San Diego State University
English 280: Introduction to Creative Writing
The Light of Craft
Instructor: Hari Alluri
Office: AL-242
Office Hours: T, Th 1230-1330 or by appointment
Email: halluri@mail.sdsu.edu
Fall 2015
Days: T, Th
Time: 1400-1515
Room: ARTN-300B
“I hope I don’t teach you how to write but how to teach yourself how to write”
—Richard Hugo
Prerequisites: A grade of C (2.0) or better in English 100, Africana Studies 120 or American
Indian Studies 120 or Chicana and Chicano Studies 111B or Linguistics 100 or Rhetoric and
Writing Studies 100 or 101.
Course Description:
Through careful study of craft and technique, English 280 provides an introduction to the theory
and practice of poetry and fiction. As American author and teacher Natalie Goldberg observes,
“we all have a dream of telling our stories – of realizing what we think, feel, and see before we
die. Writing is a path to meet ourselves and become intimate.” Beginning with poetry and ending
with fiction, we will closely examine published authors who will inspire our own development as
writers. You will produce your own original works of poetry and fiction during this course. We
will write in and out of class, and share what we create. As a community, we will support one
another through thoughtful discussion and critique.
Powerful and original work emerges from dedication to writing as a process. This class, “The
Light of Craft,” will allow you to begin walking your own labyrinth as a writer, uncovering the
gifts of insight as you question and articulate your place and the displacements you carry.
Together, we will strive to contribute to the larger conversation of what is at stake in literature
and the worlds we inhabit and imagine. As civil rights activist and visionary author James
Baldwin states, “The purpose of art is to lay bare the questions that have been hidden by the
answers.”
Course Objectives:
This is an Explorations course in the Humanities and Fine Arts. Completing this course will
help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the
humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments;
2) describe various aesthetic and other value systems and the ways they are communicated across
time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4)
demonstrate the ability to approach complex problems and ask complex questions drawing upon
knowledge of the humanities.
In addition,
 Evaluate and articulate elements of craft and technique for fiction and poetry.
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Imaginatively and rigorously employ these elements in your own work.
Hone your understanding of the writing process and use it to strengthen your ability to
engage this art form.
Become skilled analytical and critical readers who learn about form, technique, methods,
and structures from everything you read and discuss.
Participate clearly and effectively in peer workshop settings, giving thoughtful and
constructive feedback to your fellow writers.
Define clear goals to apply and direct your own journey as a writer and scholar of
writing.
Come away with a deeper appreciation for poetry and fiction as art forms.
Required Books & Materials:
Course Reader (available at CAL Copy)
Lawn, Beverly (editor): Short Stories: A Portable Anthology, 4th Edition
Poetry International Issue 20/21
A folder for handouts and/or Materials posted on Blackboard: These should be printed out and
brought to class the day they are up for discussion. You will be notified in advance.
A writing journal for in-class writing and reflection assignments
Recommended Texts:
Tobias, Ronald B., 20 Master Plots: And How to Build Them
Boland, Eavan and Mark Strand, The Making of a Poem (book of poetic forms with examples)
Course Requirements:
Your grade in English 280 will consist of the following four elements:
1) Attendance, Class Participation, and Feedback. You are expected to attend class regularly
and give your best critical commentary to your peers. I will collect your written commentary
from time to time, and evaluate your effort and insightfulness.
2) Quizzes: Unannounced quizzes will be given.
3) Reading Responses & Writing Journal. You will keep a reading journal and make entries
for each of our reading assignments based on prompts that I will provide. (posted to Blackboard).
Much of our class discussion will be based upon your reading reflections, therefore it’s important
that you keep your journals up to date. Journal entries should be between 150-300 words in
length, though the later journals will likely be longer. In addition, you will respond creatively to
readings and keep up a regular writing practice throughout the semester.
4) Portfolio & Event Review. At the end of the semester, you will present a creative work
portfolio that includes:
A short story (revised)
Three poems (revised)
Revisions will include discussion of your choices.
Review of Literary/Poetry Reading event (I will provide you with options/schedule)
In-class writing prompts and writing homework
Grading:
Participation
Quizzes
Journal
Portfolio
Grading Scale
93-100 A
83-86 B
90-92 A80-82 B87-89 B+
77-79 C+
15%
10%
25%
50%
73-76 C
70-72 C67-69 D+
63-66 D
60-62 D0-59 F
Classroom Policies:
Assignments: All work is due the day it is due. They may not be made up at a later date.
*If your work is being workshopped the following week, it must be delivered to your workshop
group on its due date (generally, one week prior). This is part of your responsibility to fellow
group members. Please note: For each class that a major assignment is late, one half letter
grade will fall.
Professional Presentation of Your Texts: All work must be typed. No emails, please. Final
drafts must show evidence of revision and proofreading for errors.
