Meredith Talusan

BA, Harvard University. MFA, California College of the Arts. MFA, MA, Cornell University. Author of Fairest: A Memoir, a Lambda Literary Award finalist, and contributor to several fiction and essay collections. Features, essays, and fiction have appeared in The New York Times, The Guardian, The Atlantic, Guernica, The Boston Review, The New Inquiry, Catapult, Literary Hub, and others. Recipient of awards from GLAAD, The National Gay and Lesbian Journalists Association, and The Society for Professional Journalists. SLC, 2022–

Graduate Courses 2021-2022

MFA Writing

Dance as Writing—Nonfiction Craft

Craft—Spring

This craft class, open to writers of any genre, will use methods derived from the world of dance to explore new ways to generate and revise compelling writing. Shifting back and forth between dance studio and seminar table, movement will be our starting point in finding connections between physical embodiment and literary expression—which will allow us to reexamine our writing practice. Areas of dance and performance from which we will draw and that overlap with writing concerns include techniques for heightening physical perception, movement through space as a gateway to memory, dance as a method for accessing heritage, the use of randomness in composition, and choreography derived from improvisation, as well as relationships between dance and nature. While the emphasis of the class will be on using movement to find new approaches to writing, participants are more than welcome to bring in works-in-progress and their own existing methods. For inspiration and insight, we will watch works choreographed by Merce Cunningham, Trisha Brown, Bill T. Jones, Jiří Kylián, Donna Uchizono, and Pina Bausch, among others, and reading from works that reflect on dance and performance such as Paul Valery’s Philosophy of the Dance, Alan Lightman’s Pas de Deux, Colum McCann’s Dancer, Zadie Smith’s Swing Time, Caroline Brown’s Chance and Circumstance, Cecilia Vicuña’s Instan, and Cathy Park Hong’s Dance Dance Revolution. A background (or perceived ability) in dance is absolutely not required.

Faculty

Previous Courses

MFA Writing

Dance as Writing—Nonfiction Craft

Craft—Spring

This craft class, open to writers of any genre, will use methods derived from the world of dance to explore new ways to generate and revise compelling writing. Shifting back and forth between dance studio and seminar table, movement will be our starting point in finding connections between physical embodiment and literary expression—which will allow us to reexamine our writing practice. Areas of dance and performance from which we will draw and that overlap with writing concerns include techniques for heightening physical perception, movement through space as a gateway to memory, dance as a method for accessing heritage, the use of randomness in composition, and choreography derived from improvisation, as well as relationships between dance and nature. While the emphasis of the class will be on using movement to find new approaches to writing, participants are more than welcome to bring in works-in-progress and their own existing methods. For inspiration and insight, we will watch works choreographed by Merce Cunningham, Trisha Brown, Bill T. Jones, Jiří Kylián, Donna Uchizono, and Pina Bausch, among others, and reading from works that reflect on dance and performance such as Paul Valery’s Philosophy of the Dance, Alan Lightman’s Pas de Deux, Colum McCann’s Dancer, Zadie Smith’s Swing Time, Caroline Brown’s Chance and Circumstance, Cecilia Vicuña’s Instan, and Cathy Park Hong’s Dance Dance Revolution. A background (or perceived ability) in dance is absolutely not required.

Faculty