Manual How to Fly (Carnegie Mellon Series in Short Fiction)

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  1. UPNE | Carnegie Mellon Short Fiction Series
  2. Product details
  3. Catalog Navigation
  4. The Reading Series

Assignments and class discussions will be occasions to practice historically-informed criticism; to compare conceptual structures within seemingly distinct domains of history and thought; and to articulate major fissures and changes in Renaissance angelology, diplomatic practice, and literary craft. No one seems to know quite how to define contemporary American fiction. In this course, we will read a selection of contemporary American fiction from the s to the present and try to get a sense of what is distinct about fiction in the contemporary moment.

We will also look at critical definitions of postmodernism and the contemporary to see how they describe the fiction and to see if they match with the fiction we? The Lost Generation Intermittent: Both moments of literary history have an important relevance for our time, and both produced many major literary works. The 20s, like the 50s and 60s, were marked by the effects of World War.

Gertrude Stein seems to have started the whole generation naming fad with her comment to Hemingway, "You are the lost generation. This class is neither a prequel nor a sequel to the Beat writers class; it is related in theme but focused on different writers and texts. Students might consider taking this class as a point of entry to 'The Beat,' or might consider this class as a follow-on to 'The Beat' in order to understand more fully some of the central literary and historical issues of our time.

In both cases we focus on the intersection between cultural change and major war. Yeats, Ezra Pound, T. Eliot, the major War Poets, F. The class will give you a sense of the concepts and concerns critics have used to talk not only about literature but about culture and society. Although invention is centrally important to rhetoric-without which it becomes a superficial and marginalized study of clarity, style, and arrangement-from the Scientific Revolution and Enlightenment through the mid-twentieth century invention all but disappeared as a topic of rhetorical study under the pressure of the view that invention should be exclusively directed by deductive logic and the empirical method rather than rhetorical considerations such as audience or language.

This view of invention fundamentally shaped modern thought and continues to influence the ways we think and communicate today. In this course, we'll begin by examining the repudiation of rhetorical invention in the development of modern thought before focusing on efforts to recover a rhetorical understanding of invention from the mid-twentieth century forward, surveying a variety of contemporary theories of rhetorical invention including those promoted by postmodern, posthuman, and digital rhetorics.

The course is designed to explore the central importance of invention to contemporary rhetorical theory through a pairing of historical and contemporary readings. Fiction and Film Intermittent: This introductory-level course familiarizes students with the challenges transnational feminism has posed to Western notions of feminism. To explore these contestations, we will look at a series of controversies. We will read these controversies through novels, drama, short stories and films, with some secondary theoretical readings. This course will take six case studies concerning cultural practices that have generated global debates about the status of women and issues like consent, freedom, and equality.

With an eye toward historicizing feminist interventions, we will look at 19th century debates on sati, commonly called widow burning, in India, to see how certain issues became loci for global intervention during colonial periods and, later, for global feminist movements. Within the contemporary period, we will turn to cultural, economic and political practices like female genital cutting, transnational domestic labor, global sex trade, and transnational forced marriage.

For each of these controversies, we will be reading a range of positions represented in different types of writing across genre, with a focus on literary and filmic depictions. This course focuses on twentieth-century literature written in English from India, Pakistan and other parts of South Asia, as well as by people of South Asian origin. The course will begin by looking at literary representations that portray the struggle for decolonization and the trauma of partition.

As we move forward to the contemporary period, we will examine the competing aesthetics of social and magical realism. We will then look back at India from the perspective of the diaspora, considering themes of identity, immigration and globalization from the perspective of South Asians writing in Britain and the United States. By studying contemporary leadership theory and the American tradition of prophetic pragmatism, we explore ways everyday people can act on commitments and create change.

Students will work as rhetorical consultants, learning methods for intercultural rhetorical research and developing a Community Think Tank on a current issue. Immigration will be studied as a socio-political construct with an emphasis on the linguistic, socio-cultural, and political challenges and opportunities that migration creates for the individual and society.

Throughout the course we will explore one key question: What challenges and opportunities do different aspects of migration posses for multilingual societies and individuals? A great deal of the course focuses on the linguistic challenges that migration creates for the individual and society, with a special emphasis on the development of bilingualism and the education of immigrant children.

From a larger socio-political perspective, the course focuses on various case studies of immigrant populations throughout the world in order to obtain a better understanding of the characteristics, opportunities, and challenges faced by immigrant populations internationally. In addition to specific research methods and skills, we will cover issues that pertain to all research methods: How many people do I need to include in my study?

