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Creative Writing

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Undergraduate Creative Writing Program Office: 609 Kent; 212-854-3774 http://arts.columbia.edu/writing/undergraduate

Director of Undergraduate Studies: Prof. Anelise Chen, Fiction, Nonfiction, 609 Kent; 212-854-3774; [email protected]

Undergraduate Executive Committee:

The Creative Writing Program in The School of the Arts combines intensive writing workshops with seminars that study literature from a writer's perspective. Students develop and hone their literary technique in workshops. The seminars (which explore literary technique and history) broaden their sense of possibility by exposing them to various ways that language has been used to make art. Related courses are drawn from departments such as English, comparative literature and society, philosophy, history, and anthropology, among others.

Students consult with faculty advisers to determine the related courses that best inform their creative work. For details on the major, see the Creative Writing website: http://arts.columbia.edu/writing/undergraduate .

Margo L. Jefferson

Phillip Lopate

  • Benjamin Marcus
  • Alan Ziegler

Associate Professors

  • Susan Bernofsky
  • Timothy Donnelly
  • Heidi Julavits
  • Dorothea Lasky
  • Victor LaValle
  • Sam Lipsyte
  • Deborah Paredez

Assistant Professors

  • Anelise Chen

Adjunct Professors

  • Halle Butler
  • Frances Cha
  • Bonnie Chau
  • Dennard Dayle
  • Alex Dimitrov
  • Joseph Fasano
  • Elizabeth Greenwood
  • Jared Jackson
  • Katrine Øgaard Jensen
  • Marie Myung-Ok Lee
  • Hilary Leichter
  • Madelaine Lucas
  • Patricia Marx
  • Molly McGhee
  • Mallika Rao
  • Nina Sharma
  • Christine Smallwood
  • John Vincler
  • Madeleine Watts
  • Samantha Zighelboim

Graduate Faculty Fellows

  • Aamir Azhar
  • Naomi Bernstein
  • Rose Demaris
  • Alex Kapsidelis
  • Kai-Lilly Karpman
  • Christian Kennedy
  • Rebecca Levey
  • James McGowan
  • Wyonia McLaurin
  • Sabrina Qiao
  • Rachel Raiola
  • Rhoni Blankenhorn
  • Sophie Dess
  • Nicholas Gambini
  • Kayla Heisler
  • Benn Jeffries
  • Hannah Kaplan
  • Emmett Lewis
  • Frances Lindemann
  • Halley McDonough
  • Kellina Moore
  • Ashley Porras
  • Cory Scarola
  • Jacob Schultz

Major in Creative Writing

The major in creative writing requires a minimum of 36 points: five workshops, four seminars, and three related courses.

Workshop Curriculum (15 points)

Students in the workshops produce original works of fiction, poetry, or nonfiction, and submit them to their classmates and instructor for a close critical analysis. Workshop critiques (which include detailed written reports and thorough line-edits) assess the mechanics and merits of the writing pieces. Individual instructor conferences distill the critiques into a direct plan of action to improve the work. Student writers develop by practicing the craft under the diligent critical attention of their peers and instructor, which guides them toward new levels of creative endeavor.

Creative writing majors select 15 points within the division in the following courses. One workshop must be in a genre other than the primary focus. For instance, a fiction writer might take four fiction workshops and one poetry workshop.

Seminar Curriculum (12 points)

The creative writing seminars form the intellectual ballast of our program.  Our seminars offer a close examination of literary techniques such as plot, point of view, tone, and voice.  They seek to inform and inspire students by exposing them to a wide variety of approaches in their chosen genre.  Our curriculum, via these seminars, actively responds not only to historical literary concerns, but to contemporary ones as well.  Extensive readings are required, along with short critical papers and/or creative exercises.  By closely analyzing diverse works of literature and participating in roundtable discussions, writers build the resources necessary to produce their own accomplished creative work. 

Creative writing majors select 12 points within the division. Any 4 seminars will fulfill the requirement, no matter the student's chosen genre concentration.  Below is a sampling of our seminars.  The list of seminars currently being offered can be found in the "Courses" section. 

Related Courses (9 points)

Drawn from various departments, these courses provide concentrated intellectual and creative stimulation, as well as exposure to ideas that enrich students' artistic instincts. Courses may be different for each student writer. Students should consult with faculty advisers to determine the related courses that best inform their creative work.

Fiction Workshops

WRIT UN1100 BEGINNING FICTION WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in fiction is designed for students with little or no experience writing literary texts in fiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually produce their own writing for the critical analysis of the class. The focus of the course is on the rudiments of voice, character, setting, point of view, plot, and lyrical use of language. Students will begin to develop the critical skills that will allow them to read like writers and understand, on a technical level, how accomplished creative writing is produced. Outside readings of a wide range of fiction supplement and inform the exercises and longer written projects

WRIT UN2100 INTERMEDIATE FICTION WORKSHOP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Intermediate workshops are for students with some experience with creative writing, and whose prior work merits admission to the class (as judged by the professor). Intermediate workshops present a higher creative standard than beginning workshops, and increased expectations to produce finished work. By the end of the semester, each student will have produced at least seventy pages of original fiction. Students are additionally expected to write extensive critiques of the work of their peers

WRIT UN3100 ADVANCED FICTION WORKSHOP. 3.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work

WRIT UN3101 SENIOR FICTION WORKSHOP,Senior Fiction Workshop. 4.00,4 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. ,

Seniors who are majors in creative writing are given priority for this course.  Enrollment is limited, and is by permission of the professor.  The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major.  Students in the senior workshops will produce and revise a new and substantial body of work.  In-class critiques and conferences with the professor will be tailored to needs of each student.

Fiction Seminars

WRIT UN2110 APPROACHES TO THE SHORT STORY. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The modern short story has gone through many transformations, and the innovations of its practitioners have often pointed the way for prose fiction as a whole. The short story has been seized upon and refreshed by diverse cultures and aesthetic affiliations, so that perhaps the only stable definition of the form remains the famous one advanced by Poe, one of its early masters, as a work of fiction that can be read in one sitting. Still, common elements of the form have emerged over the last century and this course will study them, including Point of View, Plot, Character, Setting and Theme. John Hawkes once famously called these last four elements the "enemies of the novel," and many short story writers have seen them as hindrances as well. Hawkes later recanted, though some writers would still agree with his earlier assessment, and this course will examine the successful strategies of great writers across the spectrum of short story practice, from traditional approaches to more radical solutions, keeping in mind how one period's revolution -Hemingway, for example - becomes a later era's mainstream or "commonsense" storytelling mode. By reading the work of major writers from a writer's perspective, we will examine the myriad techniques employed for what is finally a common goal: to make readers feel. Short writing exercises will help us explore the exhilarating subtleties of these elements and how the effects created by their manipulation or even outright absence power our most compelling fictions

WRIT UN3111 EXERCISES IN STYLE. 3.00 points .

WRIT UN3127 Time Moves Both Ways. 3 points .

What is time travel, really? We can use a machine or walk through a secret door. Take a pill or fall asleep and wake up in the future. But when we talk about magic machines and slipstreams and Rip Van Winkle, we are also talking about memory, chronology, and narrative. In this seminar, we will approach time travel as a way of understanding "the Fourth Dimension" in fiction. Readings will range from the speculative to the strange, to the realism of timelines, flashbacks, and shifts in perspective. Coursework will include short, bi-weekly writing assignments, a completed short story, and a time inflected adaptation. 

WRIT UN3128 How to Write Funny. 3.00 points .

"Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die." --Mel Brooks "Comedy has to be based on truth. You take the truth and you put a little curlicue at the End." --Sid Caesar "Analyzing humor is like dissecting a frog. Few people are interested and the frog dies of it." --E.B. White "What is comedy? Comedy is the art of making people laugh without making them puke." --Steve Martin "Patty Marx is the best teacher at Columbia University." --Patty Marx One of the above quotations is false. Find out which one in this humor-writing workshop, where you will read, listen to, and watch comedic samples from well-known and lesser-known humorists. How could you not have fun in a class where we watch and critique the sketches of Monty Python, Nichols and May, Mr. Show, Mitchell & Webb, Key and Peele, French and Saunders, Derrick Comedy, Beyond the Fringe, Dave Chappelle, Bob and Ray, Mel Brooks, Amy Schumer, and SNL, to name just a few? The crux of our time, though, will be devoted to writing. Students will be expected to complete weekly writing assignments; additionally, there will be in-class assignments geared to strategies for crafting surprise (the kind that results in a laugh as opposed to, say, a heart attack or divorce). Toward this end, we will study the use of irony, irreverence, hyperbole, misdirection, subtext, wordplay, formulas such as the rule of three and paraprosdokians (look it up), and repetition, and repetition

WRIT UN3125 APOCALYPSES NOW. 3.00 points .

From ancient myths of the world’s destruction to cinematic works that envision a post-apocalyptic reality, zealots of all kinds have sought an understanding of “the end of the world as we know it.”  But while apocalyptic predictions have, so far, failed to deliver a real glimpse of that end, in fiction they abound.  In this course, we will explore the narrative mechanisms by which post-apocalyptic works create projections of our own world that are believably imperiled, realistically degraded, and designed to move us to feel differently and act differently within the world we inhabit.  We will consider ways in which which authors craft immersive storylines that maintain a vital allegorical relationship to the problems of the present, and discuss recent trends in contemporary post-apocalyptic fiction.  How has the genre responded to our changing conception of peril?  Is literary apocalyptic fiction effective as a vehicle for persuasion and for showing threats in a new light?  Ultimately, we will inquire into the possibility of thinking beyond our present moment and, by doing so, altering our fate.

WRIT UN3129 Writing Nature in the Age of Climate Change. 3.00 points .

This class aims to look seriously at how we write literature about the environment, landscape, plants, animals, and the weather in an age of worsening climate change. What genres, forms, and structures can we use to creatively respond to and depict the conditions of the anthropocene? How can we use time to capture the simultaneous tedium and terror of the emergency? Can we write about the individual as well as the collective? Is it possible to write about climate change not as something that is coming, but as a phenomenon that’s already a part of our lives? In answering these questions, students will determine how best to address these issues in their own creative work. While this is a fiction class, we will take our lessons from writers working across many different formats. We will read novels and short stories, but also poetry, creative non-fiction, journalism, and theory. Through writing exercises, field journals, critical essays, and their own creative pieces, students will work through, and with, the despair and radical imaginative changes wrought on all our lives by the anthropocene

WRIT UN3130 The Punchline. 3.00 points .

Levity’s worth taking seriously. This seminar examines satire in several forms, including polemics from the late Roman Empire, stand-up from the late British Empire, and novels from the healthy and indestructible American Empire. We’ll explore satirical reactions to historic disasters, and how to apply those techniques during the next one. We’ll see satire flourish on bathroom walls and street signs (my specialty, admittedly). We’ll learn why every subculture has their own version of The Onion. Finally, we’ll apply lessons from the above to develop our own writing with creative responses, in-class exercises, and a final project. Anyone can be a satirist. Dealing with reality is the hard part

WRIT UN3131 NEW WORLDS IN WRIT & VR. 3.00 points .

Creating New Worlds in Writing and in VR is a generative, exploratory fiction seminar where we will read, analyze, and experiment with the process of building new worlds. We will ask, What are the narrative possibilities that unfold within these environments? What are the conventions of sci-fi and fantasy and how can they be used to critique and scrutinize our lives on earth, particularly, experiences of violence, environmental degradation, and racial, sexual, and gender-based oppression? We will use VR technology to help us model our own invented spaces. We will examine how to incorporate traditional literary elements, such as character and dialogue, into these dynamic environments

Nonfiction Workshops

WRIT UN1200 BEGINNING NONFICTION WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning workshop in nonfiction is designed for students with little or no experience in writing literary nonfiction. Students are introduced to a range of technical and imaginative concerns through exercises and discussions, and they eventually submit their own writing for the critical analysis of the class. Outside readings supplement and inform the exercises and longer written projects

WRIT UN2200 INTERMEDIATE NONFICTION WRKSHP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. The intermediate workshop in nonfiction is designed for students with some experience in writing literary nonfiction. Intermediate workshops present a higher creative standard than beginning workshops and an expectation that students will produce finished work. Outside readings supplement and inform the exercises and longer written projects. By the end of the semester, students will have produced thirty to forty pages of original work in at least two traditions of literary nonfiction

WRIT UN3200 ADVANCED NONFICTION WORKSHOP. 3.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Advanced Nonfiction Workshop is for students with significant narrative and/or critical experience. Students will produce original literary nonfiction for the workshop, with an added focus on developing a distinctive voice and approach

WRIT UN3201 SENIOR NONFICTION WORKSHOP. 4.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Senior Nonfiction Workshop

Nonfiction Seminars

WRIT UN2211 TRADITIONS IN NONFICTION. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The seminar provides exposure to the varieties of nonfiction with readings in its principal genres: reportage, criticism and commentary, biography and history, and memoir and the personal essay. A highly plastic medium, nonfiction allows authors to portray real events and experiences through narrative, analysis, polemic or any combination thereof. Free to invent everything but the facts, great practitioners of nonfiction are faithful to reality while writing with a voice and a vision distinctively their own. To show how nonfiction is conceived and constructed, class discussions will emphasize the relationship of content to form and style, techniques for creating plot and character under the factual constraints imposed by nonfiction, the defining characteristics of each authors voice, the authors subjectivity and presence, the role of imagination and emotion, the uses of humor, and the importance of speculation and attitude. Written assignments will be opportunities to experiment in several nonfiction genres and styles

WRIT UN3214 HYBRID NONFICTION FORMS. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. Creative nonfiction is a frustratingly vague term. How do we give it real literary meaning; examine its compositional aims and techniques, its achievements and especially its aspirations? This course will focus on works that we might call visionary - works that combine art forms, genres and styles in striking ways. Works in which image and text combine to create a third interactive language for the reader. Works still termed fiction history or journalism that join fact and fiction to interrogate their uses and implications. Certain memoirs that are deliberately anti-autobiographical, turning from personal narrative to the sounds, sight, impressions and ideas of the writers milieu. Certain essays that join personal reflection to arts and cultural criticism, drawing on research and imagination, the vernacular and the formal, even prose and poetry. The assemblage or collage that, created from notebook entries, lists, quotations, footnotes and indexes achieves its coherence through fragments and associations, found and original texts

WRIT UN3224 Writing the Sixties. 3.00 points .

