邢唷��>� ��欹�y� ��wwbjbj�� 4P遻遻齨y��...8f|��.颬^�:(000Tm,nPpPpPpPpPpPpP$MS��U�擯��擯00�㏄�$�$�$��00nP�$�nP�$�$nCK頔0��饝鸀;仗��="zjD ZP縋0颬奃d蟅�$.蟅@頔蟅頔l ��$��擯擯�$��颬��蟅�� : San Jos� State UniversityDepartment of English and Comparative LiteratureEnglish 71, Introduction to Creative Writing, Section 5 and Section 6, Spring 2012 Instructor:Sally Ashton, MFAOffice Location:FO 222Telephone:924-4491 Please use email ONLY to contact me. Email:sashton1a@gmail.comOffice Hours:T/Th 9-10:00am, and by appointmentClass Days/Time:Section 05: T/Th 10:30-11:45am; Section 06 T/Th 3-4:15pmClassroom:Section 05: Sweeney Hall 411; Section 06 MacQuarrie Hall 322GE Category:Letters area of Humanities & the ArtsCourse 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. Also note that this course is an elective in the English major and Creative Writing minor. It is a pre-requisite for taking upper division Creative Writing workshops. 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 reading, discussion, written response and writing workshops. In the discussion, contemporary and historical published works will be closely read and analyzed. In the writing workshops, creative work written by class members will be analyzed and critiqued for revision. Written responses will display analytical acumen, personal sensibility, and serious engagement with the text. Prerequisites: I recommend at minimum the completion of English Composition1A or equivalent. Excellent composition skills are the basis for any Creative Writing. Course Goals and Student Learning Objectives Decipher and 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 men and women 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 nonfiction, 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 also representing matters specific to a particular culture; Write works of poetry, creative nonfiction, 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/Readings Textbook A Garden of Forking Paths. Anstandig, Beth, and Eric Killough, Editors. ISBN# 0-13-113501-5 Steering the Craft. Le Guin, Ursula K. ISBN# 0-933377-47-9 Course Reader (purchase in class) Other equipment / material requirements required 1 Mead Composition Book, College Ruled. (Marble) This course ONLY 1 double-pocket folder: This course ONLY Stapler: All work stapled before class Regular internet access The ability to print 6 copies of assignments for workshop, often 4+ pages. Classroom Protocol Come to class on time; don抰 check or send texts while in class; use common sense and decent behavior. College students are adults; behave like one. Please do not eat in class. Assignments and Grading Policy WRITING AND WORKSHOP Each student will revise and submit the following new writing. This includes bringing copies for workshop and participating in workshop. (SLO #3, 4, 5, 6, 7, 11) Self-Portrait Diagnostic Incoming, outgoing. Creative Nonfiction: Memoir piece (approximately 4 pages) Short-short (<500 words) Setting Sketch (2 pages) Fiction: Short story (approximately 4 pages) Character Sketch (2 pages) Conversion piece (2 pages) Poetry: 4 poems (English Sonnet; Narrative; Ghazal; Free Verse). Poems to be presented in a final, revised Portfolio at the end of the semester. Daily Reading: Selections chosen from our texts, visiting authors, and selected outside material are required not only for your success in this class, but your success as a writer. Regular written responses are required. (SLO # 1, 2, 3, 4, 6, 7, 10, 11) Memorization: One poem 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. (SLO 6, 7) Journal: You are required to keep a well-organized 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. (SLO #1, 2, 4, 5, 7, 8, 11) 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. (SLO 1, 3, 5) For information about literary events see: (SLO # 4, 6, 8, 10, 11) 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(MLA format). Failure to adhere to these simple regulations will damage your grade in the course. Please buy a stapler. (LO 3, 5) 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. (LO 1) Extra Credit Attending ONE additional approved author reading with written response. (LO 2; diversity) Extra credit will not change a grade from failing to passing. Each assignment counts as one quiz. Grading: 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. 