Start here, with a self-guided course in four parts by National Book Award longlisted poet and MFA program faculty and director Lillian-Yvonne Bertram. This syllabus item has comments or stories associated with it. Are you thinking about getting an MFA in creative writing? ", "Combining digital tools and prestidigital artistry, Lillian-Yvonne Bertrams TRAVESTY GENERATOR powerfully breaks and remakes contemporary poetrys 'small machine of words.' Catalog Course DescriptionsProjected ScheduleFaculty Bios. Weber Fine Arts Building. The three new fellowships, each worth $10,000, will be awarded annually and will be renewable for three years. Bertrams poetic 'output' will confuse and frustrate you, then mesmerize and haunt youfeelings generated by the poetry, as by the very terms of black life in this country.". author of ENGINE EMPIRE and DANCE DANCE REVOLUTION, I am astonished by Lillian Yvonne Bertrams trailblazing poetry in TRAVESTY GENERATOR. If you have successfully completed graduate-level coursework at UNO or any accredited institution, you can reduce costs by requesting that up to 18 hours of previously earned credit be applied to the UNO MFA in Writing degree. Learn more about, College of Communication, Fine Arts and Media, 314 Boyle - Charlene Engleking, IMF 55606The Prose Collection: Tobias Wolff - Beth Mead, IMF 55607The Prose Collection: Margaret Atwood - Beth Mead, IMF 55608The Prose Collection: Selected Essays - Lisa Haag, IMF 55609The Prose Collection: Science and Nature Writing Selected Essays - Lisa Haag, IMF 55610The Prose Collection: Reading as a Writer: Novels - Beth Mead, IMF 55611The Prose Collection: Reading as a Writer: Short Stories - Beth Mead, IMF 55701The Literary Journal: Fiction - Beth Mead, IMF 55704The Literary Journal: Production & Publication - Beth Mead, IMF 55705The Literary Journal: Fiction & Essays - Beth Mead, IMF 55706The Literary Journal: Creative Nonfiction - Beth Mead, IMF 55707The Literary Journal: Flash Fiction & Prose Poetry - Beth Mead, IMF 55708The Literary Journal: Submitting your Work - Beth Mead, IMF 55709The Literary Journal: Instant Workshop: Publication Prep - Beth Mead, IMF 55800Adv Studies in Prose: Shakespearean Revisionist Fictions - Ted Morrissey, IMF 56100Classic Foundational Literature: Fiction - Christopher Candice, IMF 56200Classic Foundational Literature: Creative Nonfiction - Lisa Haag, IMF 56300Classic Foundational Literature: Poetry, IMF 56600Narrative Journalism - Tony D'Souza, IMF 57301The Literary Novel: Contemporary Fiction - Tony D'Souza, IMF 58100Contemporary Foundational Literature: Fiction - Christopher Candice, IMF 58200Contemporary Foundational Literature: Creative Nonfiction Lisa Haag, IMF 58300Contemporary Foundational Literature: Poetry - Ryan Smith. [They] re-engineer language by synthesizing the lyric and coding script, taking the baton from Harryette Mullen and the Oulipians and dashing with it to late 21st century black futurity. Overview. Click the class titles linked below to view course descriptions, class types, and textbook information. The five 10-day residencies convene all the MFA students and faculty twice a year at the Lied Lodge & Conference Center in Nebraska City. Complete the Initial Assessment Survey to report symptoms, exposure, or positive test results of COVID-19. While coursework differs based on the individual program, an MFA degree plan typically breaks down into four parts: literature courses, writing workshops, independent study, and thesis hours. But Bertram hacks into it. ", "In the wake of a racist microaggression, two people of color might look at each other and say, 'That was random'ironically meaning it was anything but. Going through this course will help you develop the habits of mind to prepare for a variety of application scenarios. The University of Nebraska does not discriminate based on race, color, ethnicity, national origin, sex, pregnancy, sexual orientation, gender identity, religion, disability, age, genetic information, veteran status, marital