Rochelle Hurt www.rochellehurt.com EDUCATION Doctor of Philosophy in English/Creative Writing, University of Cincinnati, August 2013 – May 2017 • University Graduate Scholarship and Graduate Teaching Assistantship (2013-2017) Master of Fine Arts in Creative Writing/Poetry, University of North Carolina Wilmington, May 2011 • Departmental Teaching Fellowship (2008-2011) • Thesis Title: “The Rusted City,” advised by Sarah Messer, Malena Mörling, Mark Cox Bachelor of Arts in English Literature, The Ohio State University, Columbus, OH, March 2008 • Departmental Citino Undergraduate Poetry Award (2008) & Gertrude Lucille Robinson Award (2007) • Graduated with honors, magna cum laude
BOOK PUBLICATIONS • The Rusted City: A Novel in Poems. Buffalo: White Pine Press (Marie Alexander Poetry Series vol. 18), 2014. "In Rochelle Hurt's breathtaking mixed work of prose poetry and verse, a history of place is caked in a 'deep layer of red dust.' The Rust Belt's rattling structures and sutured-up asphalt roads are palpable here in every syncopated line and every musical sentence—in the flash of a worker's lunch pail and in each drink stirred by a rusty nail that leaves 'iron orange streaks' on readers' tongues. And we know that this too is the taste of our blood. We know that in the broken heart of a country, what beats is the familiar pulse of a mother, a father, and siblings, slowly hammering scraps to hold family together. We know, from this new century, that it is art like this that endures." —Oliver de la Paz "The Rust Belt Gothic is a new political-aesthetic category, wherein the ignored or statistical pain of the nation’s abandoned industrial heart is made to glow with a Poe-like anti-vigor, an undead force. Rochelle Hurt’s Youngstown is rife with fairy-tale inmates—a smallest sister, a favorite father, a quiet mother—yet the ruling spirits of the place are not humans but the corpsy avatars of place itself—the shuttered factory, the ruined ballroom, the big hungry plural baby of 'the century' with its singular familiar, Rust. This is a gory, half-delirious business, wonder- and grief-stricken, urgent and exacting, tender and hot, like an iron filing shifting in the palm." —Joyelle McSweeney AWARDS & HONORS 2014 • Winner, TQ3 Poetry Prize from Tupelo Quarterly • Recipient of Postgraduate Scholarship in Poetry from the Kentucky Women Writers Conference • Honorable Mention, Betty Gabehart Prize for Poetry from the Kentucky Women Writers Conference • Finalist, 2014 Crab Orchard Poetry Series Open Book Competition, SIUC Press (No Place) 2013 • Winner, Richard Peterson Poetry Prize from Crab Orchard Review • Selected for inclusion in Best New Poets 2013 anthology • Named in list of Notable Essays in Best American Essays 2013
• Finalist, Money for Women/Barbara Deming Memorial Fund grant in Poetry category • Finalist, 2013 Beatrice Hawley Book Prize, Alice James Books (No Place) 2012 • Winner, Dorothy Sargent Rosenberg Poetry Prize • Finalist, Prism International Poetry Contest • Finalist, Nancy D. Hargrove Editors' Prize in Poetry from Jabberwock Review • Finalist, World’s Best Short-Short Story Contest from The Southeast Review • Honorable Mention, Just Desserts Short-Short Fiction Prize from Passages North • Finalist, 2012 Intro Book Prize in Poetry, Four Way Books (No Place) • Finalist, 2012 Barrow Street Book Contest (No Place) 2010-2011 • Winner, 2011 Ruth Stone Poetry Prize from Hunger Mountain • Winner, 2011 Rumi Prize in Poetry from Arts & Letters • Winner, 2010 Poetry International Prize • Finalist, 2011 Black Box Poetry Prize, Rescue Press (The Rusted City)
