SFSU/SOTA CW relationship/program,defining opportunities for exchange between the two programs and ways in which graduate students will work with, complement, and extend the SOTA CW curriculum.

Seal Press Located in Berkeley, this imprint of Perseus books specializes in printing books by women, about women's issues. They have a number of internship opportunities, go to their internship page for more information. http://www.sealpress.com/internships.php Small Press Distribution 1341 Seventh Street, Berkeley CA 94710 Contact: Brent Cunningham, Operations Director, [email protected] 510-524-1668x308 SPD is a bookstore, distribution project and literary center that holds readings and lectures. Possible intern­ ships available: Operations Intern, Catalog Intern, Business Manager intern. Brent writes that they have "re­ cently had a fairly good success rate placing motivated interns in local publishing positions." Small Press Traffic, www.sptraffic.org Very part-time, unpaid internships are available at Small Press Traffic! These internships will take place par­ tially 9-5 during the work week and on Friday and/or Saturday evenings. Interns will assist in programmatic activities including events, fundraising, web/blog management and archiving. Requirements: enthusiasm and willingness to learn; commitment to independent literatures and communities. Preferred: excelllent writing skills; community fundraising or event planning experience; additional hours to commit to fundrais­ ing/marketingprojects. To apply: email [email protected] detailing how your background and interest will contribute to our organization and what you wish to gain from this internship, as well as schedule commitments.

Smart Meetings, www.smartmeetings.com Based in Sausalito, this business magazine is offering great opportunities to work alongside writers, editors, web and graphic production artists and learn the magazine and publishing business. It could be a good fit for an undergraduateor graduate student with an interest in writing, journalism, magazine production and web content writing or a combination. Current interns have committed to around 20 hours per week. Applicable SFSU program credits apply. Duties would include: Compiling industry info and news; Research and fact­ checking stories; Writing based on experience; Proofreading; Updates for on and offline databases and desti­ nation files. To apply email resumes or letters to Josef Aukee (an alumnus of our program!) [email protected] Streetside Stories www .streetside.org San Francisco, CA Contact: [email protected] Streetside Stories, a nonprofit literacy arts education organization is currently seeking a DevelopmentIntern and a Programs Intern. TO APPLY: Send an email to [email protected] detailing your goals for the internship. Please specify the internship you are applying for in the Subject Line. No phone calls please. Swords to Ploughshares Veterans Academy

14 8/10/2012 CW 675/875 CommunityProjects in Literature Contact: [email protected], (415) 364-8387 A non-profit education program is looking for interns to lead Creative Writing workshops for previously homeless veterans. To apply, fill in and submit volunteer application online, www.swords-to-plowshares.org/supportvets/donate-2/volunteer/ "Take My Word For It!" www.takemywordforit.net; www.takemywordforit.typepad.com 510-388-1548, Sondra Hall, Director A creative writing program for kids taught in after-school and community-based settings. Seeking BA and MF A candidates to assistant teach with us. Access to a car is helpful as some of our sites are not easily ac­ cessed by public transport. Assistant instructors work with an experienced teacher learning the ropes of classroom management, how to lead activities and work one-on-one with students. We provide the curricu­ lum and there is plenty of opportunity for feedback and follow up. To apply: please e-mail a Jetter telling them why you'd be a stellar assistant teacher for their program at [email protected]. Tea Party Oakland CA www .teapartymagazine.org Contact: Esther Lee, Senior Editor, [email protected] Progressive, multi-ethnic arts and culture non-profit magazine centered in Oakland publishing writers, artists and visionary thinkers primarily from the SF Bay Area. Seek interns for various duties including outreach to writers and artists from culturally diverse groups and communities, editorial and production support and gen­ eral office support (database, mailings, etc.). People of color are encouraged to apply. To apply: email re­ sume and work samples to Esther Lee, Senior Editor. Please include position title in your submission.

Tenderloin After School Project, www.tndc.org/our-services/after-school-program/ 225 Eddy St., San Francisco, CA Contact: Laura Choe, 415-358-3908, [email protected]. This Center serves low-income Tenderloin youth between the ages of 5 to 17 years old and is a safe, supportive space for kids. eager to enlist volunteers who have strong academic skills to be mentors and provide tutoring on basic subjects-like reading, math, sci­ ence, and history. Please note that volunteers must make a minimum six month commitment and work be­ tween 4-6 hours every month. A background check is also required. Ted Weinstein Literary Management, www.twliterary.com, San Francisco CA Contact: [email protected] Publishing internship at a busy, successful San Francisco literary agency. Responsibilities: review and eval­ uate author submissions, including some polishing of book proposals; extensive internet research. Qualifica­ tions: superb research skills - including internet, creativity, great computer skills (PC): Word, Excel, brows­ ers, email management; strong writing and editing skills with; mature, self-motivated and able to work in­ dependently; deep interest in publishing or journalism prior experience is a plus. Commitment: flexible 5- 15 hours/week during the business day. To apply: email cover letter and resume information, with the sub­ ject line "Internship Submission." Email only please, no phone calls. UCSF Medical Center at Mount Zion, Art for Recovery, cancer.ucsf.edu/afr/ Contact: Cynthia Perlis, [email protected], 415-885-7221 Art for Recovery is an award-winning program of the UCSF Helen Diller Family Comprehensive Cancer Center. Through this program, patients coping with life-threatening illness -- such as AIDS and cancer -- are given an opportunity to express their feelings and experiences through art. The program brings artists, writ­ ers, poets, musicians and medical students to our patients to listen, to share and to help express through words, images, music and quilt-making. To apply: contact Cynthia Perlis to schedule a (group) interview. Ulloa After School Learning Program, 2650 42nd Ave (cross street, Vicente), San Francisco CA Contact: Kyle Giocomo, [email protected] ([email protected])

15 8/10/2012 CW 675/875 CommunityProjects in Literature Seeking teachers for After School program. Cantonese or Mandarin speakers a plus, but not necessary. Du­ ties: work directly with students, assisting with homework, facilitating guided reading, answering questions etc.; facilitate small group activities under the supervision of the Program Director; work with Site Coordina­ tor and Program Leaders to ensure that students are safe at all times; additional specific tasks will be negoti­ ated based on the interest of the program leader. Qualifications: !)experience working with children in a school setting as well as group facilitation skills.2) must be available 17.5 hrs a week for the Fall and Spring semesters (some flexibility may be available). 3) Two professional references and I personal reference. 4)Fingerprint clearance and valid negative TB test. 5) CPR and First Aid Certification. To apply: email re­ sume and cover letter or any questions to - Kyle Giocomo, Site Coordinator.

University of California Press, 2120 Berkeley Way, Berkeley CA 94720 Contact: Laura Cerruti [email protected] Acquisitions Department seeks capable, responsible committed applicants wanting to gain experience in book publishing. Intern will assist with editorial and pre-production tasks, including preparing manuscripts for editing/design/production. Intern may be asked to review permission status and completeness of manu­ script and art program, prepare manuscript inventory, and deal with authors on loose ends; arrange promo­ tion blurbs; provide general office support (database entry, securing expert readings, performing market re­ search, etc.). 16 hours per week, unpaid, and required to be in the office three or four days a week.

Urban School of San Francisco, www.urbanschool.org, 1563 Page St., San Francisco CA 94117 Contact: Daniel Murphy, 415-626-2919, [email protected] Urban School employs six artists so if you decide you want to bring your writing expertise to the student body (grades 9 through 12), then contacting and working with one of the artists might be a good way to ap­ proach this internship.

The Velvet Revolution Student Showcase · Contact: the_ [email protected] Hear and be heard! The Velvet Revolution, the student-run weekly reading series, is looking for student hosts (graduate and undergraduate) during the Fall20 IO semester! Responsibilities will include scouting local and student readers, generating interest and publicity for the readings through e-mailing and flyers, hosting, occasionally providing light refreshments for the Velvet Revolution events. This is a great way to get to the know the faculty and student writers on campus, as well as help create community within the SFSU Creative Writing department! If you are interested, please email [email protected]. Veritas Agency Contact: Katie Boyle, [email protected], 415-647-6964 SF literary agency. Tasks include reading submissions, scouting and light editing. Hours are flexible and the position is unpaid, although there is an opportunity for finder's fee payments through scouting. Agency handles literary fiction, narrative nonfiction, memoir, women's issues, current affairs, health, psychology, pop culture and subculture. Anyone interested can email or call Katie Boyle.

The Press, www.vespertinepress.org Contacts: Mamie Ju, Quarry Pak, Tel: 415-665-8771, Fax: 415-665-8781 Asian Literary journal accepting submissions from writers of Asian descent from the US and abroad. Seek­ ing a few MFA students who have a good eye.for and poetry. Will serve as assistant editors for the first tier of submissions. Interns do not need to be of Asian descent. They only need to possess insight and willingness to learn about the various cultures that influence Asian literature. The in­ ternship is unpaid, and they will accept as many interns that are enthusiastic and qualified. VIZ,LLC Contact:[email protected],www.animerica-mag.com,www.shonenjump.com ,www.j-pop.com ,www.viz.com

16 8/10/2012 CW675/875 Community Projects in Literature VIZ, LLC, a multi-media company specializingin offering a Japanese integratedproduct line of magazines, comics, graphic novels, videos, DVDs and audio soundtracksto U.S. audiences.VIZpublishes over 20 titles every month including YU-GI-OH!, DRAGONBALL Z, POKEMON, etc. Seeks an unpaid intern to work with editorialteam. Primary responsibilities:assisteditorial departmentwith: general office support; editorial and design support.Required Qualifications:excellent command of English grammar and spelling; proof­ ing/copyeditingskills preferable); knowledge of or interest in publishing industry; should have / general knowledge;computer literate (Mac systemspreferable); dependable, organized, responsible, detail­ oriented;must live'in or commute to the San Franciscobay area; must be able to work legally in the United States. To apply: Email your resume and cover letter in the body of your message, Subject: "EditorialIn­ tern" OR via fax (415) 546-7086 to the Attention:Editorial-HR.

Web-based Community Service Internship Contact: [email protected] Looking for interns to engage in an online internationalnews review and develop an online forum of global issues and viewpoints. Available positions: InternationalCorrespondents, National Correspondents,Local Correspondents,Environmental Correspondents,or Online Forum Coordinators.To apply: email Internship Coordinatorwith the following information:Name, address,phone/email, college-program-semester-year, grade level, advisor's name, type of position applyingfor, and the area of interest. Where Magazine, www.wheresf.com, 555 MontgomeryStreet, Suite 803,San Francisco, CA 94111 415.901.6268,[email protected] Urgently seeking editorial interns with backgroundsin Journalism, English and Communications. To Apply: please send resume and brief cover letter describingwhy you would be a good fit for this position to [email protected]. WiHiam James Association, The Prison Arts Project, www.williamjamesassociation.org Contact: Ellen Davidson, Executive Director,408-426-2474 This non-profit.organizationcontracts with the CaliforniaDept. of Corrections to provide art services to Northern CaliforniaPrisons. If you want.to teach writing in the prisons, call Ellen at (408) 426-2474 and check out how you can make art happen behind bars. Wired News, www.wired.com Contact: Louise Knapp, [email protected] Part-time reporting intern in theIR newsroom. Support editorial staff: generate the site's business briefs, compile the site's Rants and Raves, answer feedbackand distribute the morning budget, administrativetasks, attend morning staff budget meetings, communicatewith all editors and reporters, write short items and re­ write press releases. Possibility of pitching longer, bylined stories as the internship progresses. Qualifica­ tions: some reporting experience or journalism schooling and the desire to learn as much as possible about the workings of a daily technology news site. This is a three-monthpaid internship, based in San Francisco's Multimedia Gulch. To apply: e-mail resume, clips, and any questions, to: Louise Knapp; Subject Line: Edi­ torial Internship;please paste resume, clips, etc. into the body of the email message. NO attachmentswill be accepted.

The Wordsmiths' Guild The Wordsmiths' Guild is the community creating organizationof SFSU's Creative Writing graduate pro­ grams. It hosts a website, parties, literary events, outings. The Guild needs energetic people to draw writers together into fun and creative bouts of poetry and performance, fiction and playwriting. The Guild has offic­ ers, such as President, Vice-President,Treasurer, Web-Master/Mistress, Trickster and Miracle Healer. The Guild changes shape each year to match the interests,abilities and involvementof its participants. All SFSU Creative Writing graduate students are de-facto members, but new leaders are needed each year to make it happen. To apply: make an appointmentwith Maxine Chernoff, 415-338-1891.

17 8/10/2012 CW 675/875 CommunityProjects in Literature

Writing Salon, www.writingsalons.com Contact: Jane Underwood, [email protected] Compensation: Training in a small arts-related business, free creative writing classes (number to be negotiat­ ed). Duration 4-6 months, possibly longer. Help with the business end of running the Writing Salon: admin­ istrative assistantance, marketing and public relations. A car would be very helpful, but is not necessary. To apply: please email Jane Underwood a short letter detailing: I) qualifications, 2) info of classes taken at the Writing Saloon 3) your availability (hours, days), 4) interest in internship and/or a paid job, after internship.

WritersCorps, www.sfartscommission.org/WC, San Francisco Arts Commission, 25 Van Ness Avenue, Suite 240, San Francisco, CA 94102 [email protected], 415-252-2546; Fax: 415-252-2595 Sometimes they need help with coordinating events, creating publications or stuffmg envelopes. They gener­ ally do not offer opportunities to work directly with their students - that is left to their teaching, artists- but they do need help with various supporting projects. If you want to find out more, ·please contact them.

YMCA Stonestown Family YMCA's Teen Center at Aptos Middle School Contact: Erin Reedy, 415-469-4517 (is this contact doesn't work, please apply online www.ymcasf.org/stonestown/vo lunteer/ detail/148 _after_ schoo I_enrichment_ aide) The Aptos Teen Center, a collaborative program offered in conjunction with the Stonestown YMCA is locat­ ed on the Aptos Middle School campus. The Teen Center is open from 3:30 until 6:30 every school day. The Teen Center is a program in which students work to raise their grades, develop new social skills, increase self-esteem and gain a sense of individual and group responsibility. They seek someone who is comfortable assisting and guiding a youth-led writing workshop and who can collaborate with the student leader who founded their writing workshop; an enthusiastic individual with strong facilitation skills who is excited about working with middle school youth. Preferred that intern have experience working with middle school youth and can work effectively with students of mixed skill levels. Schedule: I hour with a group of about IO stu­ dents Monday, Wednesdays, or Thursdays from 4-5pm for 8 weeks, or until the end of the semester. They are open to discussing the structure and duration of the class. Youth Speaks, www .youthspeaks.org, 290 Division Street, Suite 302, San Francisco, CA 94 I 03 Contact: [email protected] Youth Speaks, a non-profit project committed to the creation of a multi-cultural community of San Francisco Bay Area teenaged poets, writers, and literary performance artists, seeks interns to be School Visiting Poets and Poet Mentors to to develop and facilitate spoken word workshops at public and private high schools and community programs in the Bay Area; Qualifications: spoken word artist 18-25 (must not be enrolled in high school); Previous performance experience required; Previous experience with youth; Preferred Bi-lingual in Spanish or Cantonese (but not required). TO APPLY email [email protected] with the follow­ ing: Resume; Text of the poem you will perform; Proposed lesson plan (for Poet Mentor applicants). The Z Space Studio, 131 10th Street, 3rd Floor, San Francisco CA 94103 Contact: [email protected], 415-626-0453, www.zspace.org Most interns start in a revolving internship. This internship will split the intern's total time at the Z Space into thirds: marketing, artistic production,and fundraising/development. We require a minimum commitment of IO hours per week for our interns. Except in special circumstances approved by the General Manager, interns must schedule their hours between 9 AM and 5 PM, Monday through Friday. Requires a minimum of a three month commitment. There is no maximum duration. Qualifications: have a passion for words and theater, ability to prioritize, multi-tasking skills in busy environment, self-motivated, have initiative, excellent

18 8/10/2012 CW 675/875 Community Projects in Literature communication skills. To apply: mail cover letter (including area of primary interest) and resume to Attn: Internship Director/The Z Space Studio/13 I I 0th Street, Third Floor/San Francisco, California 94103 or email with subject line "Internship Application".

Zoetrope: All-Story Contact: www.all-story.com Zoetrope:All-Story, headquartered in San Francisco's North Beach, is a quarterly print magazine devoted to fiction and art. Since its inception in 1997, it has won every major story award, including a National Maga­ zine Award for Fiction, and has published writers including Salman Rushdie, Don DeLillo, Mary Gaitskill, ,,A.M. Homes, David Mamet, and Gabriel Garcia Marquez. Zoetrope: All-Story magazine seeks volunteer readers to read and critique the 12,000 submissions we receive each year. The reader is a 4-hour a week commitment and there are no application deadlines; the internship is a 20-hour a week commitment and deadlines are 2 months in advance of the start dates. Please carefully read the above website for applica­ tion information.

Some of these contacts may be out-dated, or addressesand phone numbers may have changed.Please let the Creative WritingOffice know of any changesso we can update this list every semester. Thanksfor your help in keepingthis list current! Also check out the Yellow Pages of your phone book Lookfor listings under Publishers, Theatres,Schools, or whateverelse you can think of that might be related to your interests in writing, theatre, or teaching.

19

APPENDIXM

Tenured/Tenure-Track Faculty Curricula Vitre

1

MICHELLE CARTER FIVE-YEAR C.V. 2008-2013

2014

BOOK WINGS RUSSIA. One of three American writers and three Russian writers commissioned to write plays for a simulcast co-produced by the Moscow Art Theatre and the University of Iowa. March 2014.

2013, to date

UNDISCOVERED. Writer, TV series. Garry Marshall, Kathleen Marshall, Ian Kahn producers. currently under consideration by several networks.

"Nothing to Say." A song. Recorded by Carla Kihlstedt and Mattias Bossi, Rabbit Rabbit Radio.

BETTER THAN. A musical in development with composter Gunnar Madsen.

THE LUCKY ONE. A dance-theater musical. In development with the Erika Chong Shuch Performance Group.

20 FRIENDS. A new play. Developmental reading for Women's History Month, S.F.

20 FRIENDS. A new play. Developmental reading at Z Space Theater, S.F.

DIRTY PROOF. A textbook for fiction writers. I hope to start submitting the manuscript to textbook publishers by the end of the year.

2012

PEN USA Literary Award in Drama for HOW TO PRAY, a play.

"On Validation." An essay. Published on HOWLROUND, an online theater journal.

HOW TO PRAY. A play. Crowded Fire Theater Matchbox Series. 2

AFTER ALL. A dance-theater musical. Developed with the Erika Chong Shuch Performance Group. Ground Floor Residency, Berkeley Repertory Theatre.

"On Validation." An essay. Interview and essay published in 14 HILLS.

"On Validation." Panelist. Theatre Bay Area Conference.

LUNCH. A short play. Marriage Equality Benefit, the Bayfront Theatre.

STANFORD UNIVERSITY, performed original songs on the ukulele.

2011

Dramatists Guild: The Bookwriter/Composer Exchange, Los Angeles.

PATIENCE WORTH. A play. Commissioned by Symmetry Theatre. Produced at the Thick House.

Short Play. Benefit for Playground, a breeding ground for new writers.

HOW TO PRAY. A play. Centenary Stage Company, New Jersey.

Kesselring Prize finalist for HOW TO PRAY.

2010

Susan Glaspell Award in Drama for HOW TO PRAY, a play.

HOW TO PRAY. A play. Backers Audition in New York.

HOW TO PRAY. A play. Kirk Douglas Theatre, Los Angeles.

HOW TO PRAY. A play. Women's Playwriting Festival, New York.

HOW TO PRAY. A play. Asolo Repertory Theatre, Unplugged Series. Sarasota FL.

Susan Smith Blackburn Prize Nomination for HOW TO PRAY. 3

2009

HOW TO PRAY. A play, Dramatists Guild, New York.

AFTER ALL, part I. Dance-theater. With the Erika Chong Performance Group. Yerba Buena Center for the Arts, S.F.

Dramaturg, SHINING CITY, a play by Conor McPherson. SF Playhouse.

2008

Spent the month of January in at work on a Ukulele Orchestra of Great Britain commission.

KINGS PLAY CHESS ON FINE GREEN SATIN. A play, Global Age Project, Aurora Theatre, Berkeley CA.

DREAMSPIEL, a Ukulele Opera, developed with and performed by the Ukulele Orchestra of Great Britain. 1) Grimeborn Opera Festival, London. 2) Arcola Theatre, London.

1

Curriculum Vitae September 24, 2010

Nona Caspers 132 Steiner Street San Francisco, California 94117 415-431-4476 [email protected]

EDUCATION

1991-1996: M.F.A. in Creative Writing, San Francisco State University

!982-1985: B.A. double major in Psychology and Women's Studies, graduated cum laude, University of Minnesota, Minneapolis

PROFESSIONAL EXPERIENCE TEACHING EFFECTIVENESS

2006-present: San Francisco State University, Associate Professor of Creative Writing 2002-2006: San Francisco State University, Assistant Professor of Creative Writing 1992-2002: San Francisco State University, Lecturer in Creative Writing 1995, 1996: San Francisco State University, Extended Education, Lecturer in Creative Writing 2000-2002: University of San Francisco, M.F.A. in Writing Program, Major Project Advisor and Lecturer in Creative Writing 1994-2002: University of California San Francisco, Center for Health Improvement and Prevention Studies, Senior Writer & Editor

Courses Taught at San Francisco State University

Fall 2010 CW 880 Art of Short Fiction CW 520/820 Writers on Writing CW 640 Transfer Literary Magazine Spring 2010 CW 863 MFA Fiction Workshop CW 609/809 Directed Writing CW 640 Transfer Literary Magazine Fall 2009 CW 880, Discovery and Development CW 8 I 0, Seminar-Art of Narrative CW 640, Transfer Literary Magazine Spring 2009 Paid Professional Leave Fall 2008 CW 880 Writing into Dailyness: Aesthetics of Everyday CW 609/809 Directed Writing 2

CW 640 Transfer Literary Magazine Spring 2008 CW 863 MFA Fiction Workshop CW 609/809 Directed Writing CW 640 Transfer Literary Magazine Fall 2007 CW 810, Uses of Time in Narrative CW 609/809, Directed Writing CW 640, Transfer Literary Magazine Spring 2007 Writer in Residence, Oklahoma State University CW 675/875, Community Projects CW 609/809, Directed Writing Fall 2006 CW 609/809, Directed Writing CW 880, Art of Short Fiction CW 640, Transfer Literary Magazine Spring 2006 CW, 853, MFA Fiction Workshop CW, 609/809, Directed Writing CW, 640, Transfer Literary Magazine Fall 2005 CW 609/809, Directed Writing CW 675/875, Community Projects CW 880, Writing Into Dailiness CW 640, Transfer Literary Magazine Spring 2005 CW 609/809, Directed Writing CW 853, MFA Workshop CW 640, Transfer Literary Magazine Release Time: Thesis Reading Fall 2004 CW 609/809, Directed Writing CW 880, Art of Short Fiction CW 860, Teaching Creative Writing CW 640, Transfer Literary Magazine Spring 2004 CW 609/809, Directed Writing CW 853, MFA Workshop CW 640, Transfer Literary Magazine Release Time: Undergraduate Coordinator Fall 2003 CW 609/809, Directed Writing CW 880, Writing Into Dailiness CW 803, Advanced Story Writing CW 640, Transfer Literary Magazine Spring 2003 CW 609/809, Directed Writing CW 675/875, Community Projects in Literature CW 810, Art ofNarrative CW 640, Transfer Literary Magazine Fall 2002 CW 609/809, Directed Writing CW 880, Art of Short Fiction CW 640, Transfer Literary Magazine CW 803, Advanced Story Writing

START (classes taught as lecturer for consideration for promotion) Spring 2002 CW 803, Advanced Story Writing 3

CW 640, Transfer Literary Magazine Fall 2001 CW 810, Art of Narrative. CW 640, Transfer Literary Magazine Fall 2000 CW 640, Transfer Literary Magazine CW 801, Advanced Story Writing Spring 2000 CW 640, Transfer Literary Magazine CW 5 I 0, Short Short Story Fall 1999 CW 80 I, Advanced Story Writing CW 640, Transfer Literary Magazine Spring 1999 CW 600, Uses of Personal Experience CW 640, Transfer Literary Magazine Fall 1998 CW 840, Fourteen Hills Literary Magazine CW, 640 Transfer Literary Magazine Spring 1998 CW 640, Transfer Literary Magazine Fall 1997 CW 512, Craft of Fiction Spring 1996 CW 512, Craft of Fiction CW 609/809, Directed Writing Spring 95 CW 403, Short Story One Fall 1994 CW 5 I 2, Craft of Fiction CW 603, Short Story Two Spring 1994 CW 403, Short Story One Fall I 993 CW 512, Craft of Fiction Spring 1993 CW 301, Fundamentals of Creative Writing Fall 1992 CW 301, Fundamentals of Creative Writing

Courses Taught at San Francisco State University, Extended Education

Summer 1996 CW 609/809 Directed Writing Fall 1996 CW 601 Writing for Children Fall I 995 CW NC Fiction Techniques for Short Story Writers (noncredit) Spring 1995 CW 600 Uses of Personal Experience ' Summary of Courses Taught at University of San Francisco M.F.A. in Writing Program

Short Fiction Workshop Major Projects (Directed Writing)

CURRICULAR INNOVATIONS

2010: Collaborated with lecturer to develop a new topic course in Creative Writing 810: Class Perspectives in Writing and Reading. An MA graduate course focusing on the analysis and discussion of texts for social tensions and indicators related to socioeconomic and cultural class. Supported by creative writing principles, writing assignments will investigate class assumptions and illusions, and break open vibrant dramatic material and deepen class consciousness. Pending. 4

2005: Collaborated with lecturer to develop curriculum and strategies for revised Creative Writing 101: Fundamentals of Creative Writing. A large undergraduate . creative writing course for non-majors that will utilize tapes from the American Poetry Archives and campus and communitywriters in poetry, fiction, and playwriting.

2003: Course proposal for new topic course in Creative Writing 810: Uses a/Time in . A graduate creative writing course investigating how writers orchestrate narrative time in the art forms of fiction, creative nonfiction, and memoir. Approved Fall 2004.

2002: Course proposal for new topic course in Creative Writing 880: Writing Into Dailiness. A cross genre graduate creative writing course investigating how writers translate material of the everydayinto art. Approved, Fall 2003.

HONORS AND AWARDS

2010: Glimmer Train national Fiction Open Award. 2009: Small Press Distribution's Best-SellingBooks 2009, LITTLE BOOK OF DAYS. 2009: Travel Grant, A WP, San Francisco State University. 2008: National Endowment for the Arts Fellowship for Creative Writing Prose. 2007: Poets and Writers Readings and Workshops Grant Recipient, The James Irvine Foundation, Readings at Lone Mountain, USF. 2007: Writer in Residence Fellowship, Oklahoma State University, Stillwater Oklahoma, Spring 2007. 2007: York Times Book Review Editors' Choice, Heavier than Air, Sunday, February 25, 2007, p.p. 22. 2007: Astraea Lesbian Foundation for Justice Lesbian Writers Fund, honorable mention (three honorable mentions and one award out of300 applications). 2007: California Writers Exchange, Poets and Writers, fiction finalist. 2007: Travel Grant, AWP, San Francisco State University. 2006: SFSU Surnrner Stipend for Surnrner2006 2005: Winner, A WP Grace Paley Short Fiction Contest, manuscript "Heavier Than Air". 2005: Cooper Award, story, "Mr. Hellerman's Vacation," $1000 and publication by The Ontario Review. 2005: Bakeless Literary Award for a full-length collection of short fiction, finalist out of 500 submissions, BreadloafWriters Conference of Middlebury College, Vermont, and Houghton Mifflin, NY. 2005: Annie Dillard Creative Nonfiction Award, The Bellingham Review, runner up out of over 500 entries, judged by Judith Kitchen. 2004: The Missouri Review Editor's Prize in Fiction, runner up out of 1900 entries. 2004: Elixir Press Full-Length Fiction Award, semi-finalist (tenth out of300 entries), Elixer Press, Minneapolis, MN. 2003: The Iowa Award in Fiction, Winner, The Iowa Review, judged by T. C. Boyle, University ofiowa. 5

2003: San Francisco State University, Summer Stipend 2003. 2003: The Arts and Letters Prize in Fiction, Finalist ( one winner and sixteen finalists). 2002: The Missouri Review Editor's Prize in Creative Nonfiction, runner up out of 1600 entries. 2002: The Ruth Hindman Foundation 2002 H.B. Francis Literary Competition, Semi- finalist Rank (top fifth) 2001: The Salt Hill Short-short Fiction Contest, judged by Abigail Thomas, First Place. 2000: Barbara Deming Memorial Grant and Award. 1999: Inkwell Annual Short Fiction Competition, Finalist. 1998: Very Short Story Award Finalist, Glimmer Train. 1995: The Joseph Henry Jackson West Coast Literary Grant and Award, The San Francisco Foundation. 1995: Voice Literary Contest, Third Place, Noe Valley Voice (Summer Literary Issue). 1995: Michael Rubin ChapBook Award, Honorable Mention, San Francisco State University. 1994: Nelson Algren Award, Finalist, Chicago Tribune. 1994: Katherine Anne Porter Prize for Fiction, Honorable Mention, Arts and Humanities Council of Tulsa. 1993: The Missouri Review Editor's Prize in Fiction, Finalist, 1993. 1992: Henfield Selection for Excellence in Fiction, San Francisco State University. 1991: Minnesota Women's Press Third Annual Writing Contest, First Place. 1990: Minnesota Women's Press Second Annual Writing Contest, Honorable Mention. 1989: Barbara Deming Memorial Grant and Award, $500. 1989: City Pages Annual Fiction Contest Winner, Weekly Newspaper of the Twin Cities. 1988: LAMBDA Literary Award Nomination, Voyages Out 2, Lesbian Debut Fiction. 1988: PEN/Nelson Algren Annual Fiction Award, Finalist, Pen American Center. 1987: Emerging Voices Contest Winner, The Loft, a Midwest Writing Center,. Minneapolis, Minnesota. 1987: Eve of Saint Agnes Poetry Competition, Finalist, Negative Capability.

PROFESSIONAL AND CIVIC ACTIVITIES PROFESSIONAL LEADERSHIP

2010: Association of Writers and Writing Programs (AWP), Panel Member "Conflict versus Chaos: Work shopping the Violent Story." 2009: Individual Artists Awards/Fellowship Panelist, The Pennsylvania Council on the Arts, Mid-Atlantic Arts Foundation, Meeting in Baltimore, MD. 2009: Judge for Walton Fellowship, Graduate Creative Writing Program, University of Arkansas 2008: Association of Writers and Writing Programs (AWP), Panel Member "Fictionalizing Family" 2008: Keynote Speaker, The Museum -Ed Online National Conference. 2007: Judge for McCann Short Story Prize, Creative Writing, Santa Clara University. 2007: Keynote Speaker, Santa Clara Review publication party. 6

2007: Featured Reader, Eighth Annual Sonoma County Book Festival, Sonoma, CA. 2007: Association of Writers and Writing Program, Featured Reader, A WP Award Panel 2007: Small Press Distribution, Celebrity Spelling Bee'in, fundraiser. 2006: Judge for Djerassi Writers in Residence Program, CA. 2005: Selected Author In Praise of Queer Street, by Toni Mirosevich, book jacket statement, Custom Words Press. 2004: Certificate of Recognition, the Office of Student Programs Leadership & Development, May 11, 2004. 2004: Award Judge, Poetry Center's Annual Grant and Award 2004: Panel presentation on "Careers in Teaching Creative Writing", San Francisco State University. 2004: Audre Lord Grant and Award Judge, Poetry Center's Annual Contest. 2003: "Embracing Leadership" award for Faculty Advisor, from the Office of Student Programs Leadership & Development, May 9, 2003 1999: Intersection for the Arts Literary Series, "Digging Deeper": cultivating social and artistic consciousness, with Alberto Ledesma. 1998: Marin Arts Council, Individual Artists Grant Program Judge.

CONTRIBUTIONS TO CAMPUS (UNIVERSITY NON-TEACHING ACTIVITIES)

2009-present Internship Development & Supervision for undergraduate and graduate students in Community Projects, for transcribing interviews for "Here Come the Brides", oral history book in progress. 2010: Hiring Committee, Graduate Teachers for 301 Fundamental of Creative Writing, Co-Chair. 2010: Graduate Assessment,Committee, Chair. 2010: College of Humanities Majors, Housing Dinner. 2010: Guest Writer, 5201820,CW Writers on Writing. 2009: First Alumni Day, Faculty Reading, Poetry Center. 2009: Hiring, Retention, Tenure, Promotion Committee. 2008: Hiring Committee, Graduate Teachers for 301 Fundamentals of Creative Writing, Chair. 2007: Retention, Tenure, Promotion Committee. 2007: MFA Graduate Coordinator. 2007: Alumni participation in fundraising lunch with Jeremy N. Benjamin. 2007: Participation/presentation to parents of freshman, Welcome Days, Touch of Class. 2007: Interviewee in Transfer 93 and Guest Writer at end of semester reading. 2007: An evening with KimAddonizio and Nona Caspers, benefit for Fourteen Hills, SFSU' s Literary Magazine, Poetry Center. 2007: Guest Writer, 5201820,CW Writers on Writing. 2006: Chair, Undergraduate Curriculum Committee. 2006: Participation in 301 Hiring Committee. 7

2006: Undergraduate Coordinator. 2005: Chair Hiring Committee for two tenure-track positions. 2005: Consultation on interview and selection process for CW 30 l Hiring Committee. 2005: Participation in "Converge" student-faculty reading series, Poetry Center. 2005: Participation in 301 teachers training and support. 2004: Member of Undergraduate Curriculum Committee, Creative Writing. 2004: Undergraduate coordinator, Creative Writing. 2004: Participation in New Faculty Orientation, "The View After a Year or Two." 2004: Chair of CW 301 Hiring Committee, coordinated interviews, reviewed materials, participated in selection process for new CW 30 l teaching positions. 2004: Participation in the CW "External Review: Fifth Cycle Academic Program Review." 2003: Participation in panel for New Faculty Orientation, "The View After a Year or Two." 2003: Presentation at "Sneak Preview Day," introduction of creative writing department and major to prospective students, College of Humanities. 2003: Member of CW Committee to Improve Undergraduate Curriculum 2003: Member of college-wide Computer Advisory Committee 2002:. Poetry Center Reading to Welcome Dean Paul Sherwin 2002: Member of CW 301 Hiring Committee 2000: Member of CW 301 Hiring Committee 1996; Consultant Faculty, evaluated 150 graduate applications 1996: Member of CW 301 Hiring Committee 1994: Member of CW 301 Hiring Committee

1999-present: Ongoing Contributions as Faculty Advisor to Transfer Magazine

Coordinate end-of-semester TransferReadings, Poetry Center. *Arrange for Transferinterviews and Transferguest readings by community authors: (Fall 2002 Benjamin Hollander; Spring 2003 Stacy Doris; Fall 2003 Mark Linenthal & Leo Litwak; Spring 2004 Presentation Faculty Advisor; Fall 2004 Paul Hoover; Spring 2005 Gary Kong) Coordinate the Mark Linenthal Poetry Award and Leo Litwak Fiction Award *Strategize with TransferEditors on community publicity, administrative and course issues, sales, bookstore consignment. Report to faculty on Transfer concerns and promotion.

CONTRIBUTIONS TO THECOMMUNITY

1991-present: *See above summary of ongoing community contributions as Faculty Advisor to Transfer Magazine. 2009-present Interviews of Bay Area for the Oral History book "Here Come the Brides" to be edited by Nona Caspers & Joell Hallowell. 8

2010: Class visit on Teaching in the Academy, CW Business of Creative Writing, Robert Gluck, Professor. 2010: Featured author & reader for Bay Area Lesbian Book Group, Bette's List, Little Book of Days, Heavier than Air, and talk on Here Come the Brides. 2010: Class Visit and presentation, CW 640 Works in Progress, on Little Book of Days, Works in Progress, Barbara Tomash, lecturer. 2010: Re-release Celebration of New Standards, reading and panel discussion to raise funds for Fourteen Hills: The SFSU Review, Poetry Center. 2010: Class visit and presentation on Revision, CW 640. Works in Progress, Barbara Tomash, Lecturer. 2009: Participation as writer and observer in "Transmission of Knowledge," Community Performance Art by Amy Francescini, Professor USF. 2009: Benefit guest reading for the Nina Haft & Company Middle East Tour. 2009: Women on Writing (WOW): A Conference for Readers and Writers: An International Women's Day Celebration, Featured Author, Little Book of Days. 2009: Poetry Center Reading with guest Cooley Windsor, Stegnor Fellow and author of Visit Me In California. 2009: Participation in Alumni Day, Writing Across the Genres, Poetry Center. 2009: Class visit and presentation, CW 302, Fundamentals of Creative Reading, Brian Thorstenson, Lecturer. 2009: Interviewed Author (Little Book of Days) on WGDR Woman-Stirred Radio, a CPB/NPR affiliate. 2009: Class visit and presentation, CW 603, Advanced Story Writing, Barbara Tomash, Lecturer. 2009: Class visit and presentation, CW 512, Art of Narrative, Barbara Tomash, Lecturer. 2009: Guest Speaker, Little Book of Days, The Lab San Francisco. 2008: Panel Speaker, Writing and Publishing the Short Story, Benefit for 826 Valencia, Dave Eggar's Lab for Literacy, San Francisco. 2008: Queer Writers Read, Litquake, SF. 2008: Interviewed Author on KFAI 90.3 Fresh Fruit Show, Hosts Dixie Treichel and John Townsend. 2008: Interviewed Author on WGDR Woman-Stirred Radio, a CPB/NPR affiliate. 2008: Interviewed Author on The Diana Cage Show/Sirius Out Q Channel 109. 2008: Participant in reading and performance, Truly Madly Deeply: Party for Gay Marriage, a.Muse Art Gallery, SF, CA. 2008: Arranged in class art presentation on dailiness by Amy Franceschini, MFA, founder of artist collaborative group Future Farmers, Professor at University of San Francisco, CW 880 Writing Into Dailiness. 2008: Class Visit and presentation, CW 101, Fundamentals of Creative Writing, Brian Thorstenson, Lecturer. 2008: Class visit and presentation, CW 601, Works in Progress, Barbara Tomash, Lecturer. 2007: Author in Litquake's "Original Short Story Night," Vanish Fine Art, SF. 9

2007: Guest Speaker, Creative Writing & Literature course, British International School in Prague. 2007: Guest Speaker, English Department Staff development meeting, Tarnalpais Union High School District and Redwood, Tarnalpais, Sir Francis Drake, Tamiscal and San Andreas High Schools. 2007: Presentation and reading, Professor Montpelier's Introduction to Creative Writing, Santa Clara University. 2007: Guest Speaker Castro Valley Readers for Literature that Changes the World. 2007: Presentation to students, faculty and public at Oklahoma State University, Stillwater. 2007: Presentation reading with Maxine Chernoff and Paul Hoover at Faculty Retreat, San Francisco. 2007: Class visit and presentation,CW 101, Fundamentals of Creative Writing, Brian Thorstenson,Lecturer. 2006: Presentation Human Rights Annual Conference: Roots of our Future, SFSU. 2006: Class field trip "ConcreteNoticing Tour" with community artist Michael Swaine, Mission neighborhood,SF. 2006: Class field trip "1bickhouse" theatre. 2005: Participation in Fourteen Hills publication reading, Elbow Room, SF. 2005: Development and participationin reading benefit for "moveon.org" Studio Valencia Performance Space. 2004: Arranged in class presentationon editing and publishing literaryjournals by John Tranter, Editor & Publisher of international poetry journal Jacket. 2004: Class visit and presentation,CW 601, Works-in-Progress, Barbara Tomash, Lecturer. 2004: Class field trip and off-site lecture at Luggage Store Art Gallery, "Light and the Everyday" exhibit, CW 880 Writing Into Dailiness. 2004: Arranged in class presentationon dailiness by Kai Lundgren, PhD, Philosophy and Social Change, New College, CW 880 Writing Into Dailiness. 2004: Class visit and presentation,CW 601, Uses of Personal Experiences, Mathew Davison, Lecturer. 2004: Guest speaker for adult education course "Writing Beyond Boundaries," Elizabeth Bloch, Jewish CommunityCenter 2003: Arranged in class "Editors Speak Out" panel of community editors including Brandon Mise, Nicholas Buzanski, Rebecca Anderson. 2003: Development and participationin reading benefit for Studio Valencia Performance Space. 2003: Class visit and presentation,CW 601, Works-in-Progress, Barbara Tomash, Lecturer. 2002: Class visit and presentation,CW 603 Short Story II, Barbara Tomash. 2002: Class visit and presentation,CW 550, Writers on Writing, Lissa McClaughlin, Lecturer. 2002: Featured fiction writer with essayist Louise Rafkin, Jon Sims Center for the Arts. 10

2001 Participation in "Language Magicians and Languid Musicians," multimedia event with Richard Loranger, Studio Valencia Performance Space. 2000: Class visit and presentation, CW 550, Writers on Writing, Barbara Tomash, Lecturer. 1999: Produced and moderated "Believing in Literature: Panel of Bay Area Publishers and Editors," Poetry Center. Panel members included: Howard Junker of ZfZZYVA; Maxine Chernoff of New American Writing; Elana Dykewoman of Sinister Wisdom; Julie Rosenbacher of Kelsey Street Press. 1998: Presentation on fiction, Shanti AIDS Workshop, Shanti Building, San Francisco. 1997: Class visit and presentation on narrative point of view, CW 403, Short Story One, Barbara Tomash, Lecturer. 1996: Panel member presentation on publishing with small presses, CW 550, Writers on Writing, Michelle Carter, Professor. 1996 Guest lecturer, Short Fiction Workshop, M.F.A. program, University of San Francisco, Toni Graham, Lecturer.

PUBLICATIONS

Manuscripts in Progress

"This Isn't What I Came to Say," linked short-shorts and longer stories in the voice of one narrator who recently lost her lover, Michelle. Explores how the imagination helps us survive the tilted world we enter when we grieve, I 06 pages.

"Here Come the Brides," oral histories of lesbians who married during the California window oflegal gay marriage, conducted 25 interviews to date, fifteen transcribed by Community Project Students of CW, six edited 10-15 page oral histories.

"Nora and Joe," a novel in progress, two points of view: Summer in rural Minnesota; Nora a queer teenager, Joe, an army mechanic, returns home from Iraq without his legs, 50 pages.

Books

Little Book of Days, hybrid form, prose poetry, Spuyten Duyvil Press, New York, February 2009.

Heavier Than Air: Stories, winner of A WP Grace Paley Prize in Short Fiction, University of Massachusetts Press, Nov. 30, 2006, p.b. March 28, 2008.

The Blessed, novel, Silverleaf Press, 1991

Voyages Out 2, two-authored story collection with Julie Blackwoman, Seal Press, nominated for LAMBDA Literary Award 1990. 11

Literary Journals & Periodicals

"The Ravine," story from "This Isn't What I Came to Say", Cimarron Review, Summer 2010, Issue 172, p.p. 14-19.

"The Horse", meta fictional story, from "This Isn't What I Came to Say", Glimmer Train Writer's Bulletin #4, http://www.glimmertrain.com/fojune10.html (over 60,000 subscribers), September 1, 2010.

"Two Clean Things," story from "This Isn't What I Came to Say", Black Warrior Review, Fall 2010 issue, in press.

"The Dog," story from "This Isn't What I Came to Say", Black Warrior Review, Fall 2010 issue, in press.

"The Phone Calls," story from "This Isn't What I Came to Say", Black Warrior Review, Fall 2010 issue, in press. "Ants," story from "This Isn't What I Came to Say", Glimmer Train, winner of Fiction Open Award (first place out of over 1,000 submissions), scheduled for spring 2011.

"In the Air", essay, Perna Chodrin Anthology, edited by Julia Wallace, scheduled for summer 2011 publication.

"Two Clean Things," Field Notes, online journal ofliterary creative nonfiction, August, 2008.

"On the Town," nonfiction, Style Section, San Francisco Chronicle, Sunday, May 6, 2007, E3.

"The Fifth Season," adapted and reprinted with permission of University of Massachusetts Press, The Ontario Review, No. 67, Fall/Winter 07-08.

"Mr. Lawrence Hellerman's Vacation," story, The Ontario Review, No. 64, Spring/Summer 2006, p.p. 5-18.

"We Wish to Remain What We Are," creative nonfiction, The Bellingham Review runner up for Annie Dillard Creative Nonfiction Award, Vol. XXIX, Spring 2006, p.p.126-140.

"Wide Like an Eagle's Wings," story, Fourteen Hills: The SFSU Review, Vol. 11, No. 1. Winter/Spring 2005, p.p. 59-79. 12

"This My Life," excerpt from A Book of One-Hundred Days, Harrington Lesbian Fiction Quarterly, Haworth Press Inc., Vol. 5, No. 4. 2004, p.p. 85-94.

"Heavier Than Air," story, Literal Latte, New York, New York, On-line issue www.literallatte.com, Summer Issue, 2004.

"Progeny," autobiographical fiction, Blithe House Quarterly, award-winning online literary journal of queer fiction,Vol. 8, No. 4. Winter2004. 8.04.09.

"Country Girls," story, Iowa Review Award Winner, Vol. 33, No. 3, p.p.2-20.

"Sacred Stones," story, Cimarron Review, 143, Spring 2003. p.p.9-12.

"Auntie Rosie Has Cancer," short-short, ONTHEBUS, 17/18 2002. p.p. 61-62.

"Hot Weather," short-short, Salt Hill, 11, 2001. p.p.37-39

"Fat," story, Cimarron Review, 134, Winter 2001. p.p.75-88.

"Autopsy," poem, Evergreen Chronicles, 14/2, Winter 2000. p.p.11.

"Pumphouse," story, Women's Words, 5, Summer/Fall, 1999. p.p.107-113.

"Auntie Rosie Has Cancer," short-short, The San Francisco Review, Vol. 21.3, May/June I 996. p.p.8.

"Progeny," short-short, 360 Degrees: Art and Literary Review, Vol. 9, Summer 1995. p.p.9-10.

"My Job," short-short, Noe Valley Voice (SummerLiterary Issue}, San Francisco Monthly Newspaper, Vol. XIX, No. 7, August 1995. p.p.7.

"Vegetative States," story, Fourteen Hills/SFSU Review, 1, Fall 1995. p.p.3-13.

"Hot Weather," short-short, Transfer 66, Fall 1993. p.p.35-37

"Auntie Rosie Has Cancer," short-short, Transfer 66, Fall 1993. p.p.88-90.

"Pumphouse," story, Transfer 66, Fall 1993. p.p.105-110.

"Stigmata," story, INK, 11&12, 1993. p.p.37-44.

"Marilyn Are You All Right?", story, HurricaneAlice, Vol. 9, No. 4, Summer 1993. p.p.1-2.

"Life on Zita's Porch," story, The Madison Review, Vol. 15, No. 1, Spring 1993. p.p.44- 50 13

"Alfalfa," story, CALYX, Vol. 14, No. I, Summer, 1992.p.p.86-92.

"Just a Cow Breeder's Daughter," prose poem, Evergreen Chronicles, Vol. VII/I, Winter/Spring 1992. p.p.6-7.

"In the Clouds," story, Sinister Wisdom, 45, Winter 1991/1992. p.p.93-97.

"The Seven Dreams of Lynette," story, Hurricane Alice: A Feminist Quarterly, Vol.6, No. 4, Fall/Winter 1989. p.p.1-2.

"Pearl Diving," poem, Hurricane Alice: A Feminist Quarterly, Vol. 5, No. I, Winter I 988. p.p.9.

"Bus Is Coming," creative nonfiction, Hurricane Alice: A Feminist Quarterly, Vol. 3, No. 4, 1988. p.p.8-9.

"Litany, Amy of," poem, Negative Capability, Vol. VIII, No. 11, 1988.p.p.189

"The Stoop," story, City Pages, Annual Fiction Contest Winner, Weekly Newspaper of the Twin Cities, Vol. 10, No. 408, September 28, 1988. p.p. 10.

Anthologies

Excerpts from "Little Book of Days," Sidebrow, edited by Jason Snyder, John Cleary, Kristine Leha, Sidebrow Press, San Francisco, 2008.

"Vegetative States," New Standards: The First Decade of Fiction at Fourteen Hills, edited by Jason Snyder, Fourteen Hills Press, San Francisco, 2005.

3 "La Maison de Madam Durard," HERS : Brilliant New Fiction by Lesbian Writers, edited by Terry Wolverton with Robert Drake, Faber and Faber, Inc., New York, 1999. p.p.57- 68.

2 "Vegetative States," HERS : Brilliant New Fiction by Lesbian Writers, edited by Terry Wolverton with Robert Drake, Faber and Faber, Inc., New York, 1997. p.p.145-155.

"Stigmata,'' Bless Me Father: Stories of Catholic Childhood, edited by Amber Coverdale Sumrall and Patrice Vecchione, Plume Fiction, New York, 1995.

"Alfalfa," Women on Women 2, Anthology of American Lesbian Short Fiction. edited by Naomi Holoch and Joan Nestle, Plume Fiction, New York, 1994. p.p. 265-274.

"Bus is Coming!," Stiller's Pond: Fiction from the Upper Midwest, edited by Jonis Agee, Roger Blakely and Susan Welch, New Rivers Press, Minneapolis, 1st ed. 1988, 2nd enlarged ed. 1991. p.p.73-75. 14

"Home," Testimonies. Anthology of Coming Out Stories, edited by Sarah Holmes, Alyson Publications, Boston, 1st ed. 1988, 2nd enlarged ed. 1991.

"The Right Man For You," Silverleafs Choice, Anthology of Humorous Fiction, edited by Ann Larson and Carole A. Carr, Silverleaf Press, Oregon, 1989.p.p.29-34.

"Bridge,'' "Esta Bien," "Another Mean Minded Child,'' and "Maria Learns About Life," Word of Mouth, Anthology of Short Short Fiction, edited by Irene Zahava, Crossing Press, Freedom, CA, 1989.

BOOK REVIEWSAND INTERVIEWS

Booklist, American Library Association, Heavier than Air, www.booklistonline.com, December 14, 2006.

The New York Times Book Review, Heavier than Air: Stories, Sunday February 18, 2007 . . Editors' Choice, February 25, 2007.

San Francisco Chronicle,Datebook, "Deceptively Simple Stories about Earthy Country Girls," Heavier than Air: Stories, March 20, 2007.

LAMBDA Book Report, Heavier than Air, Spring 2007, Page 10.

The Short Review, Heavier than Air, www.theshortreview.com/reviews/NonaCaspersHeavierthanair.htm

The Short Review: Interview with Nona Caspers, Heavier than Air, http://www.theshortreview.com/reviews/NonaCaspersHeavierthanair.htm

The Rake: Secrets of the City, Minneapolis, MN, Heavier than Air, August 2007.

City Pages, A-List Picks, Heavier than Air, August 2, 2007.

Transfer 93, "A Conversation with Nona Caspers,'' Transfer Editors: Stephen Cohen, Neale Jones, Claire Manoogian, and Charles Rech, Spring 2007.

Melrose Beacon, Steans-Morrison Enterprise, "Melrose Native Pens Widely-acclaimed Book­ Caspers draws experiences, names from her Melrose heritage,'' Article and Interview by Roberta Olson, February 2, 2007.

Blog Review, Ready When You Are, Heavier than Air, paperback, August 29, 2008 ..

The Rumpus: Sunday Book Review Supplement, "Little Book: Of Molehills and Mountains," th Little Book of Days, April 30 , 2009. · 15

EverythingUnfinished: a Literary Blog out of San Francisco, Little Book of Days, www.identitytheory.com/jameswamer/2009/05/little-book-of-days-by-nona-caspers28.html, May 28, 2009.

PUBLICATION READINGS AND PRESENTATIONS AT COLLEGES. UNIVERSITIES. AND MAJOR VENUES

2009: Modem Times, San Francisco 2009: Books Inc, San Francisco 2009: Diesel Bookstore of Oakland 2009: Pegassus, Berkeley 2009: Studio Valencia, San Francisco 2008: Book Passage at Ferry Building, San Francisco 2008: Poetry Center, SFSU 2008: Book Passages, San Francisco 2008: Books Inc, San Francisco 2007: University of San Francisco, MFA Writing Program's literary series, Lone Mountain Reading Series, San Francisco. 2007: Black Oak Bookstore, Berkeley, CA. 2007: Cody's Bookstore, San Francisco 2007: Amazon Bookstore, Minneapolis, MN. 2007: Magers and Quinn, Minneapolis, MN. 2007: Guest Reader Writer in Residence, Oklahoma State University, Stillwater, OK. 2007: Association of Writers and Writing Programs, Featured Reader 2006: Modem Times, San Francisco. 2005: Reading at SOMA Art Gallery, San Francisco. 2005: Fourteen Hills reading, Elbow Room, SF. 2004: Reading and benefit for "moveon.org," Studio Valencia Performance Space, San Francisco. 2004: Reading and lecture presentation, CW 601, Short Story Two, Mathew Davison, lecturer, SFSU. 2004: Poetry Center reading with Peter Omer, SFSU. 2004: Reading and lecture presentation, CW 601, Works-in-Progress, Barbara Tomash, lecturer, SFSU. 2003: Reading and benefit for Studio Valencia Performance Space, Studio Valencia. 2003: Poetry Center reading to welcome Dean Paul Sherwin, SFSU. 2003: Reading and lecture presentation, CW 601, Works-in-Progress,Barbara Tomash, lecturer, SFSU. 2002: Reading and benefit for Studio Valencia Performance Space, Studio Valencia. · 1998: Publication Reading, Different Light Bookstore, San Francisco. 1997: Intersection for the Arts, Emerging Voices Series, San Francisco. 16

1995: Intersection for the Arts, Joseph Henry Jackson Literary Awards, San Francisco.· 1994: Fourteen Hills reading, First Unitarian Church, San Francisco. 1994: Black Oak Books, Berkeley, California. 1993: BookSmith Bookstore, San Francisco. 1991: Santa Cruz Bookstore, Santa Cruz 1990: Different Light Bookstore, San Francisco. 1990: Old Wives Bookstore, San Francisco. Maxine Chernoff/369 Molino Avenue/Mill Valley CA/94941 [email protected]

Education M.A. and B.A. with Highest Honors (English Major, German Minor}, University of Illinois at Chicago,1968- 1974. University of Illinois Fellow, 1972-1974.

AcademicPo.sitions Chair of the Creative Writing Department, San Francisco State University, 1997-present. Professor, San Francisco State University, 1997-present. Associate Professor, San Francisco State University, 1994-1997. Lecturer, School for New Learning, DePaul University, 1992-1994. Adjunct Associate Professor, School of the Art Institute of Chicago, 1987-1994 Associate Professor, Harry S Truman College, Chicago IL 1987-1994. Assistant Professor, Harry S Truman College, Chicago, IL 1980-1987. Instructor, Columbia College, Chicago, 1977-1985. Instructor, University of Illinois at Chicago, 1977-1980. Instructor, Northern Illinois University, 1976-1977.

Writer-in-Residence International Visiting Scholar, University of Exeter, England, January 2013. Faculty, Prague Summer Literary Seminar, Summer 2010. Faculty, Naropa Institute MFA Program, Summer 2009. Faculty, Summer Literary Seminars, Herzen State University, St. Petersburg, Russia, Summer 2001. Faculty, Naropa Institute MFA Program, Summer 1996. Faculty, Naropa Institute MFA Program, Spring 1995.

CoursesTaught intermediate Forms: The Novella Writers on Writing M.F.A. Fiction Workshop M.A. Fiction Workshop M.A. Poetry Workshop Craft of Fiction Craft of Poetry Developing the Novel Advanced Novel-Writing Craft Seminar: The Prose Poem Craft Seminar: Short Fiction Craft Seminar: Memoir and the First-Person Novel Craft Seminar: Autobiography Craft Seminar: Loss and Recovery Craft Seminar: The Art of Narrative Discovery and Development: First-Person Narrative Discovery and Development: Poetics of Narrative Individual Authors: Chekhov Individual Authors: Paley

1 Directed Writing Thesis Supervision Advanced Poetry Workshop

Serviceto the Department Chair since 1997 Advisor Thesis Director Reader for MA & MFA Application Interim Graduate Director

Serviceto the College Chairs' Council, 1997-present Convener of Chairs, 2012-present Elections Committee, 2007-2012 Travel Committee, 2007-2012 Scholarship Committee, 2006-2007

Serviceto the University Academic Senate, 2010-2013 Executive Committee of Senate, 2012-2013 Chair of Academic Policy Committee, 2012-2013 Chair of Educational Policy Committee, 2012-2013 Member of Faculty Affairs Committee, 2011-2012 University Bookstore Committee, 2012-2013 University Enrollment Committee,2012-2013 Faculty Representative to Presidential Hire, 2011-2012 University Interdisciplinary Committee, 2012-2013 University Graduation Honors Committee, 2009-2012 University Budget Committee. 2009-2012 Professional Development Committee, 2009 Graduate Council, 2008-2009

Serviceto the Community Editor and Publisher of New American Writing Reader and Presenter at many local, national, and international events Editorial Board, University of Akron Poetry Series Editorial Board, Center for Contemporary Writing, Normal, Illinois Sentence. Contributing Editor Parthenon West. Contributing Editor Context. Contributing Editor Publications

Poetry (Books) Here. Denver, Colorado, Counterpath, forthcoming 2014. Without. Brighton, England: Shearsman, 2012. To Be Read in the Dark. Richmond, CA: Omnidawn Press, 2012.

2 A House in Summer. Liverpool, England: Argotist Press, 2012. The Turning. Berkeley: Apogee Press, 2008. Among the Names. Berkeley: Apogee Press, 2005. Evolution of the Bridge: Selected Prose Poems. Cambridge, England: Salt Editions, 2004. World: Poems 1991-2001. Cambridge, England: Salt Editions, 2001. Leap Year Day: New and Selected Poems. Chicago: ACP, 1990. Japan. Bolinas, CA: Avenue B Press, 1988. New Faces of 1952. Ithaca, NY: Ithaca House, 1985. TV Store. Chicago: The Yellow Press, 1979.

Poetry (Chapbooks) Next Song. Saratoga, CA: lnstress Publications, 1998. A Vegetable Emergency. Venice, CA: Beyond Baroque Foundation, 1977. The Last Aurochs. Iowa City, Iowa: Now! Press, 1976.

Poetry (Anthologies) Three poems, Postmodern American Poetry.2 nd Edition. New YorkP: WW Norton, 2013. "Offerings." Poets Write About God. London: Eyewear Editions, 2013. Two poems. New Poets of the American West. Kalispell, MT: Many Voices Press, 2010. Four poems. An Introduction to the Prose Poem. Danbury, CT: Firewheel Editions, 2009. Four poems. Field Guide to Prose Poetry: Comtemporary Poets in Discussion and Practice. Brookline, MA: Rose Metal Press, 2010. "Breasts." Seriously Funny. Athens, Georgia: University of Georgia Press, 2009. "The Sound." The House of Your Dreams: An International Collection of Prose Poems. Buffalo: White Pine Press, 2008. Four poems. Bear Flag Republic. Riverside, CA: Greenhouse Press, 2008. "Much was Accomplished, Much was Begun." Viz.lnterarts Event. Santa Cruz: UC Santa Cruz, 2007. Two poems in collaboration with Paul Hoover. Saints of Hysteria. Brooklyn: Soft Skull Press, 2007. Four poems. Not for Mothers Only. New York: Fence Books, 2007. Two Poems, The City Visible. Chicago: Cracked Slab Press, 2007. "Embedded in the Language," Babylon is Burning. London: nth Position Books, 2006. "The News," Keepin' On: The Everyday Struggles of Young Families in Poverty, Baltimore:Brookes Publishing Company, 2006. "[that time gives it its form]," The Gertrude Stein Awards Anthology 2006,Los Angeles: Green Integer Press, 2006. "The Sound." The Best American Erotica. New York: 2005. (Reprinted in German anthology, 2007 .) "Return of the Ring." In the Criminal's Cabinet. London: nth Position Press,2004. "God." Vespers: Contemporary American Poems of Religion and Spirituality. U of Iowa Press,2003. Three poems. Great American Prose Poems, from Poe to the Present. Scribners, 2003. Five poems. Stand-up Poetry. Iowa City: U of Iowa Press,2002. Four Poems. Contemporary American Poetry. Yugoslavia: ___;_ _,2002. Six poems. Anthology of 20th Century Illinois Poets. Urbana: U of Illinois Press, 2002. "The News." Like Thunder: Poets Respond to Violence in America. Iowa City:U of Iowa Press. 2002. "How Lies Grow. An Exaltation of Forms. Ann Arbor:U of Michigan Press, 2002. "Breasts." Pleased to See Me: 69 Very Sexy Poems. Northumberland, England: Bloodaxe Books, 2002. Two poems. American Diaspora: Poetry of Exile. Iowa City:U of Iowa Press, 2001. Two poems. The Prose Poem:An International Anthology. 2000.

