WRITING THE ESSAY I: PORTRAITS AND LANDSCAPES. Portrait and landscape: two paradigms, two orientations, two ways of seeing the world’s inhabitants and the worlds they inhabit. We will borrow these genres from the field of visual art to explore how we “frame” human and non-human lives in writing. We will read a range of texts by authors including essayists like Roland Barthes, Michel Serres, and Leslie Jamison, poets like Charles Baudelaire, Claudia Rankine, Mahmoud Darwish, and Yehuda Amichai, and fiction writers like Shobha Rao, Anuk Arudpragasam, and Cesar Aira, using their work to address questions of land and belonging—to whom does land belong, who belongs in a given landscape?—as well as questions of identity and profiling—whose faces matter, with whose faces do we identify and why? We will also hone our techniques of description and analysis by examining the work of painters and photographers.

WRITING THE ESSAY I: WRITING ABOUT VALUES: In this first-year writing seminar, we will explore fundamental issues of our lives in order to develop key analytic and argumentative skills. We will discuss what is really worth striving for and what makes a good or meaningful life. Topics include questions of priorities, definitions of good and evil, cultural and moral relativity, the nature of love, the challenges of suffering and death, and sociopolitical issues such as minority rights, feminism, and the environment. Texts may include short works by Dr. Martin Luther King Jr., Plato, Euripides, Shakespeare, Woolf, Sartre, June Jordan, Michael Pollan, Al Gore, and many others, as well as Eastern and Western religious texts and topical newspaper articles. In the course of composing and workshopping essays related to the readings, students will focus on tackling the stages of the writing process, entering a conversation, identifying key value conflicts, anticipating counter arguments, identifying sources, and engaging the reader. We will work on developing close reading and research skills, logical strategies, rhetorical techniques, and grammatical clarity, along with the effective deployment of summary, quotation, citation, and tone.

WRITING THE ESSAY I: LITERARY CITIES. A city can be a writer’s muse, and it can be a writer’s curse, and it can be a writer’s longing. In describing the physical world as they see it, writers create new, literary versions of existing cities. As readers, we are privileged to experience these transformations. This first-year writing seminar will explore writers’ relationships with their surroundings and consider how they craft cities on the page, what moves them to do so, and how real cities are impacted as a result. We will discover such places as Lauren Elkin’s Paris, Colson Whitehead's New York, Ilya Kaminsky's Odessa, Meron Hadero’s Addis Ababa, and Joan Didion's Los Angeles. Through a series of writing responses, students will investigate personal connections to the cities of their past and present.

WRITING THE ESSAY I: WRITING ABOUT VALUES. In this first-year writing seminar, we will explore fundamental issues of our lives in order to develop key analytic and argumentative skills. We will discuss what is really worth striving for and what makes a good or meaningful life. Topics include questions of priorities, definitions of good and evil, cultural and moral relativity, the nature of love, the challenges of suffering and death, and sociopolitical issues such as minority rights, feminism, and the environment. Texts may include short works by Dr. Martin Luther King Jr., Plato, Euripides, Shakespeare, Woolf, Sartre, June Jordan, Michael Pollan, Al Gore, and many others, as well as Eastern and Western religious texts and topical newspaper articles. In the course of composing and workshopping essays related to the readings, students will focus on tackling the stages of the writing process, entering a conversation, identifying key value conflicts, anticipating counter arguments, identifying sources, and engaging the reader. We will work on developing close reading and research skills, logical strategies, rhetorical techniques, and grammatical clarity, along with the effective deployment of summary, quotation, citation, and tone.

WRITING THE ESSAY I: MEMORY AND THE SELF: In this first-year writing seminar we will explore how memory shapes how we see ourselves, others and the world around us. How do the circumstances under which a memory is formed affect us? How does the language we use to talk to ourselves and about ourselves inform how we assemble our sense of self? To what extent is the act of forgetting a core component in identity-making? As the semester progresses, we’ll explore work by science writers, essayists and novelists to understand the malleable nature of memory and its impact on how we interact with our reality. Students will critically engage with texts, audio, and video to ultimately construct their own arguments and ideas about this deeply personal, but vastly universal topic. This will take shape in the form of short ruminations and responses, a presentation, and one longer research essay.

