Writing the Lyric Essay: When Poetry and Nonfiction Play
Self-guided five-week group course begins July 6th
Early bird price through June 8th
This course provides you access to five weeks of readings, written lectures, discussion questions, and opportunities to interact with peer writers. There is no instructor feedback in this self-guided course.
Some of the most artful work being done in essay today exists in a liminal space that touches on the poetic. In this course, you will read and write lyric essays (pieces of creative nonfiction that move in ways often associated with poetry) using techniques such as juxtaposition; collage; white space; attention to sound; and loose, associative thinking. You will read lyric essays that experiment with form and genre in a variety of ways (such as the hermit crab essay, the braided essay, multimedia work), as well as hybrid pieces by authors working very much at the intersection of essay and poetry. The materials will engender an attitude of play, openness, and communal exploration into the possibilities of the lyric essay. You will explore your own definitions and methods, even as you study the work of others for models and inspiration. Whether you are an aspiring essayist interested in infusing your work with fresh new possibilities, or a poet who wants to try essay, this course will have room for you to experiment and play.
How it works:
Students go through the course on their own schedule on the Wet Ink platform online, interacting with other students in writing. You will receive instructions about how to access the course online the day before it is set to open.
Each week provides:
discussions of assigned readings and other general writing topics with peers
written lectures and a selection of readings
Some weeks also include:
the opportunity to submit two essays of 1000 and 2500 words each for peer comments
additional optional writing exercises
WEEK 1: LYRIC MODELS: SPACE AND COLLAGE
In this first week, we’ll consider definitions and models for the lyric essay. You will read contemporary pieces that straddle the line between personal essay and poem, including work by Toi Derricotte, Anne Carson, and Maggie Nelson. In exercises, you will explore collage and the use of white space.
WEEK 2: EXPERIMENTS WITH FORM: BRAIDED ESSAY AND HERMIT CRAB ESSAY
We will build on our discussion of collage and white space, looking at examples of the braided essay. We’ll also examine the hermit crab essay, in which writers “sneak” personal essays into other forms, such as a job letter, shopping list, or how-to manual. You’ll experiment with your own braided pieces and hermit crab pieces and turn in the first assignment.
WEEK 3: LYRIC VIGNETTE AND THE PROSE POEM
Prose poems will often capture emotional truths using juxtaposition, hyperbole, and absurd or surreal leaps of logic. This week, we’ll investigate how lyrical vignettes can stay true to actual events while employing some of the lyrical, dreamlike, and/or absurd qualities of the prose poem to communicate the wonder and mystery of life.
WEEK 4: WITNESSING THE SELF: ESSAYS BY POETS
Poet Larry Levis has written of the poet as witness, as temporarily emptied of personality but simultaneously connected to a self, a “gazer.” Personal essays by poets retain something of this quality. Examining essays by poets such as Ross Gay, Lucia Perillo, Amy Gerstler, and Elizabeth Bishop, we’ll look at moments of connection and disconnection. Guided exercises will help you find and craft your own such moments.
WEEK 5: HYBRID FORMS AND THE DOCUMENTARY IMPULSE
As we wrap up the course, we will continue investigating the possibilities inherent in straddling and combining genres as we explore multimedia work, as well as work in the “documentary poetics” vein. We will look to writers like Claudia Rankine and Bernadette Mayer, and Alison Bechdel for models of what is possible creatively when we observe ourselves as social beings moving through time, collecting text, images, and observations. Students will also have to opportunity to turn in a final essay for peer feedback.
Self-guided five-week group course begins July 6th
Early bird price through June 8th
This course provides you access to five weeks of readings, written lectures, discussion questions, and opportunities to interact with peer writers. There is no instructor feedback in this self-guided course.
Some of the most artful work being done in essay today exists in a liminal space that touches on the poetic. In this course, you will read and write lyric essays (pieces of creative nonfiction that move in ways often associated with poetry) using techniques such as juxtaposition; collage; white space; attention to sound; and loose, associative thinking. You will read lyric essays that experiment with form and genre in a variety of ways (such as the hermit crab essay, the braided essay, multimedia work), as well as hybrid pieces by authors working very much at the intersection of essay and poetry. The materials will engender an attitude of play, openness, and communal exploration into the possibilities of the lyric essay. You will explore your own definitions and methods, even as you study the work of others for models and inspiration. Whether you are an aspiring essayist interested in infusing your work with fresh new possibilities, or a poet who wants to try essay, this course will have room for you to experiment and play.
How it works:
Students go through the course on their own schedule on the Wet Ink platform online, interacting with other students in writing. You will receive instructions about how to access the course online the day before it is set to open.
Each week provides:
discussions of assigned readings and other general writing topics with peers
written lectures and a selection of readings
Some weeks also include:
the opportunity to submit two essays of 1000 and 2500 words each for peer comments
additional optional writing exercises
WEEK 1: LYRIC MODELS: SPACE AND COLLAGE
In this first week, we’ll consider definitions and models for the lyric essay. You will read contemporary pieces that straddle the line between personal essay and poem, including work by Toi Derricotte, Anne Carson, and Maggie Nelson. In exercises, you will explore collage and the use of white space.
