Salvatore Pane

Tag: Amelia Gray

LAST CALL Makes Big Other’s Best of 2012 List

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I’m so humbled that Last Call in the City of Bridges made Big Other’s best books of 2012 list along with so many fantastic writers like Amelia Gray, Scott McClanahan, Robert Kloss, Gabriel Blackwell, Tim Horvath, Tara Laskowski, Matt Bell, James Tadd Adcox, xTx, and many others.

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BEHOLD! THEIR PECULIAR AMBITIONS READING AT AWP!

INDIE LIT SUPER BOWL

2012 Off Site AWP Guide

The best part about AWP is the nightlife. The panels are exciting, but hanging out with all the people you’ve been reading for the last year and sharing a beer is really where it’s at. This year is no different. The list below is what I’m most excited about from the official AWP site. I’m sure there are other high quality events, but I just don’t have time to track them all down across Facebook. If you know of one, PLEASE add it to the comments section. I’ve marked the events I’m reading at in blue so that if you want to specifically avoid running into me in Chi-town, you can.

SEE YOU ALL SOON, BROS!

Wednesday

7:00PM Monster Mags of the Midwest Reading
Location: Murphy’s Bleachers, 3655 North Sheffield
Cost: Free
Cincinnati Review, Mid-American Review, and Ninth Letter team up once again to offer a fabulous off-site reading. Please come see Mary Biddinger, Brock Clarke, Matthew Gavin Frank, Michael Robins, Laura Van den Berg, and Keith Lee Morris at Murphy’s Bleachers, 3655 North Sheffield, located directly across the street from Wrigley Field (and the Harry Caray statue).

8:00PM AWP 2012 CHICAGO KICK OFF PARTY
Location: The Empty Bottle – 1444 W. Chicago
Cost: free with rsvp (email rsvp@emptybottle.com with “AWP Party” in subject line & full name of attendee in body of email.)
Website: http://dogzplotnews.blogspot.com/2011/10/awp-2012-chicago-kick-off-party.html
Kick-off AWP 2012, Chicago-style, at Chicago’s iconic live music club, The Empty Bottle, with readings, party, mayhem, bands… Music by James Greer (of Guided by Voices) and special guests, Mutts, and more. Readers include Jeff Parker, Michael Czyzniejewski, James Greer, xTx, Sam Pink, Jamie Iredell, Mary Miller, Sarah Sweeney, Michael Kimball, Amber Sparks, Peter Schwartz, Mike Young, Ben Tanzer, Sarah Rose Etter, and others.

Thursday

6:15PM-8:15PM How I Learned to Stop Worrying and Love the Web
Location: After-Words Bookstore 23 E. Illinois Street, Chicago Illinois
Cost: Free
Join Drunken Boat, Memorious, failbetter.com, Blackbird, and Midway Journal for night of worry free, poetry and prose! Come hear authors Michael Martone, Randall Brown, Sean Hill, Margaret Luongo, Nicky Beer, Erica Dawson, Caki Wilkinson, Daniel Nester, Sibyl Baker, Michelle Chan Brown, and Shira Dentz. After Words Books is walking distance from the AWP Conference Event Hotel, and is a straight shot down State Street, just off the corner of State Street and Illinois Street.

7:00PM Convocation in Chicago
Location: Beauty Bar
Cost: Free
PANK, Annalemma, and Mud Luscious will once again host a holy meeting of literary minds. Convocation in Chicago will feature performances by Scott McClanahan, Daiva Markelis, Jac Jemc, Robb Todd, Sal Pane, Brian Oliu, Aubrey Hirsch, Matt Bell, xTx, Chris Newgent, Brett Elizabeth Jenkins, Casey Hannan, Tim Jones-Yelvington, Brandi Wells, Doug Paul Case, Ryan Bradley, Myfanwy Collins, Sarah Rose Etter, Laura Ellen Scott, Molly Laich, and Allyson Boggess.

7:00PM Joyland and Dzanc present Fiction Feed: Chicago Edition
Location: Quimby’s Bookstore,1854 W. North Ave · Chicago, IL 60622 · 773-342-0910
Cost: Free
Website: http://www.joylandmagazine.com
Joyland Magazine and Dzanc Books are two innovative publishers pushing fiction with great writing and new means of print and digital distribution. Join us for an evening with Eugene Cross, Kevin Chong, Jeff Parker, and Megan Stielstra reading from recently released books.

7:00PM-9:00PM Celebration of the Small Press: FLeng Rising
Location: Rock Bottom Restaurant & Brewery – Downtown Chicago
Cost: FREE
Website: http://www.rockbottom.com/Chicago
Florida English and the Rising in Hope Anthology team up for this event featuring Brian Dickson, Jeff Grieneisen, Kirk Nesset, Jesse Millner, Heather Schmidt, Jen Stewart. The first 15 to arrive receive a free drink (see Courtney for your drink ticket).

7:00PM-11:00PM This is beautiful, this is beautiful; six small presses
Location: Simone’s Bar, 960 W 18th St.
Cost: Free
Website: https://www.facebook.com/events/174394975997326/
An offsite AWP reading hosted by 6 small presses: Bateau, Burnside Review, Interrupture, Rose Metal Press, Slope Editions and Versal. Readers include: John Gallaher, Brooklyn Copeland, Sean Lovelace, Chuck Carlise, Louise Mathias, Ryan Flaherty, Anna Moriarty Lev, Jane Lewty, Erin Costello, Nate Liederbach, Amaranth Borsuk, Trey Moody/Joshua Ware, John Jodzio, Kate Nuernberger and Brad Liening. The event is free and open to the public. Full bar! Food! Come!

7:30PM Black Lawrence Press/Devil’s Lake Reading
Location: Salud Tequila Lounge
Cost: FREE
Please join Devil’s Lake and Black Lawrence Press for a great night at our co-hosted reading! We’re proud to feature: Mary Biddinger, Jon Chopan, Lisa Fay Coutley, Brent Goodman, Casey Thayer, and Joe Wilkins. Come early to partake in the open bar.

7:30PM An Evening of Poetry with Cat, Dog & Hamster Quarterly
Location: Black Rock, 3614 N. Damen Ave.
Cost: Free
Join us for readings by Jason Bredle, Melissa Broder, Arda Collins, Jason Koo, Marc McKee and James Shea. Sponsored by Cat, Dog & Hamster Quarterly.

