Rattawut Lapcharoensap

This fiction workshop seeks to draw inspiration in both our reading and writing from the work of Asian American writers. In addition to coming together to support one another in a writing workshop environment—discussing matters of “craft,” “technique,” and the like—we’ll also spend our time discussing questions about race, immigration, nationality, and storytelling (in addition to any other questions) as they arise through the fiction of Asian American writers. We’ll begin with Sui Sin Far (Edith Eaton) and work our way “forward” to a reading list that may include Maxine Hong Kingston, Frank Chin, Shawn Wong, Hisaye Yamamoto, Theresa Hak Kyung Cha, Lois-Ann Yamanaka, Jessica Hagedorn, R Zamora Linmark, Amy Tan, Don Lee, Anthony Veasna So, Ocean Vuong, Julie Otsuka, David Wong Louie, K-Ming Chang, Nam Le, Chang-rae Lee, Gish Jen, Jhumpa Lahiri, Bharati Mukherjee, Akhil Sharma, Paul Yoon, Jenny Zhang, Viet Thanh Nguyen, Lan Samantha Chang, and Ayad Akhtar, among others. To be clear, this is a writing class and not a critical survey of Asian American literature and literary history—at least not in the manner that my colleagues in the literature program might be able to provide. Nevertheless, Asian American fiction will constitute the common source material from which, I hope, students might derive their pleasures (and lessons) as aspiring fiction writers regardless of their chosen subjects. In addition to actively participating in class discussions and providing their peers with constructive feedback for their work, students will be expected by the end of the semester to develop and produce—through the conference system—a portfolio of short fiction.

Frank O’Connor claims that the short story is a form characterized not by its length but by its subject matter—by its habitual interest in what he calls “submerged population groups,” people for whom a “normal society” is the “exception” rather than the “rule”—in short, outsiders, losers, the marginalized, the dispossessed. In this yearlong course, we will begin with O’Connor’s description and then move on to examine canonical, as well as contemporary, examples of the form in hopes of generating a portfolio of stories about a “submerged population group” of our own. Our readings may include Edward P. Jones, Raymond Carver, James Alan Macpherson, Grace Paley, Alice Munro, Denis Johnson, Junot Diaz, George Saunders, Lydia Davis, Sherman Alexie, and Charles Baxter, among many others. We will divide our time between reading published works and examining each other’s efforts through workshops, critical and generative writing exercises, and one-on-one conferences. The fall semester’s reading will be taken from an anthology, so as to give students a survey of the form’s depth and breadth; in the spring semester, we will examine single-author short-story collections. Throughout, we will ask questions not only about craft and technique in short-story writing but also larger questions about the form itself and the traditions in which short-story writers are all necessarily enmeshed.

This workshop examines the art of voice in fiction. We will begin with a proposition: that the measure of any fictional voice’s power has little to do with who the writer is but more to do with what a writer does on the page and that the power of a “voice” begins and ends in language. What do we mean when we talk about a convincing “voice” in fiction? What are its hallmarks? Whose voice (or voices) do we hear? In what ways might all writing be said to be in possession of a voice—not just those we typically associate with the term? And how might these questions be complicated or enriched by other questions about identity, authority, and “authenticity”? Students will not be expected to “find their voice”; rather, students will be asked to think about “voice” as something crafted through language in order to tell a story. We will examine some classic and contemporary “voices” in fiction in order to try to understand how they work. Through a series of short writing exercises, students will experiment with “voice” in their own writing. And finally, students will produce two works of short fiction—developed through one-on-one conferences—to present to the class for workshop and to revise for their final portfolio as their conference project.

What is a character? How do you portray a person? And what does it mean to do so? The history of literature is full of eponymous works—Don Quixote, Tristam Shandy, David Copperfield, to name but a canonical few—works that often seek to examine a single character or consciousness over time. “Character studies,” or “portraiture,” might be another way of describing such writing, in which a writer brings all of his or her energies to bear upon the art of representing “other people”—and in which the machinations of “plot” take a relative back seat to questions of “character” (and all that such a character might reveal). In this course, we will look at examples of “literary portraiture” in the hopes of generating our own. Our readings will include classics of the form (Melville’s Bartleby, the Scrivener, Virginia Woolf’s Mrs. Dalloway, Saul Bellow’s Herzog, Ralph Ellison’s Invisible Man, and Maxine Hong Kingston’s The Woman Warrior), as well as relatively contemporary examples (Evan Connell’s Mrs. Bridge, John Williams’s Stoner, Dorothy Baker’s Cassandra at the Wedding, Anne Carson’s Autobiography of Red, Junot Diaz’s The Brief and Wondrous Life of Oscar Wao, Maggie Nelson’s Jane: A Murder, Svetlana Alexievich’s Voices from Chernobyl, J. M. Coetzee’s Elizabeth Costello, and W. G. Sebald’s The Emigrants). Throughout the course, we will be asking questions about what makes a plausible character or interior life in writing, what tools are available at writers’ disposal in their attempts to portray “other people,” and what’s often at stake in such efforts. Through close readings of published work, individual conferences, generative writing exercises, and workshops of each other’s writing, students will work toward crafting and presenting their own work of portraiture by the end of the term.

