邢唷��>� ��欹�'` ��烾bjbj$�$� 7�F�F�'Mw��0000000DLRLRLR8凴�PS�D(��餝餝4$T$T$T$T$T$T$�hz�H蜆0甛$T$T甛甛蜆00$T$T鈽禿禿禿甛�0$T0$T禿甛禿禿�訂\00�$T銼€x騽�?�LRv_|/�*C�d鴺0(�Y��聺騜f聺T��聺0#� $T|燰�禿fXl襓�$T$T$T蜆蜆Xd^$T$T$T(�甛甛甛甛DDD�29DDDD9DDD000000��English 71 Fall 2010 Section: 5 Sally Ashton, MFA BBC 124; SH 240 SAshton1a@gmail.com Tu & Th, 9-10:15am. Office # FO 219 Office Hours: Tuesday 10:30-Noon and by appointment Welcome to English 71, Introduction to Creative Writing! Course Description Introduction to Creative Writing (English 71) is a 3-unit lower-division course designed, adopted, implemented, and administered by the Department of English & Comparative Literature at San Jose State University in accordance with the University抯 General Education Program Guidelines to fulfill Core General Education requirements in the Letters area of Humanities & the Arts. In this course, we will read, discuss and write poetry, creative non-fiction and short fiction. The course will be taught using a combination of discussion and writing workshops. In the discussion, contemporary and historical published works will be closely read and analyzed. In the writing workshops, creative work by class members will be analyzed and critiqued for revision. Student Learning Objectives Understand the form and content of assigned literary works; Comprehend the historical and cultural contexts of assigned literary works; Recognize the accomplishments of and issues related to writing by women and men representing diverse cultural traditions; Acquire through both individual and collaborative/workshop efforts of a written and oral nature the skills necessary for reading, discussing, analyzing, interpreting, and梞ost importantly梕mulating and writing works of poetry, creative non-fiction, and short fiction; Communicate such skills with clarity and precision; Develop an appreciation of literary works as expressions of human intellect and imagination, and as representations of diverse human cultures; Develop the ability to write literary works that express intellect and imagination and that represent diversity in human cultures Respond to literature through clear and effective communication in both written and oral work; Read and respond to texts with both analytical acumen and personal sensibility; Appreciate how literary works illuminate enduring human concerns while at the same time representing their particular cultures; Write works of poetry, creative non-fiction, and short fiction that are of interest and value to the writer, to other students in the course, and to a diverse reading audience. Required Texts and Materials A Garden of Forking Paths. Anstandig, Beth, and Eric Killough, eds. Steering the Craft. Le Guin, Ursula K. Course Booklet (purchase in class) 1 Mead Composition Book, College Ruled. (Marble) This course ONLY 1 double-pocket folder: This course ONLY Stapler: All work stapled before class The ability to print 6 copies of assignments for workshop, often 4+ pages. Course Requirements WRITING AND WORKSHOP Each student will revise and submit the following new writing. This includes bringing copies for workshop and participating in workshop. Self-Portrait Diagnostic Incoming, outgoing. Nonfiction: Memoir piece, including library research and MLA bibliography (approximately 4-10 pages) Short-short (<500 words) Setting Sketch (2 pages) Fiction: Short story (approximately 4-10 pages) Character Sketch (2 pages) Poetry: 4 poems (English Sonnet; Narrative; Ghazal; Free Verse) Memorization Piece: Chosen from Poetry Out Loud website; click 揚oems, 25 lines or fewer�; Minimum 10 lines. www.poetryoutloud.org To be recited in class sometime before the end of the semester. No duplicates. No Reading. Journal: You are required to keep a journal/notebook in which you will do assigned creative writing activities inside and outside class. You will also record your responses to the assigned readings here. You are urged to write down quotes from your readings that you may want to share with your classmates. You can also use your journal to develop drafts of new material or simply to react to what is working in your imagination as you respond to ideas and work presented by others in the course. Your notebook is due at the end of each section. You will be graded on the quality and quantity of your entries. 