Creative Writing: Introduction to Fiction and Poetry CRWRI-UA.815.010 Instructor: Ricardo Cortez de la Cruz II Contact: [email protected] Class Times: Tuesdays and Thursdays, 9:30 AM - 10:45 AM Location: To Be Determined Office Hours: By appointment at the Lillian Vernon Creative Writers House (58 W 10th St).
“You wanna fly, you got to give up the “The sky’s the limit that’s what they told the thing that weighs you down.” fool, I disguised the limit, now I’m aimin’ for the ~ Toni Morrison sun and moon.” ~Joey Bada$$
“You can't use up creativity. The more you use, the more you have.” ~Maya Angelou
COURSE DESCRIPTION There are no limitations to creativity. It doesn’t matter if you’re experienced in poetry, fiction, none or both, this course is designed to build weaknesses and reinforce your own individual strengths. A lot of the work we will be doing will be introductory as well as experimental, fresh, raw and current. There is a healthy mix of the cannon, including modern writers who continue to influence our generation today. You will find pleasure in reading texts one week, then analyzing poetic devices in music in the next. From artists like Tupac Shakur and ... Playboi Carti? If you appreciate CROSS-GENRE and MULTIMEDIA courses, you will have a ball.
On days we have Craft Class, we will deep dive into various texts ranging from Protest Poetry, Hip-Hop and spoken word, science fiction, texts on how to synthesize trauma and pain, including hybrid texts, content which straddle the line between both genres, where you might be unsure if it’s poem or fiction. Workshop will be an opportunity to share, and for your peers to review and provide constructive feedback.
“An artist’s duty is to reflect the times” - Nina Simone.
Which is why at the beginning of the course we will all choose a nom de guerre, french for “war name.” It is an assumed name under which a person engages in combat or some other activity. Our activity is creative, it’s pen to paper, tips to keys, it’s writing. So yes, while some of the work we read society would call “political,” I am of the firm belief and from the school of all art is political. Another perspective, is that your nom de guerre will serve like a superhero name or alter ego. As we progress throughout the semester, you will find yourself growing into yourself, and further extending your identity as both a creative and a writer.
CLASS READINGS & MATERIALS All class readings (aside from the required texts) will be provided in a “packet” or as multiple files through NYU Classes. Most of the material is Google searchable, but I figured it’ll be easier to organize the course material by the week, keep it all in one place. Any supplementary readings are optional. You should read or view the material BEFORE class. And don’t worry … on weeks where it may seem I assigned a lot, those individual readings are of shorter works.
There are FOUR required texts you must purchase are:
● Sand Opera, Phillip Metres ● Howl (50th Anniversary Edition), Allen Ginsberg ● Prince of Cats, Ronald Wimberely ● Constellations, Nick Payne
ONLINE DISCUSSION & RESPONSES On Fridays, I will post something on NYU Classes for online discussion, content pertaining to next week’s class. I intend for this to be very light and fun, treat it as theatre or something to wake up to, meditate on the late-night. I encourage you to relax, pop some popcorn and bask in the moment of the content you’re watching. You will be required to submit a creative reflection on the post, a version of what Ann Carson would refer to as a Short Talk. For our poetry weeks, you will submit a short poem (15 lines), for fiction you will submit a flash fiction piece, or prose poem. When you’re finished, reply to a fellow classmate. Your comment to your classmate does not have to be a Short Talk (just two or three good sentences) . Opposing opinions are welcomed. I want reflections to be thought of as think pieces.
SUBMISSION POLICY Submission of discussion responses, exercises, and pieces for Workshop are to be met by their due date. This policy is strict, and unless given notice to why a given assignment might be late or incomplete by deadline, I will calculate such as part of your overall grade. If you need an excused absence, please contact me ASAP. I am more than willing to work with you. If you are struggling to complete an assignment, please notify me as soon as possible.
There is zero-tolerance on plagiarism, and doing so will result in a report to the department.
WORKSHOP EXPECTATIONS Thursdays will be our workshop days (I will assign groups beforehand). This is your time and moment to share your work in class and express. Workshop is meant to be a learning experience, as well as your opportunity to flirt and explore, see how your peers/readers respond to your work. Any critique is nothing more than a critique and should be seen as such. Our goal is to uplift and make the piece the better, identify both strengths and weaknesses. We will cut (but it’s not a cutting contest), and we will trim and burn parts to make our work stronger (this is also not a roasting session). All criticism should be constructive!
“Adapt what is useful, reject what is useless, and add what is specifically your own” - Bruce Lee. Your piece for Workshop should be submitted by Saturday. This leaves time and space for the class to read and marinate on your work. You are still required to submit even if your group is not up for Workshop. On your submission, be sure to add an author’s note. Class responses are submitted through NYU Classes and are expected to be done by Wednesday before 9 o’clock, only comment on the pieces up for Workshop.
