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Undergraduate writers work individually with visiting Stegner Fellows in nonfiction. Students design their own curriculum; Stegner Fellows act as writing mentors and advisers. Students will meet once per week with the Stegner Fellow and also four times a quarter in discussions sections with other students and the Levinthal Program Coordinators. Times to be announced upon acceptance.

Students will examine a diverse range of contemporary poetry. Students write and revise several poems that will develop into a larger poetic project.

Poetry Is Not a Luxury * These places of possibility within ourselves are dark... The titles of this course are words thought and dreamed by Audre Lorde in her essay "Poetry Is Not a Luxury" (a version of which was first published in 1977). In this essay she writes: "For within living structures defined by profit, by linear power, by institutional dehumanization, our feelings were not meant to survive. Kept around as unavoidable adjuncts or pleasant pastimes, feelings were expected to kneel to thought as women were expected to kneel to men. But women have survived. As poets. And there are no new pains. We have felt them all already. We have hidden that fact in the same place where we have hidden our power. They surface in our dreams, and it is our dreams that point the way to freedom. Those dreams are made realizable through our poems that give us the strength and courage to see, to feel, to speak, and to dare." In this course we will consider the powers, resuscitations, and strategies found in the texts of a constellation of contemporary Black poets whose work emerges out of Black feminist thought and practices. My hope is that we will together listen toward the possibilities of this work, and through experiments in reading and writing, realize some of what these texts make it possible for us to think and feel and write and be.

Undergraduate writers work individually with visiting Stegner Fellows in poetry. Students design their own curriculum; Stegner Fellows act as writing mentors and advisers. Students will meet once per week with the Stegner Fellow and also four times a quarter in discussions sections with other students and the Levinthal Program Coordinators. Times to be announced upon acceptance.

What does "image" mean for the 21st century writer of poems, a century of swirling information and vast volumes of entertainment spilling out into the public places. To contemplate this, we will sort of retrace the footsteps of image as it was thought of by writers of times different than ours. Was an image ever a "quiet" thing or did its conjuring in words always disrupt the conscious in some way - either awakening it or dulling it. Remember the images that books put into your heads when they were read to you. Were you surprised by them, contented by them - do they linger still for you when you summon them. Readings this term are meant to build our conceptions of what an image was, is, and can be. Early filmmakers will also guide us up to the gate of the now. This is all backdrop scenery for conversations we will have in class, followed by in-class writing time, followed by readings and discussions of your work. Let us not even call it work. It is play, of a kind that allows us to put words into the air and let them invoke and evoke. But we will take our play seriously and in good company, creating an imaginarium by supporting and encouraging one another. This is a safe realm where images may be conjured, studied, discussed, revised, abandoned, reclaimed, celebrated and enjoyed for the distraction they allow us as well as the truth or fiction that made them. We will also meditate deeply on how to put poetry into the now and also the ever. Already the light in that magic lantern is flickering, as the film rolls.

Before J.R.R. Tolkien was a famous novelist, he was one of medieval literature's most influential scholars. This course investigates how The Lord of the Rings is the product of an imagination shaped by this learning. We will read Tolkien's entire trilogy alongside excerpts of medieval texts, discovering how they inspired both the novels as well as the astoundingly complete languages and mythology he invented to support them. Selected passages from Tolkien's letters and essays are also on the syllabus; by studying the seminal work of modern fantasy literature we will thus answer broad questions about the relationship between knowledge, personal philosophy, fiction, and worldbuilding. Classes will begin with short lectures by the instructor - on the medieval material in particular - followed by seminar discussion of the assigned reading.

CPT course required for international students completing degree.Following internship work, students complete a research report outlining work activity, problems investigated, key results and follow-up projects. Meets the requirements for curricular practical training for students on F-1 visas. Student is responsible for arranging own internship and faculty sponsorship.

Although tech culture, theology, and science fiction have long been shaped by male-dominated canons, this seminar adopts a feminist-humanist lens. We begin with Mary Shelley and Ada Lovelace - whose notebooks imagine computation as a symbolic, even oracular practice - and read Ursula K. Le Guin, Octavia E. Butler, and Ted Chiang alongside scenes from Blade Runner, The Matrix, and Terminator. Set in the Stanford/Silicon Valley milieu, the course asks how speculative fiction functions as a genesis myth for contemporary tech culture: when and why do algorithms come to be treated as oracles, agents, or gods? What follows when we outsource not only labor but judgment, knowledge, and intimacy to machines? Designed for Stanford undergraduates and advanced high-school students interested in ethics, culture, and technology, the course emphasizes close reading, discussion, and reflective argument. Assessments include two short analytic essays and a final creative-critical project interpreting a contemporary technology through a feminist humanistic lens. No prerequisites; humanists and technologists alike are welcome.

In this course we will focus on "escapism" as a readerly practice. Why do we read things to "escape" our reality? How, exactly, does this work? What elements of reality does the literature of escape retain and which elements does it deliberately reject or overwrite. Furthermore, what are the ethics or political and social implications of this literature? Is it, as many have accused it of being, socially and politically negligent? Does it paralyze the reader by offering a distraction from the concerns of the world? Or can it, in its ability to represent things other than as they are and to encapsulate readers' greatest, most outlandish fantasies, offer a model for how the world can or should be? This course will emphasize romance novels, especially, as a source of "escapism."