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Category: Teaching

What madness is this – Azareen Van Der Vliet Oloomi’s Fra Keeler

I just read Fra Keeler by Azareen Van Der Vliet Oloomi, a short novel I’m planning on teaching in my upper division Contemporary Forms class this fall, a lit class for creative writers that investigates notions of “the contemporary.” I’m still figuring out the thrust of the class, though I know we’ll be using Foucault’s Archaeology of Knowledge as a way into the novels and poetry collections we’ll be reading throughout the semester.

I’m not alone in comparing Oloomi to Robbe-Grillet, but I’m struck by how (as in Robbe-Grillet’s Jealousy) Oloomi leaves so much out of the novel–motivation, for example, and back story, and how what’s absent doesn’t prevent the narrator’s manic, paranoid investigation into the death of Fra Keeler to not only move forward, but to spiral and plummet. Despite what’s missing, the novel (at around 120 pages) still feels at once immediate and energetic while at the same time heavy and fraught. Fra Keeler is a detective novel where it seems that we only know half of the story, that what we’re left with–the narrator’s obsessive investigation (in the strangest sense of the word)–is all the narrator’s left with, too.

Here’s a great passage:

“My mind was as vast and infinite as the sky above, as though the sky had doubled itself inside my head. We are what we see, surely, I thought, that must be the case. Because now that I see the sky, I thought, my mind is another sky alongside it.” (pg. 79)

So much of the novel is concerned with what the narrator perceives, what he sees, and how he connects (or doesn’t connect those things) and the madness of signs. That’s probably where we’ll start our discussion this fall. A great, unexpected novel.

Here are a few more in-depth reviews of Fra Keeler:

LA Times


The Millions

Buy Fra Keeler at the publisher’s website.

Buy it at Powell’s.

Buy it at Amazon.


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Unconventional Creative Writing: Yoko Ono’s Grapefruit

In thinking about new approaches to teaching creative writing, approaches that don’t rely so much on the idea of “craft” (more on this in another post) as they do on exploration, close reading, and method (or practice), I thought I’d take a look at Yoko Ono’s Grapefruit. Known as conceptual art, this collection of “event scores,” instructions for art, or events, rather than the art itself, might seem like a ridiculous thing to use in a creative writing class, but I think it offers a few different possibilities.

The most obvious way to use this book is as an introduction to conceptualism (and Fluxus). An exercise in imitation might ask students to imitate the style, method, and form of the event scores in the book by creating similar impossible (or improbable) artworks by describing them. Pretty straightforward, but what’s the goal of such an experiment? As an experiment in form and creativity, the experiment asks students to imagine something they couldn’t or wouldn’t normally do. For example, in “HIDE-AND-SEEK PIECE” Ono asks readers to “Hide until everybody goes home./Hide until everybody forgets about you./Hide until everybody dies.” Not something anybody is likely to actually do, but by imagining situations, or events, students are pushed away from the usual way of thinking about poetry and fiction. At least that’s the idea.

A second thought is to use these as prompts–what would a story generated by “HIDE-AND-SEEK PIECE” look like? Taken a step further, could students devise scores for experiments they might actually perform, and then write about (or not). Maybe these scores would start to look like CAConrad’s somatic experiments. I’m thinking about the more “doable” pieces in Grapefruit. For example, using “PAINTING TO EXIST ONLY WHEN IT’S COPIED OR PHOTOGRAPHED” (“Let People copy or photograph your/paintings./Destroy the originals.”) students might exchange detailed descriptions of locations and/or people and then copy each other’s work, letting the original serve as inspiration for a distorted, degraded, or enhanced “copy” of another piece of writing. What would a “copy” of a photograph in writing look like? While not a lot of the experiments in Grapefruit lend themselves to this sort of thing, plenty do. I’m thinking about using a combination of these experiments in my class this fall.

Buy Grapefruit at Amazon

Buy Grapefruit at Powell’s

Buy Acorn (Ono’s Sequel to Grapefruit) at Amazon

Buy Acorn at Powell’s


Further Investigation:
The Fluxus Performance Workbook

A 2009 performance of George Brecht’s “Event Score” (1966) 

CAConrad’s ECODEVIANCE: (Soma)tics for the Future Wilderness

Yoko Ono – Eyeblink (1966) – via UbuWeb

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Writing Exercises and Creativity in the Writing Workshop

I assign a lot of writing in my creative writing classes in the form of exercises–I suspect I’m not unique in this. I’ve found that creative writing experiments are sometimes the most interesting writing a student will do all semester–the most generative, creative, and energetic writing, but also the writing that often takes the most risks. Exercises encourage a sense of play and exploration that, hopefully, teaches creative writing as a practice.

I typically see the most improvement in a writer’s work in their exercises. Because of the size of my classes and the length of the quarter, students’ writing experiments tend to define an arc of improvement in a way that is more clear than in students’ workshop pieces. So, I’m wondering if others feel this way–if others have seen this with their students, but more importantly, I wonder how teachers of creative writing capitalize on the energy they see in their students’ exercises. I have a few ideas–one would be to redesign the arc of a course, perhaps following Brian Kiteley’s methodology in the 3 AM Epiphany by integrating more tightly students’ experiments with what they eventually turn in for workshop–creating, say, an arc  in which students are guided through the process of writing a story rather than simply being taught fundamentals–focusing on the genesis and development of stories rather than end products by making the experiments the focus of the course rather than the workshop. I’m thinking about implementing this, but wonder–do others do this? Thoughts?

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