2 Literary Event Response Papers: You must attend two literary events this semester on or off campus. Write a 1-2 page paper that focuses on your personal response to the event: What did you like and why? What did you learn? What surprised you and why? What did you find interesting and why? What questions did it raise? Would you attend a similar event again? Why or why not? Etc. At the top left of your paper list the title of the event, and the day, time and location. (You may attend more for Extra Credit; each one adds 1% to your grade if the paper fulfills the assignment, is well-written and virtually error-free. Write 揈XTRA CREDIT� at the top.) For information about literary events see: www.litart.org (Center for Literary Arts at 无忧短视频) http://www.pcsj.org/calendar.html (Poetry Center San Jose) http://www.sjsu.edu/english/events (English Department Events listed) http://www.kemblescott.com/most-recent-newsletter.shtml (Bay Area Literary Arts Newsletter) Assignment Format All prose assignments handed in (except the journal/notebook) should be typed 12 pt. font and double-spaced with page numbers. Poetry is single spaced. Multi-page assignments must be stapled. Your name, my name, the assignment title, and the date single-spaced should be included at the top Left of the first page. Failure to adhere to these simple regulations will damage your grade in the course. Please buy a stapler. Class Workshop Procedures: For each unit (poetry, fiction, nonfiction) the class will divide into groups of approximately five students each. These will serve as your workshop groups. Your workshop group will consist of different students each unit, so you will get to read work by all of your classmates. Every time you turn in a piece of your work, you will bring enough copies for everyone in your workshop group and your teacher and yourself (six copies, usually). We will critique the pieces at home (writing directly on the manuscripts) and discuss them in workshop groups during the following class period. At the end of the discussion, you will get to keep the marked-up copies of your work. I have zero tolerance for late arrival to Workshop: you will be asked to leave. Grades Grades will be based on the quality and quantity of writing you do as well as the quality and constructiveness of the criticism offered during the workshops. (see: Grading, pg 4-5) Creative writing, though subject to the instructor's individual subjectivity, can be evaluated according to general standards used to determine how well a piece of writing works. These include: 1) Textual and/or technical competence and eloquence. 2) Imaginative risk. 3) Energy and freshness of language. 4) Effective use of metaphor and other forms of figurative language. 5) Clarity and precision of detail. 6) Capacity for mixed feelings and uncertainty. 7) Effective use of grammar, syntax, rhythm; also meter, rhyme, and other elements of poetic style and form. 8) Naturalness and believability. 9) Appropriateness of style to subject. 10) Compelling audience interest. Final grades will be the product of the following factors: Fiction* 20% Poetry* 20% Non-fiction* 20% Journal, Quizzes 20% Class participation * 10% Recitation and Event Papers 10% *Full participation in scheduled Workshop effects BOTH genre grade and participation grade; Attendance and Classroom Policies If you anticipate being absent or if you are ill, please let me know your situation. Two unexplained absences in a row will arouse suspicion that you are not taking the course seriously, and you will not be allowed to make up missed work. Late Work. Late work receives a reduction of 1 grade per class session it is late. (For instance, a 揃� piece that is due Monday in class but is turned in any time between after class on Monday and the next class on Wednesday would receive a 揅.