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Showing 25 Results of 7318

Reading and Knitting the Forested Landscape — BIO2242.01

Spring 2025
Instructor: Caitlin McDonough MacKenzie
Days & Time:
Credits: 4
Why would a forest ecology course include an assignment to knit a wool hat? In this class we will explore the lasting impact of sheep on the Vermont landscape, from the earliest settler-colonizers through today’s small batch fiber mills and second growth forests studded with stone walls. Sheep, and especially a 19th century boom in merino sheep, radically altered Vermont’s
Science and Mathematics Environment

Reading and Knitting the Forested Landscape — BIO2242.01

Spring 2026
Instructor: Caitlin McDonough MacKenzie
Days & Time: MO,TH 1:40pm-3:30pm
Credits: 4

Why would a forest ecology course include an assignment to knit a wool hat? In this class we will explore the lasting impact of sheep on the Vermont landscape, from the earliest settler-colonizers through today’s small batch fiber mills and second growth forests studded with stone walls. Sheep, and especially a 19th century boom in merino

Environment Biology

Reading and Knitting the Forested Landscape — BIO2242.01

Spring 2024
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
Why would a forest ecology course include an assignment to knit a wool hat? In this class we will explore the lasting impact of sheep on the Vermont landscape, from the earliest settler-colonizers through today’s small batch fiber mills and second growth forests studded with stone walls. Sheep, and especially a 19th century boom in merino sheep, radically altered Vermont’s
Science and Mathematics Environment

Reading and Writing Dirty Realism — LIT4136.01

Spring 2018
Instructor: Annie DeWitt
Days & Time:
Credits: 4
In his review of Amy Hempel's story collection The Dog of The Marriage, New York Times book critic D.T. Max aptly wrote, "It's said that the music you hear when you are first sexually active is the music you keep wanting to hear your whole life." Often nicknamed, the "dirty realists," writers such as Hempel, have long had to defend the inherent breadth of their "miniaturist"
Literature

Reading and Writing Fiction Nonfiction: The Emergence of Prose — LIT4333.01

Spring 2025
Instructor: Carly Rudzinski
Days & Time:
Credits: 4
The purpose of this workshop is to focus in on what brings us to writing. Beyond familiar objectives such as “I want to write a novel” or “I’m a poet working on poems” or “I want to write about the time this happened to me or to my family or in my country,” we will go further in to ask how do we want to feel while we’re writing? What do we want to experience at the
Literature

Reading and Writing Fiction: Lies, Spies Private Eyes — LIT4537.01

Fall 2021
Instructor: Manuel Gonzales
Days & Time:
Credits: 4
By digging into the works of contemporary crime and thriller novelists, we will explore notions of narrative tension, good mystery versus bad mystery, red herrings, unreliable narrators, complex plots, anti-heroes, slick villains, the falsely accused and the downtrodden, not to mention the dark alleyways and the hidden compartments of fiction. How do these authors manipulate
Literature

Reading and Writing Fiction: Space and Place — LIT4508.01

Spring 2022
Instructor: Paul La Farge
Days & Time:
Credits: 4
Some writers invent houses; some invent cites; others invent worlds. What do these different kinds of space express? In this class, we’ll think about the way fiction writers make use of real and imagined geographies, and how the representation of space constructs a social order: upstairs vs. downstairs, wilderness vs. civilization, oriented vs. disoriented. How, in narrative
Literature

Reading and Writing Human Frailty — LIT4343.01

Fall 2017
Instructor: Elisa Albert
Days & Time:
Credits: 4
Via a survey of mostly contemporary short fiction and close examination of our own efforts, we'll discuss voice, structure, plot, pacing, and most especially language.  We'll question our own unique narrative priorities and trouble the waters with regard to the ethical duties of storytelling.  We’ll interrogate how we as readers are forced to confront discomfort,
Literature