In this seminar, we will target nonfiction from the 1960s—the decade that saw an avalanche of new forms, new awareness, new freedoms, and new conflicts, as well as the beginnings of social movements and cultural preoccupations that continue to frame our lives, as writers and as citizens, in the 21st century: civil rights, feminism, environmentalism, LGBTQ rights, pop culture, and the rise of mass media. We will look back more than a half century to examine the development of modern criticism, memoir, reporting, and profile-writing, and the ways they entwine. Along the way, we will ask questions about these classic nonfiction forms: How do reporters, essayists, and critics make sense of the new? How do they create work as rich as the best novels and short stories? Can criticism rise to the level of art? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? As we go, we will witness the unfolding of arguably the most transitional decade in American history—with such events as the Kennedy assassination, the Watts Riots, the Human Be In, and the Vietnam War, along with the rise of Pop art, rock ‘n’ roll, and a new era of moviemaking—as it was documented in real time by writers at The New Yorker, New Journalists at Esquire, and critics at Partisan Review and Harper’s, among other publications. Some writers we will consider: James Baldwin, Joan Didion, Susan Sontag, Rachel Carson, Dwight Macdonald, Gay Talese, Tom Wolfe, Truman Capote, Pauline Kael, Nik Cohn, Joseph Mitchell, Lillian Ross, Gore Vidal, Norman Mailer, Thomas Pynchon, John Updike, Michael Herr, Martha Gellhorn, John McPhee, and Betty Friedan. We will be joined by guest speakers

WRIT UN3225 LIFE STORIES. 3.00 points .

In this seminar, we will target nonfiction that tells stories about lives: profiles, memoirs, and biographies. We will examine how the practice of this kind of nonfiction, and ideas about it, have evolved over the past 150 years. Along the way, we will ask questions about these nonfiction forms: How do reporters, memoirists, biographers, and critics make sense of their subjects? How do they create work as rich as the best novels and short stories? Can criticism explicate the inner life of a human subject? What roles do voice, point-of-view, character, dialogue, and plot—the traditional elements of fiction—play? Along the way, we’ll engage in issues of identity and race, memory and self, real persons and invented characters and we’ll get glimpses of such key publications as The Atlantic Monthly, The New Yorker, Esquire, Harper’s, and The New York Review of Books. Some writers we will consider: Frederick Douglass, Louisa May Alcott, Walt Whitman, Henry Adams, Joseph Mitchell, Lillian Ross, James Agee, John Hersey, Edmund Wilson, Gore Vidal, Gay Talese, James Baldwin, Vladimir Nabokov, Janet Malcolm, Robert Caro, Joyce Carol Oates, Toni Morrison, Joan Didion, and Henry Louis Gates Jr. The course regularly welcomes guest speakers

WRIT UN3226 NONFICTION-ISH. 3.00 points .

This cross-genre craft seminar aims to uncover daring and unusual approaches to literature informed by nonfiction (and nonfiction-adjacent) practices. In this course we will closely read and analyze a diverse set of works, including Svetlana Alexievich’s oral history of women and war, Lydia Davis’s “found” microfictions, Theresa Hak Cha’s genre-exploding “auto-enthnography,” Alejandro Zambra’s unabashedly literary narratives, Sigrid Nunez’s memoir “of” Susan Sontag, Emmanuel Carrére’s “nonfiction novel,” John Keene’s bold counternarratives, W. G. Sebald’s saturnine essay-portraits, Saidiya Hartman’s melding of history and literary imagination, Annie Ernaux’s collective autobiography, Sheila Heti’s alphabetized diary, Ben Mauk’s oral history about Xinjiang detention camps, and Edward St. Aubyn’s autobiographical novel about the British aristocracy and childhood trauma, among other texts. We will also examine Sharon Mashihi’s one-woman autofiction podcasts about Iranian Jewish American family. What we learn in this course we will apply to our own work, which will consist of two creative writing responses and a creative final project. Students will also learn to keep a daily writing journal

WRIT UN3227 TRUE CRIME. 3.00 points .

The explosion of true crime programming in the past few years—from podcasts to documentaries to online communities sleuthing cold cases—would make you think that poring over real-life atrocities is a recent phenomenon. But in fact, our obsession with death, destruction, duplicity, and antisocial behavior is as old as humanity itself. In this class, we will trace the origins of true crime in nonfiction literature in the United States from Puritanism to the present. We will see how the genre has developed and how its preoccupations reflect the zeitgeist. We will consider how race, gender, class, and other identities shape narratives around victims and victors, guilt and innocence. We will think broadly about what, exactly, crime is, not limiting ourselves to the obvious. We will also look at corruption, fraud, systemic discrimination. Once (and sometimes still) considered a trash genre, we will read elevated works that turn that notion on its head. We will host guest speakers from the multifaceted perspectives true crime writing touches: victims, law enforcement, journalists, and convicts themselves. Since recent true crime reporting is such an expansive field that we can only begin to scratch the surface of in this class, students will present and analyze true crime artifacts to the class. The centerpiece of the semester will be students reporting and writing on a real crime themselves. It is all too easy to critique the work of others at a comfortable distance when one has not entered the thorny fray oneself. Students will craft their own true crime writing project, interrogate their own motivations and interest, and present their findings to the class. The subject matter of this class is disturbing in nature, and we will be looking at all manner of crimes from violent to white collar to sexual to social. Consider this a blanket trigger warning for each and every class. We will cultivate a safe space to think and feel through the crimes we examine and share ways to take care of ourselves. I am here as a resource and to help students navigate university resources as appropriate

Poetry Workshops

WRIT UN1300 BEGINNING POETRY WORKSHOP. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. The beginning poetry workshop is designed for students who have a serious interest in poetry writing but who lack a significant background in the rudiments of the craft and/or have had little or no previous poetry workshop experience. Students will be assigned weekly writing exercises emphasizing such aspects of verse composition as the poetic line, the image, rhyme and other sound devices, verse forms, repetition, tone, irony, and others. Students will also read an extensive variety of exemplary work in verse, submit brief critical analyses of poems, and critique each others original work

WRIT UN2300 INTERMEDIATE POETRY WORKSHOP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Intermediate poetry workshops are for students with some prior instruction in the rudiments of poetry writing and prior poetry workshop experience. Intermediate poetry workshops pose greater challenges to students and maintain higher critical standards than beginning workshops. Students will be instructed in more complex aspects of the craft, including the poetic persona, the prose poem, the collage, open-field composition, and others. They will also be assigned more challenging verse forms such as the villanelle and also non-European verse forms such as the pantoum. They will read extensively, submit brief critical analyses, and put their instruction into regular practice by composing original work that will be critiqued by their peers. By the end of the semester each student will have assembled a substantial portfolio of finished work

WRIT UN3300 ADVANCED POETRY WORKSHOP. 3.00 points .

Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. This poetry workshop is reserved for accomplished poetry writers and maintains the highest level of creative and critical expectations. Students will be encouraged to develop their strengths and to cultivate a distinctive poetic vision and voice but must also demonstrate a willingness to broaden their range and experiment with new forms and notions of the poem. A portfolio of poetry will be written and revised with the critical input of the instructor and the workshop

WRIT UN3301 SENIOR POETRY WORKSHOP. 4.00 points .

Prerequisites: The department's permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Prerequisites: The departments permission required through writing sample. Please go to 609 Kent for submission schedule and registration guidelines or see http://www.arts.columbia.edu/writing/undergraduate. Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student

Poetry Seminars

WRIT UN2311 TRADITIONS IN POETRY. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. “For those, in dark, who find their own way by the light of others’ eyes.” —Lucie Brock-Broido The avenues of poetic tradition open to today’s poets are more numerous, more invigorating, and perhaps even more baffling than ever before. The routes we chose for our writing lead to destinations of our own making, and we take them at our own risk—necessarily so, as the pursuit of poetry asks each of us to light a pilgrim’s candle and follow it into the moors and lowlands, through wastes and prairies, crossing waters as we go. Go after the marshlights, the will-o-wisps who call to you in a voice you’ve longed for your whole life. These routes have been forged by those who came before you, but for that reason, none of them can hope to keep you on it entirely. You must take your steps away, brick by brick, heading confidently into the hinterland of your own distinct achievement. For the purpose of this class, we will walk these roads together, examining the works of classic and contemporary exemplars of the craft. By companioning poets from a large spread of time, we will be able to more diversely immerse ourselves in what a poetic “tradition” truly means. We will read works by Edmund Spencer, Dante, and Goethe, the Romantics—especially Keats—Dickinson, who is mother to us all, Modernists, and the great sweep of contemporary poetry that is too vast to individuate. While it is the imperative of this class to equip you with the knowledge necessary to advance in the field of poetry, this task shall be done in a Columbian manner. Consider this class an initiation, of sorts, into the vocabulary which distinguishes the writers who work under our flag, each of us bound by this language that must be passed on, and therefore changed, to you who inherit it. As I have learned the words, I have changed them, and I give them now to you so that you may pave your own way into your own ways, inspired with the first breath that brought you here, which may excite and—hopefully—frighten you. You must be troubled. This is essential

WRIT UN3315 POETIC METER AND FORM. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. Prerequisites: No prerequisites. Department approval NOT required. This course will investigate the uses of rhythmic order and disorder in English-language poetry, with a particular emphasis on formal elements in free verse. Through a close analysis of poems, well examine the possibilities of qualitative meter, and students will write original creative work within (and in response to) various formal traditions. Analytical texts and poetic manifestos will accompany our reading of exemplary poems. Each week, well study interesting examples of metrical writing, and Ill ask you to write in reponse to those examples. Our topics will include stress meter, syllable-stress meter, double and triple meter, rising and falling rhythms, promotion, demotion, inversion, elision, and foot scansion. Our study will include a greate range of pre-modern and modern writers, from Keats to W.D. Snodgrass, Shakespeare to Denise Levertov, Blake to James Dickey, Whitman to Louise Gluck etc. As writers, well always be thinking about how the formal choices of a poem are appropriate or inappropriate for the poems content. Well also read prose by poets describing their metrical craft

WRIT UN3320 Provocations in Twentieth-Century Poetics. 3.00 points .

This is a class about poetry and revolt. In a century of wars, unchecked proliferation of industrial and market systems in the continued legacy of settler-colonialism and the consolidation of state powers, does language still conduct with revolutionary possibilities? In this class, we will read manifestos, philosophical treatises, political tracts, literary polemics, poems, scores, and so on, as we consider poetry’s long-standing commitment to visionary practices that seek to liberate consciousness from the many and various structures of oppression. The term “poetry” is not limited to itself but becomes, in our readings, an open invitation to all adjacent experiments with and in the language arts. As such, we will look at the emergence of the international avant-gardes as well as a few student movements that populate and complicate the explorations of radical politics in the twentieth-century. In addition to our readings, students will be asked to produce creative responses for class discussion. Final projects will be provocations of their own design. Required Texts: Friedrich Nietzsche: On the Genealogy of Morality Karl Marx and Friedrich Engels: The Communist Manifesto Aimé Césaire: Notebook of A Return to the Native Land Hilda Hilst: The Obscene Madame D Marguerite Duras: Hiroshima Mon Amour Guy Debord: Society of the Spectacle

WRIT UN3316 WEST TO EAST. 3.00 points .

This course examines two central movements in post World War II American poetry, The San Francisco Renaissance and The New York School, and uncovers their aesthetic impacts on language and cultural production, as well as the relationship to the city as a defining agent in the poetic imagination

WRIT UN3319 POETICS OF PLACE:AMERICAN LANDSCAPES, VO. 3.00 points .