WEEK 2: EXPERIMENTS WITH FORM: BRAIDED ESSAY AND HERMIT CRAB ESSAY
We will build on our discussion of collage and white space, looking at examples of the braided essay. We’ll also examine the hermit crab essay, in which writers “sneak” personal essays into other forms, such as a job letter, shopping list, or how-to manual. You’ll experiment with your own braided pieces and hermit crab pieces and turn in the first assignment.
WEEK 3: LYRIC VIGNETTE AND THE PROSE POEM
Prose poems will often capture emotional truths using juxtaposition, hyperbole, and absurd or surreal leaps of logic. This week, we’ll investigate how lyrical vignettes can stay true to actual events while employing some of the lyrical, dreamlike, and/or absurd qualities of the prose poem to communicate the wonder and mystery of life.
WEEK 4: WITNESSING THE SELF: ESSAYS BY POETS
Poet Larry Levis has written of the poet as witness, as temporarily emptied of personality but simultaneously connected to a self, a “gazer.” Personal essays by poets retain something of this quality. Examining essays by poets such as Ross Gay, Lucia Perillo, Amy Gerstler, and Elizabeth Bishop, we’ll look at moments of connection and disconnection. Guided exercises will help you find and craft your own such moments.
WEEK 5: HYBRID FORMS AND THE DOCUMENTARY IMPULSE
As we wrap up the course, we will continue investigating the possibilities inherent in straddling and combining genres as we explore multimedia work, as well as work in the “documentary poetics” vein. We will look to writers like Claudia Rankine and Bernadette Mayer, and Alison Bechdel for models of what is possible creatively when we observe ourselves as social beings moving through time, collecting text, images, and observations. Students will also have to opportunity to turn in a final essay for peer feedback.
Self-guided five-week group course begins July 6th
Early bird price through June 8th
This course provides you access to five weeks of readings, written lectures, discussion questions, and opportunities to interact with peer writers. There is no instructor feedback in this self-guided course.
Some of the most artful work being done in essay today exists in a liminal space that touches on the poetic. In this course, you will read and write lyric essays (pieces of creative nonfiction that move in ways often associated with poetry) using techniques such as juxtaposition; collage; white space; attention to sound; and loose, associative thinking. You will read lyric essays that experiment with form and genre in a variety of ways (such as the hermit crab essay, the braided essay, multimedia work), as well as hybrid pieces by authors working very much at the intersection of essay and poetry. The materials will engender an attitude of play, openness, and communal exploration into the possibilities of the lyric essay. You will explore your own definitions and methods, even as you study the work of others for models and inspiration. Whether you are an aspiring essayist interested in infusing your work with fresh new possibilities, or a poet who wants to try essay, this course will have room for you to experiment and play.
How it works:
Students go through the course on their own schedule on the Wet Ink platform online, interacting with other students in writing. You will receive instructions about how to access the course online the day before it is set to open.
Each week provides:
discussions of assigned readings and other general writing topics with peers
written lectures and a selection of readings
Some weeks also include:
the opportunity to submit two essays of 1000 and 2500 words each for peer comments
additional optional writing exercises
WEEK 1: LYRIC MODELS: SPACE AND COLLAGE
In this first week, we’ll consider definitions and models for the lyric essay. You will read contemporary pieces that straddle the line between personal essay and poem, including work by Toi Derricotte, Anne Carson, and Maggie Nelson. In exercises, you will explore collage and the use of white space.
WEEK 2: EXPERIMENTS WITH FORM: BRAIDED ESSAY AND HERMIT CRAB ESSAY
We will build on our discussion of collage and white space, looking at examples of the braided essay. We’ll also examine the hermit crab essay, in which writers “sneak” personal essays into other forms, such as a job letter, shopping list, or how-to manual. You’ll experiment with your own braided pieces and hermit crab pieces and turn in the first assignment.
WEEK 3: LYRIC VIGNETTE AND THE PROSE POEM
Prose poems will often capture emotional truths using juxtaposition, hyperbole, and absurd or surreal leaps of logic. This week, we’ll investigate how lyrical vignettes can stay true to actual events while employing some of the lyrical, dreamlike, and/or absurd qualities of the prose poem to communicate the wonder and mystery of life.
WEEK 4: WITNESSING THE SELF: ESSAYS BY POETS
Poet Larry Levis has written of the poet as witness, as temporarily emptied of personality but simultaneously connected to a self, a “gazer.” Personal essays by poets retain something of this quality. Examining essays by poets such as Ross Gay, Lucia Perillo, Amy Gerstler, and Elizabeth Bishop, we’ll look at moments of connection and disconnection. Guided exercises will help you find and craft your own such moments.
WEEK 5: HYBRID FORMS AND THE DOCUMENTARY IMPULSE
As we wrap up the course, we will continue investigating the possibilities inherent in straddling and combining genres as we explore multimedia work, as well as work in the “documentary poetics” vein. We will look to writers like Claudia Rankine and Bernadette Mayer, and Alison Bechdel for models of what is possible creatively when we observe ourselves as social beings moving through time, collecting text, images, and observations. Students will also have to opportunity to turn in a final essay for peer feedback.