Reading and Writing Literary Journalism — LIT4141.01

Spring 2020
Instructor: Benjamin Anastas
Days & Time:
Credits: 4
With the practice of journalism undergoing its most profound changes since the invention of the television, this course will steep students in the traditions of criticism, literary non-fiction, reporting and cultural journalism that thrived during the golden age of print and have persisted in the Internet era. We’ll work our way through literary criticism from Robert Boswell to
Literature

Reading and Writing Nonfiction: Ambience, Architecture, Environment — LIT4389.01

Fall 2023
Instructor: An Duplan
Days & Time:
Credits: 4
The places where our stories take place have the power to dramatically change our experiences of those stories. In other words, it’s not just about the people in our narratives, or about dialogue, or even about accurately describing our inner worlds, what we think and perceive. When we read, we are also looking to be located, to be placed somewhere. We can think of places
Literature

Reading and Writing Nonfiction: Archival Work — LIT4601.01

Spring 2025
Instructor: An Duplan
Days & Time:
Credits: 4
The archive––and using archival materials as the generative basis for creative output––is having a moment. The visionary scholar-writer Saidiya Hartman has popularized once unknown terms like “critical fabulation” and “documentary poetics” through genre bending works like Wayward Lives, Beautiful Experiments and erasure projects like poet Nicole Sealey’s The Ferguson Report: an
Black Studies Literature

Reading and Writing Nonfiction: Childhood and Its Aftermaths — LIT4521.02

Fall 2020
Instructor: Michael Dumanis
Days & Time:
Credits: 4
In this course, we will read and write nonfiction that, while not entirely focused on childhood, examines the self and present circumstance through a reexamination of the child self. Through reading works such as When You Learn the Alphabet by Kendra Allen, Heart Berries by Terese Maire Mailhot, What About the Rest of Your Life by Sung Yim, The Boys of My Youth by Jo Ann Beard,
Literature

Reading and Writing Nonfiction: Childhood and Its Aftermaths — LIT4521.01

Fall 2024
Instructor: Jenny Boully
Days & Time:
Credits: 4
In this course, we will read and write nonfiction that, while not entirely focused on childhood, examines the self and present circumstance through a reexamination of the child self. Through reading works such as When You Learn the Alphabet and Fruit Punch by Kendra Allen, Heart Berries by Terese Maire Mailhot, What About the Rest of Your Life by Sung Yim, The Boys of My Youth
Literature

Reading and Writing Nonfiction: Dreamwork — LIT4385.01

Spring 2024
Instructor: Jenny Boully
Days & Time:
Credits: 4
Dreams are oft-dismissed. As a society, we are told that no one is interested in dreams, to not share dreams, that the dreams of others are boring. This course aims to resurrect the dream, to return it to what it used to be regarded as: a vision, a message, a form of meaning, a puzzle to solve, work to be done, mirrors to face--in other words, this course will treat dreams no
Literature

Reading and Writing Nonfiction: Mourning and Grief — LIT4458.01

Spring 2023
Instructor: Jenny Boully
Days & Time:
Credits: 4
The elegy is typically understood as a poetic form which laments the dead: how might the elegiac essay or memoir work toward or away from the poetic tradition? What might be the qualities of the prose elegy? We will read works such as Chimamanda Ngozi Adichie’s Notes on Grief, Naja Marie Aidt’s When Death Takes Something From You Give It Back: Carl’s Book, Thirii Myo Kyaw Myint
Literature

Reading and Writing Nonfiction: The Interrotronic Essay: Films of Errol Morris — LIT4609.01

Fall 2025
Instructor: Jenny Boully
Days & Time: TU 2:10pm-5:50pm
Credits: 4

Errol Morris is a filmmaker who is obsessed with his obsessions: his cinematic essays veer towards subjects who themselves are consumed by their own fanaticism. In this class, we will study several films and series that center on what others may simply refer to as “eccentrics,” subjects who, despite knowing that their obsessions may ultimately lead to devastation,

