Selected Syllabi

Selected Past Syllabi
Sarah Rose Nordgren
• ENGL 1001: English Composition: Technology & Social Change p. 2

• ENGL 2002: Topics in Literature: Nature vs. Technology p. 10
• ENGL 2010: Introduction to Creative Writing p. 18
• ENGL 3033: Flash Fiction & Prose Poetry p. 26
• ENGL/EVST 3079: Creative Writing and the Environment p. 34
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English 1001-80: English Composition:
Technology & Social Change
TR 9:30am-10:50am
60 West Charlton, 119
Instructor: Sarah Rose Nordgren

Email: nordgrsr@mail.uc.edu
Office: McMicken Hall 112
Office Hours: TR 11am-12:30pm
Course Description
“I write entirely to find out what I’m thinking, what I’m looking for, what I see and what it means.”
--Joan Didion
Joan Didion’s statement suggests that writing, thinking, and understanding are intertwined. Writing--
in our case, composition--is about much more than expressing a thought, feeling, or opinion.
Composition is about using writing as a process: writing to explore the worlds we live in, writing to
make meaning of what we see, what we question, what we're curious about, or what we and others
care about.
Composition--writing an essay, for example--isn't the end, it's a means to an end. English 1001
is about reading and writing: how they relate to one another, and the different ways you can use
them to make sense of the world. To accomplish that, we’ll spend a lot of time studying rhetoric—the
effective use of language to inform, persuade, or entertain. And we’ll spend time developing skills in
critical reading, thinking, researching, and writing. The intellectual skills you’ll develop in this course
will help you in your academic writing at the university, but also in your future civic, social, and
professional endeavors.
In addition to those ideas, this semester we’ll also explore questions about technology & social change –
specifically, how can we understand the rhetoric of social change in the digital age? What are the
conventions, affordances, and impacts of new technologies on how we communicate about our
goals, our passions, our differences? How can we use rhetoric ethically and effectively to change the
world for the better?
Course Goals
• Understand the complexity of different kinds of arguments/issues.

• Read a text critically, recognizing its rhetorical strategies and understanding its content.
• Recognize that different writing situations call for different strategies.
• Develop an appropriate research project, discover and read sources, and write convincingly
and persuasively on that subject.
• Understand and demonstrate the ethical responsibility of the research writer to cite sources
and report findings accurately.
• Recognize that texts are in conversation with other texts—and that students can join that
conversation.
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Required Texts
Rule, Hanna, Michelle Holley, Janine Morris, and Carla Sarr, eds. Student Guide to English Composition
1001, 2014-2016. Plymouth, MI: Hayden-McNeil, 2015.
Ramage, John D., John C. Bean, and June Johnson. The Allyn & Bacon Guide to Writing: Concise
Edition. New York: Pearson-Longman, 2015.
Blackboard Handouts: Have handouts from Blackboard (BB) either printed or viewable on a tablet
or laptop screen (no phones). Sometimes I may specifically ask you to print.
Major Projects and Grades
English 1001 will be centered on five major writing projects — as listed in the table below. Each is
comprised of a number of components, including class activities, shorter writing assignments, drafts,
peer responses, proposals, research notes, and a major final paper (or the equivalent) for each
project. Each major assignment will vary in length, and you will receive details about expectations
and requirements for each assignment as we go.
Assignment Focus Percentage of

Final Grade
1. Texts in Action Using rhetorical analysis as a method to analyze a 15%
(TA) public argument.
2. Research Steps Learning and implementing ethical research skills 10%

(RS) to gather sources and ideas for a research project.
3. Researched Drawing upon research to make a rhetorical 30%

Argument Essay argument about an important public issue.
(RAE)
4. Media Recast Recasting your RAE (by changing the medium 15%
Project (MRP) using digital media and perhaps multi-modality)
to present your work to a new audience.
5. Final Reflection Final essay reflecting upon and synthesizing 10%

concepts from the course
Homework / Informal writings and drafts 10%
Informal
Participation In-class activities and workshops, contributing to 10%
class discussion, being prompt and prepared
TOTAL 100%
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Grade Scale and Policies
A 100-94% C 76-74%
A- 93-90 C- 73-70%
B+ 89-87 D+ 69-67%
B 86-84 D 66-63%
B- 83-80 D- 62-60%
C+ 79-77 F 59% and below
Other grading policies:
• You must complete all five of the individual major writing projects and also receive a passing grade
on the Researched Argument Paper in order to receive a grade of C or higher in the course.
• Specific criteria for each major assignment will be explained and developed in class. However, all
writing you produce in ENG 1001 should meet the following general criteria:
(a) The writing meets the requirements and parameters for the assignment
(b) the writing is intelligent, well-informed, respectful of others, grammatically competent
and stylistically fluent, well organized, and, most importantly, rhetorically effective for its
purpose, audience, and context.
(c) Formatting: the assignment follows MLA guidelines for formatting and citation.
NOTE: I will make an effort to be clear about expectations for each assignment, but by all
means – ask questions if you are unsure (before the assignment is due)!
• Participation is a vitally important component of ENG 1001, constituting a significant portion of

your grade for the course (10%). The primary avenues for successful participation include arriving
on time and prepared for class each day, regularly contributing to class activities and discussions
(asking questions, commenting, etc.), and participating in and upholding community guidelines. For
a participation grade in the A range: always be prepared, speak frequently (2-3 times per class
depending on time for discussion). For a grade in the C range: always be prepared for class,
contribute substantive comments occasionally and when called upon (1-2 per week), and be fully
engaged in class activities and workshops. For a grade above the F range: you will make an
occasional substantive contribution that shows preparedness, and will be attentive in class (not rude
or distracted). Unpreparedness will result in lower grades.
Other Course Policies
Community of Writers
In this class, everyone has the right to learn in a comfortable and safe environment. Please be
respectful of different viewpoints and approach disagreement in productive rather than destructive
ways. This class may ask you to engage in conversations and readings that will bring up complicated
issues, many of which are relevant to your lives. You will be asked to constructively respond to
writing by your peers with whom you disagree. I hope that you leave this class with an enhanced
sensitivity to rhetorical context and an acknowledgment that experience is diverse. Also, when you
come to class, turn your cell phone ringer off. Texting, checking social media, or being otherwise
distracted by your devices is disruptive to the community and disrespectful to your instructor and
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classmates. If I see you engaging in these practices in class, I will mark you absent for the day. Note:
Notify me in advance if you must keep your ringer on for emergency purposes.
Late Assignments
Assignments are due at the beginning of class. Turning assignments in on the due date helps to make
the class run more smoothly and is also in your best interest, as it assures that you will not fall
behind with the work required for this course and that you have sufficient time to revise and prepare
your drafts. However, unavoidable events may arise that would make following through on a
deadline impossible. Thus, the policy is:
1) If an assignment is going to be late due to an emergency, you will let the instructor know
in advance and make arrangements to turn in the work as soon as possible.
2) If an assignment is late without prior negotiation with me, each business day that it
remains outstanding will result in the lowering of the grade by five percentage
points.
Absences
Much of the learning in ENG 1001 happens through "engaged learning" in class, via in-class
activities, in-class writing assignments, class discussion, and group interaction that cannot be easily
made up or replicated outside of class. Class time will be highly interactive, requiring frequent
participation, discussion, team work, in-class writing, and responding to writing.
1) If you are unable to attend for whatever reason, you are responsible for getting the course
materials and completing the daily assignments. You will find a “buddy” in class whom you
can contact for questions about missed work.
2) Any late assignments due to absence will be assessed according to the policy above.
3) After three absences, your grade will be lowered by 2 percentage points per extra
absence unless otherwise negotiated in advance.
4) There is no distinction between “excused” and “unexcused” absences. (Exception: If you
will be absent due to a religious observance, military service, or university-organized reason,
please inform the instructor in writing in advance.)
Tardiness
Repeat and consistent tardiness is disruptive to the classroom environment and keeps you from fully
participating in the class. Excessive tardiness will lower your participation grade. That said, if you
must be tardy, be respectful of your peers and me. Enter quietly and see me after class to ensure you
are noted as present. For every three times you come to class tardy (10 minutes late), I will mark one
absence.
Academic Integrity/Plagiarism
Plagiarism is the act of presenting another person’s ideas as your own. It is considered plagiarism if a
student turns in another author’s work as his or her own, paraphrases the work slightly or uses
unique concepts without giving the original author credit. If you are ever in doubt, properly cite any
and all source materials used, and you can always run issues/questions by me before the assignment
is due. If you plagiarize your work, you will earn an automatic F and you will face severe University penalties.
DON’T DO IT. You can find the official policy on plagiarism on pgs. 17-19 of the Student Guide.
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Revision Policy
You may revise any of your major assignment as often as you wish after you’ve turned them in to
me and I’ve evaluated them. However, you must meet with me, in conference, to discuss your
revision plan. Revision is not editing but instead a thoughtful process wherein you re-think and re-
see your writing; therefore, I’ll expect more than superficial changes to your work. All revisions must
be submitted with previous drafts, new drafts, all informal writing toward revision, and a NEW
writer’s note that reflects on your revision process.
Severe Weather
Please check the UC Web site for information about severe weather closures. Sign up for alerts and
check your email! In the unlikely event that I have to cancel class when UC is officially open
(because of icy roads, etc), I will send out an email notification as soon as possible.
LGBTQ Safe Zone