3 Four poems. Postwar American Poetry:The Mechanics of the Mirage. Liege,: U of Liege Press, 2000. "Breasts." Spud Songs:An Anthology of Potato Poems. Kansas City: Helicon Nine Editions, 1999. "Breasts." Real Things:An Anthology of Popular Culture. Bloomington, IN.: U Press, 1999. Four poems. Smokestacks and Chimneys. Chicago:Loyola U Press,1998. "A Sentimental Education." A Poem A Day. Los Angeles: Sun and Moon Press, 1998. Six poems. The Party Train: The Prose Poem in North America. Minneapolis: Coach House Press, 1996. "Phantom Pain." Ecstatic Occasions, Expedient Forms. New York: Macmillan, 1988. Ann Arbor: U of Michigan Press, 2000. Six poems. Postmodern American Poetry: A Norton Anthology. New York: Norton, 1994. Six poems. Stand-Up Poetry. Long Beach: California State University Press, 1994. U of Iowa Press, 2002. "The New Money." A Contemporary Reader for Creative Writing. New York: Harcourt Brace, 1993. Three poems. The Anatomy of Water: A Sampling of Contemporary American Prose Poetry. Decatur, Georgia: Linwood Publishers,1992. "Leap Year Day." Broadway 2: A Poets and Painters Anthology. New York: Hanging Loose Press, 1991. "Hats Around the World." The Review Anthology. New York: Norton, 1990. Three poems. Cradle and All: Women Writers on Pregnancy and Birth. New York: Faber and Faber, 1989. Six poems. New Directions 49. New York: New Directions Publishing Company, 1988. Three poems. Epiphanies: The Prose Poem Now. Columbus, Ohio: Cumberland Press, 1987. Four poems. Up Late: American Poetry Since 1970.New York: Four Walls Eight Windows, 1987. "The Color Red." Banyan Anthology 2. Chicago: Banyan Press, 1982. Six poems. Fifteen Chicago Poets. Chicago: The Yellow Press,1976.

Poetry (Journals) "Drones," NEA Writer's Corner, 2013. Five poems, Puerto def Sol. forthcoming. Three poems, Witness. forthcoming. Three poems, Talisman. forthcoming. Four poems, Fourteen Hills. 2013. Five poems, Interim, 2013. Three poems, Phoebe, forthcoming 2013. Four poems, Laurel Review, 2013. Five poems, Conjunctions, 2013. Three poems. Web Conjunctions. fall 2012. Two poems. Colorado Review. Fall 2013. Four poems. Laurel Review, Spring 2012. Two poems. The Denver Quarterly. Spring 2012. Three poems, Yew Journal. Spring 2012. Four poems. The Iowa Review. Spring 2012. "The Language.' The Nation. 31 January 2012. Five poems. Web Conjunctions. Winter 2011. Three poems, Fourteen Hills. fall 2010. [without a listener], Poem-a-Day, Academy of American Poets, September 2010. [without an alibi], Spillway, fall 2010. [without action]J Verse Daily. spring 2010. "Embedded in the Language," The Washington Post. Arts/Books Supplement, February 2010. Two poems, Improbable Object. spring 2010.

4 Two poems, Pinstripe Fedora. 2009. Five poems, Web Conjunctions. Fall 2010. Three poems, Parthenon West Review. Fall 2009. Three poems. Jacket 36, Summer 2008. Three poems, FreeVerse, Spring 2008. "The Commons," Poetry Daily. 17 August 2007 .. "To Soldier," Women's Studies Quarterly. fall 2007. Two Poems, Flights 2006-07. "Man, a Prosthetic God," Jacket 33, summer 2007. Two Poems, New American Writing 25. spring 2007. Two Poems," PMS Review, Spring 2007. "Embedded in the Language," Volt 2007 and nth position (online), 2006. "Pearl," Laurel Review, 2006. "Notes to Self," Melancholia's Tremulous Dreadlocks 4 (online), 2006. Two Poems, Parthenon West. 2006. 'He Picked up his Pen in her Defense." Verse. 2006. "Have You a Daughter?" Verse, 2006. "Much Was Accomplished ... ," MiPoesias. spring 2006. "A House in the Country is not a Country House." TS Review. 2005 ( England). Four poems. Poetry.com. Spring 2005. Two poems, ~ Spring 2005. [mana/machine), 14 Hills. Fall 2004. Four poems, Five Fingers Review. Winter 2004 Three poems, Hambone, Fall 2004. Four poems, Slope 20. Fall 2004. ["to bully the gods"]. Minnesota Review. Fall 2004 Two poems, Parassus West. Summer 2004. Three poems, New American Writing. Summer 2004. Four poems, Denver Quarterly. Spring 2004. Four poems, nth Position (England), Spring 2004. Two poems. Small Town 3, Spring 2004. "Origin," Sentence, Summer 2003. "[present/poison]," Smartish . Spring 2003. "An Epiphany,"Verse, 2003. "Quizzing Glass." Washington Square ,Winter 2003. Two poems (trans. into Chinese), The Literati 48, Fall 2002. "World." Sibila 2 (Brazil, trans. into Portuguese), Spring 2002. "In the Timing," Courier. Spring 2002. "Miss Cedars" and "A Small Sound." Overland (Australia), 2002. "Sonnet for Joe." Jacket 16 (Australia), 2002. Three poems, Cream City Review, Winter, 2002. "A Relief Map Glows." Chelsea, 2001. Seven poems in Electronic Poetry Review 2 (online), 2001. "Sonnet for Joe." Pressed Wafer. 2001. "How Lies Grow", in Lesbok 12 February 2000 (Iceland, trans. into Icelandic). "Todorov at Ellis Island" and "Nomads," Santa Clara Review, Spring 2000, "Tableau," Sulfur 45/46, 2000. "Todorov at Ellis Island" and "Action We Can and Can't See," Denver Quarterly. Winter 2000.

5 "So This Is How We Live," Fourteen Hills. 1997. "Photo in Life." "Landscape without River," "A Sentimental Education." Columbia Poetry Review 6. Spring 1993. "The North Sea," "Nature Morte," and "Not," Sulfur 31,Fall 1992. "Token" and "Wash." The Antioch Review Vol. 49, 2, Spring 1991. "The Shoe and the City," "The Woman Who Straddled the Globe," and "Subtraction." The Denver Quarterly Vol 25, 4, Spring 1991. "Hangar: Harangue." Uncle Vol. 4, 3, Summer 1991. "To the Reader." The Bulletin {Australia), 6 November 1990. "The New Money" and "Notes for a Mural." Caliban 8,1990. "Breasts," "Frankly," "Poem for Ted." B-City 4, Spring, 1987. "The Entropy Zone" and "The Moe, Larry, and Curly Conspiracy."LAICA Journal. Fall 1986. "Chicago Symphony." Seams Vol. 2, 1, 1985. "Liarium." Sierra Madre Review 1, 1984. "Learning to Listen" and "The Apology Store." Dental Floss 5, 1984. "Monday" and "Then B." Epoch Vol. 34, 2, 1984-1985. "Spring." Northwest Review Vol. 20, 1, 1982. "Quark Quark Double Quark." Skywriting Vol. 4, 1-3, 1982. "How We Went." Tendril 12, Winter 1982. "Identity Principle." Chouteau Review Vol. 5, 1, 1981. "Sotto Voce" and "Prophecy." The Little Magazine Vol. 13, 3 and 4, 1981. "Flowers, Maps, Initials, Africa" and "Sonnet." Magazine Spring 1981. "Strangers." Raccoon 5, 1979. "Rehearsal." Gravida Vol. 4, 1, 1979. "The Boat" and "The Meaning of Anxiety." Chicago Review. Summer 1978. "Hat Poem" and "New Years Eve." The Milk Quarterly 11 and 12, 1978. "Fred Astaire" and "His Pastime." Chelsea 36, 1977. "For Daily Use." Partisan Review Vol. 44, 4, 1977. "Hats Around the World" and "Toothache." The Paris Review 64, 1976. "Gray Matter." Bartleby's Review 5, 1975. "The Fan" and "The Moat." The Paris Review 59, 1974.

Fiction{Books) Some of Her Friends That Year: New and Selected Stories. Minneapolis: Coffee House Press, 2002. A Boy in Winter. a novel. Australian edition: Harper-, 2000. A Boy in Winter. New York: Crown Publishing, 1999. American Heaven. a novel. Minneapolis: Coffee House Press, 1996. Signs of Devotion. a collection of short stories. New York: Simon and Schuster, 1993. Plain Grief. a novel. New York: Summit, 1991. {Republished as E-Book, Chicago: Previewport, 2001.) ~ a collection of short stories. New York: Vintage, 1987. ~ Minneapolis: Coffee House Press, 1986.

Fiction{Anthologies) "Jewish Urban White Trash Story." Thus Spake the Corpse. Santa Rosa: Black Sparrow Press, 2000. "Bop." Chaos, Creativity and Culture: An Anthology of Chicago in the 20th Century. Layton, Utah: Gibbs­ Smith Publishers, 1998. "Bop." A Contemporary Introduction to Literature. New York: Macmillan, 1994.

6 "The Stockholm Syndrome." The Country of Ourselves. Chicago: Third Side Press, 1994. "Enough." Women Fiction Writers of America. New Delhi: East-West Press, 1993. "Signs of Devotion." The Unmade Bed. New York: Harper-Collins, 1992. "California." West Side Stories. Chicago: City Stoop Press, 1992. "Jury Duty." Women's Glib. New York: Crossing Press, 1991. "The Spirit of Giving." An Introduction to Literature and An Introduction to Fiction. 5th edition. New York: Harper-Collins, 1990. (Also on videotape of five authors that accompanies book.) "The Untouchables." New Chicago Stories. Chicago: City Stoop Press, 1990.

Fiction(Journals) "The Living," Prairie Schooner. Spring 2003. "Jeopardy."Previewport.com .• Summer 2002. "Keeper of Bells," Conjunctions. Spring 2002. "Cloris," Previewport.com. Spring 2002. "Onto the Past," Agrippina. Spring 2002. "You Suck," First Intensity. Spring 2002. "Acts of Nature," ACM#39, Fall 2001. "Snowflake, Come Home," Slope (online journal), Fall 2001. "Rent-a-Pet," Bridge 1. Fall 2000. "The Nobel Prize for Shoes," Web Del Sol (Editor's Choice), Fall 2000. Excerpt from A Boy in Winter. Magazine. Spring 2000. "Coming Apart and Together," Zyzzyva, Fall 1999. One-hundred page excerpt from A Boy in Winter [then titled "ThawO'],Triguarterly. Spring 1999. "Jewish Urban White Trash Story," Exquisite Corpse. Fall 1996. "The Story of John, Who Turns Fifty, And Judy Too." North American Review. Summer 1996. "Jewish Urban White Trash Story." Fish Stories 2, 1996. "Irina." Magazine 13, 2, Fall 1995. "Irena." 2B Quarterly V.1.2. Spring 1996. "The Whole Truth." ACM 30, 1995. "Best Boy." Chicago Review Vol. 41, 2 and 3, 1995. "Chopin." SFSUReview Vol. 1, 1, Fall 1994. "Heathcliff." Emergence 1, Spring 1993. "Six-Oh." Painted Bride Quarterly. Spring 1993. "Keys." Formations. Spring 1992. "Baudelaire"s Drainpipe." Ploughshares Vol, 17, 4, Winter1991-92. "The Stockholm Syndrome." filQ!y, Winter 1990. "Kabuki Everything." ACM 20, 1989. "California." B-City 6, Fall 1989. "Death Swap." The Mississippi Review 52, 1989. "Something to Admire." Santa Monica Review Vol 1,2, Spring 1989. "Saving the Australian Elephant." New American Writing 7, 1989. "As Sure As Albert Schweitzer" and "Jury Duty." ACM 19, 1988. "The River Shannon." Caprice 7, 1988. "Element 109." The Mississippi Review 46, 1988. "Twenty-Two Cents." City, Spring 1987. "Degan Dying." City, Winter 1986. "The Hills of Andorra." North American Review Vol. 270, 2, June 1985. "Rumors." Oyez Review 13, 1985.

7 "Stories" and "Wall Decorations." Black Ice 2, 1985. "Bop." Triguarterly 60, Spring/Summer 1984. "Machinery." Chicago Magazine. October 1983. "Enough." Oyez Review 12, 1983. "Don't Send Poems, Send Money." Playgirl. February 1983. "Phantom Pleasure." ACM 7, 1982. "That Summer." Iowa Review Vol.13, 3 and 4, 1982. "The Spirit of Giving." North American Review Vol. 267, 3, September 1982. "The Color Red." The Mississippi Review 28/29, 1981. "Respect for the Dead." Uncle 1, Spring 1981.

Booksof Translations: Holderlin's Selected Poems. Richmond. CA: Omnidawn Press, 2008 [with Paul Hoover]. Winner of USA PEN 2009 Translation Award.

Translations in Journals: Three poems by Karl Krolow, 26 ,Winter 2003. One poem by Karl Krolow, the highest number blogspot 6 dee. 2005. Two poems by Christian Morgenstern, the highest number blogspot.. 6 dee. 2005. With Paul Hoover, poems of Holderlin: Seven poems, Free Verse. spring 2008 (online). Eight poems, Cipher Journal. winter 2007 (online). Nine poems, Triguarterly. spring 2007. Two poems, First Intensity. fall 2006. "In Lovely Blue,'' Sentence 4 ,2006. Two poems, Chicago Review. 2006. Two Poems,~ 2006. "But When the Gods." Bombay Gin 2006. Five poems, Slope.23 (online edition), 2006. Three poems, Jacket (Australia), March 2005. Ten poems, Conjunctions 31 May 2005. Three poems, Mipoesias.19.3 .• June 2005. "And to experience the life .... "Woodland Editions/Five Fingers Press, 2005. "Columbus,'' Circumference. 2005.

Translations In Anthologies: "In the Forest." Friedrich Holderlin [with Paul Hoover]. Poems for the Millennium. v.3: The University of California Book of Romantic and Post-Pomantic Poetry. Berkeley: University of California Press, 2008.

Essays,Interviews, and Reviews Review of Stacy Doris's Fledge. Jacket #2: winter 2013 .. Love Letter Lament: In Memory of Stacy Doris. Volta/Evening Will Come. Spring 2012.

8 Panel on 40th anniversary of New American Writing and OINK! Press. AWP, Washington D.C., Feb. 2011. "Is Poetry Dead? Modernism" in Huffington Post. August 2010. Panel on heading a creative writing program, AWP, Denver, CO, April 2010. "Form and Function," Brookline, MA Rose Metal Press, 2010. "The Fence of Language." Poetics Journal Archive. Middleton, CT: Wesleyan University Press, 2009. "My Books." Poets Bookshelf II: Contemporary Poets on Books that Changed Their Art. (Seattle: Barnwood Press, 2008). "Homeland Security." Talk given at Associated Writing Programs Convention, Atlanta, Georgia, 3 March 2007. Laurel Review. summer 2007. "Poetry in Huxley's America" Talk given at Associated Writing Programs Convention, Austin, Texas, 9 March 2006; subsequently published as Woodland Editions/Five Fingers Review pamphlet. "Form and Function,'' Formes Poetique Contemporaines (Paris),2006; Reprinted in Caesura 2006 and Bear State Poetics. 2007. "The Double World." Talk given at The Teacher's Collective, Womens' Building, SF, Jan. 13 2006 and at the UNLV New West Writing Series, given Feb. 16, 2006. Printed in Interim 4. 2006. "Not Reality TV: An Interview with Maxine Chernoff." Cream City Review. 2006. "Travels with David," in A Tribute to . Big Bridge •. 2006. "Mr. Samsa, Meet Mr. Bartle by." Write Now: Writing Exercises by Today's Best Writers and Teachers. ( New York: Tarcher/Penguin, 2006). "Two Streams: American Poetry, American Readers." April 1, 2005. AWP Conference, Vancouver; Annual Meeting of Chinese Writers' Association, Yunnan Province, China, May 17, 2005; subsequently published as Woodland Editions/Five Fingers Review pamphlet, 2005. "Beyond Red and Blue,'' Sentence 3. 2005. "On Reading,'' 7x7 Magazine. December 2004. "Lonely Arts Club,'' Bay Guardian. November 2002. "Being Geniuses Together," Correspondence of Paul Hoover & Maxine Chernoff on Previewport.com. 2001. "Her Many Occupations," Seneca Review. V.XXX, No. 1, Spring 2000 .. "Michael Jordan"s Lips," Another Chicago Magazine. Number 35, 1999. (Reprinted in In the Middle of the Middle West. Bloomington, IN: U of Indiana Press, 2003.) Essay on writing cross-genre in "Forum," Lit 1 (New School), Spring Summer 1999. "Turf Wars" in Room to Grow. New York: Golden Books, 1999. Review of Valerie Miner"s Range of Light. Chicago Tribune. Fall 1998. Review of Sarah Shulman"s Shimmer. San Francisco Chronicle, Fall 1998. "Kakfa in the Sierra." Review of Doris Betts" The Sharp Teeth of Love. The New York Times Book Review. 21 September 1997. "Featured Faculty: An Interview with Maxine Chernoff," Transfer 73, Spring 1997. "On the Margins." Review of Connie May Fowler"s Before Women Had Wings. The New York Times Book Review. 21 July 1996. "An Older Woman, a Younger Man, and an Uncomplicated Novel." Review ofTerry Macmillan"s Waiting to Exhale. The Chicago Tribune. 5 May 1996. " on the Edge. Review of ltalo Calvino"s Numbers in the Dark. The Chicago Tribune. 7 January 1996. "Edmund White on the Shades of Love, Loss, and Hope." Review of Edmund White"s Skinned Alive. The Chicago Tribune. 13 August 1995. "Another Picture for Joe." The Poetry Project Newsletter. Vol. 155, December-January 1995. "An Interview with Maxine Chernoff." The Prose Poem:Prose Poetry by Women. 1994.

9 "A Home in the Mind." Chain Vol. 1, 1, 1994. "Bingo Palace is a Hot Number." Review of 's The Bingo Palace. Chicago Sun-Times. 20 January 1994. "Angels and Dybbuks in Memphis." Review of Steve Stern's A Plagueof Dreamers. The New York Times Book Review. 2 January 1994. "Family Secrets." Review of Douglas Hobbie's The Day. The New York Times Book Review. 13 June 1993. "The Highway to Bulemia." Review of Alisa Kwitney's Till the FatLady Sings. The New York Times Book Review. 6 September 1992. "Not Speaking as a Woman. Illinois Libraries 74. 4, May 1992. "Square Holes Make Square Pegs." Review of Ron Carlson's Plan B for the Middle Class. The New York Times Book Review, 26 July 1992. "Romancing the Stoned." Review of Molly Best Tinsley's My Life With Darwin. The New York Times Book Review. lSeptember 1991. "'Honey, the Lingu·ist is Here."' Review of David Carkeet's The Full . The New York Times Book Review. 18 February 1990. "A Childhood Cold and Wet." Review of Maura Stanton's The Country I Come From. The New York Times Book Review. 26 February 1989. "Pop Culture/Mom Muse." Illinois Libraries Vol. 71, 7, Spring 1989. "The Wrong Side of Katydid, Ill." Review of Richard Babcock's Martha Calhoun." The New York Times Book Review.24 April 1988. "Would-Be Kings and Runaway Podiatrists." Review of E.J.Cullen's Our War and How We Won It. The New York Times Book Review. 21 June 1987. "The Fence of Character." Poetics Journal 5, May 198S.

Textbooks Attractions. Chicago: Contemporary Books, 1994. (A four-book adult basic education reading series plus IM in collaboration with Ethel Tiersky.) In the News: Readings from the International Herald Tribune.Lincolnwood, IL: National Textbook Company, 1993. (An advanced ESLreader in collaboration with Ethel Tiersky.)

Editor New American Writing ,a literary journal with a circulation of 3500 (co-edited with Paul Hoover) and founded i.n 1986. Oink!, a literary journal (co-edited with Paul Hoover), 1974~1985. Sentence.Contributing Editor. Parthenon West. Contributing Editor. Context. Contributing Editor. Board of Review, Akron University Press.

Readingsand Lectures October 2013: Sonoma State University July 2013: Canessa Park Series July 2013: Action Fiction Rerading Series. January, 2013: Readings in London, Bath, Plymouth and Exeter. October 2012: Reading at SFSU Bookstore May 11, 2012. Reading for Joe Brainard, Berkeley Art Museum, Berkeley CA. April 19, 2012. Reading for Stacy Doris, The Poetry Center, SFSU.

10 May 11, Readingfor Joe Brainard, BerkeleyArt Museum, Berkeley CA. March 19, 2012. Sonoma State University, Cotati, CA. October S, 2011. Poets' House, NY. May 9, 2011: Dominican University, San RafaelCA. August 29, 2010: Bay Area Poetry Marathon, The Lab, San Francisco. July 22, 2010: Ypsilon Theater, Prague,Czech Republic. June 10, 2010: Moe's Bookstore, Berkeley CA. May 8, 2010. SFSUPoetry Center for ParthenonWest. February S, 2010: University of California PressBookstore, Berkeley, CA. December 9, 2009: St. Mark's Poetry Project, New York, New York. November 7, 2009: PAMLA Convention, San FranciscoState University. July 26, 2009: Myopic Books, Chicago. July 16, 2009: Recordedshow for Katherine Hastings' poetry program, Santa Rosa,CA. July 11, 2009. Garden ReadingSeries, home of Sharon Osmond, Oakland, CA. June 26, 2009: Naropa Institute, Boulder CO. March 6, 2009. Boise State University MFA Program, Boise, Idaho. Feb 12, 2009: Poetry Center of Chicago. December 12, 2008: Zinc Bar, New York, New York. October 21, 2009. Moe's Books, Berkeley, CA. October 29, 2009: USFLone Mountain Reading,San FranciscoCA. July 19, 2008. Bay Area Poetry Marathon, San Francisco. May 30, 2008:Vo/t War Issue reading, PegasusBooks, Berkeley. May 9, 2008:Robert Hass.:A Walk of the American Galleries. May 1, 2008. SF poets against the war, hosted by Jack Hirshman:, Unitarian Church. March S, 2008. Bistro 33, Davis, California. February 2, 2008. Lillian Vernon Writer's House. . December 6, 2007. Medaille College, Buffalo, NY. November 9, 2007. Boise State University, Boise, Idaho. July 31, 2007. City Lights Books, San Francisco. May 3, 2007. PegasusBooks, Berkeley, CA. April 29, 2007. Intersection for the Arts, San Francisco. April 21, 2007. Point ReyesBookstore. April S, 2007. Poets in Conversation. U of CA Berkeley. March 3, 2007. AWP, Atlanta, Georgia. January 3, 2007. Subtext ReadingSeries, Seattle, WA. November 4, 2006. Readingat Small PressDistribution, Berkeley, CA. October 4, 2006. Talk given at SFSU,"The American Dream.'' July 13, 2006. Bay Area Poetry Festival, San Francisco,CA. May 12, 2006: Small PressTraffic, San Francisco,CA. May 10, 2006. Readingfor Parthenon West. Poetry Center, SFSU. April 21, 2006: College of the Peninsula,Monterey, CA. March 18, 2006. Cody's Books, Berkeley CA. March 11, 2006: 12th Street Books,Austin, Texas. March 9, 2006: Panelist. AWP Convention, Austin, Texas. February 16, 2006: UNLV,Western Humanities Council Series. January,13,2006. Teaching Collective, Women's Building. Lecture. San Francisco. December 10, 200S: Ecstatic Monkey Series,San Francisco,CA. November 29, 200S: FranciscanBookstore, SF.

11 September 12, 2005: Writers on Writing. San Francisco State University. July 2005: Writing by the Bay; Verba Buena Center, San Francisco. June 2005: Diesel Books, Oakland CA. June 2005: City Lights Books, San Francisco. May 2005: Reading and lecture, Chinese Writers Association Literary Conference, Dali City, Yunnan Province, China. April 2005: Reading at USF Poetry Festival. March 2005: Panelist, AWP Convention, Vancouver, B.C. February 2005: University of Wisconsin: Milwaukee. November 2004: Reading for Parthenon West. SFSUPoetry Center. July 2004: Reading to launch Parthenon West. Rahman Frey Gallery, San Francisco. June 2004: Bay Area Poetry Marathon, Oakland. March 2004: Discrete Reading Series, Chicago. December 2003: Oliver's Bookstore, San Anselmo, CA. November 2003: Benefit for Luna. Fort Mason, San Francisco. November, 2003: Franciscan Bookstore, SFSU. June 2003: Boston Poetry Marathon, Boston Institute of Art. April 2003: Cody's Bookstore, Berkeley. March 2003: St. Mark's Poetry Project, NYC. November 2002: Sonoma State University. August 2002: Monticello Inn, San Francisco. April 2002: New Orleans, AWP Reading. June 2002: Black Oak Books, Berkeley, CA. January 2002: Columbia College, Chicago. June 2001: Anna Ahkmatova Museum, St. Petersburg, Russia. April 2001: Panel, AWP Convention, Palm Springs, CA. April 2001: National Arts Club, New York, NY. October 2000: Poetry Center at the School of the Art Institute, Chicago. September 2000: Sonoma State' University. April 2000: Panel, Los Angeles Times Book Fair. February 2000: Santa Clara University. October 1999: Poetry Center, San Francisco State University. March 1999: University of Liege, Belgium. March 1999: Cambridge University, Gonville-Caius College. May 1998: University of Sao Paulo, Brazil. November 1996: Literatur Werkstatt, , Germany. June 1996: The University of Northern Iowa, Cedar Rapids, Iowa. March 1996: The University of Utah, Salt Lake City, Utah. 1995: The Naropa Institute, Boulder, Colorado. 1995: Loyola Marymont University, Los Angeles, California. 1995: Cody's Bookstore, Berkeley, California. 1994: The San Francisco Poetry Center. 1994: Intersection for the Arts, San Francisco. 1994: The Poetry Center, University of Arizona, Tucson, Arizona. 1994: The University of Illinois, Urbana, Illinois. 1994: Hull House, Chicago. 1993: Manchester College, North Manchester, Indiana. 1993: The University of Illinois at Chicago, Chicago, Illinois.

12 1992: The Poetry Project, New York, New York. 1992: West Texas State University, San Marcos, Texas. 1991: Third Eye Centre, Glasgow, Scotland. 1990: The Poetry Project, New York, New York. 1988: Macquarie College, Australia. 1988: The Sydney National Library, Australia. 1988: Blacksmith House, Cambridge, Massachusetts. 1988: Beyond Baroque Foundation, Venice, California. 1988: Illinois Literary Heritage Foundation, Chicago, Illinois. 1988: Simon's Rock of , Great Barrington, Massachusetts. 1987: The New Langton Street Gallery, San Francisco, California. 1986: The Detroit Institute of the Arts, Detroit, Michigan. 1986: , San Francisco, California. 1986: Black Oak Books, Berkeley, California. 1985: The Poetry Project, New York, New York. 1984: Lake Forest College, Lake Forest, Illinois. 1981: The San Francisco Poetry Center, San Francisco, California. 1981: The Loft, Minneapolis, Minnesota. 1978: Northeastern Illinois University, Chicago Illinois. 1977: Chicago State University, Chicago, Illinois. 1976: The Body Politic, Chicago, Illinois.

Performancesand Adaptations 2009: Animation of poem "Breasts," posted on You Tube. 2008: Poetry Everywhere: Poetry Foundation Film Project; animation of poem, "Lost and Found.'' 2006: In conversation with Leonard Schwartz re/Among the Names. Cross-Cultural Poetics, Evergreen State University. 2005: In conversation with Leonard Schwartz re/Evolution of the Bridge, Cross-Cultural Poetics, Evergreen State University. 2005: Canadian independent feature film adaptation of A Boy in Winter, optioned. 2005: The Writer's Almanac: Garrison Keillor's biographical piece to note my birthday, 2/24. 2004: Radio interview with Leonard Schwartz and reading of my work, Evergreen State, Olympia WA.: 2004: Small Press Traffic, Poets' Theater Festival, six plays, "Heavenly Bodies,'' directed by Mac MacGinnes. 2003: The Writer's Almanac: Garrison Keillor reads "How Lies Grow," a poem. 2002: Beverly Hills Public Library: Short Fiction on Stage [sixof my stories]. 2002: Showtime feature film adaptation of novel, A Boy in Winter, optioned. 1995: Department of Performance Studies, Evanston, Illinois. Play based on 11Bop.11 1994: Belmont Theater Building, Chicago, Illinois. A play based on the story, "Element 109." 1994: Organic Theater "Stories on Stage," Chicago, Illinois. A reading of the story, "Element 109." 1993: Zebra Crossing Theater Festival, Chicago, Illinois. A dance piece based on poems from Japan. 1993: WBEZ Public Radio, Chicago, Illinois. A reading of stories from Signs of Devotion. 1988: NPR Radio Playhouse, Arts Council. A reading of the story, "The Spirit of Giving." 1988: Australian Public Radio, Sydney, Australia. A discussion with the author and readings from work. 1984: WFMT Radio Triquarterly Magazine Panel on Writing in Chicago.

13 Awards 2013: NEA Fellowship in Poetry, 2013. 2013: Berkeley Library Literary Laureates Award. 2009: PEN USATranslation Award for The Selected Poems of Friedrich Holderlin. 2006: Gertrude Stein Award for poem "[that time gives it its form]." 2003: Foreword Magazine 2002 Book of the Year Award finalist for Some of Her Friends that Year. 2003: Bay Area Book Reviewers Award for Fiction, finalist for Some of Her Friends that Year. 2001: Marin Arts Council Fiction Grant, $2000. 2000: Literary Laureates Award, Friends of the San Francisco Public Library. 1997: Runner-up for prize and finalist: Bay Area Book Reviewers' Award for American Heaven. 1996: Presidential Award for Faculty, SFSU,fall 1996. 1995: San Francisco State University, Faculty Affirmative Action Grant. 1995: San Francisco State University, Summer Stipend, $3300 (to write a play based on a short story). 1994: Illinois Arts Council Fiction Fellowship, $5000. 1994: Friends of Literature/Sun-Times Fiction Award, $2000 for Signs of Devotion. 1993: New York Times Notable Book of the Year for Signs of Devotion. 1991: Illinois Arts Council Fiction Fellowship, $3000. 1991: Chicago Artists Abroad Travel Award, $2200. 1990: Illinois Arts Council Fiction Fellowship, $2000. 1988: CLMP Editor's Grant, $3000. 1988: Selected for "Bridging the Distance" Program {Chicago writers tour New South Wales, Australia). 1987: Friends of American Writers Fiction Award, $750 for Bop. 1987: LSU/Southern Review Short Fiction Award, $500 for Bop. 1987: Gwendolyn Brooks Poet Laureate Award, $250. 1986: Illinois Arts Council Literary Fellowship, $2000. 1985: P.E.N. Syndicated Fiction Award, $500. 1985: Carl Sandburg Award for Poetry, $500 for New Faces of 1952. 1985: Illinois Arts Council Literary Fellowship, $3000. 1984: Illinois Arts Council Artists' Grant, $2200.

14 - CURRICULUM VITA -

Roy Conboy

Professor, San Francisco State University Theatre Arts/Creative Writing Head of Playwrighting Program (415) 338-1614

PROFESSIONAL EDUCATION Master of Fine Arts 1976 Acting/Directing University of Calif., Irvine Bachelor of Science 1974 Theatre Arts/English Lit. Eastern New Mexico University Portales, New Mexico

2013 Professor: Theatre Arts and Creative Writing Courses: Theatre Arts 660: Advanced Play Development Workshop Theatre Arts 335: Rehearsal and Performance • Combination of courses thatproduces workshop productions of plays written by students in the playwriting and play development classes in both departments. This year featured I I plays, including a derived movement piece that served as a thesis project for an MF A candidate. • 11 plays, 11 student writers, 8 student directors, an acting company of30 actors, 3 stage managers, and a team of designers and technicians.

CW 893: Written MFA Creative Work (Thesis) CW 809: Directed Writing for Graduate Student CW 609: Directed Writing for Undergraduates

Additional: CW 899: Independent Study ThA 852: Directed Experience in Drama Education ThA 699: Independent Study ThA 657: Practicum In School and Community Drama

Advising: Serve as principal advisor for Creative Writing MF A/MA Playwrighting Program, as well as an undergrad advisor for both CW and ThA. Committee Work Chair: Theatre Arts Assessment Committee Member: Theatre Arts Scholarship and Awards Committee Member: Creative Writing RTP Committee

Professional My Tia Loca 's Life of Crime Full-length play with music, premiered in San Francisco in 2012. Negotiating for professional production in Los Angeles.

In Hollow Time/En El Tiempo Sin Alma -A Blues Opera Full-length play with music, in progress. Slated for production in Spring 2014.

Motel Dolorosa Full-length play in progress. Marketing to professional theatre development.

Mystery Memo Chapter book fiction for young readers. Marketing for professional publication.

2012 Professor: Theatre Arts and Creative Writing Courses: Theatre Arts 460: Play Development Workshop • Actor training based play creation laboratory. Theatre Arts 661: Play Development Showcase • Class that develops and produces staged readings of full-length plays by SFSU student playwrights. • This year's version included 4 plays by 4 writers, working with 4 student directors, 4 student dramaturgs, and a company of 24 actors. Theatre Arts 530: Acting the Play • Full production of three plays by student writers, as part of department's major production season. • 3 writers, 3 directors, 6 designers, 3 stage managers, acting company of 24, production crews totaling more than 40. Theatre Arts 660: Advanced Play Development Workshop Theatre Arts 335: Rehearsal and Performance • Combination of courses that produces workshop productions of plays written by students in the playwriting and play development classes in both departments. This year featured 13 plays, produced over 3 weeks, with a company of over 40 students.

CW 893: Written MFA Creative Work (Thesis) CW 809: Directed Writing for Graduate Student CW 609: Directed Writing for Undergraduates

? Additional: CW 899: Independent Study ThA 852: Directed Experience in Drama Education ThA 699: Independent Study ThA 657: Practicum In School and Community Drama

Advising: Serve as principal advisor for Creative Writing MF A/MA Playwrighting Program, as well as an undergrad advisor for both CW and ThA.

Professional My Tia Loca 's Life of Crime Full-length play with music, premiered in a professional production at Bindlestiff Studios, San Francisco. Produced by Guerilla Rep.

Motel Dolorosa Full-length play in progress.

2011 Professor: Theatre Arts and Creative Writing Courses: Theatre Arts 460: Play Development Workshop • Actor training based play creation laboratory. Theatre Arts 530: Acting the Play • Direction and staging of References to Salvador Dali Make Me Hot, by Jose Rivera, as part of department's major production season. Cast of 6, design team of 4, 2 stage managers, and supporting company of 40. • Production process, including semester long design conferences and pre­ production takes place over 9 months, most of which is not credited as instructional time. Theatre Arts 660: Advanced Play Development Workshop Theatre Arts 335: Rehearsal and Performance • Combination of courses that produces workshop productions of plays written by students in the playwriting and play development classes in both departments. CW 893: Written MF A Creative Work (Thesis) CW 856: MFA Workshop in Short Plays CW 809: Directed Writing for Graduate Student CW 609: Directed Writing for Undergraduates

Additional: CW 899: Independent Study ThA 852: Directed Experience in Drama Education ThA 699: Independent Study ThA 657: Practicum In School and Community Drama Advising: Serve as principal advisor for Creative Writing MF A/MA Playwrighting Program, as well as an undergrad advisor for both CW and ThA.

Committee Work Creative Arts Rep: University Assessment and Program Review Committee

Professional My Tia Loca 's Life of Crime o Full-length play with music. In development. o Staged reading at Breath of Fire Latina Theatre Ensemble, Santa Ana, CA. Illegal Corrido o Full-length play with music. In development.

2010 Professor: Theatre Arts and Creative Writing Courses: Theatre Arts 460: Play Development Workshop • Actor training based play creation laboratory. Theatre Arts 530: Acting the Play • Full production of three plays by student writers, as part of department's major production season. • 3 writers, 3 directors, 6 designers, 3 stage managers, acting company of 24, production crews totaling more than 40.

Theatre Arts 660: Advanced Play Development Workshop Theatre Arts 335: Rehearsal and Performance • Combination of courses that produces workshop productions of plays written by students in the playwriting and play development classes in both departments. This year featured 13 plays, produced over 3 weeks, with a company of over 40 students.

CW 893: Written MFA Creative Work (Thesis) CW 809: Directed Writing for Graduate Student CW 609: Directed Writing for Undergraduates

Additional: CW 899: Independent Study ThA 852: Directed Experience in Drama Education ThA 699: Independent Study ThA 657: Practicum In School and Community Drama

A Advising: Serve as principal advisor for Creative Writing MF A/MA Playwrighting Program, as well as an undergrad advisor for both CW and ThA.

Professional My Tia Loca's Life of Crime Full-length play with music, premiered in a professional production at Bindlestiff Studios, San Francisco. Produced by Guerilla Rep.

lllegal Corrido o Full-length play with music. In development.

2009 Professor: Theatre Arts and Creative Writing Interim Production Manager o Served as Department Production Manager for the 09/10 Academic Year, overseeing all aspects of departmental major productions, training student managers and leaders, and coordinating planning for ongoing productions as well as the following season. Full-time job accepted to avoid disruption of student educational opportunities due to unwillingness of admin to replace or budget vacant position. Largely uncompensated, and with little to no reduction in overall teaching load.

Courses: Theatre Arts 515: Organization and Leadership for Production • Training of all leadership positions in major production season, as well as supervision of stage management teams for all major and minor productions. • Approximately 5 shows per season, supervising hundreds of studentli.

Theatre Arts 660: Advanced Play Development Workshop Theatre Arts 335: Rehearsal and Performance • Combination of courses that produces workshop productions of plays written by students in the playwriting and play development classes in both departments. This year featured 13 plays, produced over 3 weeks, with a company of over 40 students.

CW 893: Written MFA Creative Work (Thesis) CW 856: MFA Workshop In Short Plays CW 809: Directed Writing for Graduate Student CW 609: Directed Writing for Undergraduates Additional: CW 899: Independent Study ThA 852: Directed Experience in Drama Education ThA 699: Independent Study ThA 657: Practicum In School and Community Drama

Advising: Serve as principal advisor for Creative Writing MF A/MA Playwrighting Program, as well as an undergrad advisor for both CW and ThA.

Professional Illegal Corrido Full-length play with music. In development.

Hot Tamale/Tamale Caliente Bi-lingual musical play for young audiences. Professional tour throughout Central California schools by PCPA Theaterfest of Santa Maria. Production seen by more than 10,000 school children. , El Canto def Roble/The Song of the Oak Bi-lingual musical play for young audiences. Professional tour throughout Central California schools by PCP A Theaterfest of Santa Maria. Production seen by more than 10,000 school children. CAMILLE DUNGY, A.B., M.F.A. Curriculum Vitae

Office Home Creative Writing Department 2342 Shattuck Ave. #220 San Francisco State University Berkeley, CA 94704 1600 Holloway Dr. 434-426-7453 San Francisco, CA 94132 www.camilledungy.com [email protected] [email protected]

EDUCATION M.F.A., University of North Carolina, Greensboro (1997) Creative Writing/Poetry A. B., Stanford University (1995) English, emphasis in Creative Writing, (with Honors)

ACADEMIC San Francisco State University, Creative Writing Department POSITIONS Professor (Since 2011), Associate Professor (2006-2011) Develop and instruct M.F.A., MA, and upper-division BA courses. Direct theses.

2013:

Publications/ Angles of Ascent: A Norton Anthology of ContemporaryAfrican American Anthologies Poetry. Charles Rowell, ed. W.W. Norton. New York. (2013) The EcopoetryAnthology. Anne Fisher-Wirthand Laura-Gray Street. (2013)

Publications/ Tin House (Summer 2013): "What I Know I Cannot Say" Journals The AmericanPoetry Review (March 2013): "To the Kingdom," "Brevity," "Conspiracy," "Against Nostalgia"

excerpt from "What to Eat and What to Drink and What to Leave for Poison" reprinted in O Magazine(April 2013) · PUBLICATIONS: ESSAYS,AND The Rumpus (May 2013) "Why I Chose Gregory Orr's River Inside the REVIEWS River) (Review) ''Babies and Nature: The Act of Noticing in Infancy." (Chapter). Nature Educationwith Young Children:Integrating Inquiry and Practice. Eds. Daniel GRANTS, R. Meier and Stephani Sisk-Hilton. Routledge: 2013. HONORS, FELLOWSHIPS, AND AWARDS Sustainable Arts Foundations Promise Award (2013)

·camille T. Dungy • Curriculum Vitae • Page J of 11 • Updated March 2013 2013:

INVITED LECTURES, WORKSHOPS, AND CRAFT CLASSES:

US State Department, Speakers and Specialists Programs, Invited Speaker, Windhoek, Namibia (March 2013)

SELECTED POETRY READINGS: San Francisco Writers' Conference; Ecopoetics Conference, Berkeley, CA; Windhoek, Namibia; Yari Yari Ntaosa, Accra, Ghana

CONFERENCE PAPERS AND PANELS:

Yari Yari Ntaosa, Accra, Ghana

"Black Nature: Frequently Asked Questions." Ecopoetics Conference. Berkeley, CA

"A Tourist in Antarctica." "Writing the Ends of the Earth: Women Writers on the Arctic and Antarctica." AWP Conference. Boston, MA. (2013)

2012:

Publications/Anthologies:

The ArcadiaProject. Joshua Corey & G.C. Waldrep, eds. Ahsahta Press: 2012.

New CaliforniaWriting. Heyday Books. 2012.

Publications/Journals: Virginia Quarterly Review (2012): "One To Watch and One To Pray"

Alaska QuarterlyReview (Summer 2012): "Glacial Erratics"

Iron Horse (Spring 2012): "Bitan"

Poecology(Summer 2012): "There I Am"

Fifth Wednesday(Spring 2012): "Still life with tossed sheets and yogurt cup," "Mother Daughter Hour" .

New American Writing (Spring 2012): "Frequently Asked Questions: 3" "Frequently Asked Questions: 4"

14 Hills (Spring 2012): "Frequently Asked Questions: 5" "Field Trip"

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page 2 of 11 • May 2013 2012 PUBLICATIONS/ONLINE POETRY ARCHIVES:

Academyof AmericanPoets: "Characteristics of Life" (Posted October 2012)

Academyof AmericanPoets, Poem-a-Day:"There are These Moments of Permission" (Posted April 2012)

PoetryDaily: "Ease" (Posted April 29, 2012)

KweliJournal: "If were a mother, he might have said things differently" (Posted April 2012)

PUBLICATIONS: ESSAYS, INTERVIEWS, AND REVIEWS: The Rumpus (December 2012) "Why I Chose Camille Guthrie's ArticulatedLair) (Review)

Introduction and Guest Editor Comments, Two Lines:World Writing in Translation: Passageways.(2012)

Mosaic:Literary Arts of the Diaspora.Interview posted Summer 2012.

PoetryFoundation Website: Harriet, the blog:Contributing writer. Two weekly blog posts April 2012.

WacamawJournal. Nine Poets Respond to Jane Hirshfield's Nine Gates. Essay:"Oh, to be inarticulate." (May 2012)

Evening Will Come.Essay: "Please State Your Name, Age, Profession. (April 2012)

Essay: "Poet, Heal Thyself: Why I Became a Poet." Post Road. (Spring 2012)

KweliJourmal: In Conversation. Interview. (Spring 2012)

The Rumpus (April 2012) "Why I Chose 's Indios) (Review)

GRANTS, HONORS, FELLOWSHIPS, AND AWARDS

San Francisco State University Excellence in Professional Development Award (2012)

Finalist,California Book Award (2012) Finalist,Poetry Society of America William Carlos Williams Book Award (2012)

INVITED LECTURES, WORKSHOPS, AND CRAFT CLASSES:

Member, The University of Iowa/US State Department reading tour of Zimbabwe and Mozambique (2012) Faculty, Sanibel Island Writers Conference (2012) Faculty, Kachemak Bay Writers' Conference, Homer, AK (2012) Faculty, Between The Lines: Russia, The University of Iowa (2102) Faculty, Sanibel Island Writers Conference (2012)

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page 3 of 11 • May 2013 SELECTED POETRY READINGS: 2012: Cornell College; Sterling College; St. Michael's College; California College of the Arts (San Francisco); Whitman College; University of San Francisco; National Black Writers Conference; University of Colorado, Denver; Bryant Park Reading Series, ; Prairie Lights Bookstore, Iowa City

CONFERENCE PAPERS AND PANELS:

"The Vampire Poets." AWP Conference. Chicaco, IL (2012)

"A Poetic Congeries Reading." AWP Conference. Chicago, IL (2012)

"African American Ecological Writing." The National Black Writers Conference. Medgar Evers College. (2012) ·

2011

Publications/ Authored Collections

Smith Blue. Southern Illinois University Press: 2011.

Publications/Anthologies:

A BrokenThing: Poets on the Line. Emily Rosko and Anton Vanderzee, eds. The University of Iowa Press: 2011.

Colorsof Nature:Culture, Identity, and the Natural World.Alison Deming & Lauret Savoy, eds. Milkweed Editions. Minneapolis, MN: 2011.

Publications/Journals:

Poetry(December 2011): "From the First, The Body Was Dirt"

Callaloo,Vol. 34, No. 3 (2011): "After Birth," "Before the fetus proves viable, a stroll creekside in the Sierras"

Spillway16,(2011): "Eight Weeks"

PUBLICATIONS/ONLINE POETRY ARCHIVES:

Poem of the Day, Verse Daily, posted June 30, 2011

Badilisha Poetry Exchange: "Daisy Cutter" (posted 2011)

PUBLICATIONS: ESSAYS, INTERVIEWS, AND REVIEWS:

Callaloo,Vol. 34, No. 3 (2011). Introduction and essay for guest edited special feature: "On BlackNature: African American Poets Reflect," "Floriography, More or Less"

The Rumpus (October 2011): "Why I Chose Claire Kageyama-Ramakrishnan's Bear, Diamondsand Crane.(Review)

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page 4 of 11 • May 2013 The Rumpus (August 2011): "Why I Chose Arecelis Girmay's KingdomAnimalia. (Review)

The Rumpus (April 2011): "Why I Chose Dean Young's FallHigher. (Review)

The Rumpus (March 2011): "Why I Chose Jospeh Harrington's Things ComeOn. (Review)

The Rumpus (January 2011): "Why I Chose Aimee Nezhukumatathil's Lucky Fish. (Review)

GRANTS, HONORS, FELLOWSHIPS, AND AWARDS

DistinguishedAlumna, West High School, Iowa Oty, Iowa (2011) Winner,American Book Award/Before Columbus Foundation (2011) SilverMedal, California Book Award (2011) Winner, Northern California Book Award (2011) Nominee,The 42nd annual NAACP Image Award for Poetry (2011) Finalist,Balcones Poetry Award (2011) Finalist, Fore Word Book of the Year award (2011)

INVITED LECTURES, WORKSHOPS, AND CRAFT CLASSES:

The 2011-2012 Philip J. Otis Lecturer, Bates College, Lewiston, ME Presidential Lecturer, University of Maine, Ft. Kent (2011) Workshop Facilitator, Mendocino Coast Writers Workshop (2011) Workshop Facilitator, Parsons Memorial Lodge Summer Series, Yosemite (2011) Class Visit, Stanford University (2008, 2009, 2010, 2011, 2012)

SELECTED POETRY READINGS:

2011: Lunch Poems (University of California, Berkeley); Iowa City Book Festival; University of Wyoming; Ft. Collins Public Library (Ft. Collins, CO); August Wilson Center with Toi Derricotte, Tim Seibles, and Terrance Hayes (Pittsburgh, PA); Mt. Mercy College; Annenberg Community Beach House (Santa Monica, CA); Little Rock Public Library; Jacksonville Public Library (Jacksonville, FL); New School (NYC); Devil's Kitchen Literary Festival (Carbondale, IL), Notre Dame de Namur University (Belmont, CA); San Jose State University

2010: Publications/Authored Collections

Suck on the Marrow. Red Hen Press: 2010.

Camille T. Dungy + Chronological Curriculum Vitae 2013-2007 + Page 5 of 11 + May 2013 2010

Publications/Anthologies:

The 100 Best African AmericanPoems. Nikki Giovanni, ed. Sourcebooks: 2010.

Rumpus Women, Vol. I. Julie Greicius and Elissa Bassist, eds. The Rumpus Book Club: 2010.

The PlaceThat Inhabits Us:Poems from the San FranciscoBay Watershed. Sixteen Rivers Press. San Francisco, CA: 2010.

New Pony:A HorseLess Anthology, Jen Tynes and Erika Howsare, eds. Horse Less Press: 2010.

Publications/Journals:

Cave Wall,No. 7, (Spring 2010): "Ease," "On the Rocks," "Phrenology's Fine, Graphology's Fine, But Also Study Her Stride"

ParthenonWest Review,Issue 7 (2010): "A Massive Dying Off"

Alehouse2010: "This Was Not Done for the Camera"

West Branch,No. 16 (2010): "Out of the Darkness"

Lo-Ball,Issue 1 (2010): "The Professor's First Wife Mops the Kitchen Floor," "before her heart, a mechanical aperture, closed"

Hawk & Handsaw:The Journalof CreativeSustainability, No. 2. (2010): 110n Ice"

YalobushaReview (2010): "The Night's Big Ball," "The Little Building In Which I Find The Ancient CloisterStore-Room of St. Severin, Which is Going to Disappear."

The Rumpus (2010): "The Blue"

PUBLICATIONS: ESSAYS, INTERVIEWS, AND REVIEWS:

The Rumpus (Sept. 2010): "Why I Chose Shane Book's Ceilingof Sticks.

PoetryFoundation Website: Harriet, the blog:Contributing writer. Two weekly blog posts February 2010 through June 2010.

GRANTS, HONORS, FELLOWSHIPS, AND AWARDS

Winner, 2010 Crab Orchard Open Prize for Poetry, judge Michael Waters Nominee,The 41st annual NAACP Image Award for Poetry (2010)

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page 6 of 11 • May 2013 Winner, Special Recognition Award, The Northern California Book Awards (2010) Poem of the Day, VerseDaily, posted July 7, 2010

INVITED LECTURES, WORKSHOPS, AND CRAFT CLASSES:

Workshop Facilitator, Casa Libre en La Solana (2010)

SELECTED POETRY READINGS: CONFERENCE PAPERS AND PANELS:

2010: Watershed Poetry Festival (Berkeley, CA); Luther College; Cross-Border Pollination Series with Marguerite Pigeon, Mary Cornish, Ray Hsu, and David Zieroth (Vancouver, BC); Prairie Lights Bookstore (Iowa City, IA); Des Moines Public Library AVID Series; Iowa State University; Des Moines Area Community College Literary Festival; Poets House with Sean Hill, & Evie Shockley (NYC); UC Berkeley with , , C. S. Giscombe, Evie Shockley, Ed Roberson, and Carl Phillips; Texas Tech; University of Nebraska-Lincoln; Poetry Flash at Moe's Books (Berkeley, CA); KGB Bar with Cornelius Eady and David Mason

CONFERENCE PAPERS AND PANELS: "A Pen Behind Your Ear: Gathering, Editing, Publishing, Marketing, and Promoting an Anthology." A WP Conference. Denver, CO. (2010)

2009:

Publications/Edited Collections BlackNature: Four Centuriesof African American Nature Poetry. Camille T. Dungy, editor. University of Georgia Press: 2009.

From the Fishouse:An Anthology of PoemsThat Sing, Rhyme, Resound,Syncopate, Alliterate, and Just Plain Sound Great.Camille T. Dungy, Matthew O'Donnell, and Jeffrey Thomson, editors. Persea Books: 2009.

Publications/ Anthologies:

BlackNature: Four Centuriesof African AmericanNature Poetry. Camille T. Dungy, ed. University of Georgia Press. Athens, GA: 2009. From the Fishouse:An Anthology of PoemsThat Sing, Rhyme, Resound, Syncopate,Alliterate, and Just Plain Sound Great.Camille T. Dungy, Matt O'Donnell, Jeffrey Thomson, eds. Persea Books. New York: 2009.

ShapingMemories: Reflections of African American Women Writers.Joanne V. Gabbin, ed. University of Mississippi Press: 2009.

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page 7 of 11 • May 2013 2009

Publications/Joumals:

ConnotationPress (December2009 ): "How Great the Gardens When They Thrive," 11 Prayer for P__J IV"

AmericanPoetry Review, Vol. 38, No. 1 (2009): "That's A State I'll Never Go Back To," "It Is," "soldier1 s girl"

Rattle, #31: SpecialIssue on African AmericanPoetry (2009): "They Win the Upper Hand"

LBJ,Vol. 1, No. 2 (2009): "For the Birds," "How We Carry On"

Waccamaw:A Journalof ContemporaryLiterature, No. 3 (Spring 2009): "Mary Reads Into The Lives of the Saints"

Publications/Online Poetry Archives:

PoetryFoundation Archive: "," "What to Eat, and What to Drink, and What to Leave for Poison," "We Were Two Rooms of One Timber, But I Left That Place Alone," "First Fire," "Pity," "Requiem" (posted 2009)

PUBLICATIONS: ESSAYS, INTERVIEWS, AND REVIEWS:

Ecotone:Reimagine Place. Essay/ Introduction for guest edited special feature: Introductory essay {with Sebastian Matthews) for a special feature on African American poetry.

How A PoemHappens {2009). Interview On "Requiem"

The Owls {2009).Essay: "A Natural History of My Tiny Ears"

GRANTS, HONORS, FELLOWSHIPS, AND AWARDS

Poem of the Day, Poetry Daily, January 26, 2009 Winner, The Dr. Sherwin W. Howard Poetry Award, Weber:The ContemporaryWest (2009)

INVITED LECTURES, WORKSHOPS, AND CRAFT CLASSES:

Workshop Facilitator, CENTRUM Writers Conference, Port Townsend (2009) Workshop Facilitator, Sacramento Poetry Center {2009)

SELECTED POETRY READINGS: CONFERENCE PAPERS AND PANELS:

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 + Page 8 of 11 • May 2013 2009: University of San Francisco Emerging Writers Festival; Poetry Society of American Geffen Reading Series with Tony Hoagland and James McMichael (Los Angeles); Bowdoin College (Brunswick, ME); Green Arcade Bookstore (San Francisco); Juniata College (Huntington, PA); San Francisco Public Library; Fridays at the Fort (Port Townsend, WA); Word Temple Reading Series (Santa Rosa, CA); Sacramento Poetry Center; Book Passages (Corte Madera, CA); Oxford Conference for the Book (University of Mississippi)

CONFERENCE PAPERS AND PANELS:

"On the Page and Out of This World. Emerging Writers of Color on the Natural World." 2009 ASLE conference. Vancouver, BC.

"Growing Out of the Land: Contemporary Southern Poets on the Natural World." 2009 American Literature Association. Boston, MA.

2008:

Publications/Anthologies:

When She Named Fire:An Anthology of ContemporaryPoetry by American Women. Andrea Hollander Budy, ed. Autumn House Press: 2008.

Letters to the World:Poems from the Worn-PoLis/serve. Moira Richards, Rosemary Starace and Lesley Wheeler, eds. Red Hen Press: 2008.

Publications/Journals:

Ecotone,Vol. 3, No. 2 (2008): "Where You Came From"

jubilat 15 (2008): "Directed by Desire, "where bushes periodically bum, children fear other children: girls"

New South, Vol. 1, No. 2 (2008): "Pussy"

Eclipse(2008): "Shakin' Up"

Ninth Letter, Vol. 5. Is. 1: from "Prayer for P _" (section V)

ElectronicPoetry Review, Vol. 8 (2008): "My Lover Who Lives Far" and "Emergency Plan"

Drunken Boat Vol. 9 (2008): "Tis of thee, sweet land," "Maybe Tuesday Will Be My Good News Day," "After Opening the New York Times I Wonder How to Write a Poem About Love"

PMS (PoemMemoir Story), Vol. 8 (2008): "Poor Translation"'

Runes Vol. 7 (2008): "Since Everyone Can Never Be Safe"

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page 9 of 11 • May 2013 2008 INVITED LECTURES, WORKSHOPS, AND CRAFT CLASSES:

Faculty, Tomales Bay Writers' Workshop (2008) Presenter, Mendocino Coast Writers Workshop (2008)

SELECTED POETRY READINGS:

2008: SFMoMA with Natasha Trethewey and C. S. Giscombe (San Francisco); City Lights Bookstore (San Francisco); Clemson University Literary Festival; Willamette University (Salem, OR); Poetic Ecologies Conference (Brussels, Belgium)

CONFERENCE PAPERS AND PANELS:

"The Search for Black Nature Poetry: Creating an Anthology." Poetic Ecologies Conference. Brussels, Belgium. (2008)

Poets and Writers Reading. 2008 Modern Language Association Conference. San Francisco, CA.

"Imagined Landscapes, Environing Worlds: African American Literature as Environmentalist Writing." 2008 NEMLA. Buffalo, NY.

2007:

Publications/Anthologies:

The Ringing Ear:Black Poets Lean South. Nikky Finney, ed. The University of Georgia Press. Athens, GA: 2007.

Publications/Journals:

Torch(Fall 2007): "Her Mother Sings Warning of the New World," "The Development of the Scientific Mind," "The New Hand on the Place Sets His Sights on Molly," "Dinah in the Bedroom," "Conditions of the Sale"

WeberStudies V. 23, No. 3 (2007): "Five for Truth,""how she keeps faith"

MiPoesias(Evie Shockley guest editor): "Almost Like They Wanted It," "Arthritis is one thing, the hurting another"

PUBLICATIONS: ESSAYS, INTERVIEWS, AND REVIEWS:

BoxcarReview, #9 (2007): "What to Eat, What to Drink, Where to Go From Here: An Interview with Camille Dungy" by Sean Hill

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page IO of ll • May 2013 2007

GRANTS, HONORS, FELLOWSHIPS, AND AWARDS

Vice-PresidentialAward for Research,Scholarship and CreativeActivity, San Francisco State University (2007) First Prize, The Dana Award for poetry (2007) Semi-Finalist,Oneiros Press 2007 Poetry Broadside Contest Finalist,MiPoesias Pablito Award (2007) Finalist,PEN Center USA 2007 Literary Award for Poetry Finalist,The Library of Virginia 2007 Literary Award Alan CollinsFellowship in Poetry,Bread Loaf Writers' Conference (2007)

INVITED LECTURES, WORKSHOPS, AND CRAFT CLASSES:

Craft Class, Bread Loaf Writers Conference (2007) Faculty, CENTRUM Writers Conference, (2007)

SELECTED POETRY READINGS: CONFERENCE PAPERS AND PANELS:

· 2007: Gwendolyn Brooks Poetry Festival (Chicago); Albany Library Reading Series (Albany, CA); LitQuake Koret Series (San Francisco); The Ruskin Poetry Series (Los Angeles); Bay Area Poetry Marathon (San Francisco); The Poetry Club (NYC); The Cornelia Street Ca£~ (NYC); Seattle Poetry Festival; Charis Books (Atlanta); City Lights Bookstore (San Francisco); University of Illinois, Urbana-Champaign; Pacific Lutheran University (Tacoma, WA)

CONFERENCE PAPERS AND PANELS:

"Cave Canem Poets and the South." 2007 AWP conference.

"In the Tongue of Our Elders: The Ancestral Voice in the Poetry of African Diaspora." 2007 A WP conference.

"Voices of Color on the Land." The 2007 Association for the Study of Literature and the Environment conference.

Camille T. Dungy • Chronological Curriculum Vitae 2013-2007 • Page 11 of 11 • May 2013

Robert Gluck

Education 1971-1973 San Francisco State University, Creative Writing; MA conferred 1973. 196 7-1969 University of California at Berkeley, English; BA conferred 1969. 1966-1967 University of Edinburgh, Scotland, English. 1964-1966 University of California, Los Angeles, English.

2fil.3. Academic Positions Professor CW SFSU Thesis Advisor School of Interdisciplinary Arts and Sciences U of Washington, Bothell

Publications Elements of a CoffeeService, stories, Four Seasons Foundation, San Francisco, 1982, republished by Ithuriel's Spear, San Francisco PigSpeech, published in Kindergarde:Avant-Garde Poems, Plays, & Storiesfor Children,ed. Dana Teen Lomax, Black Radish Books Long Interview (with Miranda Mellis) in The Believer,June 2013, San Francisco Preface for Chris Tysh's Our Lady of the Flowers,Les Figues Press, Los Angeles "Dear Kevin Costner," in Forward to Velma,a magazine made up of letters, ed. Gerald Fleming, Lagunitas, CA. No.2, "Bob's Fundamentalist Moment," a zine/catalogue, ed. D-L Alvarez, for 's exhibit, Beat Memories, at the Jewish Museum in San Francisco "A Vast, Nervous, Contradictory Life,"A Poets Mind,collected Robert Duncan interviews, ed. Christopher Wagstaff, North Atlantic Books. "Prayer," a poem for the Academy of American Poets Poem-A-Day Series, ed. Alex Dimitrov, June 28. (Goes out to 70,000 subscribers!)