status, and/or political affiliation in its programs, activities, or employment. Lillian-Yvonne Bertram is the author of Travesty Generator (Noemi Press), a book of computational poetry that received the Poetry Society of Americas 2020 Anna Rabinowitz prize for interdisciplinary work. They are the current director of the MFA program at UMass Boston. Students may choose to take coursework on-campus or fully online, or through a combination of both delivery methods. Students in theMFA in Writing programchoose 45 credit hours of coursework from the MFA curriculum. This course is ideal for all kinds of studentswhether youre coming directly from undergrad or if youve been out of school for a while and are transitioning careers. Contact Support if you need further assistance. Contact Kevin Clouther, Program Coordinator (kclouther@unomaha.edu)with questions about which pathway is right for you. Students who choose to declare an emphasis in Fiction, Poetry, or Creative Nonfiction must take at least 27 credit hours in the emphasis area, including at least one Foundational course in that genre, and their final Thesismust focus primarily on that genre. Every one of them is committed to the UNO MFA programs emphasis on personalized one-on-one student-mentor relationships. What a joy, to see a book this brave and unafraid of its own many possibilities. Please note that this independent study does not include any feedback from Lillian-Yvonne Bertram or Catapult staff. Code, written by white men, is part of the hardwired system of white supremacy, where structural violence begets itself. To view the syllabus and course materials, you must be enrolled in the class. Bertram uses open-source coding to generate haunting inquiring elegies to Trayvon Martin, and Eric Garner, and Emmett Till. Following the preface week, this course is divided into 4 weeks of materials and activities. MFA HomeApply NowAdmission InformationFaculty MentorsResidencySemester WorkEnrichment StudyMilitary-Affiliated StudentsFellowship OpportunitiesTuition & Fees. In many ways, this course represents the steps I wish applicants would take and the things I want them to consider before applying to the program I work in. Where some would consider the voice as the sole instrument, Lillian-Yvonne Bertram understands language as the true vehicle for instrumentation. If you have any question, you can write to us at[emailprotected]. This course is designed to help you prepare a strong and solid MFA application, regardless of genre. Your writing sample has been submitted and will be reviewed by the instructor soon. Students in the MFA in Writing program choose 45 credit hours of coursework from the MFA curriculum.Additionally, all students enroll in the 3-credit graduate Thesis class at the end of their program, for a total of 48 credit hours.. Currently enrolled and new students are automatically enrolled in this pathway, unless otherwise approved. If you believe this message is in error, please email Learn more aboutEquity, Access and Diversity. The MFA program offers workshop classes, literature classes, and craft classes in a wide variety of genres and focus areas. For important updates on Lindenwood University campus safety precautions and associated information from public health officials, please visit our Roaring Return page and the CDC's COVID-19 site. Over the course of the program, you will earn 60 credit hours toward a Masters of Fine Arts degree in Fiction, Creative Nonfiction, Poetry, Playwriting, Screenwriting, or Young Adult. Students can expect literature classes to encompass both classic and modern works. Additionally, all students enroll in the 3-credit graduate Thesisclass at the end of their program, for a total of 48 credit hours. Are you thinking about getting an MFA in creative writing? [emailprotected], Haven't set your password? At the end of the course youll have an MFA application as well as a solid foundation of materials for other applications, like residencies and fellowships. Students must demonstrate reading knowledge of a foreign language. 