Five Sessions, 2.5 hours (6:30PM-9:00PM)
Tuesdays*, February 20th, 27th, March 6th**, March 20th, March 27th
Fees & Payment Options: $270 General/$240 Member (JOIN THE FANCLUB!)
Registration Deadline: February 13th, 2018
*There will be no class on March 13th.
**On March 6th, class will run 7PM-9PM.REGISTER HEREWhy You Should Take This Class: In recent years, scientists have found that memory and imagination call upon the same “default network” in the brain, suggesting that the recreation of memory is not merely an act of retrieval, but also one of imaginative projection. Philosophers and artists have long noted that memory is mutable territory, its topographical features dependent entirely on the stories we tell ourselves. Another way to think about narrative is that it provides an account for how we got to the present moment, reaffirming once again that we were here, here, and here, which means that the next logical turn should be over there. Well-worn paths may be familiar, but not all are safe or lead to happy endings. Sometimes boundaries shift after a storm, or new mountains erupt into the horizon. When this happens, narrative becomes a necessary navigation tool to help us travel from past to future.
Course Description: In this class, we will approach narrative writing as mapmakers of memory: We will visit the terrain, determine our location, establish the scale, insert symbols, and learn how to refine what we have mapped. We will read essays, theoretical texts, and memoir excerpts to explore each of these concepts and skills, and reinforce them through discussion and in-class exercises. Finally, we will apply these skills in workshop by generating meaningful and constructive feedback that will provide a foundation for further exchange and collaboration.
Blending elements of memoir and sports writing, Anelise Chen’sSo Many Olympic Exertions (Kaya Press, 2017) is an experimental work that perhaps most resembles what the ancient Greeks called hyponemata, or “notes to the self,” in the form of observations, reminders and self-exhortations. The book follows graduate student Athena Chen who hears that her college friend has committed suicide. A former Open City Fellow of the Asian American Writers' Workshop, she is now fiction editor of AAWW's online publication The Margins. Read her writing about Tao Lin and interviewing the owner of a Chinatown dumpling shop. She teaches writing at Columbia University...
Why you should take this class: What is “fiction as activism”? All writing is an act of activism if it is an honest effort to engage with or comment on or generally make sense of the world. “Activism” doesn’t have to mean militant or angry, either. It can be funny, absurdist, uplifting, anything. At a time when most writers I know just want to curl up into a little ball and shelter in place, it is both important and necessary that good fiction continues to get made. Challenging times do not render writing less relevant or useful. On the contrary, it is the best time for it. Show up with your best work, and let’s take it from there.REGISTER HEREClass Description: This workshop will focus on how fiction writers can get story, voice, character, setting, resolution, and, pragmatically, timing, right during uncertain times in both publishing and the world. This course will tackle topics such as: how to select a timely story and setting, bring your unique personal perspective to current political events in a fictional context, and identify appropriate, relatable voice and tone (especially examining how protagonists may be both angry AND lovable). We will also discuss how to pitch a so-called "political novel" or "resistance literature." Our goal is to have each participant be able to workshop his or her original work twice. We will also examine brief selections from other writers.
Helen Wan is a novelist and frequent speaker on race, gender, and class. Her debut novel The Partner Track (Macmillan/St. Martin’s Press) follows a young Chinese-American woman competing for partnership at a powerful law firm. She comes so close to attaining the ultimate goal of the American Dream, but suddenly, an offensive incident at the firm spotlights her status as an outsider. The book was the subject of a Washington Post Magazine cover story on the glass ceiling for Asian Americans. Her nonfiction writing on feminism, empowerment, and racial discrimination, has appeared in CNN.com, The Washington Post, The Huffington Post, and The Daily Beast. In addition to writing, Helen serves on the board of The Asian American Arts Alliance and New York Women’s Bar Association Foundation. She is currently at work on a new novel. Her author website is www.helenwan.com.Five Sessions, 2 Hours (6PM-8PM)
Mondays, March 19th- April 16th
Fees & Payment Options: $270 General/$240 Member (JOIN THE FANCLUB!)
Registration Deadline: March 12th, 2017NOTE ON ACCESSIBILITY
*The space is wheelchair accessible. No stairs. Direct elevator from ground floor to 6th floor.
*We strongly encourage all participants of the space/event to be scent-free.
If you all have any other specific questions about accessibility, please email Tiffany Le at email@example.com.
/\ /\ \/\/ \/\/..
In this collection, published in collaboration with the Asian American Writers’ Workshop, writers imagine “home” in the twenty-first century through an array of fiction, memoir, and poetry. Both urgent and meditative, this anthology moves beyond the model-minority myth and showcases the singular intimacies of individuals figuring out what it means to belong. Moderated by artist and writer Yumi Sakugawa (Your Illustrated Guide to Becoming One with the Universe), editor Rowan Hisayo Buchanan and contributor Mia Alvar take the stage at the Last Bookstore. Readings from the book will be followed by a discussion about the project, and the necessity of both expanding and challenging the immigrant narrative.
OPEN TO THE PUBLIC
Rowan Hisayo Buchanan is the author of the novel Harmless Like You. She has a BA from Columbia University and an MFA from the University of Wisconsin–Madison. She was an Asian American Writers' Workshop fellow, and her short work has appeared in Grant, the Guardian, Guernica, Apogee, and the White Review, among other places. She has received residencies from the Gladstone Library and Hedgebrook. Mia Alvar's collection of short stories, In the Country, won the PEN/Robert W. Bingham Prize for Debut Fiction, the 2015 Barnes & Noble Discover Great New Writers Award, and the Janet Heidinger Kafka Prize. Alvar has been a writer-in-residence at the Corporation of Yaddo, the Djerassi Resident Artists Program, Lower Manhattan Cultural Council, and the Blue Mountain Center for the Arts. Her work has appeared in One Story, the Missouri Review, the Cincinnati Review, and else. Born in the Philippines and raised in Bahrain and the United States, she lives in New York City. Yumi Sakugawa is an Ignatz Awards-nominated comic book artist and the author of I Think I Am In Friend-Love With You and Your Illustrated Guide to Becoming One with the Universe. Her comics have also appeared in the Believer, Bitch, the Best American Non-Required Reading 2014, the Rumpus, Folio, Fjords Review, and other publications. She has also exhibited multimedia installations at the Japanese American National Museum and the Smithsonian Arts & Industries Building. A graduate from the fine art program of University of California, Los Angeles, she lives in Los Angeles.
/\ /\ \/\/ \/\..