Attendance Policy: PLEASE READ CAREFULLY
Please notify me if you will be absent from class (In person or through email).
Attendance is crucial to our development as individuals and as a group. Your limit for absences is
3 class sessions, including documented illness, without penalty. One letter grade for
Participation will fall per class that you miss above the limit.
Classroom Expectations:
Arrive on time, be prepared with all readings/writings, and bring all texts under investigation. If
you must leave early, please notify me before class begins.
Plagiarism: All work must be your own. Plagiarism will result in an F on the assignment, a
referral to Judicial Review, and possible expulsion…Please note the fine print, directly quoted
from official SDSU policy:
Plagiarism shall be defined as the act of incorporating ideas, words, or specific substance of
another, whether purchased, borrowed, or otherwise obtained, and submitting same to the
University as one's own work to fulfill academic requirements without giving credit to the
appropriate source. Plagiarism shall include but not be limited to (a) submitting work, either
in part or in whole, completed by another; (b) omitting footnotes for ideas, statements, facts,
or conclusions that belong to another; (c) omitting quotation marks when quoting directly
from another, whether it be a paragraph, sentence, or part thereof; (d) close and lengthy
paraphrasing of the writings of another; (e) submitting another person's artistic works, such
as musical compositions, photographs, paintings, drawings, or sculptures; and (f) submitting
as one's own work papers purchased from research companies.
Abusive behavior in any form, toward your instructor or another student, is forbidden by
university policy and may result in expulsion. Since this is a creative writing class, we will be
examining texts that represent a myriad of different styles and subjects. Keep in mind that it is
our job to evaluate a text in terms of its merit, not just our own personal taste. There will be
specific protocols for giving feedback in class, and I will spend time explaining them. Insulting
or offensive commentary will not be tolerated. We all deserve respect.
Blackboard: I’ll use Blackboard regularly for announcements & assignments. You will find
course documents and helpful links available to you 24/7. Please check announcements before
you come and leave for class in case I have posted some last minute and necessary information.
Periodically, I will post topics for exploration under the ‘Discussion’ heading. You will be
required to respond to these topics in a timely and analytical manner.
Disabled Students: If you are a student with a disability and believe you will need
accommodations for this class, it is your responsibility to contact Student Disability Services at
(619) 594-6473. To avoid any delay in the receipt of your accommodations, you should contact
Student Disability Services as soon as possible. Please note that accommodations are not
retroactive, and that accommodations based upon disability cannot be provided until you have
presented your instructor with an accommodation letter from Student Disability Services. Your
cooperation is appreciated.
Student Athletes: If you are a student athlete, please let me know as soon as possible if you will
need to make arrangements for missed classes over the course of the semester due to teamrelated travel.
*****UNIT ONE*****
Week 1
Tuesday, 8/25: Syllabus, Why Do We Write?: Essays by Chris Abani and Wilson Harris
Thursday, 8/27: Elements of Poetry 2: The line, energy, line-breaks and introduction to editing.
Yusef Komunyakaa (CD), analysis of Abani and Harris. African Poetry Feature pt. 1; Juan
Felipe Herrera, Nikola Madzirov, Meagan Marshall (PI)
Week 2
Tuesday, 9/1: Post-colonial and Post-modern Poetry Discussion; Generation: African Poetry
Feature pt. 2 (PI); Chris Abani; Ilya Kaminsky (CD)
Thursday, 9/3: Revision and Lineage (What do you want to write about, and how?): Chris
Abani; Ilya Kaminsky; Tracy K. Smith; Venus Khoury-Ghata; Frank O'Hara, Roger Reeves,
Ocean Vuong (CD)
Week 3
Tuesday, 9/8: Ars Poeticas and Witness: Katie Ford; Carolyn Forché, Osherow. (PI). Vicente
Huidobro; Willie Perdomo (CD)
Thursday, 9/10: Fixed & Experimental (Recently Invented Forms, Constraints,
Contemporary Trends):
Tomaž Šalamun; Guy Bennett; Geoffrey Brock; Oliverio Girondo; Jericho Brown; Jacqueline
Osherow (PI).
Douglas Kearney; Suheir Hammad; Marilyn Chin; Lucille Clifton; Oulipo; Octavio Paz;
Terrance Hayes; Raul Zurita (CD)
Week 4
Tuesday, 9/15: Fixed (Sonnet & Renga, source of haiku, senryu, tanka, haibun)
Jaqueline Osherow; Kathleen Jamie; ??: Douglass Dunn; Carol Ann Duffy; Tia Forsström;
Lauren Camp (PI)
William Shakespeare; Edna St. Vincent Millay; K. Silem Mohammad; Cynthia Dewi Oka;
Sherman Alexie; Gwendolyn Brooks. Chinaka Hodge; Basho; Richard Wright (CD)
Thursday, 9/17: Fixed (Ghazal and Pantun/Pantoum & Villanelle)
Jericho Brown (PI). John Murillo, Aga Shaheed Ali, Louisa A. Igloria, Aimee Nezhukumatathil;
Patricia Smith. Dylan Thomas; Sylvia Plath; Sherman Alexie; LaTasha N. Nevada Diggs (CD)
DUE DATE: 9/24 poets distribute copies of their poem in class.