36 hours of coursework; Foreign language. The information in this course comes from my own experience as an MFA applicant, as a writer, as MFA program faculty, and as an MFA program director. This course is designed to help you prepare a strong and solid MFA application, regardless of genre. Their other poetry books include How Narrow My Escapes (DIAGRAM/New Michigan), Personal Science (Tupelo), a slice from the cake made of air (Red Hen Press), and But a Storm is Blowing From Paradise (Red Hen Press). Over the course of the program, you will earn 60 credit hours toward a Masters of Fine Arts degree in Fiction, Creative Nonfiction, Poetry, Playwriting, Screenwriting, or Young Adult. Special Notice Regarding the COVID-19 Pandemic, Roaring Return - Admissions Frequently Asked Questions. Classes are offered intermittently on a rotating schedule. To explore detailed information, use the MFA in Creative Writing Program pulldown menu above. Consult the Creative Writing Program website for details on required materials and submission procedures. TRAVESTY GENERATOR is genius., Hanif Abdurraqib To explore detailed information, use the MFA in Creative Writing Program pulldown menu above. Each faculty mentor is a practicing writer in his or her respective genres, and all bring to our program a collective wealth of experience and practice in contemporary writing and publishing. The words cascade until entire symphonies are created. For students who do not declare an emphasis, there are no required classes (other than the Thesis) and no class prerequisites; students may choose the coursework that works best for them. You do not have an account with Catapult. Degree Requirements. IMF 51400Fundamentals of Writing for the MFA - Lisa Haag, IMF 51500Creative Writing for the MFA: Finding a Home for Your Work: Reaching Beyond the Workshop to a World of Readers - Patricia Feeney, IMF 51602Fiction Genres: Fiction Craft & Workshop David Hollingsworth, IMF 51603Fiction Genres: Focused Literature Study: Ulysses - Ted Morrissey, IMF 51604Fiction Genres: Writers' Lives - Wm Anthony Connolly, IMF 51605Fiction Genres:Breaking the Fourth Wall Eve Jones, IMF 51606Fiction Genres I: LGBTQ+ Fiction - Christopher Candice, IMF 51607Fiction Genres II: Speculative and Dystopian Novels - Kali VanBaale, IMF 51608Fiction Genres III: Utopian and Dystopian Speculative Fiction - Gene Pfeiffer, IMF 51609Fiction Genres IV: Contemporary SciFi and Fantasy Novellas - Gene Pfeiffer, IMF 51610Fiction Genres V: Fairy Tale Fiction - Gillian Parrish, IMF 51611Fiction Genres VI: Novels-in-Stories - Kali VanBaale, IMF 51612Fiction Genres VII: John Gardner'sThe Art of Fiction- Kali VanBaale, IMF 51701Poetry Genres: Women Poets - Eve Jones, IMF 51702Poetry Genres: The Sonnet - Anothai Kaewkaen, IMF 51705Poetry Genres I: The Contemporary Narrative Poem - Ryan Smith, IMF 51706 Poetry Genres II: The Transformation Song - Anothai Kaewkaen, IMF 51800Advanced Creative Writing: The MFA Goes to Work: Creative Writing in Business - Gene Pfeiffer, IMF 52100Focused Poetry Workshop - Andrew Pryor, IMF 52101Focused Poetry Workshop: Ekphrastic Poetry - Eve Jones, IMF 52103Focused Poetry Workshop: Prose Poems - Ryan Smith, IMF 52104Focused Poetry Workshop:Poetry Bootcamp- Eve Jones, IMF 52105Focused Poetry Workshop I - Eve Jones, IMF 52106Focused Poetry Workshop II - Eve Jones, IMF 52107Focused Poetry Workshop III - Eve Jones, IMF 52108Focused Poetry Workshop IV: Geographies of American Poetry - Gene Pfeiffer, IMF 52109Focused Poetry Workshop V: Sentence-Level Editing: Prose Poems - Beth Mead, IMF 52110 Focused Poetry Workshop VI: Further Studies - Eve Jones, IMF 52200Focused Fiction Workshop - On-Campus - Chris Candice, IMF 52201Focused Fiction Workshop: George Saunders - Zachary Vickers, IMF 52202Focused Fiction Workshop: Flash Fiction Workshop: T-Minus 500- Zachary Vickers, IMF 52204Focused Fiction Workshop: Short Fiction Workshop - Kendra Hayden, IMF 52206Focused Fiction Workshop: Kurt Vonnegut - Zachary Vickers, IMF 52207Focused Fiction Workshop: Novel Chapter Workshop - Kali VanBaale, IMF 52208Focused Fiction Workshop: Novel II Workshop - Kali VanBaale, IMF 52209Focused Fiction Workshop: Revision Workshop - Kali VanBaale, IMF 52210 Focused Fiction Workshop: The Writing Process: Short Fiction - Beth Mead, IMF 52211Focused Fiction Workshop I - Tony D'Souza, IMF 52212Focused Fiction Workshop II - Tony D'Souza, IMF 52213Focused Fiction Workshop III: Point of View - Kali VanBaale, IMF 52214Focused Fiction Workshop IV: Points of Entry for the Novel - Kali VanBaale, IMF 52215Focused Fiction Workshop V: Points of Entry for the Short Story - Kali VanBaale, IMF 52216Focused Fiction Workshop VI: Writer's Bootcamp - Nicole McInnes, IMF 52218Focused Fiction Workshop VIII: Content Crusher: Hypoxic Story Seminar/Workshop - Zachary Vickers, IMF 52219Focused Fiction Workshop IX: Sentence-Level Editing: Flash Fiction - Beth Mead, IMF 52301Focused Nonfiction Workshop: Flash Nonfiction - Lisa Haag, IMF 52305Focused Nonfiction Workshop: Longform Narrative Journalism - Tony D'Souza, IMF 52306Focused Nonfiction Workshop: Lyric & Personal Essays - Wm Anthony Connolly, IMF 52307Focused Nonfiction Workshop: Memoir Chapter Workshop Kali VanBaale, IMF 52308Focused Nonfiction Workshop: Personal Essay Craft & Workshop - David Hollingsworth, IMF 52309 Focused Nonfiction Workshop: The Poetics of Memoir - Gillian Parrish, IMF 52311Focused Nonfiction Workshop II: Dinty W. Moore and the Flash Essay - Kali VanBaale, IMF 52313Focused Nonfiction Workshop IV: Writing a Nonfiction Book - Tony D'Souza, IMF 52314Focused Nonfiction Workshop V: The Memoir Essay - Patricia Feeney, IMF 52315Focused Nonfiction Workshop VI (Craft & Literature): Further Studies in the Personal Essay & Memoir - Andrew Pryor, IMF 52316Focused Nonfiction Workshop VII: Travel Writing - Eve Jones, IMF 52317Focused Nonfiction Workshop VIII: Sentence-Level Editing: Flash Nonfiction - Beth Mead, IMF 52318Focused Nonfiction Workshop IX: Writing About Trauma: Putting the Hard Stuff on Paper (Craft/Literature) - Patricia Feeney, IMF 52319Focused Nonfiction Workshop X: Contemporary Personal Essay Collections - Kali VanBaale, IMF 52400Focused Scriptwriting Workshop - Zachary Vickers, IMF 52500Poetry Writing Workshop - Eve Jones, IMF 52600The Craft of Poetry - Anothai Kaewkaen, IMF 52702Selected Emphases in Poetry: International Poetry: Further Studies in Asian Poetry - Anothai Kaewkaen, IMF 52706Selected Emphases in Poetry: Asian Poetry Anothai Kaewkaen, IMF 52707Selected Emphases in Poetry I: Poetic Forms Emphasizing Repetition - Anothai Kaewkaen, IMF 52708Selected Emphases in Poetry II: Poetry for Prose Writers - Wm Anthony Connolly, IMF 52709Selected Emphases in Poetry III: Art of the Line: WS Merwin and a Study in Lineation - Gene Pfeiffer, IMF 52710Selected Emphases in Poetry IV: Contemporary Lyric Poetry - Ryan Smith, IMF 52711Selected Emphases in Poetry V: Docupoetics - Gillian Parrish, IMF 52712Selected Emphases in Poetry VI: Movements in American Poetry - Gene Pfeiffer, IMF 52714Selected Emphases in Poetry VIII: Living Poetry: Art of the Everyday - Gillian Parrish, IMF 53200Adv Focused Fiction Workshop - Tony D'Souza, IMF 53500Fiction Writing Workshop - Tony D'Souza, IMF 53600Fundamentals of Contemporary Fiction Wm Anthony Connolly, IMF 53701Selected Emphases in Fiction: Magical Realism - Literature - Ron Austin, IMF 53702Selected Emphases In Fiction: Magical Realism Literature & Workshop - Ron Austin, IMF 53705Selected Emphases in Fiction: The Long Story & Novella - Ted Morrissey, IMF 53706Selected Emphases in Fiction: Revisionist Fictions - Ted Morrissey, IMF 53707Selected Emphases in Fiction: African American Literature - Tony D'Souza, IMF 53708Selected Emphases in Fiction I: Experimental Writing as Literature - Ted Morrissey, IMF 53709Selected Emphases In Fiction II: The Competing Styles of Hemingway & Faulkner - Tony D'Souza, IMF 53710Selected Emphases in Fiction III: Reading & Writing the Short Story - Kali VanBaale, IMF 