How should I select them? Are my results valid? Is what I think I'm finding out reliable? What are the ethical issues in my study? We will use a combination of lecture, discussion, exercises and projects to achieve these objectives. Concerned more with those whose lives are outside of the traditional spot-light, literary journalism enriches our sense of who inhabits the contemporary world. Reading the stories of other lives can help us understand our own, by enlarging and deepening the context in which we understand our humanity.

In this class, you will read a variety of professional literary journalism, and be asked to write your own. You'll have chances to interview people you know, and don't know, and write their stories, along with an assignment that invites you to capture your family history. You'll write about Pittsburgh places, and you'll learn how the stories of your own life can become literary journalism when you learn to contextualize them, and connect them to larger issues.

The concerns and goals of Literary Journalism overlap with memoir, creative non-fiction, and magazine writing. The class is run as a seminar and demands high level of student involvement. Corpus Rhetorical Analysis Intermittent: The focus will be on verbal rhetoric, but students who wish to analyze visual rhetoric interactively with verbal rhetoric will be welcome to do so.

In the first part of the course, we will review various methods for analyzing digital texts descriptively viz.


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To learn these methods, in the first half of the course, we will use simple textual data sets supplied by the instructor. In the second half of the class, students will choose their own digital environments to analyze and they will be expected to write publishable-quality rhetorical analyses of these environments. To meet this expectation, students will need to do considerable background research in the digital environments they are studying.

The course aims to encourage creative writing students to engage critically and creatively with the tradition of Gothic fiction, and in particular with the trope of the house in the Gothic tradition. We will read six short novels in the genre, and we will also look briefly at some core theorizations. Students will use this critical understanding to develop further, and reflect upon, their own creative practice.

Poetry - Introduction to Literary Translation Intermittent: We will examine the concepts of fidelity to the original, authorial intention, the nuance of tone and style, and the politics of translation. Texts will include essays on theory and a variety of literary works primarily fiction and poetry in translation.

We will look at multiple translations of the same work, and there will be the option for students to pursue their own project in literary translation. Work outside the classroom will involve several field trips to City of Asylum, a sanctuary for writers in exile.

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UPNE | Carnegie Mellon Short Fiction Series

Working knowledge of a language other than English is helpful but is not required for this course. Fiction - The Writer's Voice Intermittent: The Writer's Voice is the vehicle through which writers express their take on the worlds they create. We will examine and analyze how voice works in different media including film, fiction and drama.

Texts could include the novels: I will expect you to become strong editors and contributors to class discussion, and to accept and learn from criticism. You will be composing individual poems as well as working on a series or longer work. I will also assign a fair amount of reading, mainly contemporary poetry individual poems and collections published in the last few years. You will finish the semester by compiling a portfolio of creative work.

We will also examine the difference between good writers and good work, the functions of objective distance from and intimate investment in a subject, as well as the philosophical questions spurred by non-fiction writing. What is the non-fiction writer's role, and how does it differ from that of the fiction writer? Where do the two genres overlap? What gives non-fiction writing integrity? What does the term creative non-fiction mean?

How have the form and aims of non-fiction writing - from memoir to essays to long-form journalism - evolved for better and for worse? In addition to critical writing assignments, students will have several opportunities to write their own non-fiction pieces. Translating History into Cinema Intermittent: But how useful are the images we see through that window? For every person who reads a work of history, thousands will see a film on the same subject. But who will learn more? Can written history and filmed history perform the same tasks?

Should we expect them to do so? How are these two historical forms related? How can they complement each other? This course will draw examples from across the history of film in order to examine how the medium of film impacts our understanding of facts and events, the ways that film transfers those facts to the screen, and how that process affects the creation of historical discourse.

There is now a generation of novelists, screenwriters, playwrights and TV writers who first honed their story-telling chops when they were a Gamesmaster of a Role Playing Game RPG.

The course instructor is one of those writers, having won three Game of the Year awards for his RPG stories and designs and then moved on to become a playwright, greatly influenced by his time Gamesmastering role playing games. The class will first examine and dissect RPG story and design using pencil and paper examples seeking an understanding of both design as well as storytelling 'best practices. Then, taking an existing pen-and-paper RPG system proceed to create and pitch a set of campaign adventure stories for that system and that story intellectual property.