8:00PM-10:00PM The Wrong Kind of Reading
Location: The Galway Arms, Lincoln Park (2442 North Clark Street)
Cost: Free
A reading from seven “literary pulp” writers–lots of genre thrills. Featuring Pinckney Benedict, Kyle Minor, Robin Becker, Anthony Neil Smith, John Weagly, Nikki Dolson, and David James Keaton. Loosely affiliated with noir/transgressive ezine PLOTS WITH GUNS.

8:30PM-10:30PM Gulf Coast & Indiana Review Give You a Reading with Writers We Love
Location: Buddy Guy’s Legends, 700 South Wabash, Chicago, IL 60605
Cost: $4 suggested donation
Website: http://www.gulfcoastmag.org, http://indianareview.org
Join Gulf Coast and Indiana Review for an evening of readings by Michael Czyzniejewski, Ross Gay, Aimee Nezhukumatathil, Leslie Parry, and D.A. Powell. at Buddy Guy’s Legends (just around the block from Hilton Chicago & Palmer House Hilton)!

9:00PM-2:00AM AWP 2012 Karaoke Idol
Location: Beauty Bar, 1444 W. Chicago Ave.
Cost: Free
Website: http://www.curbsidesplendor.com/index.php?id=237
After readings and other literary events, presses from Chicago and beyond will battle for the AWP 2012 Karaoke Idol throne, followed by Karaoke-dance party. Karaoke Idol Judges: Amy Guth, Joe Meno, and Patrick Sommerville. Presented by Another Chicago Magazine (ACM), Artifice Mag, Curbside Splendor, Featherproof Books — contestants, more info to come…

9:00PM-12:00AM OPEN BAR SPEAKEASY BLOWOUT: The Doctor T. J. Eckleburg Review, Hopkins Review, Barrelhouse, Entasis, Baltimore Review, Dark Sky
Location: Brando’s Speakeasy, 343 South Dearborn.
Cost: Free
Website: http://thedoctortjeckleburgreview.com/
Edgy readings and fun prizes erupt around 10 p.m. when Barrelhouse, Dark Sky, The Baltimore Review, DC’s Entasis Press, and The Hopkins Review join up to launch The Doctor T.J. Eckleburg Review from Johns Hopkins. Free beer and wine, cash martini bar, tasty snacks, saucy behavior, prizes, and worthy-cause raffles, with the Hopkins M.A. in Writing Program as host. Our AWP-easy location is midway between the Hilton and Palmer House, so come join us after the keynote!

9:00PM Propaganda: a reading
Location: Haymarket Pub & Brewery, 737 W. Randolph (Halsted & Randolph) – in the Drinking & Writing Theater
Cost: free
Website: http://www.propagandareading.com
Three to five minutes of propaganda from: Matt Bell, Jessica Anya Blau, Blake Butler, Alexandra Chasin, Molly Gaudry, Amelia Gray, Lindsay Hunter, Jac Jemc, Stephen Knezovich, Samuel Ligon, Robert Lopez, Nelly Reifler, Joseph Salvatore, Jason Sommer, Matthew Vollmer, and Jess Walter.

9:00PM-10:00PM (and beyond) Wag’s Revue and Unstuck Host a Reading and Get Frisky Like Granny
Location: Cole’s Bar – 2338 N. Milwaukee Ave Chicago, IL 60647
Cost: Free
Website: http://www.wagsrevue.com
Make your last stop Thursday night Cole’s in Logan Square. The reading will be hosted by the Chicago-based, online-only literary quarterly Wag’s Revue and the hot and brand new Unstuck Magazine out of Austin. There’ll be just four readers–Noam Dorr, Dylan Nice, Rachel Swirsky and Julia Whicker. Then, at 10:00, DJ Frisky Grannies will be playing some hits from the 20s and 50s. So stick around, drink some of the fine brews on tap like Allagash White and Bell’s Two Hearted and get frisky. Granny wouldn’t go home just because she’s tired. She’d get drunk and listen to some readers and she’d dance. So come on. Do it for granny.

Friday

5:00PM-6:30PM ASF and NER Take AWP
Location: Delilah’s, 2771 N. Lincoln Ave.
Cost: FREE
Website: http://www.americanshortfiction.org
American Short Fiction and New England Review join forces to create a supersized, rollicking happy hour reading at the best whiskey bar in all of Chicago. ASF supplies the foxy fiction writers, including Kevin Moffett, Jamie Quatro, Eugene Cross, and Laura van den Berg; and NER brings along wily, wily poets with names like Traci Brimhall, Eduardo C. Corral, and Tomas Q. Morin. Come warm up with words, whiskey, and wise ol’ lit mags.

6:00PM-8:00PM Come on, Seven!
Location: School of the Art Institute of Chicago Ballroom, 112 S. Michigan
Cost: free
Seven of the leading risk-takers of the fiction avant-garde are betting you will love what they read from their works because baby needs a new pair of shoes! Yuriy Tarnawsky, Lidia Yuknavitch, Lance Olsen, Davis Schneiderman, Adam D. Jameson, James R. Hugunin, and Eckhard Gerdes. Organized by Eckhard Gerdes, Editor and Publisher, the Journal of Experimental Fiction and JEF Books. Sponsored by Writing Program, SAIC.

6:00PM Beecher’s – Parcel Happy Hour Reading
Location: Manhattan’s Bar – 415 S Dearborn St
Cost: Free
Website: http://www.beechersmag.com/
Beecher’s and Parcel, two sweet, young, little lit magazines invite you to come enjoy happy hour drinks, free pizza and a great line-up of readers in Chicago’s oldest skyscraper. This fast-paced event, just a few blocks from the conference hotel, will include readings by: Rebecca Evanhoe, Jenny Gropp Hess, Lincoln Michel, Scott Wrobel, James Yeh, and Nick Courtright. For more information about the lit magazines, please visit: http://www.beechersmag.com/ & http://www.parcelmag.org/

7:00PM-9:00PM Burnt Bridge & Flywheel Magazine Reading
Location: Billy Goat Tavern, 430 N. Michigan Ave
Cost: FREE
Website: http://burntbridge.net
Burnt Bridge & Flywheel Magazine will be holding an off-site reading at the 2012 AWP Conference in Chicago. The reading will be graciously hosted by our good friends The Billy Goat Tavern on Michigan Ave. Attendees or general Chicago dwellers are invited to come out from 7-9 and hear some literary grit hurled unceremoniously at their ears. We’re told the food is good, too.