This fiction-writing workshop will focus specifically on the pleasures of “style.” What is style? How do we know when we are in the presence of one? What are the hallmarks of a successful or moving style? When does style feel meaningful? And, conversely, when does it feel empty or artificial? In other words, how does style make itself substantive in fiction? Through an exploration of both canonical and contemporary short fiction, students will be urged to find not so much their “own” style as to think about and explore the many styles available to them as writers. Our time in class will be divided between close readings of published work and workshopping of student writing. In addition, students should expect, by the end of the term, to produce numerous imitation exercises, critical reflections, and a portfolio of fiction.

Frank O’Connor claims that the short story is a form characterized not by its length but by its subject matter—by its habitual interest in what he calls “submerged population groups,” people for whom a “normal society” is the “exception” rather than the “rule”—in short, outsiders, losers, the marginalized, the dispossessed. In this yearlong course, we will begin with O’Connor’s description and then move on to examine canonical, as well as contemporary, examples of the form in hopes of generating a portfolio of stories about a “submerged population group” of our own. Our readings may include Edward P. Jones, Raymond Carver, James Alan Macpherson, Grace Paley, Alice Munro, Denis Johnson, Junot Diaz, George Saunders, Lydia Davis, Sherman Alexie, and Charles Baxter, among many others. We will divide our time between reading published works and examining each other’s efforts through workshops, critical and generative writing exercises, and one-on-one conferences. The fall semester’s reading will be taken from an anthology, so as to give students a survey of the form’s depth and breadth; in the spring semester, we will examine single-author short-story collections. Throughout, we will ask questions not only about craft and technique in short-story writing but also larger questions about the form itself and the traditions in which short-story writers are all necessarily enmeshed.

In what ways have American writers and artists rendered the felt experience of race and racial inequality? How might we understand race and racism not only as social forces but also as imaginative ones? And how might we productively grapple, contend, and engage with our own positions as artists and citizens within these historical and imaginative legacies? In other words, how might we fruitfully think about what Claudia Rankine and Beth Loffreda have recently called—in their anthology of the same name—“the racial imaginary”? Over the course of this yearlong creative writing workshop, students will be asked to explore the American racial imaginary by examining writing in a variety of genres and disciplines—from short stories to personal essays and poetry, as well as academic criticism and historical scholarship—in the interest of producing and workshopping their own original writings. Students will have biweekly individual conferences with the instructor and biweekly group conferences devoted to workshopping, watching films, or attending lectures through the Writing Colloquium or the MFA program’s series of guest lectures.

In what ways have American writers and artists rendered the felt experience of race and racial inequality? How might we understand race and racism not only as social forces but also as imaginative ones? And how might we, as writers and readers, productively grapple, contend, and engage with our own positions as artists and citizens within these historical and imaginative legacies? In other words, how might we fruitfully think about what Claudia Rankine and Beth Loffreda have recently called—in their anthology of the same name—“the racial imaginary”? Over the course of this yearlong creative-writing workshop, students will be asked to explore the American racial imaginary by examining writing in a variety of genres and disciplines—from short stories to personal essays and poetry, as well as academic criticism and historical scholarship—in the interest of producing and workshopping their own original writing. During the fall semester, students will meet with the instructor weekly for individual conferences. In the spring, we will meet weekly or every other week, depending on students’ needs and the progress of their conference projects.

What is a character? How do you portray a person? And what does it mean to do so? The history of literature is full of eponymous works—Don Quixote, “Tristam Shandy,” David Copperfield, to name but a canonical few—works that often seek to examine a single character or consciousness over time. “Character studies,” or “portraiture,” might be another way of describing such writing, in which a writer brings all of his or her energies to bear upon the art of representing “other people”—and in which the machinations of “plot” take a relative back seat to questions of “character” (and all that such a character might reveal). In this course, we will look at examples of “literary portraiture” in the hopes of generating our own. Our readings will include classics of the form (Melville’s “Bartleby,” Virginia Woolf’s Mrs. Dalloway, Saul Bellow’s Herzog, Ralph Ellison’s Invisible Man, and Maxine Hong Kingston’s The Woman Warrior), as well as relatively contemporary examples (Evan Connell’s Mrs. Bridge, John Williams’ Stoner, Dorothy Baker’s Cassandra at the Wedding, Anne Carson’s Autobiography of Red, Junot Diaz’s The Brief and Wondrous Life of Oscar Wao, Maggie Nelson’s Jane: A Murder, Svetlana Alexievich’s Voices from Chernobyl, J. M. Coetzee’s Elizabeth Costello, and W. G. Sebald’s The Emigrants). Throughout the course, we will be asking questions about what makes for a plausible character or interior life in writing, what tools are available at writers’ disposal in their attempts to portray “other people,” and what’s often at stake in such efforts. Through close readings of published work, individual conferences, generative writing exercises, and workshops of each other’s writing, students will work towards crafting and presenting their own work of portraiture by the end of the term.