When the American Poet Larry Levis left his home in California’s San Joaquin Valley, “all [he] needed to do,” he wrote, “was to describe [home] exactly as it had been. That [he] could not do, for that [is] impossible. And that is where poetry might begin. This course will consider how place shapes a poet’s self and work. Together we will consider a diverse range of poets and the places they write out of and into: from Philip Levines Detroit to Whitmans Manhattan, from Robert Lowells New England to James Wrights Ohio, from the Kentucky of Joe Bolton and Crystal Wilkinson to the California of Robin Blaser and Allen Ginsberg, from the Ozarks of Frank Stanford to the New Jersey of Amiri Baraka, from the Pacific Northwest of Robinson Jeffers to the Alaska of Mary Tallmountain. We will consider the debate between T. S. Eliot and William Carlos Williams about global versus local approaches to the poem, and together we will ask complex questions: Why is it, for example, that Jack Gilbert finds his Pittsburgh when he leaves it, while Gerald Stern finds his Pittsburgh when he keeps it close? Does something sing because you leave it or because you hold it close? Do you come to a place to find where you belong in it? Do you leave a place to find where it belongs in you? As Carolyn Kizer writes in Running Away from Home, Its never over, old church of our claustrophobia! And of course home can give us the first freedom of wanting to leave, the first prison and freedom of want. In our reflections on each “place,” we will reflect on its varied histories, its native peoples, and its inheritance of violent conquest. Our syllabus will consist, in addition to poems, of manifestos and prose writings about place, from Richard Hugos Triggering Town to Sandra Beasleys Prioritizing Place. You will be encouraged to think about everything from dialect to economics, from collectivism to individualism in poems that root themselves in particular places, and you will be encouraged to consider how those poems “transcend” their origins. You will write response papers, analytical papers, and creative pieces, and you will complete a final project that reflects on your own relationship to place

WRIT UN3321 Ecopoetics. 3.00 points .

“There are things / We live among ‘and to see them / Is to know ourselves.’” George Oppen, “Of Being Numerous” In this class we will read poetry like writers that inhabit an imperiled planet, understanding our poems as being in direct conversation both with the environment as well as writers past and present with similar concerns and techniques. Given the imminent ecological crises we are facing, the poems we read will center themes of place, ecology, interspecies dependence, the role of humans in the destruction of the planet, and the “necropastoral” (to borrow a term from Joyelle McSweeney), among others. We will read works by poets and writers such as (but not limited to) John Ashbery, Harryette Mullen, Asiya Wadud, Wendy Xu, Ross Gay, Simone Kearney, Kim Hyesoon, Marcella Durand, Arthur Rimbaud, Geoffrey G. O’Brien, Muriel Rukeyser, George Oppen, Terrance Hayes, Juliana Spahr, and W.S. Merwin—reading several full collections as well as individual poems and essays by scholars in the field. Through close readings, in-class exercises, discussions, and creative/critical writings, we will invest in and investigate facets of the dynamic lyric that is aware of its environs (sound, image, line), while also exploring traditional poetic forms like the Haibun, ode, prose poem, and elegy. Additionally, we will seek inspiration in outside mediums such as film, visual art, and music, as well as, of course, the natural world. As a class, we will explore the highly individual nature of writing processes and talk about building writing practices that are generative as well as sustainable

Cross Genre Seminars

WRIT UN3011 TRANSLATION SEMINAR. 3.00 points .

Prerequisites: No prerequisites. Students do not need to demonstrate bilingual ability to take this course. Department approval NOT needed. Corequisites: This course is open to undergraduate & graduate students. Prerequisites: No prerequisites. Students do not need to demonstrate bilingual ability to take this course. Department approval NOT needed. Corequisites: This course is open to undergraduate & graduate students. This course will explore broad-ranging questions pertaining to the historical, cultural, and political significance of translation while analyzing the various challenges confronted by the arts foremost practitioners. We will read and discuss texts by writers and theorists such as Benjamin, Derrida, Borges, Steiner, Dryden, Nabokov, Schleiermacher, Goethe, Spivak, Jakobson, and Venuti. As readers and practitioners of translation, we will train our ears to detect the visibility of invisibility of the translators craft; through short writing experiments, we will discover how to identify and capture the nuances that traverse literary styles, historical periods and cultures. The course will culminate in a final project that may either be a critical analysis or an original translation accompanied by a translators note of introduction

WRIT UN3010 SHORT PROSE FORMS. 3.00 points .

Note: This seminar has a workshop component.

Prerequisites: No Prerequisites. Department approval NOT required. Prerequisites: No Prerequisites. Department approval NOT required. Flash fiction, micro-naratives and the short-short have become exciting areas of exploration for contemporary writers. This course will examine how these literary fragments have captured the imagination of writers internationally and at home. The larger question the class seeks to answer, both on a collective and individual level, is: How can we craft a working definition of those elements endemic to short prose as a genre? Does the form exceed classification? What aspects of both crafts -- prose and poetry -- does this genre inhabit, expand upon, reinvent, reject, subvert? Short Prose Forms incorporates aspects of both literary seminar and the creative workshop. Class-time will be devoted alternatingly to examinations of published pieces and modified discussions of student work. Our reading chart the course from the genres emergence, examining the prose poem in 19th-century France through the works of Mallarme, Baudelaire, Max Jacob and Rimbaud. Well examine aspects of poetry -- the attention to the lyrical, the use of compression, musicality, sonic resonances and wit -- and attempt to understand how these writers took, as Russell Edson describes, experience [and] made it into an artifact with the logic of a dream. The class will conclude with a portfolio at the end of the term, in which students will submit a compendium of final drafts of three of four short prose pieces, samples of several exercises, selescted responses to readings, and a short personal manifesto on the short prose form

WRIT UN3016 WALKING. 3.00 points .

Prerequisites: No prerequisites. Department approval NOT required. As Walter Benjamin notes in The Arcades Project: Basic to flanerie, among other things, is the idea that the fruits of idleness are more precious than the fruits of labor. The flaneur, as is well known, makes studies. This course will encourage you to make studies -- poems, essays, stories, or multimedia pieces -- based on your walks. We will read depictions of walking from multiple disciplines, including philosophy, poetry, history, religion, visual art, and urban planning. Occasionally we will walk together. An important point of the course is to develop mobile forms of writing. How can writing emerge from, and document, a walks encounters, observations, and reflections? What advantages does mobility bring to our work? Each week you will write a short piece (1-3 pages) that engages your walks while responding to close readings of the assigned material

WRIT UN3027 Science Fiction Poetics. 3.00 points .

"If you wish to make an apple pie from scratch, you must first invent the universe." —Carl Sagan "Tomorrow belongs to those who can hear it coming." —David Bowie "I grew up reading science fiction." —Jeff Bezos Science fiction is the literature of the human species encountering change. It is the literature of the Other, of philosophy and ideas, of innovation and experimentation. This seminar will examine how poets and writers from around the world have imagined alternate realities and futures, linguistic inventions, and new poetic expressions inspired by science. We will discuss what these imaginings might tell us about the cultural and political presents in which they were conceived, as well as what the extreme conditions offered by science fiction might teach us about writing into the unknown. Topics will include astroecology and apocalyptic ecopoetics, extraterrestrial aphrodites, monstrous bodyscapes, space exploration and colonization, future creoles and the evolution of language, bio-poetics and crystalline formations, immortal texts, and global futurisms—from the European Futurists of the early 20th century to Afrofuturism, as well as recent figurations such as Gulf Futurism and Arabfuturism. Course reading will include work by Aase Berg, Etel Adnan, Chen Qiufan, Johannes Heldén, Filippo Tommaso Marinetti, Velimir Khlebnikov, Hao Jingfang, Eve L. Ewing, Sun Ra, Ursula K. Le Guin, Italo Calvino, Anaïs Duplan, Ursula Andkjær Olsen, Dempow Torishima, Rokeya Sakhawat Hossain, Octavia E. Butler, Tracy K. Smith, Cathy Park Hong, and others

WRIT UN3028 LOST & FOUND IN THE ANTHROPOCENE. 3.00 points .

We are living through a time of unprecedented change. This change is characterized by “solastalgia,” a word that describes a response to environmental loss in our daily lives which encompasses both pain and solace. In this course we will think seriously about the imperative to notice, pay attention, and remember that which is changing or disappearing. How might we work through and with loss, and how might we harness attention and awareness to envision different futures and new creative approaches? Students will consider the ways writers and other artists are working with losing and finding in a posthuman world across different forms, genres, and cultures. Will take an imaginative and interdisciplinary attitude to these questions, studying literary work alongside visual art, anthropology, psychology, literary theory, and science. We will consider extinction, elegy, landscape, geological temporalities, fragments, trash, and ghosts. In his call to arms, The Great Derangement, author Amitav Ghosh writes that climate change resists so many of the literary and artistic forms we currently possess. As such, he calls for an embrace of hybrid genres. Through reflections, critical essays, and their own creative work, students will think seriously about hybridity and the imaginative challenge of being alive in the world today

WRIT UN3031 INTRO TO AUDIO STORYTELLING. 3.00 points .

It’s one thing to tell a story with the pen. It’s another to transfix your audience with your voice. In this class, we will explore principles of audio narrative. Oral storytellers arguably understand suspense, humor and showmanship in ways only a live performer can. Even if you are a diehard writer of visually-consumed text, you may find, once the class is over, that you have learned techniques that can translate across borders: your written work may benefit. Alternatively, you may discover that audio is the medium for you. We will consider sound from the ground up – from folkloric oral traditions, to raw, naturally captured sound stories, to seemingly straightforward radio news segments, to highly polished narrative podcasts. While this class involves a fair amount of reading, much of what we will be studying and discussing is audio material. Some is as lo-fi as can be, and some is operatic in scope, benefitting from large production budgets and teams of artists. At the same time that we study these works, each student will also complete small audio production exercises of their own; as a final project, students will be expected to produce a trailer, or “sizzle” for a hypothetical multi-episode show. This class is meant for beginners to the audio tradition. There are some tech requirements: a recording device (most phones will suffice), workable set of headphones, and computer. You’ll also need to download the free audio editing software Audacity

WRIT UN3032 IT'S COMPLICATED: WRITING AS A RELATIONSHIP. 3.00 points .

In this cross-genre class, we’ll explore writing process as relationship, one that reflects how we relate to both ourselves and the world. How do we bring the public back to the private space of the writing desk? How do our social, cultural, and political realities and histories influence our writing process? How is our relationship with our audience informed by our relationship with language? How can we be at play in structures of grammar and narrative without assimilating to what seems otherwise unrelatable? Seeing the sentence as a set of relationships, one tied to our human relations, we will write and revise with the hope of fostering an enduring relationship with the page. Coursework will include in-class writing exercises and 3 short (3-6 page) pieces

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MFA Program

columbia university mfa creative writing faculty

Poetry: Timothy Donnelly, Dorothea Lasky, Shane McCrae, Deborah Paredez, Lynn Xu

Fiction: Paul Beatty, Anelise Chen, Nicholas Christopher, Rivka Galchen, Heidi Julavits, Binnie Kirshenbaum, Victor LaValle, Sam Lipsyte, Ben Marcus, Orhan Pamuk, Matthew Salesses, Gary Shteyngart, Alan Ziegler

Nonfiction: Hilton Als, Jaquira Díaz, Lis Harris, Leslie Jamison, Margo Jefferson, Wendy S. Walters

Translation: Susan Bernofsky

Recent Adjunct Faculty: Mark Bibbins, CAConrad, Cynthia Cruz, Mark Doten, Joshua Furst, Alan Gilbert, Xiaolu Guo, Madhu Kaza, John Keene, Nicole Krauss, Gideon Lewis-Kraus, Lynn Melnick, Daphne Merkin, Ben Metcalf, Erroll McDonald, Jen Percy, Rowan Ricardo Phillips, Alice Quinn, Camille Rankine, Leanne Shapton, Benjamin Taylor, Jia Tolentino, Lara Vapnyar, Natasha Wimmer, Brenda Wineapple, Phillip B. Williams, James Wood, Monica Youn, Jenny Zhang

The program offers partial funding, including administrative and teaching fellowships, research assistantships, scholarships, and internships.

Columbia Journal

The program includes a joint course of study in literary translation known as Literary Translation at Columbia (LTAC) .

There are events, readings, and conversations throughout the year, including the Creative Writing Lectures, Nonfiction Dialogues, Life After the MFA panels, student reading series, and the Columbia Selects MFA Alumni Reading Series at KGB Bar.

Other programs and outlets include:

Columbia Artist/Teachers (CA/T) provides MFA teachers with training and teaching opportunities on and off campus, with students of all ages and levels.

Our Word , a student group promoting diversity within the Writing Program and in the broader literary community.

Columbia Journal , a student-run literary magazine.