WRITING THE ESSAY I: EVERYONE'S A CRITIC. Pop culture has historically been dismissed as frivolous or a passing fad, the fodder of naïve youth – but we all create and digest popular culture. Pop culture is, in many ways, a reflection of who we are at any given moment in time. Studying what’s popular allows us to deepen our understanding of humankind: age, race, gender, class, sexuality, nationality, and the realities of social, historical, and political contexts. These lenses, taken together or perhaps in opposition, provide opportunities to see ourselves authentically and to change, progress, and heal. In this first-year writing seminar, we will recast pop culture as perhaps the truest reflection of who we are, what we believe, desire, and value. The authors we will read are ideologically and stylistically diverse, but what they have in common is their concern with social, cultural, and political issues and their strong distinctive prose. Our discussions will focus not only on the ideas presented in the texts but also on the structural and rhetorical features of the texts themselves, the language in which the ideas are embodied. Students will develop critical writing and reading skills and make persuasive arguments through writing about the issues that are most prevalent in their lives. The writers and critics we may read include: A.O. Scott, Emily Nussbaum, Rachel Kaadzi Ghansah, Zora Neale Hurston, Hilton Als, Hanif Abdurraqib, Susan Sontag, E.M. Forster, Zadie Smith, Ta-Nehisi Coates, Wesley Morris, Amanda Petrusich, bell hooks, and others.

WRITING THE ESSAY I: THE STORIES WE TELL OURSELVES. This first-year writing seminar examines the theory and practice of creative nonfiction, focusing on the memoir and the personal essay. Students will learn how to translate personal experience into effective pieces of writing. We will study the techniques of “writing the self,” integrating literary analysis and creative writing and an exploration of the role of memory and imagination in reconstructing and shaping the past. We will read a variety of texts and examine the ways writers use language to bring their subjects to life, reading not only for the story but, more importantly, for distinctive prose style and technique. As writers we all have unique concerns, backgrounds, and perspectives. Our goal is to effectively communicate what we have seen, heard, and felt, focusing on the world outside of ourselves as much as our interior worlds. Our workshops will help us focus on hearing our unique voices and the voices of others, offering new ideas and thoughtful critiques. We will learn how to use the truth of our lives to create compelling narratives that feature quality thinking, depth of insight, and impressive prose style.

WRITING THE ESSAY I: OBSESSED: WRITING ABOUT WHAT HAUNTS US. In this first-year writing seminar, we’ll visit the landscapes that leave their observers obsessed, and observe and put into practice our own writing obsessions. How can an incredibly close study of a subject find its way into our work? What's the difference between deep research and obsession? We'll read essays, fiction, and poetry by Jhumpa Lahiri (Italian language); John McPhee (truckers); Vinson Cunningham (sermonic essays); Jonathan Franzen (birds); Natalie Goldman (craft essay on obsession in Writing Down the Bones); Natalie Diaz (poetry); Roxanne Gay (Scrabble); Sarah Vowell (Assassination Vacation); Siddhartha Mukherjee (cancer); M.F.K. Fisher (frugality)

WRITING THE ESSAY I: GREAT SHORT FICTION: This first-year writing seminar aims to develop the broader skills of close reading and clear, analytical writing. The syllabus offers a survey of the short story with authors both canonical and contemporary, including James Joyce, Franz Kafka, Shirley Jackson, Flannery O’Connor, Raymond Carver, Amy Hempel, Sherman Alexie, and others. The course explores such themes as character and conflict, experimental and psychological fiction, and moral fiction, as well as the role of voice, descriptive language, and symbols. The course requires ongoing shorter assignments plus multiple drafts of three formal essays.

WRITING THE ESSAY I: THE MORALITY OF LAW. Are all laws moral? What should society’s response be to an immoral law? In this first-year writing course students will understand what defines a law and then will examine the relationship between law and morality. Then students will take these ideas to analyze the impact on the American legal system. We will be reading a variety of work from fiction to academic texts, personal essays, and even poetry. Writers include: Angela Davis, Harlan Ellison, Hannah Ardent, Colson Whitehead, Albert Camus, Franz Kafka, Solmaz Sharif, César Cuauhtémoc García Hernández, Audre Lorde, and others. We will also be using autoethnography as a tool to unpack these ideas. Students will write personal essays as well as research papers in this course.