You should consider our classroom and my office as LGBTQ Safe Zones: places where
students dealing with sexual orientation or gender identity issues can find affirmative support,
referrals, and information to help them. I am committed to working toward providing a safe,
confidential, and supportive network for students, faculty, and staff members of the LGBTQ
community and to treating everyone with dignity and respect.
Disclaimer
The class is flexible and subject to change because I ask for your input and gauge our progress as we
go. If you want information about future assignments for planning, just ask. I truly love writing,
teaching writing, and learning, so I absolutely welcome your ideas for making the class a better
experience for all of us.
Help Resources
Your classmates. Rely on one another for the questions you have regarding the readings, the work
we’re doing in class, software we may be using, etc. You all, both individually and as a collective,
embody a vast bank of knowledge and experiences.
Your instructor. I will do all I can to assist you in succeeding in this course. Feel free to meet with me
during my office hours or another scheduled time. Email is a reliable way to contact me and I will
try my best to respond in a timely manner.
Accessibility Resources. This course is intended for all UC students, including those with disabilities
(whether visible or non-visible). If, at any point in the term, you find yourself not able to fully access
the space, content, and experience of this course, you are welcome (and not required) to contact me
by email or during office hours to discuss your specific needs. I also encourage you to contact
Accessibility Resources office (https://www.uc.edu/campus-life/accessibility-
resources/resources.html ). If you have a diagnosis, Accessibility Resources can help you document
your needs and create an accommodation plan. By making a plan with them, you can ensure
appropriate accommodations without disclosing your condition or diagnosis to course instructors.
Academic Writing Center. The Academic Writing Center provides UC students with writing assistance.
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If you would like a trained writing tutor to help you get started on your writing assignment or review
your writing, make an appointment or stop in during the center’s drop-in hours:
http://www.uc.edu/aess/lac/writingcenter.html
Computers. 3 a.m. computer crisis? Remember that UC has 24-hour computer labs & printers. I will
not be printing things for you! http://labs.uc.edu/labHours.php
Counseling Services. Counseling & Psychological Services provides confidential counseling, outreach
programs, and related services for UC students. http://www.uc.edu/counseling.html
Course Schedule (subject to change)

A&B = The Allyn & Bacon Guide to Writing; SG = Student Guide; BB = Blackboard
TEXTS IN ACTION
Week 1
1/12 In class: Introduction to course and each other, in-class writing sample, Read
syllabus/policies, intro to Blackboard and texts, Buddy system.
1/14 Due: Read A&B pages 7-13 (Concept 1.2) and 48-50 (Concept 3.2), post response to
reading to BB Discussion Board.
In class: What is rhetoric? Rhetorical Appeals and the Rhetorical Situation (watch videos to
analyze).
Week 2
1/19 In class: Writing: personal reflection on use of rhetoric. Technology and Social Change
discussion.
1/21 Due: Read A&B 50-63 (Concepts 3.3 & 3.4) and complete “How We Read” microtheme
#1, option 1 (SG 67-68) in response to video, (post response on BB Discussion Board).
In class: Analyzing rhetoric (analyze videos in groups). Assign TA Paper.
Week 3
1/26 Due: Read essays for analysis, choose one and “mark up”/annotate
In class: Close reading of essays in groups, gathering evidence for thesis
1/28 Due: Read “Shitty First Drafts” (on BB), post response on Discussion Board
In class: Paper writing, building thesis, student examples
Week 4
2/2 No class, Paper conferences on first 2 pages of TA paper
2/4 No class, Paper conferences on first 2 pages of TA paper
Due: Scott Berkun Discussion Board post.
RESEARCHED ARGUMENT
Week 5
2/9 Due: Bring in 2 hard copies of revised/full paper for peer workshop
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In class: Sample Workshop, Peer Workshop
2/11 Due: Read A&B pp 342-358 and pp. 125-126, and complete “Determining a Research
Topic” activity in SG pp. 41-42 (post to BB Discussion Board).
In class: Brainstorm/free write about Tech and Social Change, introduce Research Steps
assignment, library prep.
Week 6
2/16 Due: Concept map (bring to library), TA Paper Final (with Writer’s Note) turned in on BB
In class: Library research session with Pam Bach, meet in Langsam Library 462
2/18 Due: Read A&B pp 202-223. Find at least three sources that support your views on your
topic, and three that challenge or disagree with your views.
In class: Argument strategies and elements, Debate!
Week 7
2/23 Due: Read A&B pp 131-134, and complete Annotated Bibliography assignment found on p.
43 of the SG. (post BB)
In class: Acknowledging Opposition (in class writing), Considering a Thesis (SG pp 47-48)
2/25 Due: Read A&B 222-228, create a tree diagram, outline, or flow chart for your main lines of
reasoning, as described on p 227.
In class: Logical Fallacies, Synthesizing Arguments, They Say/I Say Templates
Week 8
3/1 No class, Paper conferences (150 Word Abstract, 1 page of paper)
3/3 No class, Paper conferences (150 Word Abstract, 1 page of paper)
Week 9
3/8 Due: RA Drafts (2 hard copies for Peer Workshop Groups)
In class: Worst. Friend. Ever; Microtheme: Style (SG p. 71)
3/10 Due: Peer Workshop Letters

In class: Peer Workshop, paper mapping
MEDIA RECAST
Week 10
3/15 Due: Researched Argument Paper w/ Writers Letter (on BB); Read A&B pp 323-339
In class: Introduce Recast (Assignment details: SG pp. 56-8, Option #3), Yes We Can
3/17 Due: Brainstorm ideas

In class: Visit the STRC at Langsam Library
Week 11
3/22 No Class, Spring Break
3/24 No Class, Spring Break
Week 12
3/29 Due: Watch “Everything’s a Remix” video over break, post reflection on BB.
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In class: Discuss EAR, Student recast examples, create rubric
3/31 No Class, SR Professional Travel **(meet with peer response group for trouble shooting and
feedback)
Week 13
4/5 Due: Recasts & Rationale Papers
In class: Presentations & Discussion
4/7 In class: Presentations & Discussion
REVISION & REFLECTION
Week 14
4/12 Due: Bring laptops with your papers on them (or hardcopies)
In class: Revision strategies, Reflection assignment
4/14 In class: Course review and revision feedback
Week 15
4/19 In class: Course Evaluations, course review
4/21 Due: Optional Paper revisions

In class: Final Reflection in-class essay
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English 2002-002: Topics in Literature
Nature vs. Technology: Cyborgs, Androids, and Human Evolution
MW 11:15-12:10, F online
Clifton Court South, S20