Week 5
Tuesday, 9/22: 20th & 21st Centuries compared: Blues, Jazz & Transitions
Vicente Huidobro, Langston Hughes; Allen Ginsberg, “America”; Amiri Baraka, “Pres Spoke in
a Language”; Joy Harjo; José Garcia Villa; Paul Celan;
Chinese Feature; A Little Book of Snow (PI); Jamaal May; Tarfia Faizullah; Fatimah Asghar;
DUE DATE: 9/28 poets distribute copies of their poem in class.
Thursday, 9/24: Poetry Workshop (4 Students)
DUE DATE: 9/30 poets distribute copies of their poem in class.
Week 6
Tuesday, 9/29: Poetry Workshop (4 Students)
DUE DATE: 10/6 poets distribute copies of their poem in class.
Thursday, 10/01: Poetry Workshop (4 Students)
DUE DATE: 10/8 poets distribute copies of their poem in class.
DUE DATE: ALL POSTS EMAIL A NON-WORKSHOPPED SHORT STORY TO ME.
Week 7
Tuesday, 10/6: Poetry Workshop (4 Students)
DUE DATE: 10/13 poets distribute copies of their poem in class.
Thursday, 10/8: Poetry Workshop (4 Students)
DUE DATE: 10/15 poets distribute copies of their poem in class.
Week 8
Tuesday, 10/13: Poetry Workshop (5 Students)
Thursday, 10/15: Poetry Workshop (5 Students)
*****UNIT TWO*****
Week 9
Tuesday, 10/20: Introduction to Fiction; Define Fiction / First line to a story
Vladimir Nabokov – Signs and Symbols; Margaret Atwood - Happy Endings; Maybe: Lysley
Tenorio – from Monstress
Thursday, 10/22: Plot
Raymond Carver- Cathedrall; James Joyce – Araby; Optional: Junot Díaz, “Wildwood”
Week 10
Tuesday, 10/27: Setting: James Baldwin - Blues for Sonny; Sandra Cisneros - Bread
Thursday, 10/29: Character Development: Shirley Jackson- The Lottery; Flannery
O'Connor – A Good Man is Hard to Find; Joan Didion- Earthquakes; Optional: David Foster
Wallace, “The Compliance Branch”; Roberto Bolaño, “Labyrinth”
Point of View
Junot Díaz – Drown; Franz Kafka – The Penal Colony; Jamaica Kincaid- Girl; Optional: Roxane
Gay, “Motherfuckers”
Week 11
Tuesday, 11/3: Dialogue
Ernest Hemingway- The Killers; Ursula K. Le Guin, “Schrödinger’s Cat”;
Thursday, 11/5: Flash and Nano Fiction
Lydia Davis, “The Thirteenth Woman,” “The Cats in the Prison Recreation Hall,” “New Year’s
Resolution”; Linh Dinh, “One-Sentence Stories”; Amelia Gray, “A Contest,” “How He Felt”;
Roxane Gay, “The Widow Takes Her Coffee Black”
Week 12
Tuesday, 11/10: Endings
Jorge Luis Borges, “The Circular Ruins”; Paul LaFarge, “The History of The History of Death”
DUE DATE: 11/17 authors distribute copies of their short story in class.
Thursday, 11/12 TBA – Class visitors?: (Fiction & Poetry)
DUE DATE: 11/19 authors distribute copies of their short story in class.
Week 13
Tuesday, 11/17: Fiction Workshop (5 Students)
DUE DATE: 11/24 poets distribute copies of their poem in class.
Thursday, 11/19: Fiction Workshop (5 Students)
DUE DATE: 12/01 authors distribute copies of their short story in class.
Week 14
Tuesday, 11/24: Fiction Workshop (5 Students)
DUE DATE: 12/3 authors distribute copies of their short story in class.
DUE DATE: ALL AUTHORS EMAIL A NON-WORKSHOPPED SHORT STORY TO ME.
Thursday, 11/26: No Class (Thanksgiving Holiday)
Week 15
Tuesday, 12/1: Fiction Workshop (6 Students)
DUE DATE: 12/8 authors distribute copies of their short story in class.
Thursday, 12/3: Fiction Workshop (5 Students)
Week 16
Tuesday, 12/8: Fiction Workshop (5 Students)
Thursday, 12/10: Class Reading / Recital
Finals Week
Tuesday, 12/15: Portfolio Due
“All artists, writers among them, have several—one might call them creation myths—that haunt
and obsess them.”
—Edwidge Danticat
May you have found yours or find it soon.