Literature

Reading and Writing Poetry — LIT4313.01

Fall 2017
Instructor: Mark Wunderlich
Days & Time:
Credits: 4
Writing poems is not about the expression of the emotions of the writer, but about creating complex, individual works of art that manipulate the emotions of the reader.  In this course we will study the effects of tone, musicality, rhetoric and prosody as they move through a chosen subject, discussing the most effective and artful ways to make poems worthy of the gift of a
Literature

Reading and Writing Poetry — LIT4313.01

Spring 2014
Instructor: Michael Dumanis
Days & Time:
Credits: 4
Students will examine the choices other writers make in their work, through reading a range of selections in contemporary and 20th-century poetry. We will also devote time to discussions of prosody, poetic form, and structure. We will then examine the choices we ourselves make in our work and turn in a new poem every week, each generated through a assignment or prompt. Students
Literature

Reading and Writing Poetry — LIT4313.01

Spring 2016
Instructor: Michael Dumanis
Days & Time:
Credits: 4
Students will examine the choices other writers make in their work, through reading a range of selections in contemporary and 20th-century poetry. We will also devote time to discussions of prosody, poetic form, and structure. We will then examine the choices we ourselves make in our work and turn in a new poem every week, each generated through an assignment or prompt.
Literature

Reading and Writing Poetry in the Age of Social Media — LIT4254.01

Fall 2014
Instructor: alex dimitrov
Days & Time: TBA
Credits: 4
This course is a writing workshop designed to investigate, challenge, and use contemporary methods of production and distribution of poetry. Working on the page and online, we will write and read poems in relationship to online culture, popular culture, social media (Facebook, Twitter, Tumblr, Instagram) and platforms of communication such as texts messages, email, YouTube, etc
Literature

Reading and Writing Poetry: Conjuring El Duende — LIT4147.01

Spring 2023
Instructor: An Duplan
Days & Time:
Credits: 4
For Federico García Lorca, the duende was an elusive, powerful aspect of the poem. Poetry that embodies the duende carries within it the capacity to transmit life’s most tragic and enraptured states. The duende is the mark of a fully realized poetics. As poets, then, what does it mean to channel Lorca’s duende into our own writing? Is Lorca’s creative ecstasy possible for us
Literature

Reading and Writing Poetry: First Book, Last Book—Considering Prosodic Evolution — LIT4279.01

Spring 2017
Instructor: Michael Dumanis
Days & Time:
Credits: 4
We will focus on the first (or near-first) and last (or near-last) book of several authors of poetry with an intense exploration and dissection of the prosodic tools deployed in each book. We will investigate and compare/contrast the structure of the books including order of poems, sections and section titles, and how the poems themselves are written. Each author will also be
Literature

Reading and Writing Poetry: Games and Experiments — LIT4387.01

Spring 2024
Instructor: Franny Choi
Days & Time:
Credits: 4
As poets, we're often conducting little experiments on the page: What happens if I break the line here? Can I make this a sestina? How many rhymes is too many rhymes? In this advanced poetry workshop, we will dig into the experimental impulse and explore rigorous play as a method for expanding our artistic capabilities. We will use games, missions, kinetic activities, and
Literature

Reading and Writing Poetry: Image and Detail — LIT4536.01

Fall 2021
Instructor: Michael Dumanis
Days & Time:
Credits: 4
This poetry workshop focuses on the ways writers deploy language to achieve precision, vividness, sensory richness, singularity, and emotional resonance. We will begin by developing an understanding of the difference between a detail and a visual image, and the distance between the abstract concept of a thing and the sense of the concrete thing itself. We will go on to explore
Literature

Reading and Writing Poetry: Image and Detail — LIT4536.01

Spring 2025
Instructor: Michael Dumanis
Days & Time:
Credits: 4
This poetry workshop focuses on the ways writers deploy language to achieve precision, vividness, sensory richness, singularity, and emotional resonance. We will begin by developing an understanding of the difference between a detail and a visual image, and the distance between the abstract concept of a thing and the sense of the concrete thing itself. We will go on to explore
Literature