� If it were turned in the following Tuesday it would receive a 揇.� After that, it could only receive an 揊.�) If you are sick or have to miss class for any other reason on the day something is due, arrange to have a classmate turn it in if you do not want a grade reduction. No electronic devices are to be on/used/visible during class. No cell phones, iPods, texting, internet, etc. during class. Infractions will result in your being asked to leave class for the day. No Work by Email. No work in my mailbox. No Exceptions. I do not accept work by email or in my campus mailbox. If you need to miss a class session, ask a classmate to turn in your work and to collect handouts and assignments for you. Contact me. Please eat before class. If you are late on Workshop days, you will be asked to leave class. Meet with Me! I抦 hanging out in my office hours just for YOU! Try and come in throughout the semester to discuss your prose and poetry. An appointment is recommended even during office hours so you don抰 have to wait around. Take advantage of some one-on-one time. Academic Integrity Your own commitment to learning, as evidenced by your enrollment at San Jos� State University, and the University抯 Academic Integrity Policy requires you to be honest in all your academic course work. Faculty members are required to report all infractions to the Office of Student Conduct and Ethical Development. The Policy on academic integrity can be found at: http://sa.sjsu.edu/student_conduct. Avoiding Plagiarism Plagiarism is the unacknowledged use of somebody else抯 words or ideas and is considered an instance of academic dishonesty that instructors must report. Don抰 do it. You commit plagiarism by: buying, stealing, or borrowing a paper (or story, poem, etc.); hiring someone to write a paper (or story, poem, etc.); building on someone抯 ideas without providing a citation; copying from another source or using a source too closely when paraphrasing. In other words, submit only your own work. LARC (Learning Assistance Resource Center) The Learning Assistance Resource Center is an on-campus facility that provides peer tutoring for San Jos� State University students. LARC offers assistance with writing, and if you feel as if you need intensive help beyond what I can offer during office hours, please request a writing tutor. The Center is located in The Student Services Center in the 10th Street Parking Garage, Room 600. The phone number is (408) 924-2587. Disabilities Policy If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities register with the DRC to establish a record of their disability. GRADING: ENGLISH DEPARTMENT GRADING STATEMENT: In English Department courses, instructors comment on and grade the quality of writing as well as the quality of ideas being conveyed. All your writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs. Grades given conform to the English Department and university grading policy. The Department of English is committed to the differential grading scale as defined in the official 无忧短视频 Catalog (揟he Grading System�). Grades issued must represent a full range of student performance: A = excellent; B = above average; C = average; D = below average; F = failure. A: Creative writing that receives an 揂� is likely to: Fulfill all assignment requirements Demonstrate complex, unique and/or insightful approach Function well as a whole Demonstrate engaging voice Incorporate strong word choices Incorporate, where appropriate, striking imagery Lack clich閐 or over-used language Incorporate unusual/unique associations that fit the tone of the piece Lack spelling and punctuation errors, typos, etc. B: Creative writing that receives