Office Hours: MW 12:15-1:15pm or by appointment*
*when possible, schedule mtgs in advance
Course Description
Over the next fifteen weeks, we will explore the concepts of “nature” and “technology,” and the
various ways in which authors have conceived of the relationship between these two forces. When
do we see nature and technology in opposition to one another? When are we asked to choose
between them? When do seeming divisions between them become blurry or invisible? And has there
ever truly been a dividing line? As manmade technologies continue to develop at ever-increasing
rates, categories that we may have found useful in the past are distorting, shifting, and dissolving.
Throughout this course, we will close-read works in a variety of genres including fiction, essays,
drama, poetry, and film that approach these questions, all the while developing our understanding of
possible implications for our selves, our societies, the planet, and the evolution of humanity.
Required Texts
The Tempest, William Shakespeare
Frankenstein, Mary Shelley
Brave New World, Aldous Huxley
Engine Empire, Cathy Park Hong
Film/Video Resources
Her (film)
Transcendent Man (documentary)
*Additional Readings on BB course docs
Major Assignments/Requirements
You will write two formal essays for this class (4-5 and 6-8 pages)—one analyzing a selection from
the first half of the course, and one analyzing a selection from the second half of the course and
synthesizing ideas from the whole course. The first essay will be due around midterm and the
second will be due during finals week. (Assignment sheets detailing the expectations for these essays
will be distributed in class.)
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You will also complete regular informal writing assignments including Blackboard Discussion
board posts, in-class writings, and creative activities. You will receive these prompts along the way
and should expect to turn in some sort of informal writing assignments on a weekly basis. This
includes your posts for Online Fridays (see below).
As this is a hybrid class with both face-to-face and online elements, we will have Online Fridays
instead of meeting in person that day. We will use Online Fridays as an opportunity to continue
discussion of course themes in an informal, written format, and to connect course readings with
current issues and events that you encounter in your everyday life (or seek out for this purpose).
Each week, two or three of you will be scheduled to post a link to an article or artifact that you feel
connects to the course texts and concepts, along with a short (250 word) explanation of why it’s
relevant. The rest you will read both of these articles and write 250 word responses to them both,
and also continue the conversation by responding at least two more times (in posts of at least 75
words) to other’s responses. Articles/links are due by 11:15am on Fridays, responses are due
before midnight the same day. This should allow you to get the work done during the normal
class period if needed, but also gives you leeway through the evening.
I will administer approximately five reading pop quizzes over the course of the semester. These
quizzes will ask basic questions that anyone who has carefully completed the course reading for the
day should know (but someone who looks up a plot summary might not). The purpose of these
quizzes is to make sure you do the reading and understand basic plot and conceptual elements.
Reading quizzes will take place at the start of the class period and cannot be made up, though I will
drop your lowest score.
Towards the end of the semester, everyone in the class will give a critical or creative presentation
on a work of literature (which may include fiction, nonfiction, poetry, or film) we are not discussing
in class, and explore how this work connects with themes of the course. What is this work’s
approach to the relationship between nature and technology? How does it raise or answer questions
about our past, our present, or our future? You do not need to address all of our guiding issues, all
of these questions, or the entire text (for instance, you’re not responsible for an entire TV series or
an extra 300 page novel -- in a longer work, you may pick a representative section or issue that is
most relevant and interesting). How does this work expand our understanding of nature and
technology? How does the genre of the work affect its approach to the material? In addition to the
presentation, you will also write a brief summary of your presentation (1-2 pages) and your
discoveries, due on the day you present.
Finally, you are each responsible for being the Discussion Leader for one class session during the
semester, meaning that you will be the “expert” on the course reading for that day. You will come
to class with at least three good discussion questions, and will be prepared to identify key passages
that relate to those questions. You should also think about how the reading for the day fits into
larger questions and themes from the course, and is in dialogue with other course readings. You
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don’t have to “understand” everything from the reading to be an effective Discussion Leader. In
fact, asking thoughtful questions about places of confusion or disjunction in the text can be
wonderful starts to a discussion when thoughtfully posed. During the first week of class, we’ll co-
create the Discussion Leader schedule so that you’ll know when your assigned day falls and can plan
accordingly.
Grade Components
Midterm Essay (4-5 pages) 20%
Final Essay (6-8 pages) 25%
Informal Writing/Online 20%
Fridays
Reading Quizzes 10%
Presentation 10%
Discussion Leader 5%
Class Participation 10%
Grade Scale and Policies

A 100-94% C 76-74%
A- 93-90% C- 73-70%
B+ 89-87% D+ 69-67%
B 86-84% D 66-63%
B- 83-80% D- 62-60%
C+ 79-77% F 59% and below
• Specific criteria for each major assignment will be explained and developed in class. I will make an
effort to be clear about expectations for each assignment, but by all means – ask questions if you are
unsure (before the assignment is due)!
• Participation is a vitally important component of this class, constituting a significant portion of

your grade for the course (10%). The primary avenues for successful participation include arriving
on time and prepared for class each day and regularly contributing to class activities and discussions
(asking questions, commenting, etc.). For a participation grade in the A range: always be prepared,
and speak frequently (2-3 times per class depending on time for discussion). For a grade in the C
range: always be prepared for class, contribute substantive comments occasionally and when called
upon (1-2 per week), and be fully engaged in class activities and workshops. For a grade above the F
range: you will make an occasional substantive contribution that shows preparedness, and will be
attentive in class (not rude or distracted). Unpreparedness will result in lower grades.
Other Course Policies

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ways. This class may ask you to engage in conversations and readings that will bring up complicated
issues, many of which are relevant to your lives. I hope that you leave this class with an enhanced
sensitivity to one another, and an ability to think and converse about controversial and complex
issues with an attitude of openness, engagement, and respect for difference. Also, when you come to
class, turn your cell phone ringer off. Texting, checking social media, or being otherwise distracted
by your devices is disruptive to the community and disrespectful to your instructor and classmates.
If I see you engaging in these practices in class, I will mark you absent for the day. Note: Notify me
in advance if you must keep your ringer on for emergency purposes. That being said, it is acceptable
to bring readings or take notes on a laptop or tablet if that is your preferred method.
Late Assignments
behind with the work required for this course and that you have sufficient time to revise and prepare
your drafts. However, unavoidable events may arise that would make following through on a
deadline impossible. Thus, the policy is:
4) If an assignment is late without prior negotiation with me, each business day that it
remains outstanding will result in the lowering of the grade by three percentage
points.
Absences
Much of the learning in ENG 2002 happens through "engaged learning" in class, especially class
discussion, and group interaction cannot be easily made up or replicated outside of class.
5) If you are unable to attend for whatever reason, you are responsible for getting the course
materials and completing the daily assignments. You will find a “buddy” in class whom you
7) After three absences, your grade will be lowered by 2 percentage points per extra
absence unless otherwise negotiated in advance.
Tardiness
Repeated and consistent tardiness is disruptive to the classroom environment and keeps you from
fully participating in the class. Excessive tardiness will lower your participation grade. That said, if
you must be tardy, be respectful of your peers and me. Enter quietly and see me after class to ensure
13
you are noted as present. For every three times you come to class tardy (10 minutes late), I will mark
one absence.
unique concepts without giving the original author credit. If you are ever in doubt, properly cite any
and all source materials used, and you can always run issues/questions by me before the assignment
is due. If you plagiarize your work, you will earn an automatic F and you will face severe University penalties.
DON’T DO IT. You can find the official policy on plagiarism here:
https://www.uc.edu/conduct/Academic_Integrity.html
Severe Weather
LGBTQ Safe Zone

You should consider our classroom and my office as LGBTQ Safe Zones: places where
Disclaimer
Help Resources
we’re doing in class, etc. You all, both individually and as a collective, embody a vast bank of
knowledge and experiences.
14
Course Schedule (Subject to Change*)

*always check BB for the most current version
Man In Nature
Week 1: Jan. 9-13 M: Brief introduction to course, syllabus. Definitions of nature and technology,
human’s hybrid identity.
W: READ Origin Myths [course docs]: #s 1, 10, 14, 20, 21;
Origin myths discussion and writing assignment, writing and language as tech, create
Discussion Leader and Online Fridays schedules.
F: Online
Week 2: Jan 16*-20 M: *(no class Jan. 16, MLK’s birthday)

W: READ Montaigne and Rousseau Part 1 (pp. 10-23) [both on course docs]; Man
in Nature
F: Online
Technology as Magic
Week 3: Jan 23-27 M: READ The Tempest, introductory materials and Acts 1-2 (pp. v-47)
W: READ The Tempest, Acts 3-5
F: Online
Technology as Hubris
Week 4: Jan 30-Feb 3 M: READ Frankenstein Introduction (pp. xvii-xxii) and Volume 1 (pp. 5-64) (also
look up Prometheus on Wikipedia [course docs] if you’re unfamiliar with that myth.)
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W: READ Frankenstein Volume 2 (pp. 64-115)
F: Online
Week 5: Feb 6-10 M: READ Frankenstein Volume 3 (pp. 115-179)

W: READ Frankenstein Contexts: Spock (pp. 270-2), Shelley’s “Prometheus
Unbound” (pp. 319-21), “Frankentalk” (pp. 402-424), questions of bioethics.
F: Online
Technology as Dystopia
Week 6: Feb 13-17 M: READ Brave New World Chs 1-5; Utopia/Dystopia, discuss midterm paper
W: READ Brave New World Chs 6-11
F: Online
Week 7: Feb 20-4 M: READ Brave New World Chs 12-end; Brave New World today writing exercise
W: READ Reilly, “Sexualities and Technologies” [course docs];
F: Online
Cyborg Anthropology & The Singularity

Week 8: Feb 27-M 3 M: Optional paper draft conferences (outline and intro)
W: READ Haraway, “A Manifesto for Cyborgs” [course docs]; Cyborg
Anthropology
F: Online (overflow conferences if needed)
Week 9: Mar 6-10 M: READ Brush, “Discipline, Plasticity, and the Rhetoric of Choice” [course docs]
W: Midterm paper due, WATCH “Transcendent Man” [film, available to rent
cheaply from Amazon, Youtube, iTunes, etc.]; The Singularity
F: Online
Week 10: Mar 13-17 Spring Break
Visions: Tech as Human Dream

Week 11: Mar 20-4 M: READ Engine Empire, first two sections (pp. 19-61)
W: READ Engine Empire, finish
F: Online
Week 12: Mar 27-31 M: Creative/Critical Presentations, discuss final paper

W: Creative/Critical Presentations
F: Online
Week 13: Apr 3-7 M: Creative/Critical Presentations

W: Creative/Critical Presentations
F: Online
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Digital Humanity
Week 14: Apr 10-14 M: Heckman, “Electronic Literature as a Sword of Lightening” [course docs];
Electronic lit, computers writing lit
W: In class writing activities/games
F: Online
Week 15: Apr 17-21 M: WATCH “Her” [film, available to rent cheaply from Amazon, iTunes, etc.]. AI,
Farewells.
W: Optional paper conferences (outline and intro)
F: Online
Final Papers due by 5pm on April 27
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English 2010: Introduction to Creative Writing:
Poetry and Prose (Online)