Elisa Albert, Mia Alvar, Jonathan Ames, Daphne Palasi Andreades, G'Ra Asim, Hannah Assadi, Jesse Ball, Mary Jo Bang, Mandy Berman, Lucie Brock-Broido, Gabrielle Calvocoressi, Jessamine Chan, Tina Chang, Melissa Clark, Emma Cline, Henri Cole, Kiran Desai, Rebecca Donner, Stephen Dubner, Peter Farrelly, Lexi Freiman, Matt Gallagher, Philip Gourevitch, Eliza Griswold, Marie Howe, Katrine Øgaard Jensen, Mat Johnson, Owen King, Jordan Kisner, Alexandra Kleeman, E.J. Koh, Rachel Kushner, Catherine Lacey, Stephen McCauley, Campbell McGrath, Lynn Melnick, Dinaw Mengestu, Susan Minot, Rick Moody, Diana Khoi Nguyen, Sigrid Nunez, Julie Otsuka, Gregory Pardlo, Martin Pousson, Richard Price, Claudia Rankine, Camille Rankine, Karen Russell, Vijay Seshadri, Brenda Shaughnessy, Mona Simpson, Emily Skillings, Sarah Smarsh, Tracy K. Smith, Lynn Steger Strong, Wells Tower, Mai Der Vang, Adam Wilson, Brian Young

Literary Arts

Opportunities for study and practice of writing and literature abound at Columbia. 

writing

Aspiring writers may major in creative writing as undergraduates or pursue an MFA in Writing in fiction, nonfiction, or poetry at the School of the Arts. The study of English and Comparative Literature flourishes at both the undergraduate and graduate levels. Teachers College features a specialization in English education. The Institute for Comparative Literature and Society promotes a global perspective in the study of literature, culture, and their social context at both the undergraduate and graduate levels.

In addition, literary events on campus are accessible to all. The Creative Writing Lecture Series at the School of the Arts brings a diverse and brilliant roster of writers to Columbia for original talks on literary craft. Nonfiction Dialogues is a student-initiated series featuring interviews with distinguished nonfiction writers about their work and careers.

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A graduate admissions representative is ready to answer your questions about this program. Email   David Marts today.

Creative Writing (MFA)

Priority scholarship deadline: february 15, time to degree:  2 years across genres, part-time options are available.

Our Creative Writing MFA is a single, seamless program that allows you to take classes in as many genres as you like (poetry, fiction, or nonfiction). This MFA supports hybrid writing that combines elements of more than one genre.

We're interested in the rich literary history by which the genres are traditionally constituted, and in the ways in which such definitions may fall away.

Writing of all kinds happens here in a supportive, exceptionally creative community.

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As a full- or part-time student in the Creative Writing MFA program at Columbia, you'll be a member of a vibrant community of writers of fiction, nonfiction, poetry, and hybrid work across genres. Innovative and exploratory approaches are encouraged, as are more traditional approaches to prose and/or poetic forms. With an unusually large, well-published, aesthetically diverse faculty, you'll be stimulated and nurtured as a writer in one of the most exciting cities in the country for emerging literary artists.

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In the Classroom

As a student in Columbia College Chicago's Creative Writing MFA program, you'll have close working relationships with our award-winning faculty members in an intimate community of writers. You'll find a home at Columbia if you're looking for a program that emphasizes discipline and process, craft and critical thinking, and cross-genre possibilities. Our faculty members will support you in your growth as a writer. As role models and authors, they'll encourage and inspire you to experiment, take risks, and engage with other writers and artists

Core Graduate Faculty in Creative Writing:

  • CM Burroughs is the author of  The Vital System  (Tupelo Press, 2012) and  Master Suffering  (Tupelo Press, 2021,) which was longlisted for the National Book Award and a finalist for the Lambda Literary and L.A. Times Book Awards. Burroughs has been awarded fellowships and grants from Yaddo, the MacDowell Colony, Djerassi Foundation, and Cave Canem Foundation. Burroughs' poetry has appeared in  Poetry, Callaloo, jubilat, Ploughshares, Best American Experimental Writing , and  The Golden Shovel Anthology: Poems Honoring Gwendolyn Brooks .
  • Don De Grazia wrote the novel American Skin  (Scribner) and other works which have appeared in TriQuarterly, The Chicago Tribune, The Outlaw Bible of American Literature, Rumpus , and elsewhere. He is a screenwriter in the WGA (East) and his rock opera, co-written with Irvine Welsh, debuted at the 2017 Edinburgh Fringe Festival, where it was short-listed for Best New Musical.
  • Lisa Fishman's seventh poetry collection is Mad World, Mad Kings, Mad Composition (Wave Books 2020). Earlier books include 24 Pages and other poems, F L O W E R C A R T , and The Happiness Experiment , on Wave and Ahsahta Press. Her poetry, essays, and hybrid works appear regularly in journals, and she is anthologized in Best American Experimental Writing, American Poetry: The Next Generation , and elsewhere.
  • Garnett Kilberg Cohen has published three books of short stories. Her prose has appeared in many places, including The Gettysburg Review, Witness, American Fiction, TriQuarterly , and The New Yorker (2019) online. Her nonfiction has twice been awarded Notable Essay citations from Best American Essays , and several of her stories have won awards, such as the Crazyhorse Fiction Prize and the Lawrence Foundation Prize. Find more information here .
  • Aviya Kushner is the author of The Grammar of God (Spiegel & Grau); a National Jewish Book Award Finalist, Sami Rohr Prize Finalist, and one of Publishers' Weekly's Top 10 Religion Stories of the Year; the chapbook Eve and All the Wrong Men (Dancing Girl Press); and the poetry collection  Wolf Lamb Bomb (Orison Books). She is The Forward's language columnist and a Howard Foundation Fellow in nonfiction.
  • Alexis Pride's novels include All I Want For Christmas , (co-authored, Level 4 Press, 2021), Where the River Ends (Tanksley-Simpson Publishing), and Sex Kills with short fiction published in TriQuarterly, F Magazine, and elsewhere. Scholarly publications include "Teaching Beyond the Text: What To Do If Johnny Can't Read So Good?" (The ICERI Proceedings, Seville, Spain). See a sample of Pride's work here .  
  • Joe Meno  is the author of seven novels and two short story collections, including Marvel and a Wonder , Hairstyles of the Damned , and The Boy Detective Fails . He is a winner of the Nelson Algren Award, the Great Lakes Book Award, and was a finalist for the Story Prize. His recent nonfiction book, Between Everything and Nothing , follows two asylum seekers in the Trump era.

Opportunities for Graduate Students

New MFA students may be admitted on a competitive basis to the Graduate Student Instructor program, which provides training in the teaching of undergraduate composition and is followed by the opportunity to teach Writing and Rhetoric upon approval. Assistantships are also available to new graduate students on a competitive basis. Students holding assistantships may work as teaching assistants, as editors on department publications, as events coordinators, or as faculty research assistants, among other possibilities.

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With a Creative Writing MFA, Columbia alumni go on to find employment in teaching, editing, arts administration, public relations, nonprofit agencies, literary foundations, advertising, and copywriting. Many have started successful journals and independent presses while others work for national publications or continue their studies in doctoral programs. A stunning number of our alumni have had their books and chapbooks published by both major publishing houses and on highly regarded independent presses. They have won contests and awards judged by renown writers nationally and internationally. Their voices are part of the contemporary literary landscape.

Here are just a few of our alumni who have gone on to have their work published, often by winning prestigious contests:

  • Hafizah Geter (MFA '10)   poetry collection  Un-American , was published on Wesleyan University Press.
  • Jan-Henry Gray (MFA '16)  is the author of  Documents , selected by D. A. Powell as the winner of the 2018 A. Poulin, Jr. Poetry Prize and published by BOA Editions.  
  • Julia Fine (MFA ’16)   is the author of  The Upstairs House  and  What Should Be Wild , which was shortlisted for the Bram Stoker Superior First Novel Award and the Chicago Review of Books Award.
  • Megan Stielstra (MFA ’00)   is the author of three collections:  Everyone Remain Calm ,  Once I Was Cool , and  The Wrong Way to Save Your Life , the 2017 Nonfiction Book of the Year from the Chicago Review of Books. Her work appears in the Best American Essays, New York Times, The Believer, Poets & Writers, Tin House, Longreads, Guernica, The Rumpus, and elsewhere.  
  • Naomi Washer (MFA ’15)  is the author of a novel, Subjects We Left Out (Veliz Books) and several chapbooks including  Trainsongs  (Greying Ghost Press), Phantoms (dancing girl press), and American Girl Doll (Ursus Americanus Press). She is also the translator of Sebastián Jiménez Galindo’s Experimental Gardening Manual ( Toad Press).  
  • Abigail Zimmer (MFA ’14) is the editor of Lettered Streets Press and the author of two chapbooks as well as the full-length poetry collection, G irls Their Tongues , published by Orange Monkey Press.
  • Amy Lipman (MFA ’14) poetry collection, Getting Dressed , was published by Spuyten Duyvil Press, and her chapbook, Cardinal Directions , was a runner-up for the Ghost Proposal Chapbook prize and published on Ghost Proposal .
  • Andrew Ruzkowski's (MFA '13) poetry collections are A Shape & Sound , Do You Know This Type of Tree , and Things That Keep Us From Drifting . After his MFA, he completed a Ph.D. at University of Wisconsin-Milwaukee. A generous scholarship in his memory has been established for students with a primary interest in poetry at Columbia College Chicago; for information about the Andrew Ruzkowski Memorial Scholarship, see here .
  • Brandi Homan (MFA '07) is the author of Bobcat Country and Hard Reds , published by Shearsman Books, and is co-founder of the feminist press, Switchback Books.
  • Brittany Tomaselli (MFA '15) won the 2019 Omnidawn Chapbook Contest (poetry) judged by Carl Philips, resulting in the publication of Since Sunday on Omnidawn .
  • Jeff Hoffmann (MFA '19) first novel, Other People's Children , published by Simon & Schuster.
  • Leif Haven (MFA '12) won the 1913 Prize judged by Claudia Rankine, resulting in the publication of his poetry collection, Arcane Rituals From the Future , on 1913 Press.
  • Kate Wisel (MFA ’17) is the author of   Driving in Cars  With  Homeless Men , winner of the 2019 Drue Heinz Literature Prize, selected by Min   Jin   Lee. She is also a part-time faculty   at Columbia.  
  • Nathan Breitling's (MFA '11) poems have appeared in journals such as Court Green and The Columbia Poetry Review. A generous award in his memory has been established for MFA students with a primary interest in poetry at Columbia College Chicago; for more information about the Nathan Breitling Poetry Fellowship, see here .
  • Sahar Mustafah (MFA '14) first novel was published by W. W. Norton; The Beauty of Your Face has been reviewed in the New York Times and elsewhere.
  • Tyler Flynn Dorholt (MFA '09) co-edits and publishes Tammy and his chapbook, Modern Camping , was selected by John Yau for the Poetry Society of America chapbook prize. His first book, American Flowers , was published by Dock Street Press.
  • Toya Wolfe's (MFA '15)  first novel  Last Summer On State Street was published by William Morrow and recently won the $25,000 Pattis Family Foundation Chicago Book Award . The novel has received global acclaim.  
  • Books, chapbooks, zines, journals, and presses have also been published and established by many other prolific MFA alumni, including: Becca Klaver, Chris Terry, Erik Fassnacht, Geling Yan, Geoff Hyatt, Holly Amos, Jessie Ann Foley, Joshua Young, Kelly Forsythe, Ryan Spooner, S. Marie Clay, Steven Teref, Toni Nealie, and more.

Chicago: A City of Writers

chicago downtown nonfiction

Living and studying in Chicago means you’ll have access to one of the richest literary scenes in the country. Readings that are free and open to the public are hosted across the city almost every night of the week; many include open mic opportunities for newcomers. Whether you incline toward story-telling venues, poetry readings, slams, avant-garde literary theater, lectures, spoken word performances or fiction readings, Chicago provides a welcoming environment for both new and established writers. Our downtown location in the South Loop sets the stage for surprising, challenging, and inspiring conversations among artists, educators, activists, scholars, and performers––whether in museums, galleries, bars, on the subway or in the stree t.   You’ll be provided with a free CTA pass while you’re in the MFA program, as well as free membership at the Chicago Institute of Art and the Museum of Contemporary Art,  so you can explore Chic ago’s wealth of creativity   to your heart’s content

The Efroymson Creative Writing Reading Series

The Efroymson Creative Writing Reading Series

The Efroymson Creative Writing Reading Series at Columbia College Chicago has a long tradition of featuring nationally and internationally renowned writers. Hosted by the Department of English and Creative Writing, the series is committed to presenting critically engaged contemporary authors and embracing diverse voices. Every author who reads in our series also meets in an intimate, informal setting with our MFA students and a faculty host either after or before the reading. And our own MFA students “open” for the featured writers by giving a short reading of their own.