SELECTED TALKS, READINGS & RESIDENCIES 2009-2015 • Panelist/Reader, “Flat Lands and Open Waters: Reading Hybridity into the Midwest,” AWP Conference, Minneapolis, MN, April 2015 (accepted) • Panelist, “Lines That Bind: Using Constraints and Experiments to Generate Poems,” Winter Wheat Festival, Bowling Green State University, Bowling Green, Ohio, November 15, 2014 (accepted) • Invited Alumni Reader, University of North Carolina Wilmington Writers Week Festival, November 4, 2014 • Featured Reader, River Styx Hungry Young Poets Series, St. Louis, MO, August 18, 2014 • Featured Reader, RHINO Reads!, RHINO Poetry, Evanston, Illinois, April 25, 2014 • Reiberg Series Reader and Bonderman Undergraduate Workshop Leader, Department of English, Indiana University-Purdue University Indianapolis, March 25, 2014 • Featured Alumni Reader, Department of English, The Ohio State University, April 1, 2014 • Featured Reader, Department of English, Youngstown State University, April 3, 2014 • Writer-in-Residence, Wildacres Residency Program, May 2013 • Visiting Writer, Arts & Letters Festival, Georgia College and State University, March 15-18, 2012 • Writer-in-Residence, Writers in the Heartland, September 2012 • Writer-in-Residence, Jentel Artist Residency Program, May-June 2011 • Panel Moderator, “Revision: A Change of Art: Writers Discuss Creating Visual Art,” UNCW Writers Week, A Southern Homecoming, University of North Carolina Wilmington, November 4, 2009
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ANTHOLOGY & JOURNAL PUBLICATIONS Works in Anthologies, 2011-2014 • “Infants of the Field” and “Some Oz.” New Poetry from the Midwest: New American Press, eds. Okla Elliott and Hannah Stephenson (forthcoming). Poetry. • “Poem in Which I Play the Runaway.” Best New Poets 2013: 50 Poems from Emerging Writers: University of Virginia Press, eds. Brenda Shaughnessy and Jazzy Danziger, 2013. Poetry. • “The Language of Daughters.” Best of Adroit: 2010-2013, The Adroit Journal, ed. Peter LaBerge, 2013. Poetry. • “Sowing Ohio.” Poetry to the People: This Land Press, eds. Abby Wendle and Scott Gregory, 2013. Poetry. • “Reading Whitman in the Chemo Room.” The Body Electric: Ars Omina, ed. AimeeHerman, 2013. Poetry. • “We Could Have Been Millionaires.” Flash Fiction 25: A Collection of Flash Fiction Stories and Art, Wilmington, North Carolina: William Madison Randall Library at UNC Wilmington (2011): 6. Fiction. Poems in Journals, 2014 • “Shame Story I: Origins & Outcomes.” The Laurel Review: forthcoming. • “Shame Story II: Possessions.” The Laurel Review: forthcoming. • “Shame Story III: Direct Objective.” The Laurel Review: forthcoming. • “craniotomy.” The Journal 38.4 (Fall 2014): forthcoming. • “Who Taught You That One?” The Journal 38.4 (Fall 2014): forthcoming. • “Can I Call You Shelly?” The Journal 38.4 (Fall 2014): forthcoming. • “Hallucination with Bees.” Green Mountains Review Online (August 26, 2014). • “Self-Portrait in Accident, Maryland.” Harpur Palate 14.2 (Fall 2014): forthcoming. • “Self-Portrait in Miracle, Kentucky.” The Florida Review 38.2 (Winter 2013): forthcoming. • “Self-Portrait in Imalone, Wisconsin.” The Florida Review 38.2 (Winter 2013): forthcoming. • “[The evening