Tutors: Professor David Vann, Mr Will Eaves
Prof. David Vann Office: Millburn House; Will Eaves Office: Millburn House
Please Note: There are three groups for EN910 this year. Professor Vann will be taking two of them; Will Eaves will be taking the other. The classes for all three groups will be substantively the same in length and format and the requirements for submission of original work will be identical, but Will Eaves will use different texts.
Scroll down the page for Mr Eaves’s remarks and directed reading list.
This course involves the writing and study of short fiction. A short story is a compressed, cohesive, and paranoid world. We’ll analyze the rules of that paranoia and also consider departures and surprises. We’ll work toward a consistent, flexible, and detailed vocabulary of craft, a language for understanding and discussing characterization, dramatic arc, subtext, theme, signs and symbols, point of view, style, tone, setting and imagery, etc. For raw material, we’ll read a range of short stories and a few novel excerpts, a personal essay and a poem. We’ll also workshop your own work.
The writing requirements, totaling 10,000 words, are two new short stories (both of which will be workshopped) and a critical essay of 2,000 words. You must write new work (and no ‘multiple submission’ or ‘group work’ allowed).
I’ll email the published readings to you as PDFs or Word files. I’ve kept the number of pages fairly light, and I’ll expect you to read each of the selections twice, the first time for its effects and the second to look more carefully at how it was made.
Finally, you’ll be reading the works in progress of your peers, and I’ll expect you to comment on these works with respect, hard intelligence, and thoroughness. You’ll need to read each piece up for workshop at least twice and offer a written comment as well as participate in the workshop discussion.
I don’t grade your pieces when you put them up for workshop but consider instead your final portfolio, which includes your two short stories and your critical essay. Here’s how the grade will be weighted:
Short stories: 75% together with
Your critical essay: 25%
Your two short stories are due as you come up for workshop (handed out to the class a week ahead of time), and your final portfolio, which includes your critical essay and your two stories, revised or unrevised (your choice), is due on one of the mysterious dates of your choosing provided by the system here (something like your choice of Feb, May, or never). Your final portfolio should not include new stories that I haven’t previously seen.
The module will be a good one only if all of us attend, arrive on time, and are well-prepared. Missing class really is unfair, also, to the students whose work is being discussed that day. So to put it more bluntly, your attendance at every class is required, and lateness is not appreciated, because it distracts. If there’s a problem, I reserve the right to drop you. If you have a real excuse to miss class, I need notification by email at email@example.com. If you miss a class, it’s your responsibility to contact another student in class to find out what you missed and to make sure you’re prepared for the next class.
In our first two meetings, we’ll discuss published texts.
From our third meeting on, we’ll discuss one or two published texts per class and workshop your stories – three students per week. These will ideally be 10-15 pages (12 point double spaced). You’ll hand out copies of your story for workshopping one week before your workshop. You each have two workshops.
One more note on the readings. You’ll notice that most of these aren’t very recent. These are works that shaped my understanding of fiction, a kind of personal anthology, which is something you’ll need to find for yourself. So I’d like each of you to give a 5 minute presentation (and please don’t turn this into 10 minutes) on two or three authors you’re reading, explaining what it is you aspire to in their work and what their work has taught you about fiction. Given how literary influence works, you could possibly consider this the most important assignment in the course, though it’ll be ungraded.