The pitch will then be fine-tuned and approved, and the students proceed to 'flesh out' their new story, delivering a full prose treatment, followed by Act breakdowns, mission arcs, dialogue for select scenes, and one shooting script for a two-minute cinematic. The final product is a hard copy story bible portfolio-quality piece. The class grade will primarily be based on every students individual quality of writing and story crafting. It should be emphasized this is a writing course, not an RPG design course.

Yet as we have all observed, these Rules, Roles and Tools often operate in contradictory ways, even in conflict with one another. Effective team leaders are able to recognize these contradictions and draw a writing group, a project team, a social organization or a workplace into what is called an "expansive transformation.

In this course, you will learn how to become more effective not only as a team member, but also a project leader, and even group consultant in your college work and workplace. Looking at films, case studies, research, and your own experience, we will learn how to analyze how teams of all sorts are working, to communicate more effectively across different expectations and values, and to collaboratively innovate new ways of working together.

Your final project will let you document your ability to be a knowledgeable team leader and effective collaborator.

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We'll start with the basics - judging newsworthiness, conducting research and interviews, then organizing the information into a concise, clear, accurate and interesting news story. Because the key to learning to write effectively is to practice the necessary skills, class emphasis - and much of your grade - will be based on seven writing assignments involving current events and covering various types of news writing. Through readings, assignments and class discussion, we'll tackle questions such as: What makes a story newsworthy?

How does a reporter decide which points to emphasize? What are effective techniques for a successful interview? How does a journalist turn pages of scribbled notes into a coherent news story? We'll do a lot of writing, but we'll also examine issues and trends affecting journalism today. We'll cover at least two live events and hear from local professionals about working in print, broadcast and public relations. We'll also look at how newer mediums - such as blogs, the internet, and cable news - shape and influence news reporting. It is designed to help you produce and support a persuasive written argument and to develop the ability to discuss the production and evaluation of arguments with professional peers.

The course begins with an overview of major theories of and approaches to argument, particularly the tension between those who view argument as 1 a logical text or product to be tested for the validity of the relationships asserted between its premises and conclusions, 2 a procedural form used to govern exchanges between participants in a dialogue or debate, and 3 a rhetorical process of inference, negotiation, and controversy between people in any situation. The course then considers a variety of topics regarding the production, analysis, and evaluation of both visual and verbal arguments, frequently applying the principles we study by rehearsing arguments on both sides of various cases and controversies in class.

In addition to a series of written reading responses, you will write two short arguments in an argument field of your choosing before extending one of your first two papers into a longer argument for your final paper. The class will explore different styles and techniques of storytelling with the flexibility of form offered by the computer through the practice of digression, multiple points of view, disruptions of time and of storyline, etc.

Students will work within interdisciplinary teams in the creative areas of English and creative writing, video production, interactive media, data visualization and programming. Students will be encouraged to think about digital interactive media not just in terms of technology but also considering broader issues such as verbal and visual language, design, information architecture, communication and community.

We'll look at how excellent nonfiction for magazines has to employ a strong narrative voice, and the techniques of storytelling. Students will be asked to research and write their own articles, based on a variety of assignments. The class will be conducted as a discussion, and demands participation from each class member.

This course will consider a selection of key Shakespeare films alongside critical readings centered on questions of adaptation and performance. As we watch and read together, we will work toward a broader understanding of what Shakespearean drama means in a 21st century context, and how film has helped to shape the author's massive cultural impact.

Educational Theory and Community Practice Spring: And what should count as literacy: Competing theories of what counts as "literacy" - and how to teach it - shape educational policy and workplace training. However, they may ignore some remarkable ways literacy is also used by people in non-elite communities to speak and act for themselves. In this introduction to the interdisciplinary study of literacy? Then we will turn ideas into action in a hands-on, community literacy project, helping urban students use writing to take literate action for themselves.

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As mentors, we meet on campus for 8 weeks with teenagers from Pittsburgh? They earn the opportunity to come to CMU as part of Start On Success SOS , an innovative internship that helps urban teenagers with hidden learning disabilities negotiate the new demands of work or college. We mentor them through Decision Makers a CMU computer-supported learning project that uses writing as a tool for reflective decision making.

But is it just the suave style of Mad Men that has made it so popular? What is the secret to the show's success? In this class we will explore the rise and fall of the 20th century advertising model of mass culture by watching episodes from seven seasons of Mad Men, analyzing the show, and reading about the history of advertising as well as analyses of the show itself. Stoddart, editor, Analyzing Mad Men: Nostalgia and the Remaking of Modern America.