Grants, Fellowships · Awards Residencies Education

2Jll2. Academic Positions Publications My Last Day.An Essay.A chapbook for Arnold Kemp's show, How to Make Mirrors,at Second Floor Projects in San Francisco Pig Speech,a play, written with Jocelyn Saidenberg, presented by Poets Theater in San Francisco. "My 2 Cents," Open Letter, 14:9 devoted to Gail Scott, ed. Lianne Moyes, Summer, Montreal Grants, Fellowships Awards Residencies Education

.2.Q.11 Academic Positions Publications "Queer," an essay on William Burroughs' novel, to celebrate Earling Wold's opera, Queer. Delivered on May 21· 2011 at Fort Mason in San Francisco. The panel included V. Vale and Kevin Killian. From I Boombox,excerpt from a long poem, Shampoo 38 ed. Del Ray Cross (online journal) "The Devil is a Woman," from About Ed, Best Gay Stories, ed. Peter Dube, Lethe Press, New Jersey Grants, Fellowships Awards Residencies Education

.2..0.1.Q. Academic Positions Publications "A Community Writing Itself," A Community Writing Itself, Conversationswith VanguardWriters of the Bay Area. This is a long interview, the title piece. Dalkey Archive Scholarly Series, Dalkey Archive Press, Ed. Sarah Rosenthal, Champaign and London, 2010. "Uncertain Reading," Aufgabe,Journalof Poetry,#10. This is a talk for CUNY Graduate Center, New York, 2010. "Queer Voice" for a "compendium" ed. Lucy B. Gailun, to accompany a visual art show at the Institute of Contemporary Art in Philadelphia, 2010. "The Devil is a Woman (1935)" A chapter from About Ed, translated into French, Vacarme 52, Paris, summer 2010.

Grants, Fellowships Artists Residency, Millay Colony Awards Residencies Education Academic Positions Instructor at CSUSummer Arts in Fresno Publications "In God We Trust," catalogue essay for installation of that name, Jose A. Toirac, Meira Marrero, Loring McAlpin, La Casona Gaieria de Arte, Havana Biennial, Cuba "Chapter 34" A Book of PracticalPussies, a number of writers illustrating drawings by Michelle Rollman, Krupskaya Press, San Francisco

Grants, Fellowships Awards Residencies Residency in Wales for Chroma Magazine, Queer Writing and Reading, Residency at Seoul University, Korea Queer Literary Kinship: A Symposium, University of Ghent Education

.2.ll!IB. Academic Positions Publications The Dead,a chapbook with Sarah Schulman on the occasion of reading for the Bella Donna Series in New York, "Dark Matters," a review of a mixed-media show at Yerba Buena Center for the Arts in San Francisco, Aperture, Spring 2008/Issue no. 190, New York. "Bataille and New Narrative," delivered at the MLAConvention in San Francisco, 2008. From I Boombox, excerpt from a long poem, Shampoo 33 ed. Del Ray Cross ( online journal)

Grants, Fellowships Awards Residencies Education

CURRICULUMVITA: 2008-2013

Paul Hoover Creative Writing Department 1081 West California Avenue San Francisco State University Mill Valley, CA 94941 1600 Holloway Avenue {415) 450-5735 San Francisco, CA 94132 [email protected] 415) 338-3157

EDUCATION

University of Illinois M.A. {English) 1973 Manchester College B.A. {English) 1968

2013 AcademicPosition: Professor of Creative Writing, San Francisco State University, 2003 to the present

Publications: Editor, Postmodern American Poetry: A Norton Anthology, 2nd Edition {W.W. Norton, 2013) Web Conjunctions {February): "Libretto," "Below, Below," ''The Room,'' and "Praying for the Archbishop" {http://www.conjunctions.com/webconj.htm/) The Incredible Sestinas Anthology, ed. Daniel Nester {Write Bloody Publishing): "Sonnet 56: Sestina" "Vfbora" by Marfa Baranda, translated by Paul Hoover, New American Writing 31 {2013) "To Tell" by Marfa Baranda, translated by Paul Hoover, excerpt of Yegua nocturna corriendo en un prado de luz absoluta, Eleven-Eleven 5 {January 2013) ' "The New Millennium: Fifty Statements on Art and Culture {Agree or Disagree)": 14 Hills, Writers on Writing feature: http:l/14hills.net/node/641/ Editor with Maxine Chernoff of New American Writing 31

2012 Publications: Desolation: Souvenir {Richmond, CA: Omnidawn Publishing, 2012) En el idioma yen la tierra, translated by Marfa Baranda {Mexico City: Conaculta, 2012) La intencion y su materia, translated by Marfa Baranda {Caracas: Monte Avila Editores, 2012) Villanelles, ed. Annie Finch and Elizabeth Marie Mali (Pocket Poet Series: Everyman's Library, 2012): "Sonnet 56: Villanelle" The Poet's Quest for God, ed. Todd Swift (Eyewear Publishing, 2012): "What the Cutting Locust Leaves" The Arcadia Project, ed. G.C. Waldrep and Joshua Corey (Ahsahta Press, 2012): Edge and Fold XXVIII-XXX New American Writing 30(2012): ''The Windows {The Clearing)" Alhambra Poetry Calendar (November 2012): "Summer Threshingfloors" The White Review 4 (2012): "In the Time of Captivity" and "Bear It Away" http://www. thewhitereview .erg/poetry/ Editor with Maxine Chernoff New American Writing 30

Conference: Featured poet, Festival Mundial de Poesfa, Casa Nacional de las Letras Andres Bello, Caracas, Venezuela, June 17-24, 2012 (with Michel Butor, Humberto Vinueza, William Ospina, Sonia Betancourt, Paula Llabaca, and Wilmar Silva, among others). 2011

Publications: Beyond the Court Gate: Selected Poems of Nguyen Trai, edited and translated from Vietnamese by Nguyen Do and Paul Hoover (Denver: Counterpath Press, 2011) The Best American Poetry of 2011, ed. Kevin Young and David Lehman (Simon & Schuster, 2011): "God's Promises" Alhambra Poetry Calendar (November 2011): "Public Life, Private Breathing" Poetry (March 2011): "House of Cedar, Rafters of Fir," "The Dry Bones," and "The Watchman of Ephraim" Caliban Online 5 (October 2011): "go now and tell the children" and "ringing with each wave" www.calibanonline.com/ Plume Poetry (September 2011): "Zechariah/ Malachi," consisting of "The Lord One and His Name One" and "Refiner's Fire" (http://www.plumepoetry.com/) L'Etrangere 26.27 (2011): "Bord et pli: Extrait" (Edge and Fold) I-XV, translated to French by Pierre-Yves Soucy {French language journal published in Quebec) The West Wind Review (2011): "The Windows (A War in Tawara)" and "Sentences from a Fiction" Review of Michel Delville's Third Body (Quale Press, 2009), published in Sentence 8 (2011) "The British Small Arms Company: A Motorcycle Memoir." Logos: A Journal of Society and Culture, special feature on "The American Road," edited by Kurt Jacobsen. (http://logosjournal.com/2011/summer _hoover/) Editor with Maxine Chernoff of New American Writing 29

Residencies: Faculty member, U.S. Poets in Mexico (with , , Jen Hofer, Mark Weiss, Luis Cortes Barga116, Carla Faesler, Rocio Ceron, and others), Tulum, Mexico, January 2-9, 2011

2010

Publications: Beyond the Court Gate: Selected Poems of Nguyen Trai, edited and translated by Nguyen Do and Paul Hoover (Denver: Counterpath Press, 2010) Imaginary Syllabi, ed. Jane Sprague (Palm Press, 2010): "Shakespeare," "Course Description," "Chat Group," "Bad Writing," "Workshop," "Celan," "Rilke," and "Gloss on the Text'' Poets on Teaching: A Sourcebook, ed. Joshua Marie Wilkinson. (Iowa City: University of Iowa Press, 2010): "A Wicker Swimmer: Straying Home": 161-165 The Warwick Review IV.4 (December 2010): "As a Lion in Secret Places" Spillway 15 (Winter 2010): "nothing windswept sleeps" Poetry (June 2010): "Have You Eaten of the Tree," "God's Promises," and "To the Choirmaster." La Otra 5 (Octubre-Diciembre 2009), translated to Spanish by Marfa Baranda: "Intention and Its Thing," "Circumference," "Lisbon Story,'' and "Childhood and Its Double" Editor with Maxine Chernoff of New American Writing 28

Awards: Frederick Bock Award for poems published in Poetry (June, 2010): $1,000

Conference:AWP panel on "Poetry and Memorability,'' Associated Writing Programs conference, Denver, April 8, 2010 2009

Publications: Corazon, translated by Marfa Baranda (Puebla de Los Angeles, Mexico: LunArena Press, 2009} An Introduction to the Prose Poem, ed. Brian Clements and Jamey Dunham (Danbury, CT: Firewheel Editions, 2009}: "The Dog" Poem, Home: An Anthology of Ars Poetica, ed. Dan Waber (Paper Kite Studio & Gallery, 2009): "Rehearsal in Black" and "Edge and Fold XU" American Hybrid, ed. David St. John and Cole Swensen (New York: W. w. Norton, 2009}: ''The Presence," "Childhood and Its Double," "Edge and Fold 31-35," and "Sonnet 56: Haikuisation" Poetics Journal Archive, ed. Lyn Hejinian and Barrett Watten. (Middletown, CT: Wesleyan University Press, 2009}: "Domination: Public and Private Language" Colorado Review 36.1 (Spring 2009}: "its shadow also rare," "goodbye to all the bees," "the window shakes like water," "who puts his words in you?" and "thoughts acquire time" La Otra 5 (Octubre-Diciembre 2009}, translated to Spanish by Maria Baranda: "Intention and Its Thing," "Circumference," "Lisbon Story," and "Childhood and Its Double" Luna de Locos 19 (2009}, "El Molino de Ausencia: Poemas de Paul Hoover," translated and with an introduction by Maria Baranda: ''The Mill," "The Road," "Corazon," ''The World as Found," "Intention and Its Thing," and "Circumference" Peri6dico de Poesia 22 (Septiembre 2009}, translated by Maria Baranda: "Historia de Lisboa" and "La Presencia" (www.periodicodepoesia.unam.mx} Or6culo 29/30 (Otoiio 2009}, translated by Maria Baranda: "infant at the entrance," "its sign for infinity shining," "someone holds you now," "the window shakes like water," and "why are children cruel?" Milenio (Mexico City newspaper} Laberinto section 12 Septiembre 2009, translated by Maria Baranda: "Childhood and Its Double" and "Circumference" ( www.milenio.com/suplementos/laberinto/} 6 618 (2009}: "night is spoken here," "in a yellow wood," "undying words are few," "silence is a pardon," "among seen trees," and "nothing windswept sleeps" Letras libres Xl.129 (Agosto 2009), translated by Maria Baranda: "El Molino" ("The Mill"} Big Be/13 (2009}: "nothing windswept sleeps," "to feel is to fail," "hands joined how?" "sublime the double life," "the mother image:, tree," and "words are nearly gone" Packingtown Review (Inaugural Issue, 2009}: "The Windows (Speech-Lit Islands}" Editor with Maxine Chernoff of New American Writing 27

Awards: PEN-USATranslation Award, 2009, for Selected Poems of Friedrich Holderlin (with Maxine Chernoff] Black Dog, Black Night: Contemporary Vietnamese Poetry judged Best Anthology of 2008 by Coldfront.com http://coldfrontmag.com/features/year-in-review-2008

Conference: Featured poet, Festival Internacional "Letras en San Luis," August 18-22, 2009, San Luis Potosi, Mexico

2008

Publications: Selected Poems of Friedrich Holder/in, edited and translated by Maxine Chernoff and Paul Hoover (Richmond, CA: Omnidawn Publishing, 2008} Black Dog, Black Night: an Anthology of Contemporary Vietnamese Poetry, edited and translated by Nguyen Do and Paul Hoover (St. Paul, MN: Milkweed Editions, 2008) 1, 2, 3: Fifteen Poems of Thanh Thao, translated by Nguyen Do and Paul Hoover (Hanoi: Writers Association Press, 2008) Druskininkai Poetic Fall 2008, ed. Kornelijus Platelis and Antanas Simkus; facing Lithuanian translations by Kornelijus Platelis (Vilnius: Lithuanian Writers Association, 2008): "Shakespeare," "Noun Plus Seven," "Homosyntactic Translation," Haikuisation," "Course Description," "Answering Machine," and "Mathematical." New Morning: Emerson in the Twenty-first Century, ed. Arthur S. Lothstein & Michael Brodrick (Albany: State University of New York Press, 2008): "Local Knowledge" (poem): 139-140. The Warwick Review 11.3(September 2008): "infant at the entrance" and "its sign for infinity shining" Jacket 36 (2008): "Shakespeare," "Noun Plus Seven," "Haikuisation," "Course Description," "Homosyntactic Translation," "Epitaph," "Mathematical," and "Ballad" (http://www.jacketmagazine.com/36/hoover.shtml) Literatura Menas 11 (2008 m. kovo 14 d.): "Driver's Song." Translated into Lithuanian by Kornelijus Platelis No: A Magazine of the Arts 7 (2008): "At the North Border'' Free Poetry 3 (February 2008): "The Windows (The Actual Acts)" (http://www.bo isestate .edu/ e nglish/mfa/Free%20Poetry /Hoover.doc) Left Facing Bird 1 (2008): "Derrida: The Movie" and "The Windows (Ponds Grow)" (www.leftfacingbird.com/) Denver Quarterly 42.3 (2008): From Sonnet 56: "Shakespeare," "Noun Plus Seven," "lmagist," "Objectivist," and "Epigram" Translations with Maxine Chernoff of Poems of Friedrich Hiilderlin: lnterval(les) 1 {2008): "Evening Fantasy," "The Main," "It's true every day I follow ... ," "Go Down, Lovely Sun," and "Rousseau." Free Verse 13 (Winter 2008): "To the Fates," "Brevity," "To the Sun-God," "The Spirit of the Age," "My Possessions," "The Neckar," "Love," and "The Poet's Courage" (http://english.chass.ncsu.edu/freeverse/index.html) Interim 26.1/2 (2008): "Bonaparte," "Palinode," "To the Germans" (long version), "The Course of Life," "Sung beneath the Alps," "Memory," "Home (Heimat)," "On Yellow Leaves," "What Is God?", "I once asked the muse ... "and "Tinian" Translationsof ContemporaryVietnamese Poetrywith Nguyen Do Luna 8 (spring, 2008): Nguyen Do: "Headache," "Memory of a Day," and "I Chose That Path" Dang Dinh Hung: "New Horizon II" Translationsof Nguyen Trai, 1380-1442 with Nguyen Do Washington Square 8 (Summer-Fall 2008): "Standing to Watch the Afternoon" and "Can I Be in Charge of the Rivers and Mountains?" Parthenon West Review 6 (2008-2009): "The Light," "Headache," "Memory of a Day," "Morning," "A Symphony of Friendship," "Mission," "The Unlucky Days," and "With .. .'' Interviewed by Joe Milford, The Joe Milford Poetry Show, October 18, 2008: www.blogtalkradio.com/The-Jane-Crown-Show/2008/10/18/Joe-Milford-Hosts-Paul-Hoover-1 "Nomad, Meet Your Monad." IX Congreso Internacional de Poesfa y Poetica. Benemerita Universidad Aut6noma de Puebla, Mexico. October 29-31, 2008. Literatura Menas 11 (2008 m. kovo 14 d.): "The New Millennium: Fifty Statements on Literature and Culture," translated into Lithuanian by Kornelijus Platelis "Orb is Tertius: The Mirror and the Encyclopedia." Presented at Druskinkinkai Poetic Fall,Vilnius and Druskinkinkai, Lithuania, October 3, 2008. "Black Painting Divided by a White Painting: Newlipo: Bringing Proceduralism and Chance-Poetics into the 21st Century." Jacket 36 (2008): http://jacketmagazine.com/36/hoover.shtml/ "Clayton Eshleman in Conversation with Paul Hoover and Maxine Chernoff." Jacket36 (2008): http://jacketmagazine.com/36/iv-eshleman-chernoff-hoover.shtml/ Panel discussion on the art of translation, University of Colorado, March 9, 2008 (with Cole Swensen, Linda Norton and others) Interviewed by Leonard Schwartz regarding Fablesof Representationfor his poetry radio show at Evergreen State University: March 14, 2008 "Black Painting Divided by a White Painting." Talk presented at the AWP conference, New York City, January 31, 2008, as part of the panel "Newlipo: Bringing Proceduralism and Chance-Poetics into the 21st Century (with Christian Bok, Joan Retaflack, Patricia Carlin, Jena Osman, and moderator Sharon Dolin) Lettersto Poets: Conversationsabout Poetics,Politics and Community,ed. Jennifer Firestone and Dana Teen Lomax. Philadelphia: Saturnalia Press, 2008: "Paul Hoover and Albert DeSilver'' Editor with Maxine Chernoff of New AmericanWriting 26

Conferences: Featured poet and speaker, Convocatoria IX Congreso Internacional de Poesfa y Poetica, 2008, October 29-31, 2008, Benemerita University, Puebla, Mexico Featured poet and speaker, Druskininkai Poetic Fall, Druskinkinkai, Lithuania, October 6-9, 2008

CURRICULUMVITAE

Daniel J. Langton Professor of English & Creative Writing San Francisco State University

I was born in Paterson, New Jersey I am married and we have a grown son

This was prepared in June 2013 and is four pages

Terminal degree: Ph.D. University of California at Berkeley,

Experience: Lecturer to professor, SFSU, 1967 to present

Publications:lists of publications appended

Foreign experience: 1) lived in Europe 1961-1963 2) extended visits since 3) Army Air Corps; 20th Air Force, Central Pacific

Recent academic duties: taught courses in Poetry Writing, Elements of Writing, Image Symbol & , Directed Writing, American Literature, Craft of Poetry, Rhythms of Poetry, Independent Study and theses preparation.

Academic duties (miscellaneous):During my time at SFSU I have built and developed the following courses:

Explorations in Poetry Primitive & Preliterate Poetry Pound and Williams Robert Frost William Carlos Williams Image, Symbol & Metaphor Rhythms of Poetry Craft of Poetry American Literature ADDITIONAL ACADEMIC DUTIES

I was General Education Adviser for the Creative Writing Department, general adviser for the English and Creative Writing Departments, member and sometime chair of the Creative Writing HRTP Committee, member of the English Department HRT Committee, and the representative of the Creative Writing Department at various campus-wide functions.

NOTE: Beginning with the Fall of2012 I entered the Faculty Early Retirement Program and confined my teaching and advising duties to the Creative Writing Department.

THE COMMUNITY

Member of the American Civil Liberties Union Editor and then Member of the Editorial Board-BLUE UNICORN Member of the Editorial Board of POETRY FORUM Judge of numerous poetry contests Member of the Haight-Ashbury Neighborhood Association

PROFESSIONAL ASSOCIATIONS

American Federation of Teachers American Association of University Professors Academy of American Poets Poetry Society of America POETRY PUBLICATIONS Books& Such

QUERENCIA,1976 a book

QUERENCIA a phonograph record

THE HOGARTH-SELKIRKLETTERS, 1982 a book (with Robert Stock)

THE INHERITANCE, 1982 a stage production

THE INHERITANCE, 1982 a radio production

THE INHERITANCE, 1989 a book

LIFE FORMS, 1995 a book

GREATESTHITS, 2008 a book

THE SONNETS, 2010 a book

DURING OUR WALKS, 2012 a book

PERSONALEFFECTS, 2013 a book hundreds of poems and articles in various periodicals. POETRY PUBLICATIONS (Anthologies & Textbooks)

Beatitude Anthology (City Lights Books) Emight House

California State Poetry Quarterly Haight-Ashbury Literary Journal Anthology Anthology

The Touch of a Poet The Gathering (Harper & Row) (various years)

Nova Verse Daily (Scott, Foresman) Nuke Rebuke Writing Poetry (The Spirit That Moves Us Press) (Harcourt, Brace) Gold Anthology of Magazine Verse and Sumac Anthology Yearbook of American Poetry (various years) Echoes of Familiar Voices

Finders Keepers Light (Kayak Press) (Bits Press)

Travels Mark in Time (Scott, Foresman) Devins Anthology Light Year (University of Missouri Press) (Bits Press) Writing Poetry (2nd Edition) The Illuminations Reader (Harcourt Brace) (Berkeley) CURRICULUMVITAE

Toni Mirosevich 4 7 6 Heath cliff Drive Pacifica, CA94044 (650)738-0181

EDUCATION

BA, Liberal Arts, 1988, Antioch University of San Francisco MA,English (Creative Writing), 1992, San Francisco State University MFA, Creative Writing, 1994, San Francisco State University

2013 Academic Position: SFSU Professor, Creative Writing

Publications • "Shotgun," fiction, Cutthroat, Winter 2013 issue. • "Continuous," fiction, Eleven Eleven, forthcoming, Summer 2013. • "Persist," and "Wayward Course," in Shadowed: Unheard Voices, anthology of prose poems, forthcoming, 2013.

Grants, Fellowships, Awards • Pushcart Prize nomination for "The Deposit," Bellevue Literary Review • Pushcart Prize nomination for "The Line Up," Sparkle and Blink

Residencies • 2013 Hedgebrook Writers Residency

Professional and Civic Activities • Litquake: Lyric and Lines Reading, Yerba Buena Arts Festival, May 21, 2013 • LitWave: Pacifica's Literary Festival, Sanchez Public Library, March 7, 2013 • Presentation, ORSP Creative Works Seminar, June 4th, 2013 • Contribution to department curriculum with proposal of new graduate course: MFA Workshop in Creative Nonfiction. • Poet as Radio, community radio arts program, interview and reading, March 3 and March 10, 2013 • Featured reader, Under the Influence, North Beach Reading Series, March 22, 2013 • Bird and Beckett, book reading and signing, January, 2013.

2012 Academic Position: SFSU Professor, Creative Writing

1 Publications • "This Once Bright Thing," essay, Hayden's Ferry Review, Fall 2012. • "Fall Rounds,'' essay, Fourth Genre: Explorations in Nonfiction, Fall 2012. • "The One Second Sandwich," essay, Gastronomica, Spring 2012 • "Crackhead,'' fiction, Phoebe, Spring 2012

Grants, Fellowships • ORSP/SFSU Creative Work Grant, Pier Pressure: A Lyric Documentary of the PacificaPier for a works in progress manuscript and creation of two community/cultural events: Fishingfor Words:The PacificaPier Poetry Walk and Pier Pressure:A CommunityCelebration

Professional and Civic Activities • Featured reader for WordTemple Poetry Series, Sebastapol Center for the Arts, February, 2012 • Featured reader, Poetry Center Reading Series, September, 2012 • Honored as Neighborhood Hero, Quiet Lightning Reading Series, June 8, 2012. • Panelist, LitQuake: Visionary Women, Extraordinary Work, October 6, 2012. • Adrienne Rich Memorial Reading, Hormel Center, San Francisco Public Library • Featured reading and interview, Out in the Bay, KALW community radio show, March 2012

2011 Academic Position: SFSUProfessor, Creative Writing

Publications • "Lit Crit,'' "Free Box,'' "Re-Verse,'' and "Qualifying Round," along with featured interview in Fourteen Hills, 2011. • "Giveaway,'' "Woulda Coulda Shoulda,'' "Human Flaw,'' Featured poet, Poetry Spotlight, Lambda Literary Organization, Jan 2011, online • "The Worst,'' and "Honour Thy Error,'' Grantmakers in the Arts: The GIA Reader,Surnmer2011 • "Treasures of the Takeaway Bin," interview, by Jean Bartlett, Pacifica Tribune, January, 2011 • "Phrases Lost and Found" Lucille Lang Day, review of The Takeaway Bin, Poetry Flash, June 201 I • "The Takeaway Bin," Jocelyn Heath, review of The Takeaway Bin, Lambda Literary Review, Sept. 2011

Grants, Fellowships, Awards • Hedgebrook Writers Residency Award, Whidbey Island, Washington.

Professional and Civic Activities

2 • Featured writer in audio recording of The Armada of Golden Dreams, Invisible City Audio Tours, May 7, 2011, (Southern Exposure's Alternative Exposures Grant) • Our Oblique Strategies, Reading and panel discussion, The James C. Hormel Gay and Lesbian Center of the SF Public Library, February, 2011. • Nominatingjudge for 2011 San Francisco Foundation Literary Awards in fiction, nonfiction prose, graphic novels, poetry, spoken word, plays and scripts. • Advisory Editorial Board member, Journal of Lesbian Studies. • Six Year Review of President Robert A. Corrigan, January, 2011 • Presentation and talk in CW Fundamentalsof CreativeReading, November 2011, Ann Galjour, Instructor. • Presentation and reading in CW Fundamentalsof Creative Writing, November 2011, Monica Regan, Instructor. • Presentation and reading in CW Uses of PersonalExperience, October 2011, Frances Phillips, Instructor. • Participation in CW faculty/student reading series,VelRo,SFSU, March 2011, • Featured guest, reading and talk on Out in the Bay, KALW's gay community radio show, December, 2011. • On Air reading, WordTempleon KRCB (NPR Sonoma radio station, September, 2011 . • Featured reader, Pacifica Poetry Festival, Sharp Park Public Library, Pacifica, CA, November 201 I • Featured reader, Poetry Flash Reading Series, Diesel Bookstore, Oakland, CA, June, 2011 • Featured reader, presentation, Florey's Books, Pacifica, CA January, 2011 • Featured reader for Poetry Month Event, Books Inc, S.F, CA, April, 2011. • Featured reader for Fourteen Hills Release event, SF Motorcycle Club, SF, CA, May, 2011 • Featured reader for Bernal Yoga Reading Series, April, 201 I • Featured reader, Radar Reading Series, community event, San Francisco Public Library, April 2011

2010 Academic Position: SFSU Professor, Creative Writing

Publications

• Book: The Takeaway Bin, poetry, Spuyten Duyvil Press, Brooklyn, NY, 2010. • "The Prize Inside," anthology, The Gastronomica Reader, ed. Darra Goldstein, University of California Press, 2010. • "The Quiet Zone," and "Stress Test," Eleven Eleven, Fall 2010. • "A Pinch of Finch," essay, Gastronomica,Spring 2010.

3 Grants, Fellowships, Awards • Blue Mountain Center Writers Residency

Professional and Civic Activities • Served on WASC Subcommittee on Social Justice and Civic Engagement • Nominating judge for Jackson, Phelan, Tannenbaum Literary Awards, SF Arts Foundation. • Advisory Editorial Board member, Journal of Lesbian Studies. • Contribution to department curriculum with proposal of new graduate course: "Practicum in Pedagogy." Accepted into the curriculum in 2011, taught course in Fall 2010 and Spring 2011. • Presenter on panel discussion in CW Business of Creative Writing, Robert Gluck, Instructor. • Featured reader for Babylon Reading Series, Cantina, SF, March 6, 2010. • Workshop leader and featured reader at Sacramento Poetry Center · 2010 Annual Writer's Conference, Sacramento, CA,April, 2010 • Featured reader, Peninsula Literary Series, San Mateo, CA, March, 2010

2009 Academic Position: SFSU Professor, Creative Writing

Publications th • "The Right Spot," Bang Out, online, October 17 , 2009.

Grants, Fellowships, Awards • 2009 Library Laureate, San Francisco Public Library Award • Pushcart Prize nomination in Poetry • Blue Mountain Center Writers Residency

Professional and Civic Activities • Served on WASC Subcommittee on Social Justice and Civic Engagement • Served on IRA Advisory Committee, nominated by Provost Gemello • Final Judge for the 20 IO Jackson, Phelan, Tannenbaum Literary A wards, Intersection for the Arts. • Contribution to department curriculum with proposal of new graduate course: The Lyric Documentary • Featured reader at LitCrawl, Bang Out Reading Series, October, 2009 • Participation in The Living Room Reading Series, community literary series, SF, • CW Dept. I st Alumni Day, October, 2009, reading event • Presentation and talk on creative process in CW Fundamentals of Creative Reading, April 2009, Brian Thorstenson • Presentation and Reading in CW Short Story Writing, Extended Education, January 2009, Evan Rehill, Instructor. • Participation in CW faculty/student reading series,VelRo, April, 2009

4 2008 Academic Position: SFSU Professor, Creative Writing

Publications • "The Raft," anthology, The Best of The Bellevue Literary Review, Bellevue Literary Press, 2008. • "The Diplomatic Corps," San Francisco Chronicle Magazine, March 16, 2008. • "The Six Pack Cure," San Francisco Chronicle Magazine, July, 2008. • "Sectionals," poetry, The Laurel Review, Winter 2008. • "The Diplomatic Corps," San Francisco Chronicle Magazine, March, 2008. • "The Six Pack Cure," San Francisco Chronicle Magazine, July 6, 2008. • "Pinball Machine," Amanda Witherall, review of Pink Harvest, San Francisco Bay Guardian, January J6, 2008. • "Everett Native Weaves Stories of Past, Present," Julie Muhlstein, interview, Everett Herald, January 9, 2008. • "A Second Helping from Toni Mirosevich's Table," Julie Hanus, Utne Reader, January 9, 2008.

Grants, Fellowships, Awards • Lambda Literary A ward Finalist for Pink Harvest • Pushcart Prize nomination in Poetry

Professional and Civic Activities • Served on IRA Advisory Committee, nominated by Provost Gemello • Final Judge for the 2010 Jackson, Phelan, Tannenbaum Literary Awards, Intersection for the Arts. • Featured reader, Poetry Center Spring Reading Series, with Frances Phillips, Spring 2008. • Presentation on "Marginal Bodies: Illness, Disability, and the Queer Community," as part of the National Queer Arts Festival. • Presentation at UCSF School of Nursing to the Advanced Nursing Seminar, "Research in Loss, Grief, and Bereavement." • Humanities consultant for 'War Stories: An Intergenerational Dialogue' California Council in the Humanities, Osher Life Long Leaming Center and KAL W project. • Presentation at 20th Annual Lambda Literary A wards Finalists Reading, San th Francisco Public Library (Main), April 29 , 2008. • Reading and talk, Everett Public Library, Everett, Washington, January 9· 2008. • Discussion and presentation, Bibliocracy, KPFK radio, NPR affiliate, February 11, 2008. • Featured reader and panelist at Sonoma) Book Festival • Panelist at San Jose Book Expo • Presentation and talk in CW Fundamentals of Creative Reading, November 2008, Brian Thorstenson,

5 • Featured reader at benefit for Fourteen Hills, department's literary magazine, with Terese Svoboda, Spring 2008. • Presentation and talk in CW Works In Progress, November 2008, Truong • Tran, Instructor • Presentation and talk in CW Writers on Writing, Maxine Chernoff, Instructor.

2007 Academic Position: SFSU Professor, Creative Writing

Publications • Book, Pink Harvest, MidList Press, Minneapolis, MN. • "The Prize Inside," UTNE reader • "Lie or Lay," The Bark, April 2007 • "Heathcliff," The Journal, Spring/Summer 2007 • "Going To," San Francisco Chronicle Magazine, April 2007 • "Whatever It Is That Makes Us Go," San Francisco Chronicle Magazine, August 2007 • "Keeping Track of the Non-Sporting Statistics," San Francisco Chronicle Magazine, September, 2007 • "A High Plain," review of Pink Harvest, Los Angeles Times, December 2007. • "Pink Harvest: Mirosevich 's stories come out of her life," interview, San Francisco Chronicle, December 2007.

Grants, Fellowships, Awards • First Series in Creative Nonfiction Award, MidList Press • Pushcart Prize nomination in Poetry • William R. Espy Writers Residency, Oysterville, Washington

Professional and Civic Activities • Reading from Pink Harvest on the Writers Block, KQED Arts Program • Featured reader at "Off The Richter Scale" LitQuake, Bay Area Literary Festival, San Francisco Main Public Library, SF, CA, Ocotber 2007. • Contributor, Artful Harvest, Djerassi Resident Artist Center, October 14, 2007 • Featured reader at Black Oak Books, February 22, 2007

6 Curriculum Vitae PETER ORNER (Home address) (University Address) 386 Precita Ave San Francisco Sate Univeristy San Francisco, California 94110 Creative Writing Department (415) 341-6597 College of Humanities 1600 Holloway Avenue San Francisco, California 94132 (415) 338-3082 [email protected]

EDUCATION

The University of Iowa Creative Writing Program, Iowa City, Iowa Master of Fine Arts in Creative Writing (May 1998) Northeastern University School of Law, Boston, Massachusetts Juris Doctor (May 1996) Admitted to the Massachusetts Bar (August 1996) University of Michigan, Ann Arbor, Michigan Bachelor of English, May 1990

PUBLICATIONS

Books/ Fiction

Last Car Over the Sagamore Bridge, Little Brown and Company (Forthcoming Fall, 2013)

Love and Shame and Love: A Novel Little Brown and Company (November 2011) In translation: German (Hanser, forthcoming, 2013). Reviews: New York Times, Boston Globe, the Wall Street Journal, Washington Post, Chicago Tribune, Los Angeles Times, San Francisco Chronicle, Minneapolis Star Tribune, Miami Herald, The Forward, 0 Magazine, Granta.

The Second Coming of Mavala Shikingo, Little Brown and Company (April, 2006) In translation: French, Payot (2008) In German: Hanser (2008) In Italian, Minumum Fax (2009), In Dutch, L G Veen (2009). Reviews: the New York Times, Boston Globe, Chicago Tribune, San Francisco Chronicle, Guardian UK, ll Manifesto (Italy), Die Welt (Germany), The Namibian (Namibia).

Esther Stories, Houghton Miffiin/ Mariner Books (November, 2001). Re-issue, forthcoming, Little, Brown and Company with a forward by Marilynne Robinson (2012). In translation: Esther Stories, French, Chambon/ Le Rourgue, (2003), Portuguese/ Brazil, Editora Nova Cultura, (2003), and Italian, Minumum Fax, (2003) Reviews: New York Times, Boston Globe, Chicago Tribune, San Francisco Chronicle, Miami Herald, Denver Post, Christian Science Moniter, Los Angeles Times, Washington Post. Orner/ page 2

Books/ Non-Fiction

UndergroundAmerica, Editor (Voice of Witness/ McSweeney's 2008) Reviews: National Public Radio, Los Angeles Times, Salon, Publisher's Weekly (starred review), San Francisco Chronicle. Published in Spanish in 2010 by McSweeney's/ Voice of Witness.

Hope Deferred: Narratives of ZimbabweanLives, Editor (Voice of Witness/ McSweeney's (December, 2010) In South Africa, Jonathon Ball Publishers (2012). Reviews: National Public Radio, Chicago, WashingtonD.C., London. Harper's Magazine, UK

Newspapers

The New York Times, "WritingAbout What Haunts Us," (January, 2013) The New York Times, "Who Owns This House?" (August, 16, 2012) The New York Times, "Hot Pink" (March, 2012, book review) The San Francisco Chronicle, "Namibia's Brutal Past" (June, 2006) (essay) The Forward, "Love and Hate in WartimeItaly," (.Tune,2006) (book review) The Forward, "An UnsungMaster Offers Sorrow," (.July, 2005J(book review) The San Francisco Chronicle, "On The 88" (September, 2004) (fiction)

Magazines and Selected Literary Journals:

"Foley's Pond" and "The Vac-Haul" The Paris Review (Forthcoming, Fall, 2012) "Dyke Bridge," Granta Magazine) (Summer, 20 I 0) "Reverend Hrncirik Receives an Airmail Package," Southern Review (Fall, 2009) "Geraldo," Conjunctions(Fall, 2009) "Aquarium of the Dead: Chicago Stories", Conjunctions(Fall, 2008) "Kosciusko," .McSweeney's (November, 2008) "Politics Is A Craft," A Public Space (Fall, 2008) "Herb and Rosalie Swanson at the Coconut Grove," Bomb (Fall, 2008) "Liso's Story" (editor), The Believer (Fall, 2008) "Everybody Serves Cesear," Ploughshares (Spring, 2007) "Comer of Hazel and Lake" The Believer (Fall 2006) "Last Car Over Sagamore Bridge," Harvard Review (Spring, 2005) "Spokane" and "She's Not Here" Bomb (Winter, 2005) "Seymour Rising," Bomb (Spring, 2003) "The Raft," The Atlantic Monthly (Spring 2000)

Anthologies

Freud's Blind Spot (Scribner's 2010) Pushcart Prize Anthology, 2001, 2007 (Pushcart Press, 2001, 2007) Chicago Nair (Akashic Books, 2005) Lost TribeAnthology (Jewish Fictionfrom the Edge) (Harper Collins, 2003) Best American Stories, 2001 (Houghton Mifflin, 2001) Orner/ Page 3

TEACHING EXPERIENCE

University of Iowa, Writers' Workshop, Iowa City, Iowa VisitingProfessor in Fiction Taught graduate Fiction workshop and graduate seminar on time in the short novel, as well as supervised thesis.

San Francisco State University, San Francisco, California Professor of Creative Writing (tenured)(August, 2003 to the Present) Currently teaching MF A level course in developing the novel and an MFA course in the short story. Also teach directed writing course, and work with individual graduate and undergraduate students on long term projects. Graduate advisor.

University of Montana, Missoula, Montana William Kittredge Visiting Writer (Fall, 2009) Taught MF A level workshop and Undergraduate workshop and gave readings and talks associated with visiting writer position.

Warren Wilson Program For Writers, Asheville, North Carolina Fiction Faculty (Summer/ Fall 2009) Attended low residency program as fiction faculty. Delivered a class on the Art of Listening, focusing on Joseph Mitchell and Anna Deveare Smith). Worked intensively with three students throughout the fall on fiction and essay.

Washington University, St Louis, Misouri Visiting Hurst Professor (September, 2007) Met with MF A students for intensive individual conferences. Gave reading and craft lecture an particpated in various program activities.

Bard College, Annandale-on-Hudson, New York Visiting Writer/ Bard Fiction Prize (January, 2007-May 2007) Taught seminar on craft, with focus on beginnings of stories to small group of undergraduate students. Also, taught seminar for Bard Prison Iniative in the New York state prison system. (Eastern and Elmira New York facilities)

University of California, Santa Cruz, Santa Cruz California Lecturer in Political Science/ Legal Studies Department (January 2002-June 2002) Taught four courses during winter and spring quarters at.Santa Cruz. Courses included: Law and Literature, Children and the Law, Human Rights (War Crimes), and American Legal History (The Prisoner's Voice: The Prisoner in Twentieth Century America).

Charles University Faculty of Law, Prague, Czech Republic Senior Lecturer in Law and English (September, 1999-June 2000) Taught three courses at the law faculty, including a survey course in Anglo-American Law (Criminal and Civil) and Public International Law with a focus on Human Rights. Orner/ Page 4

HONORS

California Book Award Winner (2012) Finalist for Hadassah Magazine's Ribalow Prize (2012) New York Times Editor's Choice Book (2012) Guggenheim Fellowship in Literature (2006) Lannan Literary Fellowship (2006) Bard Fiction Prize, Bard College (2006) Presidential Award, San Francisco State University (2005) Prize in Literature from the American Academy of Arts and Letters (2002) Gold Medal for Fiction/ Association of Educational Publishers (2003) Samuel Goldberg and Sons Foundation Prize for Jewish Fiction Award (2002) Finalist for PEN/ Hemingway Prize (2002) New York Times Notable Book (2002) Finalist for the / Young Lions Prize (2002) Pushcart Prize Winner (2001) Best American Stories (200 I) Michener Fellowship (2000) Teaching/Writing Fellow, Iowa Writers' Workshop(1997-1998)

VOLUNTEER EXPERIENCE

Lawyer's Committee for Human Rights, San Francisco, California

Member/pro bono attorney

Volunteer lawyer for an organization that assists asylum seekers with legal representation before the Immigration courts. (2007-2009)

Voice of Witness, McSweeney's Publishing Editorial Board Member and Advisory Editor

Advise the Voice of Witness Series editors and solicit and guide future projects. Currently working with two editors on new titles, including an oral history of public housing in the U.S. and another on the the stories of muslim women. (2009-present) 502A E 52,w St., Au.Jtin,TX 78705 Recemtt lPulbilncatfto1t11.s Tel· 609. 865. 5481 z,wac/..:er?6@/.)(}fm11il.com Educatfto1t11.

StanfordUniversity: Fall1999- 5pring2001. , Stanford,CA The Graduate Programin Writing. "Keeping it TheWrite,; Universityof Iowa: Fall1997- Weird in Austin, Julv2012; Spring1999. Writer/s Iowa City,IA Texas"appeared Digest, The Iowa Writers' in Smithsonian July'2011. Workshop, M.F.A. Magazine. January2012. JohnsHopkins University: Fall1994- Baltimore,MD 5pring1995. s..o,_~.n,.,,Selected as one of the !Of' y(?UngAmerican writers for Writing Seminars, M.A. ,':",J'J,f.fa.tThe Nf!tN Yorker's 1120 Un­ 20§o40 YaleUniversity: Fall1990- ,.... ,.,.. .. ,~ .. ~., der 40'' issue. "D~rd," 5pring1994. an exce,pt from the novel, New Haven, CT TheThousands, appeared in Prolfessorshftps English Literature, B.A. theissue. June 2010. Philosophy coursework.

Universityof Houston: Fall VassarCollege: Spring TulaneUniversity: Fall StanfordUniversity: Fall VisitingEnglish Professor. 2012 DistinguishedLecturer; 20)9 Zale Distinguished Lecturer; 2007 Jones Lecturer. 2001- Taughtgraduate M.F A and Writer-in-Residence. Visiting Writing Professor. Selected as one of the top PhD. candidates at a Critiqued undergraduate Taught two undergradu- students to receive a lee- Spring tq>-rankedCreati\,e Writing fiction, CE!iveredan irr,.iited ate courses: Advanced tureship to te.ach Jntenne-2003 Program. lecture on mid-1g

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Short Fiction JPubHcaUons

The New Yorker: 20 Under 40: A novel excerpt from The Thousands entitled "Dayward" was pub lished. June 2010.

Esquire: Napkin Project. The short story "By and By" was published in the magazine and on line. July 2007.

Granta 97: Best of ';bung American Novelists 2: A novel excerpt entitled "Buffalo Soldiers" was published. April 2007.

The Guardian: The story "Gideon " was published in London's Guardian-Observer. October 6, 2007.

The Washington Post Magazine: The story "Pita Delicious" was published in a specia l pho to issue. February 2007 .

Zembla Magazine: The story "Brownies" was reprinted in the U.K. from the Canongate edition. February 2004.

The New Yorker: The story "The Ant of the Self" was accepted and published in the New Yorker. November 2002.

Zoetrope All-Story: The story "Doris is Coming" was published in Francis Ford Coppola's magazine. Fall 2002.

Ploughshares: The story "Every Tongue Shall Confess" was selected by Margot Livesey and published. Fall 2002.

The New Yorker:The story "Drinking Coffee Elsewhere" was featured in the first annual Debut Fiction issue. June 2000.

Harper's Magazine:- The story "Brownies" was selected and published by editor Colin Harrison. November 1999. Story: The story "Our Lady of Peace" was selected by Lois Rosenthal, editor of Story, and published. Summer 1998.

Doubletake: 25 and Under/Fiction: The story "Geese" was published in the Doubletake anthology. May 1997.

Seventeen: "Sometimes You Get Lucky" was a winner of Seventeen's fiction contest and published. February 1994.

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TIil( COI.UU\1.\T\'l'E \\'RITl:RN°;J; an·thohJl·gy "6, ~_,,,, I.,----r--{r- \\ _-_- [an-thol-uh-jeel -noun, plural -gies. Shalcingthe Tree:A Collectionof . ' New Fidion and Memoir by Black Women Eilitedby Mai Nana-Arna . l a book or other collection of selected writings Clnµlh. Thenmor~"TreSlraniJei' - was anthologized. - by vai·ious authors, usually in the same literaiy form. ~2004. More Stories We Tell: The Best Readinglike a Writer: A Guide for Contemporary PeopleWho Love Books: by Francine Short Stories by Prose. "Drinking Coffee Elsewhere" North American excerpted. August 2006. Women: Pantheon. Edited 1he Granta Book of Fiction: Granta. by Wendy Martin. The story 1he Making of a Story: Norton. Edited by Richard Ford. The story "Drinking Coffee Elsewhere" was Edited by Alice LaPlante. "Brownies" "The Ant of the Self" was antholog12edApril 2004. anthologized. January 2010. anthologized. 2007. PtJ/iticallyInspired: MacAdam!Cage. 20 Under 40: Stories from the New The Scribner Anthology of Edited by . "Where Yorker: Farrar, Straus and Giroux. ContemporaryShort Rdion: Rfty Edited by Deborah Treisman. North American Stories Since 1970: Best American Short Stories 2003: "Dayward" anthologized. November Scribner. Edited by Lex Williford. Houghton Mifflin. Edited by Walter 2010. The story "Brownies" was Moseley and Katrina Kenison. The anthologized. 2007. story "Eve!)' Tongue Shall Confess" What lff Writing Exercisesfor Fidion was anthologized October 2003. Writers: Longman. Edited bX° Ann Writinq Fiction: A Guide to Bernays, Pamela Painter. 'Every Narratn'e Craft,. 7th edition: Best Non-RequiredReading 2003: Tongue Shall Confess.'' August 2009. Longman. By Janet Burroway. The Houghton Mifflin. Edited by Zadie stoiy "Eveiy Tongue Shall Confess" Smitfi and Dave Eggers. The stoiy Mentors,. Muses and Monsters: Free was anthologize

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~-..

Smithsonian Magazine: On the Roadwff:h 2004 Presidential Candidate New )b,t nmesBook Review: "Keeping It Weird" How Austin Senator John Kerry:(see also Salon, TheBeliever) "Dr. King's Refrigerator: became irrevocably irreverent. Thinking Outside the Icebox." January2011. A review of National Book !A fiction writer soon discovers putting on one's journal-! Award Winning author Charles PORT: "Dave EggersTakes on jist's hat to provide political coverage amidst election ! Johnson's collection, Dr. Kings the World." An intervieiN with Jseason can become a non-stop quixotic journey to be thej Refrigerator and Bedtime the founder of 826 Valencia jfirst at every event along the campaign trail. i Stories, March 2005. who penned 11A Heartbreaking '··-····-·-····-····--·······-····-·-··········-·-·-····-·-·--··-····-·-······-. Work of Staggering Genius." 1he Believer Magazine: "Who (Forthcoming). is John Kerry?" (interview) October 2004; "Edward P. Allure: "'Growing up Jones" (interview) May 2005. Pentecostal." Fashion mishaps of a religious teen. July 201 O. 7 x 7: "'lne Gift of Time." A history of the Quaker Center in The New YorkTimes Magazine: Ben lomand, California. No­ "No Polenta, No Cry." How vember 2004. modem life shapes gustatory obsessions. October 2009. 0 Magazine: "The White House." First encounters with Glamour Magazine:"From racism. November 2004. "The Prada to Nada."Economic Finish Party." Writing groups belt-tightening amidst transfonn the book club model recession. August 2009. to write and publish their own books. Oct 2004. The Oxford American: "A Finished Revolution?" Salon.com: "Losing My Relig­ American Reconstruction and ion." An analysis of how Barack Obama. March 2000. Democrats can galvanize the faith-based electorate. Nove,n­ The New Yorker:"Book Bench: ber 2004. Remembering Updike." In the "green room" with John Granta: ''The View from Here." Updike. January 2009. How to have Political Discus­ sions with In-laws without The New Yorknmes Magazine: EssenceMagazine: Special 2004 ElectionIssue: going crazy. September 2008. "Working the Reunion." A 'Will John KerryBe Gooo for Us?" An inte,view-profile profile of a homeless of the presidential candidate. lntervievv'edthe Senator at The New H>rknmes Magazine: Ivy-Leaguer as he re-evaluates ''The Taste of Right Here." Why life. June 2008 .. the Democratic National Convention in Boston and the Kentucky Derby Pie is copy­ NAACPConYention in Philadelphia. November 2004. righted. October 2004. The Huffington Post: "Ferraro's Barack Problem." An article llhe GuaroianObserver:! fThe American Prospect:i The Believer M~azine: "Who discussing Geraldine Ferraro and is John Kerry?' (interview), the rhetorical stylings of i"The Obama Factor." : j"Sony,Not Buying,Blacksj iAn analysis of the: !andthe GOP:' A look at! October 2004; "Edward P. presidential candidates Barack Jones" (interview) May 2005. Obama and Hillary Clinton. lObama campaign's: konservatism, race,l 008. ipopulist message, tac-: !Reconstruction, and the! ltics, and race. Provided: jre-implementation of the/ The WashingtonPost Magazine: :commentary with other: ;"Scx.ithemStrategy," and\ "The Stranger" (nonfiction/ :u.S.-based analysts for! !how these factors affect! memoir). A near-abduction :the U.K. newspaper. : [electoral politics. as wej upturns a family. Summer ~anuarv 2008. ______: !knowit December 2005._: 2003.

·························································································································································································································································

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zz.)l¼cfu102A E-l2nJSt Alfdtin TX78705 W:60986'i5481 --oackcc56@411hlJflilcom

Additional Readings- Keynote or invited Speaker

Northwestern University (April 2012) University of Nebraska-Lincoln (March 2012) AWP Johns Hopkins Alum Reading (March 2012) University of West Georgia (February 2012) Houston lnprint Gala (February 2012) Colby College (February 2012) Mount Mercy College (November 2011) New Yorker Festival (October 2011) Ithaca College (September 2011) Stanford Three Books (September 2008) Yale Club Alumni Guest Lecture (May 2011) Decatur literary Festival- NSSFTS(August 2008) wRiTES of Spring Book Festival (March 2011) KARES/New Stories from the South (August 2008) Princeton University (Sept 2010, Dec 2010) Columbia College Story Week (March 2008) University of Michigan (November 2010) (October 2007) Francis Marion University (November 2010) Hammer Museum of Los Angeles (May 2007) Brooklyn Academy of Music (October 2010) Commonwealth Club of California (March 2007) Reading Series (October 2010) San Francisco Library Foundation (March 2007) Bard College at Simon's Rock (September 2010) New Mexico State University (November 2006) PEN/Faulkner Annual Gala (September 2010) National Book Award 5 Under 35 {November 2006) Austin Library Friends Association (April 2010) Stanford University Feminist Studies (October 2006) Texas A&M and Callaloo Journal {March 2010) BookGroup Expo (April 2006) University of Rochester Pritzker (November 2009) Agnes Scott College (April 2006) Texas State at San Marcos (November 2009) Nebraska.Wesleyan University (February 2006) SUNY Geneseo Visiting Writer (November 2009) Baltimore One City, One Book (March 2005) King's College Wilkes-Barre (October 2009) San Jose State University (2005, 2008) University of Iowa (May 2009) University of North Carolina at Wilmington (2006) Frank O'Connor Festival (September 2009) litQuake Silent Auction (2006) University of California at Berkeley {March 2009) San Francisco Libral)' (February 2006) Eastern Connecticut College (February 2009) Connecticut College (March 2005) College of Staten Island CUNY (February 2009) University of New Hampshire (March 2005) Vassar College Resident Writer (February 2009) Key West literary Festival (January 2005) AWP Chicago Headline Reader {February 2009) Voices of Our Nation (June 2004, 2005, 2007) Georgia State (January 2009) University of Cincinnati (2004) Georgia College and State (January 2009) McNeese State (April 2004, April 2009) University of Texas at Austin {December 2008) LitQuake Panel, SF, CA (2004.2005) Texas Book Festival (November 2008, 2009) New York University (December 2004) San Francisco library Foundation (December 2004) University of Western Michigan (November 2003) University of Iowa (March 2003, October 2003) Commonwealth Club of California (May 2003) Denver-One City, One Book (May 2003) (April 2003) =·'PEN/Faulkner ..... (2003, ""_,,,, 2004, 2005)...... ,,,,,( ( ;p:M«_,

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Chanan Tigay • 917-763-5911• [email protected] CHANANTIGAY San Francisco State University Creative Writing Department 1600 Holloway A venue, Rm. 545 San Francisco, CA 94132 Tel: 415-338-3155 E-mail: [email protected]

EDUCATION

Columbia University, MFA, Fiction. 2002-2004 Stµdied fiction and creative nonfiction writing.

University of Pennsylvania, Bachelor of Arts, Cum Laude, Political Science. Minor in Religion. 1994-1998 Combinedthe study of Middle Eastern politics, languagesand religions to investigatetheir intersectionwith terrorism.

2013

Academic Positions:

, San FranciscoState University,Assistant Professor, Creative Writing. San Francisco, CA. Teach courses in Creative Writing Department's graduate program (MA and MFA) including ContemporaryNonfiction, Art of the Short Story, Fiction Workshop, CommunityProjects and Directed Writing.

Awards:

*PushcartPrizes, Special Mention, for "The Special PopulationsUnit: Arab Soldiers in Israel's Army," McSweeney's Issue 38.

Publications:

* Fiction Review: The Burgess Boys, by Elizabeth Strout. The San Francisco Chronicle,April 14, 2013.

Service:

• Served as member of the GTA hiring committee. • Headed Sixth Cycle Review Creative Nonfiction Committee. • Departmentrepresentative to the university-wideFaculty Hearing Panel • Was interviewed by and submitted a short story for publication in Transfer. • Reader at Velvet Revolution Reading Series, May 7, 2013. • Reader at Transferrelease party, May 14.

2012

Academic Positions:

* San FranciscoState University,Assistant Professor, Creative Writing. San Francisco, CA. Teach courses in Creative Writing Department's graduate program (MA and MFA) including ContemporaryNonfiction, Art of the Short Story, Fiction Workshop, CommunityProjects and Directed Writing.

• Universityof California,Berkeley, Graduate School of Journalism, Investigative Reporting Fellow. Berkeley, CA. As a fellow in the Graduate School of Journalism, I worked on a documentary for PBS "Frontline" about Israel's onpositionto Iran's nuclear program and an eBook about America's nuclear industry,. ChananTigay * 917-763-5911* [email protected]

Selected Publications:

• Nuclear Meltdown, USA, Rodale Press, March, 2012 (eBook). * "PreventionInvestigates: Could it Happen Here?" Preventionmagazine, March 2012. * "Transgender Jews Seek Place at Table," The Forward,Nov. 14, 2012 • "Ehud Olmert's Second Act," The Atlantic.com, Dec. 3, 2012 • Sold book, UnholyScriptures: Fraud, Suicide, Scandal and the Bible that Rocked the Holy City, to Ecco/HarperCollinsfor publication in 2015.

Awards. Fellowships. Residencies:

• InvestigativeReporting Fellowship, University of California, Berkeley, Graduate School of Journalism, Investigative Reporting Program, Sept. 2011 -August 2012.

• Short-listed for the Folio: Eddies Magazine Award for article, "PreventionInvestigates: Could It Happen Here?" Prevention, March 2012.

• Short-listed for the MIN Editorial Award, "PreventionInvestigates: Could It Happen Here?" Prevention, March 2012.

• Judged the Creative Writing Department's Tillie Olsen Award for Short Fiction • Visiting Writer/Reader in Robert Gluck's "Writers on Writing" class, Sept. 24, 2012 • Reader at Velvet Revolution Reading Series: "Out of Print/Banned Books" event, Oct. 2, 2012. • Reader at the Living Room Reading Series (curated by Creative Writing graduate students at Truong Tran's home), Oct. 5, 2012. • Reader at Poetry Center's "No Voter ID Required" Election-Dayreading, Nov. 6, 2012. • Lectured in Stanford University's Creative Writing Department on my work of creative nonfiction about Arab soldiers in Israel's military, Winter 2012.

2011

Academic Positions:

• University ofCalifomia, Berkeley, Graduate School of Journalism, Investigative Reporting Fellow. Berkeley, CA. As a fellow in the Graduate School of Journalism, I worked on a documentary for PBS "Frontline" about Israel's opposition to Iran's nuclear program and an eBook about America's nuclear industry.

·•Stanford University, Lecturer. Palo Alto, CA. Taught courses in Stanford University's Continuing Studies Program and coached writing in the Graduate School of Business.

Selected Publications:

• "The Special Populations Unit: Arab Soldiers in Israel's Army," novella-length report in McSweeney's, Issue 38.

Awards. Fellowships. Residencies:

• Corporation ofYaddo artists' residency, Summer 201 I.

• Mesga Refuge artists' residency, Spring 2011.

2 Chanan Tigay • 917-763-5911• [email protected]

Service:

• Mentoredseveral students at Berkeley's Graduate School of Journalism. • Lecturedon Creative Nonfiction in Stanford University's Creative Writing Department.

2010

Academic Positions:

• Stanford University,Lecturer. Palo Alto, CA. Taught courses in Stanford University's ContinuingStudies Program and coached writing in the Graduate School of Business.

Selected Publications:

• "Kosher Pork," New York magazine, Nov. 21, 2010. • "Nigerian Spills Make Valdez Look Like Drop in Bucket," AOLNews.com,May 23, 2010. • "Could Secret Saudi Spill Hold Fix for Gulf Slick?" AOLNews.com,May 14, 2010. • "Scholarly Squad Debunks Biblical Discoveries,"AOLNews.com, May 2, 2012.

Service:

• tectured on Middle East politics at Stanford University's Graduate Program in Journalism,2010. • Lectured on fiction in MFA program at San Francisco State University, 2010.

2009

Academic Positions:

• Stanford University,Lecturer. Palo Alto, CA. Taught courses in Stanford University's Continuing Studies Program and coached writing in the Graduate School of Business.

Selected Publications:

• Fiction Review: "The Sky Below," TheRumpus.net,Feb. 11, 2009. • "A Day in the Life of the Real Mafia," TheRumpus.net,Feb. 20, 2009. • '"A SignificantThreat: Birds and aircraft are not a good mix, yet collisions happen every day," Newsweek,Jan. 15, 2009.

Awards, Fellowships. Residencies:

• Blue Mountain Center artists' residency.

Service:

• Lectured on profile writing at San Francisco State University's Department of Journalism.

3 ChananTigay • 917-763-5911• [email protected]

2008

Academic Positions:

• Stanford University,Lecturer. Palo Alto, CA. Taught courses in Stanford University's Continuing Studies Program and coached writing in the Graduate School of Business.

Selected Publications:

• "Book Review: Foreskin's Lament: A Memoir." HadassahMagazine, March 2008; 89:7. • "The Long Toss: Questions for Dan Alon." WallStreet Journal, July 25, 2008. • "Fiction Review: TwentyFragments of a Ravenous Youth." The San FranciscoChronicle, Aug. 17, 2008.

Awards, Fellowships. Residencies:

• Blue Mountain Center artists' residency.

FURTHER PROFESSIONAL EXPERIENCE

2006 -2012 Journalist,San Francisco, CA. , Wrote news, features and enterprise pieces for publications including Newsweek,McSweeney 's, The San Francisco c+ronicle,New York magazine, and the WallStreet Journal. Contributor to AOLNews.com. Was l!..Contributingeditor at TheFasterTimes.com.

2004-2006 JTA (Jewish TelegraphicAgency), Staff Writer. New York, NY. , Won Rockower Award for article on Israeli rescue team that sneaked into New Orleans following Hurricane Katrina. • Broke stories highlighting drug abuse among ultra-Orthodox Jewish youth and elderly Jews, leading to increased examination of the issue in these communities. , Wrote articles on the Mideast, United Nations, religion and philanthropy. • Represented the company, an international wire service, as expert commentator on radio.

2002 -2004: The Jerusalem Report, Senior Writer. New York, NY. , Broke story for Israel's leading news magazine investigating Israeli politicians who were illegally raising campaign funds in the United States. , Examined Jewish voting patterns in articles later brought to attention of presidential campaigns in 2004 elections. • Wrote investigative pieces and features on political, social and religious issues. • Covered the United Nations. • Represented magazine as analyst on television and radio.

2001 - 2002: Agence France-Presse,Correspondent Jerusalem, Israel/New York, NY. , Covered Israeli-Palestinianconflict from Jerusalem bureau. Filed on military clashes, bombings, diplomacy, politics. Interviewed key regional players including Prime Minister Ehud Olmert and President Shimon Peres. , In New York bureau, covered international affairs including shoe bomber case; and national stories, including church abuse scandal. , Filed stories on United Nations issues.

2000 -2001: UnitedPress International and Agence France-Presse,Stringer. New York, NY. , Broke story on survivor of 1960 Soviet nuclear submarine accident, which became AFP's most published article during the Kursk submarine disaster in 2000. • Reported on aftermath of Sept. 11 attacks from the still-burning remains of Ground Zero., Covered national politics. Wrote news and features on subjects from campaign finance to national seatbelt law enforcement.

1999-2001: Long Island Jewish World, Staff Writer. Great Neck, NY. , Interviewed noted personalities including Hillary Clinton (during her run for senate), Joe Lieberman (as he ran for vice president) and John McCain (during his first presidential run).• Wrote news and feature stories for this group of weekly Jewish newspapers. Assisted publisher in developing coverage plan. Filed stories focusing spotlight on topics ranging from Holocaust denial to Israel's M!As.

4 CbananTigay • 917-763-5911• [email protected]

WORK IN PROGRESS

• Unholy Scriptures:Fraud, Suicide, Scandal and the Bible that Rocked the Holy City, Ecco/HarperCollins,2015.

• The Monkey, a novel.

• JerusalemSynd,:ome, a collection of short stories.

MISCELLANEOUS PROFESSIONAL ACHIEVEMENTS

• ABC.compurchased "The Stones," a series based on a pilot script I wrote.

• Short story, Moscow South, translated and anthologired in German volume, Urlaubs Lesebuch (Lutz-W. Wolff ed. DeutscherTaschenbuch Verlag, 2005).

• Was frequentguest on "The Bill Mazer Show," a New York-basedradio program.

• Was frequentguest on "The Leon Charney Report," a televisionprogram on Middle East Affairs.

• Appearedon NPR as analyst on Intelligent Design, 2005.

• Starred Off Broadway and in the Philadelphia productionof the play "Grandma Sylvia's Funeral."

• Starred in "Hitler's Strawberries," a feature film by AcademyAward-nominated director Gian-LuigiPolidoro.

