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English
205: Introduction to Creative Writing
English
315: Advanced Fiction Workshop
English
316: Advanced Poetry Workshop
English
311: Nature Writing
English
580: Graduate Fiction Workshop
English
580: Graduate Poetry Workshop
English
460: TOYON Literary Magazine
 Barbara
Curiel
Jim
Dodge
Jerry
Martien
English
205: Introduction to Creative Writing
English
205 is the introductory course to the crafts of poetry and story-telling.
It includes poetry in “free” and fixed forms, fiction
ranging from short-short stories to novels, and, with lesser emphasis,
varieties of fact-based, personal narratives (the ill-named “creative
nonfiction”); various instructors also accept screenplays,
radio dramas and performance pieces. The course takes a two-part
approach. The first half of the semester is given to lectures/discussions
on the basic elements of fiction and poetry, beginning with a quick
review of essential writing principles (emphasizing the importance
of precise nouns and accurate, active verbs), the use of metaphor,
the selection of illuminating details, and narrative structure (the
movement of a story/poem through time and space). We then consider
the basic elements of story-telling/poetry, with specific lectures
on character development, conflict/plot, setting, point-of-view,
various concepts of the poetic forms, tropes (metaphor, simile,
image and symbol), and writing exercises. The creative writing facility
stresses the importance of mastering writing skills, taking the
unpopular, if obvious, position that one’s “creative imagination”
is no better than one’s ability to express it.
Having
established basic points-of-attention for the craft and a shared
vocabulary for discussion, the second half of the semester is conducted
as a writing workshop: students select, copy, and distribute work
they wish discussed by the class; we take it home, read it, edit
it, and offer written suggestions/comments; and then the work is
discussed in class. At the conclusion of the discussion, the class
gives its edited copies to the writer. Thus, for each work submitted
to the workshop (and each student is required to submit work at
least once), the students normally receive a half-hour of focused
discussion as well as twenty written responses from an audience
of their peers. Students commonly learn that what they “meant”
isn’t always clearly perceived, even by readers of good will;
moreover, if we do our critical work well, they also learn where
their effort went awry and how to correct it, as well as where it
succeeded.
Grades
are based on class attendance and participation, assigned exercises,
and a portfolio of work submitted at the conclusion of the course.
Beginning Creative Writing is a four unit course.
English
315: Advanced Fiction Workshop
Admission
to English 315 requires the successful completion of Beginning Creative
Writing or consent of the instructor. A working familiarity with
fictional forms and acceptable writing skills are also considered
prerequisites for the course. Beyond two extended lectures early
in the semester to refresh and refine the elements of fiction, the
course is conducted strictly as a workshop, featuring two student-written
stories each three-hour meeting per week. Stories are distributed
a week before their scheduled discussion, allowing ample time for
reading, editing, and well-considered comments. After approximately
ninety minutes of focused discussion for each story, each student
returns it - edited, with comments - to the writer.
English
315 is a four unit course, only offered on a Credit/No Credit basis.
To receive credit, students must attend class, participate in discussions,
offer acceptable written comments, have at least one of their stories
discussed in class, and write a total of two stories (or a total
of 8,000 words).
Although
student work serves as texts for the class, teachers often suggest
specific stories as models and use discussions to direct attention
to various theories of fiction writing. In general, however, the
course is based upon students’ personal practice in writing
and criticism.
English 316:
Advanced Poetry Workshop
Like
English 315, its fiction counterpart, Advanced Poetry is an intensive
workshop in writing and critiquing poetry, and is conducted on the
same basis: students are required to submit at least two poems for
class discussion and are expected to edit and offer comments on
the work of their classmates, with all subjects, styles, and poetics
equally welcome. Discussions range from the use of the comma to
over-arching concepts, with particular attention to sound, rhythm,
and tropes.
English
316, a four unit course, is only offered on a Credit/No Credit basis.
To receive credit, students must attend class, participate in discussions,
submit two poems for class criticism, and complete a portfolio of
poems.
English 311: Nature Writing
English
311 primarily serves Natural Resource Planning and Interpretation
majors, as well as students in related environmental science studies.
Natural Writing offers an intensive course of study in refining
writing skills, using nature/environment as the subject. Depending
on the particular instructor, the course is usually divided into
three areas of concentration: short, intensive, weekly writing assignments;
a historical sampling of major American nature writing, and a final
10-14 page paper on a topic selected by the student.