Office Hours: MWF 12:15-1:15pm or by appointment*
Course Description:
“We are all apprentices in a craft where no one ever becomes a master.”–Ernest Hemingway
“There is some of kind inherent form in an idea, and I don’t think that I can find a way to let the idea
come out unless I get the right form.” –Anne Carson
This writing class will serve as an introduction to three major literary genres – poetry, short fiction,
and the literary essay. We will experiment in all three forms so that students can fill their writerly
toolboxes with techniques and skills that will help them best express their ideas and talents. The goal
isn’t to decide once and for all whether you are a poet, a fiction writer, or an essayist, but to discover
a wide range of tools available to a writer and begin developing some facility with them. In addition
to writing, we will also read a range of published works to discuss and use as models as we practice
“reading like writers,” and will end the course by producing a writing portfolio of revised work.
The course is comprised of three main components: the craftshop (wherein you’ll read published
works and discuss elements of craft), the workshop (wherein you’ll write essays, stories, and poems
and give feedback to your peers), and the portfolio (where you’ll use the new skills you’ve gained in
workshop and craftshop to produce a small collection of poems or a single, complete work of
prose). Students who dedicate themselves to all three of these course components will complete the
class with a deepened understanding of the three literary forms, an increased literacy in the
vocabulary of writing craft and the language of constructive criticism, and a body of work about
which they can be proud.
Note: This is an online course which means that the majority of work will be performed
independently. If you have trouble with self-motivation or staying on top of deadlines, or if you
aren’t excited by the idea of spending lots of time reading and writing, then this class may not be for
you!
Required Texts:
There are three required texts for this class, all of which can be purchased fairly inexpensively at the
UC Bookstore or online:
The Best American Essays 2015, edited by Ariel Levy

The Best American Short Stories 2015, edited by T.C. Boyle
The Best American Poetry 2015, edited by Sherman Alexie
18
The Best American anthologies will give us ample opportunities to discuss craft techniques and
expose us to a range of works by some of the best writers working in America today. Be sure to also
flip to the back of the books and find the extensive contributors notes where you can learn more
about the writers and their works.
Craftshop:
The regular weekly schedule will consist of a reading, a craftshop, and a workshop. The craftshop
portion of the class is where we’ll practice a different kind of reading analysis than you may be used
to – rather than just reading for entertainment or reading for scholarly interest, we’ll “read like
writers.” This means that we’ll discuss our weekly readings with a keen eye to how the writer is doing
what he/she does in the piece in question, and how we might learn from (or “steal”) various craft
techniques for our own purposes. After carefully reading each week’s selection from one of the
anthologies, you’ll read a short lecture and discussion board prompt that I’ll post there for you. Read
each week’s specific requirements carefully, but expect to write about 250-500 words in response to
each prompt by noon on Monday each week. You’ll also post a 25-50 word reply to the discussion
thread by Wednesday.
When I evaluate your performance on the craftshop discussion board, I’ll be looking for a high level
of engagement, an understanding of the assignment, and a professional, constructive tone. I also
expect all posts and replies to be written in complete sentences and proofread for grammar and
spelling. All work must be complete by the deadlines listed on the schedule; late work will not be
accepted without prior consultation. (Note: Please take a moment now to locate the discussion
board on Blackboard. Make sure you understand how forums and threads work.)
Workshop:
The workshop is where you’ll get to take the techniques we’ve discussed in craftshop and utilize
them in your own essays, stories and poems. Each week I’ll provide a specific writing prompt based
upon that week’s craft focus and reading, and you’ll generally be responsible for writing and posting
an original piece by noon on Wednesday. You can think of these weekly writing assignments as
exercises to help build and tone your writing muscles, but you can also think of them as “starts” or
early drafts for later development.
In addition, you’ll also read your classmates’ writing and provide helpful, supportive critiques of
their work by Friday every week. I will expect you to write a minimum of 50 words for this
component, but you may, of course, write more than that. So that everyone has access to at least
some feedback every week, please make an effort to spread your feedback around to people who
don’t yet have comments before adding your comments to a piece that’s already been critiqued by
others. I also ask that you refrain from commenting upon your own work or responding to others’
feedback on your work. You may ask clarifying questions if you need a peer to elucidate a comment,
but you should not jump in to explain or defend your work.
When I evaluate your performance on the workshop discussion board, I’ll be looking for a high level
of engagement, an understanding of the assignment, and a professional, constructive, tone. I also
spelling. Your grade will be determined both by your performance on the exercise and your response
to peer work. It’s important that we maintain an ethical balance in workshop. Students who regularly
receive feedback without offering feedback in exchange will notice a precipitous fall in their grades.
19
All work must be complete by the deadlines listed; late work will not be accepted without prior
consultation.
Portfolio:
The course will culminate with the opportunity to focus your energies on one genre of your
choosing, giving you a chance to further investigate the form that best suits your interests and
talents. If you want to consult with me about this decision, you’re welcome to, though it’s ultimately
your choice. However, even though the portfolio isn’t due until the end of the semester doesn’t
mean you should wait until the final weeks of class to think about it. You should begin pondering
and working on your portfolio from the early days of the semester regardless of what’s due for
craftshop and workshop on a weekly basis. Depending on what genre you choose, you will create
one of the following:
v NONFICTION: A non-fiction manuscript will contain a fully developed literary essay that is
at least 10 pages in length. Essays must be complete, formatted as if prepared for submission
to a literary journal, and show signs of substantive revision. Non-fiction manuscripts must
also include a 1-page revision letter.
v FICTION: A fiction manuscript will contain a short story that is at least 10 pages in length.
Stories must be complete, formatted as if prepared for submission to a literary journal, and
show signs of substantive revision. Fiction manuscripts must also include a 1-page revision
letter.
v POETRY: A manuscript of 8-10 original poems, with no single poem being over two pages
in length. All poems should be formatted as if prepared for submission to a literary journal;
all poems must show signs of substantive revision. Poetry manuscripts must also include a 1-
page introduction and a 1-page revision letter.
(Note: Hybrid genre portfolios are also an option under the condition that the ideas for the work
necessitate an exploration of the lines between genres. Please contact me in advance of the portfolio
draft deadline if you want to propose such a project.)
More information about Portfolio formatting and expectations is forthcoming. For now, you can
mark your calendars with the following deadlines:
Portfolio drafts are due on the discussion board for group workshop by 11/28
Final portfolios are to me by email by 12/5.
I will evaluate your portfolios based on your engagement, execution, and evolution as a writer. As
usual, I will not accept late work without prior negotiation.
Conferences:
I’m available for optional Skype or Google hangout conferences before the revision unit of our
class, if you would like to discuss your writing or ask me specific questions about your ideas for your
portfolio. You may also contact me at any point in the semester if you have questions about your
work or about the course material or expectations. My Skype name is srnordgren. Stay tuned for
more details about conference scheduling.
20
Evaluation/Grading:
In order to succeed in this course, you need to complete all readings, craftshop discussions and
workshop prompts and critiques with thoroughness, integrity, open-mindedness, and imagination, as
well as submitting a high-quality well-honed final portfolio of original writing. I will assess how fully
you execute these components, using the following scale to grade your work:
A 100-94% C 76-74%
A- 93-90 C- 73-70%
B+ 89-87 D+ 69-67%
B 86-84 D 66-63%
B- 83-80 D- 62-60%
If you have questions about your performance at any point in the semester, feel free to reach out to
me and ask. I’ll always do my best to answer your questions. The breakdown of your grade is quite
straightforward:
v Workshop: 25%
v Craftshop: 25%
v Portfolio: 50%
Attendence & Participation:

Because this is an online class, your attendance and participation are comprised of your timely and
full engagement in all assignments by the stated due dates. Remember that the online format will
require an above-average dose of self-motivation and self-direction. I recommend that you take
some time in the first week of class to plan your weekly schedule for completing work for the class.
When will you do the readings? What time will you set aside for the craftshop discussions and
replies, for writing your essays, stories, and poems, and for writing critiques of your classmates’
work?
Visiting Writer Series Attendance Requirement:

UC’s Creative Writing Department organizes a wonderfully impressive visiting writers series every
year, hosting a variety of nationally recognized poets, fiction writers, and nonfiction writers. All
creative writing students are required to attend at least two readings by the visiting writers during the
course. If you see me at the reading, please say hello! Within five days, email me a paragraph
response to confirm your attendance. The paragraph should include your reactions and thoughts
about the reading. Visiting Writers Series dates and details can be found here:
http://www.artsci.uc.edu/departments/creative_writing/visiting_writers_series.html
A Note on Community:
ways. Sharing our writing is a brave and vulnerable act, and some of us might also be writing about
topics and experiences that are personal and sensitive. I hope that you leave this class with an
enhanced sensitivity to one another, and an ability to think and converse about controversial and
complex issues with an attitude of openness, engagement, and respect for difference.
21
unique concepts without giving the original author credit. If you plagiarize your work, you will earn an
automatic F and you will face severe University penalties. DON’T DO IT. You can find the official policy on
plagiarism here: https://www.uc.edu/conduct/Academic_Integrity.html
A Note about Blackboard:

Never trust Blackboard to preserve your work intact. I recommend that you compose your work in
your word processor of choice and then paste it into the discussion board field, rather than
composing it there. Back up everything and back it up often. Please ask if you have questions about
how the course platform works. Technical problems are not an excuse for falling behind.
Help Resources
we’re doing in class, software we may be using, etc. You all, both individually and as a collective,
embody a vast bank of knowledge and experiences.
22
CLASS SCHEDULE (Subject to Change)
WEEK ONE: INTRODUCTIONS

Introductions: Please take a moment to introduce yourself to the class by posting a response to the prompt
waiting for you on the discussion board by EOD 8/22.
Readings: “The Longest Con” by Jennifer A. Howard, “The Fish Tank” by Lydia Davis, “Those Winter
Sundays” by Robert Hayden, “A Story About the Body” by Robert Hass, “Swerve” by Brenda Miller,
“Bruise” by Stuart Dybek (Found under “Course Documents”)
Craftshop 1: reading response due by 12 p.m. 8/24
Workshop 1: writing exercise due by 12 p.m. 8/26
(Please note: During this first week of class, we’ll forgo officially replying to one another’s posts on the
discussion board, but feel free to do so if you’re so inclined. Replies will be required next week, when we’ve
become better acclimated to the discussion board)
v NON-FICTION
WEEK TWO: Thinking it Through
Readings: Sven Birkert’s “Strange Days” from Best American Essays
Craftshop 2: reading response due by 12pm on 8/29, reply due by 12pm on 8/31
Workshop 2: writing exercise due by 12pm on 8/31, reply due by 12pm on 9/2
WEEK THREE: Memory and Memoir (Labor Day is 9/5)

Readings: John Reed’s “My Grandma the Poisoner” from Best American Essays
(Please note: Due to Labor Day, our regular posting deadlines will shift a little this week. You may always
post early if your schedule conflicts.)
WEEK FOUR: Journeys

Readings: Rebecca Solnit’s “Arrival Gates” from Best American Essays
WEEK FIVE: Private Life/Public Life

Readings: Anthony Doerr’s “Thing with Feathers that Perches in the Soul” from Best American Essays
v FICTION
WEEK SIX: Writing Character
Readings: Megan Mayhew Bergman’s “The Siege at Whale Cay” from Best American Short Stories
WEEK SEVEN: Point of View

Readings: Justin Bigos’s “Fingerprints” from Best American Short Stories
WEEK EIGHT: Midterm Meetup (Reading Days are 10/13-14)
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Readings: N/A
Workshop 8: Post a new work of any genre by 12pm on 10/10, two replies by 12pm on 10/12
(Please note: Due to Reading Days, we’ll do something a little different this week. Post a new work of any
genre, or a substantive revision, in the “Workshop Meetup” thread, and respond to at least two of your peer’s
works by the deadlines above.)
WEEK NINE: Dialogue

Readings: Laura Lee Smith’s “Unsafe at Any Speed” from Best American Short Stories
WEEK TEN: Fantasy & Realism

Readings: Diane Cook’s “Moving On” from Best American Short Stories
v POETRY
WEEK ELEVEN: Image
Readings: Natalie Diaz’s “It Was the Animals,” James Galvin’s “On the Sadness of Wedding Dresses”,
LaWanda Walters’ “Goodness in Mississippi,” Candace G. Wiley’s “Dear Black Barbie,” all from Best
American Poetry
WEEK TWELVE: Sound (Veteran’s Day is 11/11)

Readings: Hailey Leithauser’s “The Pickpocket Song,” Airea D. Matthews’ “If My Late Grandmother Were
Gertrude Stein,” Evie Shockley’s “legend,” Cody Walker’s “Trades I Would Make,” all from Best American
Poetry
(Please note: Due to Veterans Day, our regular posting deadlines will shift a little this week. You may always
WEEK THIRTEEN: Forms

Readings: Erica Dawson’s “Slow-Wave Sleep with a Fairy Tale,” Danielle DeTiberus’ “In a Black Tank
Top,” Jennifer Keith’s “Eating Walnuts,” Dora Malech’s “Party Games,” A.E. Stallings’ “Ajar,” all from Best
American Poetry
WEEK FOURTEEN: The Love Poem (Thanksgiving break is 11/24-25)

Readings: Amy Gerstler’s “Rhinencephalon,” Rebecca Hazelton’s “My Husband,” Saeed Jones’ “Body &
Kentucky Bourbon, Denise Duhamel’s “Fornicating,” Charles Simic’s “So Early in the Morning,” all from
Best American Poetry
(Please note: Due to Thanksgiving, our regular posting deadlines will shift a little this week. You may always
24
v REVISION
WEEK FIFTEEN: Portfolio drafts due to workshop by 11/28
Readings: Read the portfolio drafts from your group
Craftshop 1: due by 12pm on 11/28, reply due by 12pm on 11/30
Workshop 1: due by 12pm on 11/30, reply due by 12pm on 12/2
WEEK SIXTEEN: Final portfolios due via email by 5pm on 12/5
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English 3033: Flash Fiction & Prose Poetry (Online)

Office Hours: TR 2-4pm*
Course Description
“What grows in that place is possessed of a beauty all its own, ramshackle and unexpected.”
–Campbell McGrath, “The Prose Poem”
In this course, we will immerse ourselves in the world of short and hybrid creative writing forms.
We will look primarily at prose poetry and flash (micro-) fiction, but will also explore beyond what
many writers consider to make up the category of hybrid forms, looking at works that make use of
visual structures, painting, video, digital art, and public spaces, and works that invite participation
and interaction with the reader/audience in unconventional ways.
The goal of the course is two-fold, as we’ll be emphasizing both exposure and practice. Earlier in the
semester we’ll focus on reading a variety of published works and becoming practiced at discussing
and analyzing these works, while later in the semester we’ll shift our focus to writing and workshop.
Throughout our various activities and practices, we’ll develop a vocabulary for discussing works that
“don’t fit” into traditional genres, while also investigating the unstable nature of those very
categories.
Required Texts
Ziegler, Alan, ed. Short: An International Anthology of Five Centuries of Short-Short Stories, Prose Poems, Brief
Essays, and Other Short Prose Forms. New York: Persea Books, 2014.
Rankine, Claudia. Citizen. Minnesota: Graywolf Press, 2014.
*Additional Readings and Resources on Blackboard Course Documents
Course Goals and Outcomes

• To explore language as material; to recognize and work with language’s formal properties  
• To develop a vocabulary for discussing and analyzing prose poetry, flash fiction, and other
short hybrid forms.
• To expose ourselves to a wide variety of texts so that we become aware of an expanding  
range of possibilities for our own writing while gaining familiarity with the world of
contemporary writing that pushes formal boundaries.  
• To become useful and articulate commentators on colleagues' work.
Major Assignments/Requirements
This course is comprised of a few main components that will shift a bit in the latter half of the
course as we begin focusing more time on workshopping student writing. In the first few weeks of
the class you’ll be responsible for posting in the craftshop (wherein you’ll read published works and
26
discuss elements of craft) as well as posting writing exercises in response to a relevant prompt I’ve
provided for the week. In the second half of the course we’ll focus primarily on workshop (wherein
you’ll write and submit prose poems and flash fiction pieces and give feedback to your peers) and
will also respond to weekly inspiration texts that I’ll post to expose us to the wide variety of hybrid
texts that writers and artists are creating. For all of these assignments, you will be expected to
carefully and thoughtfully read and comment upon others’ work (both the work of published writers
and your fellow classmates) by the assigned deadlines. In addition to these recurring components,
you will create an unconventional/multi-genre work in the last weeks of the class, and assemble a
final portfolio of your work from the semester. Details of each assignment will be provided on
Blackboard, and you will be provided with a workshop schedule at the start of the semester. See
additional descriptions below.
Part 1: Craftshop & Exercises