This course explores the discursive practices through which racial and national identities are formed and the frequent conflicts between them, particularly by focusing on the role of enemies, threats to the nation, and sacrifices made on behalf of the nation in American public discourse. Alongside primary sources of public discourse regarding wars, the immigration and citizenship of racial minorities, racial segregation and civil rights, and the criminal prosecutions of dissidents during periods of crisis, we will read secondary sources offering multiple theoretical and disciplinary approaches to the study of racial and national identity formation.

Along with regular brief responses to readings, assignments will include a short rhetorical analysis paper and a longer research paper. In this course, we will examine the way discourse is itself a form of social action that plays a fundamental role in organizing social, cultural, and political life. In addition to becoming familiar with a variety of approaches and topics in the study of discourse, a major aim of the course is for you to develop the tools and skills needed to analyze actual discourse data.

This will involve learning how to read transcripts and transcribe data at different levels of detail, learning how to ask questions about the data based on different analytic interests, and developing a vocabulary of scholarly terms and concepts that will allow you to comment on discourse features as you formulate interesting and persuasive claims. The first part of the course will involve assignments with shared data to develop fundamental skills.

In addition, seminar participants will be responsible for selecting pieces of discourse for mini data sessions throughout the semester. For the final assignment, you will choose and analyze a piece of spoken or written discourse of interest to you. In the end, you should come away from the course with an ability to think critically about the way discourse operates in the world. We will begin by studying important literature in linguistics and language theory, both to introduce us to how scholars think about language and to give us a shared vocabulary to use for the rest of the semester.

We will then move into case studies and theoretical works exploring the intersections of language use, individual and group identities, and the exercise of power, in its many forms. In particular, we will focus on the relationship between language and culture by asking, in what ways does language influence and constitute social change?

How is social change reflected by changes in the way we use language? Over the course of the semester, you will work on applying the knowledge and theoretical tools you gain to your own analysis of a linguistic artifact that you choose. We will learn about the distinction between Writing across the Curriculum and Writing in the Disciplines and challenges to providing integrated, high quality writing instruction across the university.

We will explore the implications of the wide variety of forms of academic writing for instruction in English classrooms, including high school and first-year writing classrooms.

The Reading Series

Assessments will include reading responses and a final paper reviewing research on writing in a specific writing context of your choosing. Students enrolled in the course for six units will be expected to do additional readings and give an oral presentation. Please note that in terms of time commitment, a 3-unit mini will require approximately six hours per week three hours homework and three hours class meetings and a 6-unit mini will require twelve hours per week.

Coding for Humanists Intermittent: Through a series of hands-on coding exercises, students will explore computation as a means to engage in new questions and expand their thinking about textual artifacts. This course is designed for students with no or very little coding experience. During the early part of the semester, students will learn basic programming using Python through examples and problem sets that are relevant to text analysis. Then, students will be introduced to a limited set of commonly used Python packages for text analysis, such as natural language processing, statistical analysis, visualization, web scraping, and social media text mining.

Students who are interested in digital humanities scholarship in literary and cultural studies may also consider Professor Wittek's seminar: Students will learn to identify the major grammatical forms Noun, Verb, Adjective , how these forms map on to grammatical functions subject, verb, and direct object and how forms and functions combine to create major constituents of the English sentence. Students will leave this course with a systematic understanding of English sentence grammar as a resource for their continuing development as writers.

Yet considerations about how we write? Ideally, then, far from being an exercise in expressing personal idiosyncrasies, revising style means understanding a set of strategic choices and always weighing these choices in relation to questions such as, "Who is my audience"? This course will have two main objectives: Two recurring questions for us will be the following: Should stylistic rules or practical experience carry more weight in the decisions we make as writers? This course provides students who have already learned the foundation of written communication with an opportunity to develop the ability to analyze and create visual-verbal synergy in printed documents.

Students will be introduced to the basic concepts and vocabulary, as well as the practical issues of visual communication design through a series of hands-on projects in various rhetorical situations. Assigned readings will complement the projects in exploring document design from historical, theoretical, and technological perspectives. Class discussions and critiquing are an essential part of this course.

Adobe Creative Studio InDesign, Photoshop, Illustrator will be taught in class, and used to create the assigned projects. The analysis of corpora becomes especially important when your focus of analysis is the genus rather than the individual and it has hundreds of applications.