Written feedback should consist of, but not limited to, either commenting on the thread directly to the writer, or submitting a photo, scan, or copy of annotations. Not only is this helpful to the writer, but as a class, this is also our way of holding ourselves accountable before Thursday, making sure we read all work for Workshop.
Even though we read from established poets and authors, it’s important to recognize the importance of building off each other. You are the “new generation,” and current vanguard for what’s to come.
OFFICE HOURS While office hours are not required, I encourage you to drop by whenever you can. Whether it be a question about class or help with one of the assignments, all are welcomed.
GRADING
Attendance and Class Participation (30%) If you believe at any point in the semester, you’re not participating enough, or unaware of how your current attendance will affect your grade contact me ASAP, if I haven’t already tagged you first. If it does come to my attention that you’re consistently failing to show up to class on time, or there is an issue with your participation, I will let you know privately through email. If it’s a mental health concern, please contact me and I will do the best I can to work with you. Students are permitted two unexcused absences. Your grade will be reduced by one degree of a letter (i.e., A to A-) for any additional unexcused absences. If you arrive more than 15 minutes late, it will be considered an absence.
As far as class participation, I expect everyone to interact and be present during class time. No cell phones or texting. Snacks and drinks are allowed, but nothing big or too distracting like a full course meal, I trust you all’s discretion. I understand not all of us are extroverts, in fact, most creatives tend to be introverted and let their art speak! So I will not compare or grade you compared to how others participate in the class, but I will track your desire, rather your willingness to try. I appreciate any commitment even if it’s a chime in.
Online Discussion Responses/Creative Work (30%)
Final Portfolio (40%) No final exams! Only a final portfolio of three revised poems with one revised short story. Attach all original drafts as well. Also provide a three page manifesto (double spaced) about what you learned about yourself as it relates to your nom de guerre and the coursework we covered over the semester. Two pages should be expository, while the third page is reserved for a new piece, poem or flash fiction. These should be in either APA or MLA format, in any 12 or 11-point conventional font. The manifesto does not have to be completely expository nor entirely creative.
HOWEVER ... if you are not open to doing the manifesto, you may suggest a final project which represents you as a writer, and what you’ve learned in our class. These have to be run by me first, before I give the OK.
The Workshop revisions are MANDATORY.
(Class Schedule below on next page)
CRAFT SCHEDULE *Please note that some readings are subject to change. *Workshops begin Thursday, Week 2
Week 1, Syllabus Overview (1/26)
“Water Poem” by “Bruce Lee,” “We Wear the Nom de guerre / Alter-Egos / Masks Mask” by Paul Lawerence Dunbar, “Alter Ego” by Todd Herman
Artist Statements / Manifestos In Class Writing
Week 2, Deconstructing Mainstream Poetry / Thoughts on Form & Structure (2/2)
Rupi Kaur & Instapoetry “the orgasm,” “us,” “women of colour,” “art” by Rupi Kaur, and other poems by @rupikaur_
“If You Forget Me” by Pablo Neruda, “Still I Rise” by Maya Angelou, Selection from Classical v.s. Concrete / Avant Garde “Accidental” by Patricia Smith, “I Do Have a Seam” by Jaamal May, Selections from Sand Opera by Phillip Metres
“Anodyne” by Yusef Komunyakaa, “Major and The Importance of “I” I” by Major Jackson, “I Don’t Have a Pill For That” by Deborah Landau
Week 3, Rhythm, Sound, Incantation & R.A.P. (2/9)
MUSIC “@ Meh” by Playboi Carti,” “Tao of Now” by Saul Williams, “They Want” by Das EFX Playboi Carti & Onomatopoeia POEMS “Letter to She” by Amanda Dettman, “Ohm” by Saul Williams, “JingleJangle” by Harryette Mullen MUSIC Dormant by “Sevdaliza,” “Dopefiend’s Diner” by Tupac Shakur, “Strange Fruit” by Billie Holiday and Nina Simone
Spoken Word & Jazz POEMS & VIDEO “Balaenoptera” and “Hip Hop” by Joshua Bennett
POEMS “Old Lem” by Sterling Brown
Week 4, Life & Realism (2/16)
Impulses Talk on Jazz, Gospel & Blues Impulses after Craig Werner
“won’t you celebrate with me” by Lucille Selected Works* Clifton, Selections from Charles Bukowski, Selections from Ai Ogawa, “Hatred” by Gwendolyn Bennett
Week 5, Trauma, Violence & the Overcoming of Suffering (2/23)
