HUMS 603
Writing, Memory, and the Power of Place
Edwina Trentham
| Course Description | |
| For many writers, early memories are firmly rooted in a sense of place, and the imagery associated with this passionate involvement plays a powerful role in their work. For example, both Jean Rhys and Edwidge Danticat use the lush tropical settings of their childhood—the Windward Islands and Haiti respectively—in their novels, Wide Sargasso Sea and Breath, Eyes, Memory, to tell very different stories, but in each case place is an essential component of the story told. Similarly, a number of Elizabeth Bishop’s poems are set in Nova Scotia, where she spent the summers in her childhood, while images of Ireland are an integral part of many of Seamus Heaney’s poems, giving both their work a richness and individuality closely connected to the particular setting. By closely studying these writers, and others who use place as a primary source of their imagery, we will explore the complex interplay of place, imagery, narrative, character, and theme, in fiction and poetry. We will discover how our early memories of place can inform and enrich our writing, for if readers are to share the writer’s experience, they must, as Eudora Welty says, feel “the warm hard earth underfoot, the light and lift of air, the stir and play of mood, the softening bath of atmosphere that gives the likeness-to-life” so essential to good writing. | |
| Course Format | |
| The course is divided between reading and writing. We will spend part of the class time in large group discussion of the assigned short stories and poems. In addition to full class discussions, the class will be divided into three six-person groups, for work-shopping of student short stories and poems. For short stories, the groups are also divided into A and B groups, to avoid the impossible task of reading and commenting in detail on six short stories over a short period of time (see Course Calendar). Each of you will provide copies of your own stories and poems for group members and me, to take home, read, and respond to in detail and in writing, so that the work-shopping of stories and poems in subsequent classes can be substantive and helpful. I will be part of a different group for work-shopping, and will participate in the poetry writing half of the class. I will give written feedback on all student stories and poems and would be happy to meet with you individually at any time. I suggest that we switch groups after the short story discussion, so that you can get to know the work of other members of the class, but I will leave that decision to all of you.
The second to last class (August 8) will be devoted to putting together a collection of your poems and stories and the last class (August 10) is set aside for the public reading of your work. The due dates for reading short stories and poems (both assigned work and student work), and for writing short stories (6-10 pages) and poems, are listed on the course calendar, and those are firm dates. At the end of the semester, you will submit a portfolio of two stories and five poems, rewritten in response to group and class discussion and your own growing understanding of your voice as the semester goes on. The portfolio should include the original and the rewrite of those stories and poems, marked appropriately. I welcome suggestions about different ways to approach the reading and discussion, and will ask each group to bring in some examples of poems to add to the assigned reading (see Course Calendar). In addition to this request, I hope you will feel free to bring in any other additional examples of work that might enrich our discussion. We will be learning from each other. |
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| Course Texts | |
| Breath, Eyes, Memory by Edwidge Danticat Wide Sargasso Sea by Jean Rhys Stumbling into the Light by Edwina Trentham Seeing Things by Seamus Heaney Handouts: Selection of short stories and poems |
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| Course Calendar | |
| June 27 | Who are we, and why are we here? Overview of class and some in-class writing |
| June 29 | Welty, Mansfield, Joyce, Lessing short stories 1st short story, with copies, due from A half of Groups |
| July 4 | No class: Fourth of July! Have fun! |
| July 6 | Breath, Eyes, Memory Workshop A half 1st short stories 1st short story, with copies, due from B half of Groups |
| July 11 | Wide Sargasso Sea Workshop B half 1st short stories 2nd short story, with copies, due from A half of Groups |
| July 13 | Thomas, Bishop, Soto, and Song poems Workshop A half 2nd short stories 2nd short story, with copies, due from B half of Groups Examples of place poems due from groups |
| July 18 | Stumbling into the Light Workshop B half 2nd short stories First poem due with copies Change groups? |
| July 20 | Doty, Walcott, and poems selected by groups Workshop first poem in groups Second poem due with copies |
| July 25 | Seeing Things Workshop second poem in groups Third poem due with copies Discuss title for August 10 reading Design flyer for August 10 reading |
| July 27 | Continue discussion of Seeing Things Workshop third poem in groups Fourth poem due with copies |
| August 1 | Workshop fourth poem in groups Fifth poem due with copies Discuss title and cover for book |
| August 3 | Meet in Russell House Workshop Fifth poem Rehearsal for August 10 reading |
| August 8 | Bookmaking and Party! Copies and covers for book due. Portfolios due: Originals and finals of two stories and five poems |
| August 10 | Student reading at Russell House Be prepared to read your own work (5 minutes per student) Invite all your friends and relatives! Portfolios returned |