Fridays at Five Graduate Students Reading Series

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Catherine Barnett by Jacqueline Mia Foster

 Catherine Barnett  is the author of three collections of poems:  Human Hours,  which was the   winner of the 2018  Believer  Book Award in Poetry, a  New York Times  “Best Poetry of 2018” selection, and a finalist for the T.S. Eliot Four Quartets Prize;  The Game of Boxes,  which received the   James Laughlin Award from the Academy of American Poets; and  Into Perfect Spheres Such Holes Are Pierced,  winner of the Beatrice Hawley Award. Her other honors include a Whiting Award, a Guggenheim Fellowship, and a 2022 Award in Literature from the American Academy of Arts and Letters. She works as an independent editor and has taught at Barnard, Hunter College, and Princeton University. She is currently a Clinical Professor in the NYU Creative Writing Program, where she teaches both graduate and undergraduate students. Her fourth collection,  Solutions for the Problem of Bodies in Space , is due out from Graywolf in spring 2024.

Jeffrey Eugenides by Marco Anelli

Jeffrey Eugenides was born in Detroit, Michigan. His first novel, The Virgin Suicides, was published to major acclaim in 1993. It has been translated into thirty-four languages and made into a feature film. In 2003, Eugenides received the Pulitzer Prize for his novel Middlesex (Farrar, Straus and Giroux, 2002). Middlesex also won the WELT-Literaturpreis of Germany and the Great Lakes Book Award, and it was shortlisted for the National Book Critics Circle Award, France’s Prix Medici, and the International IMPAC Dublin Literary Award. His third novel, The Marriage Plot (FSG, 2011), was a National Book Critics Circle Award Finalist and was named a Best Book of the Year by The New York Times Book Review, NPR, The New Republic, Publisher's Weekly, and numerous other publications. His latest book, the story collection Fresh Complaint (FSG, 2017), was a New York Times Notable Book of 2017, and was named a Best Book of the Year by Kirkus, The Guardian, NPR, and others. His fiction has appeared in The New Yorker, The Paris Review, The Yale Review, Best American Short Stories, The Gettysburg Review, and Granta’s “Best of Young American Novelists.” Eugenides is the recipient of many awards, including fellowships from the Guggenheim Foundation and the National Endowment for the Arts, a Whiting Writers’ Award, and the Henry D. Vursell Memorial Award from the American Academy of Arts and Letters. He was elected to the American Academy of Arts and Letters in 2018. He taught creative writing at Princeton for many years before joining the NYU Creative Writing Program as a tenured full professor and the Lewis and Loretta Glucksman Professor in American Letters. Eugenides has been inducted into The American Academy of Arts and Letters and The American Academy of Arts and Sciences.

 Jonathan Safran Foer by Jeff Mermelstein

Jonathan Safran Foer is the author of the bestselling novel Everything Is Illuminated , named Book of the Year by the Los Angeles Times and the winner of numerous awards, including the Guardian First Book Prize, the National Jewish Book Award, and the New York Public Library Young Lions Prize. His other novels include Extremely Loud and Incredibly Close and, most recently, Here I Am . He is also the author of the nonfiction books, Eating Animals , and We Are the Weather: Saving the Planet Begins at Breakfast (2019). Foer was one of Rolling Stone's "People of the Year" and Esquire's "Best and Brightest,” and was included in The New Yorker magazine's "20 Under 40" list of writers. He lives in Brooklyn.

Headshot of Garth Greenwell

Garth Greenwell is the author of  What Belongs to You , which won the British Book Award for Debut of the Year, was longlisted for the National Book Award, and was a finalist for many other awards, including the PEN/Faulkner Award, the  LA Times  Book Prize, and the James Tait Black Memorial Prize. His second book,  Cleanness , was a finalist for the Lambda Literary Award and was longlisted for the Gordon Burn Prize, the Joyce Carol Oates Prize, and the Prix Sade, among others. A  New York Times  Notable Book, it was named a Best Book of 2020 by over thirty publications. A new novel,  Small Rain , is forthcoming in 2024. A 2020 Guggenheim Fellow and recipient of the 2021 Vursell Award for prose style from the American Academy of Arts and Letters, he has taught at the Iowa Writers’ Workshop, the University of Mississippi, where he was the John and Renée Grisham Writer in Residence, and Grinnell College. He is currently a Distinguished Writer in Residence at NYU.

Terrance Hayes by the John D. and Catherine T. MacArthur Foundation

Terrance Hayes ’s most recent publications include  So to Speak  (Penguin 2023), So to Speak  (Penguin 2023),  American Sonnets for My Past And Future Assassin  (Penguin 2018) and  To Float In The Space  Between:  Drawings and Essays in Conversation with Etheridge Knight  (Wave, 2018).  To Float In The Space Between  was winner of the Poetry Foundation’s 2019 Pegasus Award for Poetry Criticism and a finalist for the 2018 National Book Critics Circle Award in Criticism.   American Sonnets for My Past And Future Assassin  won the Hurston/Wright 2019 Award for Poetry and was a finalist the 2018 National Book Critics Circle Award in Poetry, the 2018 National Book Award in Poetry, the 2018 TS Eliot Prize for Poetry, and the 2018 Kingsley Tufts Poetry Award. Hayes is a Professor of English at New York University. 

Katie Kitamura by Martha Reta

Katie Kitamura ’s most recent novel is  Intimacies . One of The New York Times’ 10 Best Books of 2021 and one of Barack Obama’s Favorite Books of 2021, it was longlisted for the National Book Award, the PEN/Faulkner Award and the Joyce Carol Oates Prize. Her third novel,  A Separation,  was a finalist for the Premio von Rezzori and a New York Times Notable Book. She is also the author of  Gone To The Forest  and  The Longshot , both finalists for the New York Public Library’s Young Lions Fiction Award. Her work has been translated into 21 languages and is being adapted for film and television. A recipient of fellowships from the Lannan, Santa Maddalena, and Jan Michalski foundations, Katie has written for publications including The New York Times Book Review, The New York Times, The Guardian, Granta, BOMB, Triple Canopy, and Frieze. She teaches in the creative writing program at New York University.

Hari Kunzru by 3:AM Magazine

Hari Kunzru is a Clinical Professor in the Creative Writing Program. He holds a BA in English Language and Literature from Oxford University and an MA in Philosophy and Literature from Warwick University. He is the author of six novels, including  White Tears , a finalist for the PEN Jean Stein Award, the Kirkus Prize, the Folio Prize, the James Tait Black Memorial Prize, One Book New York, the Prix du Livre Inter étranger, and a New York Times Notable Book of the Year. His latest novel Red Pill was published in 2020 by Knopf. He is also the author of  The Impressionist ,  Transmission, My Revolutions, Gods Without Men  and a short story collection,  Noise . His novella  Memory Palace  was presented as an exhibition at the Victoria & Albert Museum in 2013. His work has been translated into over twenty languages. His short stories and essays have appeared in publications including The New York Times, The New Yorker, Guardian, New York Review of Books, Granta, Bookforum, October and Frieze. He has written screenplays, radio drama, and experimental work using field recordings and voice-to-text software. He has taught at Hunter College and Columbia University. He is a Fellow of the Royal Society of Literature and an Honorary Fellow of Wadham College, Oxford. He has been a Cullman Fellow at the New York Public Library, a Guggenheim Fellow and a Fellow of the American Academy in Berlin. He is a past deputy president of English PEN, a judge for the 2018 Man Booker International Prize and has been a frequent presenter, interviewer and guest on television and radio.

Deborah Landau by Jacqueline Mia Foster

Deborah Landau  (Director) is the author of five collections of poetry, most recently  Skeletons , which was named one of  The New Yorker’s  “Best Books of 2023.” She is also the author of  Soft Targets  (winner of the Believer Book Award),  The Uses of the Body ,  The Last Usable Hour , and  Orchidelirium , selected by Naomi Shihab Nye for the Robert Dana Anhinga Prize for Poetry. Her other honors include a Jacob K Javits Fellowship and a Guggenheim Fellowship.  The Uses of the Body  was featured on NPR’s  All Things Considered , and included on “Best of ″ lists by  The New Yorker, Vogue, BuzzFeed , and  O, The Oprah Magazine . A Spanish edition,  Los Usos Del Cuerpo , was published by Valparaiso Ediciones. Her work has appeared in  The New Yorker, The Paris Review, The Atlantic, New York Review of Books ,  The Nation ,  APR, Poetry, CNN, The Wall Street Journal, The New York Times , and three volumes of  The Best American Poetry , and anthologized in  Please Excuse This Poem: 100 New Poets for the Next Generation, Not for Mothers Only, Resistance, Rebellion, Life ,  The Best American Erotic Poems , and  Women’s Work: Modern Poets Writing in English . Landau was educated at Stanford University, Columbia University, and Brown University, where she received a Ph.D. in English and American Literature. She is a Professor at NYU, where she directs the Creative Writing Program.

Brandon Taylor by Bill Adams

Valeria Luiselli was born in Mexico City and grew up in South Korea, South Africa and India. An acclaimed writer of both fiction and nonfiction, she is the author of   Sidewalks ,  Faces in the Crowd ,  The Story of My Teeth ,  Tell Me How It Ends: An Essay in Forty Questions  and  Lost Children Archive . She is the recipient of a 2019 MacArthur Fellowship and the winner of DUBLIN Literary Award, two Los Angeles Times Book Prizes, The Carnegie Medal, an American Book Award,  and has been nominated for the National Book Critics Circle Award, the Kirkus Prize, and the Booker Prize. She has been a National Book Foundation "5 Under 35" honoree and the recipient of a Bearing Witness Fellowship from the Art for Justice Fund. Her work has appeared in The New Yorker, The New York Times, Granta, and McSweeney's, among other publications, and has been translated into more than twenty languages. She teaches at Bard College and is a visiting professor at Harvard University.

 Joyce Carol Oates by Dustin Cohen

Joyce Carol Oates is a recipient of the National Book Award and the PEN/Malamud Award for Excellence in Short Fiction. She has published numerous essays and memoirs, novellas, plays, children's and young adult fiction, and dozens of works of short fiction, poetry, and fiction, including  We Were the Mulvaneys and Blonde (a finalist for the National Book Award and the Pulitzer Prize), as well as the New York Times bestsellers The Falls (winner of the 2005 Prix Femina Etranger) and  The Gravedigger’s Daughter , A Book of American Martyrs , and the most recent,  Hazards of Time Travel ,  My Life as a Rat , and Night. Sleep. Death. The Stars.  Her most recent works, published with HarperCollins, include the poetry collection American Melancholy (2021) and a collection of stories The (Other) You (2021). Her next novel Breathe will be published in August 2021. In 2013, she received the Bram Stoker Award for Best Fiction Collection for Black Dahlia and White Swan . Oates is the Roger S. Berlind Distinguished Professor of the Humanities at Princeton University and has been a member of the American Academy of Arts and Letters since 1978. She is the recipient of many distinguished awards including the Common Wealth Award for Distinguished Service in Literature , The Kenyon Review Award for Literary Achievement, the Chicago Tribune Lifetime Achievement Award, and The Norman Mailer Prize for Lifetime Achievement. 

 Sharon Olds by Geraint Lewis /Rex Features

Sharon Olds is a previous director of the Creative Writing Program at NYU. Her first book of poetry, Satan Says , received the San Francisco Poetry Center Award. Her second book, The Dead and the Living , was both the Lamont Poetry Selection for 1983 and the winner of the National Book Critics Circle Award. She is also the author of The Gold Cell ; The Father ; The Wellspring ; Blood, Tin, Straw ; The Unswept Room ; Strike Sparks: Selected Poems, 1980- 2002 ; One Secret Thing ; Odes ; and most recently, Aria s , which was a finalist for the T.S. Eliot Prize .  In 2012, her collection Stag's Leap was awarded the T.S. Eliot Prize and the Pulitzer Prize. She received a Lila Wallace-Readers' Digest Grant in 1993, part of which was designated for the NYU workshop program at Goldwater Hospital on Roosevelt Island. In 1997, she received the Harriet Monroe Poetry Award. From 1998-2000 she was the New York State Poet Laureate. Professor Olds holds the Erich Maria Remarque Professorship at NYU. 

Claudia Rankine by Andrew Zuckerman/The Slowdown

Claudia Rankine is a recipient of the 2016 MacArthur Fellowship, and the author of six collections including  Citizen: An American Lyric  and  Don’t Let Me Be Lonely ; three plays including HELP , which premiered in March of 2020 at The Shed, NYC, and  The White Card , and the editor of several anthologies including  The Racial Imaginary: Writers on Race in the Life of the Mind . She also co-produces a video series, “The Situation,” alongside John Lucas, and is the founder of the Open Letter Project: Race and the Creative Imagination. In 2016, she co-founded The Racial Imaginary Institute (TRII). In addition to the MacArthur, her numerous awards and honors include the Forward Prize, the National Book Critics Circle Award for Poetry, a Guggenheim Fellowship, and fellowships from the Lannan Foundation and the National Endowment of the Arts. Her most recent book is  Just Us: An American Conversation  (Graywolf, 2020). A Chancellor of the Academy of American Poets, Claudia Rankine joined the NYU Creative Writing Program as a tenured Professor in Fall 2021. 