FURTHER SELECTED JOURNALISM

• "Jerusalemwas not up for negotiation at Camp David: Olmert." Agence France-Presse,Aug. 4, 2000 • "Soviet survivor knows the terror of sub disaster." AgenceFrance-Presse, Aug. 15, 2000. • "US marine explorers to raise sunken Israeli submarine."Agence France-Presse,Aug. 19, 2000. • '"Soft money' deal might be much ado about little." United Press International,September 26, 2000. • "Clinton raises funds in New York." United Press International,October.6, 2000. • "Hillary disclosesnote to Muslim Association." United Press International,November 3, 2000. • "Israeli's view of America's favorite sport." United Press International,November 9, 2000. • "Manhattantown houses still strong." United Press International,January 5, 2001. • "New York Chefs getting younger." United Press International,January 19, 2001. • "Analysis:Left wing abandons Barak ahead of polls." United Press International,February 5, 2001. • "Besieged monks barricade themselves in monasteryagainst Israeli order." Agence France-Presse,March I, 2001. • "Israel's Labour party picks arch-hawk for defense post in new government." Agence France-Presse,March 2, 2001. • "Four killed, dozens hurt in suicide bomb blast in Israeli resort." Agence France-Presse, March 4, 2001. • "Flesh litters the street as Israelis vent anger on Arabs." Agence France-Presse,March 4, 2001. • "Fear becomesroutine for Israelis in face of escalatingattacks." Agence France-Presse, March 6, 200 I. • "Sharon's cabinet includes largest ever number of women."Agence France-PresseMarch 7, 2001. • "Sharon defends siege on West Banlcas Palestinianprotest turns deadly." Agence France-Presse, March 12, 2001. • "Jewish settler killed in fresh violence as Sharon on first trip to US." Agence France-Presse, March 19, 2001. • "Israel lobbies world to pressure Arafat over violence as Sharon meets Bush." Agence France-Presse,March 20, 2001. • "Mideast panel resumes probe into deadly violence after Sharon-Bushsummit." Agence France-Presse,March 21, 2001. • "Former Israeli cabinet minister convicted of sexual assault." Agence France-Presse, March 21, 2001. • "Sharon says US backs refusal to talk under fire as Fatah seeks to widen intifada." Agence France-Presse,March 22, 200 I. • "Suicide bomber killed, dozens injured in Jerusalembomb blasts."March 27, 2001. • "Jittery Israelis demand tougher response to wave of bombings." Agence France-Presse, March 29, 2001. • "Israelis fear intifada could risk regional war; analysts more circumspect."Agence France-Presse, March 30, 2001. • "Israel triggers Palestinian ire with calls for tenders for new settler homes." Agence France-Presse,April 5, 200 I. • "As Mideast violence escalates, pilgrims stay home for Easter." Agence France-Presse,April 6, 2001. 5 Chanan Tigay • 917-763-5911• [email protected]

• "Israel faces conflict on front as fighting rages in Gaza Strip." Agence France-Presse,April 14, 2001. • "Shaken Israelis feel under the gun as Israel celebrates independence."Agence France-Presse,April 25, 2001. • "Israelis nabbed in internationaldrug smugglingring." Agence France-Presse,May 3, 2001. • "Gaza-boundweapons boat highlights Israel's concern over smuggling."Agence France-Presse,May 8, 2001. • "Israel penetrates Palestinianterritory, hunts for boys' killers." Agence France-Presse,May IO, 2001. • "Bahais inauguratemajestic terraced gardens in Haifa." Agence France-Presse,May 22, 2001. • "Suicide blasts kill bombers as violence flares in Gaza, West Bank.'' Agence France-Presse,May 25, 2001. • "Bombs rock central Jerusalem as US envoy presses for halt to violence.'' Agence France-Presse,May 27, 2001. • "Skepticism on Bush coalition.'' United Press International,September 26, 2001. • "House leaders seek ways to boost economy."United Press International,October 8, 2001. •" Sept. 11 brings longer commute."United Press International,October 10, 2001. • "Experts play down bioterror threat." United Press International,October 12, 2001. • "Ex-CIA, Mossad chiefs on terrorism."United Press International,October 16, 2001. • "For NYC residents, crash still looms large." United Press International,October 18, 2001. • "NYC Afghans divided in attacks' wake." United Press International,October 20, 200 I. • "Clinton office gets salmonellamail." United Press International,October 25, 2001. • "Feature: Afghan cafes starved for patrons.'' United Press International,October 27, 2001. • "Bereaved relatives gather at GroundZero.'' United Press International,October 28, 2001. • "New Yorkers mixed on mail." United Press International,October 30, 2001. • "NYC watchful for Halloween.'' United Press International,October 31, 2001. • "At Ground Zero, work goes on.'' United Press International,November 2, 2001. • "New York's cultural institutionsin economic straits since September 11." • "US vetoes Mideast draft resolution.'' Agence France-Presse,Dec. 15, 2001. • "JOOdays later, September 11 wounds still fresh.'' Agence France-Presse,Dec. 20, 2001. • "UN approves internationalsecurity force for Afghanistan."Agence France-Presse,Dec. 20, 2001. • "Critics bash 9/11 compensationfund plan.'' Agence France-Presse,Dec. 21, 2001. • "Giuliani bids New York farewell ahead of departure from office." Agence France-Presse,Dec. 27, 200 I. • "US Magistratedenies request to release alleged shoe bomber.'' Agence France-Presse,Dec. 28, 2001. • "Letter from 35,000 Feet: Flying the Safe Skies." Hadassah Magazine,Jan. 2002; 83:5. • "After September 11, Israeli airline's security savvy in demand.'' Agence France-Presse,Jan. 4, 2002. • "Fire and Police departmenthats irk indignant New Yorkers." Agence France-Presse,Jan. 10, 2002. • "Indian minister demands Pakistan back up words with deeds." Agence France-Presse,Jan. 12, 2002. • "Trade.Center dust cloud may have dangerous effects on firemen." Agence France-Presse,Jan. 14, 2002. • "Kidnappers threaten to kill US reporter in 24 hours." Agence France-Presse,Jan. 30. • "Peres outlines vision for Mideast peace." Agence France-Presse,Feb. 2, 2002. • "Talented eaters stagger onlookerswith rare gastronomicfeat." Agence France-Presse,Feb. 13, 2002. • "Six months later, work at Ground Zero nears completion." Agence France-Presse,March 7, 2002. • "DowntownNYC suffering 9-11's economic choke hold." Agence France-Presse,March 8, 2002. • "Six months later, 9-11 trauma never far from frrefighter's mind." Agence France-Presse,March 11, 2002. • "Anti-dopinggroup says gene enhancementshould be banned from competition.''Agence France-Presse,March 20, 2002. • "Heading into Easter, Church still roiled by sexual abuse scandal." Agence France-Presse,March 28, 2002. • "UN Security Council discussesrapidly escalating violence in Middle East." Agence France-Presse,March 29, 2002. • "In Boston, concern over future of Roman Catholic archdiocese."Agence France-Presse,April, 20, 2002. • "Pall of priestly abuse is pervasive at scandal's heart." Agence France-Presse,April 21, 2002. • "Among US Catholics, dismay at Cardinals' initiatives." Agence France-Presse,April 25, 2002. • "With three weeks to bishops' meeting, church scandal grinds on." Agence France-Presse,May 24, 2002. • "Shift in U.S. Jewish Vote May Have Helped Republican Triumphs."TheJerusalem Report Magazine, December2, 2002; Pg. 16. • "The Shanda Factor.'' The Jerusalem Report Magazine, December 30, 2002; Pg. 34. • "Israel Hopes Bush's New Anti-Oslo Appointee Will Improve Peace 'Road Map.'" The Jerusalem Report Magazine,December 30, 2002; Pg.6. • "U.S. Security Makes leaving Iran Harder for Jews.'' The Jerusalem Report Magazine, January 13, 2003; Pg. 1I. • "Routine and Shady." The Jerusalem Report Magazine, February 10, 2003; Pg. 36. • "Jewish, Arab Activists Anxious at Liebennan's White House Bid." The Jerusalem Report Magazine, February 10, 2003; Pg. 9. • "He Loves this Job.'' The Jerusalem Report Magazine, March 10, 2003; Pg. 36. • "American Jews, Israeli Officials,Try to Distance Selves from Push to War.'' The Jerusalem Report Magazine,March 24, 2003; Pg. 6. 6 Chanan Tigay • 917-763-5911 • [email protected]

• "And Then There Were Six." The Jerusalem Report Magazine, June 30, 2003; Pg. 26. • "High Holy Roller." The Jerusalem Report Magazine, September 8, 2003; Pg.26. • "Will Bush Win Over the Jews?" The Jerusalem Report Magazine, December I, 2003; Pg. 28. • "Conductor pays tribute to Holocaust artists." The Jerusalem Post, May 5, 2005; Pg. 24. • "Me And Igi And The Fickle Finger Of Fame." Newsweek, October I, 2007; Pg. 26. • "Israeli aid offer rebuffed:" JTA, August29, 2005. • "Sharon sounds alarm on Iran." JTA, Sept. 16, 2005. • "Pakistani President addresses U.S Jews." JTA, September 23, 2005. • "Israelis sneak in to help Katrina victims." JT A, Sept. 30, 2005. • "Volunteers flocking to burial societies." JTA, May 28, 2004. • "Summer camps go for diversity." JT A, June 5, 2004. • "Jews hope OSCE isn't just talk." JTA, June 12, 2004. • "NPR Mideast coverage may be monitored." JTA, June 19, 2004. • "March opens Catholic teachers' eyes." JT A, June 26, 2004. • "Marchers honor, mourn the lost." JTA, July 3, 2004 .. • "Jews welcome choice of pope." With Rachel Pomerance. JTA, July 10, 2004. • "Building identity through service." JTA, July 17, 2004. • "Survivor makes toys, plays poker, gives money." JTA, July 24, 2004. • "Report: Little proofof bullying." JT A, July 31, 2004. • "Withdrawal opponents work U.S. ties." JTA, August 26, 2004. • "Some Jews join anti-Bush protest." JT A, August 29, 2004. • "Rabbi expelled over sex abuse claims." JTA, September 2, 2004. • "Audit: JAFI transfers to WJC were kosher." JTA, September 9, 2004. • "Conservative movement or coalition?" JTA, Sept. 16, 2004. • "'Groundbreaking' naming offemale rabbi." JTA. Sept. 23, 2004. • "Synagogues join faith coalitions." JT A, Oct. I, 2004. • "See Dick and Jane schmooze in book." JTA, Oct. 7, 2004. • "Jews outraged by Google-run hate site." JTA, Oct. 14, 2004. • "Conservatives censure rabbi of gay shut." JTA, Oct. 21, 2004. • "Massive Talmud translation nears end." JTA, Oct. 29, 2004. • "FBI: Jews target of religious hate crimes." JTA, November 4, 2004. • "Jews reflect on Arafat." JTA, November 11, 2004. • "Iraq chaplain looks back." JTA, November 18, 2004. • "Cards meld Chanukah, Christmas." JT A, December 6, 2004. • "When doctors believe in miracles." JT A, December 23, 2004. • "Jewish rift on evolution." JTA, January 18, 2005. • "CIA under attack on Nazi files issue." JTA, February I, 2005. • "Shortage of salami hits eateries." JTA, February 8, 2005. • "CIA to release more Nazi documents." JTA, February 8, 2005. • "Arthur Miller's work had Jewish themes." JTA, February 15, 2005. • "Jewish left gets new wind." JT A, February 28, 2005. • "Religious groups try to mind their money." JTA, April 5, 2005. • "Mormons again vow to stop baptizing Jews." JTA, April 12, 2005. • "Kosher gospel rocks Passover seder." JTA, April 14, 2005. • "Survivors, liberators look back." JTA, April 20, 2005. • "Poll: Americans Jag in Holocaust knowledge." JTA, May 3, 2005. • "Being smart carries a price." JTA, June 7, 2005. • "What's a new oleh to do?" JTA, July 14, 2005. • "Group builds ties to new pope."JTA, Aug~st 16, 2005. • "U.N. reform: Good for the Jewish state?" JTA, September 6, 2005. • "Sharon makes U.N. rounds." JTA, September 14, 2005. • "Will warm reception for Israel last?" JT A, September 20, 2005. • "5765: U.S. Jews' political ." JTA, September 20, 2005. • "Totaling the damage from Katrina." JTA, September 27, 2005. • "Security alert network fortified." JTA, September 27, 2005. 7 ChananTigay • 917-763-5911• [email protected]

• "Episcopaliansreject divestment."JTA, October 11, 2005. • "Who's up, who's down in giving." JTA, November I, 2005. • "'Intelligent design' and the 'Christmas wars."' JTA, December20, 2005. • "Intelligent design' behind court win." December27, 2005. • "Telling Israel's story in comics." JTA, January 9, 2006. • "Levinas gets his day in the sun." JTA, January 12, 2006. • "$15 million for day school sets 'new bar."' January 30, 2006. • "Europe's Jews caught in cartoon furor." JTA, February 7, 2006. • "ADL: Skinhead violence up." JTA, February7, 2006. • "Substance abuse up in Israel." JTA, March 5, 2006. • "Cabbie or doctor? Group expands students' ambitions." JTA March 23, 2006. • "Groups mobilize against boycott call in U.K." May 16, 2006. • "Israel and Diaspora in family feud?" JTA, July 3, 2006. • "Orthodox show their support for Israel." JTA, July 25, 2006." • "Book Review: Arrested Development:Philip Roth's Rude Truth: the Art of Immaturity." The Forward, Nov. 17, 2006. • "Book Review: Depicting a Surreal Reality: The Ministry of Special Cases." Hadassah Magazine, Dec. 2007; 89:4. • "Inside Noah's Ark." The Forward, June 18, 2007.

8 APPENDIXN

Adjunct Faculty Curricula Vitre

Dodie Bellamy 1020 Minna St. • San Francisco, CA 94103 • 415/863-6798 • [email protected]

Education Indiana University, Bloomington• M.S., Instructional Systems Technology, 1977 Indiana University, Bloomington• M.S., Urban and Overseas English, 1977 Indiana University, Bloomington• B.A., Comparative Literature (cum laude), 1973

2013

Academic Positions Associate Faculty, MFA in Creative Writing Program Antioch University, Los Angeles, CA Lecturer, Creative Writing San Francisco State University, San Francisco, CA Adjunct Professor, Creative Writing California College of the Arts

Publications/Presentations Cunt Norton (Los Angeles: Les Figues Press, 2013), book of poetry "I Must Not Forget What I Already Know," essay commissioned in response to ReverseRehearsals exhibition, Southern Exposure, San Francisco. Presented May 30, 2013. "All the Empty Spaces Are Love: Kathy Acker' s Dream Maps," essay commissioned for Not Only This, But 'New LanguageBeckons Us', organized by Andrew Blackley for Visual AIDS, Fales Library & Special Collections, NYU, May 23-July 27, 2013 Lost Treasuresfrom Bay Area Art Archives,curated by Bay Area Video Coalition and Renny Pritikin. I was omissioned to introduce and contextualize Kathy Acker before the showing of The Blue Tapeby Kathy Acker and Alan Sondheim, The Lost Church, San Francisco, May 7, 2013.

2012

Academic Positions Associate Faculty, MFA in Creative Writing Program Antioch University, Los Angeles, CA Dodie Bellamy 2

Lecturer, Creative Writing San Francisco State University, San Francisco, CA Adjunct Professor, Creative Writing California College of the Arts

Publications/Presentations the buddhist, ebook edition (New York: Emily Books, 2012), book of creative nonfiction Columnist, Open Space,San Francisco blog focusing Bay Area art and culture "Crimes Against Genre" and "Blanche and Stanley," Revolution:An Annotated Reader. eds. Lisa Robertson and Matthew Stadler (Portland: Publication Studio, 2012) "Cunt-Ups," I'll Drown My Book:Conceptual Writing By Women, eds. Caroline Bergvall, Laynie Browne, Teresa Carmody, Vanessa Place (Los Angeles: Les Figues, 2012) Protest Poster for exhibit of protest posters curated by Joseph del Pesco and Connie Lewallan, Berkeley Museum of Art, May 9, 2012 "Here Comes the Bride/ Groom," (with Kevin Killian), commissioned poem for The Air We Breathe,curated by Apsara DiQuinzio, San Francisco Museum of Modern Art, November 5, 2011- February 20, 2012, "Monitoring Your Desire," for" Authenic Objects" panel as part of the Q.E.D. series, curated by Vanessa Place, MAK Schindler House, West Hollywodd, CA, June 13, 2012. "When the Sick Rule the World," BombayGin 38.1, 2012 (Boulder) Interviewed by Elizabeth Hall, Denver Quarterly46:3, Spring, 2012 "Without a net: an interview with Dodie Bellamy," interviewed by Emily Gould, Emily Booksblog, February 22, 2012

2011

Academic Positions Associate Faculty, MFA in Creative Writing Program Antioch University, Los Angeles, CA Lecturer, Creative Writing San Francisco State University, San Francisco, CA Adjunct Professor, Creative Writing California College of the Arts Dodie Bellamy 3

Publications/Presentations the buddhist (Portland: Publication Studio, 2011), book of creative nonfiction Columnist, Open Space,San Francisco Museum of Modern Art blog focusing Bay Area art and culture "July 4, 2011," Conversationsat the Wartime Cafe:A Decadeof War 2001-2011,ed. Sean Manzano (Berkeley: CreateSpace, 2011) "Here Comes the Bride/ Groom" (with Kevin Killian), The Air We Breathe:Artists and PoetsReflect on Gay MarriageEquality," ed. Apsara DiQuinzio (San Francisco: San Francisco Museum of Modern Art, 2011) "Rascal Guru," The Swan's Rag, Issue 4, August, 2011 (Oakland) "Bedside Reading: Erle Stanley Gardner and ," ChicagoReview 56: 2/3, Autumn, 2011 "What Is Experimental Literature? (Five Questions)," interviewed by Christopher Higgs, HTMLGiant, June 9, 2011 Catalogue essay for Queer Voice,curated by Ingrid Schaffner, Institute of Contemporary Art, Philadelphia, April -August, 2011

2010

Academic Positions Associate Faculty, MFA in Creative Writing Program Antioch University, Los Angeles, CA Lecturer, Creative Writing San Francisco State University, San Francisco, CA Adjunct Professor, Creative Writing California College of the Arts

Publications/Presentations Whistle While You Dixie (Los Angeles: Susan Silton and the Crowing Hens, 2010) (chapbook) Columnist, Open Space,San Francisco Museum of Modern Art blog focusing Bay Area art and culture "I Hate Whistling," presented at Tendencies:Poetics and Practice,CUNY Grad Center, April 9, 2010 "Girl Body," Action Yes Quartery, Vol. 1, Issue 12, Winter 2010 Dodie Bellamy 4

"Notes for a San DiegoReader Profile on Eileen Myles that Was Never Written," Aufgabe9, 2010

2009

Academic Positions Associate Faculty, MFA in Creative Writing Program Antioch University, Los Angeles, CA Lecturer, Creative Writing San Francisco State University, San Francisco, CA Adjunct Professor, Creative Writing California College of the Arts

Publications/Presentations "Goldilocks Syndrome," presented on the panel "Lacrimae of the Medusa; or, Cixous (33 years later) and Crud-: Let's Talk about Sex (Again)," at Advancing FeministPoetics and Activism: A Gathering,CUNY Graduate Center, September 25, 2009 "Phone Home," Lifeas We Show It, ed. Brian Pera and Masha Tupitsyn, (San Francisco: City Lights, 2009) "Bedside Reading," presented on My VocabularyDid This to Me: Panelfor the Collected JackSpicer, St. Marks Poetry Project, New York, May 15, 2009 "Turn On the Heat," News of CommonPossibility, Issue 2, December, 2009 Review of feature-length documentary, OctoberCountry," Camerawork:A Journalof PhotographicArts, Fall/Winter, 2009

2008

Academic Positions Associate Faculty, MFA in Creative Writing Program Antioch University, Los Angeles, CA Lecturer, Creative Writing San Francisco State University, San Francisco, CA Adjunct Professor, Creative Writing California College of the Arts Dodie Bellamy 5

Visiting Writer, English Department Mills College, Oakland, CA (Fall 2008) Visiting Writer, Summer Writing Program Naropa University, Boulder, CO

Publications/Presentations BarfManifesto (Brooklyn: Ugly Duckling Presse, 2008) (chapbook) MotherMontage (Brooklyn: Belladonna, 2008) (chapbook) The BandagedLady (San Francisco: [ 2nd floor projects ], 2008) Catalogue essay for HangingMatters, an exhibit of Tariq Alvi' s art at [ 2nd floor projects], March, 2008 (chapbook) "Dogs Without a Face," Mythtym, ed. Trinie Dalton (New York: PictureBox, 2008) "The Gifford Irving Show," collaborative performance with Kevin Killian, presented at the "Positions Colloquium," Kootenay School of Writing, Vancouver, B.C., August 20, 2008 "Queering My 70s," presented on the panel "Queering the 70s" at "Poetry of the 1970s," sponsored by the National Poetry Foundation, at the University of Maine, Orono, June 14, 2008 "CCA Barf," lecture presented for the Graduate Lecture Series at California College of the Arts, San Francisco, February 5, 2008 "Ladies Who Poetry," AbrahamLincoln #3, Summer/Fall, 2008 (Ashland) "From Phone Home," Apothecary,Ether, 7/11/08 (Denver) "From Mere Life," Big Bell #1, Spring 2008 (San Francisco) "Anne McGuire's Stampede," essay to accompany "from Anne McGuire," an exhibit of Anne McGuire's postcard art at Marjorie Wood Gallery, and online gallery curated by Chris Komater, 2008

Katie Crouch P.O. Box261 Solinas, CA 94924 [email protected] (415)624-7160

Education BA, American Civilizations, 1995, Brown University, Providence, Rhode Island MFA, Creative Writing, Fiction, 2004, Columbia University, New York

2013 Academic Positions: Undergraduate lecturer of Creative Writing, San Francisco State University, Fall and Spring 2013

2012 Academic Positions: Undergraduate lecturer of Creative Writing, San Francisco State University, Spring 2012 Publications: The White Glove War, novel, Little Brown For Young Readers "The Emma Bovary Guide To Infidelity," Salon "Loaded" 7X7 "Heft by Liz Moore: A Review", San Francisco Chronicle

2011 Publications: The Magnolia League, novel, Little Brown For Young Readers The San Francisco Chronicle, "Revenge of the Radioactive Lady: A Review" "What Amanda Knox Left Behind", Slate Fellowships: MacDowell Fellowship

2010: Publications: Men and Dogs, novel, Little, Brown "Living At Home", The London Guardian

2009 Publications: First, Let me Tell you What We Ate, Tin House Dangerous Summer, McSweeney's Fellowships: Sewanee Walter Dakin Fellowship

2008 Publications: Girls in Trucks, novel, Little, Brown. Fellowships: MacDowell Fellowship

MATIHEWCLARKDAVISON 1535 GREEN ST, #207 SANFRANCISCO, CA. 94123 (415) 812-1779 [email protected]

EMPLOYMENT

SAN FRANCISCO STATE UNIVERSITY 1998-2001/ 2003-PRESENT

• FACULTY LECTURER IN CREATIVE WRITING (2003-present) Teach three courses per semester in BAIMA/MFA programs. Supervise, mentor, and coach up to nine graduate teaching assistants per semester. Courses include: Teaching Creative Writing, Building Characters, Characterization, Works-in­ Progress, Writers on Writing, Style in Fiction, The Short-Short Story, Uses of Personal Experience•, Work In Progress, Craft of Fiction, and Short Story Writing I & 2, Transfer Literary Magazine.

• FACULTY ADVISOR, Fourteen Hills Literary Magazine (2005-present) Oversee, supervise, and advise graduate student staff on all aspects of SFSU's international literary magazine, including fundraising and community building/outreach. Act as liaison between magazine, department, and college. Produce two magazines and one single-author book per year along with correlating release parties. Acquire non-SFSU-affiliated judges for book contest; including Frederick Tuten, Terese Svoboda, and Major Jackson.

• COMMITTEE WORK (1998-present) Gina Berriault Award Committee, Hiring Committee (including chair of committee) for Graduate Teaching Assistants, Admissions Committee, Undergraduate Curriculum Committee, Undergraduate Graduation Celebration Committee, Awards Committee.

• OTHER Judge for Audre Lorde Contest for The Poetry Center, Judge for The Leo Litwack Award in Fiction for Transfer Magazine, Fundraising for Fourteen Hills Magazine (tenfold increase in annual revenue).

STANFORD UNIVERSITY SEPTEMBER 2012-PRESENT

• COMMUNICATIONS COACH, Stanford School of Business Work with MBA students to master written and oral communication on assignments and ''real-world" projects, including: business plans, personal correspondence, web­ presence, product pitoh/launch. Served as Communications Coach for 2012 Executive Challenge.

PERFORMING ARTS WORKSHOP 2007-PRESENT

• ARTIST MENTOR (2007-present) Coach various teaching artists "live" in classroom in 8-week internships. Conceive and execute biannual all-staff professional development for staff of 30-40 artists working in various art forms with youth ages 3-18. Create materials and coach teachers to exhibit behavior aimed to enable their students to maximize critical thinking and learning through the arts.

• WRITER-IN-RESIDENCE at LYRIC/Lavender Youth Recreation & Information Center (2007) Created socially-relevant curriculum and led a creative writing workshop for "Gay, Lesbian, Bisexual, Trans-gender, Queer and Questioning Youth." PRIVATEWRITING COACH/TEACHER 2001-PRESENT http://www.matthewclarkdavison.com

• DOUGLASS STREET LAB (2007-present) Conceive, market, and teach sold-out thrice-yearly 8-week cross-genre writing classes focusing on experimental prompts conceived from non-literary art forms.

• I-on-I WRITING COACH (2001-present) Work with aspiring and established writers on deepening and drafting non-fiction and fiction essays, stories, and books. Coach writers on effective reading/presentation skills.

• FREELANCE Italian web site translations & book proposals for non-fiction manuscripts.

EDUCATION

2000 M.F.A. in Creative Writing, Fiction San Francisco State University Correlative Major (12 graduate units): Pedagogy in Arts Education

1996 B.A. in English Literature, GPA 3.89 San Francisco State University minor: Creative Writing,Fiction

2006 Master class in Creative Writing/Somatics with Mary Michael Wagner/San Francisco

2008 Master Class in Writing/Movement with choreographer Joe Goode/San Francisco

HONORS/AWARDS

• Cultural Equities Grant for Novel-In-Progress, San Francisco Arts Cornrnission Individual Artist • Clark Gross Award for a Novel-in-Progress, Judge: Gail Tsukiyama • Stonewall Alumni Scholarship for Student Writers, SFSU • Dean's List 8 semesters (Undergraduate)

PUBLICATIONS

• Fiction: from"Doubting Thomas" Lumina from "Doubting Thomas" Per Contra interview and selection from "Doubting Thomas" Transfer Magazine "Leaving,"Lodestar Quarterly "The Result," The Atlantic Monthly's Unbound Fiction "Rock," 580 Split Issue 3 "Missing,"The Pacific Review "Crash,"Argestes, Volume4 "Tattletale,"Argestes, Volume 3 "Turkey and Pasta Soup," Miamigo "Take Me," Mississippi Review's EVO • Nonfiction: "A Love Letter"Creosote Journal "Time Travel: The Leaky Foundation," Benefit Magazine "The Good-Will Traveler,'' Benefit Magazine, Premier Issue

OTHER • Writers Workshop at The University of Iowa; Thesis Cornrnittee member for Mieke Eerkins's MFA in Creative Non-Fction. • Panelist for World's AIDS Day: Sex and Media, sponsoredby The Black Student Alliance with Dr. Derethia DuVal and Dr. Dawn Elissa Fischer. • Reader and Panelist: San Francisco Public Library focusing on Bay Area G/L/B/T writers. • Featured reader at several bookstoresand events in San Francisco, including LitQuake and The Poetry Center. Readings with several writers, including:Peter Omer, Truong Tran, Nona Caspers, Toni Mirosevich,Robin Romm, Stephen Elliot, D.A. Powell, Randall Mann, Lorelei Lee, , and others. • Produced several public readings in Bay Area communityfor Fourteen Hills and The Douglass Street Lab. • Participatedin "Poetry for the People" at Glide Church with June Jordan. • Performedoriginal fiction at Glide Church in San Francisco and The Guild Project in Chicago. • Guest lecturer, SHANTI's fiction class for writers living with AIDS/HIV. • Guest lecturer in several San FranciscoState University Creative Writing Classes. • Interviewee:Voices at the End of the Rainbow. [sound recording; aired Internationally]: Conceived and produced by Brad Rosenstein.San Francisco: B. Rosenstein, 1996, featuring commentaryby: Juvenal Acosta, , Jack Foley, Don Herron, Malcolm Margolin, Maxine Hong Kingston and others. • Editorial Committee: Singing Your Own Song; Poetry Anthologypublished by Glide World Publishing. • Taught English as a Second Languagefor two years while living in Northern Italy. • Italian Language Speaker.

Donna M. de la Perriere 400 Perkins Street #409 • Oakland CA 94610 • 510-451-0790 • [email protected] • donnadlp@,fsu.edu

EDUCATION

MFA Brown University 1991 • Creative Writing Thesis: "Shipwreck" MA University of Georgia I 988 • Nineteenth-CenturyBritish Literature/ContemporaryCritical Theory Thesis: "The Splitting of &perience and the &perience of Splitting in Jane Eyre" BA Mercer University I 982 • Theater and Film Studies

RELEVANT EXPERIENCE

• Teaching

• Lecturer, San Francisco State University, June 2004 present o ffrve creative writing courses annually: two fall, two spring. one summer)

Sample Courses: --The Poetics of&tremity (graduate) --The Poetics of Narrative (graduate) --Individual Vision (graduate) --Writing Self and Identity (graduate) --The Business of Creative Writing (graduate) --Work in Progress (undergraduate senior capstone) --Writing on the Body: Sexuality and Gender (undergraduate) --Mad Girls, Bad Girls: Transgressive Female Subjectivity (undergradUate) ---Craft of Fiction (undergraduate) --Intro to Creative Writing (undergradUate) • Senior Adjunct Professor, California College of the Arts, September 2003 present o (four courses annually: hvo fall, two spring; two creative writing, hvo writing and lit)

Sample Courses:--MFA Poetry Workshop (graduate). --Mad Girls, Bad Girls: Transgressive Female Subjectivity (graduate) --Split at the Root: Self, Family, and Identity (graduate) --Contemporary CreaUve Nonfiction (graduate) --Mentored Study/Directed Writing (graduate) --Writing Practicum (undergraduate senior capstone class) --Mad Girls, Bad Girls: Transgressive Female Subjectivity (undergraduate) --Multi-Genre Creative Writing Workshop for First-Year Majors (undergraduate) --Literature & Writing (undergraduate)

Lecturer, Stanford University, March 2005 June 2005 Assistant Professor {Ranked, Non-Tenure-Track), Central Michigan University, 1999 - 2003 Lecturer, Boston University. 1993 - 1995 Lecturer. University of Rhode Island, 1992 - 1993 Lecturer. Brown University, 1991 - 1993 Teaching Fellow, Brown University, 1990 - 1991 Lecturer, University of Georgia, 1988 - 1989 Teaching Fellow, University of Georgia, I 986 I 988

Donna M. de la Perriere Page 1 • Department, College, and Community Service

• Member. MFA Admissions Committee. California College of the Arts. 2007 - present read, evaluate, discuss, rank, and make admissionsdecisions about incoming MFA in Writing students

• Chair/Member,MFA in Writing Thesis Committees. California College of the Arts, 2005 • present chair and/or serve on creative writing graduate students' thesis committees: mentoring, evaluating thesis drafts, and co-conductingoral examinations(approx. 6 per year)

• Teaching Apprentice Mentor, San Francisco State University. 2004 - present mentor graduate teaching assistants in creative writing courses

• Organizer and Curator. Bay Area Poetry Marathon Reading Series, 2004 - present program, organize, and run nationally recognized literary event series involving twenty-fiveto thirty poets from aroundthe U.S. annually

• Teaching Apprentice Mentor. California College of the Arts, 2003 - present mentor graduate teaching assistants in creative writing, literature, and composition courses

Organizer and Curator, Play/Space Reading. California College of the Arts. 2008 programmedand organized poetry and creative nonfiction reading for opening of"Between Memory and Invention"exhibit at CCA's Play/SpaceGallery

Member, MFA Summer Bridge Program Committee, California College of the Arts, 2008 served on faculty/studentcommittee to create summer orientation program for incoming MFA students

Member, English 1 Research Skills Committee. California College of the Arts, 2008 served on committee to implement research skills requirementfor freshman composition

Member. MFA Applicant Pool Committee, California College of the Arts, 2007 - 2008 served on ad hoc committee to increase applicant pool for MFA in Writing Program

Organizer and Curator. CCA Centennial Reading, California College of the Arts, 2007 programmedand organizedreading featuring selected California College of the Arts facultyand alumnifor college-wide centennial celebration in conjunctionwith Small Press Traffic Literary Arts Center

Board Member, Small Press Traffic Literary Arts Center {San Francisco), 2003 - 2005 served on the board of nationally-recognizedliterary arts organization

Organizer and Co-curator, Boston Poetry Marathon Conference, 2000 - 2003 programmed, organized, and ran nationally recognized annual literary event involving over seventy-fivepoets fromaround the U.S.

Member, Graduate Creative Writing Thesis Committee. Central Michigan University, 2003 served on creative writing graduate students' thesis committees:mentoring, evaluating thesis drafts, and co- conductingoral examinations '

Judge, Carol Arnett Creative Writing Scholarship, Central Michigan University, 2003 read and evaluated both graduate and undergraduatepoetry and fiction submissions for university-widecreative writing scholarship

University Core Program Grader, Boston University, 1994 - 1995 evaluated essays in university's core social sciencesprogram, commenting extensively on essays' grammar,style, and structure · State Regents' Exam Grader, University System of Georgia, 1987 - 1989 graded essay examinations used state-wideto determine whether college students' writing skills were of sufficient quality to merit degree award

Donna M. de la Perriere Page 2 • Publishing/Editing

DevelopmentEditor. English Textbooks. Allyn & Bacon/Simon & Schuster. 1998 - 1999 developednew w,d revised editions of compw,y's college English textbooks w,d ancillary materials: created table of contents; collaborated with authors in planning, writing, and revising book and ancillary manuscripts;directed supplementwriters; hired reviewers; workedwith electronicmedia editors to create electroniceditions of books; traveled to relevant academic conferences

SupervisingEditor. Adult Trade Division. Houghton Mifflin Company. 1996 - 1997 coordinatedguidebook series from manuscriptto bound book

PUBLICATIONS

Books • Saint Erasure,Talisman House, 2010 • True Crime, Talisman House, 2009

Poems in Anthologies and Compilations • "Surface Tension," Kindergarde: Avant-Garde Poe~s, Plays, Stories, and Songs/or Children, Dana Teen Lomax, ed (Black Radish Books), 2013 • "For kari edwards," No Gender: Reflections on the Life and Work ofkari edwards, Julian T. Brolaski, erica kaufman, w,d E. Tracy Grinnell, eds (LitmusPress/Belladonna Books), 2009 • "Surface Tension," No Gender: Reflections on the Life and Work ofkari edwards, Julian T. Brolaski, erica kaufinw,, w,d E. Tracy Grinnell, eds (Litmus Press/BelladonnaBooks), 2009 • "From the Root Word Meaning 'To Go'," Bay Poetics, StephanieYoung, ed (Faux Press), 2006

Poems in Journals • "You Will Miss Me When I Bum," New American Writing, forthcoming2011 • "For kari edwards," New American Writing, forthcoming2011 • "What They All Say," Colorado Review, 2008 • "Dark-Adapted.Eye,"Denver Quarterly, 2008 • "The Glass Delusion," New American Writing, 2008 • "The Problem of Matter," New American Writing, 2008 • "House: The History of Us All," interim, 2001 • "Case Law ('The child was not acting normally... ')," Mirage/Period(ical),2007 • "CriminalPsychology," Mirage/Period(ical),2007 • "Forensics ('For several months after... ')," Mirage!Period(ical}, 2001 • "Prima Facie," Mirage!Period(ical), 2001 • "Corpus Delecti," Mirage!Period(ical), 2001 • "Pro Se," Mirage!Period(ical),2007 • "The Great and Secret Show," Volt, 2001 • "Killer," Volt, 2001 • "Still Life (Shirley in the House)," Five Fingers Review, 2005 • " 'The world is everything that is the case'," Parthenon West Review, 2005 • "Forensics ('When the tech writer's mother... ')," Parthenon West Review, 2005 • "Witness,"Parthenon West Review, 2005 • "Intent," Parthenon West Review, 2005 • "Exhibit One," Parthenon West Review, 2005 • "Crime Scene," Parthenon West Review, 2005 • "ExculpatoryEvidence," Parthenon West Review, 2005 • "Case Law ('He started making... ')," The Tiny, 2005

Donna M. de la Perriere Page3 PUBLICATIONS, continued

• "Fe!o De Se," The Tiny, 2005 • "ProximateCause," The Tiny, 2005 • ''Life of the Saints," Talisman, 2005 • "From the Root Word Meaning 'To Go'," Xantippe, 2004 • "OccupationalMarks and Other Signs," Xantippe, 2004 • Selectionsfrom "Life of the Saints" Score, 2004 • Selectionsfrom "The Problem of Matter," Score, 2004 • "Gospel," New American Writing, 2003 • "Penelope at the Wheel," ColoradoReview, 2003 • "The Book of Lost Vessels," Denver Quarterly, 2003 • "MadeleineLe Bouc on Tiptoe," Denver Quarterly, 2003 • "Night Inside the Wreck," First Intensity, 2001 • "How To Build Your Own House (Herself Surveys Her Kingdom),"First Intensity, 2001 • "A History of Wings," First Intensity, 2001 • "The High Note," New American Writing, 2000 • "Psalm In Which After a Certain Point It's $99 to Anywhere,"Colorado Review, 2000 • "The harvest is past, the summer is ended, and we are not saved" Pressed Wafer, 2000 • "The Beautiful South," Pressed Wafer, 2000 • "What Is Necessary," Tool, 2000 • "In That You Resemblethe Sea," Denver Quarterly, 1999 • "Even your breath can't save you," American Letters and Commentary, 1999 • "Wash Fragment(Shirley in the Yard)," Volt, 1999 • "How To Build Your Own House," Volt, 1999 • "What Is Necessary,"Boston Arts edition, The &st Village, 1999 • "The Book of Lost Vessels," Boston Arts edition, Th,e East Village, 1999 • "The Beautiful South," Boston Arts edition, The &st Village, 1999 • "OccupationalMarks and Other Signs," AGNI, 1993 • "Return to the Scene," New England Review and Bread Loaf Quarterly, 1986 (PushcartPrize nomination)

READINGS AND RESIDENCIES

• Pegasus Books (Berkeley),January 201 ! • CaliforniaCollege of the Arts, December 2010 • San Francisco State University,December 2010 • New England Institute of Art (Boston), November 20!0

• • •

• (San Francisco),April 2009 • Studio One (Oakland),March 2009

Donna M. de la Perriere Page4 READINGS AND RESIDENCIES, continued • (San Francisco), February2009 • Velvet Revolution,San FranciscoState University, November 2008 • Moe's Books (Berkeley),October 2008 • (National Public Radio), July 2008 • Reading (Berkeley),May 2008 • (San Francisco),February 2008 • Series (New York), April 2007 • Memorial Reading, Small Press Traffic (San Francisco), April 2007 • Assatly MemorialPrize Benefit Reading, Poetry and Pizza Reading Series (San Francisco),March 2007 • Moe's Books (Berkeley),March 2006 • State University,November 2005 • Parthenon West Benefit Reading (Pegasus Books, Berkeley),November 2005 • Boog Press Benefit Reading (Adobe Books, San Francisco), October 2005 • Series (Berkeley), September2005 • Poetry Festival, April 2005 • New Brutalism/21Grand Gallery Reading Series (Oakland),April 2004 • Boog Press Benefit Reading (Oakland), September2003 • Meritage Press Reading (San Francisco), August2003 '111111111111111Conference,June 2003 • - Series (New York), December2002 • CentralMichigan University, November 2002 • of Art and Communication(Boston), September2002 • Boston PoetryMarathon Conference, June 2002 • The Book Cellar Reading Series (Cambridge),August 2001 • Boston Poetry Marathon Conference,July 2001 • Central MichiganUniversity, March 2001 • , Central MichiganUniversity, March 2001 • Series (NationalPublic Radio), February 2001 • (Boston), August 2000 • Boston Poetry Festival, July 2000 Collaborative(New York), April 2000

• Boston Poetry Festival, July 1999 • Waterstone's BooksellersReading Series (Boston), May 1999 • The Book Cellar Reading Series (Cambridge),December 1998

AW ARDS AND GRANTS

• Faculty Travel Grant, CaliforniaCollege of the Arts, November 2010 • Fund For Poetry Award, Fund for Poetry (New York NY), April 2009 • Faculty Research & Creative Endeavors DisplayGrant, Central Michigan University,December 2002 • Faculty Research & Creative Endeavors DisplayGrant, Central Michigan University,September 2002 • Faculty Research & Creative Endeavors ResearchGrant, Central Michigan University,May 2002 • Faculty Research & Creative Endeavors Display Grant, Central Michigan University,May 2002

Donna M. de la Perriere Page 5 REFERENCES

• Maxine Chernoff, Chair • Aimee Phan,Chair Departmentof CreativeWriting MFA in Writing SanFrancisco State University CaliforniaCollege of the Arts 1600 HollowayAvenue 1111 Eighth Street San Francisco CA 94132 San Francisco CA 94107 (415) 389-1877home (510) 922-1163home

• DonaldRevell, PrOfessor • ClaudiaKeelan, Professor Departmentof English DepartmentofEnglish Universityof Nevada,Las Vegas Universityof Nevada, Las Vegas Las Vegas NV 89154 Las Vegas NV 89154 (702) 897-6107home (702) 245-6346cell

• LauraMullen, Professor • GillianConoley, Professor DepartmentofEnglish Departmentof English LouisianaState University SonomaState University Baton Rouge LA 70803 Rohnert Park CA 94928 (225) 381-8245office (415) 924-0642home

prepared January 20 fl

Donna M. de la Perriere Page6 CURRICULUM VITAE

Steven Michael Dickison

247A 10"' Avenue San Francisco CA 94118 tel/home: 415-379-9515 cell: 510-301-3876 [email protected] [email protected]

Education:

Bachelor of Arts, University of Minnesota, Duluth, in English & American Literature (major) and History (minor); magna cum laude: 1980

Graduate study (without degree) at University of Minnesota, Duluth, in English Composition: 1981-82; at New College of California, San Francisco, in Poetics: 1985-7; at UC Berkeley Extension, in Comparative Literature: 1986-88

Professional positions:

ExecutiveDirector, The Poetry Center and American Poetry Archives,and Lecturer,Departme.nt of Creative Writing. San Francisco State University: Sept 1999-present (http://www.sfsu.edu/-poetry\

Senior Adjunct Professor, Department of Writing and Literature, California College of Arts, Oakland and San Francisco: Fall 2007-present (Adjunct Professor, from Fall 2007; Senior Adjunct Professor as of Fall 2013) (http://www.cca.edu/academics/writing-literature)

Adjunct Faculty, Department of Creative Writing, New College of California, San Francisco ("San Francisco Poets" course): Spring 2007 (http://newcollege.edu)

Lecturer, Osher LifelongLearning Institute/San Francisco State UniversityCjSan Francisco Poets" course): Fall 2006 (http://olli.sfsu.edu)

Assistant Director, SmallPress Distribution,Inc., Berkeley;non~profit arts management;in charge of sales, acquisitions, catalog production & design, and public programming: 1987-1999 (http://www.spdbooks.org)

Volunteer positions:

Advisory Board, Voiceworks, London, UK; Birkbeck Contemporary Poetics Research Centre and the CompositionDepartment at GuildhallSchool of Music& Drama; "exploringthe collaborativepossibilities of the making of new works for voice" (http://www.voiceworks.org.uk), 20 I 0-present.

Chair, Board of.Directors, rova:arts/RovaSaxophone Quartet (http://www.rova.org),San Francisco; performing arts non-profit, presenting new music programs, 1998-2000

Board of Directors, Visual Arts/Language Arts, Berkeley (http://www.valaproject.org): educational non­ profit bringing teaching artists into East Bay public schools, 1996-98

CV-2013-Dickison Curatorial projects:

Poetry Center readingseries, San FranciscoState University,at various local venues;invitational series,

Spring2000 to present,with performancesvideo-documented for the American Poetry Archives1 an original collection of recordings, I 954-present (see Poetry Center Digital Archive, https://diva.sfsu.edu/collections/poetrycenter)

Guest curator for 11RecentVisitors: Poets and Publishingon the SolinasScene in the Seventies"(book exhibition of generally rare and fugitive 1970s works), at Book Club of California, San Francisco, January 30-March 30, 2006

Curator for "Poetry and its Arts: Bay Area Interactions 1954-2004" (art exhibition of circa 150 original works-art by poets, poet-artist collaborations,artists in poet circles-in celebration of the 50th Anniversaryof the Poetry Center; incorporatingthe live-artistproject "Collective Memory:' in collaborationwith.Norma Cole, and involvingcollaborating artist Emily McVarishfor subsequentartists book CollectiveMemory), at California Historical Society, San Francisco, December 11, 2004-April 16, 2005 {http://www.californiahistoricalsociety.org/exhibitions/past exhibitions.html)

Select Publications:

Books:

Disposed,The Post-Apollo Press, Sausalito, CA, 2007 (poetry)

Co-editor, and book design, Homageto EtelAdnan: SmallPress TrafficLiterary Arts CenterLifetime AchievementAward, eds. Lindsey Boldt, Steve Dickison, Samantha Giles, The Post-Apollo Press, Sausalito, CA,2012

Co-editor, Prison/Culture,eds. Sharon E. Bliss, Kevin B. Chen, Steve Dickison, Mark Dean Johnson, Rebeka Rodriguez,City LightsFoundation, San Francisco,20 I 0; editor foi-selection of work by ten poets, plus editorial contributions

RecentVisitors: Poets and Publishingon the BolinasScene in the Seventies,Book Club of California, , San Francisco, 2006 (pamphlet distributed at opening of book exhibition)

Rootsof Blue,Siecle a Pains, Berkeley, CA, 200 I (poetry chapbook)

Editor/publisher/book design, Listening Chamber, a literary small press (with imprints Rumor Books and Parrhesia Press); eight books brought into print from 1994-20 IO; authors published by the press include contemporary poets Norma Cole, Duncan McNaughton, Susan Thackrey, Benjamin Hollander, Larry Kearney, and more historic works by Lorine Niedecker {ed. Jenny Penberthy), Ted Berrigan & Gordon Brotherston {translations), and Gennady Aygi (trans. Peter France)

Anthologies:

Homage to EtelAdnan: Small Press TrafficLiterary Arts CenterLifetime Achievement Award, eds, Lindsey Boldt, Steve Dickison, Samantha Giles, The Post-Apollo Press, Sausalito, CA, 2012; "Introductory Note," and poem, "VariationsDone for Etel Adnan"

A~MutanabbiStreet Starts Here:Poets and WritersRespond to the March5th, 2007, Bombingof Baghdad's "Streetof the Booksellers,"eds. Beau Beausoleil and Deema Shehabi, PMPress, San Francisco, 2012: single poem, "the friend"

Viz:Inter-Arts, a Trans-GenreAnthology, ed. RoxannePower Hamilton, SantaCruz, CA, 2007; "Norma Cole and Steve Dickison:from 'Poetry and its Arts"'; interviewfeaturing SD and Norma Cole 2 CV-2013-Dickison "in orderto get in a in a slightlybetter ", a festschriftfor FrancoBeltrametti, ed. Stefan Hyner, Fondation FrancoBeltrametti, Riva San Vitale, Switzerland,2006; three poems from Disposed

CivilDisobediences: Poetics and Politicsin Action,eds. Anne Waldmanand LisaBirman, Coffee House Press, Minneapolis,MN, 2004; essay,"For a Minor Art: Publishing& Poetry";also, I transcribedand annotated RobinBlaser's lecture "lrreparables,I: an essay-ode"

Recove,yof the PublicWorld: Essays in Poeticsin Honourof RobinBlaser, Talonbooks, Vancouver, BC, Canada,1999;essay, "Hauntof the Unresolved"(on RobinBlaser and new music)

Journals:

Mondor/a16, ed. Roberto Tejada and Rosa Alcala, Dallas, TX (forthcoming, 2013); 'the friend' with "A Note on Wadada,"and five poems from Wear Youto the Boll

VonitasX (final issue), ed. Vincent Katz, NYC (forthcoming, 2013); three poems from Wear You to the Boll

Aufgabe 12, ed. E. Tracy Grinell, Brooklyn, NY (2013); five poems from Wear You to the Ball

Hombone20, ed. Nathaniel Mackey, Durham, NC, 2012; five poems from Wear You to the Ball

SFState Magazine,"Well Versed" by Jesse Hamlin, San Francisco; profile piece on The Poetry Center and Archives,featuring an interview with SD as Director

EOAGH(online magazine), ed. Tim Trace Peterson, NYC, 2011; two poems (http://eoagh.com/1p=I046)

OnanOnScreen (online magazine), ed. Thomas Devaney, Philadelphia, Winter 2011; poem+ video (http://onandonscreen.net/issue-3/Dickison-was enabling.html)

Utt/eRed Leaves(online magazine), No. 5, "Paros Translation Symposium," introduction by Joseph Mosconi; one poem (http://www.littleredleaves.com/LRL5/Shome.html)

Volt:The War Issue,ed. Gillian Conoley, Sonoma, CA, 2007; one poem with graphic presentation

New AmericanWriting, No. 25, eds, Maxine Chernoff and Paul Hoover, MillValley, CA, 2007; two poems from Disposed

PoetryFlash, Berkeley, CA, Fall 2007; transcribedand annotatedinterview, "BasilKing, a conversationwith the poet and painter"

BothBoth, ed. John Sakkis, Boulder, CO, 2006; six poems from Disposed

BigBridge (online magazine), ed. Michael Rothenberg, Guerneville, CA, 2006; poetry, "Three for David," David Meltzer festschrift (http://www.bigbridge.org/issue 11/dmpoetdickison.htm)

ShuffleBoil: a magazineof poets & music,co-editor/publisher/designer, with David Meltzer, six issues published,Berkeley, 2002-2006i originatedas a biannualmagazine, with poet, artist, musiciancontributors

ShuffleBoil, Nos, 5/6, 2006; essay, "Drive Suite, he sd" (on poets Harold Carrington and Ray Bremser); essay, "Wallin's Vale Ave" (on Swedish pianist Per Henrik Wallin); multiple audio and book reviews; design and layout

Shiny,No. 13, ed. Michael Friedman, Denver, CO, 2005; "from Schollplattenspieler"(33 short poems)

Zyzzyva, ed. Howard Junker, San Francisco, 2004; "Roots of Blue" (poem series) 3 CV-2013-Dickison ShuffleBoil, No. 4, 2003; transcribed lecture, "Ted Talk: Ted Joans at UC Berkeley, November 2002"; transcribedand annotatedinterview, "Marty Ehrlich,an interviewwith SD and David Meltzer"; essay, "ShuffleBoil into NYC- New York report June '03"; multiple audio and book reviews; design and layout

ShuffleBoil, No. 3, 2003; essay, "The Ballad of Hedy West"; essay/eulogy, "In Memoriam Malcolm Earl Waldron"; "Fred Hersch,a conversationwith SD and David Meltzer"; multipleaudio and book reviews; design and layout

26: a journalof poetryand poetics,various eds., Moraga, CA, 2002; six poems

ShuffleBoil, No. 2, 2002; essay, "Blackstick" (on jazz clarinetists); essay, "Bob Thompson's Sounds" (on painter Bob Thompsonand music);"American IndianMusic, 1969-2000," transcribedconversation, with John~CarlosPerea; multiple audio and book reviews;design and layout

Shufflelloil, No. I, 2002; essay, "Don't freeze yourself to death over there in those mountains" ( eulogy for jazz singer Jeanne Lee); "Fairuz's Ascent to Beittedine" by Etel Adnan (my translation from French); multipleaudio and book reviews;design and layout

lyric&,No. 7, eds. Avery E.D. Burns and Joseph Noble, San Francisco, 2000; five poems

Croyon,No. 2, eds. Bob Harrison and Andrew Levy, Milwaukee, WI, and New York City, 1999; essay, "For a Minor Art: Poetry & Publishing"

FourteenHills, Vol. 6, No. I., eds. Patrick Ryan, et al., San Francisco State University, Fall/Winter 1999; transcribedand annotated interview,11 A Conversationwith Carl Rakosi,"conducted at the poet's home in San Francisco

ViolinImprovisation Studies, ed. Anthony Barnett, Sussex, UK, September 1998; transcribed and annotated interview, "India Cooke: Conversationin Profile,"conducted at the artist'shome in Oakland,and in Berkeley

TheJournal of Electro-Acoustic Language, Vol. I, No. I, eds. Franklin Bruno and David Carl, Los Angeles, CA, 1996; essay, "Haunt of the Unresolved: [ Meets the Composers]"

Reviewof Contemporary Fiction, Vol. 14, No. 3, Normal, IL, Fall, 1994; several brief reviews, of The One Who Was StandingApart fromMe, by Maurice Blanchet, tr. Lydia Davis; Painting& Guns,by William Burroughs; Woolgatheringby Patti Smith; and ParisWhen It's Naked, by Etel Adnan

Select public presentations:

July 15-21, 2013: invited participant, Pares Symposium on Poetry and Translation, House of Archeologoy, Athens, Greece; with SusanGevirtz, SiaritaKouka, PhoebeGiannisi, loanna Avramidou, Angelos Parthenis,Demosthenes Agrafiotis, a.o.

July 13, 2013: poetry and music performance, with Tilemachos Moussas Trio, at VYRSODEPSEIO performancespace, Athens, Greece; "Jazzjn' Poetry" programincluding Michel Collet, Valentine Verhaeghe (France) and Demosthenes Agraftotis (Greece)

April 25, 2013: poetry reading at Meridian Gallery, San Francisco (Poetry Center reading series), with Clark Coolidge

April 25, 2013: public conversation with Clark Coolidge, The Poetry Center, SFSU

4 CV-2013-Dickison February 5, 2013: presentation, "A Little Bay Area History" (viz 20" Century Japanese poetry/Japanese Americanwriting and exchanges),for the event "Fukushima/Tanka/SanFrancisco" at Cesar Chavez Student Union Gallery, SFSU; with Midori McKeown, and Creative Writing and Japanese language graduatestudents

December 18, 2012: KPFA-FM,Berkeley, public affairs program ."Against the Grain" with C. S. Soong, conversation on Poetry Center Digital Archive with select recordings from the 1950s/60s/70s; aired and archived online: www.againstthegrain.org/program/636/coming-tues-1218 I 2

December 11, 2012: contributors readingat the Green Arcade, San Francisco,for Homageto EtelAdnan

October 28, 2012: poetry reading at Moe's Books, Berkeley; with Cole Swensen and Lindsey Boldt

October I0, 2012: contributors reading at the Green Arcade, San Francisco, for -MutanabbiStreet Starts Here:Poets and WritersRespond to the March5th, 2007, Bombingof Baghdad's "Street of the Booksellers"

September 22, 2012: poetry reading at Duke University, Durham, NC, Minor American Poetry Series; with Damien Marassa

September 4, 2012: public interview with Lewis MacAdams (Poetry Center Director 1975-78), Poetry Center readingseries, SFSU

June I 0-16, 2012: Naropa University, Boulder, CO, residency as guest of Summer Writing Program: "Archival Poetics and the War on Memory" (panel discussion, 6/11); public interview with David Henderson, focused on his participation in the Black Arts Movement (6/14); and poetry reading (6/16), with Stacy Szymaszek, Magdalena Zurawski, Dawn Lundy Martin, and LisaJarnot

February 2, 2012: public interview with Kathleen Fraser (Poetry Center Director, 1972-75), Poetry Center reading series, SFSU

November 30, 2011: public interview with poet Anne Waldman (on publication of her major work The /ovisTrilogy), Poetry Center reading series, SFSU

April 24, 20 I I: poetry reading, at Elizabeth Robinson's home, Boulder, CO; with Prageeta Sharma

October 31, 2010: poetry reading, EOAGH reading series, at Unnamable Books, Brooklyn, NY; with SusanGevirtz

September 11, 20 I 0: host and participant, "A Celebration of the Life & Work of ," Poetry Center event, at Unitarian Center, San Francisco; with Richard Eigner, Robert Grenier, Duncan McNaughton, Stephen Ratcliffe, Kathleen Frumkin, et al

June 29, 2010: reading/presentation, "What About W.H. Auden!" at Books and Bookshelves, San Francisco;participant in group event, hosted by Bill Berkson

May 6, 20 I 0: public interview with Richard 0. Moore (poet & filmmaker for KQED television, 1960s and '70s), Poetry Center reading series, SFSU

December 11, 2009: poetry reading,featured poet in SmallPress Traffic readingseries "On Performance/' at CCA, Oakland

May 29, 2009: Wear Youto the Ball,performance (words and music) in collaboration with new music composer Bill Dietz, at 7hours Gallerie, Humboldt University,Berlin

5 CV-2013-Dickison May 23, 2009: Wear You to the Boll,performance (words and music) in collaboration with new music composer Bill Dietz, part of "TEXTMUSICTEXTMUSICSymposium," at the Horse Hospital, London, UK; video archived at http://vimeo.com/7 I 28289

May 23, 2009: keynote lecture, "Circulations of the Song" (on Jamaican music and contemporary poetics), at "TEXTMUSICTEXTMUSICSymposium," Birkbeck CollegQ, University of London, UK

February14, 2009: panel participant,"Directors and Directions:Activism at Our LiteraryCenters/' Associated Writing Programs Conference, Chicago, IL; with Maria Mazziotti Gillan, M.L. Liebler, Afaa Michael Weaver

December 30, 2008: poetry reading, Small Press Traffic "Locals" MLA Reading, at Hotel Utah, San FrancisCoioff-site, large group readingin conjunctionwith Modern LanguageAssociation Conference

July 20, 2008: poetry reading, Spare Room reading series, Portland, OR; with Susan Gevirtz

July 19, 2008: featured lecture, "Eye of the Ear: Jess and the Poets," commissioned by Douglas F. Cooley MemorialArt Gallery, in conjunctionwith the exhibition'~ess: To and From the Printed Page/' at Reed College Chapel, Portland, OR

June-July 2008: invited participant, Paros Symposium on Poetry and Translation, EKEMELHouse of Literature, Lefkes,Pares Island,Greecei with SusanGevirtz, Siarita Kouka,John Sakkis, Stacy Doris, Chet

Wiener, JosephMosconi, Eleni Stecopoulos, Angelos Parthenis 1 DemosthenesAgrafiotis, Vassilis Manoussakis,et al

May I 0, 2008: poetry reading, BetaLevel series, Los Angeles, CA; with Susan Gevirtz

April 28, 2008: poetry reading/performance (word and music collaboration) with jazz guitarist John Schott, at Moe's Books, Berkeley; also with Stephen Farmer

March I 0, 2008: poetry reading, Red Hill Books, San Francisco; with Susan Gevirtz

January 17, 2008: poetry reading, Marin Poetry Center, San Rafael, CA; with Kathleen Fraser

November I, 2007: performance (words and music), part of "'s All Soul's Eve," poems and balladsin performance,a celebrationof A HetenAdam Reader,Poetry Center readingseries, Unitarian Center, San Francisco; with Kristin Prevallet, Warner Jepson, Michael McClure, Carl Grundberg, et al

September 2006: keynote lecture, "The Tears of the Blind Lions" (on poets and artists in 1950s San Francisco),at O.C. Tanner Symposium,"The 1950s,the , and the Power of Expression," Utah State University, Logan

August 26, 2006: poetry reading, Downtown Berkeley Jazz Festival, sponsored by the Jazz School; with David Meltzer, Al Young, Charles Curtis Blackwell

July I 5, 2006: poetry reading, Bay Area Poetry Marathon, The Lab, San Francisco; with Lee Ann Brown, Maxine Chernoff, Norma Cole, Steffi Drewes, Kathleen Fraser, and Barbara Tom ash

June-July 2006: invited participant, Paros Symposium on Poetry and Translation, EKEMELHouse of Literature,Lefkes, Pares Island,Greece; with SusanGevirtz, Siarita Kouka, EleniStecopoulos, Tiff Dressen,Liana Sakelliou, Demosthenes Agrafiotis, Angelos Parthenis, Maria Laina,et al

June 6, 2006: participant on panel, on the life and work of Jaime de Angulo (to mark the publication of his CollectedPoems), at Black Oak Books, Berkeley, with Bob Callahan, Stefan Hyner, Malcolm Margolin

6 CV-2013-Dickison January 30, 2006: presentation, "Recent Visitors: Poets and Publishing on the Solinas Scene in the Seventies" at Book Club of California, for the opening of book exhibition

May 25, 2006: host and participant, group reading for EveryGoodbye Ain't Gone:An Anthologyof Innovative Poetryby African Americans, American Literature Association_off.site event, at Cafe Royale,San Franciscoj with Aldon Nielsen, Lauri Ramey, giovanni singleton, Douglas Miller,

October 21, 2004: poetry reading, Down City series, Providence, RI; with Bernadette Mayer

October 20, 2004: presentation, "The Poetry Center in NYC" at The Poetry Project, St, Marks Church, New York, in celebration of the Poetry Center's SO"Anniversary; with Lee Ann Brown and Fanny Howe

October 19, 2004: presentation, "The Poetry Center in NYC" at Poets House, New York, in celebration of the Poetry Center's SO"Anniversary; with Basil King and Myung Mi Kim

July 24, 2004: poetry reading, Bay Area Marathon, The Lab, San Francisco; with Stefani Barber, Laynie Brown, Mary Burger, Del Ray Cross, Robert Gluck, Yedda Morrison, Cynthia Sailers

June 2004: guest lecturer, panel on archiving recordings of poetry, at Naropa University Summer Writing Program, School of Disembodied Poetics, Boulder, CO; with Stephen Taylor, Jane Dalrymple-Hollo, Anselm Berrigan

October 2003: essay and panel discussion,"Niedecker's Noise/' delivered at Lorine Niedecker Centenary celebration, Milwaukee, WI; with Lisa Robertson, Eleni Sikelianos, et al

June 2003: poetry reading/performance (word and music collaboration) for ShuffleBoil, at Bowery Poetry Club, NYC; with David Meltzer, and musicians Reuben Radding, Sabir Mateen, and Drew Gardner

May 2003: poetry reading/performance for ShuffleBoil, at Beyond Baroque Literary Arts Center, Venice, CA; with David Meltzer, Horace Coleman, Todd Baron,, Tosh Berman, Kristine McKenna, JoshKun, and musicians

Fall 2000, invited guest on Michael Krasny's Forum, KQED-FM, San Francisco; with James Kass of LitQuake, novelist Peter Plate, and spokesperson for Harper Audio/Caedmon Recordings

February 17, 2000, host and participant, "EdwardDorn, a Memorial Tribute," Poetry Center event, at Unitarian Center, San Francisco;with Tom Raworth,Joanne Kyger, Duncan McNaughton,Tom Clark, Gordon Brotherston, Stephen Emerson, Bob Callahan

July 1998: guest panelist (on poetry and publishing) at Napa Valley Writers Conference, Napa, CA

July 6-1 I, 1998: g~est teacher (week-long seminar on poetry and publishing) at Naropa Summer Writing Program, Jack Kerouac School of Disembodied Poetics, Boulder, CO; participation on panel (7/8, essay, "For a Minor Art: Poetry & Publishing"), and poetry reading (7/10) with Donald Guravich, Akilah Oliver, and Eileen Myles

December 1997: presentation on panel on literary publishing, at Modern Language Association Conference, Toronto, OT, Canada;with Douglas Messerli,et al

October 1997: guest panelist (on poetry and publishing) at Mills College, Oakland

June 1996: guest panelist (on small press publishing) at American Booksellers Association Conference, Chicago, IL

7 CV-2013-Dickison June 1995: essay, "Haunt of the Unresolved" (on Robin Blaser and new music) delivered at "The Recovery of the Public World" conference in honour of Robin Blaser, Emily Carr Institute of Art and Design, GranvilleIsland, Vancouver, BC, Canada

May 15, 1995: featured guest on Michael Silverblatt's syndicated radio program "The Bookworm,'' broadcast on NPR station KCRW-FM, Los Angeles, and affiliated stations

8 CV-2013-Dickison 1

Anne Galjour 163026TH AVE SAN FRANCISCO, CA 94122 [email protected] 415/218-5223

Education - BA Liberal Arts, Speech major, English minor - Nicholls State University, Thibodaux, LA, 1980

2013 Academic Positions: part time lecturer in the Creative Writing Department, San Francisco State University. Under graduate courses taught: I 01 Fundamentals of Creative Writing, 513 Craft of Playwriting, 609 Directed Writing. M.F.A. courses taught: 809 Directed Writing

Publications: Point of Vue Magazine

Productions: TURTLES & ALLIGATORS (world premiere)-Bayou Playhouse, Lockport, LA

2012 Academic Positions: part time lecturer in the Creative Writing Department, San Francisco State University. Under graduate courses taught: 101 Fundamentals of Creative Writing, 513 Craft of Playwriting, 60 I Works in Progress. M.F .A. courses taught: 855 MFA Playwriting Workshop

Productions: & FAITH, CINDERELLA PRINCIPLE with Robert Moses Kin Dance Company - national tour HURRICANE - Knuth Hall, San Francisco State University

Presentations: Doris Duke Charitable Trust and Association of Performing Arts Presenters, Washington D.C.