before you left, I watched you].” Crab Orchard Review 19.2 (Fall 2014): forthcoming. • “[I am still as the stones on the floor].” Crab Orchard Review 19.2 (Fall 2014): forthcoming. • “[Lydia, I wait for gold to spill over].” Crab Orchard Review 19.2 (Fall 2014): forthcoming. • “[Another dream, your hands full of gold rocks].” Crab Orchard Review 19.2 (Fall 2014): forthcoming. • “Dance-talk.” Connotation Press: An Online Artifact (A Poetry Congeries) IX.6 (June 2014). • “The Suffering of Saint Teresa of Avila.” Connotation Press (A Poetry Congeries) IX.6 (June 2014). • “The Tolerance of Saint Teresa of Avila.” Connotation Press (A Poetry Congeries) IX.6 (June 2014). • “Diorama of a Runaway.” Connotation Press: An Online Artifact (A Poetry Congeries) IX.6 (June 2014). • “Self-Portrait in Aimwell, Alabama.” PANK Magazine Online 9.6 (June 2014). • “Born Again.” PANK Magazine Online 9.6 (June 2014). • “Lost Ring.” PANK Magazine Online 9.6 (June 2014). • “The Miami River Floods: Dayton, Ohio.” PANK Magazine Online 9.6 (June 2014). • “The Humility of St. Teresa of Avila.” Tupelo Quarterly 3 (April 2014). Winner of TQ3 Poetry Prize. • “The Old Mill.” Poemeleon VII, The Unreal Issue (Spring 2014). Reprint. • “The Favorite Father Gets Home from Work.” Poemeleon VII, The Unreal Issue, (Spring 2014). Reprint. • “The Quiet Mother Cups the Favorite Father’s Ear.” Poemeleon VII, The Unreal Issue (Spring 2014). Reprint. • “The Smallest Sister Decides to Make Herself Red.” Poemeleon VII, The Unreal Issue (Spring 2014). Reprint. • from The Rusted City: “The Quiet Mother Hides.” Poemeleon VII, The Unreal Issue (Spring 2014). Reprint. Hurt 3
• “No Place (Dorothy Reconsiders),” Fairy Tale Review 10.1, Emerald Issue (Spring 2014): 59. • “Dorothy and Uncle Henry,” Fairy Tale Review 10.1, Emerald Issue (Spring 2014): 60. • “Dorothy and the Lone Ranger,” Fairy Tale Review 10.1, Emerald Issue (Spring 2014): 61. • “Letter from Aunt Em,” Fairy Tale Review 10.1, Emerald Issue (Spring 2014): 62. • “Dorothy in the Desert,” Fairy Tale Review 10.1, Emerald Issue (Spring 2014): 63. Poems in Journals, 2013 • “In the Century of Fumes.” Mid-American Review XXXIV.1 (Fall 2013): 3. • “Sowing Ohio.” This Land Magazine 4.21 (November 1, 2013): 5. • “In Only, Tennessee.” Crab Orchard Review 18.1 (Spring 2013): 53. Winner of Richard Peterson Prize. • “Infants of the Field.” Crab Orchard Review 18.1 (Spring 2013): 54-55. Winner of Richard Peterson Prize. • “Some Oz.” Crab Orchard Review 18.1 (Spring 2013): 56-58. Winner of Richard Peterson Prize. • “Nightmute, Alaska.” RHINO Poetry (April 2013): 52-53. • “Diorama of a Fire.” The Adroit Journal 7 (Summer 2013): 96-97. Reprint. Nominated for Pushcart. • “The Language of Daughters.” The Adroit Journal 7 (Summer 2013): 98. • “The Welder’s House.” Weave 9 (Summer 2013): 108. • “The Lion Tamer’s House.” Weave 9 (Summer 2013): 107. • “The Keeper’s House.” Weave 9 (Summer 2013): 109. • “In the Century of Birthmarks.” Superstition Review 11 (April 2013). • “In the Century of Lunch Pails.” Superstition Review 11 (April 2013). • “In the Century of Mandatory Crying.” Superstition Review 11 (April 2013). • “In the Century of Rust.” Superstition Review 11 (April 2013). Poems in Journals, 2012 • “Diorama of a Funeral.” The Kenyon Review (KROnline) (Fall 2012). • “Diorama of a Tiny Death.” The Kenyon Review (KROnline) (Fall 2012). • “In Between, Georgia.” The Collagist 37 (August 2012). • “Poem in Which I Play the Runaway.” The Collagist 37 (August 2012). • “In Hurt, Virginia.” The Collagist 37 (August 2012). Nominated for Pushcart Prize. • “Music Box.” Jabberwock Review 33.1 (August 2012): 29-31. Nominated for Pushcart Prize. • “In Last Chance, California.” Meridian 29 (June 2012): 53-54. • “Hurricane Prayer.” Sou’wester 40.2 (May 2012): 96-97. • “Honey the Sky Ain’t Going.” Columbia Poetry Review 25 (May 2012): 169. Republished on Verse Daily (August 22, 2012). • “In the Century of Mute Tongues.” Inch 17 (May 2012): 9. • “In the Century of New Skin.” Inch 17 (May 2012): 9. • “Inquisition on Family Portrait No. 4.” Quarter After Eight 18 (April 2012): 104. • “Inquisition on Family Portrait No. 7.” Quarter After Eight 18 (April 2012): 105. • “Diorama of a Fire.” Grist: the Journal for Writers 5 (March 2012): 113-114. • “Tinnitus.” Grist: the Journal for Writers 5 (March 2012): 115. • “The Persistence of St. Teresa of Avila.” Arts & Letters 26 (March 2012): 118. Winner of Rumi Poetry Prize. • “The Stove Tender.” Arts & Letters 26 (March 2012): 118. Winner of Rumi Poetry Prize. • “Reading Whitman in the Chemo Room.” CALYX Journal 27:1 (January 2012): 20-21. Hurt 4
• “The Favorite Father Gets Home from Work.” The Cincinnati Review 8.2 (January 2012): 128. • “The Quiet Mother Cups the Favorite Father’s Ear.” The Cincinnati Review 8.2 (January 2012): 129. • “The Smallest Sister Decides to Make Herself Red.” The Cincinnati Review 8.2 (January 2012): 130. • “The Quiet Mother Hides.” The Cincinnati Review 8.2 (January 2012): 131. Poems in Journals, 2010-2011 • “Third Surgery.” Hunger Mountain 16 (November 2011): 150. Winner of Ruth Stone Poetry Prize. • “Dorothy Tries.” Portland Review 58.1 (November 2011): 102. • “Death Car Does Carnival Circuit.” Cream City Review 35.1 (October 2011): 246. • “Helen’s Confession.” Poetry International 17 (August 2011): 107. Winner of Poetry International Prize. • “Elegy Written in a Municipal Junkyard.” The Cleveland Review 2 (July 2011). • “The Oldest Sister.” Portland Review Poetry Blog (July 2011). • “Infection: My Sister Plays.” New Delta Review 1.2 (Summer 2011). • “The Smallest Sister Meets the Favorite Father.” The Prose Poem Project (online) 5.3 & (print) 2.1 (2011): 53. • “The Oldest Sister Crushes Cans.” The Prose Poem Project (online) 5.3 & (print) 2.1 (Summer 2011): 54. • “At the Edge of the City.” The Prose Poem Project (online) 5.3 & (print) 2.1 (Summer 2011): 55. • “The Old Mill.” Versal 9 (2011): 61. • “Faye Does Bonnie.” The Southeast Review 28.2 (Fall 2010): 16. Fiction in Journals • “Relentless.” NANO Fiction 7.1 (Fall 2013): 57. • “Bad Luck.” Versal 11 (2013): 112-113. • “Impossible Child.” The Southeast Review 31.1 (Spring 2013): 76-77. • “Dirty Girl.” Passages North 34 (Spring 2013): 11. • “Consider the Heart.” Housefire (October 2011). • “Uncle Al.” Bellingham Review, Online Issue: Short Forms Edition (Fall 2011). Creative Nonfiction in Journals • “A Disbeliever in Limbo.” Image 74 (September 2012): 87-98. Included in list of Notable Essays in Best American Essays 2013, eds. Robert Atwan and Cheryl Strayed. Reviews • Review of The Tales by Jessica Bozek. Coldfront Magazine (forthcoming). • Review of Lullaby (with Exit Sign) by Hadara Bar-Nadav. Coldfront Magazine (October 8, 2013). • “The Feminist Peepshow.” Review of Doll Studies: Forensics by Carol Guess. HTMLGIANT (October 2012).