Week One (Style and Description)
Proulx, from The Shipping News
McCarthy, from Blood Meridian
Robinson, from Housekeeping
Week Two (The Protagonist)
O’Connor, “Everything That Rises Must Converge”
Faulkner, “Barn Burning”
Nabokov, “Signs and Symbols”
Week Three (Dialogue and Structure)
Carver, “They’re Not Your Husband”
begin workshopping (three student stories each week)
Week Four (More Dramatic Structure)
Chekhov, “Lady with the Pet Dog”
Week Five (Voice)
Week Six (Breaking the Rules)
Wolff, “The Liar”
Week Seven (Drawing from other genres)
Baldwin, “Notes of a Native Son”
Bishop, “At the Fishhouses”
Week Eight (Novella)
Porter, “Noon Wine”
Week Nine (Magical Realism and Symbol)
Garcia Marquez, “Handsomest Drowned Man in the World”
Ozick, “The Shawl”
Week Ten (readings unassigned for now, to give me some flexibility)
Secondary reading list (mostly the full books that we’re reading excerpts from in the module)
Cormac McCarthy, Blood Meridian
Flannery O’Connor, The Complete Stories
Tobias Wolff, This Boy’s Life
Annie Proulx, The Shipping News
Marilynne Robinson, Housekeeping
James Baldwin, Notes of a Native Son
Gabriel Garcia Marquez, The Complete Stories (esp the Erendira collection)
Elizabeth Bishop, The Complete Poems
Junot Diaz, Drown
Jamaica Kincaid, “On Seeing England for the First Time” (great for tone)
Raymond Carver, Where I’m Calling From
Grace Paley, Enormous Changes at the Last Minute
FICTION WORKSHOP 1, Group Three: Mr Will Eaves, leader.
All of David Vann's remarks on the timetable/protocol of workshopping apply to this class.
I will provide you with text selections via email one week in advance, though I thoroughly recommend that you acquire your own copies of the relevant novels and short-story collections.
Week One (Thinking, Speaking, Writing)
Shirley Jackson, “Trial By Combat”
Shakespeare, Macbeth: Act 1, Scene V
Week Two (Situation and Character)
Guy de Maupassant, “Boule de Suif” and “The Devil”
Week Three (Narrative and Momentum)
Leo Tolstoy, “The Death of Ivan Ilyich”
Begin workshopping (three student stories each week)
Week Four (Scale and Experiment)
Hermann Melville, Moby-Dick
Diane Williams, Fine, Fine, Fine, Fine, Fine
Week Five (Wit, Anger, Tone)
Muriel Spark, A Far Cry from Kensington
Jeannette Winterson, Oranges Are Not the Only Fruit
Week Six (Constraints)
Tove Jansson, The Summer Book
Samuel Beckett, “Stirrings Still”
Week Seven (Ideas, Absurdity)
Woody Allen, “If the Impressionists Had Been Dentists”
Week Eight (Tension and Plausibility)
M. John Harrison, “Escapees” from Climbers
Texts for weeks nine and ten will be suggested in due course. After I've read your works-in-progress, I'll doubtless want to push/nudge you in certain directions and not others.
Shirley Jackson, The Lottery and Other Stories (Penguin Modern Classics)
Guy de Maupassant, Selected Short Stories (Penguin Classics)
M. John Harrison, Climbers; You Should Come With Me Now
Elizabeth Bishop, The Collected Poems; The Collected Prose
Elizabeth Hardwick, Sleepless Nights
Gustave Flaubert, Madame Bovary; Three Tales
Michelle de Kretser, The Life to Come
Marguerite Yourcenar, Memoirs of Hadrian
David Malouf, An Imaginary Life
Seamus Heaney (trans.), Beowulf
Alan Hollinghurst, The Sparsholt Affair
Jane Austen, Persuasion (but all of the novels, really)
Patricia Highsmith, A Suspension of Mercy; The Cry of the Owl
James Baldwin, Giovanni’s Room
Elmore Leonard, Maximum Bob; Rum Punch
Richard Ford, Canada
Michel Tournier, The Four Wise Men
Mary Renault, The Persian Boy
Danilo Kis, The Encylopaedia of the Dead
Joseph Mitchell, Up in the Old Hotel (journalism – but what journalism)
Eve Babitz, Eve’s Hollywood (unclassifiable gossip – but what gossip)
William Maxwell, All the Days and Nights
Samuel Beckett, The Complete Short Prose 1929–1989
Woody Allen, The Complete Prose