7:00PM Stymie Magazine Presents: A Really Big Show
Location:Theory Sport.Dine.Lounge; 9 W. Hubbard
Cost: FREE
Stymie Mag is coming to AWP 2012 and we’re throwing a party, or at least a reading with words, beverages, and good times at Theory Sports Lounge. We couldn’t be more excited and hope you are too (and that you’ll mark the date/time on what we’re sure is an already busy AWP calendar)!

Featuring:
Cynthia Hawkins, Tim Kahl, Jeanie Chung, James O’Brien, Lauren Becker, Alex Moody, Steven Kowalski, Joseph Baron-Pravda, Diane Durant McGurren, Shaindel Beers, Sal Pane, Erin Elizabeth Smith, Joe Ponepinto, J. Bradley, Megan Cass, Elijah Burrell, Ilan Mochari, Tyler Gobble, Mark Cugini, and Maria Nazos

7:00PM-10:00PMBeautiful, Words
Location: Beauty Bar, 1444 W. Chicago Ave.
Cost: Free
Website: http://www.curbsidesplendor.com/curbside/blog/beautiful-words-awp-2012-event
Readings by: Kim Addonizio, Kate Zambreno, Vanessa Veselka, Greg Olear, Stacy Bierlein, Michael Cyzniejewski, David Galef, Tod Goldberg, Jonathan Evison, Shannon Cason. Sponsored by: The Nervous Breakdown, Other Voices Books, Bookslut, Red Lemonade, Dzanc Books, Curbside Splendor, Emergency Press, Elephant Rock Books, University of California-Riverside MFA program, Sunday Salon Chicago. Live music by Rob Roberge and Vanessa Veselka, and live DJ.

7:00PM This Page Intentionally Left Blank
Location: The Horseshoe, 4115 N. Lincoln Avenue
Cost: free
Website: https://www.facebook.com/events/203462383031095/
As we are unbeholden to any particular school, method, or ideology, the one constant for this reading is each participant’s unique kick-assness. Readers so far scheduled include Fred Arroyo, Sarah Barber, Shaindel Beers, Jesse Bradley, Sarah Carson, Larry O. Dean, Margie Flanagan-Wilkie, Nathan Floom, Jacklyn Dre Marceau, Anna March, Daniel Nester, Brianna Pike, Erika L. Sánchez, Mark Statman, Elissa Schappell, Ben Tanzer, Meg Tuite, Robert Vaughan, Chet Weise, Snezana Zabic, and Cindy Zelman, with more TBA. Immediately following will be music from The Injured Parties, Khalid Hanifi, and Decoy Prayer Meeting. The venue has a menu that includes food and drink. Come early, stay late!

7:00PM McSweeney’s AWP Party and Poetry Imprint Launch
Location: 826 Chicago
Cost: FREE
Website: https://www.facebook.com/events/275318479190753/
Come celebrate the launch of our poetry imprint in a four-part reading. We’re featuring poets Matthea Harvey (Of Lamb, Spring 2011) and Rebecca Lindenberg whose collection, Love: An Index, is kicking off the McSweeney’s Poetry series. Also Adam Levin, author of the Instructions will be reading from his forthcoming short-story collection, Hot Pink and Tom Barbash, McSweeney’s Issue 39 contributor.

7:00PM Literary Death Match — AWP Special
Location: Buddy Guy’s Legends
Cost: $5 advance/$10 door
Website: http://www.literarydeathmatch.com/upcoming-events/march-2-2012-at-awp.html
Doty! Smiley! Strauss! Jackson! To celebrate our 200th episode at Buddy Guy’s Legends, we’re teaming with Versal and Painted Bride Quarterly for Literary Death Match: Journal Porn Edition at AWP, and we’ve assembled the most colossally-awarded lineup of literary superstars ever to participate in a LDM ever before. Other plans? Cancel them. This is going to be a sexy-literary-comedic night to remember

7:00PM-10:00PM Sixth Finch and YesYes Books reading
Location: Columbia College’s Center for Book and Paper Arts (1104 South Wabash, 2nd Floor)
Cost: Free
Website: http://www.facebook.com/events/198506656912495/
In conjunction with CPBA’s “Poems and Pictures” exhibit. Reception at 7 PM, followed by a reading at 8 PM featuring Emily Kendal Frey, Ally Harris, Matt Hart, Mark Leidner, Thomas Patrick Levy, Ben Mirov, Metta Sama, Nate Slawson, Leigh Stein, Gale Marie Thompson, Phillip B. Williams, Angela Veronica Wong and Matthew Yeager. Only two blocks from the conference.

8:00PM Literature Party
Location: Lincoln Hall, 2424 N Lincoln Avenue
Cost: $10.00
Website: http://literatureparty.com/
A night of literature and party benefiting Young Chicago Authors. With literature from Dorothea Lasky, Mary Miller and Tim Kinsella, and a special performance by Jesse Ball accompanied by puppeteers Jill Summers and Susie Kirkwood. Hosted by Zach Dodson and Lindsay Hunter. Bookstore by Vouched. Sponsored by School of the Art Institute of Chicago Writing Program, Bookforum, featherproof, Hobart, HTMLGiant, The Lit Pub, Publishing Genius, and Wave Books. See literatureparty.com

9:30PM-12:00AM Literary High Jinx
Location: Brando’s Speakeasy, 343 S. Dearborn St., Chicago (historic South Loop)
Cost: Free
Website: http://www.brandoschicago.com
Literary loons and AWP marauders, unite! Patasola Press and Atticus Books join indie forces to present a spirited night of reading high jinx, complete with quirky novelists, saucy poets, brainy sirens, and devious wordsmiths in a slick, private upstairs bar. Rae Bryant, Steve Himmer, Dave Housley, John Minichillo, J.A. Tyler and other underground small press sensations are on hand to incite sentence riots and more.

Saturday

1:00PM TJY & The Actionettes
Location: Multikulti, 1000 N Milwaukee Ave
Cost: $5 suggested
Website: http://www.brownpapertickets.com/event/219588
Sponsored by Action Yes! and Red Lightbulbs, an afternoon of queer, feminist, gurlesque & grotesque literary performance featuring kitschy, campy, glamorous and otherwise unruly bodies & texts, starring Kate Durbin, Ji Yoon Lee, Carina Finn, Meghan Lamb and Tim Jones-Yelvington.

