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ENGLISH 25Q: Queer Stories (FEMGEN 25Q)

Queer Stories is a creative writing class open to any and all students, regardless of how they define their gender or sexuality. The goals of the class are to read widely in the canon of twentieth and twenty-first century queer prose literature, and to write critical and creative work that engages with the styles, modes, and subjects of these writers. As we read and discuss texts, students will consider a variety of questions: How has queer romance, relationships, and sexuality been represented over the years, in both coded and explicit ways? How have writers grappled with representing our evolving sense of gender as a continuum rather than a binary? How have queer writers interrogated or understood the concept of family? How do queer writers handle the question of the "universal" reader to whom, arguably, they might be speaking? (In a 2012 interview with Lambda Literary, book critic Daniel Mendelsohn argues,contentiously, "It is precisely the gay book's ability to be interesting to a more »
Queer Stories is a creative writing class open to any and all students, regardless of how they define their gender or sexuality. The goals of the class are to read widely in the canon of twentieth and twenty-first century queer prose literature, and to write critical and creative work that engages with the styles, modes, and subjects of these writers. As we read and discuss texts, students will consider a variety of questions: How has queer romance, relationships, and sexuality been represented over the years, in both coded and explicit ways? How have writers grappled with representing our evolving sense of gender as a continuum rather than a binary? How have queer writers interrogated or understood the concept of family? How do queer writers handle the question of the "universal" reader to whom, arguably, they might be speaking? (In a 2012 interview with Lambda Literary, book critic Daniel Mendelsohn argues,contentiously, "It is precisely the gay book's ability to be interesting to a straight reader that makes it a great book.") Lastly, students will also create writing of their own that in some way draws upon the aesthetics or sensibilities of the authors we have read. These pieces may be short stories, personal essays, or texts that--in the spirit of queerness--blur or interrogate standard demarcations of genre. The content of this work might grapple with questions of gender and sexuality, but it might instead be queer in its affect, outlook, or style. In both the reading and writing they do in this class, students will engage with work that deviates from literary convention in the lives it represents and the ways in which it represents them.
Terms: Win | Units: 3 | UG Reqs: WAY-CE, WAY-EDP

ENGLISH 27Q: The Childhood Novel

In this course, we will consider the first volumes of three ambitious literary projects: Marcel Proust's IN SEARCH OF LOST TIME; Elena Ferrante's NEOPOLITAN NOVELS; and Karl Ove Knausgaard MY STRUGGLE. These writers, and the novels they wrote, may seem, at first glance, to be very different. Proust was a gay French writer, born in 1871. Ferrante is a reclusive Italian novelist whose identity has, for many years, been a mystery (including her year of birth). Knausgaard is a kind of literary rock star, a Norwegian novelist of immense fame. But all three novelists share a fascination with childhood, and all three novelists have produced works that walk a very fine line between fiction and memoir, imagination and memory. In reading the first volumes of these three long novel sequences, we'll consider what aspects of the writer's life are fit for the page. At what point does the novelist's allegiance to the recollection of their own particular past give way to their invention of a fictional world we can only dwell in? What is the difference between Proust, Ferrante and Knausgaard's first-person narrators and Proust, Ferrante and Knausgaard themselves? And what lessons might we draw from these novelists and novels when it comes to writing about our own childhood experiences?
Last offered: Winter 2023 | UG Reqs: WAY-A-II, WAY-CE

ENGLISH 90: Fiction Writing

The elements of fiction writing: narration, description, and dialogue. Students write complete stories and participate in story workshops. Prerequisite: PWR 1 (waived in summer quarter). NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Terms: Aut, Win, Spr, Sum | Units: 5 | UG Reqs: WAY-CE, WAY-A-II

ENGLISH 90FC: First Chapters

Novels only get one chance to make a good first impression. Chapter One is that opportunity, and in this course we'll read, discuss, and analyze a variety of historical and contemporary novels with a particular focus on their opening chapter (and sometimes prologue). We'll study strategies around world-building, characterization, creating the engine of a novel (its voice), and in establishing a lively, complex, and surprising world that a reader can't wait to explore in greater detail.
Terms: Win, Spr | Units: 5 | UG Reqs: WAY-CE
Instructors: Kealey, T. (PI)

