COURSE INFORMATION
Course Title: CWRT 3600:01: Special Topics: The Lyric Essay
Course Time: Mondays 2:00-5:40 p.m.
Course Location: Benildus 214
INSTRUCTOR INFORMATION
Julia Goldberg
Office Location: Benildus Hall, Room 219
Office Hours: Monday, Wednesday, Thursday, 12:30-2 p.m. or by
appointment
Email: julia.goldberg@santafeuniversity.edu
Please ensure you communicate with me through your SFUAD email
account. Emails from other providers may be blocked and fail to make it
through the interwebs.
TEXTBOOKS AND MATERIALS
Required Books
The Rose Metal Press Field Guide to Writing Flash Nonfiction: Advice and
Essential Exercises from Respected Writers, Editors, and Teachers
Dinty W. Moore, 2012 Rose Metal Press ISBN: 9780984616664
The Next American Essay (A New History of the Essay) John D'Agata,
2003 ISBN: 9781555973759
WEBSITE
This course is partially a paper-free class. Weekly assignments, as well as
many of the supplementary readings, will be available on:
Sfuadlyricessay.wordpress.com
Please check the website EVERY WEEK to ensure you have the most
current weekly assignments.
HANDOUTS
This class has numerous supplementary readings, some of which will be
available on the class website. You are expected to keep up with all
readings. Any changes to the readings will be announced in class and be
available on the course website.
EVENTS
Mandatory attendance is required for Creative Writing students (there will
be a sign-in sheet for attendance at the events). All CWL required event will
include a sign-in sheet. Be sure to sign the sign-in sheet to receive credit for
attendance. All events are held in O’Shaughnessy Performance Space in
Benildus.
September 8: Returning Student Reading and CWL Welcome Party, 7 p.m.
in O’Shaugnessy
September 22: Required Reading: Anne Valente, 7 p.m. in O’Shaugnessy
November 10: Required Reading, CWL Alumni Reading 7 p.m. in
O’Shaugnessy
COURSE DESCRIPTION
In 1997, Seneca Review surveyed a growing body of work it deemed “poetic
essays” or “essayistic poems,” noting that such hybrids “give primacy to
artfulness over the conveying of information. They forsake narrative line,
discursive logic, and the art of persuasion in favor of idiosyncratic meditation.”
And the Lyric Essay was born. Or was it? Since then, the Lyric Essay has
continued to defy simple categorization or labeling, and has lent itself to a stillevolving critical discourse regarding form, lyricism and intent. In this course,
students will critically explore a myriad of works by practitioners working from
all angles in the Lyric Essay subgenre, and consider the ways in which these
works conform to, expand and push the boundaries of various established and
emergent techniques, including but not limited to the prose poem, hermit crab
essay, collage work, and the braided essay. Students also will create and
workshop their own Lyric Essays, experimenting with a variety of forms.
Readings may include work by Eula Bliss, David Shields, John D’Agata, Jenny
Boully, Lia Purpura, Anne Carson and more.
WRITING ASSIGNMENTS
There will be three major creative writing projects in this course:
• a flash creative non-fiction piece
• a “received forms” piece
• a prose poem
There also will critical writing assignments as well as in-class writing
assignments.
ª There will be a final paper analyzing one of the term’s assigned readings.
• There will be an extra-credit lyric multi-media project
Typing/Format of Assignments for Final Paper and Critical Work
• All assignments must be typed, and use the following guidelines:
• Please use the same font throughout the paper: either Times, Ariel or
Courier, 12 point
• Leave a one-inch margin on both sides of the paper; justify the left side and
leave the right ragged
• Double-space
• One space between words; one space between sentences
• Indent each paragraph with a tab or one-half inch
• Include a title page, double-spaced, with the assignment name, paper title,
student name and date
• Follow style specifications for references, which will be discussed in class
• Obvious style exceptions will be made for the lyric essays and other noncomforming writing assignments. However, all work will be graded for
grammar and writing mechanics, including critique sheets.
Writing Workshops
Workshops will be used for the three major creative nonfiction pieces due
this semester.
Regarding the workshop environment: Class must be a non-judgmental place
where writers can bring their work and ask for help toward improvement of
their projects. Due to the nature of non-fiction writing, it is very important
that writers feel confident that their work will not be discussed with anyone
other than the members of this class. Critiques will be accomplished through
the writing workshop critique sheets and in-class discussions. Your critiques
of your classmates’ work are an important component of this class and your
grade. Workshop materials must be submitted for critique when due in order
to participate in the workshop.
Workshops will not be rescheduled, and those who fail to participate
will be penalized accordingly for mid-term and final grades.
Students are required to provide copies of their work for their workshop
groups and for the instructor.