WRITING THE ESSAY I: LITERATURE OF MELANCHOLIA. In this first-year writing seminar we look at texts that confront depression, grief and longing. Poets and philosophers have often examined these emotional states as passage through a “dark night of the soul” in which an author confronts the despair within and finds a way to traverse it. These personal and spiritual reckonings are often deep examinations of the self in the world and a search for meaning in existence. This writing intensive course considers philosophical, poetic and other renderings of mourning and melancholia in authors such as Roland Barthes, Julia Kristeva, Karen Green, Sigmund Freud, Maggie Nelson, James Baldwin, Paul Celan and others. Through a series of essays, we begin a conversation in our own writing and thought with these authors and issues.

WRITING THE ESSAY I: QUEER SCIENCE FICTION: In this first-year writing course we will read, discuss, and respond in writing to queer science fiction and fantasy texts. As we read, we will consider the relationship between body and text, and practice close reading of these LGBTQIA textual bodies; queer pages that work to counter hegemonic norms. This course asks: how do queer texts function as a space for intersectional analysis? What are the connections and places of overlap between bodies and texts? What can we learn from the world-making possibilities science fiction and fantasy writing offer to queer authors and readers? Our texts may include writing by Ryka Aoki, Octavia Butler, Samuel Delany, Akwaeke Emezi, Nalo Hopkinson, Ursula K. Le Guin, Joss Lake, Yoon Ha Lee, and Rivers Solomon, among others. Possible films include Born in Flames, Brief Story from the Green Planet, The Matrix, and Neptune Frost. Writing assignments will include personal essay, critical analysis, and a creative final project merging scholarly writing with fiction.

WRITING THE ESSAY I: ELEMENTS OF FACT AND FICTION: In this first-year writing seminar we will ponder the importance, necessity and psychological functional of storytelling. As a species, humans are storytelling animals. We can’t explain ourselves or know each other without using, sharing, inventing and assuming stories. What is universal in reason? How does it work? Who decides the context of meaning? We’ll begin the semester reading old stories—fairy tales, for instance—and study the evolution of metaphor and culture. Good stories are timeless and relatable. How, then, do we keep churning out new ways of thinking old stories? We’ll read novels, memoirs and literary theory. We’re actively seeking an understanding of the goal(s) of narrative drive. How is learning achieved? What do we want to understand when we read other peoples’ experiences? Is it to relate to what’s already within us or do we grow? If so, how and where? Potential readings include: The Story Factor: Secrets of Influence from the Art of Storytelling, by Annette Simons; Postmodern Fairy Tales: Gender and Narrative Strategies, by Cristina Bacchilega; Strange as this Weather has Been, by Ann Pancake; Legend of a Suicide, by David Vann; A Childhood: The Biography of Place, by Harry Crews; There There by Tommy Orange; and My Year of Rest and Relaxation, by Ottessa Moshfegh.

WRITING THE ESSAY I: GREAT SHORT FICTION: This first-year writing seminar aims to develop the broader skills of close reading and clear, analytical writing. The syllabus offers a survey of the short story with authors both canonical and contemporary, including James Joyce, Franz Kafka, Shirley Jackson, Flannery O’Connor, Raymond Carver, Amy Hempel, Sherman Alexie, and others. The course explores such themes as character and conflict, experimental and psychological fiction, and moral fiction, as well as the role of voice, descriptive language, and symbols. The course requires ongoing shorter assignments plus multiple drafts of three formal essays.

WRITING THE ESSAY I: TOO COOL FOR SCHOOL. This first-year writing seminar encourages students to consider the ways they are taught and the unspoken assumptions about their education. To do this effectively, students hone skills for reading, analyzing, and thinking about structures of implicit thought in formal education. To think through complicated issues, write to examine that thinking, share their ideas, and make arguments based on their perspectives and understandings. Authors include Paulo Friere, Adrienne Rich, Mary Louise Pratt, Susan Griffin, and Ralph Ellison.