2011 Academic Positions: part time lecturer in the Creative Writing Department, San Francisco State University. Under graduate courses taught: 101 Fundamentals of Creative Writing, 302 Fundamentals of Creative Reading, 513 Craft of Playwriting, 601 Works in Progress, 602 Playwriting Workshop. M.F.A. courses taught: 855 M.F.A Playwriting Workshop

Productions: FABLE & FAITH (world premiere), CINDERELLA PRINCIPLE with Robert Moses Kin Dance Company - Yerba Buena Center For The Arts in San Francisco, national tour OKRA - Bayou Playhouse, Lockport, LA

Residencies: Columbia College, Chicago, ILL 2

2010 Academic Positions: Academic Positions: part time lecturer in the Creative Writing Department, San Francisco State University. Under graduate courses taught: IOI Fundamentals of Creative Writing, 302 Fundamentals of Creative Reading, 513 Craft of Playwriting. M.F.A. courses taught: 855 M.F.A Playwriting Workshop.

Publications: American Theatre Magazine

Productions: CINDERELLA PRINCIPLE (world premiere) Yerba Buena Center For The Arts, San Francisco

Presentations: Council of Fellows~ Washington D.C.

2009 Academic Positions: part time lecturer in the Creative Writing Department, San Francisco State University. Under graduate courses taught: 101 Fundamentals of Creative Writing, 302 Fundamentals of Creative Reading, 513 Craft of Playwriting. M.F.A. courses taught: 855 M.F.A Playwriting Workshop

Productions: YOU CAN'T GET THERE FROM HERE - Z Space, San Francisco OKRA - Bayou Playhouse, Lockport, LA

2008 Academic Positions: part time lecturer in the Creative Writing Department, San Francisco State University. Under graduate courses taught: 302 Fundamentals of Creative Reading, 513 Craft of Playwriting, 602 Playwriting Workshop. M.F.A. courses taught: 855 M.F.A Playwriting Workshop, 856 Workshop in Short Plays, 880 Individual Visions

Productions: YOU CAN'T GET THERE FROM HERE (world premiere) - Hopkins Center at , national tour

Residencies: Hopkins Center For The Arts at Dartmouth College, Flynn Performing Arts Center, The Latchis Theatre, Massachusetts College of Liberal Arts

Presentations: Doris Duke Charitable Trust and Association of Performing Art Presenters, Washington D.C.

Grants: Creative Campus grant from the Doris Duke Charitable Trust in support of YOU CAN'T GET THERE FROM HERE 3

PREVIOUSPUBLICATIONS:

Excerpts of ALLIGATORTALES - EXTREMEEXPOSURES: AN ANTHOLOGYOF SOLO PERFORMANCETEXTS FROM THE TWENTIETHCENTURY, Theatre CommunicationsGroup

Excerpts of HURRICANE-BURNS AND MANTLETHEATRE YEARBOOKFOR BEST PLAYS

Excerpts of THE KREWE OF NEPTUNE -AMERICAN THEATRE MAGAZINE

"Le Boucherie" -CALLBOARDMAGAZINE

HEATHER JUNE GIBBONS Curriculum Vitae 4546 Fulton Street San Francisco, CA 94121 (206) 992-7323 [email protected] http://www.heatherjunegibbons.com

EDUCATION M.F.A. in Creative Writing, Poetry, University of Iowa Writers' Workshop, 2007 B.A. in English-Writing, Dance minor, Western Washington University, 2000 National Student Exchange, University of Massachusetts, Amherst, 1998-1999

2013 Academic Positions Lecturer, Department of Creative Writing, San Francisco State University

Publications "Little Evening Sermon." The Laurel Review (forthcoming Fall 2013). "Lives of the Prophets." The Laurel Review (forthcoming Fall 2013). "Ostinato." Boston Review (National Poetry Month Feature, April 2013). from "Sore Songs." Sixth Finch (Spring 2013). "The Olden Days." The Associative Press (Spring 2013): 38. "Nature." The Associative Press (Spring 2013): 39. "Diagram." West Branch (Winter 2013): 57 "Waymark." West Branch (Winter 2013): 58-60. "Moxie Returns." The Cincinnati Review 9.2 (Winter 2013): 58.

Awards and Honors Finalist, Poetry Prize, Waywiser Press, 2013

Invited Readings and Talks Featured Reader, "VelRo" Reading Series, San Francisco State University, CA, May 7, 2013.

2012 Academic Positions Lecturer, Department of Creative Writing, San Francisco State University Continuing Lecturer, Department of English, Purdue University

Publications "Flyover" (poetry chapbook). Lubbock, TX: Q Ave Press (2012). "An Evening of Yes Music." Forklift, Ohio 25 (Summer 2012): 177. "Memory Is a Bull Market." Indiana Review 33.2 (Summer 2012): 138. "Every Town Has A Division Street," Rpt. Shark Forum (July 2012). "Folk Song," Rpt. Shark Forum (July 2012). "We Stand on the Shoulders of Gnats" Rpt. Shark Forum (July 2012). Awards and Honors Residency, Vermont Studio Center, Johnson, VT, June 2012. Semifinalist, Brittingham/Felix Pollak Prize, University of Wisconsin Press, 2012. Semifinalist, Saturnalia Books Poetry Prize, 2012.

Invited Readings and Talks Panelist, "Measuring Creativity: What Do Grades Have to Do with Artistry?" Associated Writing Programs Conference, Chicago, March 2, 2012. Resident Reading, Vermont Studio Center, Johnson, VT, June 26, 2012. Featured Reader, Student English Association Reading, Purdue University, IN, March 28, 2012.

2011 Academic Positions Continuing Lecturer, Department of English, Purdue University

Publications "Elegy." Hayden's Ferry Review 49 (Fall/Winter 2011): 181. Rpt. Poetry Daily (February 2012). "Caller." The Awl (July 2011). "Mistaking Small for Faraway." The Awl (July 2011). "Do Not Leave This Box." The Southeast Review 29.1 (2011): 12. "Passengers." Anti- (January 2011). "I-Beam." Anti- (January 2011).

Awards and Honors Full Fellowship, Vermont Studio Center, 2011 Semifinalist, Kathryn A. Morton Prize in Poetry, Sarabande Books, 2011

Invited Readings and Talks Presenter, "Poetry, Politics, and Change." College of Liberal Arts Research Cluster Synergy Presentation, Purdue University, West Lafayette, IN, April 27, 2011. Reader, E3 Series for Improvisation Performance, Lala Gallery, Lafayette, IN, April 8, 2011. Reader, "Monsters of Poetry" reading series, Madison, WI, March 25, 2011. Reader, Kenyon Review/Rescue Press A WP Offsite Reading, Washington D.C., Feb. 4, 2011.

Service Learning Community Instructor, Student Access, Transition and Success, Purdue University, 2011 Judge, Purdue Literary Awards, Purdue University, 2008-2011

2010 Academic Positions Continuing Lecturer, Department of English, Purdue University

Publications

Gibbons 2 "Smell the Moxie." The Cincinnati Review 7.1 (Summer 2010): 55. "In Sotto Voce." Gulf Coast 22.2 (Summer/Fall 2010): 210-211. "The Device." White Whale Review 1.3 (Winter 2010).

A wards and Honors Excellence in Teaching Award, Department of English, Purdue University, 2010 Semifinalist, Walt Whitman A ward, Academy of American Poets, 2010 Finalist, Four Way Books Intro Prize, 2010

Service Volunteer Literacy Tutor, Lafayette Adult Resource Academy, Lafayette, IN, 2010 Judge, Purdue Literary Awards, Purdue University, 2010

2009 Academic Positions Continuing Lecturer, Department of English, Purdue University Visiting Instructor, Department of English, Purdue University Adjunct Assistant Professor, University of Iowa Writers' Workshop

Publications "Grimace." New Ohio Review 6 (Fall 2009): 18. "Red-Handed." The Quirk 2 (2009): 3. "Origami.'' Pebble Lake Review 6.1 (Summer 2009). "Pointillist." Pebble Lake Review 6.1 (Summer 2009). "She So-So.'' Drunken Boat 10 (Spring 2009). "Song." Drunken Boat 10 (Spring 2009). "Velvet Lung.'' Drunken Boat 10 (Spring 2009). "My City.'' Blackbird 8.1 (Spring 2009). "Review of Pamela Uschuk's Crazy Love" (book review). Women Writers Get Together (web), ed. Patricia Henley (October 2009).

A wards and Honors Agha Shahid Ali Scholarship, Fine Arts Work Center in Provincetown, 2009

Invited Readings and Talks Reading, The Department of Culture and Identity, Roskilde University, , March 2009

Service Faculty Mentor, English 502: Practicum in Teaching Creative Writing, Purdue University, 2009 Judge, Purdue Literary Awards, Purdue University, 2009

2008 Academic Positions Visiting Instructor, Department of English, Purdue University Adjunct Assistant Professor, University ofiowa Writers' Workshop

Gibbons 3 Publications "It Is the Future." Hot Metal Bridge 4 (Fall 2008). "Succulent." Hot Metal Bridge 4 (Fall 2008). "Toast." Hot Metal Bridge 4 (Fall 2008). "Vacuum." Hot Metal Bridge 4 (Fall 2008). "Winds You Hear Before You Feel." Juked (October 2008). "The Idea Of." Juked (September2008).

Service Judge, Purdue Literary Awards, Purdue University, 2008 Volunteer Literacy Tutor, Lafayette Adult Resource Academy, Lafayette, IN, 2008 REFERENCES Robert Hass DistinguishedProfessor Departmentof English University of California Berkeley [email protected]

Patricia Henley Professor Department of English Purdue University [email protected]

Mark Levine Professor University of Iowa Writers' Workshop [email protected]

Dean Young Professor, William S. Livingston Endowed Chair in Writing University of Texas at Austin [email protected]

Gibbons 4 JUNSEKIM [email protected]

CURRICULUM VITAE

EDUCATION January 1998 - GODDARDCOLLEGE, Plainfield, VT January 2000 M.F.A. in Creative Writing August 1986 - UNIVERSITYOF ILLINOIS, Urbana-Champaign, IL May 1990 B.S. in Psychology 2013 Academic SANFRANCISCO STATE UNIVERSITY, CREATIVE WRITING DEPARTMENT Positions Lecturer. THESAN FRANCISCO WRITERS GROTTO, San Francisco, CA Will have taught four Fiction Writing workshops at this private creative writing organization. THEWRITING SALON, San Francisco & Berkeley, CA Will have taught eight Fiction Writing workshops at this private creative writing organization. Award Joseph Henry Jackson Award, administered by The San Francisco Foundation Nomination Readings The Writing Salon Monthly Reading Series Inside Story Time Reading Series 2012 Academic SANFRANCISCO STATE UNIVERSITY, CREATIVE WRITING DEPARTMENT, Positions Lecturer. UNIVERSITYOF SAN FRANCISCO, MF A PROGRAMIN WRITING, Thesis Advisor. THESAN FRANCISCO WRITERS GROTTO, San Francisco, CA Taught two Fiction Writing workshops at this private creative writing organization. THEWRITING SALON, San Francisco & Berkeley, CA Taught eight Fiction Writing workshops at this private creative writing organization. Publications Short Story: My Brother's to Tell, Fourteen Hills, 18.1 Readings LitCrawl Reading Series 2011 Academic SANFRANCISCO STATE UNIVERSITY, CREATIVE WRITING DEPARTMENT, Positions Lecturer. UNIVERSITYOF SAN FRANCISCO, MFA PROGRAMIN WRITING, Thesis Advisor. THEWRITING SALON, San Francisco & Berkeley, CA Taught eight Fiction Writing workshops at this private creative writing organization. 2010 Academic UNIVERSITYOF SAN FRANCISCO, MFA PROGRAMIN WRITING, Positions Adjunct Professor, Thesis Advisor. THEWRITING SALON, San Francisco & Berkeley, CA Taught eight Fiction Writing workshops at this private creative writing organization. Contest Judge SANFRANCISCO STATE UNIVERSITY, Judge for The Wilner Award for Short Fiction Readings Why There Are Words Reading Series 2009 Academic SANFRANCISCO STATE UNIVERSITY, CREATIVE WRITING DEPARTMENT, Positions Lecturer. UNIVERSITYOF SAN FRANCISCO, MF A PROGRAMIN WRITING, Thesis Advisor. THEWRITING SALON, San Francisco & Berkeley, CA Taught eight Fiction Writing workshops at this private creative writing organization. 2008 Academic UNIVERSITYOF SAN FRANCISCO, MF APROGRAM IN .WRITING, Positions Thesis Advisor. THEWRITING SALON, San Francisco & Berkeley, CA Taught eight Fiction Writing workshops at this private creative writing organization. CURRICULUMVITA: Frances N. Phillips

194 Onondaga Avenue San Francisco, CA 94112 (41S} 337-8923 - home (41S} 398-4474 -work (41S} 810-5968 - cell

EDUCATION B.A., Literature and Languages, Reed College, Portland, Oregon, 1973 M.A., Creative Writing (with honors), San Francisco State University, 1975

2013 AcademicPositions • Lecturer, Creative Writing, San Francisco State University, Course taught: CW 600 Uses of Personal Experience • Lecturer, Technical and Professional Writing, San Francisco State University, Course taught: TPW 490 Grantwriting

Other Employment • Program Director, Arts and the Creative Work Fund, Walter and Elise Haas Fund, San Francisco

Presentations • Onstage interview with Jamaica Kincaid, City Arts & Lectures, San Francisco, February 2013 • Keynote Panelist, Emergence 2013, produced by Emerging Arts Professionals at SPUR,San Francisco, June 2013 • Onstage interview with Margaret Atwood, City Arts & lectures, San Francisco (forthcoming, October 2013}

Publication • Fourth edition of The Nonprofit Kit for Dummies, co-authored with Stan Hutton (Wiley) • Co-editor, Grantmakers in the Arts READER(Seattle)

Grant ReviewPanels, Committees, and NonprofitBoards • Advisor, Wallace Alexander Gerbode/William and Flora Hewlett Foundations' performing arts commissions • Member, Community Advisory Council, Public Education Enrichment Fund, San Francisco Unified School District (appointed May 2013) • Advisory board member, Kelsey Street Press, Berkeley, California • Policy Council member, California Alliance for Arts Education,. Pasadena, California • Board Chair, Community Initiatives, San Francisco • Board Member and Secretary, Great Nonprofits, Menlo Park, California • Co-chair, Advisory Committee, San Francisco Unified School District Arts Education Master Plan Phillips-Vita

2012 AcademicPositions • Lecturer, Creative Writing San Francisco State University, Course taught: CW 600 Uses of Personal Experience • Lecturer, Technical and Professional Writing, San Francisco State University, Course taught: TPW 490 Grantwriting

Other Employment • Program Director, Arts and the Creative Work Fund, Walter and Elise Haas Fund, San Francisco

Publications • Excerpt from Up at Two in lessons for Our Time (anthology), Minnesota Center for the Book Arts • "Revisiting Research--Artists Crossing Sectors: How Can We Help? Grantmakers in the Arts READER,Vol. 23, No. 3, fall 2012 • Review of "Weaving Traditional Arts Into the Fabric of Community Health,'' Grantmakers in the Arts READER,Vol. 23, No. 2, summer 2012 • Co-editor, Grantmakersin the Arts READER

Grant ReviewPanels, Committees, and Nonprofit Boards • Advisor, Wallace Alexander Gerbode/William and Flora Hewlett Foundations' performing arts commissions • Arts Program Committee Member, Columbia Foundation (San Francisco and London, July 2012) • Advisory Board, Kelsey Street Press • Poetry Committee Member, Northern California Book Reviewers • Board member, California Alliance for Arts Education • Policy Council member, California Alliance for Arts Education • Board Chair, Community Initiatives, San Francisco • Board Member and Secretary, Great Nonprofits, Menlo Park, California • Co-chair, Advisory Committee, San Francisco Unified School District Arts Education Master Plan

2011 AcademicPositions • Lecturer, Creative Writing San Francisco State University, Course taught: CW 600 Uses of Personal Experience • Lecturer, Technical and Professional Writing, San Francisco State University, Course taught: TPW 490 Grantwriting

Other Employment • Program Director, Arts and the Creative Work Fund, Walter and Elise Haas Fund, San Francisco

Publications • Review of In Every Town: An All Ages Music Manifesto by Shannon Stewart, Grantmakers in the Arts READER,Vol. 22, No. 2 (summer 2011} • "A Tribute to Archie Green, Grantmakers in the Arts READER,Vol. 22, No 3 (fall 2011) Phillips-Vita

• Co-editor, Grantmakers in the Arts READER

Presentations • Panelist, "Measuring the Shifting Demands of Philanthropy," Americans for the Arts conference, San Diego, CA, (June 2011} • Introduction of keynote speaker, composer Mason Bates, Grantmakers in the Arts conference (October 2011} • Moderator and Organizer, "Art of the AIDS Crisis at 30," Grantmakers in the Arts conference (October 2011} • Moderator and Organizer, "Turning Museums Inside Out," Grantmakers in the Arts conference (October 2011} • Co-moderator and co-organizer, "Forward to the Past," Grantmakers in the Arts conference (October 2011)

Grant ReviewPanels, Committees, and Nonprofit Boards • Advisor, Wallace Alexander Gerbode/William and Flora Hewlett Foundations' performing arts commissions • Arts Program Committee Member, Columbia Foundation (San Francisco and London) • Conference co-chair, Grantmakers in the Arts, "Embracing the Velocity of Change" conference in San Francisco (2010-11) • Panelist, San Francisco Arts Commission, Organizational Development Grants • Advisory Board, Kelsey Street Press • Poetry Committee Member, Northern California Book Reviewers • Board member, California Alliance for Arts Education • Policy Council member, California Alliance for Arts Education • Board Member, Community Initiatives, San Francisco • Board Member and Secretary, Great Nonprofits, Menlo Park, California • Co-chair, Advisory Committee, San Francisco Unified School District Arts Education Master Plan

2010 AcademicPositions • Lecturer, Creative Writing San Francisco State University, Course taught: CW 600: Journal Writing • Lecturer, Technical and Professional Writing, San Francisco State University, Course taught: TPW 490 Grantwriting

Other Employment • Program Director, Arts and the Creative Work Fund, Walter and Elise Haas Fund, San Francisco

Publications • Co-editor, Grantmakers in the Arts READER

Presentations Kelsey Street Press Anniversary Reading Phillips-Vita

Grant Review Panels,Committees, and Nonprofit Boards • Advisor, Wallace Alexander Gerbode/William and Flora Hewlett Foundations' performing arts commissions • Arts Program Committee Member, Columbia Foundation (San Francisco and London) • Panelist, San Francisco Arts Commission, Cultural Equity Grants in Literature • Panelist, Arts Council of Silicon Valley, Poet Laureate Selection Committee • Panelist, Office of Cultural Affairs, City of San Jose, Organizational Support Grants (2010) • Advisory Board, Kelsey Street Press • Poetry Committee member, Northern California Book Reviewers • Board member and chair of communications committee, Grantmakers in the Arts (Seattle) • Board chair, California Alliance for Arts Education • Policy Council chair, California Alliance for Arts Education • Board Member, Community Initiatives, San Francisco • Board Member and Secretary, Great Nonprofits, Menlo Park, California • Co-chair, Advisory Committee, San Francisco Unified School District Arts Education Master Plan

2009 AcademicPositions • Lecturer, Creative Writing San Francisco State University, Course taught: CW 600: Uses of Personal Experience • Lecturer, Technical and Professional Writing, San Francisco State University, Course taught: TPW 490 Grantwriting

Other Employment • Program Director, Arts and the Creative Work Fund, Walter and Elise Haas Fund, San Francisco

Publications • Co-editor, Grantmakers in the Arts READER • Co-author,The Nonprofit Kit for Dummies, with Stan Hutton, John Wiley, third edition (December 2009)

Presentations • Plenary speaker, Museum Building Association annual conference, Washington, D.C., (February 2009) • Program Committee member, session organizer, and speaker, Grantmakers in the Arts annual conference (October, 2009)

Grant Review Panels,Committees, and Nonprofit Boards • Advisor, Wallace Alexander Gerbode/William and Flora Hewlett Foundations' performing arts commissions • Arts Program Committee Member, Columbia Foundation (San Francisco and London) • Panelist, Arts Council of Silicon Valley, Poet Laureate Selection Committee • Advisory Board, Kelsey Street Press • Poetry Committee member, Northern California Book Reviewers Phillips-Vita

• Board member and chair of communications committee, Grantmakers in the Arts (Seattle) • Board chair, California Alliance for Arts Education • Board Member, Community Initiatives, San Francisco • Board Member and Secretary, Great Nonprofits, Menlo Park, California • Member, Statewide Task Force on Arts Education, California County Superintendent's Association • Chair, San Francisco Arts Education Funders Collaborative • Co-chair, Advisory Committee, San Francisco Unified School District Arts Education Master Plan

2008 AcademicPositions • Lecturer, Creative Writing San Francisco State University, Course taught: CW 600: Uses of Personal Experience • Lecturer, Technical and Professional Writing, San Francisco State University, Course taught: TPW 490 Grantwriting

Other Employment • Senior Program Officer, Arts and the Creative Work Fund, Walter and Elise Haas Fund, San Francisco

Publications • Co-editor, Grantmakersin the Arts READER • Introduction, Storytellingfor Grantseekers,Cheryl Clarke, Jessey Bass Publishers, 2008

Presentations

• Reading, The Poetry Center, San Francisco State University (2008) • Moderator, Panel on New Initiatives Supporting Artists, Arts Town Hall, San Francisco . (June 2008)

Grant Review Panels, Committees, and Nonprofit Boards • Advisor, Wallace Alexander Gerbode/William and Flora Hewlett Foundations' performing arts commissions • Arts Program Committee Member, Columbia Foundation (San Francisco and London) • Panelist, Arts Council of Silicon Valley, literary fellowships • Panelist, Individual Artists' Project Grants and Fellowships, Rasmuson Foundation, Anchorage, Alaska • Advisory Board, Kelsey Street Press • Poetry Committee member, Northern California Book Reviewers • Board member and chair of communications committee and executive search committee, Grantmakers in the Arts (Seattle) • Board chair, California Alliance for Arts Education • Board Member, Community Initiatives, San Francisco • Board Member and Secretary, Great Nonprofits, Menlo Park, California Phillips-Vita

• Member, Statewide Task Force on Arts Education, California County Superintendent's Association • Chair, San Francisco Arts Education Funders Collaborative • Co-chair, Advisory Committee, San Francisco Unified School District Arts Education Master Plan Brian Thorstenson 72 C Belcher Street San Francisco, CA 94114 (41 S) 283-5777 [email protected]

Education BA, Theater, 1982, Willamette University, Salem, Oregon MFA, Creative Writing, Playwriting, 2002, San Francisco State University, San Francisco, CA

2013 Positions/Classes Lecturer, Creative Writing, San Francisco State University Fundamentals of Creative Reading Writing and Performing Monologues Playwrights Theater Workshop

Lecturer, Theatre and Dance Department, Santa Clara University Advanced Playwriting New Playwrights Festival

Publications Searching for Cedar, Poem, Cartographie Curieux

2012 Positions/Classes Lecturer, Creative Writing, San Francisco State University Architectonics of the Play Introduction to Creative Writing Playwriting (Undergrad Workshop) Playwrights Theater Workshop Writing and Performing Monologues Fundamentals of Creative Reading

Lecturer, Theatre and Dance Department, Santa Clara University Literature and Performance New Playwrights Festival Beginning Playwriting

2011 Positions/Classes Lecturer, Creative Writing, San Francisco State University Writing and Performing Monologues Playwrights Theater Workshop Introduction to Creative Writing 2011 (cont'd) Lecturer, Theatre and Dance Department, Santa Clara University Advanced Playwriting New Playwrights Festival

Productions Embassy, Central Work Theater Ensemble, Berkeley

Workshops Click, Playwrights Foundation, San Francisco Behind the Bark-N-Burger, Crowded Fire, San Francisco

Residencies Resident Playwright at Playwrights Foundation, San Francisco Playwright in Residence, Stephen Pelton Dance Theater

2010 Positions/Classes Lecturer, Creative Writing, San Francisco State University Writing and Performing Monologues Playwrights Theater Workshop Fundamentals of Creative Reading Introduction to Creative Writing Architectonics of the Play

Lecturer, Theatre and Dance Department, Santa Clara University Literature and Performance New Playwrights Festival Beginning Playwriting

Productions Rooms, Stephen Pelton Dance Theater

Residencies Resident Playwright at Playwrights Foundation, San Francisco Playwright in Residence, Stephen Pelton Dance Theater

2009 Positions/Classes Lecturer, Creative Writing, San Francisco State University Fundamentals of Creative Reading Craft of Playwriting Playwrights Theater Workshop Adapting for the Stage 2009 (cont'd) Lecturer, Theatre and Dance Department, Santa Clara University Advanced Playwriting New Playwrights Festival Beginning Playwriting

Productions The Horses, Alter Theater, San Rafael Sugar Foot Stomp, Stephen Pelton Dance Theater Over the Mountain, Santa Clara University and Brava Center for Women in the Arts

Residencies Resident Playwright at Playwrights Foundation, San Francisco Playwright in Residence, Stephen Pelton Dance Theater ' Barbara Tomash 787 Ensenada Avenue Berkeley, CA 94707 [email protected] 510 528-8485

Education: 1968-70 University of California at Berkeley 1970-71 Stanford University, Palo Alto CA 1971-73 , Albuquerque (B.A., Studio Art) 1974-76 School of the Museum of Fine Arts, Boston, MA 1992-94 M.A. candidate in Fiction Writing, San Francisco State University 1994-98 M.F.A. candidate in Poetry Writing, San Francisco State University, (M.F.A. 1998)

Academic Positions: 1995-present: San Francisco State University, Lecturer, Creative Writing Summer 1996: San Francisco State University, Extended Education, Lecturer, Creative Writing

Courses Taught: CW 854 MFA Poetry Workshop CW810 The Prose Poem cw 820/520 Writers On Writing cw 809/609 Directed Writing (SFSU Extended Education) CW604 Poetry Writing Two CW603 Short Story Writing Two cw 511 Craft of Poetry CW601 Work In Progress CW5IO Style In Fiction CW5IO Short Short Story CW5IO Introduction to Narrative CW5IO American Poetics: Experimental Poets in the American Poetry Archives CW509 Jewish Writers in the American Poetry Archives CW403 Short Story One CW302 Fundamentals of Creative Reading CW301 Fundamentals of Creative Writing Book Publications (poetry): 2013 Arboreal, Apogee Press, Berkeley, CA (forthcoming) 2009 The Secret of White, Spuyten Duyvil Press, New York, NY 2008 Flying in Water, reissued Spuyten Duyvil Press, New York, NY 2005 Flying in Water, Winnow.Press (Winnow First Book Prize), Austin, Texas

Literary Journal Publications: 2013 "from PRE," (20 page chapbook) VERSE (forthcoming) "Wave" and "Floating Gardens," Bateau (forthcoming) "Canopy," "She Is Justified Against The Margin," "Sentences Split Open Like Seeds," "Flight," "After Woods," Silk Road "Planned. Planted. Established. Neglected.," New American Writing "Lives," Witness "Of Nature," "Of Surroundings," "Of Leaves," OmniVerse "from Pre, pari-." Colorado Review Blog Interview, Barbara Tomash, a day without the ever (EdwardSmallfield) http://www.adaywithouttheever.blogspot.com.es/ 2012 "Annunciation Forest," Parthenon West Review 2011 "Reverse Annunciation," VOLT "Nachtmusik I," "Nachtmusik II," "Nachtmusik III," New American Writing 2009 "Lilies," "San Miniato," New American Writing "A Conversation With Barbara Tomash," (interview), "Nude in the Bath," "Middle School Number I (Father)," "Homestead," Transfer 98 2007 "Homestead," Parthenon West Review "Middle School Number I (Father)," VOLT 2006 "Cursive," "Sphinx, 570 BC," Five Fingers Review "red clouds brightest," "furrow sustenance ancestors." Rhino "from Flying in Water," Gargoyle 2005 "stillness against motion against," "door closes, it is time for a spiritual life," Third Coast "street wind, the stillness after the motor dies," "In red night she hems and haws," New American Writing "what she means by mother is not what he means," "which cupboard will she empty looking for her dust," "these will give the word another heart, and other pulses," "her hand moving," "if she had held the brush,'' "the photographer catches him mid-air-," Parthenon West Review 2004 "so help me god her hand on the bible promising to tell the truth," Colorado Review "the skeleton's posture is just as it was in life," Fourteen Hills "She Saw A Young Man," ZYZZYV A 2002 "Spinario, 1st Century, Bronze, ONTHEBUS "Primitive Wishes," Waterfall III (anthology) 2001 "White Interior," VOLT "Nude in the Bath," New American Writing "Nude in the Bath," Jacket on-line 1998 "The Christmas Posadas of San Miguel de Allende," "Burning-in," Columbia Poetry Review "Fire," "Sestina for Mrs. Burroughs' Apple,'' "Lunar Eclipse." Santa Clara Review "Pulse," "Dormant," "My Own Image." Transfer 75 1997 "Lake Fishing," Fourteen Hills 1996 "Sestina for Easter Day in Antigue," "Katzele," MAGAZINE, College of the Humanities 1995 "Eggs. Life-size.," "Pantoum of My Russian Grandmother," Transfer 70 1994 "Absolute Sureness," INK

Awards "Canopy,'' Finalist for the Fall 2012 Black River Chapbook Award "PRE,'' Semi-finalist for the Spring 2012 Black River Chapbook Award "Annunciation," Semi-finalist for the Fall 2011 Black River Chapbook Award "The Beds Words Lie in Are Empty," Semi-Finalist 2012 Washington Prize (Book Award) "Flying in Water," Winnow First Book Award, 2005 "Flying in Water," Finalist, Autumn House Press Book Award, 2005 "Flying in Water," Semi-finalist, Nightboat Poetry Award, 2005 "Flying in Water," Semi-Finalist Slope Editions Book Prize, 2005 "In The Orchards of America," Michael Rubin Chapbook Award, Honorable Mention, 1997 "Coin Trunk," 1980 NEA artist project grant, Judge, Barbara Rose

Selected Readings and Presentations: Readings in the Garden poetry reading series (Sharon Osmond, curator) Cody's Bookstore, Berkeley (Poetry Flash reading series) Moe's Bookstore, Berkeley (Poetry Flash reading series) Diesel Bookstore, Oakland Poetry Center Reading with Camille Dungy, SFSU Writers On Writing, reading and presentation SFSU Pegasus Books, Berkeley Studio Valencia, San Francisco Modern Times Bookstore, San Francisco Black Oak Bookstore, Berkeley SFSU Book Store

Related Professional Experience: 1986-1990 Independent Film Production: Co-Producer, Fortune Picture's "The Crowd Pleaser," a 90 minute feature film combining dramatic and documentary footage, directed by Jim Ferguson. Associate Producer, "Acting Our Age," an award-winning 60 minute documentary about women and aging directed by Michal A viad. Distributed by Direct Cinema 1979-1986 Art Administration Director of Art Programs, Festival at the Lake, Oakland, CA Program Coordinator, Twelfth International Sculpture Conference, Oakland, CA Coordinator, Center on Contemporary Art, Seattle, WA Video Editing Facility Director, and/or, Seattle, WA Artist in Residence, King County Arts Commission, WA 1976-1986 Visual Artist (Resume of exhibitions on request) Truong Tran

Education BA, English, 1992, University of California, Santa Cruz MFA, Creative Writing, Poetry, San Francisco CA

2013 Academic Positions: Visiting Assistant Professor, Mills College Lecturer, San Francisco CA Publications: Vacarme (France), Volta, Grants, Fellowships: San Francisco Arts Commission Cultural Equity Grant

2012 Academic Positions: Visiting Assistant Professor, Mills College Lecturer, San Francisco State University Publications: Ambush Review Grants, Fellowships: Kundiman Teaching Fellow Residencies: Curatorial Commons Artist In Residence At SOMArts

2011 Academic Positions: Visiting Assistant Professor, Mills College Lecturer, San Francisco State University Publications: Dust and Conscience(in Spanish) Residencies, Readings: International Poetry Festival at Rotterdam, Smithsonian Gallery, San Jose State University Center for Literary Arts Reading Series, Berkeley Lunch Poems

2010 Academic Positions: Visiting Assistant Professor, Mills College Lecturer, San Francisco State University Residencies: Guest Lecturer a Naropa School of Disembodied Poetics

2009 Academic Positions: Visiting Assistant Professor, Mills College Lecturer, San Francisco State University Grants, Fellowships: San Francisco Arts Commission Cultural Equity Grant

2008 Academic Positions: Visiting Assistant Professor, Mills College Lecturer, San Francisco State University Publications: Four Letter Words

CV updates, June 2013

Cooley Windsor 439 Hanover Avenue Oakland, CA 94606-1115

Phone: 510-238-8441 Email: cooleywindsor at yahoo dot com Web Page: cooleywindsor dot com

EDUCATION

Bachelor of Arts degree in Drama, 1981 University of New Orleans

Master of Fine Arts degree in Writing, 1985 Indiana University, Bloomington

PUBLICATION

BOOK: Visit Me in California (stories). TriQuarterly Books/Northwestern University Press, Evanston: August 2008 "The Last Israelite in the Red Sea" "Four of the Times My Sister Cried" "The Art of War" '\The Fleshly School of Poetry" "Meet the Author" "The End of the World" "In Parting" "Three Mediums in San Francisco" "The Hilton Epiphany"

WORK IN PROGRESS: Apparition of the Eternal Church (novel).

PUBLICATION IN JOURNALS: "It Could Be You in This Journal" (craft essay). Monster, 2013 "Futurefarmers Rosary" (prose sermon). Intervals project catalog, Guggenheim Museum, 2011. "Seance" (prose and photograph). The Blink, 2008. "The Hilton Epiphany" (story). The Blink, 2007. "Homer, a Poet" (monologue). Eleven Eleven, Spring 2004. "The Art of War" (two monologues). Fourteen Hills, Summer/Fall 2003: "Paris, a Lover" "Sova, a Courtesan" "Four of the Times My Sister Cried" (story). Ploughshares, Vol 15, No. I, 1989. "Prayers and Voices That Pray" (IO prose pieces). The American Poetry Review, May/June 1986: "The Last Israelite in the Red Sea Bed" "The Trick of Divining Water in a Dry Place" "In the Foothills of Zion" "At Our House" "Certain in Grace" "Myself in Tectonics" "Explaining Angels to Your Neighbors' Son" "Kyrie in Monroe County"· "Where Men Are Wont to Haunt" "A Salvage Craft" "Saving Lot" (poem). Black Warrior Review, Spring 1986.

TEACHING EXPERIENCE

Adjunct Professor, Graduate Writing Program California College of the Arts September 2001 - May 2013

Courses taught:

Fall 2001 Mentored Study Spring 2002 Graduate Fiction Workshop Summer2002 Mentored Study Fall 2002 Portrait of the Artist as Text (Graduate Elective Seminar) Spring 2003 Mentored Study Fall 2003 No Business Like Show Business: Performance Writing (GES) Spring 2004 Mentored Study Fall 2004 Brevity: Barthelme, Paley, O'Connor, Wojnarowicz (GES) Spring 2005 Mentored Study Fall 2005 Inner Need: Monologue & Dialogue (GES) Spring 2006 Brevity (GES) Summer 2006 Virtual Residency (GES) Fall 2006 In Extremis: Gravity's Rainbow (GES) Spring 2007 (GES) Fall 2007 Speak to Me: Speech-Based Writing (GES) Spring 2008 Mentored Study Graduate Fiction Workshop Summer 2008 Mentored Study Fall 2008 Graduate Fiction Workshop Mentored Study Spring 2009 Artist Statements (GES) Mentored Study Summer 2009 Brevity (GES) Fall 2009 Mentored Study (x 2) Spring 2010 Graduate Fiction Workshop Junior Writing Workshop (Undergraduate) Summer 2010 Brevity (GES) Fall 2011 Graduate Fiction Workshop Mentored Study Spring 2011 Junior Writing Workshop (Undergraduate) Mentored Study Summer 2011 Brevity (GES) Fall 2011 Graduate Fiction Workshop Mentored Study Spring 2012 Junior Workshop (Undergraduate) Mentored Study Summer 2012 Brevity (GES) Fall 2012 Mentored Study World Literature (Undergraduate) Spring 2013 Majors Workshop (Undergraduate)

Lecturer, Creative Writing Department San Francisco State University September 2012 - Present

Courses taught:

Graduate Workshop: Advanced Short Fiction (Fall 2012 and Spring2013) Art of Short Fiction (Graduate course scheduled for Fall 2013)

AWARDS

Ernest Hemingway Fellowship, Indiana University, 1982-83 Wallace Stegner Fellowship, Stanford University, 1986-87 Artist in Residence, Headlands Center for the Arts, 2000 Affiliate Artist, Headlands Center for the Arts, 200 I - 2003 Faculty Development Grant, California College of the Arts, 2006 (expended 2008) Writer in Residence, Futurefarrners, 2011 - present

READINGS

Rotunda, Solomon R. Guggenheim Museum, New York, reading commissioned sermons with Bernadette Mayer and Rebecca Solnit at the opening oflntervals: Futurefarmers, May 4,201 I.

Diego Rivera Gallery, in a presentation curated by Daniel Pelt and Lauren McKeon in conjunction with the San Francisco Art Institute, April 8, 2008.

Indiana University Memorial Union, sponsored by the IU English Department, Bloomington, September I 6, 2008.

San Francisco Poetry Center, San Francisco State University, October 3, 2008.

PlaySpace Gallery, California College of the Arts, San Francisco, October 3, 2008.

Department of English, University of New Orleans, sponsored by the Creative Writing Program, October 16, 2008.

APPENDIXO

Bachelor of Arts Assessment Reports

1600 Holloway Avenue SAN FRANCISCO San Francisco, CA 94132-4162 STATE UNIVERSITY Tel: 415/338-1891 Creative Writing Department E-mail: [email protected] Web: creativewriting.sfsu.edu

Creative Writing Department Assessment Survey Results, AY 2012-13

To: Linda Buckley, Associate Vice President Academic Planning and Educational Effectiveness

From: Maxine Chernoff, Chair and Professor, Creative Writing Department

Date: May 22, 2013

Subject: Creative Writing Department Assessment Survey Results 2012-2013

Program Description: The Creative Writing Department offers three degrees: the Bachelor of Arts in English with an emphasis in Creative Writing (351 students); the Master of Arts in English, with an Emphasis in Creative Writing (41 students); and the Mater of Fine Arts in Creative Writing (137 students). In the graduate programs, students who are admitted on a very selective basis, complete a book of poems, short stories, a novel, or a play that is deemed of publishable quality by the faculty. Because of the high level of student writing with which students enter the program and the demonstrated quality of our program as evidenced by the high degree of success in the world that students accomplish in all genres, we know that the rigorous and deep workshops, process classes, "activity" classes (such as the magazine class) succeed in bringing our graduate students to a level of success that is recognized in the program, the university and the world at large. This spring two graduates of our MF A program are moving directly into tenure-track jobs as assistant professors in Creative Writing/English. Moreover, a majority of our graduate students publish frequently and some to high acclaim, and many are employed as adjunct faculty as well as in publishing, editing, and in arts organizations.

Our undergraduate program poses a different set of circumstances and issues pertaining to student learning and success. Because undergraduate students self-select the major, they arrive with greatly varying levels of competence and experience in reading and writing. To get the less prepared students as well to a level of mastery, of course, is our goal and to evaluate what that mastery is composed of and signifies has been the intention of our last three assessment reports.

Assessment Method and Goals: In our last assessment report, we surveyed the writing of sixteen students, eight high achieving and eight lower achieving students, by compiling the results of their final projects of CW 601, Work-in-Progress, our capstone course. All department members teaching undergraduates as well as tenured professors specializing in graduate education participated in a lively meeting to discuss our findings and relate them to our own knowledge of the field and to our practice as writers.

The California State Unlversily: Bakersfield, Channel Islands, Chico, Dominguez Hills, Fresno, Fullerton, Hayward, Humlx>Jdt, Long Beach, Los Arigeles, Maritime Academy, Monterey Bay, Northridge, Pomona, Sacramento, San Bernardino, San Diego, San Francisco, San Jose, San Luis Obispo, San Marcos, Sonoma, Stanislaus Our discussion led to the following findings about the lower level writing samples:

I. Genre issue problems: Students in this group tend to write or fantasy driven by television, video games, films, and pulp fiction. Their writing displays a lack of touch with "the real," and use of received experience filtered by the media. The writing showed shallow representational efforts.

2. There was little in way of outline and structure. The dialogue was often purposeless. The narrative development was slow, and there was little sense of continuity. The author struggled to make his point again and again.

3. when used were ill-selected. There was limited ability to use figurative language to draw out character and event together. No building of patterns with metaphor or other uses of language devices were present.

4) The low level writing displayed poor mechanics and impoverished vocabulary.

These findings led to recommendations for addressing the weaknesses which we formulated at our 2011 meeting. Our goal since then has been to go back into the curriculum at all levels-- to the early classes (301 and 302), the middle level classes (5- 600 level including our GWAR class) and our 601 capstone class and include at all levels remedies to address the deficiencies and have students reach levels of practice surnrnarized below and seen in the best student writing samples in 2011.

I. Serious literary intentions, students trying to do "hard things" in writing with commitment and skill, willingness to linger and "burrow in," letting each impulse create form. 2. Success with metaphor and figurative language patterns, writers willing to "linger in the world" and express ideas through craft and language. 3. Lack of self-consciousness, willing to risk to write imaginatively, creatively, and without fear. Willing to risk sentimentality to explore emotions and how language investigates without self-consciousness and avoids cliches of expression, image, and action. 4. Clarity about a work's limitations, commitment to revision and development in the future evident in the contour and necessary limits of the piece. 5. Experimentation with voice and point of view, not forcing trivial connections, transitions, explanations, or resolutions. Writing "outside one's skin"-stretching beyond personal experience.

Action Plan: Our goal based on these findings was to infuse classes at every level of the undergraduate curriculum with expectations and exercises that would reinforce good writing skills and lead to the diminishment of the patterns we found in our poorer writers.

Creative Writing Assessment Survey 12-13, May 22, 2013 2 Here are examples of how at all levels we have developed course materials that lead to strategies of attention to problems with the hope of improvement in our developing student writers:

I. Recommendation One: Do a better job of motivating and requiring students to read "classic" and "serious literature" and model their writing after those genres.

2. Recommendation Two: Emphasize pattern and structure in every class. Make certain that students have the vocabulary for craft elements (GWAR classes emphasize that) and understand their meaning. Make certain that rewriting is a part of every class and that closure is a rewarded activity.

3. Emphasize figurative language and patterns and nets of development in poems, plays and stories. Study thoroughly units on figurative language at all levels.

4. Give .students exercise in copywriting and editing. Make certain that work is proofread and that those· students with consistent patterns of error avail themselves of tutoring opportunities.

Example from CW 302, Fundamentals of Creative Reading, of how this is articulated in the curriculum:

Assignments are based on "classic" and "serious" literature and writing exercises that ask students to model their own writing on craft elements found in these readings. Early on in the fundamentals class (302), we talk about the genre/literary distinction and emphasize that all course work will focus on elements of literary fiction, plays, and poetry. Assessment of student writing is based on serious literary standards. Classes also emphasize form, structure, and pattern. Lecture, discussion, writing exercises, and workshops focus closely on genre-specific craft elements. Significant final revision projects are core requirements in every class, emphasizing the ways craft-based revision can bring creative work to satisfying closure. The meaningful use of figurative language, too, is emphasized. For example, there is a substantial unit on figurative language with both a poem and essay assignment. Writing mechanics and the importance of proofreading are emphasized in all classes through assessment, revision exercises, and workshop. Students with poor writing mechanics and significant patterns of error are directed to online and on-campus resources for improving their skills.

Example of an Assignment at mid-level: GWAR Course, Craft of Poetry Short Paper 1

Write a 2 page-page paper (450-600 words) in which you focus on a single craft element or technique in a poem from the assigned readings thus far that intrigues, delights, and/or

Creative Writing Assessment Survey 12-13, May 22, 2013 3 challengesyou. This first paper should be based on careful, craft-based close reading. So, focus on one of the following: imagery, diction, rhetorical strategies, or on a particular kind of figurative language (metaphor and simile, personification,paradox, juxtaposition, etc.). Note: metaphor and simile may be looked at together here, as their function is often closely akin.

A few questions you might consider: What makes an image resonant? What can images do in poems, and how can they work together and/or against each other? How do precise choices of diction contribute to, compliment, and even complicate imagery in ways that are compelling? How do diction and imagery suggest tone and mood, and establish different emotional registers? How does figurative language work to propel, shift, and the shape of the poem's thinking?

Your paper should be typed, double-spaced,and carefully proofread. Be sure to include your name, the course number, and the paper number in the heading. We will share:and discuss your ideas in small groups during class. For this paper, you only need to bring one copy.

In addition, the department has written a set of Revision Workshop guidelines, given to students at every level (and adapted and individualized as needed by the instructor):

1. Read each piece with a pen/pencil in hand, and mark passages that strike you:

Things that are working well (identify them in terms of craft)

Places where you get confused and/or where you feel "kicked out"?

Moments that may warrant further development or attention?

2. Use the appropriate set of questions below as a checklist as you read and think more about each piece, making some more notes.

3. Use your notes and the questions to guide your workshop discussion.

Fiction Are the characters rendered by direct methods of characterization (appearance/manner,action, dialogue, thought)?

Is there a compelling sense of conflict and tension that seems rooted in characterization?

Is the piece mostly in scene? Is there an effective balance between scene and summary?

Is the sense of place clear and vivid?

Creative Writing Assessment Survey 12-13, May 22, 2013 4 Does the dialogue reveal character and establish/develop the conflict? Is it formatted correctly?

What is the point of view? Would the piece benefit from being told from a different point of view or level of insight, distance, etc.?

Does the piece contain vivid, specific images, concrete details? Is there more showing than telling?

Poetry

Does the poem contain vivid, specific imagery and use abstractions sparingly?

Has thought been given to sound and rhythm, to alliteration, assonance, repetition, and rhyme (internal/end/slant)? Do the effects of pacing and rhythm serve the poem?

Has thought been given to figurative language (metaphor, simile, personification, paradox, etc.)? Is the figurative language fresh and meaningful?

Does the poem's form (stanzas, white space, lines, etc.) help to convey its content and complexity?

Does the poem make interesting use of both the line and the sentence, using effects like enjambment and caesura?

Overall, does the poem convey complexity of thought and feeling? Does it create an interesting experience for the reader?

Drama

Does the scene description help to convey the characters and their situation? Could it do more, or does it try to do too much, too soon?

Is conflict present? Do the characters deeply desire something? Does the action unfold as a series of discoveries and decisions?

Is the dialogue sayable? Does it further the conflict? Does it reveal more than one thing at a time? Does it carry most of its tone as an integral part of the dialogue, or does it rely heavily on stage direction to indicate tone and subtext?

Do stage directions and pauses help to convey subtext and tension?

Any formatting issues?

Creative Writing Assessment Survey 12-13, May 22, 2013 5 Specific assignment for CW 601, Work-in-Progress, adapted from revision workshop guidelines:

The instructor assigned the students to read "The Witch" by Anton Chekhov and "The Witch" (after Chekhov) by Francine Prose which is a contemporary retelling of the "classic." We did close readings looking particularly at elements of style such as sentence structuring and patterning (the rhythmic alternation of short and long sentences etc.) and also at narrative point of view. The students were asked to write reading notes analyzing the elements of style we focused on in class and also to do the following creative assignment:

Assignment #3

Francine Prose included in her story "The Witch (after Chekhov)" scenes that were not in the original Chekhov's story. For example, she opens her story from the point of view of the "visitor" (the postman in Chekhov, the policeman in Prose) journeying in the storm to the couple's house. She also includes a scene that Chekhov leaves out in which the two men, the visitor and the husband, are together outside in the snow.

On the other hand, Prose leaves out three scenes we see in Chekhov: 1) the scene in which the husband and wife are alone in their house anticipating the arrival of the visitor (which opens Chekhov's story); 2) the scene of the wife alone in the house after the two men have left; and 3) the scene of the husband and wife together after the husband has returned inside. Of course, Prose must leave out these three scenes because she has chosen to write in a consistent close 3rd person and her point of view character, Zip, is not in these scenes.

But, what if Prose had chosen to write her story with shifting points of view? Here is our experiment:

1) Imitating as closely as you can Prose's style (not Chekhov's) write ONE of the three missing scenes (described above) for Prose's story about Zip, Marianne, and Jerry. Zip will not appear in these scenes. Choose either Marianne or Jerry as the point of view character for your scene. OR

2) Imitating as closely as you can Prose's style write a scene in which Zip's wife (Irene) or his 13 year old son (Charlie) is at home waiting for Zip's return. Write in close third person from Irene's or Charlie's point of view. Let Zip (or someone else)arrive at the house before the scene is over.

Conclusions:

On May 14, 2013, the department met to discuss the effects of the embedding of these possible remedies, strategies, and suggestions into all parts of the curriculum and concluded that the revision guidelines are particularly useful. Many of our classes now include a final portfolio in which students must revise 3 or 4 of their works for a new grade based upon improvements.

Creative Writing Assessment Survey 12-13, May 22, 2013 6 They also agreed that sharing the goals and guidelines we imagined might work in bringing our students to quicker and/or higher degrees of success as writers seem to be useful for a majority of students. The idea of a final version of a piece of writing versus several earlier drafts seems to be successfully inculcated into the students as a whole, and while there are still students who do not make the progress one hopes to see, more of the faculty see more students making significant progress.

At the meeting we also discussed possible additions and emendations to our revision worksheet. We have formed a committee to discuss this in fall. Many faculty who teach the GWAR classes also want to meet as a group to talk about how specifically in that analytical writing class, we might get students to become better critics and reviewers of their own work and that of their peers. Several review assignments are being discussed for all three genres, and this committee will work to create guidelines for such a review in fall.

Creative Writing Assessment Survey 12-13, May 22, 2013 7

RE: Creative Writing Assessment Report

Dear Linda: Thank you for your response. I will report it to the department, and once the 6th cycle review is finished, we can revisit assessment?

Have a good summer.

Best--Maxine

From: [email protected] To: [email protected] CC: [email protected] Subject: Creative Writing Assessment Report Date: Tue, 2 Jul 2013 22:08:17 +0000

Dear Maxine,

Thanks so much for the May 22, 2013 assessment report from the Creative Writing Department. This is an excellent example of a fine assessment report and process that is qualitative rather than quantitative, and I'm so pleased that the process started in 2011 has led to fruitful and interesting department discussions. The examples of specific assignments were particularly useful in helping me understand how faculty were moving from the specific problems noted in the action plan to strategies for improving student writing. (In particular, I loved the assignment in CW 601 to write the missing scenes using Prose's style.) The element that I like most in your report is the fact that this process led to some lively faculty discussions about how and what they teach. Whatever the department does next should involve a process that encourages the continued discussions about how students learn and change in the program and how faculty can work together to promote that learning. Your next assessment report will be due June 15, 2015. Sometime over the next year, let's get together and discuss what you might want to accomplish in the next report.

I hope you're enjoying the summer.

Best Regards,

Linda

1600 Holloway Avenue .'Jf-...~ SAN FRANCISCO San Francisco, CA 94132-4162 ~ ~~;- STATE UNIVERSITY Tel: 415/338-1891 Creative Writing Department E-mail: [email protected] Web: creativewriting.sfsu.edu

Creative Writing Department Assessment Survey Results, AY 2011

To: Linda Buckley, Associate Vice President Academic Planning and Educational Effectiveness

From: Maxine Chernoff, Chair and Professor, Creative Writing Department

Date: May 31, 2011

Subject: Creative Writing Department Assessment Survey Results 2010-2011

CC: Paul Sherwin, Dean, College of Humanities Susan Shimano ff, Associate Dean, College of Humanities Program Description: The Creative Writing Department offers three degrees: the Bachelor of Arts in English, with an emphasis in Creative Writing; the Master of Arts in English, with an emphasis in Creative Writing; the Master of Fine Arts in Creative Writing. The undergraduate major in Creative Writing currently has 382 declared majors. The Creative Writing graduate programs currently have 39 students enrolled in the MA program and 126 students enrolled in the MFA program, and a number of students continuing important work on their theses, but not currently enrolled in classes. All three degree programs are staffed by full-time, tenure-track faculty and part-time lecturers with specialties in fiction, playwriting and poetry.

Assessment method and goals: Our method in our second assessment of sixteen students, eight high achieving and eight lower achieving students, was to compile the results of their final projects in CW 601, Work-in-Progress, our capstone course. Students in this course should be at the end of their major, though in reality some take it while still enrolled ii). a number of concurrent CW major classes.

All department members (tenured and tenure track) and those lecturers involved in the teaching of undergraduate creative writing classes met as a group to discuss our findings and relate them to our own knowledge of the field and of our own practice as writers. All of the tenured and tenure track faculty had read the sixteen samples ranging in length from 14 to 29 pages. Some of the lecturers had also read them and all of them had received written summaries of the characteristics that made them either "high" or "low" writing.

The meeting was a productive discussion lasting several hours at our May 3, 2011, department meeting. Below we have summarized the conclusions of our discussion of student writing as well as our department suggestions to respond to some of the issues raised by our assessment.

The Ca.liforn1a Stale Univenity: Bakersfield, Charioe1 lslaods, Chico, Dominguez HiUs1 Fresno, Fullerton, Hayward, Humboldt, Lor"lgBeach, Los Aogeles, Maritime A'cademy, Monterey Bay, Norlhridge, Pomona, Sacramento, San Bernardino, Sar"ID;ego, San Francisco, San Jose, San Lu,s Oblspo , San Marcos , Sonoma, Stanislaus Low Level Writing Samples:

I.) Genre issues. Students in this group tend to write science fiction or fantasy driven by television, video games, films, pulp fiction. Lack of touch with "the real," use of received "experience" filtered by the media. Shallow representational efforts. A. Recommendation for department: Do a better job of motivating and requiring students to read "classic" and "serious" literature and model their writing after those genres. Quickly and early in the curriculum discourage students from practicing further in "popular" genres we do not teach here or that any creative. writing department at a university usually teaches. Rely on frequent and essential reading of "master" writers in all classes for students to model. Present students with better examples of genre fiction such as Raymond Chandler, Philip K. Dick, Ray Bradbury, Ursula LeGuin, Angela Carter, and Octavia Butler in response to their weaker models.

2.) Little in way of outline and structure. Dialogue purposeless. Narrative development slow, little sense of continuity. Author struggles to make point again and again. B. Recommendation for department: Emphasize pattern and structure in all classes, particularly workshops and craft classes. Make sure students understand the elements and conditions needed for a successful poem, play, or story. Make certain that rewriting is a part of every class, that bringing poems, stories, and plays to closure is a rewarded activity. Make certain that with an openness and pleasure about process, we also include the rewards of conclusion of projects, fulfilling the promise of a literary work.

3.) Metaphors when. used are ill-selected. Limited ability to use figurative language to draw character and event together. No building of patterns with metaphor or other uses of language devices. C. Recommendation for department: Beginning with CW 301, our foundation course, emphasize figurative language and patterns and nets of development of such in plays, poems, and stories. Give exercises involving the use and revision of metaphoric content at all levels. Study thorough units on figurative language in the craft classes. Have students in the GWAR requirement writing analyze and focus on such language.

4.) Poor mechanics and vocabulary. D. Recommendation: Make certain that all students have had the proper sequence of Eng 114 and 214 and completed them successfully. Make certain in the GWAR craft classes that these elements are addressed in the writing and revision process. Send students needing additional help to the various tutoring resources available on campus. Make students through proofreading and copyediting exercises in such classes as CW 640, Transfer Magazine, as serious about editing their work and the work of others as they are about writing it.

Creative Writing Assessment Survey!0-11, May 31, 2011 2 High Level Writing Samples:

1.) Serious literary intentions, students trying to do "hard things" in writing with commitment and skill, willingness to linger and "burrow in," letting each impulse create form.

2.) Success with metaphor and figurative language patterns, writers willing to "linger in world" and explore ideas through craft elements of language.

3.) Lack of self-consciousness, willingness to risk to write imaginatively, creatively, without fear. Willing to risk sentimentality in exploration of emotion and how language investigates without self-consciousness and avoids cliches of expression, image, and action.

4.) Clarity about the' work's limitations, commitment to revision and development in the future evident in the contour and necessary limits of the piece.

5.) Experimentation with voice and point of view, not forcing trivial connections, transitions, explanations or resolutions. Writing "outside one's skin"-stretching beyond personal experience.

E. Recommendation: Continue to enforce these skills in our range of workshop and process classes. Hold the better writers up in a kind and exemplary way to the "weaker" writers to model. Continue to require this level of development for successful completion of program and "launching" into the next phase of their lives as creative writing graduates as graduate students, employees in language-based industries such as editing, publishing, grant-writing, etc., and, of course, as successful writers beginning their careers. Continue to "reward" our best writing with publication in Transfer Magazine and at department-sponsored readings and events.