3:00PM-5:00PM Woman Made Gallery Welcomes Women Who Write: Strong Words, Strong Voices
Location: Woman Made Gallery, 685 N Milwaukee Ave
Cost: Free
Website: http://www.womanmade.org/poetry.html
This year, Woman Made Gallery celebrates 20 years of supporting the creative endeavors of women around the world. Literature has been prominently featured among gallery programs, including poetry readings, often organized around the themes of the concurrent art exhibit. Honoring Women’s History Month, we bring together five seasoned poets with distinctive voices, vision and presence: Kim Addonizio, Brenda Cardenas, Nina Corwin, Patricia Spears Jones and Patricia Smith. The reading will be followed by a conversation and celebration hosted by six prominent women’s literary organizations from around the country.

4:00PM-6:00PM Many Mountains Moving Press Reading
Location: Gage Gallery, Roosevelt University
Cost: free to all
Website: http://www.mmminc.org/html/events/events_new.htm
Another terrific lineup from MMM: Anne-Marie Cusac, Renato Rosaldo, Patrick Lawler, Jeffrey Ethan Lee, as well as Scott Blackwood, and the Creative Writing Program. A beautiful large space within walking distance of the conference hotels at 18 S. Michigan Avenue, Chicago, Il.

5:00PM-6:30PM Mixer/Paper Darts Last Chance Happy Hour
Location: The Beauty Bar, 1444 West Chicago Avenue
Cost:
Mixer and Paper Darts team up to present an epic reading/sendoff on the final night of AWP. Swing by the Beauty Bar and dip your callused and brittle hands in a luxurious wax bath while you hear the likes of Amelia Gray, Tom Bonfiglio, John Jodzio, Chelsea Martin, Edward Trefts and Anne Yoder.

6:00PM-9:00PM Ear Eater #13: The Impossible, The Extraordinary
Location: Beef & Brandy, 127 S. State Street
Cost: FREE
Website: http://eareater.tumblr.com/post/16833972149/ear-eater-13-awp-edition
Join Us for Ear Eater #13: The Impossible, The Extraordinary! ALL-STAR CAST: Amelia Gray: (Author of AM/PM (Featherproof Books) and Museum of the Weird (FC2). Her first novel, THREATS, is due March 2012 from Farrar, Straus and Giroux.); Vanessa Place: (Writer, lawyer, and co-director of Les Figues Press. She is the author of Dies: …A Sentence (2006), La Medusa (FC2, 2008), and The Guilt Project: Rape, Morality, and Law (2010); Kevin Sampsell: (Author of the short story collections Beautiful Blemish and Creamy Bullets. He is the editor of The Insomniac Reader and Portland Noir. His newest book is A Common Pornography: A Memoir. He runs the micropress, Future Tense Books); Adam Robinson: (Adam Robinson lives in Baltimore, where he operates Publishing Genius Press. He is the author of Adam Robison and Other Poems, (Narrow House Books, (2010). More info at the EAR EATER site http://eareater.tumblr.com/post/16833972149/ear-eater-13-awp-edition

7:00PM-9:00PM Before We Go
Location: Beauty Bar, 1444 W. Chicago Ave
Cost: Free
Website: http://www.facebook.com/events/371496909532464/
Presented by Big Lucks, Gigantic Sequins, Knee-Jerk, Magic Helicopter, and Rose Metal Press. Readings from Amanda Auchter Jason Bredle, Adam Drent, Loren Erdich, Adam Golaski, Christie Ann Reynolds, Matthew Siegel, Justin Sirois, Jordan Stempleman, and Ben Tanzer.

Course Sequences

Over the last month or so, I’ve tried really hard to blow up my workshop syllabus. Things were going really well, and I wasn’t motivated out of some fear that I wasn’t getting through to the students. I just wanted to keep things fresh for myself. I realize that you can’t let students graduate with a degree in creative writing without knowing about certain benchmark writers/stories/novels. But I think it’s healthy for teachers to switch up their course sequences so they don’t fall into the trap of making the same tired points about Tim O’Brien or Ray Carver or Joyce Carol Oates or whoever.

This semester, I’m teaching a multi-genre workshop for the first time which I’m really excited about. I’m pretty well versed in creative nonfiction, but I’ve never even taken a poetry class. I’m hoping to learn a lot as the semester goes on, much like last semester when I taught Written Professional Communications. I didn’t know much at the beginning about LinkedIn or CVs or resumes, but by the end I felt pretty comfortable.

Below are the two course sequences I’m using for my two workshop classes. The first is for Intro to Fiction at the University of Pittsburgh, and the second is Advanced Writing Workshop at Chatham University. Usually, I’d include the syllabi, but I’ve discussed them at length in earlier posts. I’ve made some modifications to my workshop syllabus this semester (most having to do with long form writing projects and genre fiction), but the core of the thing is intact. Let me know if you have any suggestions or if you’d like to share your own course sequences. I’m also interested in what other teachers are doing.

Course Sequence

Week One

Wed January 4
Syllabus
Introductions
Justin Taylor “Tetris” HANDOUT

Fri January 6
John Updike “A&P” 3X33
Lorrie Moore “How to Become a Writer” 3X33

Week Two

Mon January 9
Raymond Carver “Cathedral” 3X33
Alissa Nutting “Porn Star” COURSE DOCUMENTS

Wed January 11
Donald Barthelme “The School” 3X33
Etgar Keret “Fatso” COURSE DOCUMENTS
Roxane Gay “The Harder They Come” COURSE DOCUMENTS
Amelia Gray “Hair” COURSE DOCUMENTS

Fri January 13
Emma Straub “Pearls” COURSE DOCUMENTS
George Saunders “CivilWarLand in Bad Decline” 3X33

Week Three

Mon January 16
Class Cancelled Martin Luther King Day

Wed January 18
Joyce Carol Oates “Where Are You Going, Where Have You Been?” 3X33
Barry Hannah “Testimony of Pilot” 3X33

Friday January 20
Breece D’J Pancake “Trilobytes” COURSE DOCUMENTS
Patrick Somerville “The Universe in Miniature in Miniature” COURSE DOCUMENTS

Week Four

Monday January 23
Workshop 1
Workshop 2

Wed January 25
Workshop 3
Workshop 4

Fri January 27
Rick Moody “The Apocalyptic Commentary of Bob Paisner” 3X33

Week Five

Mon January 30
Workshop 5
Workshop 6

Wed February 1
Workshop 7
Workshop 8

Fri February 3
A.M. Homes “The Former First Lady and the Football Hero” COURSE DOCUMENTS