a 揃� is likely to: Fulfill the assignment requirements Demonstrate insightful approach Function generally well as a whole Demonstrate a generally engaging voice Incorporate some strong word choices Use some concrete imagery Mostly lack clich閐 or over-used language Mostly lack spelling and punctuation errors, typos, etc. C: Creative writing that receives a 揅� is likely to: Meet the assignment requirements Be derivative of other works Not completely function as a whole (some parts may be underdeveloped) Incorporate some strong, and some weaker, word choices Lack concrete imagery Include clich閐 or over-used language Have some spelling and punctuation errors, typos, etc. D: Creative writing that receives a 揇� is likely to: Not fulfill the assignment requirements Not function as a whole Be a cursory response that demonstrates lack of motivation and/or poor understanding of the assignment F: No response. (Note: Graded assignments will be based on this criteria, which will be discussed in class. All assignments, graded and non-graded, will receive written feedback from instructor based on this criteria, as applicable.) COURSE SCHEDULE (subject to change with advance notice from professor) A Garden of Forking Paths = 揋FP� Sailing the Craft = 揕G� Course Booklet = 揃K� Journal = 揓� CLASS ASSIGNMENT DUE THAT DAY (Due = no exceptions) CREATIVE WRITING Sound & Sense, Sense & Syntax Th 8/26 Introduction to the course Purchase all materials: Texts; Required Journal; Pocket Folder EMAIL me TONIGHT: sashton1a@gmail.com T 8/31 Bring $$ for Course Booklet SOUND/Assign Self Portrait LG Introduction & Ch. 1 BK 1 & 2 GFP 揃orges and I� 449 ; 揂 Way of Writing� 541 Assign Daily lines; LG Exc. One (in class today only) Th 9/2 Self Portrait Due, 2 copies IMAGE BK 3 揗oving Water, Tucson;� GFP 360 Addonizio, 296 Bell LG Ch. 2 J Daily lines & LG Exc. Two NONFICTION 揟ell all the truth but tell it slant� ~ Emily Dickinson T 9/7 Elements of Narrative: Stranger in a Strange Land GFP 3 揇iscussion of the Genre;� 揥riting Blindly� 532; BK Kafka Assign Short-short In-Class Quiz J Daily lines: Ongoing all semester Th 9/9 Short-short Workshop, 6 copies Conflict and Desire GFP Gornick 52-53; Karr 67-69; LG 151-156 揚eer Group Workshop� LG Ch. 3 J LG Exc. 3, part 1 & 2 using Short-Short T 9/14 Short-short due Setting GFP Vowell 116 Assign Setting J Map of your first house: GFP 550 揟he First House of Memory�; RR 116 * W 9/15 Author抯 Event: Eric Puchner Th 9/16 Setting due, 2 pg JOURNEY: What抯 happening Assign Non Fiction piece GFP 63 Hornby LG Ch. 5 J RR 36 T 9/21 ARRIVAL: Your conclusion GFP 98 Offutt J RR 98 Offutt Th 9/23 Nonfiction draft due/copies BK readings J T 9/28 Nonfiction workshop including Works Cited page. JOURNAL due MLA discussion * Author抯 event: Skip Horack: Noon in the Center for Steinbeck Studies.� FICTION Welcome to the Liar抯 Club Th 9/30 Nonfiction Piece Due NARRATIVE ELEMENTS GFP 揇iscussion of the Genre� ; A Quintessential: 揂 Private Landscape� 129 BK Hemingway J RR 129 T 10/5 CHARACTER/Character Sketch GFP 144 Alexie J RR 144 W 10/6 Author抯 Event: Lan Samantha Chang Th 10/7 Character Sketch due GFP 揟he Little Knife� 173 ASSIGN Short story. In-Class 405 J RR 173 T 10/12 Person and Tense GFP 279 Updike LG Chp. Six J LG Exc Six, Version One & Two Th 10/14 Point Of View GFP 269 Richard LG Chp. 7 J RR 269 T 10/19 Short Story Draft due; copies Elements of literary prose review BK Hemingway 揟he End of Something�;. J RR 197 * W 10/20 Author抯 Event: Carl Phillips Th 10/21 In-Class Writing Lab Day; JOURNAL due * Authors抯 Event: Carl Phillips T 10/26 First Literary Event Paper Due; Poem title for recitation due. Workshop Short Story; Iambic Pentameter J POETRY Uncommon Language Th 10/28 Short story due GFP 揇iscussion of the Genre�; A Quintessential: 揟hinking About the Poet Larry Levis 厰; Kunitz & Levis 326; Dubie 303; Edson & Engman 304 ; BK Neruda J RR T 11/2 Metrics and Scansion Iambic Pentameter Th 11/4 Daily lines in Iambic Pentameter due BK Sonnet pages; GFP 342 Stafford J RR T 11/9 Workshop Sonnet/copies J Th 11/11VETERAN扴 DAY: No Class T 11/16 BK Ghazal GFP Gilbert 308; LG Chap. 4 J words with double meaning * Author抯 Event: Maggie Estep Th 11/18 Workshop Ghazal/copies J Daily lines T 11/23 Narrative Poem; Linebreak and 搕he turn.