Creative Writing Assessment Survey 10-11, May 31, 2011 3 ' Hotmail - [email protected]• Windows Live http://by147w .bay 147 .mail.live.comldefu.ult.aspx?wa=wsigninl.O

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Folders Linda Buckley 11:44AM Jnbox(162) To MaxineChernoff, Su.san B Shimanoff,Paul S Reply , psheiwin Junk(S) Dear Maxine and All, Drafts(1) Sent I was truly gratified by the results from your recent assessment Deleted (43) efforts. Your report ls the best example that I've seen at SF State cole of a qualitative approach that gives real insight Into student connie learning and provides some guidance on how you might help cornfield those who are struggling. • curtis fred I encourage yciu to move forward with the recommendations gabi. you noted in the report for curricular modifications._ln your heather next report, it would be helpful to me If you could structure the 4"". HRThires narrative around these recommended ch~pses, bow tbiY.~e juflan ,. Incorporated into your curriculum and changesyou have noted kay based on the curricular revisions. I'm not quite sure how you " kidstrip can evaluate the impact of these changes for the next report. maiyjobMg Sometime In thecomln,s academic xe~~ I would like to get;( together. with you to discuss this issue. milcho ... - myrecommendations It will take some time for any of these changes to have an paui impact, so .your' next assessment report will not be due until petejohnson . May 31, 2013. However, please don't wait until the last minute phil . ' to- attend 10 th_ls; If you will map out a timellne now and how rosellen you intend to move forward with your. recommendations, you rusty next report should be fairly easy to puttogether. .• salt sfsu (11) Once again, my thanks and appreciation for your work. My sheiwin commitment to non-quantitative approaches has been smallfield reaffirmed. New folder Best Regards, Quickviews Flagged(l) Linda Photos (4) Office docs (9) Linda Buckley, Ph.D. Shippingupdates Associate Vice President AcademicPlanningand Development Messenger 454 Administration 34 invitations San Francisco State University

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APPENDIXP

Graduate Student Learning Objectives

CreativeWriting ProgramLeaming Outcomes for GraduateStudents

I) CREATIVE WORK Student will produce a publishable written creative work.

2) PROFESSIONAL PREPARATION Preparation for field related to literature/creative writing. Informational skills in publishing, writing, teaching, editing, book arts, and arts management.

3) LITERATURE Student will understand and appreciate work of a broad range of writers, an awareness of literature in general, and his or her own genre in particular as it relates to larger human experience.

4) CRAFT ELEMENTS Student will have working knowledge of the major elements in the craft of (fiction,or playwriting or poetry); to consciously incorporate these elements in the revisions of their own creative work and to discuss craft elements in written responses to their peers'work.

APPENDIXQ

Thesis/Written Creative Work Guidelines

THESIS/WRITTEN CREATIVE WORK GUIDELINES Creative Writing Department SFSU 2013-2014

The Creative Writing thesis, called a "Written Creative Project/Work," is the Culminating Experience of your graduate study at SFSU. This should be the best of your work you have done as a graduate student in the Creative Writing Program. To complete this requirement, M.A. students need to enroll in CW 893 Written MA Creative Project, 3 units, while M.F.A. students need to enroll in CW 893 Written MFA Creative Work, 6 units.

1. Plan to enroll in CW 893 in your last semester in the program. Well in advance of the semester in which you plan to enroll in CW 893, select your Written Creative Work Committee Chair (aka thesis advisor or first reader), as he or she will only be able to work with a limited number of students each semester; obtain this faculty's approval, perhaps as a note on your advising worksheet. Your Written Creative Work Committee Chair should be someone with whom you have been working while in the graduate program. The Written Creative Work Committee Chair will be the one with whom you will work most closely. The Written Creative Work Committee Member, or second reader, whom you also choose, has a nominal role - limited to signing off on the work you have completed with your first reader. NOTE: your thesis must be done in the genre of your admittance: otherwise, you need to get the approval of two faculty members in the genre you wish to switch to. NO guarantees that you will be accepted to do your thesis/written creative work in a genre other than that in which you were admitted. Both your Written Creative Work Committee Chair and Written Creative Work Committee Member should be on the tenured/tenure-track faculty. Dodie Bellamy and Brian Thorstenson are the only exceptions, but they must sign as Thesis Committee Member, and a tenured/tenure-track faculty must sign as Written Creative Work Committee Chair. Note that Daniel Langton, though a tenured professor, can· only sign as Written Creative Work Committee Member. If you want to use another lecturer, or a faculty member from another department, as one of your readers, he or she must be the third reader for signing purposes. In such cases you must designate a Written Creative Work Committee Chair (first reader) and a Written Creative Work Committee Member (second reader), from the tenured/tenure-track faculty within the Creative Writing Department. Once your Written Creative Work Committee Chair (first reader) has given you permission to enroll in CW 893, and the two of you have agreed upon the semester in which you will do your work, you must, in the semester before your enrollment in CW 893, submit two forms.

2. Two forms are submitted to the Creative Writing Department, the semester before you plan to enroll in CW 893, the i) Proposal for Culminating Experience form and the ii) Advancement to Candidacy form are both submitted to the Creative Writing Department. Departmental deadlines are: for Spring 2014 CW 893 enrollment-Thursday, October 17, 2013; for Fall 2014 CW 893 enrollment- Thursday, March 13, 2014. i) Proposalfor Culminating Experience form, accessed online http://www.sfsu.edu/::gradstdy/893.htm Fill in the form on your computer. The description must be at least 40 words long. You and your first reader must agree upon 2-3 dates in your thesis semester when you will meet; check the boxes to indicate that the committee chair is not available during either the Summer or Winter. Print out and obtain signatures from your Thesis Committee Chair (first reader) and Thesis Committee Member (second reader). ii) Advancement to Candidacy (ATC) form, accessed online: http://www.sfsu.edu/::gradstdy/atc­ form.htm Choose the ATC for either Creative Writing MFA or the ATC for English: Creative Writing MA. These forms must be typed. Have the ATC signed by your advisor, usually the same person that is reading your written creative work, then bring it to the Creative Writing Office, along with your Culminating Experience form signed by your first and second readers. We will get the other signatures for you, and forward both forms to the SFSU Division of Graduate Studies Office. If you have in any way, however small, deviated from the requirements as listed in the University Bulletin, you also need to type up a Petition for ATC Substitution, available online 7/12/2013 http://www.sfsu.edu/::;!!radstdy/current-fonn.htm and have it signed by your advisor. Paperclip this form to your ATC form and turn them both in together, along with your Proposal For Culminating Experience form.

3. Register in CW 893 at the beginning of the semester; you cannot register for CW 893 during your online priority registration appointment time. At the beginning of the semester, ask your Written Creative Work Committee Chair (first reader) to give you enrollment permit numbers, which will allow you to add the course online; you must do this by the add deadline. If you haven't filed your ATC and Culminating Experience Forms (#2 above) you won't be allowed to enroll in CW 893. NOTE: Filing the ATC and CulminatingExperience forms will not automatically enroll you in CW 893. You must add the course online, at the beginning of the semester, using the schedule and permit number given to you by your Written Creative Work Committee Chair (first reader).

4, Content and page length. Exactly what constitutes a written creative work is left up to you and your thesis reader. No minimum page length is required by the SFSU Division of Graduate Studies. You were admitted to the program on the basis of the manuscript you submitted. We felt this manuscript strongly indicated potential to complete thesis quality work, so it is presumed that all the writing you do while you are here is, in some sense, thesis work.

5. Formatting rules for the written creative work are found online http://www.sfsu.edu/::;!!radstdy/written-creative-work.htm . When formatting your Written Creative Work, follow these guidelines. A highlight of the most important points are available as a handout from the Creative Writing Department, either via email or in hardcopy.

NOTE: You are encouraged to complete the thesis in the semester you register in it. If you do not complete the thesis, you will receive a grade of RP (Reported Progress) and when you finally tum in your thesis, you will also.have to turn in a Petitionfor Grade Change to your first reader, then the department Chair, to change your grade from RP to CR (Credit). If you do NOT complete and hand in your written creative work after the initial semester and second, "grace," semester, you continue to have RP status, and if you aren't enrolled in any other classes, you must enroll in a zero-unit College of Extended Leaming (CEL) LCA 499 course every subsequent semester until completion of your written creative work.

Faculty Who Can Be On Your Written Creative Project/Work Committee Academic Year 2013-14

Dodie Bellamy Fiction [email protected] (second reader) Michelle Carter Fiction, Playwriting [email protected] Nona Caspers Fiction [email protected] Maxine Chernoff Fiction, Poetry [email protected] Roy Conboy Playwriting [email protected] Paul Hoover Poetry [email protected] Dan Langton Poetry 415-338-2319 (no e-mail) (second reader) Toni Mirosevich Creative Nonfiction, Poetry [email protected] Peter Orner Fiction [email protected] ZZPacker Fiction Brian Thorstenson Playwriting [email protected](second reader) Chanan Tigay Creative Nonfiction, Fiction [email protected]

7/12/2013 Formatting Thesis/Written Creative Work Summary for Creative Writing M.A. and M.F.A. candidates

May 17th is the absolute last day to tum in the thesis ...BUT you should start getting the formatting checked at least two weeks ahead of that date. More information about the deadlines are found at the following web page of the SFSU Division of Graduate Studies: http://www.sfsu.edu/-gradstdy/degree-completion-deadline.htm Below are highlights of important bits about thesis formatting. THIS IS AN OVERVIEW of important details. The exhaustive instructions are found online: http://www.sfsu.edu/-gradstdy/written-creative-work.htm 1. Format your thesis/written creative work. Download the following TWO documents: Written Creative Work (893) Guidelines and Sample Written Creative Work (893) BOTH are found at http://www.sfsu.edu/-gradstdy/written-creative-work.htm. The first is a set of printed instructions, and the second is a visual sample of the pages. 2. If you have any special formatting, such as images, graphics, or any other special formatting, show your thesis/creative to your written work committee chair. Ifno special formatting, skip to step 3. 3. Print preliminary pages and at least a sample of the body text of your thesis/written creative work on plain white paper and take the pages to Graduate Studies (ADM 250) for a preliminary format check. no later than the week of April 29th.FORMATTING CHECK DAYS/TIMES: Monday: noon - 5 pm; Tuesday: 9 am - 1 pm; Wednesday: 9 am - 1 pm; Thursday: 9 am - 1 pm; Friday: noon - 4 pm. (IF you cannot meet during the scheduled hours you may make an appointment;otherwise drop-in during the days/hours listed.)

4. Make all corrections recommended by the reviewer at Graduate Studies. Bring corrected thesis/written creative work for a final format compliance check. 5. Make a master copy on approved thesis paper available at the Bookstore. The paper must be 25%-100% cotton content (watermark indicated); 161b. or 201b. weight; and 81/2" x 11" dimensions Cun-punched, unlined). 6. Take your master copy to your thesis/written creative work committee and have them sign the Certification of Approval AND the Abstract/ Annotation pages of your thesis/written creative work. 7. Bring your complete signed thesis/written creative work to Graduate Studies (ADM 250) for a final review in order to receive the "Receipt for Master's Thesis or Written Creative Work" form. 8. Fill out the "Receipt for Master's Thesis or Written Creative Work" form and take it along with your complete signed thesis/written creative work to the Campus Copy Center ( Cesar Chavez Student Center Ml 10). Pay the binding fees ($25 for first binding, $20 for each additional copy). A copy of the completed "Receipt for Master's Thesis or Written Creative Work" form will be sent to Graduate Studies to review your records and graduate you, provided you have applied for graduation. (Campus Copy Center: 415-338-2434. [email protected]. Mon-Fri 9am-5pm, closed Sat. & Sun.) 9. IF you enrolled in CW 893 in a prior semester, AFTER you have done final submission of your written creative work, you must submit a Petition for Change of Grade Form to your thesis committee chair. This form is found online: http://www.sfsu.edu/-admisrec/reg/formstoc.html, choose Change of Grade link for the form. Fill in, print out and give to your Written Creative Work faculty. (Iflink to form doesn't work, simply google the following phrase sfsu change of grade form.)

Over~ Possible Thesis Formatting Assistance (this information in no way constitutes an endorsement of this service; it is simply being passed on for informational purposes only): Mike Skott McCoullugh, Ink publishing and design, http://inkonbooks.com/?page _id=342, phone: 510 551 3162

Over~ APPENDIXR

Advisors/Faculty Office Hours Handouts

· Creative Writing Advisors, SFSU Creative Writing Advisors, SFSU Creative Writing Thesis Advisors Spring 2013 Spring 2013 Fall 2013 Michelle Carter, fiction/play Michelle Carter, fiction/play Michelle Carter, fiction/play HUM 562, 338-7402 . HUM 562, 338-7402 HUM 562, 338-7402 [email protected] [email protected] [email protected] Mon. 2-4 p.m. Mon, 2-4 p.m. Mon. 2-4 p.m. Wed. 3-4 p.m. Wed. 3-4 p.m. Wed. 3-4 p.m. and by appointment and by appointment and by appointment Nona Caspers, fiction Nona Caspers, fiction Nona Caspers, fiction HUM 563, 338-1118 HUM 563, 338-1118 HUM 563, 338-1118 [email protected] [email protected] [email protected] Tues. 2-4 p.m. Tues. 2-4 p.m. Tues. 2-4 p.m. Wed. 5-6:45 p.m. Wed. 5-6:45 p.m. Wed. 5-6:45 p.m. and by appointment and by appointment and by appointment Maxine Chernoff, fiction Maxine Chernoff, fiction Maxine Chernoff, fiction (Dept. Chair)HUM 380 (Dept. Chair)HUM 380 . (Dept. Chair)HUM 380 33 8-1891, [email protected] 338-1891, [email protected] 338-1891, [email protected] By appointment: By appointment: By appointment: Wed. 10 a.m.- 4 p.m.; Wed. 10 a.m.- 4 p.m.; Wed. 10 a.m.- 4 p.m.; 1st & 3rd Thurs. 10 a.m.- 2p.m. 1st & 3rd Thurs. 10 a.m.- 2p.m. 1st & 3rd Thurs. 10 a.m.- 2p.m. 2nd & 4th Thurs. 10 a.m.-4 p.m. 2nd & 4th Thurs. 10 a.m.-4 p.m. 2nd & 4th Thurs. 10 a.m.-4 p.m. Roy Conboy, playwriting Roy Conboy, playwriting Roy Conboy, playwriting CA IOI, 338-1614 CA 101, 338-1614 CA IOI, 338-1614 [email protected] [email protected] [email protected] Tues., Wed., Thurs. 2:30-4:30 p.m. Tues., Wed., Thurs. 2:30-4:30 p.m. Tues., Wed., Thurs. 2:30-4:30 p.m. and by appointment and by appointment and by appointment Camille Dungy, poetry Camille Dungy, poetry Camille Dungy, poetry HUM 422, 338-1075 HUM 422, 338-1075 HUM 422, 338-1075 [email protected] [email protected] [email protected] Tues. lOa.m.-12 p.m. Tues. lOa.m.-12 p.m. Tues. lOa.m.-12 p.m. Paul Hoover, poetry Paul Hoover, poetry Paul Hoover, poetry HUM 447, 338-3157 HUM 447, 338-3157 HUM 447, 338-3157 [email protected] [email protected] [email protected] Tues. and Thurs Tues. and Thurs Tues. and Thurs 10 a.m. -12 noon 10 a.m. -12 noon Daniel Langton, poetry Toni Mirosevich, poetry Toni Mirosevich, poetry HUM 267, 338-2319 HUM 550, 338-7439 HUM 550, 338-7439 on leave during 2013 Spring [email protected] [email protected] Toni Mirosevich, poetry Tues. 11 :30 a.m. - 12:30 p.m. Tues. 11:30 a.m. -12:30 p.m. HUM 550, 338-7439 Tues. 3:15-4 p.m. and Tues. 3:15-4 p.m. and [email protected] by appointment by appointment Tues. 11 :30 a.m. - 12:30 p.m. Peter Orner, fiction Peter Orner, fiction Tues. 3:15-4 p.m. and HUM 365, 338-3082 HUM 365, 338-3082 by appointment [email protected] [email protected] Peter Orner, fiction on leave during 2013 Spring on leave during 2013 Spring HUM 365, 338-3082 Chanan Tigay, creative non-fiction & Chanan Tigay, creative non-fiction & [email protected] fiction fiction on leave during 2013 Spring HUM 545, 338-3155 HUM 545, 338-3155 [email protected] [email protected] Chanan Tigay, creative non-fiction & Thurs. 1-3 p.m. and by appointment Thurs. 1-3 p.m. and by appointment fiction HUM 545, 338-3155 [email protected] Thurs. 1-3 p.m. and by appointment 2013 S,nnnn C rea r 1ve wn 'f ma Facu It,v Name Room Phone Email · Office Hours 13 Spr Dodie Bellamy HUM275 338-3079 [email protected] Thurs. 5:45-6:45 p.m. Will Boast HUM561 338-1680 will. [email protected] Mon. 5-6 p.m. Mon. 2-4 p.m.; Wed 3-4pm Michelle Carter n0 HUM562 338-7402vm [email protected] & by appointment Tues 2- 4 p.m. Nona Caspers n0 HUM563 338-1118vm [email protected] Wed 5-6:45 p.m. Poetry Center HUM512 338-2227vm poetry(a),sfsu.edu Mon- Thurs 9 a.m-4 p.m. Wed. 10 a.m.-4 p.m.; Maxine Chernoff n0 HUM380 338-1891vm [email protected] I st & 3rd Thurs. IO a.m.-2p.m. 2nd & 4th Thurs. IO a.m.-4 p.m. Tue/Wed/Thur Roy Conboy n0 CA101 338-1614vm [email protected] 2:30-4:30 p.m and by appt. Katie Crouch HUM364 338-3081 katie(alkatiecrouch.com Wed 3:15-4:15 p.m. Matthew Davison HUM364 338-3081 [email protected] Wed. 3:30-6:30 p.m. Donna de la Perriere HUM268 338-3078 [email protected] Mon 7-8 p.m.Wed 6-7 p.m. Steve Dickison HUM511 338-3401 vm steved(a),sfsu.edu Thurs. 1:30-3 :30 p.m. Camille Dungy !!0 HUM422 338-1075 [email protected] Tues 10 a.m. - 12 p.m. Ariel Fintushel HUM275 338-3079 [email protected] Mon.4-5 p.m. Anne Galjour HUM561 338-1680 aga[[email protected] Mon./Tues 3-4 p.m. Heather Gibbons HUM275 338-3079 [email protected] Tues/Thurs 1 la.m.-12p.m. Bob Gliick n HUM268 338-3078 [email protected] on leave Fourteen Hills HUM373 338-3083 [email protected] Wed 7-9:45 p.m. Paul Hoover !!0 HUM447 338-3157vm viridian(a),hotmail.com Tues./Thurs. 10am-12pm Chris Jennings HUM268 338-3078 [email protected] Thurs 5:30-6:30 p.m. Wed. 5:50-6:50 p.m. Junse Kim HUM451 338-3084 [email protected] Thurs 3-4 p.m. Dan Langton n HUM267 338-2319vm n/a on leave Tues 11:30a-12:30p, Toni Mirosevich !!0 HUM550 338-7439vm tonimiro(a),sfsu.edu Tues 3: l 5-4p, by appt. Sean Negus HUM561 338-1680 seannegus(a),gmail.com Tues 6-7 p.m. Peter Omer !!0 HUM365 338-3082 [email protected] on leave Mon /Wed. 11 a.m.-12 p.m. (or Brian Thorstenson HUM561 338-1680 [email protected] by appt.) Chanan Tigay !!0 HUM545 338-3155 [email protected] Thurs. 1-3pm & by appt. Barbara Tomash HUM451 338-3084 btomash(a),earthlink.net Wed 3-4 p.m., 7-8 p.m. Truong Tran HUM267 338-2319 [email protected] Thurs. 4-6:30 p.m. Cooley Windsor · HUM451 338-3084 [email protected] Tues. 6-7 p.m. Transfer HUM372 338-3148 [email protected] Tues. 4-6:55 p.m. 0: Academic Advisor 0: Thesis Advisor vm: has voicemail

7/12/2013 APPENDIXS

Creative Writing Department Website http://creativewriting.sfsu.edu Welcome CreativeWriting at San FranciscoState University Quick Links • Bulletin Progran:,s !s·ummer Claeee_sOper, to AJU.lnc:ludln·gCW 6091809-DirecteclWriting In creative • Class.Schedule ·.no.n_flctlori •. f. lc·ti·on_.ari~poetry. Summer Class-Schedule Is_M!!J!lnd·Extencled ,F,,!.~!11!:Y. ~ J Paul.Leonard . Learning Registration .Info is .~!.! · _ Gr!~uaJ~_ l Ub~ry ~~P~!c_~~i_O_l.'I.~ • il~n c;:~.\Llg~~ Our Creative Writing Programwas established in 1855 as part of the English Departmel'lt and founded Contact as The CreativeWritfng Department. We offer three ,;tegraeprograms: BA in English with Advising For_ms in 1968 an Creative Writing emphasis in CreativeWrfting, MA in Englishwith an emphasis in Creative Writing; anctM.F.A. ln ~H_e-rary~aga:;i:_inc~ Department Creative Writing. Our cunicurum reflects our commitment to a variety of styfes,subjects, ~nd San f'.'ranclsooState Students & Alumni approaches, recognizfngU1e complexity anct b(eactth of contemporarywrit!ng. Gl'Muates o1our Unlversi~ ih_e _Po_et_ryCenter Creativ,eWriting Program, Graduateand Ut1dergraduate(poetry, playwriting,or llctlori}, are lnstNcted 1600 Holloway Avenv-e develop others. in literary ana~sis and their craft lo constructivelycritique their own Workand thatof Sari Fra11cisco,CA N.Et'!".SJ~P,,.r tile ffnitlng Students are prepared to participatein larger communityof writers with innovative in all &4132 Sf,~oJa.i:shlp three genres. Email: ~pp,ic~i_c:>~ A great many ot our students,and afumri go on to publish imaginativewor,,: of distinction; manyother.:: cwriUng@sfsu.,edLI are in posiUonsof leadership in publishingfirms, foundations,and art organizations, Phone: 415-336-18-91 Room: HUM 380 ·Weare honored to be associatedwlth the Poetry Center and AmericanPoetry Archives, Internationallyknown, the centeraugmenls our programs, sporisoring approximatelyfrtty visltirig writers peryeaf, on campus and at variouslocations around San Francisco.

Department News w_e'repleased_t(J .!'nrtq!,Jnce the tenure,,:t_rack.~i(sqf 7,.?-Pf¾Ck.er. we1come ZZ Packer Quick Links Prograr:ns The Creative ¼fritlng Department ls very pleased to announce the tenure~track.hire of ZZ Packer,who • Bulletin joins.our fiction faculty in fall. Her hire ls the result of a very rich search this spring in which students • Class _Sch~ul~ ~~C::.1:'J!Y. were Involved in wor!(shops taught by all .:I candidates for the posilfon. Facutty and students faltthut ZZ • J Paul Leonard Graduate Pack.ercouJdbring fresh insights to our pro_gramwith her interests in ,the shape and \,PJ~iy ,N,ef.J~-~tl!?ns_ structure of fiction, and her exceptfanalwriting, v.hk:h nas been e)hibltecl in her book.of stories, • iLE!~m ~QM~-~s Drinking Coffee Elsewhere, an inoomatto~ bestseller. Frequently pubUshed in such journals as The Contact New Yorker and Granta, she is at work on a novel, 7he Thousands, which e)plores the lives of former -~~Yi,_lngfQXtllS: Louisiana sta,.,esin farming a latlor movement, as well as the fales cf Afn·can-American"buffalo Crealiva Writing Department Literary Magazines soldiers" assigned in the Southwest to battle the last Native American resistance force, the Apaches, San FranciscoState St_ud_ents & Atumn_i She has been awarded a Guggenheimn Fello\.'iShipand the American Academy in Berlin Prize to complete tnfs navel. She has taught at many instrhJUansinCJudlng Princeton, 'Mlere shew-as a Hodder University The_Poetry Cen,ter Fellow; tne Michener Centera1the UniYE:rsityof Texas; Vassal' College: and as a Janes Lecturer at 1600 Holloway Avenue San Francisco, CA ~!~t~T Slanforil, She received her sctucalianat Yale (BA}, Johns Ho pk.ins (MA), the Universityof Iowa {MFA). '04132 §~_t!_l?j!)rship anctSlanfotd as a Stegner Fellow, I know our department wilt be enriched by her presence. Emaif; A,.pp_!i.~_ctJifl!! -Maxine Chernoff. Chair of Creali-veWriting [email protected] Phone: 415-338-1891 R.oom: HUM 380

if:~~ SA~ Ff!_ANCI~<_:,O >.;..;J;.,J sum Ur.itv-1.Rstrv Welcome Programs Quick Links

0 Progtams We offer three degrees in OIJI'program: (For more information checli; oul: !b§!-9Jel!l!xe.~l!ti%J_p_!o_9_f/11.1!1Bulletln " _ClassSr:tiMIJle • BA:_qree.liw _Wnt~'!g ~bpuge in 1h13SFSV, Blllletin) • J PaJ.!lLeonard Ubfar)'. ~ M1\_Qn~!ii_t~~-''.YiW11g • iL~llrn .. MFA jr, Crn,a_Hve B.A. in Engllsh~ C!'Eative Writing 'tlillin~ The 42 ur.it B.A tir:a:anca.e27 sernester umts of writing cou~nwith 15 semaste:unlls of llleralum courses Co-ntact designed lo increase Um sludEtnl'sdepth and breadth of kno\ldedge. The required 9 sernesterhows of Facult;y en.alive Writing Crea\iveProcess dasse.s c1a1nbe chosen from topics such as: Personnl Nar'talivc,American Poetics, D1Jpa:rtme-nt Gra~J.Jata Contemporary Wor!d Poetry, Style in flction, The Short~StiortStory, Md Plays: Reading end VJev,ing.A150 San Fta11cisro State Appr,catlons required is a colN'SeCh05en from one aftwo areas: "Theory /,MidLangw,Je" or"Wl'l!ing from Ire American Univorsify Courses Experience;' whid:; lnc!ude-sa selection of courses from the deparl01Qn1Sof er,glish, Elhnic Studies, and 1 eooHolloway !Wenue women Studies. A,;t~.i~ii:igJ:'.orm_s S811Francisco, CA 94132 Littirary M.ig~zinos English: Writing M.A,In Creative !m11il: S~d_enla_& Alumni Ttla M.A. in English witl1a concentration in Crealive Writing is a 30-unilcourse of study in the writing of cwming@sfsux,du T_h_oJ~~~!N-~_e, IJ!9X fiction, poetry, or plays, with raquitemerrtseven!~ dMded between Wl'ilingworkshops {\ii seme.:;ter hours), Ptii:ine: 415-330-1891 literature ccurse,:;(9 semester hours) and Creal:ii.,eProcess courses (9 semester hours). Also 1oquired Is Ni,ws_le~e:r Room: HUM 380 a creativethesis {3 semesler houreJ.Our purpose is to foster the lm~inl:l'lion, ~ and oppm1ur;ily of S_c_hola~hlp thos.e who plan to be prof.tSsion.al'Miters. MA Croative Process course topics include the following: AppHc_atJoq Cha!'BCl:eriz;rtion,Contemporary Non-Fiction, Cantering on Lai,,guage,Elements of Playwriting, Experimerdal Fiction, Femir.is! Poeties, The Novella, and The Ptose Poem.

The MA degree offers students the opportuntt.yk, focus on smbitious, constructive e:-:p[ornlionof creative wntlen work:oonlral to this exploration is i!;e study of diverse ·••;orksof litli'rature. Since lhe-MA degree ls required for the.Community College leaching Credential In California, isome studems atso 11pprentice themselvas ir,the teach'.ngof wriiir,g--as TeachingAssista"'lls working for u:-.i!sWilhin the department. or 8$ workshop-leaders i:icommun:tyorgon!zOOons. Some cf our st1o1'.lemstake the sequence of campos.rtion course5 inths Enolish Oep3rtment 1naddmon to their degree requirements,

MFA In Creative Writing Tile Master of Fine Arts in Creali...eWriting is a 54 un;t progmm lffl"-lchconsists ofwrilfl!Q WOfkshDpsas well as creal.iveprocess and/or !itarature covrsett lt also requires a 1 2"un~ colfelatlve, a cluster of oourses related 1o your speciol imerests. Tho M FA degree takes about three yoers for a full lime sh;c:lentto complete; M.F.A. StL'Clen!scan ~end part time aprj Mve sever, yea15in w~ich lo complete alllhe requiremsnts for !heir ,;iegteG. Th~ M.F.A. is the terminal degre.;i ir,crealive wrttlng. If your Qoal is to teoch crea!ive wrifii,g at the four y-aa

We'll be Mpl?)' IO mail yo!.Imore info,mation; justemall us at, evlriting@sf_~_u,ed1,1,your name and rn!liling address: remember to tell us whether your interesti'S in unde-rgraduMeor gr.?duatestudy,

.('{f~, SAN FRANC!St.'O ~~J.;,,ff/SrAH lJ':sl','l:11!$11Y .r~~ ~-!~?~ B.A. in English: Creative Writing Quick Links l:'r(!S.~I!~~ The 42 unit B.A. balances 27 semester tiours of writing courses with 16 semester hourS of literature ~ J~Y!!~.tin_ • Class Scheelule • BA: Creative Writing coUraes de.signedta increase the ~tudent's depth and breadth of knowledge. The required e semester hot1rsof Creative Process classes can be chosen ftam topics :suchas: Persona! • J ~a_ulL~ard ~ M~ Qre_BfiveWriting Narrative,American Poetics, ContemporaryWorld Poetry, Style in Fiction, The Short-Short Story, Library • Mff,_l(l_Cte~.ti~ Wri~_ng and Plays: Reading and Viewing. Also requfred is a course chos.enfrom Orteof two areas: "Theory • i_L~!:[l and Language" or ''Writing from the American Experience," which inclUlles a selection of courses Contact fa£1;1!ty from the departments of EngHsh,Ethnlc Studies, and Women Studies. Grad_uate Creative Writing Department APP.~if,_~~if),1_'!5_ San Francisco State University ~~yt~J!!_9.F:9.~~ 1600 Holloway Avenue San Francisco,CA qterary ~agaz:ines 94132 Students __& Alumni Email; IlL~-~~~m'.G.~.~-W.r C1Nnting@:3fsu,adu Phone: 415-338~1891 NowsJetror Room: HUM .180 ~cho_~~rs_hfp ~P.!;!)if~llq_~ wete_q~ei M.A. in English: Creative Writing Quick Links Pro.g_r!m~ The M.A. in English with a concentration ln Creotive Writing ls a 30-unit course of study in 1tie writing • ~ulJ~ti:i of fiction, poetry, or plays, with requirements evenly dividGd between writing workshops (9 semester "' 9.\9,g;__~~~le ~ BA Creative ywiting • J Paul ~onard • MF<;Creati\le VVr'rting hours), literlth.Jrecourses (9 semester hours) and Creative Process courses (9 semester hours). P~rary • ~£~)n 9Htat~y~ Also required is a creative thesis (3 semester nours). Our purpose is to foster the imaglriation, craft • i~~~1r1 'Mili!:!9 and opportunlf)' of those who plan to be profess tonal writers. MA Creative Process-course topics ioelude the following: Characterization, Contemporary Nan~Fiction,Center1ng on Language, Contact Facuttf Elements of Playwtiting,Experlmentat Fiction, Feminist Poetics, The Novella, ar,d The Prose Poem, Graduate The M.A. degree offers students the opportunity to focus on ambitious, constructi\le exploration of Creative Writing Appfi_catlons creatlve written work; central to this exploration is the study of di,..erseworks of literature. Since the Department MA degree is required for the Comniunil'y College Teaching Credential in Callfomla, some San FranciscoState C,_!!.~_rs_e~. studenls also apprentice themselves in the teaclling of writing-as graduate instructional aids, University Adv lsinjl Forms volunteering for unitswithin the department, or as work.shOpleaders in community organizations. 1BOO Holloway Avenue San Francisco. CA Literl!rY Mag_a~~nes Some of our students take the sequence of composition courses in 1he English Departmen1in addition to lheir degree requirements (Eng_li_shDepartme_~ GradUflf,e Certi.lig.?,tes). f/4132 Students_ & Alumni Emait The Poetry_ Center MA Adl.'is!ng_WorkSheet(POF) [email protected] Phone: 415<~38-1891 ~~~tf:~f R~om: HUM 380 Sch-ola~h_ip ,A.p_pil~a~9_n Weli;-omo MFA In Creative Writing Quick Links -~ro:g.ra_~~ The Master of Fino Arts In Creative Writing is a 54 unit program which consists of writlng workshops • Bulletin as well as creative proces, and/or Utera:lurecourses, tt also requires a 12 unit correlative, a clustor 4 Class Schedule ~ B_A:_Creative_ \Nr'llin_g of courses related to your special Interests.The M.F.A,degree takes about three years for a full ~ J Paut Leonard " ¥.~_C~e~v~. \')t_l~ng Libr~ry ~ MFAin Crealive time student to complete; M.F.A.students- can attend part time and have seven years in which to • j~~a!~ Wtiling complete alt the requirements for their degree. The M.F.A. is the terminal degree in creative writing. If your goal Is lo teach creative writ~ at the fo\Jryear CQllegeor universityle\'el, you will need an Conl4c.t f~-~!:!lfy M.F,A. degree in addition to book publtcalfon:now, many community collegos also hire M.F.A.sto Graduate teach in their English Programs.The M.F.A.wifl, like the MA., prepare you for an English Ph.D, Creative Writing Pepanment ~PPJ!~.oi.~!9.~-~ program. San FranciscoSt.ate Courses University ~!IY.~~ll)g__F_Q_~s 1600 HollowayAvenue qt_e'.ra_ry-~agazir,~ San Francisco, CA Gl41J2 Students &_A,.lumni Email; :r_n_~J='.Q8.l!Y _Cor,_t~_r [email protected] Phone: 415-33B·1B91 _Newsletter Room: HUM 380 Selio_larship t\Pi:!Ii.~-~~i~r, Welcome Faculty Quick Links .Prog_r8!'1:1S • Bul_lelin > !\'.l_~xJn.~.g_~-~r-~~f_t • ClassSchedule Faculty Professor, DepartmentChair, Advisor, Thesis Reader • J Paul.Leonard ~rad_u_~J~ Librart ~PP!!f::.a~!~~~ Email: [email protected];[email protected] • ilearn Phone: 415-338-1891 9.0U[S_,,•. IllLocation: HUM 380 Contact A(lvisin_gj-orms Creative Writing

Li~era.ryMagazines > Michelle Carter Department San FranciscoState Stude.1)~ & _Aly_mni Professor, Advisor, Thesis Reader University T_h_~_ -~o_e,_tr:y __~e o_ter Email: [email protected] 1600 HollowayAvenue San Francisco,CA Ne~letter Phone: 415-338-7402 Location: HUM 562 94132 ~-~'1~~r~_t!_ip Email: ,t\.PRlil?Jt~[~-~ [email protected] ~_o.ria_.f~.~Pe:.r~ i:__ Phone: 415-336·1691 Professor, Advisor, Thesis Reader Room: HUM 360

Email: [email protected] Phone: 415-338-1118 Location: HUM 563

> _Roy C.onbo_.1' Professor, Advisor. Thesis Reader

Email: [email protected] Phone: 415-338-1614 Location: Creative Arts. Room 101

~ _Camil,le Du.n.gy Professor, Advisor, Thesis Reader

Email: [email protected] Phone: 415-338-1075 II Location: HUM 422

':.J~P'?..~!.LI.~~ Professor, Advisor

Email: [email protected] Phone: 415-338-3078 Location: HUM 268

> ____Paul .. _Hoover rofessor, Advisor, Thesis Reader

Email: [email protected] hone: 415-338-3157 ocation: HUM 447 ~---p~~J~J~~-~9.!~"! ' . Professor, Advisor, Thesis Reader - . Email: Phone: 415-338-2319 II· Location: HUM 267

> Toni Mirosevich Professor, Advisor, Thesis Reader

Email: [email protected] Phone: 415-338-7439 Location: HUM 550

> ___Pet_er .Orner Professor, Advisor, Thesis Reader

Email: [email protected] Phone: 415-338-3082 Location: HUM 364

>___ Chana_n_ Tig_ay Assistant Professor, Advisor,Thesis Reader

Email: [email protected] Phone: 415-338-3155 Location: HUM 545

Adjunct Faculty

> Matthew Clark Davison Lecturer

Email: [email protected] Phone: 415-338-3081 Location: HUM 364

> __ponna_ deJa Perriere Lecturer . Email: [email protected] . Phone: 415-338-3078 IllLocation: HUM 268

>__ §~~_y_e_ P_i~kison Lecturer, Director of the Poetry Center, SFSU and American Poetry Archives

Email: [email protected] Phone: 415-338-3401 Location: HUM 511

~ Home / Contact I 1GOOHo!lo1•1,)y Avtmue San Francisco CA 94132. Tel (415) 338"1111 VJ.el,,;"!~9 Graduate App!ieations GraduattlichyDUarn aJlplying,S"!ap!o orp.iper,c:Jp y0Ll(ma1uscnp1. am pl.tiyllurname on,t Cl'lilatf'o1eWriting scttclanshlp AGrur..Iha marnJScriptsample mlll;t be accomp.!!Ml(Illy eilherllla Crli!atiYaWriting DEp2lttT1sntP-A,F.A. or De~11,1ui-M Appl!r;,atton MA Application fO(Tfl._ NOTE: ~ • .sUllsb'tulicn:sor 00.o::1:tlons1:;your rrenJScrljt.-...iffNOT be Safi FmnciSOJsi.,1g, scoopted! Ya\,'r manuscriptc.s:1110-t bo roktned- Don'! sert:t your only CO-;J)'. Ul'lnler.;ity J} one uooff1tial co;iy of &II <:cll6g~ 11rX1forin,11:,n# transerjp-!S, Tmnscn'ptsmay be tlQMdirnciy rrom lhe 1600 l--!ollo',lleyAven't!& l:Jll!'li!: Jetrorwriter.Must te slJbmi!tei:I{m-silnd or haOO-.a.~h'l'Ered)in h3ro .copy. tl',Tl':'ng@:!,fau.,;idu All oomi;onents of CmBll11eWriting '.JepatTenl Allp~cadcinmlJ!l;t be s•..1bmH:led(malled orl\300.(!elivare:i; Phone: 415---33,!M891 ID ~cm; HUM 38') CrM!flre Writi1g Doparmen!

Son Frane;iscoState Univonsi-ty

HICOHol:OY,'

S-1'1f!O[);;ISCI) CA 94132

PART TWO: CSU ~?LI CATION FOR GRADUATE STLD\', lhree mmpo.,ena

1) Orn CSU Appficationtv. Grodu11leSt\ldy, $vbmllted Cf'M9 el t,ttp:~,rn,mor,tQr.eaµ (Ttwe Slalorner1tof p!J!J)OSe/perscna'.oi!ztement ~ indu:'.led rn 11'1,s""rt,ne pEl'I of !ho app!icalicn,If yo1.1sla:ement ot P\l'POSefl)er..cnalslaiomont is 10r,i;orthan the ~uw provid.xl ff' ma on~neCSU AW!kallcn for GrOOuateSlU:ty, you rMt Gimplyormr 1h8phtaso •sen l'ltn:,cUyto the departmet1t."and Mnd ii itt with part ""'·> 2} CSU Apptic:t.ffl lee; approximaialy$5!..oo

a) Ooo set cf oHiciallt!lr"ffl:rip!s tor oh college end.iorulll'/eftity coITT8""otk.Haw conegoarcl/ot untwir1;l1y mail )'Ot.JrQtficia: trarscr\pl.S to

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lNTERNAT!ONALAPPLICANTS: pie= referer...1oVle f(i!!Owl'~ web pagi,$ foradartioru urNO~ity app!icino,-..reqliromoms

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Sll(l)fl1aryof C&.I ApplicBlionfOI"Graouate Study process o:-7'\ SAN FRA?,'.( ISCO t~(;: Slllll WmlKSllY V'Jel~ome Courses Quick Links Prog_rams OurcurriCutum in poetry, fiction, and playwritingis both solid and innovative.A special feature, one • .~\.!ll~n _Fac_ulty that sets our programs apart from all others, is the many Creative Process classes we offer. Along • Clas_s_S9hed_ule with our core curriculum of workshops and literaturecourses, we are constantly refining and • J Paul Leonard G.r,~-~Y.~t~ reinventing the Creative Process area. According to many of our students, these variable topic L_ibrary Applications courses on the art, technique and theory of writing are most valuable for the fr progress as writers. a i~~~r'! Courses Each course combines extensive reading with complementary writing assignments and exercises. Contact f..<:>X.~_s_ A..~_yJ~.l.n.9.. Creative Writing ~I~r~_ry__~_a_g~_;_!!l.~.~­ Department Students & Alumni San FranciscoState gqmrnuni_tyProjects in_Literature_ Internship Lead_s(pdf) University The Poetry_Center SF~U Bulletin Course.. Desc_riptions 1600 HollowayAvenue Newsl_ette_r San Francisco,CA 94132 s_c.~91~.r~-~_1p_ Email: J\pp_lJ_c::_a.tJq_n [email protected] Phone: 415·338-1891 Room: HUM 380

({~f~il SAN FRA~N~JSC~ S:".Stale Horne Contact 1GOOJ-lolloway 1\vr,,nuc San Frnneisco. CA 94132, Tel(415) 338-1111 \l_,:}~} Sl,\U. UNlVLRSllY I I We:!_~9~e Advising Forms Quick Links

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SF -StateHom,; I Contact I !GOOrio:lowayAvonue 8,111Francisco. CA 94132 .1e1 (415) :t38--1111 w~~c:_o~e Literary Magazines Quick Links ~_rog,ra_~! Our students publish two literary journals: Fourteen Hills and Transfer. • B_ullet_in Faculty • C_lassSchedule .fo.ll_f'__~(!-~n_f!/l}§J}}]_~.-~C~_lL~'!Y}~Vt', published by SFSU Creative Writing graduate students, an • J Paul Leonard Gradu_ate internationalliterary journal with a national circulation, had its first issue in fall, 1994.lt is open to all jjb_rary App,flcations writers to submit, for more information please follow the link to 14Hil,ls.n_e:t • j~_e..§rn _Courses Transfer Magazine, is an SFSU undergraduaterun student literary magazine which has been Contact .e..~Y.i~Jr,g___[c;,_rm~. published at San Francisco State Universitysince 1956.The magazine only publishes work by currently enrolled students at SFSU. Creative Writing Literary Magazines Department NeV( Ameri~a_r,_Writing_, co-edited by Maxine Chernoff and Paul Hoover, is affiliated with the Students & Alumni San FranciscoState department and partially funded by donations made to the College of Liberal & Creative Arts. Now in University The __Poetry__C~nter its 50th issue (30 issues as NAW), it was founded in 1971 as OINK! Magazine. It publishes 1600 HollowayAvenue t:,iewsletter international,national and local poets and prose writers including occasional contributions from San Francisco,CA faculty and students of the SFSU Creative Writing program. New American Writing is on face book! Scholarship 94132 Email: Appllcat_io_r, [email protected] Phone: 415-338-1891 Room: HUM 380

SF State Home- I Contact I moo Hoi/01wiyAvr~nue. S.in Francisco. Cl-I 94132. ·1e1(<1'15) 33!l"1111 'Ne.~!'.=t?_rt:18 CW Student Organizations Quick Links .etQ9X~.'!1~ Students come from all over the worfd to enroll in our undergraduate and graduate programs. SFSU • Bulletin F_aculty is famous for its cultural and ethnic diversity. The intense competition for admission to our graduate • C!_ass_Schedule programs makes for an exceptionally gifted and committed student body. Our Graduate Student O J Paul Leonard _(;radua_te organizations, The Wordsmith's Guild and Ve_JRoRe_ading __Serie_s _(Ve_lvet_ RevolLJtiqr,}, work hard to Library Applications develop a sense of community in the Creative Writing Graduate Programs. The VelRo Reading • ilearn C()urses Series is on facebook! Contact Advisin_1t_Forms Creative Writing ~-~~!~!Y..~-~-9i:'.~!~.e..S. Department Students & Alumni San FranciscoState University 0 .AJumni 1600 HollowayAvenue • CW Student San Francisco, CA Organizations 94132 Dt~.P.c;>~~ry __Ce_n~~-r Email: Newsletter [email protected] Phone: 415-338-1891 Scholarship Room: HUM 380 Application

SF State Home I Contact I 1600 Holloway Avenue S<1nf'mnc1sco. CA 94132 Tel (415) 338-1111 Welcome Newsletter Quick Llnks. f~IJ__2_0_1_? __t,!~~!~l!~!_(p9f) • Bulletin • (:l~_s_~__§fti_~1.~le f~.t:.t!!fy falt._~fUJ_t,!~-~!~tJer .(p-q_n • J P_aul_Leon_ard library Graduate Fall 2010 News.letter (pdf) • iLeam ~pp!ic_at_lo_ri_s

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Students _&_Alum_ni University 1600 Holloway Avenue Th~J:Jo~_ti:Y.c_~r1.te_r San Francisco, CA Newsletter 94132 Email: Scholarship [email protected] ~P.P.!!c_atio_n Phone: 415-338-1891 Room: HUM 380

s~·su1teHome /~ J 1600Ho,!owayAwr.~.(< StonFr;m:;1sco CA94132 Tei/415).338-1111 APPENDIXT

Newsletter Summer 2012 CREATIVE WRITING DEPARTMENT San Francisco State University www.creativewriting.sfsu.edu, [email protected]

Dear Students, Faculty, and Alumni: Our award-winningdepartment magazines, Transfer, Welcome to fall semester, 2012. I first want to bid fare­ FourteenHills and New American Writing, continueto well to President Robert Corrigan, a strong and faithful offer opportunities for students to publish, edit, and in­ supporter of the Creative Writing Department, and wel­ tern. Our nationally treasured Poetry Center and Ameri­ come our new president,Dr. Leslie Wong. Underhis can PoetryArchives offers readings,recordings, and an leadership we will continue to be an exceptional program expanding digital archives on DIV A by internationally and source of pride to the university as we educate and recognizedpoets and writers;our studentreading series, launch students into the world of arts and letters. I also VelRo, providesweekly events. Our courses Writerson want to sincerely thankAssociate Deans Susan Shimanoff Writing and Business of Creative Writing host guests to and Todd Roehrman for their excellent service and Dean discuss their new books, their publishingventures, and to Paul Sherwin for his inspired vision and fortitude in mak­ offer advice on how to become working membersof the ing our new big college, Liberal & Creative Arts, a dy­ greater literary community. Our Community Projects in namic,exciting, and smooth-runningcenter for work and Literatureclass enables studentsto internat schools, sen­ study and for his continued support of our programs. ior centers,theaters, publishing houses, museums,and arts organizationssuch as our own Poetry Center,826 In this spirit I also want to tell you of the wonderful col­ Valencia, and the Voices of Witness Project. laborations that have b,gun within the larger structure of the college with the Art Department (in Book Arts and Congratulationsto so many of you who have won awards, events jointly sponsored by Professor Mark Johnson of published books, started websites and biogs and maga­ the SFSU Gallery and Director Steve Dickison of our zines, as well as off-campusreading series. We are proud Poetry Center); the Cinema Department, where CW stu­ of those of you who have found teaching, editing, and dents have collaborated with animation professor Martha writingpositions. If you are a graduateof our program, Gorzycki; and the Theater Department, where Professor we thank you for your continued support which provides Roy Conboy stages many plays by our graduate students. much of our budget for supplies, scholarships, student This semesterPeter Omer is team-teachingJournalism travel,directors for studentplays, and other essentials. 667, Literary Journalism, with Professor Yumi Wilson; Continueto createand to seive the community-we want and there exist many continuingopportunities for our to hearhow CreativeWriting majors continue to engage studentsto take courses in English,Humanities, Modem in the world. Greek Studies, Comparative and World Literature, For­ Sincerely, eign Languages, and in departments outside the college such as Latina/Latino Studies. It is a fertile moment to Maxine Chernoff, Chair of Creative Writing plan shared ventures and to seek working partnerships with more departments. NEWS • NEWS • NEWS NEWS • NEWS • NEWS Faculty Ourown departmentis fortunate to have several new Eyewear Publishing of London will release a second se­ faculty members: tenure-track hire and Assistant Profes­ lected poems of Maxine Chernoff in 2013. Recent po­ sor ChananTigay joins us in fiction and creativenon­ etry publications can be found in Iowa Review, Conjunc­ fiction. He has an extensive backgroundin journalism, tions, Colorado Review, and The Nation; also she's re­ particularly in coverage of the Middle East, has taught at ceived an international scholar fellowship, lecturing at the Stanford University and recently been a fellow at the UC University of Exeter, England, in January 2013. In Spring Berkeley's School of Journalism. We also welcome our 2012 the first ever Pacifica Pier Poetry Walk and Pier new GT As and lecturers Heather June Gibbons (poetry) Community Celebration took place and was the result of and Cooley Windsor (fiction). an ORSP CreativeWork grantToni Mirosevich received. We were saddened in spring by the loss of our wonderful Both events were great successes due to the help and par­ professor and dear friend, Professor Stacy Doris. The de­ ticipationof many students,alumni, faculty and staff in partmentand her graduatestudents have commemorated the CW, Philosophy, and Business departments. Toni has her in many forms includingmemorial readings and jour­ new fiction and nonfiction in forthcoming issues of Belle­ nals; the work they produce will be profoundly influenced vue Literary Review, Gastronomica,Hayden's Ferry Re­ by her lasting legacy. She was a source of great intelli­ view, Fourth Genre, and Phoebe. The Venezuelan pub­ gence and humanementorship to many poets; she is lisher Monte Avila published an edition of Paul Hoo­ greatly missed by all who were lucky enough to work and ver's work in Spanishand English, La intenci6ny su ma­ study with her. terial (Caracas, Monte Avilla Editores, 2012) (Intention and Its Thing, translated by Maria Baranda), especially for the 9th annual Festival Mundial de Poesfa, Casa Na­ and Schuster. Anita's first book, The Blood of Flowers cional de las Letras Andres Bello, Caracas, Venezue- (Little, Brown and Company 2007) was reprinted in four­ la, June 17-24, 2012. He was the only poet invited from teen languages. Grant Faulkner (MA) had an article in the U.SA. Paul, along with Truong Tran was also part of the March/ April Poets and Writers. Grant is now the ex­ an event, a Litcrawl and Matcha art mash-up, which took ecutive director of the Office of Letters and Light, the place at the Asian Art Museum on June 28th. Peter Or­ nonprofit that runs National Novel Writing Month, Script ner's new collectionof stories,Last Car Over the ­ Frenzy, and the Young Writers Program. He has new more Bridge will be published by Little, Brown in Fall, work in The Southwest Review, Volume 96, No. 3. and 2013. Michelle Carter had a Summer 2012 residency started the lit journal JOOWord Story find out more at with Berkeley Rep, in their 20 Writers: The Food Project, www.lOOwordstory.org. River Jackson's (BA; MA: having co-written the text for Erika Chong Shu ch 's per­ Drama) novel in verse, The Islands Of The Moon is avail­ formance piece After All. Michelle also won a Pen Center able as a free download at www.theislandsof USA drama award for her play How To Pray. Camille themoon.com (also watch him on youtube.com). Roxane Dungy was guest poet of the State Departments of Beth Johnson's (MFA) 2nd book of prose poems, Black Mozambique and Zimbabwe in July. Daniel Langton's Crow Dress, is forthcomingfrom Alice JamesBooks in latest book, On Our Walks, is in its JO'' printing. Bob December. She has new poems in Blackbird, Prairie G!iick: the 30" anniversary reprint of his first prose Schooner and The Georgia Review. Hilary Kaplan book, Elements of a Coffee Service (first published by (MFA) received a PEN Translation Fund Grant for her Donald Allen's Four Season's Foundation) is forthcoming translation of Rilke Shake, a book of poems by Brazilian from Ithuriel's Spear. Later this year Bob will be inter­ poet Angelica Freitas. Starting in December, she writes viewed by Miranda Mellis for McSweeney's journal The about Brazilian poetry as a Guest Commentator Believer. Also, his chapbook, My Last Day.An Essay was at Jacket]. And on the humorous side, you can find Hilary paired with the art of Arnold Kempe as part of a show at as the cover girl for issue 3 of the Rio-based literary mag­ Second Floor Projects in San Francisco. And an essay on azine Modo de Usar & Co. Athena Kashyap (MFA) has artist Jess, first published in ARTFORUM will be posted a new book of poetry called Crossing Black Waters, out to the SFMOMA 's blog Open Space. from Stephen F. Austin University Press. Marilyn Harris Former Faculty Kriegel (MFA) and Roberta D'Alois (MFA candidate) Alice La Plante, won second place in the Barnes and have been chosen by the SF Olympians Festival to Noble Discover A ward for her bestselling novel Turn of write Athena! The Musical, a modern take on the Athe­ Mind. na/ Arachne story that pits Marley Nathena, a software executive,against Rhea Weaver,a small town mayor,for Alumni the Vice presidential nomination. The festival is big fun, Shruti Swamy (MFA) is this year's recipient of the for more info go to sfolympians.com. One of Elizabeth $54,000 W.K. Rose Fellowship from her B.A. alma ma­ Madden-Zibman stories, "MyHome 1s in Montana11 was ter, Vassar. It enables her to work on her fiction for a published in the premier print issue of Shaking Lit: Best year. Daniel Orozco (MA) won a 2011 Whiting Writer's Prose, 2007-2010, Carlow University, Pittsburgh, availa­ Award from the Mrs. Giles Whiting Foundation with a ble on Amazon. Lily Ioua MacKenzie's (MA) poetry prize of $50,000. He is currently teaching in Moscow, collection, ALL THIS was published by Little Red Tree Idaho. Alejandro Murguia, (MFA) has been chosen to Publishing in November 2011. Jimmy & Rita by Kim be San Francisco'sPoet Laureate.Gerardo Pacheco Addonizio (MA) has just been reissued by Stephen F. (MFA) won the 2012 San Francisco Foundation Joseph Austin State University Press. Richard Martin (MA) has Henry Jackson Award for his poetry project, The Child of been commissioned by Soft Skull Press for a new anthol­ the Grasses; there will be a reading at City Lights No­ ogy called Tricks, Johns, Marks, & Chickenhawks, a fol­ vember 26". Robert Ricardo Reese (MFA) had poetry low-up to Hos, Hookers, Call Girls, and Rent Boys, sto­ published in Asia Literary Review Spring 2012. Susan St. ries told by the underrepresented population of sex work­ Aubin's (MA) new book is now out from Renaissance E ers. Charlotte Muse won the 2011 Elinor Benedict Poet­ Books called, A Love Drive-By And Other Stories Of Am­ ry Prize from Passages North, and the 2011 Allen Gins­ bition, Hunger,And Desire. It's availablenow as a down­ burg Poetry Award. Two of Charlotte's poems will be load, and hopefully soon as print-on-demand. Ellery anthologized, one in The Place That Inhabits Us (Sixteen Akers (MA) won the 2011 Poetry International Prize for Rivers Press), and another in A Bird Black as the Sun, a Mud Lake, which will be published in Poetry Internation­ book of California poets on crows and ravens (Green Po­ al. Sarah Bardeen (MFA) has two poems forthcoming in ets Press). kathryn I. pringle's (MA & MFA) manu­ Arroyo Literary Journal in Spring 2013. Marianna script.fault tree, was selected by judge C.D. Wright for Cherry's (MF A) story "The Endurance" is forthcoming in Omnidawn's I st/2nd book prize. It will be released in Fall ZfZZYVA. Jonathan Hayes' (MA 2004) poetic trave­ 2012. Other works have appeared recently in Phoebe and logue, Nippon: Drinking Sake and Staring at Fireflies in Horse Less Review. Megan Pruitt (MFA) won a 2011 the August of Cicadas, will be published online by Si­ Omnidawn Chapbook Prize in poetry. Matt Rohrer's lenced Press this year. Annie Holmes (MF A) has been (MA) chapbook, Probability of Dependent Events, is awarded a Hedgebrook Writing Residency for September­ available for free download from Beard of Bees, beardo­ October 2012. Anita Amirrezvani's (MFA) second nov­ fbees.com. Canyon Sam's (MFA) PEN-award winning el, F,qual of the Sun was published this June by Simon book about Tibetan women, Sky Train, will be published

2 in South Asia next year by Westland Press. Also, she is a from MacAdam!Cage ( can pre-order on Amazon and Visiting AssistantProfessor at Mills, teaching Creative Kindle). Nonfiction. Fred Setterberg's (MA) new novel, Lunch Bucket Paradise (Heyday), is short-listed for the Saroyan Students Prize given by the Stanford University Libraries. Forrest Andrea Alban's (MA Candidate) Anya's War was select­ Gander (MA) was a finalist in the National Book Critics ed as one of the titles to be honored this year on the Ame­ Circle Book Awards for his poetry collection Core Sam­ lia Bloomer List/The Amelia Bloomer Project, which is ples.from the World, which was also a finalist for the part of the American Library Association, Social Respon­ 2012 Pulitzer Prize in Poetry, Laura Walker (MFA) has sibilities Round Table's Feminist Task Force. Sylvia a new book of poetry coming out from Apogee Press Martinez Banks (MFA Candidate) recently published a summer 2012, Follow-Haswed.Sandra Wassilie (MFA) short story in the May 2012 Cipactli literary journal, pub­ had two poems accepted for the May 2012 Quiet Light­ lished by SF State's Latina/Latino Studies depart- ning reading series; these were published in sPARKLE & ment. Keely Hyslop's (MFA Candidate) poetry collec­ bLINK. Sandra also served as poetry editor on Fourteen tion, Things I Say to Pirates On Nights WhenI Miss You, Hills, was a featured reader at the Velro Reading Series published by Fourteen Hills, as this year's winner of the which published one of her poems in the first Velro Read­ Rubin First Book Award, was included in Small Press er. Theresa A. Yob (MA) is teaching English to graduate Distribution Recommends list. Kathy Gilbert (MF A students from Germany in Silicon Valley and San Fran­ Candidate) had three poems published in Swamp, an cisco through the International Language School. Bridget online Australiane-zine for graduatestudents, and three Hoida, (MA) So L.A (Lettered Press, 2012) is a first novel poems published in The Toe Review, including "The about a northern California transplant adjusting to the Most Integrated Room in the House," which was included L.A. lifestyle. Lauren Shufran's (MFA) debut book of in their first anthology, The Best of Our First Year Online. poems Inter Arma is the winner of the Motherwell Prize Graham Gremo re (MFA Candidate) was nominated by in Poetry. The book will be published by Fence Books in Quiet Lighting for the 2012 Pushcart Prize in Best of the the spring of 2013. Cary Pepper (MA) won the 2012 Small Presses, for his piece "Happy Birthday (Sorry You Ashland New Plays Festival with his full-length play How Missed It)." John Haggerty (MFA Candidate) has had It Works. His one-act play Small Things airs on National fiction recently published in the Coachella Review, the Public Radio in the summer or fall of 2012. Lizzy Acker Los Angeles Review, Hot Metal Bridge, Uncle John's (MFA) wrote a review of the Poetry Center's November Flush Fiction: An Anthology of Bathroom Reading, and 2011 fundraiser, with .and Gary Apt. Diana Rosinus (MA Candidate) will be published Snyder, for KQED website's arts and literature page. in Foundling Review and Poecology. Sommer Schafer­ Sara Mangold won the Transcontinental Poetry Award AuYeung's (MFA Candidate) most recent short stories from Pavement Saw Press, for Electrical Theories of have been published or forthcoming in Barge Journal, Femininity. Lucy Day's (MA & MFA) memoir, Married Eleven Eleven, on-line journal kill author and sPARKLE at Fourteen:A True Story, will be published by Heyday & bLJNKApril 2012. John Yewell (MFA Candidate) was Books in October. She will be reading at Diesel recently awarded a $1,500 SFSU Alumni Association Bookstore in Oakland on Oct. 21, and at Laurel Books in Graduate Scholarship for Fall, 2012. Roberta D'Alois Oakland on Oct. 26; heydaybooks.com for more info. (MFA Candidate) has been awarded the 2012-13 Silver Traci Chee, (MA) has short story collection Consonant Jubilee Scholarship from the San Francisco branch of the Soundsfor Fish Songs forthcoming late August, from American Association of University Women (AAUW), Aqueous Books. Alicia Ostarello (MA) is currently and has been hired to teach freshman composition here at working on a new project, called 50/50: A Dating Docu­ SFSU in the English Department. Yume Kim (MFA can­ mentary, for which she's set up a kickstarter.comfund­ didate) received a 201 !Kundiman fellowship; she attend­ raising campaign. Alicia will be hitting the road and going ed the Kundiman Asian American Poetry Retreat at Ford­ on 50 first dates, one in all 50 states. Sandra Dutton ham University in June. Carolyn Ho (MFA candidate) (MA) has an article, "The Poetry of Talk: Musings on won the 2012 San Francisco Foundation James Duval Dialect" in the November/December 2011 issue of The Phelan Award for her poetry manuscript Wake, and will Horn Book Magazine. Rebecca Radner (MA) has a new also be reading at City Lights Bookstore November 26ili. book out called Whatyou least Expect: Selected Poems 1980-2011,published by Class Action Ink. Kirby Wright Congratulations to these outstanding students and alumni. (MF A) was the 2011 artist in residence at Milk wood In­ For more student (and alumni) publications, visit our ternational in the Czech Republic. Elise Ficarra (MFA) website, creativewriting.sfsu.edu.Please email us if your collaborated with composer Evelyn Ficarra and artist Kar­ publicationisn't listed, and we'll be sure to includeit in rie Hovey on the installation"Endangered," that was part the newsletter, and the website. of mixed-media show Broadside Attractions/Vanquished Terrains at Intersection for the Arts in May. Phyllis MILESTONES Stowell's (MA) most recent books of poetry are Stacy Doris, was a beloved faculty member from 2002 - SUNDERED (Fisher King Press, 2012), Engraved Tablet 2012. Her works included h~r creative nonfiction,written (FootHills Publishing, 2011 ). She will be reading at Book th in French,Une Annee ClNew YorkAvec Chester, La Vie Passage September 9 • Jon Boilard's (MFA) debut novel de Chester Steven Wiener ecrite par safemme, and a par­ A River Closely Watched is due out in late September, tial list of her poetry collections includes Cheerleader's 3 Guide to the World:Council Book, Knot, The Cake Part your check payable to San Francisco State Founda· and Fledge. She has left a lasting impression on us all, tion. On the subject line please indicate one of the follow­ with her kindness,elegance, and humor; we all are so ing accounts: *James Milton Highsmith Endowment, muchricher for havingknown her. •MiriamYlvisaker Endowment, •Manoogian Endowment *William Dickey Endowment. James Leigh, former faculty in Creative Writing, Eng­ lish, and Journalism Departments on and off from 1954 to EVENTS: Add your voice to the Creative Writing De· 1980, passed away on June 16 at the age of 82. Chairof partment by attending events and contributing to the de· the Creative Writing Department from 1977 to 1980, his partmentmagazines and contests. Be sure·to sign up for novels, included What Can You Do? (made into the 1970 the email list and to watch our bulletin boards outside the filmMaking It), Downstairs at Ramsey's, The Rasmussen department office (HUM 380) and by HUM 128 for news Disasters, and No Man's Land. His autobiography, of local events, publications,and contests. Heaven on the Side: A Jazz Life, was published in 2000 Also, check out the Poetry Center Schedule online: by Xlibris. www.sfsu.edu/-poetry. ADVISING: Students, to startreceiving email notificationabout All CreativeWriting professors, assistant, associate and events, contests,advising, etc, send an e-mail to cw­ full professors, are advisors; the list is posted at the de· [email protected], no subject; in the body of the partment office, HUM 380. See any of them during their message, type the word subscribe. (And to get off the office hoursfor any questionsabout your degree program. email list, do the same thing, except type "unsubscribe"in DEPARTMENT NEWS the message.) Alumni, do you who want to be on our Prospective applicants to our graduate programs, the Alumni e-mail list? Email us, [email protected],with th application DUE DATE is DECEMBER 15 • your <>-mailaddress, requesting to be added to the list.