It is useful when instead of a single Aesop fable, you want to characterize Aesop's fables as a group and you want to compare them, as a group, with, say, the writings of a contemporary poet or the lyrics of contemporary musical artists. Corpus rhetorical analysis is also useful when you want to compare the styles of two columnists or critics based on a large sample of their writings. It is useful when you want to understand the? This is a hands-on course where students get practice conducting corpus analyses using corpus software and statistical methods.

The course is divided into three parts. In the first part, student will learn a theory of textual segmentation that is behind preparing a collection of texts for corpus study. In the second part, students will analyze corpora provided by the instructor and learn how to write a corpus report.

In the third part, students will compile a corpus of their own choosing with a research question and then conduct a corpus study and submit a report that seeks to answer that question. The field of English Studies is profoundly interdisciplinary. We will strive to understand not just traditionally used methods such as text analysis , but also more recent developments borrowed from other disciplines such as history and sociology, anthropology, and visual studies. We will cover methods for developing topics, constructing research plans, finding and using scholarly sources and conducting field research, organizing, writing, revising, and presenting a research paper of pages.

Students will also learn how to situate their work in the context of scholarly conversation, by testing their hypotheses against alternative and presenting their research to audiences in the field of English studies. Throughout the semester, students will develop and work on an original research project. At the end of the semester, students will give a public presentation of their research to other students and English faculty. Students will learn how to conduct research on scientific topics using primary and secondary sources, how to conduct interviews, and how to organize that information in a logical fashion for presentation.

For writing majors, the course will increase their understanding of scientific research and how to describe it accurately and completely to a general audience. For science majors, this course will teach them how to craft fluid, powerful prose so that they can bring their disciplines to life. The course is not intended just for those who want to become science writers, but for anyone who may have the need to explain technical information to a general audience, whether it is an engineer describing a green building project at a public hearing, a doctor describing the latest research on a disease to a patient advocacy group, or a computer programmer describing new software to his firm's marketing staff.

Scientists and educators today are increasingly concerned about the public's lack of understanding about scientific principles and practices, and this course is one step toward remedying that deficit. Students will get a chance to read several examples of high-quality science writing and interview researchers, but the primary emphasis will be on writing a series of articles — and rewriting them after they've been edited. The articles will range from profiles of scientists to explanations of how something works to explorations of controversies in science.

Students should expect to see their writing critiqued in class, in a process similar to what journalists routinely go through. The goal will be clarity and verve; the ethos will be mutual learning and enjoyment. Genres, Methods, and Issues Intermittent: What hasn't changed is the need for effective arguments print and digital that respond to both the rhetorical situations at hand and the ongoing needs of a specific organization.

In this course, designed for students pursuing careers in professional communication, we'll examine the critically important practices of argument and advocacy. And while our central focus will be on non-profits, the arts, education, political advocacy and social causes, the techniques we'll learn are also broadly applicable to communications careers in all sectors. Our main focus will be on how professional communicators design arguments and make media choices consistent with the voice of their organizations.

Among other questions, we will ask, how can we adapt the genres of mass communication to meet our organizations goals? What roles can social media play in non-profit advocacy, and how are those roles changing? How can we have impact while working with limited budgets? The end result will be a professional portfolio that demonstrates both relevant skills and a high-level theoretical understanding of what makes a public argument successful.

Students will also gain experience in translating their technical expertise into language that potential employers understand and look for. It is particularly appropriate for professional and technical writers, but also a good option for anyone interested in fields that involve substantial instruction, such as teaching or employee training.

In the first part of the course, we'll examine the recent history of instructional design and the major current theories. Then we'll take a step back and study the concepts of learning upon which these theories are based, with particular attention to their implications for how instruction is structured. You'll find that different learners e. In the second part of the course, we'll look in detail at models of how people learn from texts and what features e.

We will study and analyze particular types of texts. Some possible examples include an introduction to the concept of gravity; a tutorial for computer software; a self-paced unit in French; adult educational materials in health care; a workshop on sexual harassment in the workplace; or a unit to train someone how to moderate a discussion. We will also look at various methods concept mapping, think-aloud, comprehension tests, etc. You will do a project, either individually or in a small group , in which you design, write and evaluate instruction.