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. 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. 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.) Final grades in this section will be the product of the following factors based on a 4pt scale where 4=A: Fiction* 20% Poetry* 20% Non-fiction* 20% Journal 20% Class participation*, Quizzes, Conference,** 20% Recitation, and Event Papers *Full participation in scheduled Workshop effects BOTH genre grade and participation grade; **A minimum of one meeting in my office, scheduled by YOU, is required during the semester before the last full week of classes. GOOD teacher/BAD teacher: Attendance and Classroom Policies 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. Late Work. Late work receives a reduction of 1 grade per class session it is late. If the paper is turned in after the class period on the assigned due date, the essay will be graded down half a letter grade. 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. For extenuating circumstances, I must be contacted before the due date to consider an extension. 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 classwork and to collect handouts and assignments for you. Otherwise, turn in the paper as 搇ate� next class session. Your Responsibility If You抮e Absent. If you miss class, contact a classmate to get notes, assignments, etc. It is your responsibility to figure out what抯 going on and to show up prepared the next class session. Please do not ask me to do extra things for you if you choose not to come to class. Always bring your journal and required texts to class. These are required for participation. If you抮e not prepared to contribute to the class, be prepared to be asked to leave for the day. Homework format: (this includes all written work outside the Journal) * All work must be typed, double spaced * Use a 12-point Times Roman font * Use standard MLA essay heading format. (Curious Writer pg 312). * Papers must be single-sided for the teacher (but copies for classmates for peer revision may be double-sided) * Staple your papers BEFORE class. I do not accept unstapled work.(no paper clips, bent corners) Be Fully Present No electronic devices are to be on/used/visible during class. Infractions will result in being dismissed from class. Student Technology Resources (Optional) Computer labs for student use are available in the Academic Success Center located on the 1st floor of Clark Hall and on the 2nd floor of the Student Union. Additional computer labs may be available in your department/college. Computers are also available in the Martin Luther King Library. A wide variety of audio-visual equipment is available for student checkout from Media Services located in IRC 112. These items include digital and VHS camcorders, VHS and Beta video players, 16 mm, slide, overhead, DVD, CD, and audiotape players, sound systems, wireless microphones, projection screens and monitors. Learning Assistance Resource Center (Optional) The Learning Assistance Resource Center (LARC) is located in Room 600 in the Student Services Center. It is designed to assist students in the development of their full academic potential and to motivate them to become self-directed learners. The center provides support services, such as skills assessment, individual or group tutorials, subject advising, learning assistance, summer academic preparation and basic skills development. The HYPERLINK "http://www.sjsu.edu/larc/" LARC website is located at http:/www.sjsu.edu/larc/. 