The craftshop portion of the class is where we’ll practice a different kind of reading analysis than
you may be used to – rather than just reading for entertainment or reading for scholarly interest,
we’ll “read like writers.” This means that we’ll discuss our weekly readings with a keen eye to how the
writers are doing what they do in the works in question, and how we might learn from (or “steal”)
various craft techniques for our own purposes. After carefully reading each week’s selections, you’ll
read a short lecture and discussion board prompt that I’ll post there for you. Read each week’s
specific requirements carefully, but expect to write about 250-500 words in response to each prompt
by noon on Monday each week (take note of changes in the schedule due to holidays). You’ll also
post a 25-50 word reply to the discussion thread by Wednesday.
When I evaluate your performance on the craftshop discussion board, I’ll be looking for a high level
of engagement, an understanding of the assignment, and a professional, constructive tone. I also
spelling. All work must be complete by the deadlines listed on the schedule; late work will not be
accepted without prior consultation. (Note: Please take a moment now to locate the discussion
board on Blackboard. Make sure you understand how forums and threads work.)
Exercises are writing prompts that you will respond to each week, which are relevant to the
assigned readings and focus of that week. The goal of these assignments is for you to get your
writerly juices flowing and to become comfortable with experimenting with new and varied ways to
approach a poem or story. You will post your writing on Wednesdays and reply to someone else’s
post by Friday.
When I evaluate your writing exercises, I will be looking for full-engagement with the writing
prompt. In other words, I want your writing to fully explore, to the best of your abilities, the spirit
and the intention of the assignment. Experimentation and curiosity are more important than
competence here – I want you to challenge yourself and reach beyond your grasp. That said, your
work should always be edited, well considered, and free of typos and grammatical errors.
Part 2: Inspiration Texts and Workshop

Each week in the second part of the semester, you’ll read/view and respond to an inspiration text
that I’ll post on BlackBoard. These texts will be unconventional hybrid texts – pieces that utilize
modes other than just standard written type, such as visual or audio or other digital components.
The purpose of this assignment is to expose you to the wide and exciting variety of literary/artistic
works that artists are making today and to expand your conception of what is possible. Specifically,
27
these texts should offer ideas and jumping off points for you to conceive of your own multi-genre
project that you’ll create toward the end of the semester. Expect to write a 250 word response to
the inspiration text each week on Mondays, and to respond to someone else’s post by Wednesday.
The workshop is where you’ll get to take the techniques we’ve discussed in craftshop and the skills
you’ve developed with the exercises and utilize them in your own more developed prose poems and
flash fiction pieces. Workshop will provide you with the opportunity to submit new, original work of
your own conception, and to engage more thoroughly and thoughtfully with critiquing and
commenting upon your peers’ work. There are no prompts for workshop pieces. Submissions
should be prose poems or flash fiction pieces of 1 page maximum. You are welcome to use one of
your exercises as a jumping off point for your workshop pieces if you’re interested in developing it
further, but it needs to be significantly revised and changed before you submit it. You will (most
likely) be responsible for submitting a total of two workshop pieces according to the schedule.
Workshop pieces are usually due on Wednesdays.
In addition, you’ll also read your classmates’ writing and provide helpful, supportive workshop
critiques by Friday every week. I will expect you to write a minimum of 250 words for each of the
scheduled workshop pieces for the week, but of course you can write more than that as well. Writers
who are submitting their work in a particular week are still responsible for responding to the other
workshop pieces for that week. I do ask that you refrain from commenting upon your own work or
responding to others’ feedback on your work. You may ask clarifying questions if you need a peer to
elucidate a comment, but you should not jump in to explain or defend your work.
When I evaluate your performance in the workshop discussion board, I’ll be looking for a high level
of engagement, and a professional, constructive, tone. I also expect all posts and replies to be
written in complete sentences and proofread for grammar and spelling. It’s important that we
maintain an ethical balance in workshop. Students who regularly receive feedback without offering
feedback in exchange will notice a precipitous fall in their grades. All work must be complete by the
deadlines listed; late work will not be accepted without prior consultation.
Other Major Assignments

Toward the end of the semester, you will create a multi-genre text/project, a work that goes
beyond the prose-poem/flash-fiction paradigm to experiment with visual, audio, digital, or public
(outdoor) elements. Use the skills that you’ve developed from our readings and writings so far, as
well as the models from the Inspiration Texts for ideas.
The semester will also culminate with a final portfolio of your revised written work from the class.
This portfolio can be all prose poems, all flash fiction pieces, or a combination of the two divided
into sections. However, even though the portfolio isn’t due until the end of the semester doesn’t
mean you should wait until the final weeks of class to think about it. You should begin pondering
and working on your portfolio from the early days of the semester regardless of what’s due for
craftshop and workshop on a weekly basis. The portfolio will consist of 8-10 short pieces (each
under a page in length) that are substantively revised and accompanied by an introductory letter. If
you have other specific ideas for your portfolio (such as a multi-genre or hybrid structure) please
contact me. I’m open to many possibilities!
28
Grade Components
Craftshop forum 15%
Exercises forum 15%
Inspiration forum 10%
Workshop pieces 10%
Workshop critiques 15%
Multi-genre/Experimental Project 15%
Final Portfolio 15%
Event Attendance (see below) 5%
Grade Scale
A 100-94% C 76-74%
A- 93-90 C- 73-70%
B+ 89-87 D+ 69-67%
B 86-84 D 66-63%
B- 83-80 D- 62-60%
complex issues with an attitude of openness, engagement, and respect for difference. Also, when
you come to class, turn your cell phone ringer off. Texting, checking social media, or being
otherwise distracted by your devices is disruptive to the community and disrespectful to your
instructor and classmates. If I see you engaging in these practices in class, I will mark you absent for
the day. Note: Notify me in advance if you must keep your ringer on for emergency purposes.
Event Attendance Requirement

The University of Cincinnati hosts an impressive Visiting Writers Series each year, bringing in a
variety of nationally and internationally respected writers of poetry, fiction, and nonfiction. All
creative writing students at UC (that means you!) are required to attend at least two of these events
during the semester and email me a paragraph (300 word) response within 7 days of the event.
Late Assignments
Assignments are due by posted deadlines. Turning assignments in on the due date helps to make the
class run more smoothly and is also in your best interest, as it assures that you will not fall behind
29
with the work required for this course. However, unavoidable events may arise that would make
following through on a deadline impossible. Thus, the policy is:
6) I do not accept late assignments without prior negotiation and communication from the
student.
LGBTQ Safe Zone

You should consider our online class and my office as LGBTQ Safe Zones: places where
Help Resources
we’re doing in class, etc. You all, both individually and as a collective, embody a vast bank of
knowledge and experiences.
30
CLASS SCHEDULE (Subject to Change)
[BB]: Find in BlackBoard “Weekly Readings” tab

[Ziegler]: Read all works by the listed authors. (Consult indexes in back of book to find page
numbers quickly by author last name.)
WEEK ONE: INTRODUCTIONS

Introductions: Please take a moment to introduce yourself to the class by posting a response to the prompt
waiting for you on the discussion board by EOD 8/21.
Readings: Matthew Hittinger’s essay “The Transformative Power of Hybrid Forms” [BB]; Read/view work
by Mullen, Borsuk, and Phillips [BB].
Craftshop 1: reading response due by 12 p.m. 8/23
Exercise 1: writing exercise due by 12 p.m. 8/25
(Please note: During this first week of class, we’ll forgo officially replying to one another’s posts on the
discussion board, but feel free to if you’re so inclined. Replies will be required next week, when we’ve become
better acclimated to the discussion board)
v PROSE POETRY
WEEK TWO: DEFINITIONS
Readings: McDowell and Rzicznek’s essay “Rebellion Still Has its Attractions” [BB] and Keplinger’s essay
“No Easy Out: Some Definitions of the Prose Poem” [BB]. Read selections from Ziegler, including
Baudelaire, Edson, Stein, Bly, Ashbery, Strand.
Exercise 2: writing exercise due by 12pm on 8/30, reply due by 12pm on 9/1
WEEK THREE: THE TURN (Labor Day is 9/4)

Readings: Addonizio and Theune’s introduction to their website “Voltage Poetry” [BB] and Gonzalez’s
essay “No Tongue in Cheek” [BB]. Read selections from Ziegler, including Rimbaud, Simic, Transtromer.
Forche, Carson.
(Please note: Due to Labor Day, our regular posting deadlines will shift a little this week. You may always
v FLASH FICTION
WEEK FOUR: NO TIDY ENDINGS
31
Readings: Leslie’s essay “That V Word” [BB] and Casto’s essay “The Myth-ing Link” [BB]. Read selections
from Ziegler, including Poe, Woolf, Kafka, Lispector, Williams, Schutt, and Hempel.
WEEK FIVE: SURPRISE

Readings: Pieroni’s essay “Smart Surprise in Flash Fiction” [BB]. Read selections from Ziegler, including
Borges, Ducornet, Davis, Harjo, Shua, Keret, and Eggers.
v QUESTIONING GENRE
WEEK SIX: Rankine’s Citizen
Readings: Read all of Claudia Rankine’s Citizen. Optional: Read NYT review of Citizen if you want added
context [BB].
v WORKSHOP
[**Note about workshop weeks: To begin each week of workshop, I will assign an interesting work of hybrid text art for us to
discuss as an “Inspiration” (posted on BB). This practice will give us more exposure to the vast possibilities of hybrid forms, and
provide ideas for your Multi-Genre Project.]
WEEK SEVEN: Workshop + Concrete Writing

Readings: Workshop round 1 posts (see workshop schedule); Concrete Poems and the Concrete Essay
(works by Herbert, Swenson and Minor on BB).
Inspiration 1: reading response due by 12pm on 10/2, reply due by 12pm on 10/4
Workshop 1: workshop posts due by 12pm on 10/4, reply due by 12pm on 10/6
WEEK EIGHT: Workshop + Public Art (Reading Days are 10/9-10)