Week Six

Mon February 6
Workshop 9
Workshop 10

Wed February 8
Workshop 11
Workshop 12

Fri February 10
Ethan Canin “The Year of Getting to Know Us” COURSE DOCUMENTS

Week Seven

Mon February 13
Workshop 13
Workshop 14

Wed February 15
Workshop 15
Workshop 16

Fri February 17
Deborah Eisenberg “Twilight of the Superheroes” COURSE DOCUMENTS

Week Eight

Mon February 20
Workshop 17
Workshop 18

Wed February 22
Workshop 19
Brian Oliu “Gradius” COURSE DOCUMENTS
Brian Oliu “Punch-Out!!” COURSE DOCUMENTS
Brian Oliu “Wizards and Warriors” COURSE DOCUMENTS
xTx “Water is Thrown on the Witch” COURSE DOCUMENTS
xTx “Marci is Going to Shoot Up Meth With Her Friend” COURSE DOCUMENTS

Fri February 24
Matt Bell “His Last Great Gift” COURSE DOCUMENTS

Week Nine

Mon February 27
Richard Yates “The Best of Everything” 3X33
Tobias Wolff “Bullet in the Brain” 3X33

Wed February 29
Junot Diaz “Fiesta, 1980” 3X33
Andre Dubus “The Fat Girl” COURSE DOCUMENTS

Friday March 2
Don Lee “The Price of Eggs in China” COURSE DOCUMENTS
James Alan McPherson “Gold Coast” COURSE DOCUMENTS

Week Ten

Spring Break – No Classes

Week Eleven

Mon March 12
Workshop 1
Workshop 2

Wed March 14
Workshop 3
Workshop 4

Fri March 16
Seth Fried “Loeka Discovered” COURSE DOCUMENTS

Week Twelve

Mon March 19
Workshop 5
Workshop 6

Wed March 21
Workshop 7
Workshop 8

Fri March 23
Jonathan Lethem “Super Goat Man” COURSE DOCUMENTS

Week Thirteen

Mon March 26
Workshop 9
Workshop 10

Wed March 28
Workshop 11
Workshop 12

Fri March 30
Scott Snyder “Blue Yodel” COURSE DOCUMENTS

Week Fourteen

Mon April 2
Workshop 13
Workshop 14

Wed April 4
Workshop 15
Workshop 16

Fri April 6
Lorrie Moore “People Like That Are The Only People Here” 3X33

Week Fifteen

Mon April 9
Workshop 17
Workshop 18

Wed April 11
Workshop 19
TBA

Fri April 13
TBA

Week Sixteen

Monday April 16
Fiction Pod

Wednesday April 18
Fiction Pod

Friday April 20
Final Portfolios Due

Course Schedule

Week One

Wed January 4
Syllabus
Introductions
Justin Taylor “Tetris” HANDOUT
Nancy Krygowski “Heaven, As We Know It” The Autumn House Anthology
Writing Exercise (First Lines)

Week Two

Monday January 9
Kim Addonizio “Collapsing Poem/Onset/The Moment” The Autumn House Anthology
Lorrie Moore “How to Become a Writer” E-MAIL
Geoffrey Wolff from The Duke of Deception Modern American Memoirs

Wednesday January 11
Sheryl St. Germain “Addiction/Sestina for the Beloved/Bread Pudding with Whiskey Sauce” The Autumn House Anthology
John Updike “A&P” On Writing Short Stories
Sarah Vowell “Ike Was a Handsome Man” E-MAIL

Week Three

Monday January 16
Class Cancelled Martin Luther King Day

Wednesday January 18
Billy Collins “Consolation/Taking Off Emily Dickinson’s Clothes/Workshop” The Autumn House Anthology
Flash Fiction Tutorial Etgar Keret/Roxane Gay/xTx E-MAIL
Chuck Klosterman E-MAIL

Week Four

Monday January 23
Raymond Carver “Cathedral” On Writing Short Stories
Workshop 1

Wednesday January 25
Workshop 2
Workshop 3

Week Five

Monday January 30
Patrick Somerville “The Universe in Miniature in Miniature” E-MAIL
Workshop 4

Wednesday February 1
Workshop 5
Workshop 6

Week Six

Monday February 6
Tom Bissell “Grand Thefts” E-MAIL
Workshop 7

Wednesday February 8
Workshop 8
Workshop 9

Week Seven

Monday February 13
James Baldwin from Notes of a Native Son Modern American Memoirs
Workshop 10

Wednesday February 15
Workshop 11
Workshop 12

Week Eight

Monday February 20
Terrance Hayes “The Same City/Snow for Wallace Stevens/All the Way Live” The Autumn House Anthology
Workshop 13

Wednesday February 22
Workshop 14
Workshop 15

Week Nine

Monday February 27
Jim Daniels “Short-Order Cook/Where Else Can You Go” The Autumn House Anthology
A.M. Homes “The Former First Lady and the Football Hero” E-MAIL
Frank Conroy from Stop Time Modern American Memoirs

Wednesday February 29
Lynn Emmanuel “Dear Final Journey…/The Murder Writer/The Revolution” The Autumn House Anthology
Anton Chekhov “The Lady with the Pet Dog” On Writing Short Stories
Maxine Hong Kingston from The Warrior Woman Modern American Memoirs

Week Ten

Monday March 5
Toi Derricotte “Boy at the Patterson Falls/Bird/Not Forgotten” The Autumn House Anthology
Flannery O’Connor “Everything That Rises Must Converge” On Writing Short Stories
Zora Neale Hurston from Dust Tracks on a Road Modern American Memoirs

Wednesday March 7
Class Cancelled Spring Break

Week Eleven

Monday March 12
Class Cancelled Spring Break

Wednesday March 14
Workshop 1
Workshop 2

Week Twelve

Monday March 19
Alissa Nutting “Porn Star” E-MAIL
Workshop 3

Wednesday March 21
Workshop 4
Workshop 5

Week Thirteen

Monday March 26
Tobias Wolff “Bullet in the Brain” On Writing Short Stories
Workshop 6

Wednesday March 28
Workshop 7
Workshop 8

Week Fourteen

Monday April 2
Malcolm X from The Autobiography of Malcolm X Modern American Memoirs
Workshop 9