无忧短视频 Writing Center (Optional) The 无忧短视频 Writing Center is located in Room 126 in Clark Hall. It is staffed by professional instructors and upper-division or graduate-level writing specialists from each of the seven 无忧短视频 colleges. Our writing specialists have met a rigorous GPA requirement, and they are well trained to assist all students at all levels within all disciplines to become better writers. The HYPERLINK "http://www.sjsu.edu/writingcenter/about/staff/" Writing Center website is located at http://www.sjsu.edu/writingcenter/about/staff/. Peer Mentor Center (Optional) The Peer Mentor Center is located on the 1st floor of Clark Hall in the Academic Success Center. The Peer Mentor Center is staffed with Peer Mentors who excel in helping students manage university life, tackling problems that range from academic challenges to interpersonal struggles. On the road to graduation, Peer Mentors are navigators, offering 搑oadside assistance� to peers who feel a bit lost or simply need help mapping out the locations of campus resources. Peer Mentor services are free and available on a drop 杋n basis, no reservation required. The HYPERLINK "http://www.sjsu.edu/muse/peermentor/" Peer Mentor Center website is located at http://www.sjsu.edu/muse/peermentor/ Introduction to Creative Writing English 71, Fall 2011, Course Schedule Sound & Sense, Sense & Syntax The schedule is subject to change with advance notice in class and follow-up email. Check it. Abbreviations used in Schedule: 揋FP�: Garden of Forking Paths; 揕G� Le Guin抯 text; 揃K�: course reader BRING assigned texts and Journal to EVERY class. DateHomework Readings, Assignments DUE this dateTopics and ConsiderationsThurs 1/26 Purchase all materials: Texts; Required Journal; Pocket Folder EMAIL me TONIGHT: sashton1a@gmail.com Introduction to the courseSound & Sense, Sense & Syntax Review SyllabusQuestionnaireBiosTues 1/31 Bring $$ for Course Booklet AND all required materials. Reading: LG Introduction & Ch. 1; BK pp 1- 4; GFP 541 揂 Way of Writing� SOUND Assign Daily lines: Observations using 5 senses, 10-13 syllables.LG Exc. One (in class today only) Assign 揝elf Portrait� Journal instructionsThurs 2/2Due: Self Portrait Due, 2 copies per assigned format. Reading: BK p. 5 揗oving Water, Tucson;� GFP 360 Addonizio, 296 Bell; LG Chapter 2 Journal: Daily lines 8/30 & LG Chapter 2, Exc. Two IMAGE Reading discussion, Journal writing, small group work. In class writing, BK 6 Exc #1 Daily lines: BK 6 Exc #2CREATIVE NONFICTION~揟ell all the truth but tell it slant� ~ Emily DickinsonTues 2/7Reading: GFP pp. 3-4 揇iscussion of the Genre;� pp. 532 揑 amWriting Blindly� Journal: Daily lines as per 1/31ELEMENTS OF NARRATIVE: Stranger in a Strange Land Quiz 1 Assign Short-short In-Class Journal writing, small groups. Thurs 2/9DUE: Short-short draft, 6 copies Reading: LG pp. 151-156 揚eer Group Workshop�; LG Ch. 3 Journal: LG Exc. 3, part 1 & 2 using Short-ShortCONFLICT & DESIRE Short-short Workshop Daily Lines BK 6 Exc #3Tues 2/14 Due: Short-short, one copy Reading: GFP Gornick 52-53; Karr 67-70 Journal: Daily Lines as 2/9;Map of your first house: GFP 550 揟he First House of Memory� drawn on separate sheet and stapled in.SETTING Discuss Reading Responses, Author Event requirements. Daily Lines BK 6 Exc #4 Assign SettingWed 2/15Author Event: Poet Rae Armantrout 7 pm: Reading and book signing. MLK Library 225/229February 16, 1pm: Rae Armantrout In Conversation with Juliana Spahr. MLK Library 225/229Thurs 2/16Due: Setting, one copy Reading: GFP 116 Vowell Journal: Daily Lines as above, 2/14 RR: VowellJOURNEY: What抯 happening? Assign Non Fiction piece Tues 2/21Reading: GFP 67 