In the short time since the museum was established, 37 exhibitions have been mounted in cities all over the world. In November , Pittsburgh will host an exhibition. Students who enroll in this course will have the chance to see photos and read stories from other exhibits. They will learn how to conduct the collection process, and then go into the community to collect stories and objects.

They will also collaborate with Masters students from Entertainment Technology's Location-Based Entertainment track, who specialize in designing and implementing exhibits. Together, these groups will then curate a show with stories and objects that reflect the culture and history of Pittsburgh. This course is designed for students who love stories and have the curiosity and motivation to travel throughout Pittsburgh to find them. And while the story of Viennas cultural and political turmoil is interesting, it probably would not command our attention today were it not for its role as the birthplace of Modernism.

In an effort to understand todays intellectual environment, therefore, we will examine Vienna before the collapse of the Austro-Hungarian Empire in We will be looking at a huge and at times confusing canvas which by necessity includes almost every aspect of culture. We will start with politics and history and move on through art, architecture, crafts, psychoanalysis, literature, music, and philosophy.

We will be looking at art nouveau buildings and furniture, reading literature, viewing films, and listening to recordings - and we will build 3D models on a digital map which will help us understand how the different arts were all connected and influenced each other. Wolfe says that his grad school exposure to sociology helped him to write about the importance of status for early astronauts in The Right Stuff. American Studies is a first cousin to Cultural Studies, but it is not exactly the same thing. In this course we will read mostly secondary texts — scholarly works — that are on the cutting edge of the "new methods" in American Studies, and the course readings will range from the Revolutionary War era to the present.

English as a Discipline All Semesters: This course will examine the historical development of the discourses, practices, organs, and associations that have defined English as a discipline. While we will of necessity also look at the theories and values that the discipline has proclaimed at different times, this will not mainly be a course in the history of criticism. Criticism will be considered as one practice among others including philology, literary history, literary theory, rhetoric, and composition.

In order to understand the broader context, we will read work by Foucault and others on disciplinarity. We will also examine allied institutions, including the professions and the university. We will explore the cultural and historical processes by which we get from Shakespeare to Austen by looking at the historical development of two media forms, the stage play and the novel. Since this archive includes an impossible amount of material to cover in a semester's work, we will focus on some points of connection and synergy between these forms.

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Being from Kalamazoo, I found the Michigan landscapes familiar in Rachael Perry's first book of short stories. Geography wasn't the only thing that hit home; the characters and settings are ones everyone knows: I now better understand some of my Midwestern neighbors with their stilted vocabularies and gingham dresses. Many of them are me and my best pals. As a reader I am more accustomed to realism in fiction, so the more absurd and dreamlike stories were sometimes difficult to swallow, especially the one about a woman who seems to be made of water, but this author is remarkable for her fresh poetic voice.

How To Fly, Rachael Perry's debut book of short stories, was a refreshing, heartwarming and comical read. As a city dweller, I am aware of some of the sharp and more subtle differences between urban and rural living. I found her descriptions of small town settings and lifestyles very enjoyable. More striking were the commonalities that Perry's characters shared with all humans, whether in urban or rural scenes. We all have disabilities of some form or another along a huge spectrum.

These make us vulnerable, and inevitably dependent on others to flourish. This spectrum was well appreciated in Perry's characters. In fact, they often had unique, enchanting and extraordinary afflictions that made them vulnerable in even more spectacular and loving ways and made for fabulous stories. Rachael's tales are a vivid and resonating romp through the places we know best, smallish towns and the giant hopes of the big-hearted, but underappreciated, highlighting the quietly magical and miraculous things we would otherwise have missed, and each tale, bittersweet or triumphant, resounds with a universal trueness.

Passing up this compilation would be akin to a nestling accepting the world as just a dull ring of twigs, never venturing outward, never learning how to fly. See all 3 reviews. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. He is also the author of a book of short stories, Prague, U.

His most recent book is the memoir-in-essays Raising Girls in Bohemia: His poems, essays and stories have appeared widely, and won numerous grants and awards. Katrovas witnessed the Velvet Revolution on a Fulbright in , and has been a resident of Prague with his three daughters and yogini wife for much of each year since. He taught for the University of New Orleans for twenty years, and joined the faculty of Western Michigan University in the fall of Kate Daniels was born and raised in Richmond, Virginia.


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School of the Arts. A Journal of Literature and Art. In , she served as a judge for the National Book Award in Poetry. This book and subsequent works have established her as an influential figure in the rise of autobiographical writing.