53711Selected Emphases in Fiction IV: Cli-Fi (Climate-Change Fiction) - Gene Pfeiffer, IMF 53712Selected Emphases in Fiction V: Monster Fiction - Gillian Parrish, IMF 53713Selected Emphases in Fiction VI: American Women Short-Story Masters I - Mary Anderson, IMF 53714Selected Emphases in Fiction VII: American Women Short-Story Masters II - Mary Anderson, IMF 53715Selected Emphases in Fiction VIII: Latin American Literature I - Kendra Hayden, IMF 53716Selected Emphases in Fiction IX: Latin American Literature II - Kendra Hayden, IMF 53717Selected Emphases in Fiction X: Sports in Literature: Play, Conflict, and the Shape of Narrative - Gene Pfeiffer, IMF 53718Selected Emphases in Fiction XI: Short Story Collections - Kali VanBaale, IMF 53719Selected Emphases in Fiction XII: Architecture of the Novel - Kali VanBaale, IMF 53720 Selected Emphases in Fiction XIII: Art & Literature - Charlene Engleking, IMF 53721Selected Emphases in Fiction XIV: Linked Fiction - Gillian Parrish, IMF 53722Selected Emphases in Fiction XV: Worldbuilding & Unbuilding: A Study in Setting and the Political, Social, Geographic and Economic forces that create a fictional world- Gene Pfeiffer, IMF 53900Adv Studies in Contemporary Fiction - Wm Anthony Connolly, IMF 54107Special Topics Focused Workshop: Writing Flash Fiction - Zachary Vickers, IMF 54108Special Topics Focused Workshop: Publishing Creative Writing - Nicole McInnes, IMF 54109Special Topics Focused Workshop: Spiritual Writing: Memoir - Wm Anthony Connolly, IMF 54110Special Topics: The Art of the Sentence - Zachary Vickers, IMF 54301Genre Fiction as Literature: Young Adult Literature - Nicole McInnes, IMF 54302Genre Fiction as Literature: The Graphic Novel as Memoir Zachary Vickers, IMF 54304Genre Fiction as Literature: Classic Sci-Fi/Horror by Women Writers Ted Morrissey, IMF 54400Genre Fiction Workshop: Cli-Fi Workshop (Climate Fiction) - Gene Pfeiffer, IMF 54402Genre Fiction Workshop: Focused Science Fiction Workshop & Literature - Nicole McInnes, IMF 54403Genre Fiction Workshop: Young Adult Literature- Nicole McInnes, IMF 54407Genre Fiction Workshop: Sci-Fi Literature + Workshop: Neil Gaiman - Charlene Engleking, IMF 54408Genre Fiction Workshop: Romance Writing - Charlene Engleking, IMF 54500 Creative Nonfiction Workshop - Beth Mead, IMF 54600The Personal Essay & Memoir - Andrew Pryor, IMF 55100Fiction Craft Foundations Christopher Candice, IMF 55200Creative Nonfiction Craft Foundations - Lisa Haag, IMF 55300Poetry Craft Foundations - Ryan Smith, IMF 55500Prose Workshop: Life Forms - Gillian Parrish, IMF 55600The Prose Collection: Alice Munro - Mary Anderson, IMF 55601The Prose Collection: David Sedaris Lisa Haag, IMF 55602The Prose Collection: Raymond Carver - Mary Anderson, IMF 55605The Prose Collection: T.C. Even if you decide not to apply for an MFA, you will be able to build on the themes and knowledge developed in this course to organize yourself in the future. Subject to approval. You have the option to enroll in a limited number of approved courses offered on campus or online by any University of Nebraska campus and have those credits substituted for required MFA degree credit hours. Cathy Park Hong Courses in an MFA in Creative Writing Program. Applying for an MFA program is both a creative and practical exercise: you are defining your creative needs, desires, and goals, and positioning yourself to better achieve those goals. Your application was accepted but the payment window has expired. The Sam Houston State University MFA Program in Creative Writing, Editing, and Publishing is pleased to announce new fellowships to begin in the fall of 2020. Two sections (with two different instructors) are offered per term; alternating instructors include Tony D'Souza, Eve Jones, Kali VanBaale, and Nicole McInnes. Classes without info links will be offered in future terms. To supplement the catalog descriptions with more details for our students, our instructors have also provided personalized descriptions for the classes they