English 580: Graduate Fiction Workshop
English 580: Graduate Poetry Workshop
The
Graduate Creative Writing Workshops are limited to 116 students,
with enrollment subject to instructor approval based upon a representative
collection of work. Both courses employ, by student choice, the
workshop format detailed in the course descriptions for English
205, 315 and 316; the primary differences in the graduate level
courses are that students arrive already familiar with the format,
have better writing skills, and either tougher egos or more realistic
expectations. In both courses we’ve been able to focus on central
issues quickly, dispense with the problems generated by poor writing
skills, and offer substantial critical responses with minimal fuss.
Depending
on units offered (2-4), Graduate Poetry Workshop students are required
to write 5-10 poems to receive credit; the Graduate Fiction Workshop
requires one or two stories, again depending on units.
English 460: TOYON Literary Magazine
Toyon,
the campus literary magazine, is over forty years old. The editorial
staff is composed entirely of students, who solicit, select and
edit the work for publication, and make all decisions regarding
format, typography, and illustrations. Commonly, students choose
to work in one of three areas: fiction, poetry or artwork. Production
is funded by the Associated Students. Students receive two units
of CR/NC for the course.
I teach both literature and creative writing. My scholarly interests
are in American ethnic literature, Chicano literature, and women’s
literature. Mainly a poet, I also write short stories, and I have
written performance pieces.
I taught creative writing at U.C. Santa Criz
in the ‘80s, and I was involved in community-based writer’s
groups and publications in the San Francisco Bay area. My poems
have been published in the U.S., Europe and Mexico. Although I mainly
write in English, I also occasionally write in Spanish, and I am
interested in bilingual literature, and in translation, both as
a writer and a scholar.
In my creative writing classes, I think it is
most important for students to not only develop their own literary
projects, but also to develop their ability to read their own work,
and the work of others more critically. When a writer increases
her critical skills, she increases her ability to consciously evoke
specific responses in readers. In addition, in my class, we experiment
with different forms and themes: the love poem or story, political
literature, the letter, monologues and dialogues. I think it’s
important that the class get along well and that everyone respects
each other’s vision and work.
These two poems are from my book Speak to
Me From Dreams (Third Woman Press, 1989.) Copyright 1989 by
Barbara Brinson Curiel.
February Summer
Green
follows rain,
silken
shadow.
Palm fronds
open
fingers
beckon.
women
ripen
round
in summer dresses.
Tu pelo
Es un negro misterio
Es la sombra en donde
mis dedos
se desconocen.
Jim Dodge was HSU's first interdisciplinary graduate in 1967, which
he somehow parlayed into an MFA in Poetry from the University of
Iowa in '69. After an ill-fated appointment to Clarke College,
a Catholic women's college in Dubuque, Iowa, Jim retired from teaching
at the age of 23, returned to northcoast California where he worked
as a shepherd for awile, and then moved to western Sonoma County
where he lived on an isolated homestead ranch for the next seventeen
years. After a year traveling in Mexico, he moved back north
again and began teaching occasionally in the HSU Creative Writing
Program. In 1995 he accepted the offer of a full-time position
as Director of the Creative Writing Program. Jim is the author
of three novels (FUP; NOT FADE AWAY; STONE JUNCTION); five limited-edition
chapbooks of poetry; numerous essays, articles, broadsides, columns,
reviews, and two screenplays.
I once received ten dollars from a poetry chapbook contest I didn’t
know I’d entered - enclosed with the check, and my honorable
mention, a note from the editor saying “take a friend to lunch.”
Also, once, $100 in book credit at Blackwell’s, Oxford, for
getting A’s in an English doctoral program.
But mostly I’ve worked for a living - for the past 19 years
as a carpenter, although recently I’ve relapsed into teaching.
I believe students learn by doing what they want to do anyway but
need someone to tell them - WRITE - READ - OBSERVE - until they
don’t need it any more.
I’ve been a community poet and activist
in the Humboldt Bay Region for a quarter century. I have published
poetry in five chapbooks, and on occasion in bioregional journals,
of which I’ve also been an editor. A collection of poems is
scheduled next fall from Blackberry Press, and another is in progress.
I believe writers have an obligation to all our terms of exchange,
and have expressed this in articles and in Shell Game: A True
Account of Beads and Money in North America.
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