Matthew Rohrer

Matthew Rohrer  is the author of  The Sky Contains the Plans  (Wave Books, 2020),  The Others  (Wave Books, 2017), which was the winner of the 2017 Believer Book Award,  Surrounded by Friends  (Wave Books, 2015),  Destroyer and Preserver  (Wave Books, 2011),  A Plate of Chicken  (Ugly Duckling Presse, 2009),  Rise Up  (Wave Books, 2007) and  A Green Light  (Verse Press, 2004), which was shortlisted for the 2005 Griffin Poetry Prize. He is also the author of  Satellite  (Verse Press, 2001), and co-author, with Joshua Beckman, of  Nice Hat. Thanks.  (Verse Press, 2002), and the audio CD  Adventures While Preaching the Gospel of Beauty . With Joshua Beckman and Anthony McCann he wrote the secret book  Gentle Reader! It is not for sale . Octopus Books published his action/adventure chapbook-length poem  They All Seemed Asleep  in 2008. His first book,  A Hummock in the Malookas  was selected for the National Poetry Series by Mary Oliver in 1994. His poems have been widely anthologized and have appeared in many journals. He's received the Hopwood Award for poetry and a Pushcart prize, and was selected as a National Poetry Series winner, and was shortlisted for the Griffin International Poetry Prize. Recently he has participated in residencies/ performances at the Museum of Modern Art (New York City) and the Henry Art Gallery (Seattle). Matthew Rohrer was born in Ann Arbor, Michigan, was raised in Oklahoma, and attended universities in Ann Arbor, Dublin, and Iowa City. He teaches in the Creative Writing Program at NYU and lives in Brooklyn.

Darin Strauss

Darin Strauss  is the internationally bestselling author of the novels  Chang and Eng, The Real McCoy ,  More Than it Hurts You , the NBCC-winning memoir,  Half a Life , the comic-book series,  Olivia Twist, and most recently the acclaimed novel, The Queen of Tuesday: A Lucille Ball Story (Random House, 2020). A recipient of a National Book Critics Circle Award, the Guggenheim Fellowship, an American Library Association Award, and numerous other prizes, Strauss has written screenplays for Disney, Gary Oldman, and Julie Taymor. His work has been translated into fourteen languages and published in nineteen countries, and he is a Clinical Professor at the NYU Creative Writing Program.

Ocean Vuong by Tom Hines

Ocean Vuong is the author of The New York Times bestselling novel,  On Earth We're Briefly Gorgeous , out from Penguin Press (2019) and forthcoming in 30 languages. A recipient of a 2019 MacArthur "Genius" Grant, he is also the author of the critically acclaimed poetry collections Time is a Mother  (Penguin Press, 2022) and  Night Sky with Exit Wounds , a New York Times Top 10 Book of 2016, winner of the T.S. Eliot Prize, the Whiting Award, the Thom Gunn Award, and the Forward Prize for Best First Collection. A Ruth Lilly fellow from the Poetry Foundation, his honors include fellowships from the Lannan Foundation, the Civitella Ranieri Foundation, The Elizabeth George Foundation, The Academy of American Poets, and the Pushcart Prize. Vuong's writings have been featured in The Atlantic, Granta, Harpers, The Nation, New Republic, The New Yorker, The New York Times, The Paris Review, The Village Voice, and American Poetry Review, which awarded him the Stanley Kunitz Prize for Younger Poets. Selected by Foreign Policy magazine as a 2016 100 Leading Global Thinker, Ocean was also named by BuzzFeed Books as one of “32 Essential Asian American Writers” and has been profiled on NPR’s “All Things Considered,” PBS NewsHour, Teen Vogue, Interview, Poets & Writers, and The New Yorker. Born in Saigon, Vietnam and raised in Hartford, Connecticut in a working class family of nail salon and factory laborers, he was educated at nearby Manchester Community College before transferring to Pace University to study International Marketing. Without completing his first term, he dropped out of Business school and enrolled at Brooklyn College, where he graduated with a BA in Nineteenth Century American Literature. He subsequently received his MFA in Poetry from NYU. Ocean Vuong will join the NYU Creative Writing Program as a tenured Professor in Fall 2022. 

2023-2024 Visiting Graduate Faculty

Nuar Alsadir

Nuar Alsadir 's most recent book,  Animal Joy: A Book of Laughter and Resuscitation , is a work of nonfiction published simultaneously in the US by Graywolf Press and in the UK by Fitzcarraldo Editions. She is also the author of two poetry collections:  Fourth Person Singular , a finalist for the National Book Critics Circle Award and the Forward Prize for Best Collection, and  More Shadow Than Bird . Her work has been published in many journals, including  Granta ,  The Paris Review ,  The New York Times Magazine ,  BOMB ,  The Poetry Review ,  Poetry London ,  The Yale Review , and  New York Magazine . She is a fellow of the New York Institute for the Humanities and a member of the curatorial board of The Racial Imaginary Institute. She works as a psychoanalyst in private practice in New York.

Cris Beam by Sonja Bilden

Cris Beam is an author of both fiction and nonfiction. Her latest book is I Feel You , which was released by Houghton Mifflin Harcourt in 2018. Her prior book, To the End of June: The Intimate Life of American Foster Care (Houghton Mifflin Harcourt, 2013), was a New York Times Notable Book and was shortlisted for the William Saroyan Prize. Her first book, Transparent (Harcourt, 2007) , received a Lambda Literary award and a Stonewall Honor, and her second, I Am J (Little, Brown, 2011), was both a Kirkus and American Library Association Best Book and a Junior Library Guild Selection. Her work has appeared on This American Life and in The New York Times, The Atavist, The Huffington Post, The Awl, and The Guardian, among others. She has an MFA from Columbia and has taught creative writing at Columbia, NYU, and Bayview Women’s Correctional Facility.

Alex Dimitrov by Sylvie Rosokoff

Alex Dimitrov is the author of three books of poems,  Love and Other Poems ,  Together and by Ourselves , and  Begging for It . His poems have been published in  The New Yorker , the  New York Times ,  The Paris Review , and  Poetry.  In addition to NYU, he has taught writing at Princeton University, Columbia University, and Barnard College. Previously, he was the Senior Content Editor at the Academy of American Poets, where he edited the popular series  Poem-a-Day  and  American Poets  magazine. With Dorothea Lasky he is the co-author of  Astro Poets: Your Guides to the Zodiac.  He lives in New York. 

Kimiko Hahn

Kimiko Hahn  is the author of ten books of poems, including: Foreign Bodies (W. W. Norton, 2020); Brain Fever (WWN, 2014), and Toxic Flora (WWN, 2010), both collections prompted by science; The Narrow Road to the Interior (WWN, 2006) a collection that takes its title from Basho’s famous poetic journal; The Unbearable Heart (Kaya, 1996), which received an American Book Award; Earshot (Hanging Loose Press, 1992), which was awarded the Theodore Roethke Memorial Poetry Prize and an Association of Asian American Studies Literature Award. As part of her service to the CUNY community, she initiated a Chapbook Festival that became an annual event co-sponsored by major literary organizations. Since then, she has added chapbooks to her publication list: Write it! , Brittle Process , Brood , Ragged Evidence , A Field Guide to the Intractable , Boxes with Respect , The Cryptic Chamber , and Resplendent Slug . In 2017, she and Tamiko Beyer collaborated on the chapbook Dovetail . 

Honors include a Guggenheim Fellowship, PEN/Voelcker Award, Shelley Memorial Prize, a Lila Wallace-Reader’s Digest Writers’ Award as well as fellowships from the National Endowment for the Arts and the N.Y. Foundation for the Arts. She has taught in graduate programs at the University of Houston and New York University, and is a distinguished professor in the MFA Program in Creative Writing & Literary Translation at Queens College, The City University of New York; she has also taught for literary organizations such as the Fine Arts Work Center, Cave Canem, and Kundiman.

Uzodinma Iweala by Caroline Cuse

Uzodinma Iweala is an award-winning writer, filmmaker, and medical doctor. He is the CEO of The Africa Center in New York, promoting a new narrative about Africa and its diaspora through a focus on culture, policy and business. Uzodinma is the Co-Founder of Ventures Africa Magazine, a publication that covers business, policy, culture and innovation spaces in Africa. He is a member of the Presidents Youth Advisory Group (PYAG) for Jobs for Youth Africa (JfYA) at the African Development Bank (AfDB). He is also on the Board of the NewNow, a subsidiary of the Virgin Group’s charitable arm, Virgin Unite. He has written three books: Beasts of No Nation (2005), a novel also adapted into a major motion picture; Our Kind of People (2012), a non-fiction account of HIV/AIDS in Nigeria; and Speak No Evil (2018), a novel about Washington, D.C.

Jonas Hassan Khemiri by Pierre Björk

Jonas Hassen Khemiri is the author of six novels, seven plays, and a collection of plays, essays, and short stories. His work has been translated into more than thirty languages and his plays have been performed by more than hundred international companies. He received the Village Voice Obie Award for his first play  Invasion!  and in 2015 he was awarded the August Prize, Sweden's highest literary honor for the novel  Everything I Don't Remember . In 2017 he became the first Swedish writer to have a short story published in  The New Yorker  and in 2020 his latest novel  The Family Clause  was a finalist for the National Book Award and won the Prix Médicis Étranger, France’s highest honor for translated books. Khemiri is currently based in New York, as a Cullman Fellow at the New York Public Library. 

David Lipsky by Shaune McDowell

Raven Leilani ’s debut novel  Luster  (2020) was awarded the Kirkus Prize, Dylan Thomas Prize, NBCC John Leonard Prize, VCU Cabell First Novel Prize, Center for Fiction First Novel Prize, among others. Her work has been published in Granta, The Yale Review, McSweeney’s, Quarterly Concern, Conjunctions, The Cut, and New England Review, among other publications. Leilani received her MFA from NYU and was an Axinn Foundation Writer-in-Residence. She was also selected as a National Book Foundation 5 Under 35 honoree. In 2022, she served as the John Grisham Fellow at the University of Mississippi and teaches creative writing at NYU.

David Lipsky by Shaune McDowell

David Lipsky is a contributing editor at Rolling Stone magazine. His fiction and nonfiction have appeared in The New Yorker , Harper's magazine, The Best American Short Stories , The Best American Magazine Writing , The New York Times , The New York Times Book Review , and many other publications. He contributes as an essayist to NPR’s All Things Considered , and is the recipient of a Lambert Fellowship, a Media Award from GLAAD, and a National Magazine Award. He's the author of the novel The Art Fair , a collection of stories, Three Thousand Dollars , the best-selling nonfiction book,  Absolutely American , which was a Time magazine Best Book of the Year, and most recently Although Of Course You End Up Becoming Yourself: A Road Trip With David Foster Wallace , which was a New York Times bestseller and an NPR Best Book of the Year. His most recent book, The Parrot and the Igloo: Climate and the Science of Denial , was published by W. W. Norton & Company in July 2023. 

Sally Wen Mao

Sally Wen Mao  is the author of the poetry collection  The Kingdom of Surfaces   (Graywolf Press, August 2023), a finalist for the 2023 Maya Angelou Book Prize. Her debut fiction collection,  Ninetails,  is coming out from Penguin Books in May 2024. She is the author of two previous poetry collections,  Oculus  (Graywolf Press, 2019), a finalist for the Los Angeles Times Book Prize, and  Mad Honey Symposium   (Alice James Books, 2014). Her work has appeared in  The Best American Poetry 2013  and  2021, The Paris Review, Granta, Poetry, A Public Space, Harpers Bazaar, The Washington Post, Guernica,  and others. The recipient of two Pushcart Prizes and a National Endowment for the Arts fellowship, she was recently a Cullman Fellow at the New York Public Library and a Shearing Fellow at the Black Mountain Institute. 

Parul Sehgal by Naima Green for The New York Times

Parul Sehgal is a staff writer at The New Yorker . She was previously a columnist and senior editor at The New York Times Book Review and a book critic for The New York Times.   Her work has appeared in The Atlantic, Slate, Bookforum, The New Yorker, Tin House, and The Literary Review, among other publications, and she was awarded the Nona Balakian Award from the National Book Critics Circle for her criticism. 

Brandon Taylor by Bill Adams

Brandon Taylor  is the author of the novels  The Late Americans  and  Real Life , which was shortlisted for the Booker Prize and the National Book Critics Circle John Leonard Prize, and named a  New York Times Book Review  Editors’ Choice and a Science + Literature Selected Title by the National Book Foundation. His collection  Filthy Animals , a national bestseller, was awarded The Story Prize and shortlisted for the Dylan Thomas Prize. He is the 2022-2023 Mary Ellen von der Heyden Fellow at the Dorothy and Lewis B. Cullman Center for Scholars and Writers.