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TEACHING EXPERIENCE (see attached teaching résumé for details on each course) ACADEMIC Department of English and Comparative Literature, University of Cincinnati Graduate Teaching Assistant, August 2013 – present • ENGL 1001: English Composition (Fall 2013, Spring 2014) • ENGL 2089: Intermediate English Composition (Summer 2014) • ENGL 2017: Introduction to Poetry Writing (Fall 2014) • ENGL 2002: Topics in Literature: Contemporary Midwestern Literature (Spring 2015) Creative Writing Department, University of North Carolina Wilmington Graduate Teaching Assistant, August 2008 – May 2011 • CRW 201: Introduction to Creative Writing (Fall 2008, Spring & Fall 2009, Summer & Fall 2010) • CRW 208: Introduction to Writing Poetry (Spring 2010, Fall 2010, Spring 2011) • CRW 203: Forms of Creative Writing (Spring 2011, Fall 2009) • FNA 102: Explorations in the Creative Process (Spring 2010) CONTINUING EDUCATION The Loft Literary Center, Minneapolis, Minnesota Online Instructor/Teaching Artist, September 2012 – present • Teach multiple sections of “In a Flash: Short-short Stories, Micro-memoir, and Prose Poetry” “Persona Poetry: Using Characters to Find Your Voice,” both designed and proposed by me, to classes of up to twenty adult students through The Loft’s online learning forum • Coordinate all class interaction, discussion, and feedback through online postings and live chats • Develop syllabus and course curriculum, including readings, exercises, and assignments The Hinge Literary Center, Durham, North Carolina Faculty Workshop Instructor, August 2012 – December 2012 • Led an advanced poetry-writing workshop of 5 to 10 adults, with previous experience ranging from undergraduate writing courses to completed MFA programs • Facilitated all class interaction, discussion, and feedback within an intimate workshop setting The ArtsCenter, Carrboro, North Carolina Writing Instructor, September 2012 – June 2013 • Taught multiple sections of “Pocket-sized Prose: Writing in Short Forms,” designed and proposed by me, as an introductory creative writing practicum for a class of six to ten adult students at a community arts center • Managed all class interaction, discussion, and feedback within an intimate workshop setting • Developed syllabus and course curriculum, including readings, exercises, and assignments
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RELATED SERVICE EDITORIAL POSITIONS Editorial Reviewer, Middle West Review, University of Nebraska Press, 2014 • Read blind fiction manuscripts for an interdisciplinary journal, provide feedback and publication decisions Editorial Staff: Reader, Chautauqua, University of North Carolina Wilmington, 2011 – 2013 • Assisted in reading regular and contest submissions to the journal in multiple genres, and took part in making editorial decisions about the content of each issue Editorial Staff: Reader, Ecotone, University of North Carolina Wilmington, Spring 2011 • Assisted in reading poetry submissions to the journal and making editorial decisions ACADEMIC POSITIONS Member at Large, English Graduate Organization, University of Cincinnati, 2014 – 2015 • Organize and host departmental meetings and workshops to assist students with scholarly activities such as applications to graduate programs and submissions to conferences and journals • Organize and co-host public readings featuring graduate students in the creative writing program • Maintain English Graduate Organization social media sites and promotional materials Co-coordinator, MFA Reading Series, University of North Carolina Wilmington, 2010 – 2011 • Worked with the Graduate Student Association to organize public readings featuring MFA students at local venues in order to encourage community involvement in the MFA program Co-coordinator, Craft Fair Fundraiser, University of North Carolina Wilmington, 2010 – 2011 • Helped to organize a public craft fair on the campus of UNC Wilmington featuring local artists in an effort to raise funds for the Creative Writing Department’s Graduate Student Association Co-chair, MFA Art Exhibit, University of North Carolina Wilmington, 2009 – 2010 • Worked with a partner to organize a visual art exhibit at a local gallery featuring the work of MFA students in the Creative Writing Department in order to network with the local arts community