This course examines the art of revision.  “[O]ne’s plan, alas, is one thing and one’s result another,” Henry James says in the New York edition preface to The Wings of the Dove. We will try to think about what James calls, in that preface, “the gaps and the lapses” in our work, “the intentions that, with the best will in the world, were not to fructify,” “the absent values, the palpable voids, the missing links, the mocking shadows” that necessarily haunt any early draft, and our subsequent attempts to exorcise those specters. We will do this primarily by workshopping early drafts of student work alongside revisions of that work in the hopes of examining the concrete ways that each revision meets or fails to meet (or even re-conceptualizes entirely) the ambitions and requirements of its earlier incarnation. Our assumption will be that most drafts—especially early ones—are largely failures, pocked with the Jamesian voids and lacunae mentioned above. Anyone can fail in this manner, of course—anybody can produce a disastrous first draft—but few are capable of failing (to use Samuel Beckett’s oft-quoted injunction) better. This course aims to provide you with the tools and the strategies to do so. In addition to a selection from James’s New York edition prefaces, our supplemental readings may also include revisions of Evan Connell’s Mrs. Bridge, Elizabeth Bishop’s One Art, Joyce’s The Sisters, Raymond Carver’s What We Talk About When We Talk About Love, Grace Paley’s A Conversation with My Father, Edward P. Jones’s The First Day, and Flannery O’Connor’s The Geranium and Judgement Day, among many others.

“[O]ne’s plan, alas, is one thing and one’s result another,” Henry James says in the New York edition preface to The Wings of the Dove. We will try to think about what James calls, in that preface, “the gaps and the lapses” in our work, “the intentions that, with the best will in the world, were not to fructify,” “the absent values, the palpable voids, the missing links, the mocking shadows” that necessarily haunt any early draft, and our subsequent attempts to exorcise those specters. We will do this primarily by workshopping early drafts of student work alongside revisions of that work, examining the concrete way that each revision meets or fails to meet (or even re-conceptualizes entirely) the ambitions and requirements of its earlier incarnation. Our assumption will be that most drafts—especially early ones—are largely failures, pocked with the Jamesian voids and lacunae mentioned above. Anyone can fail in this manner, of course—anybody can produce a disastrous first draft—but few are capable of failing (to use Samuel Beckett’s oft-quoted injunction) better. This course aims to provide you with the tools and the strategies to do so.

This workshop will focus on the short story. We will begin with Frank O’Connor’s claim, in his introduction to The Lonely Voice, that the short story is a form defined not by its length so much as by its subject matter—what he calls the lives of “submerged population groups,” individuals in their loneliness for whom a “normal society is the exception rather than the rule.” In other words: rebels, losers, the lonely, the lost, the marginalized, the dispossessed. In addition to workshopping student writing, we will examine relatively recent short story collections in the interest of thinking further about the form and its possibilities. Each week we will workshop up to two student manuscripts and discuss one short story collection. A familiarity with canonical short story collections—James Joyce’s Dubliners, Sherwood Anderson’s Winesburg, Ohio, and Ernest Hemingway’s In Our Time, et al.—is recommended. Depending upon the interests of the class, our readings may be drawn from the following list of titles: Alice Munro’s Open Secrets, Aleksandr Hemon’s The Question of Bruno, Lorrie Moore’s Birds of America, Edward P. Jones’ Lost in the City, Denis Johnson’s Jesus’ Son, Bryan Washington’s Lot, Junot Diaz’s Drown, Alistair MacLeod’s Island, Sherman Alexie’s Ten Little Indians, Jenny Zhang’s Sour Heart, George Saunders’ Pastoralia, Ottesa Moshfegh’s Homesick for Another World, James Kelman’s Translated Accounts, Grace Paley’s Enormous Changes at the Last Minute, Joan Silber’s Ideas of Heaven, Charles Baxter’s Believers, and Colin Barrett’s Young Skins.