Wednesday April 4
Workshop 10
Workshop 11

Week Fifteen

Monday April 9
Workshop 12
Workshop 13

Wednesday April 11
Workshop 14
Workshop 15

Week Sixteen

Monday April 16
Writing Pod

Wednesday April 18
Writing Pod

Friday April 20
Final Portfolios Due

Here’s Everything I’ve Recommended to Fiction Students So Far This Semester

So, I’m running this advanced fiction workshop and it’s all like woah. One thing I like to do in a classroom setting like this is meet individually with every student after they workshop. I remember very vividly going to see Tom Bailey and Gary Fincke in undergrad and how reassuring and empowering it was to know that writers I really respected were taking my work seriously (not that the students necessarily respect me in the same way I outright worshiped Tom and Gary). In my conferences, I always bring a marked up copy of their manuscript along with a one page note with strengths and prescription. But there’s also, usually, a note at the end with some writers and journals to read, and maybe even a few places to begin submitting to. At AWP, Amy Hempel said one of her favorite parts of running a workshop is putting an emerging writer with a published one, giving a young writer the book they absolutely have to read right this second. It’s one of my favorite parts of the job too, and I’ve kept track of what I’ve recommended so far.

Keep in mind, we read a lot of stuff in class. So I rarely touch on writers we’ve discussed ad nauseam like George Saunders or Lorrie Moore or Gary Shteyngart or Amelia Gray. Also, it’s only halfway through the semester. So there’s still a lot of time. Basically, what I’m trying to convey here, is this isn’t a list of the best writers for undergrads. It’s merely the group that this particular class needed to read at this particular moment. When there’s something lacking in student work that is absolutely nailed in a story collection or novel, students need to see that–in fact, there are a few writers on here I respect without actually enjoying their work. So, without further hand-wringing, here’s what I’ve recommended so far this semester.

Writers

Andre Dubus (5)
Ray Carver (4)
Wells Tower (4)
Alissa Nutting (2)
xTx (2)
Bobbie Ann Mason (2)
Emma Straub (2)
Sean Ennis (2)
Stewart O’ Nan (2)
Adam Levin
Michael Chabon
Trey Ellis
Tobias Wolff
Matt Bell
Don Lee
Ethel Rohan
Tina May Hall
Jayne Anne Phillips
Bret Easton Ellis
Jay McInerney
Douglas Coupland
Martin Amis
Cormac McCarthy
Joshua Ferris
A.M. Homes
Rick Moody
Jonathan Lethem
James Alan McPherson
Joyce Carol Oates
Deborah Eisenberg
Cathy Day
Richard Russo
Blake Butler
Miranda July
Aleksandar Hemon
Shane Jones
Jeanette Winterson
Philip Roth
Deborah Willis
ZZ Packer

Journals

The Fourth River (4)
Flatmancrooked (4)
FRiGG (2)
PANK (2)
Bluestem Magazine (2)
Weave (2)
The Emprise Review (2)
Metazen (2)
Hot Metal Bridge
Annalemma
Barrelhouse
Dark Sky
Fairy Tale Review
The Good Men Project
Wigleaf
elimae

Comics

Fables

Corium Magazine Showcase!!!!!

It’s official. A few days ago, Corium Magazine Editor-in-Chief/doomsday prophet Lauren Becker invited me to join her staff as Short Fiction Editor. This is especially exciting for me as Corium was one of the first journals to publish my work, and it’s actually a position I inquired about many, many months ago.  People who knew me in the long, long ago of my MFA days know that I was once Fiction Editor of Hot Metal Bridge and then later Editor-in-Chief. Even in college I took nonfiction editorial positions for a few of Susquehanna’s journals. I’ve loved literary journals ever since that day Tom Bailey took our intro to fiction class to the library and passed around dozens of the little magazines. And it’s always been a goal of mine to be part of that vibrant community.

But what does this shocking development mean for you? It means that if you’re reading this, you should probably submit. Length’s 1000-4000 words. But wait, you ask, what type of work does Corium publish? Below you’ll find a list of some really notable Corium stories. That isn’t to say that they’re not all notable (which they are), but linking to every piece Corium has ever published seems a tad counter-productive. So here are the ones I love the most. Keep in mind, I’m not a big poetry dude. So this is pretty heavy toward the fiction side.

“Sisters” – Amelia Gray and Lindsay Hunter

“All the Imaginary People are Better at Life” – Amber Sparks

“Retention” – Ravi Mangla

“One More Beneath the Exit Sign” – Stephen Elliott

“Mirrorball” – Carrie Murphy

“Girl, Luminous” – Donna Vitucci

“Eating Heart” – Cami Park

“Bonnie Parker Visits Her Final Getaway” – Sean Lovelace

“Given the Chance” – Alec Niedenthal

“Choo and Rumble” – Kim Chinquee

“Demoiselle” – Uche Ogbuji

“Des Moines Gymnopédie” – Scott Garson

“Shiny” – Andrea Kneeland

“Still They Hear What They Want To Hear” – Kathy Fish

“Inner Geographies” – Roxane Gay

“The Gone Children They Said Tell Us a Story” – J.A. Tyler

“All Our Canoes Are Safely Ashore” – B.J. Hollars

“An Intervention” – Matthew Salesses

“Two Earthquakes” – Nicolle Elizabeth

“Something More Interesting” – Tara Laskowski

“Drive” – Curtis Smith

“Regional Keystone” – Erin Fitzgerald

“Hands to Work” – Steve Himmer

Holy fucking shit, you say. That’s a lot of badass work by so many badass writers. I sure wish I could experience the unadulterated awesomeness of Corium in person! Well guess motherfucking what! You will have the chance in little under a month at AWP 2011!

Come party with me, Lauren, our wonderful poetry editor Heather Fowler, and of course, the good folks from Prick of the Spindle and SmokeLong Quarterly (edited by fellow Susquehanna alum Tara Laskowski). And look at those readers! Steve Almond! Michael Czyzniejewski! It’s going to be better than 10 Super Bowls.

What Are You Teaching In Workshop?: O Captain, My Captain!

I’ve been reading Cathy Day’s blog lately and all her insightful posts about her undergrad fiction workshop as they went through NaNoWriMo, and the whole time I’ve wondered why more fiction teachers don’t share their syllabi or process or what have you. I’m a sucker for community. It’s what drew me to a university known for its creative writing undergrad and eventually to the MFA itself. Now that I’ve graduated, I miss that feeling of being part of something. There are substitutes. HTMLGIANT. The Rumpus. We Who Are About to Die. Uncanny Valley. And so on and so on. But I don’t know many first year teachers who are teaching workshops, composition and community college. So I thought that maybe I would write about my experience here a little bit, include a draft of my new syllabus, and then if anybody wanted to share similar thoughts that would be great.

