This course will consider poetry’s role in contemporary society. We will explore working definitions of “the poem” “the line” and “meaning.” Expect vigorous discussion on how poetry has changed during the last 50 years. We will consider who is currently publishing, how and where, and what, as writers, we can contribute to the swell of poetry being written and read in a digital age. This course will offer a wide range of contemporary poetry with attention given to specific writers, topics, and themes. Students will have an opportunity to workshop their own poetry every class meeting and will be expected to provide thoughtful and useful feedback on workshop pieces and weekly reading assignments. Come prepared to write, as prompts will also be used in every class. Our objectives are to consider poetry’s function in society and to examine its varying forms, as well as write our own stunning poems and sharpen our editing skills through workshop and outside projects.
Narrative Journalism Cluster
This course is concerned with what happens when we combine the best qualities of journalism and literature. During the quarter we will explore the journalistic, historical, and critical notions that make up the idea of “literary journalism” as we read and analyze many of the best literary journalistic pieces from the mid-1800s to present. We will spend much of our time together discussing how form and content (structure and method) can blend together to create outstanding (mostly) factual literature.
This course will refer to work as far back as the 18th century to some of the literary antecedents to what Tom Wolfe — and others before and after him - have called the "New Journalism." We will read, analyze, respond in written form, and discuss the works of many different literary journalists (and commentators on literary journalism) from the time of New Journalism to present day.
The purpose of our course is to understand how content is written using fiction techniques (sometimes in radical, wild, and very unconventional ways) to create a new kind of literature — one which is at once journalistic — and — narrative. Narrative journalism, when done well and with relevance, creates an excited and important departure from journalistic norms.
This course will explore (among other topics):
What we will do in this course (readings, minimal lecture, maximal discussion, analysis and writing) is intended to give you a perspective of journalism in general and its broader societal and global importance — especially as it pertains to democracy, open communication, compassion, and multicultural experience.
In addition to our readings from the three texts, we will discuss brief pieces I bring in to use as comparison against topics we are discussing and as bolster to your own workshop pieces. We will be reading — a lot — in this course, as absorbing others’ work is the very best way to craft your won with grace and excitement. Be prepared to write, read, discuss, and write some more every single class meeting. I expect to hear each of your voices — no one is exempt from discussion.
Flash Fiction Cluster
A piece of flash fiction is often explained as a story that has been “boiled down to its essential parts.” A flash story frequently depends on a fragment, a single hinging line, or a series of images to capture an entire narrative in less than 1000 words. In this course, we will read some fantastic examples of powerful flash, quiet flash, and flash that works its way into your skin through its language and oddity. We will write every class meeting and we will workshop in every class. Our goal is to create our own pieces of flash fiction with the guidance of one another and from the examples presented through our readings and prompts. We will do more with fewer words. We will give narrative new meaning and direction by focusing on how to impart all the emotion, energy, and poetics of longer prose into a smaller frame. The pieces written in this course will range from 25, to 50, to 250, to 500, and to 1000 words. Our stories will sometimes be sharp, and sometimes strive for elegance. Everything is fair game. Ultimately, the goal is to inspire one another to craft unique and vital works of fiction that are meant to be consumed in a single excited gulp.
Selected Emphases in Fiction: Modern Myths & Tricksters in Short Fiction (online)
This course will offer a global survey of myth from ancient to present times and discuss how and why the mythic is still so vital and exciting in literature, especially in short fiction. Retelling of myths and creating new myth stories in a short story form lends to an awaking of universal story-telling consciousness. Cultures of every variety share myth stories and have versions of the archetypal hero story. Trickster figures have been employed in oral and literary traditions from the beginning of recognizable human expression to modern-day. This course will explore the hero’s journey according to Joseph Campbell and how his descriptions incorporate Native American trickster tales and early Russian fairy stories. We will explore how modern authors from Shelly to Neil Gaiman, from Borges to Junot Diaz have redeveloped the structure of myth in short form to establish a new and thrilling genera. Students will have an opportunity to read modern myth stories and create their own myths, hero stories, and trickster tales in mini workshops.
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