Studems, past and present, faculty past and present: your All best wishes for a happy and productive Fall 2012. Creative Writing Department wants to hear from you! Please send us your news for the next Newsletter. BarbaraEaton, office coordinator Creative Writing at SFSU BIG THANK YOU'S to all of you who have been so generousin your giving; withoutyour help, the depart­ ment would have to do out without the many things that make our lives easier. And as our department continues to receive no operating budget, we are dependent as ever upon your generosity, for not only scholarships for our deserving stlldents, our membership fee for AWP, journal subscriptions, the occasional honorary stipend for guest speakers, judges, etc, but also for basic office supplies like paper, whiteout, and post-its (Thank you, C.K. for the supplies donated!) Your tax deductible contribution to The Creative Writing Department Fund, literary journals and scholarship ac­ counts may be mailed; make the check payable to Univer­ sity Corporation,San FranciscoState and be sure to indi­ cate on the memo line and in a brief cover letterthe ac­ count to which you wish to contribute (a list of our ac­ count names following). Please mail your donations to San FranciscoState University Office of University Development Administration Building 153 1600 Holloway Avenue San Francisco, CA 94132 Our other donation accounts are: *14 Hills Literary Journal, *Ann Fields Poetry Award, *Bambi Holmes Award, *Clark-Gross Novel Award, *Tillie Olsen Award for Socially Conscious Writing, *Transfer Maga· zine,*Wilner Short FictionAward, •wordsmith Guild. Rememberto write the appropriateaccount on the memo line of your check. Additional donations maybe be made to one of our endowment accounts, which fund other scholarships and awards.The mailing address is the same, but make 4 Fall 2011 CREATIVE WRITING DEPARTMENT San Francisco State University www.sfsu.edu/--cwriting, cwriting@sfsu, edu

Dear Students, Faculty and Alumni, NEWS•NEWS•NEWS l am writing to welcome you to Fall semester Faculty 2011. After months of uncertainty and a year of unsettling Michelle Carter was commissioned to write a play for institutional reorganization, we are pleased to have re­ Symmetry Theatre, Patience Worth, which will open in mained part of our old but now much larger and renamed September. Michelle received a grant from the SFSU Of­ College of Arts and Humanities. It was our goal to stay fice of Research and Sponsored Programs to work on a where we were in a sound and longstanding relationship radio play adaptation and a CD recording of Dreamspiel: in the university to our college and with the fine support A Uke/ele Opera with the Ukulele Orchestra of Great for our efforts of Dean Paul Sherwin, Associate Dean Britain. Nona Caspers was promoted to Professor and Susan Shimanoff, and excellent support staff. We also she received a Cultural Equity Grant from the San Fran­ thank President Corrigan for understanding our place in cisco Arts Foundation. Nona has work in and forthcoming the university and responding so kindly to letters sent by in Black WarriorReview, CimarronReview, Glimmer some of our most distinguished alumni on our behalf. Train, Arroyo Literary Review and Green MountainsRe­ Though the budget crisis remains a very real fea­ view. She received an Open Fiction A ward from Glimmer ture of the 2011-12 academic year with more cuts threat­ Train and they featured her metafictional essay "The ened and our students paying higher fees, our class offer­ Horse" in their Glimmer Train Writer's Bulletin. Maxine ing has remained substantial and fairly steady. You will Chernofrs poetry collection A House in Summer is avail­ find most of what you need to advance in our programs. able, free, as an ebook from Argotist Online. Maxine will With our classes, our fine magazines, our Poetry Center, publish two poetry collections: To Be Read in the Dark and our playwriting program's offerings in Theater Arts, (Omnidawn, October 2011) and Without (Shearsman, you will find ways to fulfill yourselves and make your­ 2012). Maxine's work also appeared in Fourteen Hills, selves part of our community. Many of you have started The Nation, Conjunctions,Iowa Review and Denver reading series of your own, magazines, biogs, and show­ Quarterly. Anne Galjour's collaboration with the Robert cases, and I congratulate you on your efforts. I especially Moses Kin Dance Company, Fable and Faith, premiered want to praise Transfer,our undergraduate-run journal, at the Yerba Buena Center for the Arts in February 2011. which published its lOO'hissue last Fall and the Poetry Paul Hoover's bilingual poetry volume, En el idiomay Center and American Poetry Archives that has established en la tierra, translated by Maria Baranda, will be pub­ an exciting digitized presence on DIVA. Also, since many lished by Conculta, Mexico City, Fall 2011; in late interesting departments have joined our newly reor­ Spring he toured Vietnam with the country's leading po­ ganized college, possible collaborations with programs ets, Nguyen Duy, Pham Xuan Nguyen, head of the Hanoi such as music, art (including book arts), theater, cinema, Writers Association, and his co-translator, Nguyen Do, to broadcast communications, history and other disciplines read from Beyond the Court Gate: Selected Poems of will be explored. Nguyen Trai (Counterpath Press, 2011). The group was If you are a graduate of our program reading this interviewed on national television and radio and featured newsletter, I appeal to you for help in the these hard in all the leading-newspapers. Donna de Ia Perriere's times.The department is once again without a substantial book, Saint Erasure, was released from Talisman House budget for even the simplest supplies, not to mention December 201 O; Donna continues to curate The Bay Area greater goals sllch as more scholarships, sending students Poetry Marathon. Camille Dungy's latest poetry collec­ to conferences, and paying directors to assist with student tion is Smith Blue (Southern Illinois University Press, plays. Let's work to continue to enrich the lives ofour 2011). She is the recipient of the 2011 Northern Califor­ B.A., M.A. and M.F.A. writers and to lobby our national nia Book Award in poetry, a Silver Medal Winner in the and state governments to make education a serious and 80

3 tober 13th at the Hotel Rex in San Francisco. Susan Cal­ Our other donation accounts are: * 14 Hills Literary villo(MFA candidate) had poetry published in the 2011 Journal, •Ann Fields Poetry Award, •Bambi Holmes issue of Ghost Town, and herpoem 11His SecretGarden" Award, *Clark-Gross Novel Award, •Tillie Olsen Award was editors' choice and published in Compass Rose Vol­ for Socially Conscious Writing, *Transfer Maga- ume XI. Emily Wilson (MF A candidate) had a piece an­ zine, *Wilner Short Fiction Award, *Wordsmith Guild. thologized in The VioletsHave Broken The Rocks, pub­ Rememberto write the appropriateaccount on the memo lished by 2nd Floor Projects. line of your check. For morestudent publications, see Additional donations maybe be made to one of our www.sfsu.edu/-cwriting/students,html And, if your endowment accounts, which fund other scholarships and publication(s) is/are not listed, please email us and the awards. The mailing address is the same, but make next time the website is updated, it will be included: your check payable to San Francisco State Founda­ MILESTONES tion. On the subject line please indicate one of the follow­ Mark Linenthal poetry professor here from 1954 to ing accounts: *James Milton Highsmith Endowment, 1992, died September 5, 2010. Mark Linenthal co­ *MiriamYlvisaker Endowment, *Manoogian Endowment founded the Poetry Center and American Poetry Archives, *William Dickey Endowme~t. having served as its director 1966-1972. Norma Shattuck, who received her MA in poetry, 1986, has died at 77. She had been a journalist and sometimes wrote op-eds for the Chronicle. EVENTS: Add your voice to the Creative Writing De­ partment by attending events and contributing to the de­ ADVISING: partment magazines and contests. Be sure to sign up for All tenure/tenure-track faculty are advisors. Pick up a list the email list and to watch our bulletin boards outside the of advisors at the Creative Writing office, HUM 3 80. See department office (HUM 380) and by HUM 128 and for any of them during their office hours for any questions news of local events, publications, and contests. about your degree program. Undergraduates, Dan Lang­ ton is the G.E. Advisor for the department. Also, pick up a Poetry Center Schedule at HUM 380 or DEPARTMENT NEWS HUM 512 (The Poetry Center). You may also view their For those of you wanting to apply to our graduate pro­ current calendar online: www.sfsu.edu/-poetry. grams, the application DUE DATE is DECEMBER th Students, to start receiving events through the student e­ 15 • mail list? E-mail [email protected] , no sub­ Students, past and present, faculty past and present: your ject; in the body of the message, type the word subscribe. Creative Writing Department wants to hear from you! (And to get off the email list, do the same thing, except Please send us your news for the next Newsletter, to be type "unsubscribe"in the message.) published Winter 2012. Alumni, do you who want to be on our Alumni e-mail BIG THANK YOU'S to all of you who have been so list? Email us, [email protected], with your e-mail ad­ generous in your giving over the years; without your help, dress, requesting to be added to the list. the department would have to do out without the many things that make our lives easier. And this year, we real­ Creative Writing Department ly are in need - as our department continues to receive San Francisco State University no operating budget, and we are dependent upon your generosity more than ever before, for not only scholar­ ships for our deserving students, our membership fee for AWP, journal subscriptions, the occasional honor­ ary stipend for guest speakers, judges, etc. but also for basic office supplies like paper, whiteout, and post-its:.

Your tax deductible contribution to The Creative Writing Department Fund, literary journals and scholarship ac­ counts may be mailed; make the check payable to Univer­ sity Corporation, San Francisco State and be sure to indi­ cate on the memo line and in a brief cover letterthe ac­ count to which you wish to contribute (a list of our ac­ count names following). Please mail your donations to

San Francisco State University Office of University Development Administration Building 153 1600 Holloway Avenue San Francisco, CA 94132 4 APPENDIXU

Alumni and Student Publications Welcome Students & Alumni Quick Links

!='rc:>gr§I.IJ:lS Students come from all over the world to enroll in our undergraduate and graduate programs. SFSU is ~ Bulletin famous for its cultural and ethnic diversity. The intense competition for admission to our graduate • Cfass_Schedule fJ~_<;_~IJy_ programs makes for an exceptionally gifted and committed student body. • J _P_au_lL_eonard Library Graduate • ileam ~pp!l<;~_f!c:>_r:i_s Publications by Current and Former Creative Writing Department Students Contact Courses Fiction Creative Writing Adisa, Opal Palmer !',,d_yl_~J11_9J:2rm.s. Department I Name Me Name: Lola. Leeds, UK: Peepal Tree Press, 2007. ~.iJ~_r§l_ry___~_§l.9!1,;11}~.s San Francisco State University Students & Alumni Until Judgment Comes: Ston"es about Jamaican Men. Leeds, UK: Peepal Tree Press, 2006. 1600 Holloway Avenue • ~umni Can"bbean Passion. Leeds, UK: Peepal Tree Press, 2004. San Francisco, CA • .9W-'~!u.~ent 94132 It Begins with Tears. Caribbean Writers Series, 1997. ()rg;:i.n_iza_ticms Email: The Poetry_ Center Taman"nd and Mango Women. Toronto: Sister Vision Press, 1993. [email protected] Phone: 415-338-1891 Newsletter Leaf-of-Lite. Oakland: Jukebox Press, 2000. Room: HUM 380 ~~J~9!.c!_1'.S__l'!!P Traveling Women (wjth Devorah Major). Oakland: Jukebox Press, 1989. AP.pJ_lc§l'µg_~ Bake-Face and Other Guava Ston"es. Oakland: Kelsey Street Press, 1986.

Pina, the Many-Eyed Fruit. San Francisco: Julian Richardson, 1985.

Addonizio, Kim Little Beauties. New York: Simon and Schuster, 2005.

In the Box Called Pleasure. Tallahassee, Fl: Fiction Collective 2, 1999.

Banales, Me/iza "The Poet and the Pauper." Without a Net: The Female Expen"ence of Growing up Working Class, ed. Michelle Tea. Emeryville, CA: Seal Press, 2004.

Say It with Your Whole Mouth. Monkey Press, 2000.

Bronson, Po The First $20 Million Is Always the Hardest. New York: Harper Perennial, 2000.

The First Million Is Always the Hardest. London: Trafalgar Square, 1997.

Bombadiers. New York: Penguin, 1996.

Burke, Phyllis Atomic Candy. Boston: Atlantic Monthly Press, 1990.

Caspers, Nona Heavier Than Air. Amherst: University of Massachusetts Press, 2006.

2005 Grace Paley Award for Short Fiction.

The Blessed. Seattle: Silverfeaf Press, 1991.

Cherry, Marianna "Cockfight.h The Pushcart Prize XXV: Best of the Sma!I Presses, 2001.

"Nine Seven Zero." San Francisco: Best of The Small Presses, 2005.

"Nine Seven Zero." San Francisco: Best of Women's Erotica, 1986.

Coovelis, Mark Glon"a. New York: Washington Square Press, 2002.

Coshnear, Dan Jobs and Other Preoccupations. Kansas City: Helicon N!ne Editions, 2002.

2002 Willa Cather Award 2003 Bay Area Book Award.

Dawid, Annie Lily of the Desert: Short Stories. Pittsburgh: Carnegie-Mellon University Press, 2001.

Dillon, Millicent A Version of Love. New York: W.W. Norton, 2003.

The Dance of the Mothers. New York: Dutton, 1991.

The One in the Back ls Mine. New York: Viking Adult, 1973.

The One in the Back is Medea. New York: Viking, 1973.

Baby Perpetua and Other Stories. New York: Viking Adult, 1971.

Dykewomon, Alana Moon Creek Road. Midway, Fl: Spinster's Jnk Books, 2003.

Beyond /he Pale. Vancouver: Rain Coast Books, 1997.

1998 Lambda Award

Ferro-Grumley Award.

Nothing Will Be as Sweet as the Taste: Selected Poems. London: Onlywomen Press, 1995.

RiverfingerWomen. Tallahassee: Naiad Press, 1992.

Espinosa, Maria Incognito: Journal ofa Secret Jew. San Antonio: Wings Press, 2002.

Longing. Houston: Ar1e PUbJicoPress, 1995.

Dark Plums. Houston: Arte PLlblico Press, 1995.

Flores, Paul S, Along the Border Lies. San Francisco: Creative Arts Books, 2001.

Gaines, Ernest J. Wide Awake in the Pelican State: Stories by Contemporary Louisiana Writers. Ernest Gaines Interviewed by Ann Brewster Dobie. Baton Rouge: Louisiana Slate University Press, 2006.

Mozart and Leadbelly: Stories and Essays. Ed. Marcia Gaudet and Reggie Young. New York: Alfred Knopf, 2005.

Conversations with Ernest Gaines. John Lowe. Hattiesburg, MS: Literary Conversations Series, University Press of Mississippi, 1995.

A Lesson before Dying. New York: Alfred Knopf, 1993.

A Gathering of Old Men. New York: Alfred Knopf, 1983.

In My Father's House. New York: Alfred Knopf, 1978.

TheAutobiographyofMissJane Pittman. New York: Dial Press, 1971.

Bloodline: Five Stories (1968). New York: Vintage Contemporaries, 1997 (reprint).

OfLove and Dust. New York: Dial Press, 1967

Catherine Cannier. New York: Atheneum, 1964.

Giles, M oily Creek Walk and Other Ston·es. New York: Scribner and Company, 1998.

Iron Shoes. New York: Simon and Schuster, 2000.

Rough Translations. Athens, GA: University of Georgia Press, 1993.

Flannery O'Connor Award for fiction.

Gllick, Robert Denny Smith Stories. Seattle: Clear Cut Press, 2004.

Ed. Biting the Error: Writers Explore Narrative (with Mary Berger, Camille Roy, and Gail Scott). Toronto: Coach House Press, 2004.

Bottoms Up: Writing about Sex. Ed. Diana Cage, Brooklyn: Soft Skull Press, 2004.

Jack The Modernist. London: Serpent's Tall I High Risk Books, 1995.

Margery Kempe. Serpent's Tail/ High Risk bookS, 1994.

Ed. Saturday Afternoon: An Anthology ofO/derWn'ters. Berkeley: Small Press Distribution, 1986. Elements ofa Coffee Service. Solinas, CA: Grey Fox Press, 1983.

Graham, Toni Waiting for Elvis. Wellfleet, MA: Leapfrog Press, 2005.

The Daiquiri Girls. Amherst, MA: University of Massachusetts Press, 1998.

Heron, Dustin Paradise Stories. San Francisco: Small Desk Press, 2006.

Hoffman, Coby Desert Ston·es. San Francisco: 14 Hills Press, 2001.

Michael Rubin Chapbook Award.

Holmes, Annie Two if by Sea. San Francisco: 14 Hills Press, 2006.

Michael Rubin Chapbook Award.

"When Samora Died." Wn'b'ngStill: New Ston'esfrom Zimbabwe, ed. Irene Staunton. Harare: Weaver Press, 2003.

lribarne, Matthew Astronauts: and Other Stories. New Yorlr Simon and Schuster, 2001.

Anything Can Happen. San Francisco: )4 Hills Press, 1995. Michael Rubin Chapbook Award.

Koepf, Michael The Fisherman's Son. New York: Broadway Books, Random House, 1998

Icarus. New York: Athenaeum, 1988.

Save The Whale. New York: McGraw Hill, 1978.

Landers, Scott Coswe//'s Guide to Tambralinge: A Novel. New York: Farrar Straus, 2004.

Lowitz, Leza

Major, Devorah

An Op(!.nWeave. Emeryville, CA: Seal Press, 1995.

B!ack Caucus of ALA First Novelist Award.

Traveling Women (with Opal Palmer Adisa). Oakland: Jukebox Press, 1989.

Mandefman, Avner Talking to the Enemy: Stories. New York: Seven Stories Press, 2006.

Jewish Book Award (Canada)

I. J. Siegal Award for Fiction

New York Times Editor's Choice.

Cuckoo. Ottawa: Oberon Press, 2003.

"Pity." The Best American Short Stories 1995. Ed. Jane Smiley and Kalrina Kenison. New York: Houghton Mifflin, 1995.

Mayes, Frances Swan: A Novel. New York: Broadway Books, 2002.

Michael McClure The Mad Cub. New York: Foxrock Books, 1995.

Book of the Month Club selection.

The Adept. Berkeley: Small Press Distribution, 1971.

Mcferrin, Linda Watanabe Hand of Buddha. St. Paul: Coffee House Press, 2000.

Namako: Sea Cucumber. St. Paul: Coffee House Press, 1998.

Melo, Richard Jokerman 8. New York: Soft Skull Press, 2004.

Michener, Marian Three Glasses of W,ne Have Been Removed from This Story: A Novel. Seattle: Silver1eaf Press, 1988.

Murguia, Alejandro This War Called Love. San Francisco: City Lights, 2002.

Southern Front. Tempe, AZ: Bilingual Re..,;ewPress, 1990.

Muske-Dukes, Carol Ute After Death: A Novel. New York: Random House, 2004.

Dear Digby. Figueroa Press, 2003

Saving St. Germ: A Novel. New York: Viking, 1993.

No}arian, Peter The Great American Loneliness. Cambridge, MA: Blue Crane Books, 1999.

Daughters of Memory. Berkeley: City Miner Books, 1986.

Voyages. New York: Pantheon Books, 1971. Ng,Fae Bone. New York: Harper Perennial, 1994.

Nixon, Cornelia Angels Go Naked. Counterpoint, 2000.

Bay Area Book Award Finalist.

Now You See It. New York: Little Brown and Company, 1991.

Car1 Sandburg Award for Fiction, Friends of the Chicago Public Library.

Orozco, Daniel "Officers Weep." The Best American Mystery Stories 2005. Ed. Joyce Carol Oates and Otto Penzler. New York: Houghton Mifflin, 2005.

"Orientation." The Best American Short Stories 1995. Ed. Jane Smiley and Katrina Kenison. New York: Houghton Mifflin, 1995.

Pryor, Josh Monkey in the Middle. New York: Carroll & Graf Publisher, 2003.

Rice, Anne Christ the Lord: Out of Egypt. New York, Alfred Knopf, 2005

Blood Canticle. New York: Alfred Knopf, 2003

Blackwood Farm. New York: Alfred Knopf, 2002.

The Master of Rampling Gate. New Yol1<:Alfred Knopf, 2002.

Blood and Gold. New York: Alfred Knopf, 2001.

Merrick. New York: Alfred Knopf, 2000.

Vittorio the Vampire. New York: Alfred Knopf, 1999.

Armand the Vampire. New York: Alfred Knopf, 1998.

Pandora. New York: Alfred Knopf, 1998.

Violin. New York: Alfred Knopf, 1998.

Servant of the Bones. New York: Alfred Knopf, 1996.

Memnoch the Devil. New York: Alfred Knopf, 1995.

Ta/tos. New York: Alfred Knopf, 1994.

Lasher. New York: Alfred Knopf, 1993.

The Tale of the Body Thief. New York: Alfred Knopf, 1992.

The Witching Hour. NewY011<:Alfred Knopf, 1990.

The Mummy. New York: Alfred Knopf, 1989.

The Queen of the Damned. New York: Alfred Knopf, 1988.

The Vampire Lestat. New York: Alfred Knopf, 1985.

Cry to Heaven. New York: Alfred Knopf, 1982.

The Feast of All Saints. New York: Alfred Knopf, 1979. fntetview with the Vampire. New York: Alfred Knopf, 1976.

Romm, Robin The Mother Garden. New York: Scribner, 2007.

The Tilt. San Francisco: Fourteen Hills Press, 2005.

Michael Rubin Chapbook Award.

Rosenthal, Sarah How I Wrote This Story. Margin to Margin Press, 2001.

Sanchez, Thomas King Bongo, New York: Vintage, 2004.

Day of the Bees. New York: Vintage, 2001.

Zoo! Suit Murders. New York: Vintage, 1991.

Mile Zero. New York: Vintage, 1990.

Rabbi/ Boss. New York: Vintage, 1991.

Sarris, Greg Watennelon Nights. New York: Penguin, 1999.

Grand Avenue: A Novel and Stories. New York: Penguin, 1995.

Schuyler, Nina The Painting. Chapel Hill, NC: Algonquin Books, 2004.

St. Aubin, Susan "Taste." Best American Erotica 2007, ed. Susie Bright. New York: Touchstone/ Simon & Schuster, 2007.

"Learning." Amazons, ed. Sage Vivan! and M. Christian. New York: Thunder's Mouth Press, 2006.

"A Love Drive-By." Best Women's Erotica 2004, ed. Marcy Sheiner. New York: Cleis Books, 2004.

"The Man·in the Grey Flannel Tights." Best Women's Erotica 2002, ed. Marcy Sheiner. New York: Cleis Books, 2002.

"Blood." Best Lesbian Erotica 2001, ed. Tristan Taorimo and Pal Califia. New York: C!eis Books, 2001.

"Scent." Best American Erotica 2000, ed. Susie Bright. New York: Touchstone/ Simon & Schuster, 2000.

"Interrogation." Best Womn's Erotica 2000, ed. Marcy Sheiner. New York: Cleis Books, 2000.

"Marian's Ears." Best American Erotica 1995, ed. Susie Bright. New York: Touchstone I Simon & Schuster, 1995.

"Marian's Ears." Fever, ed. Michele Slung. New York: Harper Collins, 1994.

"Cynthia." Yellow Silk: Erotic Arts and Letters, ed. Lily Pond and Richard Russo. New York: Books, 1990.

"Other People's Houses." Erotic by Nature, ed. David Steinber. Santa Cruz: Red Alder Books, 1988.

Small, Kate The Gap in the Leflar C. San Francisco: 14 Hills Press, 1999.Michael Rubin Chapbook Award.

T.sukiyama, Gail Dreaming Water. New York: St. Martin's Press, 2002.

The Language of Threads. New York: St. Martin's Press, 1999.

Night of Many Dreams. New York: St. Martin's Press, 1998.

The Samurai's Garden. New York: St. Martin's Press, 1996.

Women of the Silk. New York: St. Martin's Press, 1991 .

West, Gabriella "The Captain and Clare." Best Women's Erotica 2004, ed. Marcy Sheiner. New York: Cleis, 2004.

Time of Grace. Dublin: Wolfhound Press, 2002.

"Liquid Pleasure." Zaftig: Well Rounded Erotica, ed. Hanne Blank. New York: Cleis Books, 2001.

"The Doge's Daughter." Unlimited Desires: An International Anthology of Bisexual Erotica, ed. Laurence Brewer, Kevin Lano and Trish Oak. London: BiPress, 2000.

'Night Train to Florence." Hot Ticket: Tales of Lesbians, Sex, and Travel, ed. Linnea Due. Los Angeles: Alyson Books, 1997.

"The Leaving." The Literary Review, New Irish Writing Issue, Summer 1997. Wood, Anne, E. Two if by Sea. San Francisco: 14 Hills Press, 2006.

Michael Rubin First Book Award.

Yacowitz, Caryn Huberman The Jade Stone: A Chinese Folk Tale. Gretna, LA: Pelican Publishing, 2005.

Pumpkin Fiesta. New York: Harper Collins, 1998.

Non-Fiction Adams, Jane Meredith The Last Time I Wore a Dress. New York: Riverhead Books, 1997.

Bronson, Po Why Do f Love These People?: Understanding, Surviving, and Creating Your Own Family. New York: Random House, 2006.

\!\!hat Should I Do with My Lite?: The True Story of People Who Answered the Ultimate Question. New York: Random House, 2003.

Men Seeking Women: Love and Sex Online (with Richard Dooling, Eric Garcia, Paul Hood, and others. New York: AtRandom Press, 2001.

The Nudist on the Night Shift And Other Troe Tales of Silicon Valley. New York: Broadway Books, 2000.

Burke, Phyllis Gender Shock. NewYork: Doubleday, 1996.

Family Values: A Lesbian Mother's Fight tor Her Son. New York: Vintage, 1994.

Day, Lucille Lang ~A Rush to Motherhood." I'm on My Way Running: Women Speak on Coming of Age, ed. Lyn Reese, Jean Wilkinson, and Phyllis Shean Koppelman (Avon Books, 1983).

Dillon, Millicent Hairy Gold. New York: Overlook Press, 2000.

You Are Not I: A Portrait of Paul Bowles. Berkeley: University of California Press, 2000.

A Little Original Sin: Lite and Work of Jane Bowles. Berkeley: University of California Press, 1998.

Editor. The Portable Paul and Jane Bowles. New York: Viking Portable Library, 1994.

After Egypt: Isadora Duncan and Mary Cassatt New York: Dutton, 1990.

Co-editor. Out of the World: Selected Letters of Jane Bowles, 1935-1970 (.,..;thJane Auer Bov.ies). Los Angeles: Black Sparrow Press, 1984.

Gach, Gary "Fathers & Sons.~ Veterans of War, Veterans of Peace, ed. Maxine Hong Kingston (Koa Books, 2006).

Complete Idiot's Guide to . New York: Alpha Books, 2005.

Writers.net: Every wn·ter's Essential Guide to Online Resources and Opportunities. Rocklin, CA: Prima Books, 1997.

The Pocket Guide to the Internet. New York: Pocket Books. 1996.

Gander, Forrest A Faithful Existence: Reading, Memory, end Transcendence. Emeryville, CA: Shoemaker and Hoard, 2005.

Hollander, Benjamin The Book of Who Are Was. Los Angeles: Sun & Moon Press, 1997.

Translating Tradition: Paul Ce/an and France. Berkeley: Small Press Distribution, 1988.

Kartman, Carrie "A Great and Mighty Force" {humorous essay). Using Our Words, Moms and Dads on Raising Kids in the Modem Neighborhood, ed. Bricetti, Hale, Jaffe (NPN Press, 2005).

Lohman, Jeanne Gathering a Lite. McKin!eyville, CA: John Daniel, 1989.

Dancing in the Kitchen. McKin!eyyille, CA: Fithian, 2005.

Lowitz, Leza The Poem Behind The Poem: Translating Asian Literature. Port Townsend, WA: Copper Canyon Press, 2004. EXPAT: Women's True Tales of Life Abroad. Emeryville, CA: Seat Press, 2002.

Martis, Stefanie Co-editor. Art of the Bath (with Sara Slavin). Collingdale, PA: Diane Publishing Company, 1997.

Mayes, Frances Notecards: Under the Tuscan Sun. San Francisco: Chronicle Books, 2007.

A Year in the World: Journeys of a Passionate Traveler. New York: Broadway Books, 2006.

Shrines: Images of Italian Womhip {with photographer Steven Rothfeld). New York: Doubleday, 2006,

Bringing Tuscany Home. Conran Octopus, Ltd., 2005.

Bringing Tuscany Home: Sensuous Style from the Heart of 1/afy (with Edward Mayes). New York: Broadway Books, 2004.

Editor, The Best American Travel Wn'ting 2002 (with Jason Wilson). New York: Houghton-Mifflin, 2002.

Editor, The Discovery of Poetry: A Field Guide to Reading and Writing. New York: Harvest Books, 2001.

In Tuscany. New York: Broadway Books, 2000.

Befla Tuscany: The Sweet Life in Italy. New York: Broadway Books, 2000.

Under the Tuscan Sun: At Home in Italy. New York: Broadway Books, 1996.

McClure, Michael Scratching the Beat Surface: Essays on New Vision from Blake roKerouac. New York: Penguin, 1994.

Touching the Edge. San Francisco: Shamba1a, 1999.

The Beat Generation: Galleries and Beyond (with Rebecca Soltnit, Jack Foley, Seymour Howard, and John Natsoutas). San Francisco: John Natsoulas Press, 1996.

Lighting the Corners: On Art, Nature, and the Visionary: Essays and lntarvie'NS. Albuquerque: University of New Mexico College of Arts, 1993.

M cFerrin, Linda Watanabe Best Places in Norlhem California: Restaurants, Lodging, Toun·ng. Seattle: Sasquatch Books, 2001.

Mirosevich, Toni Tilting. Minneapolis: Mid-List Press, 2007.

2006 First Series Award in Creative Non-Fiction.

Murguia, Alejandro The Medicine of Memory. Austin: University of Texas Press, 2002.

Muske-Dukes, Carol Manied to the Ice-Pick }

Nixon, Cornelia Lawrence's Leademhip Politics and the Tum against Women. Berkeley: University of California Press, 1986.

Parker, Suzy Tumbling After. New York: Crovm Books, 2002.

Setterberg, Fred The Roads Taken: Travels through America's Literary Landscapes. Athens, GA: University of Georgia Press, 1993.

AWP Award for Creative Non-fiction

Toxic Nation: The Fight to Save Our Communities from Chemical Contamination (with Lonny Shavetson). New York: John Wiley & Sons, 1993.

S'N8nsen, Ianthe You Can't Catch Death: A Daughter's Memoir. New York: St. Martin's Press, 2000.

West, Gabriella "Significant Kisses.~ Early Embraces, ed. Lindsay Elder. Los Angeles: Alyson Books, 1996.

Yacowitz, Caryn Huberman Inuit Indians (non-fiction) Chicago: Heinemann Library, 2003

Seminole Indians (non-fiction) Heinemann Library, 2003

Comanche Indians (non-fiction) Chicago: Heinemann Library, 2003

Lakota Indians (non-fiction) Chicago: Heinemann library, 2003 Iroquois Indians (non-fiction) Chicago: Heinemann Library, 2003

Navajo Indians (non-fiction) Chicago: Heinemann Library, 2003

Shawnee Indians (non-fiction) Chicago: Heinemann Library Publishers, 2003

South Dakota (non-fiction) New York: Scholastic 2003

Pumpkin Fiesta (fiction) New York: HarperCollins, 1998

Onstage !Backstage. Minneapolis: Carol-Rhoda Books, 1987.

Plays

Bullins, Ed Ed Buflins: Twelve Plays and Selected Writings. Ann Arbor: University of Michigan Press, 2006.

New-Lost Plays by Ed Buflins: An Anthology. Fairbanks, AR: Thal New Pub Co, 1994.

Editor. The New Lafayette Theater Presents. New York: Anchorr, 197 4.

The.Reluctant Rapist. New York: Harper and Row, 1973.

Four Dynamite Plays by Ed Bullins. New York: William Morrow, 1972.

The Duplex. New York: William Morrow, 1971.

The Hungered One. New York: William Morrow, 1971.

The Electronic Nigger and Other Plays. London: Faber & Faber, 1970.

How Do You Do a Nonsense Drema? Helena, CA: llluminalions Press, 1969.

New Plays from the Black Theater. New York: Bantam, 1969.

Five Plays by Ed Bullins. New York: Bobbs-Merrill, 1969.

McClure, Michael General Gorgeous. New York: Dramatist's Play Ser.ice, 1998.

The Beard and Vktms: Two Plays by Michael McClure. New York: Grove Press, 1985.

Josephine the Mouse Singer. New York: W.W. Norton, 1976.

Gargoyle Cartoons: A Collection of Plays. New York: De!acorte Press, 1971.

The Blossom, Or Billy the Kid: A Play. Two Rivers, WI: Great Lake Books, 1967.

The Beard: A Play. New York: Grove Press, 1967.

Pine, Evelyn Jean "Back." The Best of Playground 2005. San Francisco: Playground, 2005.

Yacowitz Huberman, Caryn Jeans! (musical play, co-written)

Pumpkin Fiesta! (musical play)

Poetry Adisa, Opal Palmer Eros Muse: Poems and Essays. Trenton, NJ: Africa World Press, 2006.

Addoniz/o, Kim What is This Thing Celled Love. New York: W.W. Norton, 2004.

Co-editor. Dorothy Parker's Elbow: Tattoos on Writers, Writers on Tattoos Collingdale, PA: Diane Publishing Company, 2002.

Tell Me. Rochester, NY: Boe Editions, 2000.

National Book Award Finalist.

The Poet's Companion: A Guide to the Pleasures of Writing Poetry. New York: W.W. J\brton, 1997.

Jimmy & Rita. Rochester, NY: Boa Editions, 1996.

The Philosopher's Club. Rochester, NY: Boa Editions, 1993.

Three West Coast Women (Vw'\thLaurie Duesing and Dorianne Laux). San Francisco: Five Fingers Press, 1987.

Armentrout, Rae Money Shot. Middletown, CT: Wesleyan University Press, 2011. 2010 Pulitzer Prize

Versed. Middletown, CT: Wesleyan University Press, 2009. Next Life. Middletown, CT: Wesleyan University Press, 2007.

Up to Speed. Middletown, CT: Wesleyan University Press, 2004.

Great American Prose Poem: Poe to the Present, ed. David Lehman. New York: Scribner, 2003.

The Pretext. Los Angeles: Green Integer Press, 2001.

Veil: New and Selected Poems. Middletown, CT: Wesleyan University Press, 2001.

Troe. Berkeley: Ate!os Press, 1998.

Made to Seem. Los Angeles: Sun & Moon Press, 1995.

Necromance. Los Angeles: Sun & Moon Press, 1991.

Couverture. Paris: Les Cahiers de Royaumont. 1991.

Precedence. Providence: Burning Deck, 1985.

The Invention of Hunger, 1979.

Extremities. Great Barrington, MA: The Figures, 1978.

The Oxford Book of Amen·can Poetry, ed. David Lehman and John Brehm. Oxford: Oxford University Press, 2006.

Nuovo Poesia American. Milan: Moldadori, 2005.

American Poets in the 21st Century: Where Language Meets the Lyric Tradition, ed. Claudia Rankine and Juliana Spahr. Middletown, CT: Wesleyan University Press, 2002.

Postmodern American Poetry, ed. Paul Hoover. New York: W.W. Norton, 1994.

The Best Amen·can Poetry 2004, ed. Lyn Hejinian and David Lehman. New York: Scribner, 2004.

The Best American Poetry 2002, ed. Robert Creeley and David Lehman. New York: Scribner, 2002.

The Best American Poetry 2001, ed. Robert Hass and David Lehman. New York: Scribner, 2001.

A Royaumont: une anthologie de poesie contemporaine. Palis: Editions Creaphis, 2000.

Moving Borders: Three Decades of Innovative Writing by Women, ed. Margaret Sloan. Jersey City: Talisman House, 1998.

Poems for the Millennium, Vol. 11,ed. Jerome Rothenberg and Pierre Joris. Berkeley: University of California Press, 1998.

American Poets Say Goodbye to the Twentieth Century, ed. Andrei Codrascu. New York: Four Walls, Eight Windows, 1996.

Out of Everywhere. London: Reality Street Editions, 1996.

Gerlrude Stein Award for Innovative Poetry. Los Angeles: Sun and Moon Press, 1995.

orrwo Anthology, ed. . Berkeley: O Books, 1991.

From the Other Side of the Century, ed. Douglas Messer1i. Los Angeles: Sun and Moon, 1994.

The Best American Poetry 1988, ed. and David Lehman. New York: Scribner, 1988.

Language Poelries, ed. Douglas Messerli. New York: New Directions, 1987.

21 + 1 Poetes americeins d'aujourd'hui. Paris: Delta, 1986.

In the American Tree, ed. Ron Silliman. Orono: University of Maine Press, 1986/2002.

Barber, Stephani "Tan Minute Walk" and "From Mexico Cify." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Non-Eligible Respondent. San Francisco: Text Press, 2006.

Boone, Amick From Notes from Outside: !, II, Ill, V. Bay Area Poetics, ed. Stephanie Young. Cambridge, MJI..:Faux Press. 2006.

Brodsky, Nicole "Death of a Poet," "Earthquake Poem," and "Re·." Bay Area Poetics, ed. Stephanie Young. Camblidge, MA: Faux Press, 2006.

Getting Word. San Francisco: 14 Hills Press, 1997. Michael Rubin Chapbook Award.

Brown, Brandon "Horace, Odes 1.25" and "E PODE 5." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Brown, Sean "Tagememics." An Introduction to the Prose Poem, ed. Brian Clements. Danbury, CT: Firewheel Editions, 2007.

"Tagememics." 100 Contemporary Prose Poems, ed. Brian Clements. Danbury, CT: Firewhee! Editions, 2007.

Burket, Cheryl Passing through 90 Degrees. San Francisco: 14 Hills Press, 2000.

Michael Rubin Chapbook Award.

Burns, Avery E. D. Co-editor. 26: A Journal of Poetry and Poetics.

The /dlerl/Vheel. Oakland: Manifest Press, 2001.

A Dueling Primer. Berkeley: Second Story Press, 2000.

Ekistik Displays. Davis, CA: a+ bend press.

Curator. Canessa Park Reading Series, San Francisco.

Editor. lyric& (!iterary journal and press).

Buuck, David Ruts. Oakland, CA: Taxi Press, 2006.

Up the Flagpoles. San Francisco: Melodeon Poetry Systems, 2001.

Cariaga, Catalina More Excerpts from Bahala na!: 105-111. Bay Area Poetics, ed. Stephanie Young. Cambridge.MA: Faux Press, 2006.

Cultural Evidence. 'A 'A Arts, 1999.

Coufton, Valerie The Lily Book. San Francisco: 14 Hills Press, 2004.

Michael Rubin Chapbook Award.

Passing World Pictures. Berkeley: Apogee Press, 2003.

Cox, Sarah Anne From "We of the Capitals." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Arrival. San Francisco: Krupskaya Press, 2002. definite article. Da\11s,CA: a+ press,

Home of Grammar. Double Lucy Books, 1997.

Cullen, Lisa "Reasons to Meditate." 1/VhetBook!? Buddha Poems from Beat to Hiphop, ed. (Parallax Press. 1998).

Dancing with DKT3. San Francisco: Wired, 1995.

Day, Lucille Lang The Book of Answem. Georgetown: Finishing Line Press, 2006

"God of the Jellyfish." Cloud View Poets, An Anthology: Master Classes with David St. John (Arctos Press, 2005).

"The Cell." The Addison Street Anthology: Berkeley's Poetry Walk, ed. Robert Hass and Jessica Fisher (Heyday Books, 2004).

"Great-Grandmother." Women's Words of Wisdom, ed. Patricia Wayant (Blue Mountain Press, 2004)

"Reject Jell-0." California Poetry: From the Gold Rush to the Present, ed. Dana Gioia, Chryss Yost, and Jack Hicks (Heyday Books, 2004).

~Another Morning" and "The Liberation of Baghdad." Flaunt Peace in the Face ofWer. Poems for PEACE Anthology, ed. Mary Rudge (Mother's Hen and ARC Press, 2003).

"At Point Lobos." Dancing on the Brink of the World: Selected Poems of Point Lobos, ed. Deborah Streeter (Point Lobos Natural History Association, 2003). "First Wedding." Proposing on the Brooklyn Bridge: Poems About Mam·age, ed. Ginny Lowe Connors (Poetworks/Grayson Books, 2003).

"The Gambler's Daughter." So Luminous the Wildflowers: An Anthology ofCa/ifomia Poets, ed. Paul Suntup (Tebot Bach, 2003).

"The Product Is Safe." Against Certainty: Poets for Peace Anthology. San Francisco Bay Area, California, ed. Jim Schley and Ann Aspell (Chapiteau Press, 2003).

"The Product Is Safe." Infinite Love Poem, Anthology II: Poetry for Peace and Love, ed. Mar1ha Cinader (Cinasphere, 2003).

"Snake Dance." The Pagan's Muse: Words of Ritual, Invocation and Inspiration, ed. Jane Raeburn (Citadel Press. 2003).

"At Yosemite" and "Avon Ce!!ing in the Amazon," Fresh Water. Poems from the Rivers, Lakes, and Streams, ed. Jennifer Bosveld (Pudding House Publications, 2002).

"Strangers." September 11, 2001: American Writers Respond, ed. William Heyen (Etruscan Press, 2002).

"Strangers." An Eye for an Eye Makes the \i\lho/e World Blind, ed. Allen Cohen and (Regent Press, 2002).

Infinities. Mena, AR: Cedar Hill Publications, 2002.

Greatest Hits, 1975-2000. Johnstown, OH: Pudding House Publications, 2001.

"Fire." Intimate Kisses: The Poetry of Sexual Pleasure, ed. Wendy Maltz(New World Library, 2001).

Wild One. Oakland: Scarlet Tanager Books, 2000.

Fire in the Garden. Berkeley: Mother's Hen, 1997.

Self..Portrait with Hand MicroscOpe. Berkeley: Berkeley Poets' Workshop and Press, 1982.

Joseph Henry Jackson Award in Literature.

"Reject JeU-0." A More Peffect Union: Poems and Stories About the Modem Wedding, ed. Virginia Hartman and Barbara Esstman (St Mar1in's Press, 1998),

"Song of the Slender Salamander." Of Frogs & Toads: Poems and Shorl Prose Featuring Amphibians, ed. Jill Carpenter {lone Press, 1998).

"Fifteen." Mother Songs: Poems by, tor, and about Mothers, ed. Sandra M. Gilber1, Susan Gubar, and Diana O'Hehir (W.W. Norton, 1995).

"Touching.p Through the Mill: A Coffee Mill Anthology, ed. Carta Kandinsky and Dale Jensen (The Mill Press, 1994 ).

"Labor" and "The Abor1ion." The Book of Birth Poetry, ed. Charlotte Otten (Bantam Books, 1995).

"Near Kibbutz Nir David." Without a Single Answer: Poems on Contemporary Israel, ed, Elaine Marcus Starkman and Leah Schweitzer (Judah L. Magnus Museum, 1990).

"Neural Folds," "Tumor," and "Self-Portrait 'WithHand Microscope." Songs from Unsung Worlds: Science in Poetry, ed. Bonnie Bilyeu Gordon (Birkhauser, 1985).

"Neural Folds" and "Cytogenetrcs Lab." Burning with a Vision: Poetry of Science and the Fantastic, ed. Robert Frazier {Owls'Mck Press, 1984).

"Reject Jel/-0." Anthology of Magazine Verse and Yearbook of American Poetry, ed. Alan F. Pater (Monitor Book Company, 1981 ).

"At Point Lobost "Patterns," "Assertion," and "Song of the Stickleback." Berkeley Poets Cooperative Anthology 1970-1980 (Berkeley Poets' Workshop and Press, 1980).

"Labor" and "Yorn Kippur." Voices Within the Ark: The Modem Jewish Poets, ed. and Anthony Rudolf (Avon Books, 1980).

"Protecting Myself." Rapunzel, Rapunzel: Poems, Prose, and Photographs by Women on the

Subject of Hair, ed. Kathryn Machan Aal {Mc Books Press, 1980).

"Goldfish," "Night Windows," and "Fire." Tunnel Road: A Poetry Anthology, ed. John Spivey, et al. (John F. Kennedy University Press, 1979).

"Knee-Deep in Sword Ferns" and "Dancers." Contemporary \.Vomen Poets: An Anthology, ed. Jennifer McDo.vell and M. Leventhal (Merlin Press, 1977).

"Wedding." Poets West: Contemporary Poems from Eleven Western States, ed. Lawrence P. Spingarn (Perivale Press, 1975).

Downing, Brandon Dark Brandon. Newton, MA: Faux Press, 2005.

The Shirl Weapon. Los Angeles: Germ Monographs, 2002.

Duncan, Aja Couchois "Speedway."

Ehret, Terry Tronslations from the Human Language. San Francisco: Sixteen Rivers Press, 2001.

Ficarra, Elise Swelter. San Francisco: 14 Hills Press, 2005.

Michael Rubin Chapbook Award.

Gach, Gary Co-translator. Songs for Tomorrow by Ko Un. Los Angeles: Green Integer, 2007.

"Haiku." Velerans of War, Veterans of Peace, ed. Maxine Hong Kingston (Koa Books, 2006). Co-translator. Flowers of a Moment by Ko Un. Rochester, New York: BOA Editions, Ltd, 2006.

Co-translator. Ten Thousand Lives by Ko Un (introduction by Robert Hass). Los Angeles: Green Integer, 2005.

Editor. \i\!1JatBook!? - Buddha Poems from Beat to Hiphop. Albany, CA: Parallax Press, 1998

{American Book Award).

Preparing the Ground: Poems 1960-1970. (Jllustrations by Brett Rohmer). San Francisco: Heirs, International, 1970.

Gander, Forrest Editor. Connecting Lines: New Poetry from Mexico ('Mth Luis Cortex Bargallo). New York: Sarabande Books, 2006.

Eye Against Eye. New York: New Directions, 2005. Photographs by Sally Mann.

The Blue Rock Collection (v.ith Rikki Ducornet). Cambridge: Salt Publications, 2004.

Imminent Visitor. Selected Poems of Jaima Saenz. Berkeley: University of California Press, 2002.

Editor and Co-translator. No Shelter: Se/acted Poems of Pura Lopaz-Colome ('Mth the author).

Port Townsend, WA: Graywolf Press, 2002.

Tom Awake. New York: New Directions, 2001.

Science and Steep/ellower. New York: New Directions, 1998.

Deeds of Utmost Kindness. Middletown, CT: Wesleyan University Press, 1994.

Lynchburg. Pittsburgh: University of Pittsburgh Press, 1993.

Editor and co-translator. Mouth to Mouth: Poems by Twelve Contemporary Mexican Women (with Ken Johnson). Minneapolis: Milkweed Editions, 1993.

Rush to the Lake. Boston: Alice James Books, 1988.

G/iJck, Robert From/, BOOMBOX and "Architecture as Fate."

Going, Dale Gregg, Linda In the Middle Distance. St. Paul: Graywolf Press, 2006

Too Bright to See & Alma: Poems. St. Paul: Graywolf Press, 2001

Things and Flesh. St. Paul: Graywolf Press, 1999.

Chosen by the Lion. St. Paul: Graywo!f Press, 1995.

The Sacraments of Desire. St. Paul: Graywolf Press, 1992.

Too Bright to See. St. Paul: Graywolf Press, 1987.

Alma: Poems. New York: Random House;1985.

Griggs, Rosemary "By the Way," "Woman in the Barn," and "The grace of solitude offered by ttie automobile."

Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Sky Girl. New York: Fence Books, 2003. Alberta Prize for poetry, 2003.

Hatami, Ha/eh "The Woman Has Veto Power" and "Summoning." Let Me Tell You Where I've Been: New Writing by Women of/he Iranian Diaspora. Fayette,.;lle: University of Arkansas Press, 2006.

"(Color: Chinatown)," "(Color; chocolate city)," " in Brief (Or the Epic Enters Oakland)," "12 Songs of Optimism: Second Song-People Honk for Peace." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Holfander, Benjamin Vigilance. Los Angeles: Beyond Baroque Foundation, 2005.

Rituals of Truce and the Other Israeli. Berkeley: Parrhesia Press No. 1 / Listening Chamber, 2004.

Levinas and the Police. Phoenix: Chax Press, 2001.

Holler, David Editor. Parthenon West Review. San Francisco: 2004.

Holt, Kelly "Appreciation for Zero," "Generous Emergency," "Lost Penny," "Plato's Cage," and "Baroque Contraband." Bay Area Poetics, ed. Stephanie Young. Cambridge: Faux Press, 2006.

Jasson-Holt, Sophie Unfold the Chaparral. San Francisco: 14 Hills Press, 1997.

Johnson,Honor Baiter& Dorinda (with Edward Mycue). 1994

Small as a Resurrection. Providence; Lost Roads Press, 1983.

Herbal Poems. San Francisco: Heyeck Press, 1980.

Johnson, Roxane Beth Jubilee. Tallahassee: Anhinga Press, 2006.

2005 Philip Levine Prize for Poetry.

Kaufman, Shirley Threshold. Port Townsend, WA: Copper Canyon Press, 2003.

Translator. Wieselleir, Meir. The Flower of Anarchy: Selected Poems .. Berkeley: University of California Press, 2003.

Co-editor. The Defiant Muse: Hebrew Feminist Poems from Antiquity: A Bilingual Anthology. New York: Feminist Press of CUNY, 1999.

Roots in the Air: New & Selectecf Poems. Port Townsend: Copper Canyon Press, 1996.

Rivers of Salt. Port Townsend, WA: Copper Canyon Press, 1993.

Translator. Kovner, Abba. My Little Sister and Selected Poems, 1965·1985. Oberlin, OH: Oberlin College Press, 1986.

Translator. Herzberg, Judith. But What: Selected Poems. Oberlin, OH: Oberlin College Press, 1984.

Claims: A Poem. New York: Sheep Meadow Press, 1984.

From One Life to Another. Pittsburgh: University of Pittsburgh Press, 1979.

Gold Country. Pittsburgh: University of Pittsburgh Press, 1973.

The Floor Keeps Turning. Pittsburgh: University of Pittsburgh Press, 1970.

Kim, Geraldine Pavel. New York: Fence Books, 2005.

2004 Alberta Award.

_Kittredge, Susanna From "Lost Tales of the Book of Me." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Latiner, Mark From Muni Polaroids for Broken Exit "Something's Coming," "Entrance," "Ghost." "Smelly Fellow," and ·'Downtown." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Lau, Carolyn Wode Shuofa (My Way of Speaking). Sante Fe: Tooth of Time Books, 1989.

1988 American Book Award.

Lohmann, Jeanne The Light of Invisible Bodies. McKinleyville, CA: 2003. Flying Horses. McKinleyville CA: Fithian, 2001.

Granite Under Water. McKinleyville, CA: Fithian, 1996.

Between Silence and Answer. Wallingford, PA: Pendle Hill, 1994.

Anthologies:

The Gift of Expen·ence. Atlanta: Atlanta Review Press, 2005.

Proposing on the Brooklyn Bridge: Poems about Marriage. CT: Grayson Books, 2003.

Fresh Water: Poems from the Rivers, Lakes and Streams. Columbus, OH: Pudding House, 2002.

Grrrr.Sausalito, California. Arctos Press, 2000.

Anthology of Magazine Verse/Yearbook of American Poetry, 1990.

Wild Song. Athens, GA: University of Georgia Press, 1998.

This Practice of Peace. Santa Fe: Sherman Asher, 1998.

A Small Box of Poets. San Francisco: Protean Press, 1994.

"Nothing so Wise" and "lady on a Bus." Cries of the Spirit. Boston: Beacon Press: 1991.

The Heart of the Flower. Goshen, CT: Chicory Blue. 1991.

Passages North: Ten.Year Anthology. St. Paul, MN; MilkWeed Editions, 1990.

Only Morning in Her Shoes. Provo: Utah Slate University Press, 1990.

Her Soul Beneath the Bone. Champaign, IL: University of Illinois Press, 1988.

Anthology of Magazine Verse/Yearbook of American Poetry, 1988.

Anthology of Magezine Verse/Yearbook of American Poetry, 1987.

Prayers to Protest. Columbus, OH: Pudding House, 1987.

Anthology of Magazine Verse/Yearbook of American Poetry, 1986.

Lomax, Dana Teen Currency. Long Beach, CA: Palm Press, 2006.

From WEI. Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Room. Davis, CA: a+bend Press, 1999.

Lowitz, Leza Translator. America and Other Poems by Ayukawa Nobuo. New York: , 2007.

Yoga Poems: Lines to Unfold By. Berkeley; Stone Bridge Press, 2000; reprint 2006.

Yoga: Poems Pour L'Eveil. Paris: Editions de l'Eveil, 2006.

Yoga Poems. Tokyo: Doyobijutsukan, 2005.

Green Tea to Go: Stories from Tokyo. New York: Printed Matter Press, 2003; reprint 2006.

100 Aspects of the Moon: Poems. New York: Printed Matter Press, 2003.

Sacred Sanskrit Words: For Yoga, Chant and Meditation. Berkeley: Stone Bridge Press, 2005; reprint 2006.

Editor. The Japan Journals 1947·2004 by Donald Richie. Berkeley: Stone Bridge Press, 2005.

Designing with Kanji: Japanese Character Mo/ifs for Surface, Skin & Spirit. Berkeley: Stone Bridge Press, 2004.

Editor. MANDA JOURNAL··Silence to Light: Japan and the Shadows of War. Honolulu: University of Hav,,aiiPress, 2001.

Editor. MANDA JOURNAL-Towards A Literature of/he Periphery. Honolulu: University of Ha"WaiiPress, 1988.

Old Ways to Fold New Paper. Berkeley: Wandering Mind, 1997.

Translator. Violet Obsession: Poems by Yayoi Kusama. Berkeley: Wandering Mind, 1997.

Beautiful Japan: A Souvenir. Tokyo: Charles E. Tuttle, 1996.

Editor, co.translator. A Long Rainy Season: Contemporary Japanese Women's Poetry, Volume I. Berkeley: Stone Bridge Press, 1995.

Editor, CO·lranslator. Other Side River: Contemporary Japanese Women's Poetry, Volume II. Berkeley: Stone Bridge Press, 1995. Translator. Japan: Spirit and Form by Shuichi Kato. Tokyo: Charles E. Tuttle, 1994.

Translator. Inside and Other Short Fiction: Japanese Women by Japanese Women. Tokyo: Kodansha International, 2006.

Cloud View Poets: Master Classes with David St. John. Sausalito: Arctos Press, 2005.

Translator. The Poetry of Men's Lives: An fntemational Anthology. Athens, GA: University of Georgia Press, 2004.

If Women Ruled the World. San Francisco and Maui: Inner Ocean, 2004.

Comfort Prayers. Riverside, NJ: Andrews McMeel, 2004.

Erotic Haiku. Tokyo: Yahan, 2004.

100 Poets Against the War. Cambridge, UK: Salt Press, 2003.

Translation. A Chorus For Peace. Iowa City: University of Iowa Press, 2002.

Awaiting a Lover. New York: Viking Penguin, 2001.

RUNES: An Anthology. Sausalito: Arctos Press, 2000.

Translator. It's a Woman's World: A Century of Women's Voices in Poetry. New York: Dutton, 2000.

GRRR: A Collection of Poems About Bears. Sausalito: Arctos Press, 2000.

Major, Devorah Editor. The Other Side of the Postcard. San Francisco: City Lights Foundation Books, 2005.

W,/h More Than Tongue. San Francisco: Creative Arts, 2003. v\lhere River Meets Ocean. San Francisco: City Lights Foundation Books, 2003.

Street Smarts. Willimantic, CT: Curbstone Press, 1996. PEN Oakland Award for Excellence in Literature.

Secrets Put Inside My Soul. San Francisco: San Francisco Fine Arts Museums, 1995.

Editor (with Jorge Argueta). Who Has Looked in Your Mirror? An Anthology of Poems from Poets in the Galleries. San Francisco: San Francisco Fine Arts Museums, 1994.

Mangold, Surah Household Mechanics. Kalamazoo, Ml: New Issues Poetry Press, 2002. New Issues Poetry Prize, selected by C.D. Wright.

Blood Substitutes. Elmwood, CT: Potes & Poets Press, 1996.

Mer/is, Stefanie Fine. Berkeley: Apogee Press, 2000.

Rife. Loulsvil!e: Sarabande, 1996.

Sheet of Glass. Cedarville, CA: Floating Island, 1994.

Slow Joy. Madison, WI: University of Wisconsin Press, 1969.Blittingham Prize.

Red Tools. Story, Wyoming: Dooryard Press, 1964.

Mayes, Frances Ex Voto. Providence: Lost Roads Publisher, 1995.

Acqu/1.' Gold over Blue. San Francisco: Heyeck Press, 1984.

Houm. Providence: Lost Roads Publisher, 1984.

The Arts of Fire. San Francisco: Heyeck Press, 1982.

After Such Pleasures. Seven Woods Press, 1979.

January 6, Quartet of Four. Illustrated by Wayne Johnson. The Flowering Quince Poetry Series, Number One. San Francisco: Heyeck Press, 1978.

Peach and Glass: On a Still Life by Georgia O'Keeffe. San Francisco: Heyeck Press, 1977.

M cC/ure, M Jchael Plum Stones !Cartoons of No Heaven. Oakland: 0 Books, 2002.

Rain Mirror: New Poems. New York: New Directions, 1999.

Huge Dreams: San Francisco and Beat Poetry. New York: Penguin, 1999.

Three Poems: Skull, Rare Angel, and Dark Brown. New York: Penguin, 1995.

Simple Eyes and Other Poems. New York: New Directions, 1994. Rebel Lions. New York: New Directions, 1991.

Michael McClure: Selected Poems. New York: New Directions, 1986.

Hymn to St. Geryon end Dark Brown. San Francisco: Grey Fox Press, 1979.

Antechamber and Other Poems. New York: New Directions, 1979.

The Grabbing oftha Fairy: A Masque. St. Paul: Truck Press, 1978

Fragments of Perseus. New York: Jordan Davies, 1978.

Jaguar Skies. New York: New Directions, 1975.

September Blackberries. New York: New Directions, 1974.

Rare Angel (Writ with Raven's Blood). Los Angeles: Black Sparrow Press, 1974.

A Fist Full: Poems 1956-1957. Los Angeles: Black Sparrow Press, 1974.

Solstice Blossom. Berkeley: Berkeley: Arif Press, 1973.

The Cherub. Los Angeles: Black Sparrow Press, 1970.

Poetry Star. New York: Grove Press, 1970.

Little Odes & Raptors: Poems and a Play. Los Angeles: Black Sparrow Press, 1969.

Plane Pomes. New York: Phoenix Book Shop, 1969.