This is my fall semester intermediate workshop class. I showed up the last day and they were not only dressed like me, but they’d brought in a Spider-Man cake and noisemakers. To be sure, it was one of  the most touching and humbling moments of my life. I’m not exactly sure why the students responded so positively to the class and to me (I think a lot of it comes down to the fact that they all really got along and the level of criticism was really advanced), but I hope that it has something to do with how I tried to take them seriously as writers, that when they came into my class they weren’t student writers, they were just writers. (Much of my pedagogy comes from this video of Tom Bailey minus all the crying) A lot of them came into the class complaining about how previous workshops focused on inane guidelines (one student said he’d come from a workshop where students had to fit so many imperative, declarative and exclamatory sentences into stories), and I think they responded to how difficult I made the class. I ran it more like a graduate workshop and tried to focus on publishing and literary journals. We looked at PANK, The Collagist, Flatmancrooked, just an absolute ton, and the first student publication (of what I really think will be a lot) will go live on Metazen late this month.

Despite the difficulty (I’d go on about why I think this class is a lot of work, but I’ve included the syllabus below), 15 of 19 students signed up for my advanced fiction workshop in the spring which is the next step up in the program. I honestly couldn’t be happier (although, it poses some syllabus problems because I can’t use any of the same stories from this semester), and have taken this as a mandate to push them further, to expect more from them, to transform them into writing workhorses who believe in perspiration over inspiration and the daily writing schedule. So, with all that in mind, below is the first draft of my new syallbus. Please let me know what you think and feel free to share your own. Have you ever taught a workshop? What have your experiences been like if so? If not, do you want to, do you plan to? Why?

Required Materials

3X33: Short Fiction by 33 Writers edited by Mark Winegardner

Super Sad True Love Story by Gary Shteyngart

A Gate at the Stairs by Lorrie Moore


Welcome to Advanced Fiction Workshop

In this course, you’re going to write and read a lot. This is not going to be easy because becoming a writer isn’t easy. There will be no easy A’s, and no easy weeks. Writing is a constant struggle, and this course will reflect that truth. However, and I can guarantee you this, if you’re serious about the craft of fiction, if you’re willing to put in the work, you will be a better writer at the end of the course compared to the first day.

Each student will put up 15-20 pages of literary fiction for workshop twice during the semester. You can write a traditional short story, multiple flash fiction pieces, or a novel chapter, but remember, you have to demonstrate the fundamental principles of literary fiction in all of your workshop pieces. That means you shouldn’t hand in a novel chapter that is less than a page. I want to see structure, character, development. I want nuance and complexity. I don’t want filler pieces meant to get you closer to the page requirement.

Substantial revisions will be required. Substantial revision does not mean fixing grammar. Substantial revision usually means a complete rewrite and perhaps multiple rewrites. Students must also post 500-100 word critiques for every student story we workshop. Similarly, you will read a large amount of stories from 3X33 and a few handouts. Students will post 500-1000 word critiques for every assigned story we read. In addition to those critiques, you will write two 1200 word papers in which you do a craft analysis of the novels Super Sad True Love Story and A Gate at the Stairs.

Reading so much literary fiction will allow you to build a library of published stories in your heads. Students are expected to use their knowledge of writers like ZZ Packer, Richard Yates or Lorrie Moore to comment about peer work up for discussion. Students will make parallels and use the published work to inform their critiques of peer work. The majority of the course will be spent workshopping. The goal of the course is for you to not only become a better writer, but to become an active literary citizen who can participate in the ongoing dialogue concerning fiction.

Workshop

You will be prepared for every workshop class by doing the following:

1.)    Write comments in the margins of stories up for discussion. You MUST use the comments feature in Microsoft Word. All comments will be transparent to the entire class. I want you to upload your marked up versions of workshopped stories to Blackboard. Failure to do so will negatively impact your grade.

2.)    Write a 500-1000 word critique for each peer written story we read this semester. You must critique the story based on its own intentions. For example, if the writer is attempting to write in the realist mode of Ray Carver, do not suggest a woman who gives birth to a newborn baby every night ala Amelia Gray just because you don’t like realism. On the flip side, do not knock a postmodern story because you prefer realism. Judge the story the writer wrote, not the one you want to write. Try and help them see how they could better serve their material and unique world vision. In your responses, first describe what you think the writer is attempting to do and what the story is about. Then discuss the piece’s strengths. Finish with prescription, a section where you point out very specific things that still need work within the story. Go beyond grammar. Character, plot, prose, all the building blocks of fiction are on the table. You must use the description, strength, prescription model.

3.) Post your critique and margin comments to Blackboard by 8PM the night before workshop. All critiques will be visible to all members of the class, and I encourage you to read what your peers are saying about every story. Name your thread on Blackboard after your favorite line of the story in question. If you don’t turn in these materials BY 8PM, you will lose points.

Example of a good critique:

[There’s a critique I wrote here in graduate school, but I’m removing it from the blog because I never told the person whose story I culled from. If interested, look in the Crow Room.]

Notes About Workshop

When you are being workshopped, it is very important that you are quiet, take notes, and do not respond to anything verbally. To reiterate, you are not allowed to talk when being workshopped unless I specifically ask you something, and that will be very rare. You are not there to defend your story. Your story must stand on its own.

Please proofread your work. If a story is excessively sloppy, I will not workshop it. Do not depend on your classmates to fix your grammar.

Distribution of Manuscripts

Stories are due from every student at specific points in the semester. Upload them to Blackboard on the due date by 9AM. If your story is late, your grade for that story will drop by an entire letter. If you are more than a day late, you will get an F, no exceptions. You are responsible for printing out your peers’ stories for discussion on workshop days.

Blackboard Reading Posts

On most weeks, you will be required to read at least one outside short story. On these weeks, you must post a 500-1000 word critical response to said story on Blackboard under the appropriately titled forum. Posts must be uploaded by 8PM the day before we discuss the story. If your post is late, you will take an F on the critical response in question. During the first two weeks in which we will be discussing two professional short stories a classroom session, you are required to write three 250-500 word responses each class session, one for each story we read (the exception being Super Sad True Love Story when Paper 1 will be due). Post your responses on the appropriate Discussion Board forum. There’s a forum designated by name for every professional story.