ENGLISH 90H: Humor Writing Workshop

What makes writing funny? What are we doing when we try to be funny? In this creative writing workshop, you'll exercise your native wit by writing short pieces of humor in a variety of forms. We'll practice writing jokes, parody, satire, sketches, stories, and more, study theories of humor, research practical principles and structures that writers have repeatedly used to make things funny, and enjoy and analyze examples of humor old and new to use as models. In the service of creating and understanding humor, we'll also explore questions about what purposes humor serves, and what relationship humor has with power, culture, and history.
Terms: Win, Spr | Units: 5 | UG Reqs: WAY-CE, WAY-A-II
Instructors: Porter, E. (PI)

ENGLISH 90M: Queer Stories (FEMGEN 90M)

Like other 90 and 91-level courses, 90M will explore basic elements of fiction and nonfiction writing. Students will read a wide variety of stories and essays in order to develop a language for working through the themes, forms, and concerns of the queer prose canon. Students will complete and workshop a piece of writing that in some way draws upon the aesthetics or sensibilities of the work we have read, culled from exercises completed throughout the quarter. This final piece may be a short story, a personal essay, a chapter from a novel or memoir, or a piece that, in the spirit of queerness, blurs or interrogates standard demarcations of genre. The course is open to any and all students, regardless of how they define their gender or sexuality. NOTE: First priority to undergrads. Students must attend the first class meeting to retain their roster spot.
Last offered: Winter 2021 | UG Reqs: WAY-CE, WAY-EDP

ENGLISH 90Q: Sports Writing

Study and practice of the unique narratives, tropes, images and arguments that creative writers develop when they write about popular sport. From regional fandom to individualist adventuring, boxing and baseball to mascot dancing and table tennis, exceptional creative writers mine from a diversity of leisure activity a rich vein of sports writing in the creative nonfiction genre. In doing so, they demonstrate the creative and formal adaptability required to write with excellence about any subject matter, and under the circumstances of any subjectivity. Discussion of the ways in which writers have framed, and even critiqued, our interest in athletic events, spectatorship, and athletic beauty. Writers include Joyce Carol Oates, Roland Barthes, David James Duncan, Arnold Rampersad, John Updike, Maxine Kumin, Susan Sterling, Ernest Hemingway, Norman Mailer, Dervla Murphy, Haruki Murakami, Don DeLillo, Henry Louis Gates, Jr., Annie Dillard, John McPhee, and Laura Hillenbrand. Close readings of essays on form and sport, as well as book excerpts. Students will engage in class discussions and write short weekly papers, leading to a more comprehensive project at the end of the quarter.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Evans, J. (PI)

ENGLISH 90R: American Road Trip

From Whitman to Kerouac, Alec Soth to Georgia O'Keeffe, the lure of travel has inspired many American artists to pack up their bags and hit the open road. In this course we will be exploring the art and literature of the great American road trip, including prose, poetry, films, and photography. We will be reading and writing in a variety of genres, workshopping our own stories, and considering the ways in which our personal journeys have come to inform and define our lives. The course includes a number of campus-wide field trips, and an end-of-quarter road trip down the California coast.
Terms: Spr | Units: 5 | UG Reqs: WAY-CE, WAY-A-II

ENGLISH 90V: Fiction Writing

Online workshop course that explores the ways in which writers of fiction have used language to examine the world, to create compelling characters, and to move readers. We will begin by studying a selection of stories that demonstrate the many techniques writers use to create fictional worlds; we'll use these stories as models for writing exercises and short assignments, leading to a full story draft. We will study figurative language, character and setting development, and dramatic structure, among other elements of story craft. Then, each student will submit a full draft and receive feedback from the instructor and his/her classmates. This course is taught entirely online, but retains the feel of a traditional classroom. Optional synchronous elements such as discussion and virtual office hours provide the student direct interaction with both the instructor and his/her classmates. Feedback on written work ¿ both offered to and given by the student ¿ is essential to the course and creates class rapport.
Terms: Sum | Units: 5 | UG Reqs: WAY-CE

ENGLISH 90W: Writing and War

This introductory, five-unit course is designed for all students interested in reading the literature of and studying the expression of military conflict. Bridging the experiences of Veteran and non-Veteran students will be a central aim of the course and will be reflected in enrollment, reading materials, visiting guests and final narrative project.
Last offered: Winter 2019 | UG Reqs: WAY-CE
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