Hannah Tinti by Honorah Tinti

Hannah Tinti 's short story collection,  Animal Crackers,  has sold in sixteen countries and was a runner-up for the PEN/Hemingway award. Her best-selling novel,  The Good Thief,  was a  New York Times  Notable Book of the Year, recipient of the American Library Association's Alex Award, and winner of the The Center for Fiction's First Novel Prize. Her latest novel,  The Twelve Lives of Samuel Hawley,  was a national bestseller and has been optioned for television by director Matt Reeves/6th & Idaho and producer Michael Costigan/Cota Films. Tinti is also the co-founder and executive editor of  One Story  magazine, which won the AWP Small Press Publisher Award, CLMP’s Firecracker Award, and the PEN/Magid Award for Excellence in Editing. 

Phillip B. Williams by Beowulf Sheehan

Phillip B. Williams is from Chicago, IL. He is the author of the books Mutiny (Penguin, 2021) and Thief in the Interior (Alice James Books, 2016). Phillip has received a 2017 Whiting Award, the 2017 Kate Tufts Discovery Award, a 2017 Lambda Literary Award, and a nomination for an NAACP Image Award. Recent fellowships include a 2021 Literature fellowship from the National Endowment for the Arts and Radcliffe Research Institute fellowship from Harvard University. He is a member of the founding faculty for the Randolph College low-residency MFA program in creative writing.

Monica Youn

Monica Youn is the author of Blackacre (Graywolf Press 2016), which won the William Carlos Williams Award of the Poetry Society of America. It was also shortlisted for the National Book Critics Circle Award and the Kingsley Tufts Award, longlisted for the National Book Award, and named one of the best poetry books of 2016 by the New York Times , the Washington Post , and BuzzFeed . Her previous book Ignatz (Four Way Books 2010) was a finalist for the National Book Award. She has been awarded the Levinson Prize from the Poetry Foundation, a Guggenheim Fellowship, a Witter Bytter Fellowship from the Library of Congress, and a Stegner Fellowship. A former constitutional lawyer, she is a member of the curatorial collective the Racial Imaginary Institute and is an associate professor of English at UC Irvine. Her fourth book FROM FROM is forthcoming from Graywolf Press in March 2023.

2023-2024 Undergraduate Faculty

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Mohammed Naseehu Ali

Mohammed Naseehu Ali, a native of Ghana, is a writer and musician.  He is the author of The Prophet of Zongo Street , a short story collection. Ali’s fiction and essays have been published in The New Yorker, The New York Times, Mississippi Review, Bomb, A Gathering of Tribes , and Essence .  A graduate of Bennington College, he lives in Brooklyn.

Catherine Barnett  is the recipient of a Guggenheim Fellowship, a Whiting Writers Award, the Glasgow Prize for Emerging Writers, and a Pushcart Prize. Her most recent collection,  Human Hours , was published in 2018 by Graywolf Press and received the Believer Book Award in Poetry. She is also the author of  Into Perfect Spheres Such Holes Are Pierced  (Alice James Books, 2004), winner of the Beatrice Hawley Award, and  The Game of Boxes  (Graywolf Press, 2012), which received the James Laughlin Award from the Academy of American Poets for an outstanding second book. Barnett has taught at Barnard, Princeton, and Hunter, and is currently a Clinical Associate Professor at NYU. 

Cris Beam  is an author of both fiction and nonfiction. Her latest book is  I Feel You , which was released by Houghton Mifflin Harcourt in 2018. Her prior book,  To the End of June: The Intimate Life of American Foster Care  (Houghton Mifflin Harcourt, 2013), was a  New York Times  Notable Book and was shortlisted for the William Saroyan Prize. Her first book,  Transparent  (Harcourt, 2007) ,  received a Lambda Literary award and a Stonewall Honor, and her second,  I Am J  (Little, Brown, 2011), was both a Kirkus and American Library Association Best Book and a Junior Library Guild Selection. Her work has appeared on  This American Life  and in  The New York Times, The Atavist, The Huffington Post, The Awl,  and  The Guardian,  among others. She has an MFA from Columbia and has taught creative writing at Columbia, NYU, and Bayview Women’s Correctional Facility.

Marie-Helene Bertino by Sioux Nesi

Marie-Helene Bertino is the author of the novels  Parakeet  (NY Times Editors' Choice) and  2 a.m. at The Cat's Pajamas  (NPR Best Books 2014), and the story collection  Safe as Houses  (Iowa Short Fiction Award). Her work has received The O. Henry Prize and The Pushcart Prize, and in 2017 she was the Frank O'Connor International Short Story Fellow in Cork, Ireland. She teaches in the MFA programs of NYU, The New School, and Institute of American Indian Arts in Santa Fe .  Her fourth book, the novel  Beautyland,  is forthcoming from FSG in 2022. More info:  www.mariehelenebertino.com

Charles Bock by Nina Subin

Charles Bock  is the author of the novels Alice & Oliver and Beautiful Children,  which was a New York Times  bestseller and Notable Book, and which won the Sue Kaufman Prize for First Fiction from the American Academy of Arts and Letters. His fiction and nonfiction have appeared in Harper’s, The New York Times, The Believer, Vice, the  Los Angeles Times,  and  Slate,  as well as in numerous anthologies. He has received fellowships from the Civitella Ranieri Foundation, Yaddo, UCross, and the Vermont Studio Center.  Charles is a graduate of the Bennington Writing Seminars.

Marcelle Clements is a novelist, essayist, and journalist. Her fourth and most recent book is a novel,   Midsummer . She has written prizewinning essays and articles for numerous publications, including the New York Times, Esquire, Elle, and Rolling Stone.  Since 1999, she has taught a seminar on Proust's In Search of Lost Time at NYU's College of Arts and Science, where she is a Collegiate Professor. Each spring, she leads workshops in Advanced Fiction and Advanced Creative Non-Fiction in the Creative Writing Program. She is a recipient of NYU's Golden Dozen Teaching Award.

Alex Dimitrov  is the author of three books of poems,  Love and Other Poems ,  Together and by Ourselves , and  Begging for It . His poems have been published in  The New Yorker , the  New York Times ,  The Paris Review , and  Poetry.  In addition to NYU, he has taught writing at Princeton University, Columbia University, and Barnard College. Previously, he was the Senior Content Editor at the Academy of American Poets, where he edited the popular series  Poem-a-Day  and  American Poets  magazine. With Dorothea Lasky he is the co-author of  Astro Poets: Your Guides to the Zodiac.  He lives in New York. 

George Michelson Foy by John Loomis for the Guardian

George Michelsen Foy  is an award-winning author and essayist, a professor of creative writing and former mariner. His books and articles have been published by Viking Penguin, Bantam Doubleday, Harper's Magazine , University Press of New England, J ournal of Microliterature , The New York Times and Rolling Stone , among others. His latest non-fiction book, Run the Storm , an account of the mysterious disappearance of SS El Faro in 2015, was published by Scribner on Mayday, 2018.

Elizabeth Gaffney by Robert Birnbaum

Elizabeth Gaffney 's first novel,  Metropolis , a Barnes and Noble Discover Great New Writers selection, was published by Random House in 2005. Her second novel,  When the World Was Young,  was published by Random House in 2014. She won the 2019 Lawrence Prize for Fiction. Her short stories have appeared in many literary magazines, and she has translated four  books from German.  Gaffney graduated with honors from Vassar College and holds an M.F.A. in fiction from Brooklyn College; she also studied philosophy and German at Ludwig-Maximillian University in Munich. She has been a resident artist at Yaddo, the MacDowell Colony and the Blue Mountain Center. She also teaches fiction and serves as the editor at large of the literary magazine  A Public Space .

David Groff is the author of three books of poems: Theory of Devolution , selected by Mark Doty for the National Poetry Series; Clay , chosen by Michael Waters for the Louise Bogan Award; and most recently, Live in Suspense . His work has recently appeared in the Best American Poetry Blog , Cortland Review , HuffPost , New England Review , On the Seawall ,   Poem-a-Day , and Prairie Schooner , among other venues. An independent book editor, he also teaches poetry and publishing in the MFA creative writing program at the City College of New York.  www.davidgroff.com

Hannah Kingsley-Ma by Peter Belanger

Hannah Kingsley-Ma is a writer and radio producer. Her work has appeared in outlets including T he New York Times, The Believer, McSweeney's  and  Joyland , as well as on the CBC, KCRW, KQED, and KALW Public Radio. As a graduate of New York University’s MFA Program in Creative Writing, she received the Jan Gabrial Fellowship and was the 2020–21 Axinn Foundation Writer-in-Residence. She has taught classes at Catapult and PEN America.

Maria Laurino

Maria Laurino is the author of the national bestselling memoir Were You Always an Italian? , an exploration of identity, class, and stereotypes, as well as Old World Daughter, New World Mother , a meditation on contemporary feminism. Her book The Italian Americans: A History was the companion to a national public television documentary. Her forthcoming book, The Price of Children , the story of the treatment of unwed mothers in Italy whose children were sent to America for adoption, will be published in Italy in 2023 by Longanesi. Laurino began her career as a journalist at the Village Voice and her work has appeared in numerous publications including the New York Times , Washington Post ,  Nation , and Salon ; her essays have been widely anthologized including in the Norton Reader .

Raven Leilani

Raven Leilani ’s debut novel Luster (2020) was awarded the Kirkus Prize, Dylan Thomas Prize, NBCC John Leonard Prize, VCU Cabell First Novel Prize, Center for Fiction First Novel Prize, among others. Her work has been published in Granta , The Yale Review , McSweeney’s Quarterly Concern , Conjunctions , The Cut , and New England Review , among other publications. Leilani received her MFA from NYU and was an Axinn Foundation Writer-in-Residence . She was also selected as a National Book Foundation 5 Under 35 honoree. In 2022 she served as the John Grisham Fellow at the University of Mississippi and teaches creative writing at NYU.

Joceyln Lieu

Jocelyn Lieu is the author of a 9/11 memoir titled What Isn’t There: Inside a Season of Change and a collection of stories, Potential Weapons . She received her MFA from Warren Wilson College and a BA, in English, from Yale College. A former journalist and news editor in Northern New Mexico, Jocelyn has taught fiction and nonfiction writing at Sarah Lawrence College, Queens College, the Goddard Creative Writing M.F.A-Port Townsend, Drew University, The New School, and LIU Global. Jocelyn lives in downtown Manhattan and in Saugerties, New York, with her daughter and husband.

David Lipsky  is a contributing editor at  Rolling Stone  magazine. His fiction and nonfiction have appeared in  The New Yorker ,  Harper's  magazine,  The Best American Short Stories ,  The Best American Magazine Writing ,  The New York Times ,  The New York Times Book Review , and many other publications. He contributes as an essayist to NPR’s  All Things Considered , and is the recipient of a Lambert Fellowship, a Media Award from GLAAD, and a National Magazine Award. He's the author of the novel  The Art Fair , a collection of stories,  Three Thousand Dollars , the best-selling nonfiction book,  Absolutely American , which was a  Time  magazine Best Book of the Year, and most recently  Although Of Course You End Up Becoming Yourself: A Road Trip With David Foster Wallace , which was a  New York Times  bestseller and an NPR Best Book of the Year.  

Sharon Mesmer by Esther Levine

Sharon Mesmer's fiction collections are Ma Vie à Yonago (in French translation from Hachette Littératures, 2005), In Ordinary Time and The Empty Quarter (Hanging Loose 2005 and 2000). An excerpt of her story "Revenge" appeared in the just-released anthology I'll Drown My Book: Conceptual Writing by Women (Les Figues). Poetry collections are Greetings from My Girlie Leisure Place  (Bloof Books), which was one of Entropy’s “Best of 2015,”  The Virgin Formica (Hanging Loose, 2008) and Annoying Diabetic Bitch (Combo Books, 2008); previous collections are Half Angel, Half Lunch (Hard Press, 1998) and the chapbooks Vertigo Seeks Affinities (Belladonna Books, 2006) and Crossing Second Avenue (ABJ Books, Tokyo, 1997). She has had print work in Poetry, New American Writing, Women's Studies Quarterly, West Wind Review, Abraham Lincoln and online work on the sites esque, The Wall Street Journal, Poets for Living Waters , and The Scream . A selection of her flarf poetry will appear in the forthcoming Postmodern American Poetry — A Norton Anthology . From 2003-2006 her column, “Seasonal Affect,” appeared in the French fashion magazine Purple ; currently her music and book reviews can be found in The Brooklyn Rail . Her awards include a 2010 Fulbright Specialist grant, a 2009 Jerome Foundation/SASE grant (as co-recipient/mentor, with poet Elisabeth Workman, grantee), two New York Foundation for the Arts fellowships (2007 and 1999), and the 1990 MacArthur Scholarship given through the Brooklyn College MFA poetry program by nomination of Allen Ginsberg.