Ghost Tantras. San Francisco: City Ligh!s, 1967.

Poison Wheat. San Francisco: City Ligh!s, 1966.

Meet Science Essays. San Francisco: City Ligh!s, 1963.

The New Book I A Book of Torture. New York: Grove Press, 1961.

For Arleud. New York: Totem Press, 1959.

Mcferrin, Linda Watanabe Redemption Is Something We Haven't Figured On Berkeley: Berkeley Poets' Workshop and Press, 1990.

McPherson, Brydie From "Shack." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Mirosevich, Toni My Oblique Strategies. Normal, IL: Thomgate Road Press, 2006.

2005 winner of the Frank O'Hara Award.

Queer Street. Cincinnati: Custom Words, 2005.

The Rooms we Make Our Own. Ann Arbor: Firebrand Books, 2003.

Trio (with Ed Smallfield and Charlotte Muse). Albany, CA: Specter Press, 1995.

Morrison, Yedda "From Girl Scout Nation" and "Shelter Cove." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Shed. Davis. CA: a+bend press, 2003.

Crop. Berkeley: Kelsey Street Press, 2003.

Editor. Tripwire: A Journal of Poetics (with David Buuck).

M uske•Dukes, Carol Sparrow. New York: Random House, 2004.

An Octave above Thunder. New York: Penguin, 1997.

Applause. Pittsburgh: University of Pittsburgh Press, 1989.

Wyndmere. Pittsburgh: University of Pittsburgh Press, 1987.

Nissim, Jesse Alphabet for M. Chicago: Dancing Girl Press, 2007.

Pringle, Kathryn Temper& Felicity Are Lovers. Oakland: Taxl Press, 2006.

Reyes, Barbera Jane From Poeta en San Francisco: A Work in Progress and "History is Written on the Walls: A Walking Tour of SoMa." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006. Poeta en San Francisco: A Work in Progress. Kaneohe, HI: Tinfish Press, 2005. 2005 James Laughlin Award, Academy of American Poets.

Gravities of Center. San Francisco: Arkipelago Press, 2003.

Rodefer, Stephan "Brief to Butterick" and 'Stewed and Fraught with Birds." Vanishing Points: Anthologies, ed. Rod Meng ham and John Kinsella. Cambridge: Salt Publishing, 2004.

Mon Canard: Six Poems. Great Barrington, MA: The Figures, 2000.

Left Under a Cloud. Berkeley: Small Press Distribution, 2000.

Answer to Doctor Agathon. Berkeley: Small Press Distribution, 1996.

Translator (with Geoff Ward and Ian Patterson). Rilke/ IV VI by Rainer Maria Rilke. Cambridge: Poetical Histories, No. 31, 1994.

"Pretext," "Codex," and "From Plane Debris." Postmodern American Poetry, ed. Paul Hoover. New York, W. W. Norton, 1994.

Writing Out of Character. Hid Lip/The Romaniad!Kobro (with John Wilkinson and Rod Meng ham). Berkeley: Small Press Distribution, 1992.

Double Imperative Landscapest1Jaydreams ofFrescatti (with Chip Sullivan). Berkeley: Small Press Distrbution, 1992.

Passing Duration. Providence: Buming Deck Press, 1991.

Emergency Measures. Great Barrington, MA: The Figures, 1987.

Safety. Marjory Can!or, 1985.

on·namme Day (with Benjamin Friedlander). San Francisco: Phraseology, 1984.

Four Lectures. Berkeley: The Figures, 1982.

Plane Debris. Berkeley: Tuumba, 1981.

The Bell Clerk's Tears Keep Flowing. Berkeley: The Figures, 1978.

Translator. Villon by Jean Calais. Pick Pocket Series, 1976.

One or Two Love Poems from the White World. Duende, 1976.

Rosenthal, Sarah 'From ." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006. sitings. Davis, CA: a+bend press, 2000. not-chicago. San Francisco: Melodeon Poetry Systems, 1998.

Saidenberg, Jocelyn Negativity. Berkeley: Atelos, 2006.

From The Beginner. Book t, "The Residue•; Book II, "The Coloring Book of Existence" and Book Ill, "Obey." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Dusky. Brooklyn: Belladonna Books, 2002.

Cusp. Berkeley: Kelsey Street, 2001.

Mortal City. Parenthesis Press, 1998.

Co-editor. Krupskaya Press.

Schiffman, Lauren "Dawn-Shadow Spells." Bay Area Poetics, ed. Stophanie Young. Cambridge, MA: Faux Press, 2006.

Schultz, Kathy Lou Some Vague vVife. Berkeley: Atelos Press, 2002.

Genealogy. Davis, CA: a+ bend press, 1999.

Re dress. San Francisco: 14 Hills Press. 1994. Michael Rubin Chapbook Award.

Editorial Advisory Board. HOW2: Contemporary Innovative Writing, 2000 to present.

Edrtor. Lipstick Eleven (literary magazine), 1996 to present. Co-editor. HOW2: Contemporary Innovative Writing: Forum on Class and Poetics. Vol. I, f\lo. 2, September 1999.

Seiffodini, Farnoosh ~Dokhtar-e Amrika-1" and "Dokhtar-e Irani." Let Me Tell You \IVhereI've Been: New Writing by Women of the Iranian Diaspora. Fayetteville: University of Arkansas Press, :W06.

Shiroma, Jerrold Untitled Object. Elmwood, CT: Potes & Poets Press, 2000.

2 Poems. Davis, CA: A+bend Press, 2000.

Shufran, Lauren Buffow. San Francisco: Hooke Press, 2006.

Shultz, Kathy Lou Some Vague Wife. Berkeley: Atelos Press, 2002.

Genealogy. Davis, CA: A+bend Press, 1999.

Re dress. San Francisco: Fourteen Hit!s Press, 1994.

Michael Rubin Chapbook Award.

Sh/ah, Zald Taqsim. Seattle: Zenane Independent Media, 2006.

Smalffiefd, Edward One Hundred Famous Views ofEdo (with Doug MacPherson). Berkeley: Battery Press, 2004.

The Pleasures ofC. Berkeley: Apogee Press, 2001.

Trio (with Toni Mirosevich and Charlotte Muse). Albany, CA: Specter Press, 1995.

Smith, Logan Ryan "vine time," "stra'Nberry fields," and "shadow over." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Snow, Carol The Se-.,enty Propositions. Berkeley: University of California Press, 2004.

For. Berkeley: University of California Press, 2000.

Bowl. Mill Valley, CA: Em Press, 1998 (limited edition).

Breath as. Mill Vatley, CA: Em Press, 1994 (limited edition).

Artist and Model. New York: Atlantic Monthly Press, 1989.

National Poetry Series winner

1990 Poetry Center Book Award, SFSU.

Stein, Suzanne From "Shack." Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006. Editor. Taxt (poetry chapbooks).

Strang, Brian lncretions. Brooklyn: Spuyten Duyvil Press, 2004.

Machinations. Sausalito, CA: Duration Press, Normal School: hommage a Beckett. San Francisco: . lyric& press, 2002.

A DraftofL Ca-.,atinas: Letters to EZ. Elmwood, CT: Potes and Poets Press, 2000.

movements in avenues in rows. Davis, CA: a+ bend press,

Co-editor. 26: A Journal of Poetry and Poetics.

Sweeney, Chad Wn"tingUp the Wall: Fifteen Years of Poetry and Prose by Teachers of the National Writers Corps. San Francisco: WritersCorps Books, 2008.

Translator (with Mojdeh Marashi). Arghavaan: The Selected Poems of H.E. Sayeh. Tehran, Iran: Wellspring Press (Nashre Cheshmeh) 2007.

Editor. College Spotlight Series. Berkeley: Poetry Flash, 2006-2007.

A Minor to Shatter the Hammers. Saxtons River, VT: TarpaulinSky. 2006.

Editor. World Outside the Frame: Poetry and Photography by Mission Youth. San Francisco: Writers Corps Books, 2006.

Editor. Happiness and Hunger: Poetry and Images by Mission Youth Poets. San Francisco: WritersCorps Books, :wos.

Editor. Murals 'of Me: Poems and Images by Mercy Youth. San Francisco: WritersCorps Books, 2005.

Editor. The Seed of the Free: Poems by Antoinette Osborne. San Francisco: WritersCorps Books, 2005.

Editor. Dream Graffiti: Poems by Robin Black. San Francisco: WritersCorps Books, 2005. Editor. Parthenon West Review. San Francisco: 2004 to the present.

Editor. The Seed of the Free: Poetry ofthe Mission. San Fraocisco: WritersCorps Books, 2004.

Editor. My People: Poetry of the World. San Francisco: WritersCorps Books, 2004.

Editor. Standing in the Sky: Mission Youth Poets. San Francisco: WritersCorps Books, 2003.

Editor. Wild Eye: Poetry by San Francisco Youth Poets. San Francisco: WritersCorps Books, 2003.

Nail by Nail the Sunlight. New York: Urban Iris Press, 2003

Mushrooms. San Francisco: 3300 Press I Free Radical Poetry Series 1995

Relearning the Tongue. Oklahoma City: Branche Press, 1993

Swensen, Cole The Glass Age. Farmington, ME· Alice James Books, 2007.

The Book of a Hundred Hands. Iowa City: University of Jowa Press, 2005.

Goest. Farmington, ME: Alice James Bool

Co-translator. Distant Noise by Jean Fremon. Penngrove, CA: Avec Books, 2003.

Such Rich Hour. Iowa City: University of lo'Na Press, 2001.

Oh. Berkeley: Apogee Press, 2000.

And Hand. Dao-.,is,CA: a+ bend Press, 2000.

Try. Iowa City: University of Iowa Press, 1999.

Paolo Uccello Examines the Sky. Fife, Scotland: Dolphin Press, 1999.

Translator. Natural Gaits by Pierre Alfani. Los Angeles: Sun and Moon, 1995.

Numen. Providence: , 1995.

Park. San Francisco: Floating Island Publications, 1991.

New Math. New York: William Morrow and Company, 1988. National Poetry Series Award.

It's Alive, She Says. San Francisco: Small Prass Distribution, 1984.

Tomash, Barbara The Secret of White. Brooklyn: Spuyten OuyvU,2007.

Flying in Water. Austin, TX: Winnow Press, 2006.

Winnow First Poetry A'Nard, 2005.

Tu, Hung 0. A Greet Ravine. San Diego: Parentheses Writing Series,

Verisimilitude. Berkeley: Ate[os Press, 2000.

Structures of Feeling. San Francisco: Krupskaya, 2003

Tran, Truong Within the Margin. Berkeley: Apogee Press, 2004.

Dust and Conscience (Book of the Familiar). Berkeley: Apogee Press, 2004. 2002 Poetry Center Award, SFSU. piecing the accents. Berkeley: Apogee Press, 1999.

Treadwell, Elizabeth Birds & Fancies. Exeter; UK: Shaarsman Books, 2007.

Wardo/ly. Phoenix: Chax Press, 2007.

Cornstarch Figurine. Stauffhausen, Swttzerland: Ousie Press, 2006.

From Wardo//y. Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006.

Eve Doe: Prior to Landscape. Davis, CA: a+ bend press,

Vincent, Stephen Walking Theory. Northampton, MA: Junction Press, 2007.

From Walking. Bay Area Poetics, ed. Stephanie Young. Cambridge, MA: Faux Press, 2006. Triggers (ebook). Exeter, UK: Shearsman, 2005.

Sleeping with Sappho. Cambridge, MA: Faux Books, 2004.

Walking. New York: Junction Press, 1993.

Publisher and Editor. San Francisco: Memo's Press, 1974-1986.

Passage. San Francisco: Meadow Press, 1983.

Poetry Review Editor. San Francisco Review of Books, 1974-1980.

Now Everyone Knows Childcare. San Francisco: Memo's Press, 1980.

Five on the Western Edge (with Beau Beusoleil, Steve Books, , and Larry Felson). San Francisco: Memo's Press, 1977.

The Ballad of Artie Bremer. San Francisco: Memo's Press, 1974.

Founding Coordinator. California's Poetry-in-the-Schools Program, 1971-1973.

White Lights & Whale Hearts. Trumansburg, NY: The Crossing Press, 1971.

Piece by Piece. Nsukka, Nigeria: Red berry I Okike Publications, 1967.

Wangmo Dhompa, Tser/ng In the Absent Everyday. Berkeley: Apogee Press, 2005.

Rules of the House. Berkeley: Apogee Press, 2003.

Walker, Laura Swarm. Berkeley: Battery Press, 2004.

Wargo, Shari Passing Flames. San Francisco: Lulu Press, 2006.

Withers, Meg Must Be Present to Win. Denver: Ghost Road Press, 2006. APPENDIXV

Teaching Effectiveness Evaluation Statistics CREATIVE WRITING DEPARTMENT Evaluation Averages: Fall 2007-Spring 2013

Fall 2007 Tenuredffenure-track (14 classes) 1.25 average Overall Mean Response

Lecturers (23 classes) 1.42 average Overall Mean Response

Spring2008 Tenuredffenure-track (11 classes) 1.17 average Overall Mean Response

Lecturers (27 classes) 1.42 average Overall Mean Response

Fall 2008 Tenuredffenure-track (9 classes) 1.20 average Overall Mean Response

Lecturers (22 classes) 1.43 average Overall Mean Response

Spring2009 Tenuredffenure-track (13 classes) 1.33 average Overall Mean Response

Lecturers (22 classes) 1.36 average Overall Mean Response

Fall 2009 Tenuredffenure-track (17 classes) 1.22 average Overall Mean Response

Lecturers ( 14 classes) 1.43 average Overall Mean Response

Spring 2010 Tenuredffenure-track (15 classes) 1.28 average Overall Mean Response

Lecturers (19 classes) 1.42 average Overall Mean Response

Fall 2010 Tenuredffenure-track ( 15 classes) 1.33 average Overall Mean Response

Lecturers (21 classes) 1.42 average Overall Mean Response

Spring2011 Tenuredffenure-track (12 classes) 1.28 average Overall Mean Response

Lecturers (22 classes) 1.3 8 average Overall Mean Response

Page 1 of2 Fall2011

Tenuredffenure-track (7 classes) 1.16 average Overall Mean Response

Lecturers (34 classes) 1.43 average Overall Mean Response

Spring2012

Tenuredffenure-track (5 classes) 1.27 average Overall Mean Response

Lecturers (23 classes) 1.29 average Overall Mean Response

Fall 2012

Tenuredffenure-track (23 classes) 1.18 average Overall Mean Response

Lecturers (30 classes) 1.45 average Overall Mean Response

Spring 2013

Tenuredffenure-track (20 classes) I. 13 average Overall Mean Response

Lecturers (28 classes) 1.30 average Overall Mean Response

Page 2 of2 Teaching Effectiveness Evaluation Questionnaire Form Creative Writing Department

Please evaluate the teaching effectiveness of your instructor. Your responses will be used in retention, tenure, and promotion decisions and post-tenure reviews, so please take them seriously. Your responses are intended to be anonymous, and your instructor will receive this feedback only after course grades have been assigned. Do not put your name on the "Tally Response" scantron form.

Questions 1 - 7 are bubbled in on the "Tally Response Form" scantron, on a scale ranging from A, most positive or highly effective, to least positive or ineffective, E. Use a #2 pencil to bubble-in the letter on the "Tally Response Form" scantron that best represents your view. To answer question 8, use the back of the "Tally Response Form" scantron for your written comments.

Strongly Strongly Agree Disagree

A B C D E Highly Ineffective Effective

1. The instructor defined the course objectives, learning activities, requirements and grading policies clearly in the syllabus.

2. The course was organized in a way that helped my learning.

3. The instructor created experiences that stimulated my learning.

4. The instructor provided helpful and timely feedback on my performance and progress throughout the semester.

5. The instructor was open to a variety of points of view.

6. The instructor stimulated students to think creatively, critically, or independently about the subject matter.

7. When I consider the contribution to my learning, this instructor's teaching was: (Mark the appropriate letter on the scanning form, ranging from the most positive response (A= highly effective) to the least positive response (E = ineffective).

8. Please comment further on this instructor's teaching effectiveness, using specific examples where possible. Write your comments on the back of Tally Response Form scantron. Your comments are very important to the Department in hiring and promotion decisions! APPENDIXW

Student Surveys Overalt" how would you describe your HaveyoueverMrned What weie your expectations Gf Did ~~xperienu, Uai graduaW. What did you aa;omplish Was tne~ al'!ythin,g mON! that you Oo you belfeve you, nffd J110re experience as a creative writinggn!du.i:te at.ademic~ ~ a volunteering as a graduate lnstmctionat aid diff ~rfrom your and/or I.am about would MYelibd toaa:omptish pradiceto develop as a creative fnstructional ard? graduate: inrtnldiona1 aid? IMWctional aid? ~w.?lflO,,hor.w? teaching? and/QJtJum about te~ng? writingte:adler? 1n what wa~?

A bit <:hallengfflgatfim~ but very rewarding at Yes 859' Practicum Te~¢hjng Hopeful},# to get $Omo experience I was hoping to do more ktture.s, I learned t~at t$isokay net I would've liked to lecture a bit f want pract!~ mort on lecturing, and the end. Creat!Ve Writing in teachlr!g, and learning to use but I was fine with it in the •rid to know everything, for rt is more. teaehlng writing actlvlt~s to my those skilfs In the future when I a non stop learning strudenu, puflµe teachmg. ~xperiern;e,

pirin1; informative, rewarding v., CW 785 Graduate P.rojfflS 'fo leam teaching te-chnlques from Yts. f was also mentored by the I got back my tOWi:of I think the experiencegi\tes a .solid rm readytogofinda job. I've been Teaching 0-eative Writing the instructor of the elau, and to in$1:ructor.I'm forever grat-eful teaching, I was ;a burned-out ~round~ (859) gives ONS59 Praetirum Teaching be abte to contirbut• :;isan for th!$ experience, ooltea,ch,,r, ,ond Inexperienced teaehe:rs a $Upport Creative Writing "assistant" instruetortotha gotten back to why $Yttem and (785) provides lea ming proceS$ of the ,Studenu:. my fove of another opportunity to practice

~the jov of t~ skilts keamed, lt would help if art and expanding 1want to teach agret:ment again! provide such u..

My experience w.as helpful in undefflanding No.[:sic} ON 78S Graduate Projects ion support from I was able to ream .about I was ttb!e to facilitate a I have 8 years of experience l'm-eOff'entfyenrolledin Nona the U:achin&flr'1$trt.t¢tl¢nalprocess at the Tea-thing Creative Writing supervising profesS{lrand hm:ruction and facilitate a writing workshop and have teaching l,ar'lguaaeArts and Caspers, Teaching CA?at~ wm:m« coJlege level information on structuring writing writing worbhop 'Nith by mainlycompletedtheGIA course. This course has presented

prognims and workshops:. undergraduates. Pref. Murguia because it's requirtd. However; 1 num~rous teaching $trntegies ~$ we II wa$$Upportlveand found the proN"or's style, as exercises fur u:sein writ«ls demonstrated how to adjust to apPf~C:h to teaching and insight <0um,s. the groups !lffds as well as to the creative pn:ic:eH hefpful in strengths, supporting student writfng, it was an illuminating experieni;:e-th.i:twas ~t Y()$. ON SS9'Prai:ti;um Teaching I thought I would be able to Yes.! was more involvedfn the Leading the workshop wa$ a Always.The860 clan: (I'm cvrrentiy times not a$ helpful, developmentally, as I Creative Writing Ob$en;e and leam 1rom an class {than I expected) by Nvlng great leamriis eK?erierta, d'.scus.s enrolled in) has: been hefpful, but: I-al'° tb1tten~s to be more of a fl)(.US an ,experieni:.xlte.u:her, as well as the opp,ort:unity to lead a as w-ellas bein,gable to think perspective on tea<:hing an o«asionally participate in the workshop of 10 studenu, *Very direct a few mi~lfflures in """"

tnthclaclcof dlscU$$tOn/k,cture/readingon effective teaching method$. bene:frt:edfrom hearing other student's exp!leattelns of ffl:ssr«>m !es.sons(and t compiled a f!Stof gcod practices), but the actual course content w~tn't that lnfurmaUv~. and have uught hlgluchool Engji,h for 3 yeats. So, I (O!ne to teaching wtlb some b<1ekeround,and pedasogy »; a passwn of mine.

Graduate Instructional Aid Survey Results, Creative Writing Department 2013 Spring Graduate Instructional Aid Survey Results, Creative Writing Department 2013 Spring

Overalr1how would you describe your tfall'fl!Y'(Mleverea:l'llff Didycur e:xperie:nceasa ~te What did you aw>mpHsh Was theM anytfting:mor.thatyo«, Do vou believeyou need more npertence Ha creative writing graduate ~emic:cnditffa Instruction.ataid differ from ~r ""d/Ofleam about would haft l!bdtoacc:omplfMI practiceto devetopa$ e:creative: graduate instructlottat aid? e~M?tfso.hol.v? lnstrudionat aid? teadilng? andforkam aboutte.th!na? writing teach«? In what ways? Helpful. t enjoyed the e:,;::pe:ri

It was a great experience. It helped togeta: Yes CW7SS Graduate Projects. Not at aft It was as expected and PetMlps maybe ha\le an I do. I think it would be great to offer

handson perspeaive of worbhopping and TeachingCreatnte Writing ~ fun time, Opportunity to tontribute to one both a CW readil'lg inrtNCtiona:l aid as creative proees:swith undergrad1,1.1t~.$ludents, res.sonplan al'\d as.signa reading. I wenas writing. We team both ar-,~ abilities. did get to present on one lesson as writie.r1, but fuming: both from a instructional aid would allow more greate:St things I hands on. Sometimes:the CW860 experienced w.n how to be ave allowed to see what eoufd hf, all curriculum and for me f .enaaging to students. rkbtd goes into it. know lam betterwithhandson having taken the ON 260. experience.

Good experience but very i~ fon'l'tJI Yes ON 78S Graduate To gain ~nd$-<>n experience I received the hands-on 1 was .:ablet-o l::~epa I would have tiked some ~Uk No, but e)(J)erience ls the only way to Instruction-0n teaching, f'rojffl$Teaching running a workshop while getting experience~ b\lt net the guidant4 cohesive and produetive guidanc• t«,.m the instructor on deal with varying group dynamics. Creative Writing guidance from the Instructor. ft0m the instructor. group together throughout pedagogy, the seme~r. l did not learn M'i.xed.In thf!'first dui tGJA.ed,twa-s wny engaged Yes. CW 785 Graduatit Projects t expeaed10 be leading a -workshop Yes. I have run led .inv workshop, I've learned and am ~fflling a I would have liked more experience lfed re.adyand excit:edtQget in front of witt\ the d.us subject matter (shortstotYwritin,g), Teaditng Creative Wfffing and to work one-on-

teachff of record spent time with me after ~fmffl everyclass dkc1.11;singhissen-seofflow things had gone. Then, in the Practicum dass, I had a ctianu to r«Oecton my e:Y4)erfence.My c:urrentGtA-t.hlp {ON 101) 1.$prwttydull, Theteactier of rlil'IXH'dhas a (whether they do the-~dings, nylethat I don't amnect1NII to and thoogti she what gm their attention, WMt take$ time with u, (GIAs}to dttcuss her les$0r,. ptin, flu'ci:Qation;s normal in term11,: the 11'1:V¢1'ttmentfl!f:li:sornewhatempty.i enjoy of attern:fanee)and how ITIUch readingand wmmenttng on the studt!ntl:' swdent writingtm_proves~ hom~ but othe~ wisll t rould be using the C<>urseof an effective ~ three hours to be wi:nlungon my 301 semester. Anoth,er import.nt syllabus:,On the otherhan4 the: 101 teadierhu element for me has been the glwn me:therienoe, ofte:adtfng and nowfm mainly """"'· Overall*how woutd you describe yo1,.1r Haveyo:uever earned What wel'C!:your iexpectaticosof Did your e~ as• lf&duat. Whatdfd you 12lCCOrnplishw~ there anything monthat Y'O't Oo you belfeveyou need m<>re expertenceas a creative writfng graduatit .ad•mk:~as-a volunteering as a graduate !nrtructioul.aiddiffer-frqmywr and/or leam about would have liked to .«4mpl$h pra(1lce to di=vdop as a O'eatlve tnstructfonal aid? gnduat. :IMttU

fantastic! i'm eamirc ft right now~ CW859 Honestly> I thought It would be Very much sol it's fun and A lot and a lot of .stuff~but I l think that in the time•frarne of Yes~but 1feel my foundaUon is very but haven't befcntthis. boring and ffllstrating, and I on>y engagJng and rewarding! think the most important/al one semester# I learned a lot and solid nQw, Ideally I'd like to get better did It because I figured J should try en¢¢mpa$singone was that am very satisfied wi'thihat. at motivating unmotivated studenu, it QOcebefore ruling it out a1-a: teaching isn'tivst a tn:nsfer Obviously there fs still a lot to though I fmagirw:that wil! be a sort of c.areer optlon. of knowle

CW ?SS Graduate Projects I thought itwoufd give me g«,d My expectations we,e met. It would have been nice to create I afready have pined that from

Teaching Creative Writing experience giving teedbad< to -curriculumfor them, too1 from out$ide teaching experienres. ON 8S9 Practicum Teaching t,.1ndergraduaW$,get a sense of time to time, Creative Writing their writing.get a sen$4t<>f how to ON S7S Community run a worluhc;,p, Projeets in Ute rature

Thank you for send ii'!£ out thts survey. CW7SS Graduate Projects studenu, student AUtoldi my eX~i!tions were I grew more comfortable liked opport1.1nffies I believe I am far more prepared and Instructive. Hrghlt{val"MUi trom semester to Teac:hiogCreative Writing met,. but eaeh semester offered working with for feedback: directtyfrom the the drlo!er,ityof exp,erienCA1$has been semester. SS9 PractfcumTeathfug different things. undergraduates including students 1 In the same ma!'lnerthat a blessing In marw ~y$. I antidpate Writing It-ading workshop and the profe$.SONreceive student areas where I might have ditfiwlty as providing them written ev~Js.I fleetstrongly that GIA,; a teacher but I afso have a bettet fudback; l fearned the would benefit ffOmsuch sense of how I might pressures and <:ommon organized feedback. lead/jnspire/teach effectively and challengesof the classroom uniquely. {frequent absences~ disengagement ete} :and deal I

Graduate Instructional Aid Survey Results, Creative Writing Department 2013 Spring Graduate Instructional Aid Suivey Results, Creative Writing Department 2013 Spring

Over.an~howwo1,11d you de$cribe YQUr Hft'e' you ewr eamed If yes,.whkhafthefollowlr,g: What were your ~ons of Did VWf"t'}Q>erience:u111 graduatt \Nhat did you a«omplish Was-there anything m-tm1. you Oo you believeyou need moff: e~nte asa creative writing graduate ~mk

Yes,This fast semester. I have taught bet~ so f expected Thi$met my expectations as far I leameda tremendous " I made a polntof meetlngwith I would like more ~xperience In Teaching Creative that I would ~ given specific as the tttac:h!ng.I was var; amount about how to paee Professor Hoover btfQff;t daisses managingstudents who<::-ometo the wm:me instructions on how to support the disappointed that the University tc go over the m.1terialhe was das$room wlth Qffferent teaming the material that was awe red. proffiUOf and what r•spon.sibititiits for going to botWVerif\C and to speak expectatlons than I have. I t would have in regardstothe with him when I found that mv undergraduab! sealon$ I was us to book roomsto undergraduate sectton was not t~e:hing. sectlons in; critical for ~b-leto foUowor understand at of wol'Uhop that the !eve Ithat he needed them to Writing must offer to It$ studems fn ord~ for them to become pro-fi"ientat the craft of writing. oofd a rso like to have Instruction c:~l~ge my own belief in had moreexplk::it policy and constraints as a meehanfsm of procedural Instruction regarding growth, the bureaucracy of the university as this tseritlie!Ito prO'llidin,g-a $upportlve and respectful er.vlronment for my students and my teaching.

I very much enjoyed being an JAfor the CW yes CW785Graduate That 1would lead small gro-up,sahd no it was much better. We \¥4re Not really, it was an excellent 601 class. I was able t<>!t:W :.111:atlgroups and ProJeru Teaching dd my pet$pec:tive on a pla.ywrlgt!t treated as professfonats, $ ahd diffenmt experience. Barbara tsvery provide fec:tureson ocea:s!cn. Creative Writing creative wori:: feedback and -expe~d as a teacher and .ab:o ON 8S9 Practicum as an instructor who is used to Teaching Oeative working with iA's, Writing CN 899 s,,.oi>I StQQy Creative Writing MA_MFASatisfaction Survey Academic Year 2012~13

Program Genre What worked best for you In the SFSUCreative What did not work well for you In the SFSU Was there anything more that you would have WritingGraduate Program? Creative WritingGraduate Program? liked to accomplish and/or learn?

M.A. Fiction eve- .. hino nothing nothino M.F.A. Fiction Lovemy professors Donot like most of the fellowstudents. They If I had been rejected by the Rubin,but since no are not well displinedin classes,so their one has gotten a letter in the past 4 years, doubt festering meanspiritednessis allowedvoice. It's that will happen either reallyawful. There are a couple of people everyone knows are just the worst, who really get off on trying to hurt people, but professors expect these aholes to act like adults. Won't happen

M.F.A. Fiction The correlativerequirement should be To much time spent on inconsequentialcourse eliminated and the program shortened to two and program requirements, not enough on years. Most of the prestigiousprograms are writing. Treat MFAstudents llke adults. two years. Ne>rt;focus on writingand craft. Finally,institute a TAsystem so students can get some financialsupport. Finally,separate the MAand MFAprograms.

M.A. Poetry The professors and classmates constantly amazed The undergrad/grad Englishclasses were the I honestly ca,:i'tthink of anything. I would me. t learned so much from the people around least consistentlystimulating aspect of the continue this program forever if I could afford to me. The readings selected by instructors were also M.A.program. do so. There is infinite space for growth inside of exciting& helped me grow as a writer. Also.... SFSU'screative writing masters programs. Fourteen Hills!!What an amazing experience all around. Fourteen Hillstaught me to be a more discerning,conscious reader, and it gave me practical skillsto take out into the world.

M.F.A. Poetry What worked for me best was the supporting What didn't work best for me in the program I would've liked to learn more about how I could communitythat was ever present within the was the seclusionthat was branded with what use my degree in the workforce. I understand that program, this includes the workshops, the editing ever genre that was your focus: poetry, prose, this program ls most catered to the art of writing. staff at Fourteen Hills,and the many literary or playwriting.It felt as if I was not allowed to but I don't want to eat my degree in the end. events that were hosted. I was able to develop a dabble in other areas of writing,and that I was support system In my education that was strictly limited to poetry. I feel that I was not somewhat absent in undergrad. able to show off any of my other expertise, or allowed to experiment within those field.That Is where the communityfelt most broken.

M.F.A. Playwriting Workshopsand direct writing really allowed my Amazedat what I've accomplishedthis far I work to build and breathe. Staged readings esneciallvso. M.F.A. Playwriting The professors are wonderful. I've also A llmlted number of course options in I would have appreciate a class that focused more appreciated the flexibilityof the program. playwriting,as wellI as the overall caliber of the on developing the full length play, particularly playwritingstudents. The fiction and poetry when It's past the first draft stage. At the moment students seem to be much more the only venue for this is directed writing.Also (in knowledgeable/experienced/rigorous/talented a perfect world) more guest lecturers etc in , though I am lookingat those disciplinesfrom playwriting.All the writers brought in to speak in a place of less expertise so I may be biased. say, writers on writing are in fiction or poetry./ /

M.F.A. Fiction The flexibilityacross genres and credit fulfillment Professorsseem very pressed for time in Nope· well, yes, but not in any sense that the categories. arranged meetings. Coupledwith the fact that department was lacking. there are few department-organized opportunities to speak informally/sociallywith professors. M.A. Poetry I really enjoyed being able to TAor GIAfor credit. For MAPoetry students, most of the creative No comment. Thisgave me hands on experience facilitating process courses are during the day. Perhaps workshopswith students. this was only the term t needed the course and I know budget plays a roll. Thisis if I had to mention something, as I feel the department does its best when schedulingcourse options and times.

M.F.A. Fiction Strucutred workshops and the care professors put Unstructured workshopsin which students l would have liked to work within more genres into designingand implementing their courses. were allowed to go on and on and on about besides just the literary ones. Examples:Y.A., their own opinions.This due to professors' lack horror, fantasy, sci-fi,, etc. of preparation, regulation, time management, listeningskills, or concern for detailed, specific, clear feedback. Unconstructive.

l of 6 Creative Writing MA_MFA Satisfaction Survey Academic Year 2012-13

Program Genre What worked best for you fn the SFSUCreative What did not work well for you in the SFSU Was there anything more that you would have WritingGraduate Program? CreativeWriting Graduate Program? llked to accomplish and/or learn?

M.F,A. Fiction Focusingon process rather than finished product, large class sizes, instructors don't give much AnythingI didn't accomplishwas my fault, not the room to experiment. feedback.There are certain MAstudents who program's. don't seem to be taking the program very seriously,and lt can be frustrating to be in classes with them. M.F.A. Fiction Great teachers workingwith some kind of Reallyllakv/self•centered tead!lng (some teachers), absent

M.F.A. Fiction ThtlockolttMlityk\tM The flexibilityofthe core program. I like that I was ldjooc1andloiklthop,-op..._Tht1Kl1tyln_tM1tudoMI would like to have a course that is specifically able to take courses in different genres. I tend to Po1>ulotio<1.ll,~,..,,mtlycuU11,...,hol>todlnthop,oq.,.on,1...... ,o~,nf,~tM! ll>of>cully"""!•><~thowo,k,,.,.,...... ,,,..,.,o1,nt1tmoot-!llotl1about bringing drafts to polish level.The MFA be product oriented, and while I think that the ...... ,,,ondNr,....,~lk'll""'°dlh>toCto•U..W.lllngp,-ouomlnolvolu01..,.k100\...... ,tho1-bio,.,,ndomk writingworld is so competitive it's not ethically •••""'p,o1,..,,~Thtf"""rond•tofftho1rw,.. ,dwlthol>outW.1otm line-editing,syntax or any of the other concerns ~"l/"""'"'""'dwlthlho>oh,..,wllichboliop,ofoffldlvdi>Wl.,..,ds"1d that come up when one is seeking publication. as a possible aim, it is also nice to have the option o!l!limitetholc-rslty.C..Oln[>Oln!.1MWBecause there Is no course offered only for third· ~.... ,.,.,..,.~ ... tt.,,1>o1tho_,...,hkb,Jo&•,.dll,/(ur..,.>0ot>1h,Uc.lW>olh>ppoo,to81ockw,ltonwritinayear students to prepare our work for "'°"'Southorn "'"'"'I losionAmotlconwrtto"icUn.1owownc~toto1 Mk.,., found the majority of the faculty that I worked ,,,m,11>1,o,,t>Odklot>tMli<>lhotdoo'tlltintoW.lll>t,o/uw1c-lhd>hoolopublication, SFSUgraduate students aren't given tddl"H,.dbytM ltc,lty..t.,...,"1dti.w .itit..i.. ondcuillirol,onmno-..Nchb ,my with to be Incrediblyinquisitive, talented and to tlm1Candc1.,,,it,;o,.ityk,0Jmpo,1>ncldolhlnl:thoprouon,<1o,,>0,,.,..,,,lobthe option of leavingthe program as professional genuinelylove writing and all its possible craft olrtpro,.o..,.,uo[pt"1dhomo,o,oolpndor kllodty. b,t notu'"'l""'°"d writers, only as journey-level.I do know many ldooUty.and 00\ lGITQpoop\ooleo~. TMcttrofS..Fr>n<""11Motodo•l>,ltl,inl,.SfSUuonpeople who were already capable of bringing here is genuinelyinterested in having a career in dobotto,.//Ako,nolollol1h,l:,cultyprovldouH01to\ovolltt'4hop,.Tito worbhoplhot, took '""'h1" °'"""'t>..,onrolthodo1~1tMlllo,nodln,iMIL"thtr,1<1tto"d...,.,oothe do1fl.and..,..,,.. horL h>ndwr~ton,and ~w .. were able to bring to bear outside resources or practice which is particulary inspiringfor me as an toototofo,motolncoto.rv.1>ttn1Mo"11otlc0Mldor MF-kl>Uwcto, l"db>I,,o 1wHp>uc.-,boolodlt00dthorobnoline attention to even a slngleset of work would 1ton INV01l"t found !hot tobo uu,. Tito writer. I've lived in the three major urban centers r,,or.,,.,,.,,oft,onolow')'>hldootdistinguish the last year. In light of the issue with in the USand a number of the mid-sizedones, and ,oo~p,-,,fol0<>t.i',""",$bljh11,1,.. ro,,01>owtob1tlltlhl>.,,,.olidlo>!"<'•Uc the Directed Writingsystem, the program could "°""b110-op1vt,donbwhol»wtwr>,lm""""°"''°"''"""'"lwntoTd1cou!tolN!OW1ludoobllodc""'lto dot lo thl, ,ludtflllmto1dolcontoclll\l ..,.,.,.who hodahodyo,kod !o, selection of students for DirectedWriting slots. integrate into the focal arts "scene" since I'm a ON.AW>il-itro'11Uoti0<,,y"""wouldmolcolhl>p,-om,rorcand u...,,p.,,nt..,..,...... ,,..oppoor"""'or- transplant.

M.F.A. Fiction I loved all the creative process classes l took. I The MFAfiction workshopscould get If time were infinite, of course I would have liked really liked the diversity of the teaching styles and contentious In ways that were to take a few classes far outside my field··like the students' writing styles. I also liked that we counterproductive.Some students would playwrightlng··Justto see what I would learn, but could take classes in different genresl shout. Allegianceswould form among group of I'm very satisfied with the variety of courses I was students and then this would play out in able to take in my years here. workshopwith people taking sides.

2 of6 Creative Writing MA_MFA Satisfaction Survey Academic Year 2012·13

Program Genre What worked best for you In the SFSUCreative What did not work well for you in the SFSU Was there anything more that you would have WritingGraduate Program? CreativeWriting Graduate Program? liked to accomplish and/or learn?

M.F.A. Fiction The classes. There is no guidance at allI I do not know what YES!I would like to work with a thoughtful classesto take, or which Instructors.At the professor who willhelp me to accomplishmy "welcome",the faculty seemed to be laughing writing goals - not one who willcharge me at an inside Jokeand MaxineChernoff said she money to read over my lame query letters.:((((((( was too busy but we should just "go to I wish I knew how to find someone who believed someone" for an advisor.VERY INTIMIDATING. in my writing (or believed in the writer I want to Myfirst semester was HORRIBLE.I was lost be someday.) I feel desperate to get my stories on beyond lost and I still feel that way to a certain paper and there is not much time left. Howdo I extent, but at least I am no longer on the verge approach a professor about DirectedWriting? of tears every time I have to speak. It doesn't Whom should I approach? Who would want to help that one of my instructors spends three work with me? hours of class time talking about himself and I worry that he is competitive with the other students. (I'm sure he isn't with me as I am old and wrinkled.)It ls very tempting to spend all mytime hidingin Englishclasses where the professors are scholarly,knowledgeable, helpful,and not competing with the students.

M.F.A. Fiction Process classes and directed writing. The faculty is I'll have to say that aside from a few classes I often accommodatingand helpful, did not enjoy, I am satisfied with the MFA program at SFSU.Three semesters In and my writinghas improved quite a bit.

M.F.A. Fiction student loans student loans student loans student loans how to make the student loans go away.... student loans/ and more and more student loans student loans and loans and more and more... M.F.A. Poetry I likethat there is a variety of teachers. I also Notsure. I was pretty happy with my Perhaps this is too specific,but I did want even loved my creative process courses and that there experience. I suppose it would have been nice more variety of topic or specificityof topic. I took were so many different topics to take. J also liked if there was more crossingover between the a great class on World Poetry and I wanted to being able to dabble in Fictionand Playwriting different fields (playwright/poet/fiction) take a class like that one on Americanpoets. I even though I'm a poetry major. lt also helped to because discussingwith other writers I think guess there may have been one availablebut I be able to have a correlative and directive writing informson different approaches to one's own don't recall one that had more of broad spectrum so that I could focus on topics and projects that writingand theirs. Either in class or the social of influences on Americanpoetry, which I thought were specificallyimportant for me. interaction, I thought I would have liked more would be helpful to new poets. There were opportunity to meet others in the program. J however classes that were on more specificnew suppose Writers Guildwould be somewhat in Americanpoets (which I really liked),but I wanted charge of thls. The different fieldsseem something that covered major influencesover the somewhat cut off from each other, other than last century or more. Second, I also was when I ventured out and took classes out of my disappointed that I was not able to ever take a genre. novel writing class, as this is one of my other major interests. When twas signed up for the class, the professor kickedme out with less than a 24-hour notice because he found out that I was a poet. It was somewhat discouraging.I would have liked more opportunity to study novelwriting perhaps in a creative process course setting if not a workshop.

M.F.A. Playwriting The professors are very supportive. There aren't many classes to choose from and they're alt at night. some more daytime classes would be e:reat. M.F.A. Playwriting Not sure of the specifics of this question. So, in Maybethe limitedvariety of graduate Sttlllearning. Can't wait to take the Fringeor general, the hours of the classes worked best for playwritingclasses which was to be expected Greenhouse class to learn more real-world me while I had a full-time job for the part-time from only 4 playwritinginstructors. However, I applications to the craft of Playwriting.Other classes I needed to take. But because I loved the am thankful for the variety of other Creative than that, I'm learningto allowmyself to immerse classes and the faculty so much, I'll be going full- Writingclasses provided. myself into the established curriculum. time now until the end of the program.

M.F.A. Playwriting The mentoring and feed back I get from my I would like to be able to workshopmy plays and professors and thEi hands on opportunities (fringe connect with local theatres. Graduatingwithout and GIA)to explore my craft. a connection into the theatre communityis daunting.

3 of 6 Creative Writing MA_MFASatisfaction Survey Academic Year 2012-13

Program Genre What worked best for you in the SFSUCreative What did not work well for you In the SFSU Was there anything more that you would have WritingGraduate Program? Creative Writing Graduate Program? liked to accomplish and/or learn?

M.A. Poetry The workshops provided me with external The hands off/aloof style of mentoring not really deadlines to help me continue to produce writing. perpetuated by a Department which seemed more interested in developingthe standing of the Facultyrather than the Students.

M.F.A. Fiction Ironically,knowing what I was getting Into. My J'm not lovingthe correlatives. I took my first So far so good. Registration is a little frustrating ••• 1st semester I took 4 clsses: 3 of them turned out one this semester and it has felt like a big time someday I'll take a class with Nona!Overall, to be workshops. I wrote my ass off, but it has suck. 42 hours might be the ticket. though, I've had a fantastic first year. proven to be very valuable. l have a lot of work in progress, feel like a have a much greater capcicity. Second semester has been much saner; I feel like I know what I'm doing.

M.F.A. Fiction Classeswere great, most professors have been Not every class ended up being a perfect Would stay in the program forever if I could, Just great. Diversereadings and critical responses match, but that's inevitable. I'm very happy because I enjoy it. from teachers. with the program, Some teachers put more into the classes than others, I think.

M.F.A, Poetry The sense of community, the openness of faculty While I received a Jot of encouragement from I wished there was a more rigorous academic and students, and the creative process courses faculty (and students), I wished there would component to the courses that required were all highlights of the program. I also have been a more intensive reading of my Investigatingtexts, histories, and using study to appreciated a 'do what thou wilt' attitude in the work. fortify the creative work. department when it came to developlng a personal aesthetic in my writing.

M.F.A. Fiction I have loved every single class I've taken within Twothings:/ / 1) I thinkthat the Developinga Novel I wish I had done more internships with the the Creative Writing curriculum. I love the classshould have been a processclass focused on publishers around San Francisco... although that professors and that the teachers are so varied, so I output.The mental muscles Involved In producinga has more to do with me putting out the effort can learn from teachers who specialize in the novel-lengthstory are so differentfrom those used subjects I really want to learn about. Specifically, Ina shortstory. A bunchof us expectedthat by the end of the classwe wouldhave the firstdraft of a I've learned a lot from Junse Kim'sclasses that novel,but that's not what happened.The workshop focus on technique development, Chanan Tigay's aspectwasn't particularly helpful. It wouldhave non·fiction and humor class (even though I wasn't been better if the classprovided a framework,where in it, I've heard a lot of good things about it), and we had 20 pagesof rawmaterial due everyweek and I'm lookingforward to taking classes from Nona the lecturefocused on practicalthings, like o~tllnlng, Caspers and Peter Orner. freewritlng,deve!oplng , plot movement,structure, etc./ / 2) I wouldhave liked morefaculty Involvement. In myBA program,we wererequired to meet withour advisorbefore signingup for classesso that they couldlook at our scheduleand addressany questions we had. I wish that happenedat SF State.The teachers are all so wonderfulIn class, but tryingto meet facultyduring officehours, sometimes feels like, "Oh, t couldn't possiblyhelp you wlth that. Youshould go talk to Maxine."Is It reallyunreasonable for me to expect that everyfaculty member would have answers for basicthings about this program?

M.F,A. Playwriting the quality of instruction. tackof formal opportunities to have our works Would have liked to take a screenwritingclass but read/performed especiallyin conjunction with they have all been impacted for 3 years and I can't the Theatre Arts Dept. or outside theaters. afford to take CELsummer classes Most other playwritingprograms have formal alliancesfor allt heir students ot have readings/workshop productions. Alsothe difficultiesgetting directed writing classes as needed.

4of6 Creative Writing MA_MFASatisfaction Survey Academic Year 2012-13

Program Genre What worked best for you In the SFSUCreative What did not work well for you in the SFSU Was there anything more that you would have WritingGraduate Program? CreativeWriting Graduate Program? liked to accomplish and/or leam?

M.F.A. Fiction 1. Flexibility(big, big plus!) 2. Peter Orner I!! Yes Student-facultyratio. I think the large size of the prosram wu!d he forgets appointments and might lose your work lftllls ratio were smaller, but as It now stands,too m;my peeps getlonln the shuffle. fmphnl1 on conventionalrealism-· story, So what. Don't ever let him go!![ 3, 809's. I.e. the Jowaway, not so much from thefacultvas the student,;, 4.Teachersoverall awesome, though overworked-• has been veryproblematkfor me. Oh and I couldn't stand~ a crime. S.Helpful,sympathetic secretary, oflhe male students. Most of them think tllf'{re reallygreat and have only read Franzen,et. al. The girlsare Into lorrle Moore•. AvailableDepartment Chair. Correlative,yes! mean I love Franzenand Moore, but come on. DYelo 1;1erary ' ignoranceon the part of the students my work wasn't taken seriouslyby many-again, mostlyboyi. MFA/MAstudents 1houldbe forctd to take Englishliterature ind criticaltlleory courses. Manycreatlvew

M.F.A. Fiction The evening classes and the diversityof the The lack of advising,and the sense of Would Joveto have utilizedthe professors more professors' teaching styles and interests. connectionand communitywithin the for practical information regardingjobs, agents, program, Also,it's almost impossibleto publlshers, etc. connect with some professors who do not answer e-mailsor forget appointments. This all tends to leave students floatin& confused, and irritated. M.F.A. Playwriting Manythings, workingwith people In workshops. What did not work well sometimes was the Yes. Many things. Mostly.. , Howto write in Workingin directed writing. Takingclasses in feedback of my playwritingpeers. I found they different styles in playwritingas one does in other genres such as poetry and fiction. Getting were sometimes not honest, and often sought Poetry of Fiction. The Poetry and the Fiction to know peers ln those genres. I find that people to avoid true critique. When they thought my department offer the student different skillsand in playwriting,students as well as professors, work was good they didn't say anything either. classes that allow him to learn how ot write in perhaps with the exception of Anne Galjour,are I found sometimes they were afraid to give different styles and genres. These are "The long less curious about the world and much less true, honest critique. Thisdid not work for me. poem", "AdvancedShort Story."to name two cultivatedthan other writers. Thisis why taking They had trouble integrating me. And I had basic ones. The playwritingdepartment lacks classes in other genres helped me improve my trouble integrating myself,as I am different this. It does not offer the student any classes that writingand acquire confidence in myself. from them. (Froma different country and have address style. Exceptfor maybe "Playsand Professorslike Steve Dickison,Maxine Chernoff, a different outlook on life and art). Asthey Politics",taught by BrianThortenston, there is no Dan Langton,Toni Mlrosevich,and KimJunse have. I thought that RoyConboy had trouble other class that teaches the aspiringplaywright worked best for me In improving my writing and integratingme to a group of all American the craft of Comedyor of tragedy or farce. The pushing me to become a more reflective artist. playwrights.And valuing my differences and aspiring playwrightmust learn this by him or They pushed me beyond craft to seek Into myself whatever I could bring to the table. Thisdid not herself. for my true voice. That worked for me. Anne work well for me, AlthoughI tried to remain Galjourgave me important elements of genuine throughout my studies. RoyConboy playwritingcraft needed to express my voice in has good instinctivefeedback, But he lacks, in plays. my opinion, a solid, structured sense of technique to give his student playwrights. His experiencein theatre is doubtless helpful to graduate students, are some of his teaching skills. But he lacksthe pedagogic skillsto transmit craft and a true sense of art in playwriting.

M.A. Fiction the mixture of process classes, workshop, and being in the M.A.program, I had difficulty I would have liked to learn more about how Englishclasses. having the time and focus to write getting into the classes I wanted. especially manuscripts are put together, and career and write well. being able to take courses outside workshops· and had to scramble to meet options/development in creative writing. my genre was also a plus. tenured faculty to advise on my thesis. ,

5 of6 Creative Writing MA_MFA Satisfaction Survey Academic Year 2012-13

Program Genre What worked best for you in the SFSUCreative What did not work well for you in the SFSU Was there anything more that you would have Writing Graduate Program? CreativeWriting Graduate Program? liked to accomplish and/or learn?

M.A. Fiction The classes that focused on craft issues. I was a Not havingenough exposure to core faculty in I would have likedto have generated more new GTAfor Matthew Davison'sCraft of Fictionclass the program. Becauseof the MArequirements, work. Other than my thesis and a few short and although it was an undergraduate course, I I needed to take classes outside of the CW stories, I wasn't able to produce very much new participated in most ofthe exercises. I was a program. Theywere valuable classes without a stuff, so much time was consumed by day·tO·day valuable experience. Also,Junse Kim'sshort story doubt (particularlyMtchael Krasny's literature classwork(granted, I worked almost fuli.time and workshop which also worked on narrative craft class and Dr. Hackenberg'sDetective Fiction recently had a baby, so that accounts for much of issues. Those were the two most valuable class),but I would have liked to study with it). experiences I had. MichelleCarter or Peter Orner or any number of other highly-regardedteachers in the program.

6of6 Last Modified: 06/24/2013

: Fiction : Playwriting - 3 : Poetry ·-··JTotal ...... ···-'·-···

Statistic Value 'MinValue 1 I Max Value 31 Mean 2.11 , Variance 0.88: I · Standard Deviation 0.94 I Total Responses 19

1 ' Excellent 38% 2 . Very Good 25% 3 : Good 29% 4 ' Fair 4% 5 ' Poor 4% ...... : :rot~I ...... ' 100%

Statistic ! Min Value 1 'Max Value 51 Me~n 1 2.131 : Variance 1.24 j ' Standard Deviation 1.12 i Total Responses 24 !

1 ; Excellent 2 • Very Good 3 I Good 4 i Fair 4% 5 i Poor 0%

! ...... JTotal ·- _,__ - . - -- L - •.•. -- -··- _, - • --- ·-· ., ••••. -·-···--··· -•·--~·., ~- ~-··· • .....•••..•.•. '••••• 100%

MFA Exit Survey 2013 Page 1 Statistic I Value ! Min Value 1 j 'Max Value 4' I ; Mean 1,58 ! I Variance 0.78. . . I i StandardDeviatibn 0.88 ! i _TotalRe~onses . .. 24 1 .....1., ·~ _...... '""· -····-········. -·-·-······· ...... ______...... ·--~-----·-··---- ·······-······· ············-···.I

2 - 4 17% ! 1 Fair L J :~ 5 ! Poor - 3 13% · .· ·· · • ·. · i Total . · .·· · · ·· ! ··• I • . . 24 . · : 100% •••••······•• .••.•••. - · . ---··- '- ·· .. - ··-- ········· •.• ·. ···········- ·· _ J. . • • .• -· ·" ·····- · ···········-- ·-· ······- ·····...... ·---- • ······· ··- ··- ···-- '-·· .• ·- ····-·--·········· - •.. ·- ··- ·--·· ····' ••... -···-- ·--········- - ···-··· ·-· .•

Statistic Value !· Min Value · . I -• . -- . 1 i 1 Max Value I Si :fv1ean I·.· . I i 2:00 I Variance 2.17 1 StanqardDeviation :- 1.47i.. l ·.__ Total_Responses ... . __- -·.. . ·-········--·...... ··---- ...._: ____. - - ··· ...... ··------·----······ ... _· ----· .. -·-····-·24 .i

Excellent 42% Very Good 17% Good 13% . Fair - 21% i Poor - 8% -·--···-···...... _: Total_ I . 1 ·. . 24 100% I ······· · ········--•·····-······· ·'···--· ······· ·-·,.·--·· --·-· ··············-·· ·········· ··· ·· .... ·········- ····· I...... ·- ·-· ·· ... •...... •...... 1 Statistic Value : MiriValue 1 i Max Value I . - . . ..5! i i Mean . ..··2.38 1 i Variance 2_.01_ i Standard Deviation . 1.44 I i__ T otaL_Responses...... _ ... _ . . _._ ...... _24 .i

MFA Exit Survey 2013 Page 2 1 17% 2 38% 3 25% 4 Fair 17% 5 i Poor 4%

- ...... 100%-----.-.

Statistic Value ; Min Value 1 I Max Value i 5 ! , Mean 2.54 I j Variance 1.22 i ' Standard Deviation 1.10 i : T"CltalRespClllSE>s_ _ 24 j

i Excellent Very Good · Good [ Fair I Poor ..... _iTotal . ------···"-··- ...... _l ' Statistic Value i Min Value 1 ! 'Max Value ' i Mean IV . 1.6: I , anance 0.89 I ' Standard Deviation 0.95 ! ;_Total Res_ponses '' ,,,_,,,,19. ..! i

i Under 3 1 ' 1 4% ! years. 2 ' 3 years. • 10 40% 3 i 4 years. 6 24% 4 15 years. 4 16% 5 6years. • 2 8% i 6 I 7 years. =- 1 4% 7 i Over 7 years. 1 I 4% 8 I 7 years. I 0 0% I 9 [ Over 7 years I 0 I 0% ' - " _____j !______Total ' ,_ --··-·-·---· ...... --·--- 25 -----I__ - 100%

MFA Exit Survey 2013 Page 3 Statistic Value i Min Value 1 i , Max Value 7 I I ; Mean 3.12 i ; Variance 2.11 I i Standard Deviation 1.45 i :. Total Responses_ ...... 25!

• continue writing ' I would like to continue to write, work on publishing my work, and eventually to be a teacher of some sort. I'm currently teaching English and creative writing at a small college near Huadu, China. • Publish a book and find a position teaching creative writing at the college level. 1 Stand-up comedy, comedy script writing, radio host • I'm going to Disneyland! · I have a career in nursing; the MFAwas not a career.path, but an enrichment path. I write, I'm publishing and enjoying doing that Worth. every penny and more. A wonderful experience. To continue my regular work as an editor; to try to publish my work on the side

1 Continue writing and publishing my own work; editing for others i To. make sure the world knows what a joke this program is. Faux factory much ; Wc;irking on my novel, hope to complete it in the next year. · Try to publish my first novel while working full-time

! Take steps to get my plays produced. look for teaching gigs in writing, pursue publication · Find a job and work while I finish a book, then find an agent and get said book published. write, publish and have fun! ; finish a manuscript; keep writing more manuscripts; find a job writing and editing ; MA in English: Composition; publish . Working as an editor; writing novels ' Continuing with current job / continuing to write

I will be looking for work as a lecturer at local colleges and community colleges. . . ,J' Teaching and/or Burger King look fortt'laching v.iork vv~itt'lmore pll:lys

MFA Exit Survey 2013 Page4 i Fiction j Playwriting : · Poetry !.Total ..

Statistic Value Min Value 1 Max Value 3' , Mean 1.67 ! : Variance 1.07 Ii ! Standard Deviation 1.03 •.Total Responses .. . . - . 6 .

i Excellent ; Very Good i Good i Fair I i Poor I- ! Total

Statistic Value 'MinValue 1 i Max Value Mean 31 1.57 1 · Variance 0.62 ! Standard Deviation 0.79 ! ,.. Total Responses . _Ii

Excellent 57% Very Good 14% Good 14% Fair E 14% ! Poor I 0% : Total -·•·-··· ... -. .... L ..... ~- ...... 100% ....

Stat1st1c Value 'Min Value 1 I Max Value 4' I Mean 1.86 ! Variance 1.48 [ · Standard Deviation 1.21 I ! Tot,ll Responses ...7J

M.A. Exit Survey 2013 Page 1 t 2 Very Good 1 3 Good 1 4 Fair 0 5 Poor 0 .....:.. ~. : .:.-...... L I 9.~~L...... : ...... -~ ...... L.: ...... :. . , ...... · ··-...... ~ ·· ··-----:...... L ...... ] ...... J .. ···············---...... ! i Min Value · 1 , I ~:::slue I t.4~ I , Variance ! O62 j ! Standarci'Deviation 1. . o:79I ;_. Total__ Responses __ ····-········-· ···--···········--····-····· ···--········-·····-····-..··--·-··-·· ····-·······-···-····--····--·--·--- ...... ~ ...... ·······-······-······---··-?.__!

i Excellent 1"4% i i Very Good i 43% 1 ·;. i Good l- · . Ii, 29o/o· I ! ! Fair 0% :5 . . i Poof - - 1 14% 1 '··------··-·•·· ..: ._ _. i .Total ...... :...... :...... - ·--···-·-··. __ ··----··· ·····--·- · ___...... · ·.. . ·--__...... L .______7 ...... J .....J 9..9Y ~ ...~ ... J i MihV.a1ue-- · ···· 1 1 ! Max Value 5 I ! M~an · ! 2 :57 i l~!Y~.::O~~~On-.__·--·- -__--· _ -·__- _t· ____ -______--·- -- - ~;~~I

1 ! Excellent 1 14% I · ! 2 ! Very Good 2 . j 29% ·

3 i Good · 4 II 57% I 4 I Fair O 0% ! 5 ! ·Poor I. . ·.· o 0% i ...··· ······- ...... 1...T9.J~ L ...... L ., ...... ······-·· ······-·· ...... '·· ...... ? ..···· ···· . L ...... 100% ___. .. .::J

M.A. Exit Survey 2013 Page 2 Statistic Value : Min Value 1 I · Max Value 3 i

1 Mean 2.43 i i Variance 0.62 i I ! Standard Deviation I 0.79 j l.Total _Responsl:!s __...... -·- ·-···-·- ···-·- ...... ·----·-·-·----...... -..J .._.. . ,. .... __...... ______...... :...... ______?_

2 i Very Good O 0% 3 \ Good 1 20% 4 i Fair •-:11... 2 40% 5 1 Poor O 0%. :...... ___ ...... L IQ!~L ...... ___: ...... ·------...... ··---·---- ~... . ·---... ·-··--.....!...... _ .. -·- ~--...... ____ .! -...... 1_00% __ -- .....

Statistic Value ! Min.Value 1 i i MaxValue ' 4 ·1 Mean : 2.60 i Variance i 2.30 1 Standard Deviation I · 1:s2 \ ! Total.Responses______,.__ __ ...... _...... ··- ..I...... ------· ...... ·- __,, ..." ...... -... --· ...... - ...... s.J ·

'. Pubjishing _ : I'm ~urrently teaching English and creative writing at a small college near Huadu, China. _ I wouJd·like to find work as a teacher/adjunctprofessor -1: finish MFA program, work as English/compinstructor I . MFA . I i completing_an MFA! carrying on with existing writing projects J • _leaching EngJish_Skills _at _Contra_ Costa.Colleg~ ...... , _ __...... _ ...... ------·--·· ...... ______j

: Total Resp· .·oris.es· .. - - ··-· ·. - - . . . ., - .. . · · · -_- l~·•• ••o.•• ·- .. - ·· -•·•-• ,._.. __ __,, ___ __ ,.,,.,_._,_••• '~-•• •••"••-·• ·•·• •••••••• ··•·--•·•• ·..,..,,__ ,, ___ , __ .,_,_ _.0• ._ , -~ ,•·- - ·-•• ·•-•••·••••.,••••• •,.- ,~••• ••--•- ••••• •~-,,., 0,w , ,,..,, ,

I Excellent 57% ::-~ . i Very Good 14% · 1 Good 14% / Fair - 14% ; Poor I 0% = ... ______1_ 00%______..

M.A. Exit Survey 2013 Page 3 Statistic Value Min Value 1 Max Value 4 : Mean 1.86 Variance 1.48 · Standard Deviation 1.21 .. T_ot11.1.Re~R()nses - Statistic Value [ Min Value 1 • MaxValue 2 • Mean 1.14 ' Variance 0.14 . Standard Deviation 0.38 Total. Responses 7

2 : 2 years. '2 :3 2.5 ·2

M.A. Exit Survey 2013 Page4