Karr(read entire) Journal: Daily Lines: overheard line of dialog; RR KarrARRIVAL: Your conclusion Voice, setting, dialogThurs 2/23Due: Nonfiction complete draft / 6 copies Reading: LG Ch. 5 Journal: Daily Lines as 2/21; LG Exc. 5REVIEW Critique procedure Adjectives, adverbs, strong verbsTues 2/28 Due: Journal Critiqued peer draftsNonfiction workshop FICTION~Welcome to the Liar抯 ClubThurs 3/1 Due: Nonfiction Piece, one copy. Reading: GFP 揇iscussion of the Genre� ; A Quintessential: 揂 Private Landscape� 129 NARRATIVE ELEMENTS: CHARACTER Quiz 2 Assign Character SketchTues 3/6 Due: Character Sketch, one copy Reading: GFP 144 Sherman Alexie 揃ecause My Father厰; LG Chp. 7, no Exc. Journal: ReturnedPOINT OF VIEW Assign Conversion Daily Lines: No counting, daily sensory- based observations with strong verbs, NO adjectives/adverbs.Wed 3/7Author Event: Fiction writer Yiyun Li 7pm: Reading and book signing. ENGR 189Thurs 3/8Due: Conversion, 2 pages, one copy Reading: GFP Michael Chabon 揟he Little Knife� 173; LG Chp. Six Journal: Daily Lines as per 3/6;RR ChabonPERSON & TENSE ASSIGN Short story. Melanie Rae Thon excerptTues 3/13 Mid-termNo Class, but�. Check Email for Daily Line prompts First Author Event Paper Due 4/3!Class cancelled to comp for 2 required out of class author events. Email prompts for Daily LinesThurs 3/15Reading: BK E.L. Doctorow,揈dgemont Drive� Journal: Daily Lines per Email Prompts;RR Doctorow; LG Exc Six, Version One & TwoPLOT Tues 3/20 Due: First page Short Story with Outline (2 copies) Reading: GFP 197 Denis Johnson, 揥ork� Journal: RR JohnsonSYMPATHETIC PROTAGONIST Peer Review/Flash Workshop Elements of literary prose review Wed 3/21Author Event: Julia Scheeres, Creative non-fiction. Lurie Chair7pm: Reading and book signing. MLK Library 225/229Thurs 3/22Due: Short Story Draft 1, 6 copies& Journal Reading: GFP Mark Richard 揝trays� 269 Journal: RR Richard揟HE END� Quiz 3Spring Break!!!March 26-March 30Spring breakTues 4/3Due: First Literary Event Paper Short Story Draft copiesWorkshop Short Story Wed4/4Author Event: Juan Felipe Herrera, Poet 7pm: Reading and book signing. MLK Library 225/229POETRY~Uncommon LanguageThurs 4/5Due: Short Story & Poem title for recitation Reading: GFP 289-294 揇iscussion of the Genre�; A Quintessential: 揟hinking About the Poet Larry Levis;� BK Neruda Journal returnedINTRODUCTION Video Assign Reading Response Poems Return Journal: Daily lines-Convert 5 former daily lines to iambic pentameter.Tues 4/10 Reading: GFP Dawes 302; Dubie 303; Engman 304; Kunitz & Levis 326 Journal: Daily Lines per 4/5 RR Poems as assigned 4/5IMAGE WORKSHOP Journal workThurs 4/12Reading: BK 揗eter/Scansion� Addonizio Journal: Review GFP Stafford 541-542 & edit image writing toward a poemMETRICS AND SCANSIONBeyond iambic pentameter A dance: breaking, leaping, turningTues 4/17 Reading: BK Sonnet pages; GFP 342 Stafford Journal: 4 lines in iambic pentameter, one each ending on bed, light, head, night RR: scan one sonnet from BKSONNET Camille Dungy poem In-class exercise Assign Sonnet; review poetry workshop and portfolio protocol.4/17Author Event: Geoffrey Wolff: Fiction, Journalist7pm: Reading and book signing. MLK Library 225/229Wed 4/18Author Event: Geoffrey Wolff: Fiction, Journalist1pm: In Conversation with Tobias Wolff. MLK Library 225/229Thurs 4/19Due: Sonnet, 6 copies Workshop Sonnet Homonyms/homophones Daily lines: 5 pairs of lines, each pair ending in a different homophone. Tues 4/24 Reading: BK Ghazal; LG Chap. 4 Journal: Daily Lines per 4/19 RR: Which ghazal do you find more effective? Why? GHAZAL Assign Ghazal Leaping; image vs. ideaThurs 4/26Due: Ghazal, 6 copies Journal: Daily Lines with a LEAP, can use earlier lines. (5 total)Workshop Ghazal Tues 5/1 Reading: GFP 314 Harrison; 315 Hicok; 318 Hoagland; 324 Kocher; Weigl 344; 325 Komunyakaa Journal: RR Examine assigned poems for use of image. Choose one to write closely about considering line break, rhythm, rhyme, image.NARRATIVE POETRY; Linebreak and 搕he turn.