All work submitted for workshop must be new work; reusing work
generated for previous classes is considered plagiarism.
All students’ workshop materials are due on the same day.
Do not arrive late to class due to last-minute printing of workshop materials.
Print well ahead of class and arrive on time. All lateness will adversely
affect your grade.
Workshop Schedule will be assigned after all materials are turned in.
Critique Sheets
Critique sheets will be distributed for use for evaluation of your peers’ work,
and will require evaluation of classmates’ writing according to the craft
principles that are the bedrock of this class.
With both written and oral critiques, students should take care to objectively
evaluate the work on technical, thematic and linguistic merits, and refrain
from unproductive and subjective evaluations.
Critique sheets will be graded and evaluated for thoroughness, coherence
and writing ability, as well as for the critique writer’s own ability to
demonstrate understanding and knowledge of the technical aspects of
writing designated for each critique.
Copies required: one for the writer whose work has been critiqued; one
for the instructor.
Critical Writing Assignments
The critical writing assignments are designed to apply your growing
knowledge of the techniques of creative non-fiction to the course’s reading
assignments.
Participation
Participation in class discussions and the workshop are mandatory, and will
be evaluated as such for mid-term and final grades.
Coming prepared to class means:
• reading all materials thoroughly, more than once if necessary
• researching names and events that appear in essays if they are unfamiliar
• writing down discussion questions and observations to share with class
• making note of specific examples in the text to read and share in class to
accompany your observations about technique, theme and language
• In workshop, contributing value and specific feedback that will help not
only an individual writer, but all members of the class further their
understanding of the text and the writing principles under discussion
COURSE EXPECTATIONS/POLICIES
Attendance
100 percent class attendance is required and is critically important to faculty
and your peers. More than 1 absence will adversely affect your grade. More
than 3 absences can result in not receiving credit for the course. Tardiness is
unacceptable and will also result in a lowering of your final grade. Bottom
line: Attend every class in a timely manner.
You are allowed one excused absence per semester before absences will
impact your grade in this course. You are allowed one tardy per semester.
Our class meets once a week. Each absence over the one allowed will deduct
from your final grade. Each tardy over the one allowed will deduct one point
off your final grade.
If you are more than 10 minutes late, you will be marked tardy. If you
are more than 15 minutes late, you will be considered absent.
Late Assignments
Late work will be penalized 10 percent per day (with the “late clock”
beginning at class time rather than the end of the day), and will only be
accepted up to four days after the initial deadline.
Electronic Devices
Cell phones, MP3 players, and other personal communication or
entertainment devices are to be silenced or turned off, and not used or
displayed during the class period.
Accommodating Special Needs
In accordance with the Americans with Disabilities Act, Santa Fe University
of Art and Design makes every effort to provide appropriate
accommodations for students with documented disabilities. Students may
receive these accommodations if they contact their professor and register
with Charlie Miu, Disability Services Coordinator and Director of Academic
Advising, at 505-473-6713 (charlie.miu@santafeuniversity.edu).
Academic Integrity
Santa Fe University of Art and Design values academic integrity. It is the
policy of our university to foster creative and academic work that is both
original and based on fundamental principles of academic integrity. If a
student’s writing or other creative projects use the work of someone else,
that use must be formally acknowledged. When taking information or quotes
from other authors and incorporating that material into a writing assignment,
students must acknowledge the source and authorship of the material they
borrow by properly citing it using Modern Language Association (MLA)
standards. Similarly, when students’ creative projects incorporate other
artists’ ideas, or any visual, electronic, audio, or other creative content, they
must acknowledge and give credit to those artists according to disciplinespecific guidelines. It is the responsibility of the student to understand and
adhere to this university policy, follow prescribed guidelines, and understand
the consequences of violating the policy. Enrollment in this university
assumes a commitment to upholding the principles of academic integrity.
The complete policy on academic integrity, including penalties for violations
of policy and processes for appeal, is available for review in the Student
Handbook and Academic Catalog.
Written work in this class must be original; work written or submitted for
previous classes or assignments may not be used in this course.
Resubmitting work from other classes/ previous assignments is considered a
form of plagiarism.
Emergency Class Cancellation
If an emergency arises in which class must be cancelled, a note will be
posted on the classroom door informing students of the cancellation and
related information. If a cancellation notice is not posted, students are
expected to remain in the classroom until dismissed by a college
representative. In the event of severe weather, students should listen to local
radio/television announcements for information or check the Santa Fe
University website: www.santafeuniversity.edu If the college is open,
students are expected to attend class.