Readings: Workshop round 1 posts (see workshop schedule); Public Art (selected work by Holzer on BB).
(Please note: Due to Reading Days, our regular posting deadlines will shift a little this week. You may always
WEEK NINE: Workshop + Erasure

Readings: Workshop round 1 posts (see workshop schedule); Erasure (works by Ruefle and Didden on BB).
WEEK TEN: Workshop + Poetry Comics

Readings: Workshop round 1 posts (see workshop schedule); Poetry Comics (works by Stone on BB).
WEEK ELEVEN: Workshop + Video

Readings: Workshop round 2 posts (see workshop schedule); Poetry Video / Video Essay (Works by
Rankine, Wiegner, Biss, and selections from Motion Poems on BB).
32
Proposal: Email me your plan-in-progress for the Multi-Genre project. 1 paragraph, due by 12pm on 11/3
WEEK TWELVE: Workshop + Reader Participation in Fiction (Veteran’s Day is 11/10)

Readings: Workshop round 2 posts (see workshop schedule); Reader Participation (Work by Mortara on
BB).
(Please note: Due to Veterans Day, our regular posting deadlines will shift a little this week. You may always
WEEK THIRTEEN: Workshop + Electronic Lit

Readings: Workshop round 2 posts (see workshop schedule); Electronic Literature (Works TBA on BB).
v WRAP UP
WEEK FOURTEEN: Workshop + Revision (Thanksgiving break is 11/23-24)
Readings: Workshop round 2 posts (see workshop schedule)
Final Questions: post final questions about Multi-Genre project and portfolio by 12pm on 11/20
(Please note: Due to Thanksgiving, our regular posting deadlines will shift a little this week. You may always
WEEK FIFTEEN: Multi-Genre Projects due

Readings: Read/view the Multi-Genre projects in your group (and browse other groups’ work if you like!)
Final Craftshop: due by 12pm on 11/27, reply due by 12pm on 11/29
Final Workshop: Multi-genre projects due by 12pm on 11/29, reply due by 12pm on 12/1
WEEK SIXTEEN: Final portfolios due via email by 5pm on 12/6
33
ENGL/EVST 3079: Creative Writing and the Environment
MWF 9:05-10am
Clifton Court North, N22

Office Hours: MWF 10-11am or by appointment*
Course Description
Creative Writing and the Environment is a writing and reading course that explores how creative
writing engages, interrogates, reveals, and impacts environmental issues and concerns.
This class combines traditional methods of literary and cultural analysis with a balance of creative
writing workshops in literary nonfiction, fiction, and poetry, and explores the ways in which creative
writers can address pressing environmental issues in the United States. How does creative writing
inform and help shape public and institutional debate? Can it, directly or indirectly, affect
environmental policy? From essays and narrative nonfiction to stories and poetry, we will explore
how writing can expose current environmental topics and concerns and support new ways of
thinking about the environment. This course combines critical, analytical discussions and creative
writing workshops. Students will conduct brief research and use the writing process to explore and
critique a topical environmental issue.
We will read and consider the history of environmental writing in the United States, including
writers such as John Muir, founder of the Sierra Club; Aldo Leopold, Rachel Carson, Edward
Abbey, and others. We will also consider the work of contemporary environmental writers, as well
as novelists and poets who investigate environmental issues in their work from various
perspectives. Research, essays, and creative writing exercises will provide opportunities for students
to learn about new topics as well as to examine the landscapes that each student knows best.
Required Texts & Materials

The Ecopoetry Anthology, Ann Fisher-Wirth, ed.
Writing Nature: Discourses of Ecology, Carolyn Ross, ed.
Styrofoam, Evelyn Reilly
Refuge, Terry Tempest Williams
Access to Blackboard and email

Ability to bring a laptop to class
Blank journal/notebook
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Course Goals
• Students will be able to discuss and analyze environmentally conscious texts, and learn to read
and write in the context of those genres and their specific conventions.
• Students will demonstrate an understanding of core concepts of fiction and literary nonfiction
writing, such as story structure, voice, style, and other critical elements of narrative and
storytelling, as well as basic craft elements of poetry such as imagery, lineation, and music.
• Students will be able to produce narratives generated in response to current environmental
issues, including researching that idea and exploring ways of developing it into a creative project
in prose or poetry.
• Students will be able to analyze conventional and innovative examples of environmentally
conscious texts and the broad range of topics, and be challenged to consider the ongoing role of
environmentally conscious literature.
Grade Components
Journals: You have two ongoing journal assignments throughout the semester, which 15%
I will collect twice for review. It’s your responsibility to keep up with them.
• Place Journal: Choose an outdoor space that you will spend time in
throughout the semester. Once a week (minimum), spend at least one half-
hour there with no electronic distractions. Sit quietly and still for fifteen
minutes, simply observing. Spend the next fifteen minutes journaling/
freewriting about what you see/feel. What stays the same? What changes from
week to week?
• Trash Journal: Record an ongoing list of everything you throw away for the entire
semester. You can keep recycling as a separate list, if you like, or on the same
list with asterisks or some other mark.
Short pieces with Writers Statement: For every week you are NOT submitting work 15%
to be workshopped, you will post a short piece (either 2 pages of prose or 1 poem)
inspired by the weekly readings to the Discussion Board. These pieces are meant to be
generative, and you might find that you want to further develop them for workshop or
in the future. You will also write a short writer’s statement (1 full paragraph),
explaining what you were trying to accomplish in this piece and specifically how that
week’s class reading inspired it.
Workshop pieces with Writers Statement: Submitting original writing for workshop 15%
according to the workshop schedule. Workshop pieces should be a longer piece/s in
progress (5-7 pages of prose or 2-3 poems/pages of poetry) that you consider to be
“polished” in its current version. You will also submit, as a cover page, a 1-page
writers statement that addresses what you were trying to accomplish in the piece, how
it seeks to approach ecological/environmental concerns, and positions your work in
terms of one of the readings we’ve done so far in the course.
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Workshop feedback: Writing thoughtful feedback/responses on your peers’ writings 15%
for workshop (in accordance with feedback guidelines). You will provide marginal
comments on the text, in addition to a typed workshop letter that you will submit to
both the author and the instructor on the workshop date.
Public Art Project: As a result of planning and research over the course of the 15%
semester, you will complete a creative project – a work of creative writing or text art –
that is designed to affect awareness or action in your intended audience around a
specific issue of environmental concern. In addition to disseminating this work in its
intended public form/forum, you will also present it in class accompanied by a Writers
Letter/Rationale.
Final Portfolio with Writers Statement: At the end of the semester you will turn in a 15%
fully developed and revised work that incorporates research into a relevant topic. This
will preferably be an expansion of work you’ve submitted previously and for which
you’ve taken workshop comments into account during the development and revision
process. It can be either a nonfiction essay (8-12 pages), a piece of short fiction (8-12
pages), or a collection of 7-10 pages of poetry. You will also submit a 3-4 page writers
statement that addresses your goals, your revision process, your research, how your
work engages with environmental themes, and also positions it in terms of two works
we’ve read in the course.
Class Participation: Participation is integral to the workshop experience. Successful 10%
participation includes frequent, thoughtful engagement in class discussion and showing
up prepared, on time, and having completed any outside readings for the day. Also, for
each class for which there is outside reading, each of you should show up with one
useful or interesting observation about the reading for that day, as well as a probing
question that can serve as fodder for discussion. What can we learn from the text as
writers? As citizens?
Grade Scale
A 100-94% C 76-74%
A- 93-90 C- 73-70%
B+ 89-87 D+ 69-67%
B 86-84 D 66-63%
B- 83-80 D- 62-60%
Course Policies
36
complex issues with an attitude of openness, engagement, and respect for difference. Also, when
you come to class, turn your cell phone ringer off. Texting, checking social media, or being
otherwise distracted by your devices is disruptive to the community and disrespectful to your
instructor and classmates. If I see you engaging in these practices in class, I will mark you absent for
the day. Note: Notify me in advance if you must keep your ringer on for emergency purposes.
Late Assignments
behind with the work required for this course. However, unavoidable events may arise that would
make following through on a deadline impossible. Thus, the policy is:
8) If an assignment is late without prior negotiation with me, each day that it remains
outstanding will result in the lowering of the grade by three percentage points.
Absences
Much of the learning in workshop courses happens through "engaged learning" in class, especially
class discussion and workshop, and group interaction cannot be easily made up or replicated outside
of class.
9) If you are unable to attend for whatever reason, you are responsible for staying caught up
with assignment deadlines and course reading. You will find a “buddy” in class whom you
11) After three absences, your final grade will be lowered by 3 percentage points per
extra absence unless otherwise negotiated in advance.
Tardiness
Repeated and consistent tardiness is disruptive to the classroom environment and keeps you from
fully participating in the class. Excessive tardiness will lower your participation grade. That said, if
you must be tardy, be respectful of your peers and me. Enter quietly and see me after class to ensure
you are noted as present. For every three times you come to class tardy (10 minutes late), I will mark
one absence.
37
Severe Weather
Disclaimer
Help Resources
• Your classmates. Rely on one another for the questions you have regarding the readings, the
work we’re doing in class, etc. You all, both individually and as a collective, embody a vast
bank of knowledge and experiences.
• Your instructor. I will do all I can to assist you in succeeding in this course. Feel free to meet
with me during my office hours or another scheduled time. Email is a reliable way to contact
me and I will try my best to respond in a timely manner.
• Accessibility Resources. This course is intended for all UC students, including those with
disabilities (whether visible or non-visible). If, at any point in the term, you find yourself not
able to fully access the space, content, and experience of this course, you are welcome (and
not required) to contact me by email or during office hours to discuss your specific needs. I
also encourage you to contact Accessibility Resources office (https://www.uc.edu/campus-
life/accessibility-resources/resources.html ). If you have a diagnosis, Accessibility Resources
can help you document your needs and create an accommodation plan. By making a plan
with them, you can ensure appropriate accommodations without disclosing your condition
or diagnosis to course instructors.
• Academic Writing Center. The Academic Writing Center provides UC students with writing
assistance. If you would like a trained writing tutor to help you get started on your writing
assignment or review your writing, make an appointment or stop in during the center’s drop-
in hours: http://www.uc.edu/aess/lac/writingcenter.html
• Computers. 3 a.m. computer crisis? Remember that UC has 24-hour computer labs & printers.
I will not be printing things for you! http://labs.uc.edu/labHours.php
38
• Counseling Services. Counseling & Psychological Services provides confidential counseling,
outreach programs, and related services for UC students.
http://www.uc.edu/counseling.html
Course Schedule (Subject to Change)
Writing Nature = WN
The Ecopoetry Anthology = EA
Blackboard = BB
Week 1: Aug 27 – Aug 31: Introductions