WRITING THE ESSAY I: EVERYDAY ARCHIVES. An archive is any collection of items judged to be enduringly valuable – whether a set of Gilded Age-era diaries housed at the New York Public Library, a curation of Instagram photographs, or a box full of a great-great-aunt’s letters and shoes. Because all archives are by nature selective and incomplete, they pose questions about what gets deemed valuable, why, and according to whom; and, accordingly, what gets left out of the historical record and why. In this course we will explore the relationship between writing and archives. We'll look at work by authors who have written with, or about, existing archives -- for example, poems motivated by an ancestor's diary, an essay built from a list of one's own scars or tattoos. We'll look at work by those who have written into archival silences and gaps -- for example, speculative histories imagining the daily lives of those who existed in the margins of recorded history. And we'll spend time with writing that operates as an archive in itself: diaries and other texts designed to document the present. Throughout, we will explore the role and meaning of archives in our own lives while addressing issues related to privacy, access, and erasure. We'll read work by Saidiya Hartman, Carmen Maria Machado, Samuel R. Delany, Julietta Singh, and Lou Sullivan, among others. Assignments may involve diaristic writing, oral history, speculative history, and working with public records and institutional archives. As possible, we will take one or more field trips to locally based archives.

WRITING THE ESSAY I: HERE THERE BE MONSTERS: When the world's vastness was still mostly unknown, ancient cartographers would draw dragons and wild beasts in the margins of their maps with the warning: “Here, there be monsters.” The notice served to discourage travelers from venturing into unknown danger. However, what it truly represented was the border between the known and the unknown. It implored the explorer to stay within the safe and acceptable precincts of human knowledge. In this course, we will press beyond those borders and face the monsters that our own stories have warned us about. We will examine why monsters are a culturally universal creation, and what we can learn about our own state of being from the monsters we engender, fear and desire. We will study texts, histories, and folklore ranging from the origins of the Haitian zombie to colonial witch hunts to our own contemporary cinematic and literary horrors. Through close reading, critical analysis and discussion, students will write about how the depictions and, importantly, the uses of these monsters, have changed over time – and what that ultimately tells us about ourselves.

WRITING THE ESSAY I: ILLNESS AND HEALING. In this first-year writing seminar students will look at classic texts on illness and healing such as Susan Sontag's Illness As Metaphor and AIDS and its Metaphors and Audre Lorde's The Cancer Journals as well as essays on black women's maternal death rates and climate change. Is the earth sick? Why is chronic illness on the rise? Do mental illnesses need to be "cured"? We will formulate questions and learn to think on the page and research. The memes tells us if we heal ourselves we can heal the world. Students will write personal and research essays as well as look at news about the wellness industry and discuss current events in real time.

WRITING THE ESSAY I: THE STORIES WE TELL OURSELVES. This first-year writing seminar examines the theory and practice of creative nonfiction, focusing on the memoir and the personal essay. Students will learn how to translate personal experience into effective pieces of writing. We will study the techniques of “writing the self,” integrating literary analysis and creative writing and an exploration of the role of memory and imagination in reconstructing and shaping the past. We will read a variety of texts and examine the ways writers use language to bring their subjects to life, reading not only for the story but, more importantly, for distinctive prose style and technique. As writers we all have unique concerns, backgrounds, and perspectives. Our goal is to effectively communicate what we have seen, heard, and felt, focusing on the world outside of ourselves as much as our interior worlds. Our workshops will help us focus on hearing our unique voices and the voices of others, offering new ideas and thoughtful critiques. We will learn how to use the truth of our lives to create compelling narratives that feature quality thinking, depth of insight, and impressive prose style.

WRITING THE ESSAY I: WRITING POP CULTURE. This course centers around critical analysis, comparative analysis, and academic argument. This course is designed to step outside of the traditional academic writing and allow you to explore the here and now of contemporary literature and pop culture. This course will focus on four main essays. We will study pop culture from an ekphrastic lens, defining and understanding what takeaways we can derive from our daily pop influences such as Chance the Rapper, Carly Rae Jepsen, and even pivotal films like Scream. The objective being to critique, analyze, boast on, and even villainize some of our favorite icons or iconic moments.