RELEVANT COURSEWORK Department of English and Comparative Literature, University of Cincinnati ENGL 7030: Teaching College Writing, Fall 2014 • Completed a graduate course intended to prepare teaching assistants for college-level instruction in multiple disciplines within the field of academic English studies, including composition and rhetoric, literature, and creative writing • Designed and assessed praxis reports, assignments, exercises, and syllabi to aid in the instruction of undergraduate writing across these disciplines • Developed a teaching portfolio including philosophy statements, praxis reports, self-assessments, and sample syllabi in my focus area (creative writing and hybrid pedagogy) • Studied, discussed, and responded to a range of pedagogical theories and papers in the field
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Creative Writing Department, University of North Carolina Wilmington CRW 503: Creative Writing Pedagogy, Fall 2008 • Completed a graduate course intended to prepare teaching assistants for college-level instruction in creative writing • Developed and assessed assignments, exercises, and syllabi to aid in the instruction of both creative and analytical undergraduate writing • Studied and discussed resources pertaining to classroom administration, grading methods, contemporary pedagogical issues, and various teaching philosophies CRW 523: Book Design, Spring 2009 • Intensive hands-on training in book design, literary publishing, and advertisement production • Instruction on use of desktop publishing software, including the Adobe CS3 Suite • Practical application of book design principles through InDesign and Photoshop projects
ADMINISTRATIVE/CLERICAL EXPERIENCE Department of Pharmacotherapy and Experimental Therapeutics, UNC Eshelman School of Pharmacy, University of North Carolina – Chapel Hill Administrative Support Specialist, August 2011 – August 2013 • Updated divisional Web sites and promotional materials for program recruitment • Drafted and edited correspondence pertaining to scholarly publications and federal grants • Coordinated departmental events related to recruitment and professional development • Assisted in management of records for graduate and fellowship programs and divisional finances Curriculum Materials Center, Randall Library, University of North Carolina Wilmington Art Exhibits Coordinator and Graduate Assistant, January 2009 – April 2010 • Assumed responsibility for all aspects of student art exhibits at the Curriculum Materials Center • Worked with elementary and high schools to organize exhibits of artwork by local students • Updated the Center’s Web site and aided in the management of a specialized library collection
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Teaching Résumé: Courses Taught 2008 – 2015 ACADEMIC COURSES University of Cincinnati, Department of English and Comparative Literature ENGL 1001: English Composition
Fall 2013, Spring 2014
This course satisfies a basic studies requirement for all freshmen at the University of Cincinnati, and is designed to prepare students for argument- and research-based writing at the college level. The curriculum emphasizes critical reading and rhetorical analysis through numerous short writing and research exercises, peer workshops, and multi-modal group activities, as well as several substantial writing assignments. While a broad curriculum is developed at the departmental level, individual instructors are responsible for shaping a cohesive set of learning modules through selective readings from the textbook and supplementary materials. Various themes that I developed for my classes included identity politics, commercial and visual rhetoric, and environmental topics. Additionally, I was responsible for all classroom management, lectures, grading, and student conferences. ENGL 2089: Intermediate English Composition
Summer 2014
This course is a continuation of ENGL 1001 that is required for most students at the University of Cincinnati. In addition to more advanced study of research-based writing, students develop a rhetorical understanding of language as it is used in different discourse communities. They analyze rhetorical practices within a chosen discourse community and write about their findings within several different academic genres. Individual instructors are responsible for providing readings, exercises and assignment descriptions through their own supplementary materials. I was responsible for all classroom management, lectures, grading, and student conferences. ENGL 2017: Introduction to Poetry Writing
Fall 2014