M: Introduction to course, policies and schedule, texts. Create workshop schedule. Discussion of terms –
environment, ecology, ecopoetics, nature, technology, and science. “There Are No Garbage Days,” Lycurgus
(BB).
W: Readings from Ch. 7 of WN: Emerson, Burroughs and Leopold (up to pg. 440).
F: Readings from Ch. 7 of WN, cont.: Thomas and Oats. In class writing.
Week 2: Sept 3 – 7: Explorations

M: Labor Day, no class
W: Readings from WN: Chapter 1 introductory materials, pp 1-20, and selections from Muir, Bird, and
Matthiessen. Discussion of journaling.
F: Workshop workshop
Week 3: Sept 10-14: Observations and Reflections

M: Readings from WN: Chapter 2 introductory materials, pp 73-89, and selections from Audubon, Thoreau,
Wright. Discussion of the essay.
W: Readings from WN: Chapter 3 introductory materials, pp 133-148, and selections from Carson and
Dillard.
F: Workshop
Week 4: Sept 17 – 21: Observations and Reflections cont.

M: Refuge by Terry Tempest Williams. (Through page 153, “Long-billed curlews”)
W: Refuge by Terry Tempest Williams. (“Western Tanager” through the end)
F: Workshop
Week 5: Sept 24 – 28: Personal Narratives

M: Readings from WN: Ch. 4 introductory materials, pp. 193-209, and selections from Mairs, Quammen,
Walker.
W: Readings from EA: Selections from Wendell Berry, Gary Snyder, Jane Hirshfield.
F: Workshop
Week 6: Oct 1 –5: Personal Narratives cont.
39
M: Readings from EA:, Brenda Hillman, Lorine Niedecker, Camille Dungy.
W: Essays on BB: “The Ecology of Poetry” (Durand) and “Toward a Wider View of ‘Nature Writing’” (Buni)
(BB).
F: Workshop
Week 7: Oct 8 – 12: Fictional Accounts

M: Readings from WN: Ch. 5 intro materials pp. 272-274, and selections from Huxley, Le Guin, and Lopez.
W: Workshop
F: Fall Reading Days, no class
Week 8: Oct 15 – 19: Fictional Accounts cont.

M: [Journals due]. Read “To Build a Fire” (London) on BB.
W: Introduce Public Art Project, examples, ideas.
F: Workshop
Week 9: Oct 22 – 26: Alternative / Histories

M: Readings from WN: Ch. 6 introductory materials pp 327-343, plus Two Creation Stories, Stegner, Perrin,
and Silko.
W: Read excerpt from Woman and Nature (Griffin) on BB.
F: Workshop
Week 10: Oct 29 – Nov 2: Alternative / Histories cont.

M: Readings from EA: Selections from H.D., Langston Hughes, James Dickey, Marvin Bell, Brigit Pegeen
Kelly and “Ecopoetics and the Adversarial Consciousness” (Magi) on BB.
W: Workshop
F: Nordgren book tour travel, no class
Week 11: Nov 5 – 9: Alternative / Histories cont.

M: Read “Thoughts on Things” (Skinner) on BB.
W: Workshop
F: Nordgren book tour travel, no class
Week 12: Nov 12 – 16: Plastic

M: Veterans Day, no class
W: Styrofoam by Evelyn Reilly and “Eco Noise and the Flux of Lux” from ELR.
F: Workshop
Week 13: Nov 19 – 23: Animals and People

M: Workshop, make presentation schedule
W: Thanksgiving travel, no class
F: Thanksgiving holiday, no class
Week 14: Nov 26 – 30: Public Art Project

M: Public Art Projects Due, Presentations
40
• *Turn in 500 word written response to: Readings from Ch. 8 of WR: Singer, Quammen, Virshup,
Rifkin, Gould. Submit via email before class.
W: Presentations
F: Presentations
Week 15: Dec 3 – 7: Revisions

M: Conferences and Portfolio Workshops
W: Conferences and Portfolio Workshops
F: Conferences and Portfolio Workshops
Finals Week
Final Portfolios due.
Journals due.
41

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Sarah Rose Nordgren

• ENGL 1001: English Composition: Technology & Social Change p. 2

Instructor: Sarah Rose Nordgren

• Understand the complexity of different kinds of arguments/issues.

Major Projects and Grades

Assignment Focus Percentage of

2. Research Steps Learning and implementing ethical research skills 10%

3. Researched Drawing upon research to make a rhetorical 30%

5. Final Reflection Final essay reflecting upon and synthesizing 10%

Other grading policies:

• Participation is a vitally important component of ENG 1001, constituting a significant portion of

Other Course Policies

LGBTQ Safe Zone

Course Schedule (subject to change)

3/10 Due: Peer Workshop Letters

3/17 Due: Brainstorm ideas

4/7 In class: Presentations & Discussion

REVISION & REFLECTION

4/14 In class: Course review and revision feedback

4/21 Due: Optional Paper revisions

Instructor: Sarah Rose Nordgren

*Additional Readings on BB course docs

Grade Scale and Policies

• Participation is a vitally important component of this class, constituting a significant portion of

Other Course Policies

LGBTQ Safe Zone

Course Schedule (Subject to Change*)

Week 2: Jan 16*-20 M: *(no class Jan. 16, MLK’s birthday)

Week 5: Feb 6-10 M: READ Frankenstein Volume 3 (pp. 115-179)

Cyborg Anthropology & The Singularity

Week 10: Mar 13-17 Spring Break

Visions: Tech as Human Dream

Week 12: Mar 27-31 M: Creative/Critical Presentations, discuss final paper

Week 13: Apr 3-7 M: Creative/Critical Presentations

Final Papers due by 5pm on April 27

Instructor: Sarah Rose Nordgren

The Best American Essays 2015, edited by Ariel Levy

Attendence & Participation:

Visiting Writer Series Attendance Requirement:

A Note about Blackboard:

WEEK ONE: INTRODUCTIONS

WEEK THREE: Memory and Memoir (Labor Day is 9/5)

WEEK FOUR: Journeys

WEEK FIVE: Private Life/Public Life

WEEK SEVEN: Point of View

WEEK EIGHT: Midterm Meetup (Reading Days are 10/13-14)

WEEK NINE: Dialogue

WEEK TEN: Fantasy & Realism

WEEK TWELVE: Sound (Veteran’s Day is 11/11)

WEEK THIRTEEN: Forms

WEEK FOURTEEN: The Love Poem (Thanksgiving break is 11/24-25)

WEEK SIXTEEN: Final portfolios due via email by 5pm on 12/5

Instructor: Sarah Rose Nordgren

Course Goals and Outcomes

Part 1: Craftshop & Exercises

Part 2: Inspiration Texts and Workshop

Other Major Assignments

Event Attendance Requirement

LGBTQ Safe Zone

CLASS SCHEDULE (Subject to Change)

[BB]: Find in BlackBoard “Weekly Readings” tab

WEEK ONE: INTRODUCTIONS

WEEK THREE: THE TURN (Labor Day is 9/4)

Week 2: Jan 16-20 M: (no class Jan. 16, MLK’s birthday)