ASSIGNMENTS/GRADING SCALE
Flash Non-Fiction Piece, including revisions: 200 points
Prose Poem: 200 points
Received Forms: including revisions 200 points
Critical Response pieces: 100 points
Critiques and Workshops: 100 points
In-class writing and discussions: 100 points
Final paper: 100 points
Extra Credit: Up to 100 points
Total Points for semester: 1,000 points
GRADING SCALE for ASSIGNMENTS
A: 91-100
B: 80-90
C: 70-79
D: 60-69
F: 59 OR BELOW
A 100% – 90: ( 900-1,000 points)
B 89% – 80%
(800-899 points)
C 79% – 70%
(700-799)
D 69% – 60%
(600-699 points)
F Below 60%
(599 and fewer points)
COURSE CALENDAR
Assignments are subject to change. Please always consult the course
website for up-to-date weekly assignments.
Aug. 31: Intro to class, syllabus review, assignments for next week, in-class
writing exercise; in-class reading & discussion exercise, including Eula
Biss’ “It Is What It Is”
September 7: Labor Day; no classes
September 14: Read for class:
• Read from the Rose Metal Guide to Flash Nonfiction: “Of Fire and Ice,”
pages XIII-XXV and all the essays included in the “Mysterious, Ambitious,
and Intimate: The Flash Nonfiction Form (pages 1-22)
Also read in Rose Metal Guide to Flash Nonfiction:
All the essays in “No Ideas But in Things” :The Power of Image and Detail
(pages 28-50)
"Grounding the Lyric Essay" by Judith Kitchen (handout)
Read: "A Skeptical Take" by Phillip Lopate (handout)
Read the following essays, all of which are online through the class
website:
• "The Little Black Dress" by Dinah Lenney
• The Journal Interview with Lia Purpura
• Fourth Genre Explorations in Nonfiction
• Seneca Review "intro" to Lyric Essay
• Ben Marcus on The Lyric Essay
September 21:
Read for class:
Rose Metal Anthology, “Writing Through Innocence and Experience by
Sue William Silverman; “The Sounds and Sense of Sentences” by Barbara
Hurd; “Weaving Past, Present, and Future in Flash Nonfiction,” “Over the
River and Through the Woods, to Almanac We Go: On the Use of Research
and Lists in Flash,” “Building a Frame, Giving an Essay a Form;”
September 28: All first drafts due for first workshop on Flash Nonfiction.
You must bring one hard copy for each member of the class, and one
copy for Julia
Read for class in Rose Metal: “All the essays in the chapter “The Singular
Moment: Where to Begin, Where to End” (pages 134-151) and all the essays
in Against the Grain: Alternative Approaches to flash Nonfiction (pages
157-164)
October 5: Workshop Group #1 Flash Nonfiction
Read for class: “Some Thoughts on Lyric Essay” by Mary Ruefle
October 12: Workshop Group #2 Flash Nonfiction
Read for class: “What is a Lyric Essay” by Lia Purpura (handout)
Read: Read for class: “Michael Martone’s Leftover Water Bottle” by
Patrick Madden (handout); “Mr. Plimpton’s Revenge” by Dinty Moore (link
on website)
October 19: Read for class in The Next American Essay: “Search for
Marvin Gardens” by John McPhee; “The White Album” by Joan Didion;
“Life Story” by David Shields
October 26: Read for class in The Next American Essay: “Captivity” by
Sherman Alexie; “The Body” by Jenny Boully; “Outline Toward a Theory
of the Mine versus the Mind and the Harvard Outline” by Ander Monson
(handout)
November 2: Drafts Received Form Essays due in class for all students.
Read for class in The Next American Essay: “”Kinds of Water” by Anne
Carson; “The Theory and Practice of Postmodernism: A Manifesto” by
David Antin
November 9:
Workshop Group #1 Received Form
Read for class: “Thirteen Blackbirds Looking at a Lyric Essay” by Dionisio
D. Martinéz (handout)
November 16:
Workshop Group #2 Received Form
Read for class: “I Can not Escape the Prose Poem” by Brigitte Byrd; “Why I
Write Prose Poems” by Kathleen McGookey”; “Split” by Mark Wallace;
“Writing the Brief Contrary Essay” by Patrick Madden (handouts)
November 23: Read for class: “Foucault and Pencil” by Lydia Davis (in The
Next American Essay) “It’s not in Cleveland, but I’m Getting Closer” by
Tung-Hui; excerpts from “Bluets” by Maggie Nelson; “Autopsy Report” by
Lia Purpura (handouts)
November 23: Prose Poem Drafts Due for all students; Video Essay
discussion; in-class training for multimedia lyric essays
November 30:
Workshop: Prose Poem, Group #1
December 7: Prose Poem, Group #2; final review; wrap-up
December 14: FINALS WEEK; Final paper due; extra credit due by
this time;