This elective course for undergraduates provides an introduction to poetic technique in the workshop setting. In addition to writing their own poems and responding to those of their peers, students read and discuss modern and contemporary poetry assigned from various literary journals and anthologies, including The Vintage Book of Contemporary American Poetry and The Vintage Book of Contemporary World Poetry. Additionally, students complete in-class exercises based on my prompts and write informal analytical responses to readings. In this class, I emphasize basic elements of craft like metaphor, musical language, meter, and lineation, while encouraging students to experiment with form. Readings are designed to present students with an array of aesthetic and cultural contexts and to challenge them intellectually and creatively. I am responsible for the development of this syllabus and course material, classroom management, and grading. ENGL 2002: Topics in Literature: Modern & Contemporary Midwestern Literature
Spring 2015
This is an undergraduate topical literature seminar that I designed and proposed. Through close reading and discussion of multi-genre texts that address life and identity in the Midwest, students analyze creative work in both thematic and formal terms within social, historical, and political contexts. Through this regional lens, we consider larger thematic and literary issues including class, race, gender, religion and ecology, as well as contemporary formal and stylistic concerns including the grotesque, the gothic and the noir traditions. Students respond to readings in short analytical and creative assignments as well as larger critical papers. I am responsible for the development of this syllabus and course material, classroom management, and grading. Authors taught in this course include Sherwood Anderson, Willa Cather, Stuart Dybek, Langston Hughes, Phillip Levine, Ted Kooser, James Wright, Marilynne Robinson, Louise Erdrich, Sandra Cisneros, Rita Dove, David Giffels, Joyelle McSweeney, Bonnie Jo Campbell, Kevin Young, Maurice Kilwein Guevara, Jamaal May, and Maggie Smith. Hurt 9
University of North Carolina Wilmington, Creative Writing Department CRW 203: Forms of Creative Writing
Spring 2011, Fall 2009
This course satisfies the UNCW basic studies English literature requirement, and is designed to provide students with an overview of four genres of literary writing: poetry, fiction (including the short story, the novel, and the graphic novel), drama, and creative nonfiction. To this end, students learn how to read, discuss, and analyze works of literature. After teaching a discussion section in coordination with a lecture led by Professor Philip Furia in Fall 2009, I taught my own version of this course independently in Spring 2011. I developed my own structure and assignments, choosing texts and topics and writing my own syllabus. Meeting with 19 students three days per week, I was responsible for leading discussion and analysis of modern and contemporary literature from a craft perspective, as well as grading of creative work and critical essays. Authors co-taught in the lecture version of this course include Sophocles, Chaucer, Shakespeare, Alexander Pope, Jane Austen, John Keats, Frederick Douglass, Washington Irving, Henry David Thoreau, Mark Twain, Stephen Crane, Oscar Wilde, Willa Cather, Walt Whitman, T.S. Eliot, Robert Frost, Gertrude Stein, and Langston Hughes, among others. Authors taught in my own version of this course include Franz Kafka, Pablo Neruda, Elizabeth Bishop, Sylvia Plath, Gabriel Garcia Marquez, Robert Hass, Charles Simic, Jeanette Winterson, Marjane Satrapi, Nick Flynn, and Jamaica Kinkaid. CRW 208: Introduction to Writing Poetry
Spring 2011, Fall 2010, Spring 2010
This is a beginning level workshop course, designed to introduce students to the craft of writing poetry through several methods: discussion and formal analysis of contemporary American and international poetry, analytical and creative written responses, in-class writing exercises, peer workshop, and revision. During three consecutive semesters, I taught this course independently, using assignments, texts and syllabi that I developed. This class met three days per week, and I was responsible for all discussion and workshop leadership, as well as grading of 19 students. This class is a pre-requisite for entrance into the Creative Writing BFA program. Authors taught include John Berryman, W.D. Snodgrass, Allen Ginsberg, Zbigniew Herbert, Yehuda Amichai, W.S. Merwin, Nazim Hikmet, Octavio Paz, Tomas Tranströmer, Sharon Olds, Lorna Goodison, Louise Glück, Matthea Harvey, Tina Chang, Carl Phillips, and Li-Young Lee, among others. CRW 201: Introduction to Creative Writing
Fall 2010, Summer 2010, Fall 2009 Spring 2009, Fall 2008