POEMS & VIDEO “Skinhead” by Patricia Smith, “Capitalism” by Porsha O, “Catch the Fire” by Sonia Sanchez, Reclamation / Reappropriation / Taking Your “Knock Knock” by Daniel Beaty Power Back POEMS “Daddy” by Sylvia Plath, “Lure” by Robin Coste Lewis, “I Give You Back” by Joy Harjo
“Diving Into the Wreck” by Adrienne Rich, Purpose of Fear & Violence “Angels Fall From The Sky To El Paso, Texas” by Natalie Scenters-Zapico, “Home Sweet Home” by Phillip Metres
The Elegy “Antebellum House Party” by Terrance Hayes
Week 6, Words of Protest & Attitude (3/9)
POEMS & VIDEO “Kind of Black” by Thiahera Nurse, Attitude “Homophobia” by Staceyann Chin
POEMS “Ego Tripping” by Nikki Giovanni, “Black Art” by Amiri Baraka, “There It is” by Jayne Cortez
The Call Out Poem “Calling on all Silent Minorities” by June Jordan, “The Allowables” by Nikki Giovanni
Art for Artsake, Risk & Cancel Culture “Michael Brown Autopsy” by Kenneth Goldsmith
Supplementary Reading* (optional) “Is the Idea of ‘Art for Art’s Sake’ a Sign of Social Privilege?” (New York Times article)
SPRING BREAK
Week 7, The Art of Story & Forming Character, Elements of Fiction (3/23)
Plot & Conflict Iceberg Theory by Ernest Hemmingway, Shapes of Stories by Kurt Vonnegut
Characterization & Persona “A Lesson for Everyone” by Whoopi Goldberg, “Flowers for Algernon” by Daniel Keyes
Week 8, Playwright / Lesson on Dialogue as well as Creative Confusion (4/2)
Break … Then Break Again Constellations by Nick Payne
Supplementary Reading* (optional) Carl-Jung & Essay on Quantum Physics
Week 9, The Art of Flash Fiction / Notes on Precision (4/9)
“Girl” by Jamaica Kincaid, “Likable,” by Deb Olin Unferth, “As the North Wind Howled” by Selected Works* Yu Hua, “Baby Dolls” by Becky Robinson, “Give It Up!” by Franz Kafka, “John Redding Goes to Sea,” Zora Neale Hurston, “Riddle” by Ogbewe Amadin
Week 10, Science Fiction, Fantasy & REMIX Culture (4/16)
Creating Worlds “Blood Child” by Octavia Butler
Graphic Novel … Poetry, or is it Fiction? Prince of Cats by Ronald Wimberely
Supplementary Reading* (optional) Experimental Fiction - “Cyberpunk” by Julie Armstrong
Week 11, More Experimental Fiction With Blend of Poetry (4/23)
INTRO TO THE BEAT GENERATION EXERCISES
Instructions: Sit & meditate. Let all thoughts Pen & Influence flow through you.
Instructions: Choose a poem, work, or song. Cut Cut Up Style it up into individual words or phrases. Rearrange the poem into something new.
Rush Style Instructions: Write long, extended lines. They are meant to be read quickly in a single breath.
Supplementary Reading* (optional) Experimental Fiction - “Who Are/Were the Beats” and “Spirituality and the Beats” by Julie Armstrong
Week 12, Surprise Guest Speaker (4/30)
Week 13, The Art of Revision (5/6)
Howl, Howl … Then Howl Again Howl by Allen Ginsberg
Strategy & Goals Talks on more strategies on how to revise
Week 14, Class Party and Celebration! (5/13)
FINAL PORTFOLIO DUE (5/15)
OTHER RESOURCES
UNDERSTANDING NYU’S HARASSMENT POLICY Harassment among students and faculty will not be tolerated. If you or anyone you know is experi- encing harassment, speak up. Let me know, and we will follow procedures in accordance with NYU’s policies concerning the protection of student rights. If you have any questions about this, check out the following website or speak to me. A brief and useful overview of NYU’s harassment policy is available online at: http://www.nyu.edu/about/policies-guidelines-compliance/equal-opportunity/harassment-and-discriminatio n.
DISABILITY DISCLOSURE STATEMENT Academic accommodations are available to any student with a chronic, psychological, visual, mobility, learning disability, or who is deaf or hard of hearing. Students should please register with the Moses Center for Students with Disabilities at 212-998-4980.
NYU's Henry and Lucy Moses Center for Students with Disabilities 726 Broadway, 2nd Floor New York, NY 10003-6675 Telephone: 212-998-4980 Voice/TTY Fax: 212-995-4114 Website: http://www.nyu.edu/csd
STUDENT WELLNESS POLICY Student Wellness is far more important than writing. As said above, unless there is explicit evidence in Workshop that the speaker of a work is the writer themselves, we assume the speaker is fictional. However, certain content relating to murder, depression, suicide, sexual assault, or severe mental distress, such as seems to be a possible cry for help, will likely prompt the my attention. Please send an email putting this work in context before submitting a piece, especially for Workshop, that may be interpreted as such. If you do feel you need someone to talk to at any point in the semester, please feel safe to reach out to me and I can guide you to the NYU Wellness Center.
Counseling Services: 726 Broadway Wellness Center: New York, NY 10003 (212) 998-4780 24-Hour Hotline: (212) 443-9999 Email: [email protected]