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<DIV><FONT face=Arial size=2>Dear MFAs,</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Below is a description of my spring
seminar. Please feel free to email me with any questions. I am
looking forward to an engaging, enjoyable, and productive class with
you.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Warmly,</FONT></DIV>
<DIV><FONT face=Arial size=2>Andrew</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV>
<P><B><FONT face=Garamond>CRWT 252G - The Art of the Novel - Spring 2007</P>
<P>Andrew Winer</P></B>
<P><FONT face=Arial size=2></FONT> </P></FONT>
<P><U><FONT face=Garamond size=3>Description:</P></U>
<P>This course is alternately a reading seminar—in which vital and challenging
examples of the novel as an art form are examined—and a generative "laboratory"
for students who are currently writing, or intend to one day write, a novel.
Over the course of ten weeks, we will model and practice a process useful to
novel composition: reading, analyzing, and mining novels and other texts
(including nonfiction, diary-journals, philosophy, theology, poetry, and music)
and <I>accreting</I> our own ideas from which to draw as (or when) we write our
own novels. By the end of the quarter, each student will come away with their
own compendium (in the form a large word document) of ideas, notes, quotes,
inspirations, and original passages to be used for their novel-yet-to-be-written
or novel-in-progress. </P>
<P>Each week, students will engage the assigned texts—firstly, by taking written
note of structures, forms, passages, words, and ideas; secondly, by applying
those notes to their own written projects (existent or in idea form); and
thirdly, by exchanging with each other (both in direct classroom discussion and
electronically on iLearn) the results of the first two undertakings—with the
desired effect of increased articulation and quantity of
ideas.</P></FONT><U><FONT face=Garamond>
<P>An important note about the texts</U>: It is crucial that we all have the
same translations. I have specified the translators, where appropriate. All of
the texts, with the exception of <I>Madame Bovary </I>(the particular
translation of which is out of print and must be purchased used on Amazon) and
the essays and CDs that I will provide, have been ordered at the UCR Bookstore.
</P></FONT><FONT face=Garamond size=4></FONT><U><FONT face=Garamond size=3>
<P>Novels:</P></U><I>
<P>Jacques the Fatalist, </I>Denis Diderot</P><I>
<P>Embers</I>, S</FONT><FONT face=Garamond size=3>á</FONT><FONT face=Garamond
size=3>ndor M</FONT><FONT face=Garamond size=3>á</FONT><FONT face=Garamond
size=3>rai</P><I>
<P>The Sleepwalkers</I>, Hermann Broch</P><I>
<P>Elizabeth Costello</I>, J. M. Coetzee<I> </P>
<P>The Castle: A new translation based on the restored text</I>, Franz Kafka,
Mark Harman (translator) (Schocken Books<I>)</P>
<P>Austerlitz</I>, W.G. Sebald</P><I>
<P>Anna Karenina</I>, Leo Tolstoy, Richard Pevear and Larissa Volokhonsky
(translators)</P><I>
<P>Madame Bovary: Life in a Country Town</I>, Gustave Flaubert, Gerard Hopkins
(translator) (Oxford)</P><I>
<P>The Counterlife, </I>Philip Roth</P><I>
<P>The Ambassadors, </I>Henry James</P><I></I><U>
<P>Journals, Notes, Poems, Aphorisms:</P></U><I>
<P>The Secret Heart of the Clock</I>, Elias Canetti</P><I>
<P>The Book of Disquiet</I>, Fernando Pessoa</P><I>
<P>Gravity and Grace</I>, Simone Weil </P>
<P><I><FONT face=Garamond size=3>Voices, </I>Antonio Porchia<I> </P>
<P>Anathemas and Admirations, </I>E. M. Cioran<I> </P></I></FONT><I></I><U>
<P>Nonfiction:</P></U><I>
<P>The Art of the Novel</I>, Milan Kundera</P><I>
<P>The Curtain: An Essay in Seven Parts, </I>Milan Kundera<I> </P>
<P>Essays by Auden, Mann, Shestov, etc.</I>, provided by Andrew
Winer</P><I></I><U>
<P>Music:</P></U><I>
<P>CD of assorted works</I>, provided by Andrew
Winer</P></FONT></DIV></BODY></HTML>