Let me be very clear on this. This is not a forum for you to explain whether or not you like the piece in question. I don’t care. What I’m looking for is a craft analysis. These stories are published. They’re not up for workshop. What can you learn from them? If you simply talk about why you love or hate a specific story, you will take an F on the critical response in question.

Papers

Two papers will be due in this course, one for Super Sad True Love Story by Gary Shytengart and one for A Gate at the Stairs by Lorrie Moore. They will be due on Blackboard the night before class at 8PM like our reading critiques. The goal in these papers will be to do a craft analysis and pick out a few pieces in the work in question that specifically helpful to your development as a writer. Do not analyze these novels in a vacuum. Feel free to tie in your own work or other books you have read.

Fiction Pods

After everyone has been workshopped once, I will break you up into Fiction Pods of four and five in which you will read each other’s revisions and then run mini-workshops. I will explain more about Fiction Pods when we reach that point in the semester. Keep in mind, you will be required to meet with your Fiction Pods for 90 minutes outside of class on two separate occasions during the semester. You will also have to e-mail me where and when you met and a very brief summary of the meeting.

Attendance

I want to be as clear as I can on this. If you miss class four times, you will fail. There will be no make up assignments. Don’t come back to class. The ONLY excuse I will accept is a doctor’s excuse. I am not going to make any exceptions on this front.

If you are unprepared for discussion or workshop, I cannot give you credit for attendance that day.

Grading

This is what you have to do if you want an A in this course. You have to put up two thoughtful workshop pieces. Then you have to take the time to substantially revise them. You have to be engaged in classroom discussions and add something relevant every class. You must do all the Blackboard posts and turn them in on time. You do all these things, you get an A. You slack off, turn stuff in late or short, doze off in class, and you’re not getting an A.

Here’s the grading breakdown. 70% of your final grade will come down to your final portfolio, i.e. all of your revised work at the end of the semester. The other 30% comes from Blackboard posts and participation. Please note: participation is mandatory. If you are not contributing to every single workshop, you are not going to get a good grade. This is a workshop course. The same goes for Blackboard. If you consistently fail to turn in work on time, you’re not going to get a good grade.

Final Portfolios

On the final day of class, you will be expected to turn in two revisions of your workshop pieces. Late portfolios WILL NOT be accepted.

Conferences

After your workshop, please schedule a conference with me during my office hours. Revisions will be due at the end of the semester, but you can turn them in at any point. Conferences are mandatory!

Outside Events

Students are only required to attend one event outside of class. On April 7th, writer Lydia Davis will read in the Frick Fine Arts Building at 8PM. You are required to attend and write a short, 500 word craft analysis of her reading. ATTENDANCE IS MANDATORY. If you cannot attend, you must go to a make up reading that I will assign.

Academic Integrity

Cheating/plagiarism will not be tolerated. Students suspected of violating the University of Pittsburgh Policy on Academic Integrity, noted below from the February 1974, Senate Committee on Tenure and Academic Freedom reported to the Senate Council, will be required to participate in the outlined procedural process as initiated by the instructor. A minimum sanction of a zero score for the quiz or exam will be imposed.

Plagiarism, as defined by the University of Pittsburgh’s Academic Integrity code, is when a student:

Presents as one’s own, for academic evaluation, the ideas, representations, or words of another person or persons without customary and proper acknowledgment of sources.

Submits the work of another person in a manner which represents the work to be one’s own.

Knowingly permits one’s work to be submitted by another person without the faculty member’s authorization.

Special Assistance

If you have a disability for which you are or may be requesting an accommodation, you are encouraged to contact both your instructor and Disability Resources and Services, 140 William Pitt Union, (412) 648-7890 or (412) 383-7355(TTY), as early as possible in the term.  DRS will verify your disability and determine reasonable accommodations for this course.

Course Sequence

Week One

Thurs January 6

Syllabus

Introductions

Amelia Gray “Babies” and “Dinner”

Week Two

Tues January 11

Raymond Carver “What We Talk About When We Talk About Love” 3X33

Tobias Wolff “The Liar” Blackboard

Dave Eggers “After I Was Thrown in the River but Before I Drowned” Blackboard

Thurs January 13

Antonya Nelson “Naked Ladies” 3X33

James Alan McPherson “Why I Like Country Music” Blackboard

Donald Barthelme “Robert Kennedy Saved From Drowning” 3X33


Week Three

Tues January 18

Gary Shytengart Super Sad True Love Story

STORIES DUE


Thurs January 20

Workshop 1

Workshop 2

Week Four

Tues January 25

Workshop 3

Workshop 4

Thurs January 27

Workshop 5

Jonathan Lethem “Super Goat Man” Blackboard

Week Five

Tues February 1

Workshop 6

Workshop 7

Thurs February 3 – Guest Workshop w/Travis Straub

Workshop 8

Workshop 9

Week Six

Tues February 8

Workshop 10

Workshop 11

Thurs February 10

Workshop 12

Andre Dubus “The Fat Girl” Blackboard

Week Seven

Tues February 15

Workshop 13

Workshop 14

Thurs February 17

Workshop 15

Matt Bell “His Last Great Gift” Blackboard

Week Eight

Tues February 22

Workshop 16

Workshop 17

Thurs February 24

Workshop 18

Richard Yates “The Best of Everything” 3X33


Week Nine

Tues March 1

Workshop 19

Workshop 20

Thurs March 3

Workshop 21

Workshop 22 (IF NEEDED)

A.M. Homes “The Former First Lady and the Football Hero” Blackboard

SUNDAY REVISIONS DUE

Week Ten

Spring Break

Week Eleven

Tues March 15

Lorrie Moore A Gate at the Stairs

New Stories Due

Thurs March 17

Workshop 1

Workshop 2

Week Twelve

Tues March 22

Workshop 3

Workshop 4

Thurs March 24

Workshop 5

Workshop 6

Week Thirteen

Tues March 29

Workshop 7

Workshop 8

Thurs March 31

Workshop 9

Workshop 10 (IF NEEDED)

ZZ Packer “Dayward” Blackboard

Week Fourteen

Tues April 4

Workshop 11

Workshop 12

Thurs April 7

Workshop 13

Workshop 14 (IF NEEDED)

George Saunders “Sea Oak” 3X33


Week Fifteen

Tues April 12

Workshop 15

Workshop 16

Thurs April 14

Workshop 17

Workshop 18

Week Sixteen

Tues April 19

Workshop 19

Workshop 20

Thurs April 21

Workshop 21

Workshop 22