� GFP 314 Harrison; 315 Hicok ; 324 Kocher; ; 318 Hoagland; Weigl 344; 325 Komunyakaa; BK Theune J Daily lines; RR Th 11/25NO CLASS: Thanksgiving Day T 11/30 Workshop narrative poem/copies W 12/1 Author抯 Event: Steinbeck Fellows Th 12/2 Free Verse Poem ASSIGN REVISION of Self Portrait GFP Bell 296; Boland 297; Burkhard 298; Rich 337; Miller 335 J RR T 12/7 Journal due Workshop free verse/copies Poetry Recitation continues, alphabetically Th 12/9 LAST CLASS: Literary Event Paper Due Revision of 揝elf Portrait� due; Poetry Recitation continues, alphabetically FINAL EXAM: Monday, December 13, 9:00 am Revised Poetry Packet due ENGL 71: Introduction to Creative Writing Diagnostic Writing Write a piece based on the following prompt: Read (aloud) the poem 揝elf-Portrait� by Adam Zagajewski. Notice the details included in the text. Notice the order and organization of details梙ow they are arranged in the text. Write a poem or a prose piece of at least 250 words that is your self-portrait. Select interesting details as Zagajewski has done, arranging them in such a way as to reveal interesting things about yourself. DUE:_______________________ (Must be typed using a readable font, such as Times New Roman) SELF PORTRAIT Between the computer, a pencil, and a typewriter half my day passes. One day it will be half a century. I live in strange cities and sometimes talk with strangers about matters strange to me. I listen to music a lot: Bach, Mahler, Chopin, Shostakovich. I see three elements in music: weakness, power, and pain. The fourth has no name. I read poets, living and dead, who teach me tenacity, faith, and pride. I try to understand the great philosopher梑ut usually catch just scraps of their precious thoughts. I like to take long walks on Paris streets and watch my fellow creatures, quickened by envy, anger, desire; to trace a silver coin passing from hand to hand as it slowly loses its round shape (the emperor抯 profile is erased). Beside me trees expressing nothing but a green, indifferent perfection. Black birds pace the fields, waiting patiently like Spanish widows. I抦 no longer young, but someone else is always older. I like deep sleep, when I cease to exist, and fast bike rides on country roads when poplars and houses dissolve like cumuli on sunny days. Sometimes in museums the paintings speak to me and irony suddenly vanishes. I love gazing at my wife抯 face. Every Sunday I call my father. Every other week I meet with friends, thus proving my fidelity. My country freed itself from one evil. I wish another liberation would follow. Could I help in this? I don抰 know. I抦 truly not a child of the ocean,as Antonio Machado wrote about himself, but a child of air, mint, and cello and not all the ways of the high world cross paths with the life that梥o far� belongs to me. 桝dam Zagajewski (translated by Clare Cavanagh) PAGE PAGE 11 Ashton SAshton1a@gmail.com FO 219 Ashton- PAGE 1 SAshton1a@gmail.com FO 219 IRX�� R S T g � bcd€��)ab��>S��黩黩黝赕忸垲最项凭栋︱緸擈掘緦顕顎顎顎罹umh9cCJaJhbQ=h9cCJaJh!9Uh9c h9c6�h9c6乚�h��h9cCJaJh9cCJaJh9cCJOJQJ h9cCJh9cOJQJh揇�h9c5�h9c5丆JaJh9cCJaJh逹�hB<�h9ch�(h躛�hJ�h9c h9c5�hB<�h9c5�*I�� S T g � � cd€� � �� &F �0\ *$5$7$8$9DH$gd9c �0齖 *$gd9c �0齖 *$gd9cgd逹�gd9c$a$gd9c'U濽�Q�2��>a��>RS��!k�� &Fgd9cgd9c &F �0\ *$5$7$8$9DH$gd9c� !+-3Z^�� Qc��"#./07��R��w鲱阕棠填填填套填填底套泰虧虝寑套填泰套蘴hbQ=h9cCJ]乤Jh鉝�h9c5丆JaJh鉝�5丆JaJh鉝�CJaJhbQ=h9c6丆JaJhbQ=h9c5丆JaJhbQ=h9cB*CJaJph�h躛�CJaJhbQ=h9cCJaJhbQ=h9c>*CJaJh�1$h9cCJaJh9cCJaJh9c>*CJaJ(�� NQ/0��]��lm%&3!4!;!�!�!�� &F �0齖 *$gd9c &F��^�`�gd9c ��gd9c劆刞鷁劆`刞鷊d9cgd9cw��.\]k��Glm��7>w�&B�� 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