This course is designed to provide an overview of the craft of creative writing through discussion and analysis of contemporary literature, creative writing exercises, and peer workshop in three major genres: poetry, fiction and creative nonfiction. After teaching breakout sections of this course in 2008-2009, I taught this course independently for three consecutive semesters, using assignments and syllabi that I developed. Meeting three days per week, I was responsible for all classroom administration, workshop leadership and grading of 19 students. This class satisfies the UNCW basic studies fine art requirement. Authors taught include Lawrence Ferlinghetti, Ring Lardner, Anne Sexton, Joyce Carol Oates, Tim O’Brien, David Sedaris, Aimee Bender, Rita Dove, Daryl Pinkney, Junot Diaz, Carolyn Forché, Colin Beavan, and Saul Williams, among others. FNA 102: Explorations in the Creative Process
Spring 2010
This is a fine arts course with a lecture component taught by Creative Writing Lecturer Lavonne Adams, and a discussion component taught by Creative Writing Graduate Teaching Assistants. In this course, which fulfills the UNCW basic studies fine art requirement, students explore various art forms (visual art, music, creative writing) and the relationships between them through writing exercises. Writing assignments were analytical in nature, with emphasis on integration and application of craft and criticism discussed in class. While teaching my own breakout section of 15 students one day per week, I was responsible for all in-class exercises, discussion and grading. Hurt 10
CONTINUING EDUCATION The Loft Literary Center In a Flash: Short-shorts, Micro-memoir, and Prose Poetry (Online) Fall 2012, Spring 2013, Fall 2013, Summer 2014 This is a six-week online writing course taught to eight to fifteen adults as part of the Loft Literary Center’s Online Classes series. I developed the structure and syllabus for this course, generating all writing prompts, exercises, and assignments independently. To facilitate distance learning, I use Moodle course software to interact with students and provide feedback through discussion forums on posted material, messaging, and live chats. The course covers short prose forms of 1,000 words or less in three major genres: fiction, creative nonfiction, and prose poetry. Students learn the basic elements of each form through reading and discussion of published material, writing and sharing short creative exercises, and responding to assignment prompts with completed pieces in each genre. I provide brief feedback to students in response to each finished piece. Persona Poetry: Using Characters to Find Your Voice (Online) Spring 2014 This is an eight-week online writing course taught to eight to fifteen adults as part of the Loft Literary Center’s Online Classes series. I developed the structure and syllabus for this course, generating all writing prompts, exercises, and assignments independently. To facilitate distance learning, I use Moodle course software to interact with students and provide feedback through discussion forums on posted material, messaging, and live chats. The course covers various uses of persona in canonical and contemporary poetry. Students read published examples of persona poetry along with my craft notes, and then practice poetic technique in their own weekly persona poems developed from my guided prompts. Students share and discuss their weekly poems in online forums and weekly live chats, while I provide private, intensive feedback. The Hinge Literary Center Poetry Workshop
Fall 2012
This is an eight-week intermediate to advanced level poetry workshop consisting of six adults, taught as part of the Hinge Literary Center’s series of creative writing courses. A majority of the students in this class have previous experience writing and studying poetry in workshop courses, and many of them hold undergraduate or graduate degrees in creative writing. The theme that I developed for the class was series was Collections, encouraging students to develop series, linked work, or other poetic projects that spanned the length of the course. While the primary focus of this course was discussion of student work, I also incorporated discussion of published work and poetics into several class sessions. I independently developed the structure and syllabus for this course, as well as all course material. The Carrboro Arts Center Pocket-Sized Prose: Writing in Short Forms
Fall 2012, Spring 2013
This is a five-week writing course taught to five to ten adults at a community arts center. The course covers short prose forms of 1,000 words or less in three major genres: fiction, creative nonfiction, and prose poetry. Students learn the basic elements of each form through reading and discussion of published material, as well as writing and sharing short creative exercises in class. The course concludes with a peer workshop of students’ completed assignments in the genre of their choosing. I developed the structure and syllabus for this course, generating all writing prompts, exercises, and assignments independently. Hurt 11