� Quiz poetry forms Assign Narrative PoemThurs 5/3Due: Narrative Poem, 6 copies Reading: Hugo 514-516 until 揜attlesnake� Journal: RR Hugo- Give a synopsis of what the author is saying, what it means to you.Workshop narrative poem cpTues 5/8 Reading: GFP Bell 296; Boland 297; Burkhard 298; Rich 337; Miller 335 Journal: RR Choose your favorite poem and describe why. Discuss the poem in terms of linebreak, leap, turn, image, sound art.FREE VERSE Erasure poem exercise Revision Assign Free Verse PoemThurs 5/10 Due: Free Verse Poem, 6 copies Journal: Type out fave poem, 5/8. Save. Separate into sentences. Save. Break poem into 5 word lines. SaveBreak poem into lines of 10-13 syllables. Save. Staple doc into your journal. RR: Read all 4 versions aloud. Discuss the effect of all 4 forms of line break. Which works best? Workshop free verse Revision Tues 5/15LAST DAY OF CLASS Due: Literary Event Paper #2Any extra credit Revision of 揝elf Portrait� Poetry Recitation continues, alphabetically Discuss Final Poetry Packet formatSee Your Section BelowFINALDue: YOU, on time. Do not be late.Revised Poetry Packet with Self-critiqueFinal Exam period: Meet in classroom Poetry Recitation continues, alphabetically FINAL for Section 05 (10:30meeting): Monday, May 21st, 9:45am. FINAL for Section 06 (3pm meeting): Thursday, May 17th, 2:45pm.ENGL 71: Introduction to Creative WritingWRITING DIAGNOSTIC PROMPTInstructions:Read the writing sample directions below:1. 燫ead the poem "Self-Portrait" by Adam Zagajewski (aloud if possible).2. 燦otice the details included in the poem. 牋Make a list of them.3. 牋Notice the order and organization of details; how they are arranged in the text. 4. 燱rite a poem or a 250-500 word prose piece that is your self-portrait, modeled on the Adam Zagajewski poem. 燬elect specific details for your self-portrait as Zagajewski has done, arranging them in such a way as to reveal interesting things about yourself. 5. 燬ave your response in a Word file labeled "Your Name: Pre-Course Writing Sample." 6. 燩ut your student number on the top left-hand corner of the page. 燚O NOT PUT YOUR NAME ON THE PAGE CONTAINING THE TEXT OF YOUR SELF-PORTRAIT. 7. 燩rint 2 copies. 8. Attach a cover sheet to your self-portrait assignment containing your name, 无忧短视频 ID number, date, and the section number of the course. 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) Important 无忧短视频 dates Fall 2011 Monday August 22 Academic Year Begins � Fall Semester Begins Mon-Tues August 22-23 Pre-Instruction Activities: Orientation, Advisement, Faculty Meetings and Conferences (P) Wednesday August 24 First Day of Instruction � Classes Begin Monday September 5 Labor Day - Campus Closed (L) Tuesday September 6 Last Day to Drop Courses Without an Entry on Student抯 Permanent Record (D) Tuesday September 13 Last Day to Add Courses & Register Late (A) Wednesday September 21 Enrollment Census Date (CD) Friday November 11 Veteran抯 Day - Campus Closed (V) Wednesday November 23 Classes that start at 5:00 PM or later will not meet Thursday November 24 Thanksgiving Holiday - Campus Closed (T) Friday November 25 Rescheduled Holiday - Campus Closed (RH) Thursday December 8 Last Day of Instruction - Last Day of Classes Friday December 9 Study/Conference Day (no classes or exams) (SC) Mon-Fri December 12-16 Final Examinations (exams) Monday December 19 Final Examinations Make-Up Day (MU) Tuesday December 20 Grade Evaluation Day (E) Wednesday December 21 Grades Due From Faculty - End of Fall Semester (G) Monday December 26 Christmas Holiday Observed - Campus Closed (CH) Introduction to Creative Writing, Eng 71, Sections 5 & 6. 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