teach. Accomplished Mentors and Distinguished Visiting Writers, Our low-residency MFA in Writing combines four 16-week at-home semesters with five 10-day conference-style residencies. Subject to approval. Lindenwood University, in St. Charles, Mo., and Belleville civic leaders first came together in 2001 to establish a Lindenwood extension location in the Metro East. If you have any question, you can write to us at[emailprotected]. IMF 58999Graduate ThesisNOTE: The Thesis class is required in the final term of the program. Heres what you can expect: Week 2: Finding and choosing programs to apply to, Week 4: Preparing the writing sample, resume, and list of recommenders, Week 5: Pulling it all together and hitting submit. Login with your associated social account, author of ENGINE EMPIRE and DANCE DANCE REVOLUTION, author of THEY CAN'T KILL US UNTIL THEY KILL US. These poems sprawl generously, drift a reader seamlessly between percussive urgency and gentle harmonies. What kind of story would you like to write? If you are interested in receiving feedback on your MFA application or personal statement, please contact [emailprotected] for information about consultations. Composed with (and sometimes of) permutation programming code and algorithms, these poems run relentless procedures on the language of black death and black survival. At residency, you will attend lectures, workshops, and readings, and you will be paired with a faculty mentor with whom you will meet to design your study plan for the home-based semester. The MFA program offers workshop classes, literature classes, and craft classes in a wide variety of genres and focus areas. Our faculty pour their talents and energies into coaching their students for success in their writing careers. author of THEY CAN'T KILL US UNTIL THEY KILL US, "TRAVESTY GENERATOR is so carefully crafted and considered from a standpoint of musicality. The University of Nebraska does not discriminate based on race, color, ethnicity, national origin, sex, pregnancy, sexual orientation, gender identity, religion, disability, age, genetic information, veteran status, marital status, and/or political affiliation in its programs, activities, or employment. By framing [their] 'counter-narratives' of black lives in code and social media optimization, Bertram brilliantly conveys how black experience becomes codified, homogenized, and branded for capitalist dissemination. Please make sure you have typed your email address correctly. During the semester, while devoting a minimum of 25 hours per week to your studies, you will have time to maintain commitments to family or job while you pursue your literary studies within a flexible structure of writing, guided readings, and critical response. After each week you will be more organized and your application packet will be more complete. 6 hrs MFA thesis; Distribution of Coursework. By the same token, the poems of Lillian-Yvonne Bertrams TRAVESTY GENERATOR use computational processes to demonstrate that randomness offers no escape from the patterns that grief and outrage form in black lives. Timely in its sociopolitical critique and visionary in its formal inventiveness, Bertrams collection offers a guide to a poetics of the new Afro/future. All application types require a clear understanding of what youre applying for and why. Featuring Adirondack-style timbers and stonework, this retreat is set in the middle of a 260-acre wooded park. Start here, with a self-guided course in four parts by National Book Award longlisted poet and MFA program faculty and director Lillian-Yvonne Bertram. Application scenarios about, College of Communication, Fine Arts and Media, 314 Weber Arts Thinking about getting an MFA in Writing combines four 16-week at-home semesters with five 10-day residencies convene the The true vehicle for instrumentation what kind of story would you like to write class required! Story would you like to write unafraid of its own many possibilities,! 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