Eliza Minot by Joyce Ravid

Eliza Minot  is the author of the novels  The Tiny One  and  The Brambles,  both published by Knopf/Vintage. Her work has appeared in a variety of magazines, a couple of anthologies, and her books have been named to various lists, including The New York Times Notable, Booksense 76, Nancy Pearl's, and Oprah's Top Ten Summer Picks. Her third novel, In The Orchard,  will be published by Knopf in Spring 2023. She received her MFA in 2017 from Rutgers-Newark, where she was a Presidential Fellow, and has taught at Barnard College, NYU, and Rutgers-Newark.

Michael Montlack

Michael Montlack is author of two poetry collections and editor of the Lambda Finalist essay anthology  My Diva: 65 Gay Men on the Women Who Inspire Them  (University of Wisconsin Press). His poems recently appeared in  Prairie Schooner, North American Review, december, Poet Lore, Cincinnati Review,  and  phoebe . His prose has appeared in  The Rumpus, Huffington Post and  Advocate.com . He holds an MFA from New School and an MA from San Francsico State, both in Creative Writing, and his work has been a Best of the Net finalist and nominated for a Pushcart Prize. In 2022 his poem won the Saints & Sinners Poetry Award (for LGBTQ writers). He lives in NYC.

 Geoffrey Nutter reads at the University of Iowa in 2013

Geoffrey Nutter is the author of five books of poems: Cities at Dawn ,  The Rose of January , Christopher Sunset, Water's Leaves & Other Poems , and Summer Evening. His poems have appeared in journals and anthologies such as Carnet de Route, Verse, Denver Quarterly, Chicago Review, Fence, Xantippe, Best American Poetry 1997, and Iowa Anthology of New American Poetry. He is the recipient of an Academy of American Poets prize.

Matthew Rohrer is the author of  The Sky Contains the Plans  (Wave Books, 2020),  The Others  (Wave Books, 2017), which was the winner of the 2017 Believer Book Award,  Surrounded by Friends  (Wave Books, 2015),  Destroyer and Preserver  (Wave Books, 2011),  A Plate of Chicken  (Ugly Duckling Presse, 2009),  Rise Up  (Wave Books, 2007) and  A Green Light  (Verse Press, 2004), which was shortlisted for the 2005 Griffin Poetry Prize. He is also the author of  Satellite  (Verse Press, 2001), and co-author, with Joshua Beckman, of  Nice Hat. Thanks.  (Verse Press, 2002), and the audio CD  Adventures While Preaching the Gospel of Beauty . With Joshua Beckman and Anthony McCann he wrote the secret book Gentle Reader! It is not for sale . Octopus Books published his action/adventure chapbook-length poem They All Seemed Asleep in 2008. His first book,  A Hummock in the Malookas  was selected for the National Poetry Series by Mary Oliver in 1994. His poems have been widely anthologized and have appeared in many journals. He's received the Hopwood Award for poetry and a Pushcart prize, and was selected as a National Poetry Series winner, and was shortlisted for the Griffin International Poetry Prize. Recently he has participated in residencies/ performances at the Museum of Modern Art (New York City) and the Henry Art Gallery (Seattle). Matthew Rohrer was born in Ann Arbor, Michigan, was raised in Oklahoma, and attended universities in Ann Arbor, Dublin, and Iowa City. He teaches in the Creative Writing Program at NYU and lives in Brooklyn.

Jess Row

Jess Row is the author of two collections of short stories,  The Train to Lo Wu  and  Nobody Ever Gets Lost , a novel,  Your Face in Mine , and a collection of essays,  White Flights: Race, Fiction, and the American Imagination . His fiction has appeared in  The New Yorker, The Atlantic, Tin House, Conjunctions, Ploughshares, Granta, n+1,  and elsewhere, has been anthologized three times in  The Best American Short Stories,  and has won two Pushcart Prizes and a PEN/O. Henry Award. He has received a Guggenheim fellowship, an NEA fellowship in fiction, a Whiting Writers Award, and a Whiting Creative Nonfiction Grant. In 2007, he was named a “Best Young American Novelist” by  Granta.  His nonfiction and criticism appear often in  The New Yorker, The New Republic, The New York Times Book Review, Bookforum, Threepenny Review,  and  Boston Review,  among other venues. He directs the undergraduate creative writing program in the Department of English at NYU and is an ordained senior dharma teacher in the  Kwan Um School of Zen.  He lives in New York City and Plainfield, Vermont.

Said Sayrafiezadeh by Beowulf Sheehan

Saïd Sayrafiezadeh ’s latest collection of short stories,  American Estrangement , was a finalist for the L.A. Times Book Prize. He is the author of a memoir,  When Skateboards Will Be Free , selected as one of the ten best books of the year by Dwight Garner of The New York Times, and the story collection,  Brief Encounters With the Enemy , a finalist for the PEN/Robert W. Bingham Fiction Prize. His writing has appeared in  The New Yorker ,  The Paris Review ,  The Best American Short Stories ,  The Atlantic ,  Granta ,  McSweeney’s , and  The New York Times , among other publications. He is the recipient of a Whiting Writers’ Award for nonfiction and a Cullman Center for Scholars and Writers’ fiction fellowship. He is a fellow at the New York Institute for the Humanities and teaches creative writing at New York University, where he received an Outstanding Teaching Award.

Emily Skillings author pic

Emily Skillings is the author of the poetry collection Fort Not (The Song Cave, 2017), which Publishers Weekly called a “fabulously eccentric, hypnotic, and hypervigilant debut.” Her poems can be found in Poetry , Harper’s , Boston Review , Granta , Hyperallergic , jubilat , and the Brooklyn Rail . Skillings is the editor of Parallel Movement of the Hands: Five Unfinished Longer Works by John Ashbery , which was published by Ecco/HarperCollins in 2021. She is a member of the Belladonna* Collaborative, a feminist poetry collective, small press, and event series. She received her MFA from Columbia University School of the Arts, where she was a Creative Writing Teaching Fellow in 2017. She currently teaches creative writing at Yale, NYU, and Columbia and lives in Brooklyn.

Zachary Sussman

Zachary Sussman is the author of two books, The Essential Wine Book: A Modern Guide to the Changing World of Wine (2020) and Sparkling Wine for Modern Times: A Drinker’s Guide to the Freewheeling World of Bubbles (2021). His work has appeared in Saveur , Food & Wine , Wine & Spirits , The World of Fine Wine , and The Wall Street Journal Magazine , among many others. He is a regular contributor to PUNCH and was formerly named the Champagne Louis Roederer Emerging Wine Writer of the Year. In 2022 he was nominated as a finalist for the IACP Food Writing Awards from The International Association of Culinary Professionals. In addition to teaching, he manages the graduate program in Creative Writing at NYU. More info:  www.zacharysussmanwine.com

I came to play Spiritfarer through my friend, the poet Jaz Sufi. One afternoon I was leaving my desk in the NYU Creative Writing Program and Jaz was sitting in the window of the parlor area with their dog Apollo. Whether it is actually uncommon that poets play video games, Jaz and I were energized to learn we both each often are playing several games at a time, alongside several books of various genre, and several TV series of varying bingeability. We got on the subject of “narrative” games we enjoyed. I would describe narrative games as those with greater emphasis on dialogue and/or in implicating the player in the moral and emotional arc of the game’s characters than on “things happening”, be it through choice-based or branching-decision narratives, or with strong   existential themes. I told Jaz one of my favorite series of the type are the Life is Strange games, created by Don’t Nod Entertainment and Deck Nine, which I have described as “queer teenage or kid superheroes whose powers primarily originate out of trauma.” Jaz then suggested Spiritfarer , a particularly “non-demanding” game I did not know, but whose name immediately pricked my interest. Spiritfarer is a game released in 2020 by Thunder Lotus Games, the premise of which is you play as a young woman named Stella, taking over from Charon in ferrying spirits across the “river” of the dead in the afterlife, helping them accomplish final “things they still have left to do” and come to terms with their life until they're ready to finally pass on and they ask you to take them to the “Everdoor,” a place with red, blood-like water, and Japanese maples so pink they’re almost white (The trees, the whole landscape near the Everdoor is bowed low, as if with baited breath and respect.) In this variation on the mythology, the river Styx is an ocean with islands to sail to and discover resources, challenges, and characters upon, and your humble ferry is a large wooden ship. This game, like Animal Crossing: New Horizons , was released while the world was reeling from Covid-19 and many people I knew were seeking comfort through the screen of their Nintendo Switch.

I arrived at this game while my paternal grandmother June Kikoku Mori was dying, though I somehow did not connect the game’s relevance to my grieving until several weeks into October, after she had passed. I was brushing my hair, staring off into my medicine cabinet when I told my partner Alexi, “I don’t think I’m processing my grandmother’s death.” Then it clicked— “Oh, except for the the game I’m playing where I help people process their deaths,” resulting in a much needed belly laugh and smile at myself in the mirror.

Stella is accompanied by her cat Daffodil, “sharing the burden” Charon says, as the new Spiritfarer.

 Craig Morgan Teicher by Doriane Raiman/NPR

Craig Morgan Teicher is the author of three books of poems,  The Trembling Answers (BOA, 2017), which won the 2015 Lenore Marshall Poetry Prize from the Academy of American Poets; To Keep Love Blurry  (BOA, 2012); and Brenda Is in the Room and Other Poems,  (CLP, 2007), winner of the Colorado Prize for Poetry. He also wrote Cradle Book: Stories and Fables  (BOA, 2010) and the chapbook Ambivalence and Other Conundrums  (Omnidawn, 2014).  His first collection of essays We Begin in Gladness , was published by Graywolf in November, 2018. Teicher edited Once and For All :  The Best of Delmore Schwartz  (New Directions, 2016) and serves as a poetry editor for The Literary Review.    He writes about books for many publications, including The New York Times Book Review ,  The LA Times,  and NPR. He lives in New Jersey with his wife and children. He worked for many years at Publishers Weekly and is now Digital Director of The Paris Review .

Rachel Zucker

Rachel Zucker  is the author of ten books, including  SoundMachine  (Wave Books, 2019). Her other books include a memoir,  MOTHERs , and a double collection of prose and poetry,  The Pedestrians . Her book  Museum of Accidents  was a finalist for the National Book Critics Circle Award. A recipient of fellowships from the National Endowment for the Arts, MacDowell Colony and the Sustainable Arts Foundation, Zucker teaches poetry at New York University. Zucker is the founder and host of the podcast  Commonplace: Conversations with Poets (and Other People) . She is currently working on an immersive audio project (also called  SoundMachine ). In 2016, Zucker wrote and delivered a series of lectures on the intersection of poetry, confession, ethics and disobedience as part of the  Bagley Wright Lecture Series . These lectures will be published in a collection called The Poetics of Wrongness.

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Hal Ackerman

Instructor, Writing for Stage & Screen [email protected]

  • Former co-chair of the Screenwriting Program at UCLA.
  • His play, Testosterone: How Prostate Cancer Made a Man of Me, received the William Saroyan Centennial Prize for Drama and won Best Script at the 2011 United Solo Festival.
  • He has sold material to all the broadcast networks and major studios.
  • His book Write Screenplays That Sell…The Ackerman Way is now in its third printing.

Khris Baxter

Instructor, Writing for Stage & Screen [email protected]

  • Screenwriter, producer, and the founder of Lost Mountain Entertainment.
  • Developed and financed a wide range of projects in partnership with Cross Creek Pictures and Echo Lake Entertainment.
  • Co-produced “Above the Shadows,” which won the Audience Award at the 2019 Brooklyn Film Festival.
  • Teaches Writing for Film & TV at Dickinson College.
  • Serves as a judge for the Virginia Film Office’s annual screenwriting competition.

Peter Behrens

Instructor, Writing for Stage & Screen [email protected]

  • Screenwriter, essayist, and fiction writer.
  • Author of four books of fiction, including “The Law of Dreams,” which won the Governor-General’s Award and has been published in nine languages.
  • His stories, essays, and reviews appear in The Atlantic, The New York Times, The Wall Street Journal, The Washington Post, NPR’s All Things Considered, and many anthologies.
  • Former Wallace Stegner Fellow at Stanford University and former fellow at Harvard University’s Radcliffe Institute for Advanced Study.

Cathy Smith Bowers

Instructor, Poetry [email protected]

  • Poet Laureate of North Carolina from 2010-2012.
  • Her poems appear widely in publications such as The Atlantic Monthly, The Georgia Review, Poetry, The Southern Review, and The Kenyon Review.
  • Author of five collections of poetry.

Morri Creech

Associate Professor, Poetry Writer in Residence, Queens University of Charlotte [email protected]

  • Author of four collections of poetry, one a finalist for the Pulitzer Prize.
  • His poems appear in Poetry, The New Criterion, The New Republic, The Southwest Review, The Hudson Review, Crazyhorse, Critical Quarterly, Sewanee Review, Southern Review, and  elsewhere. 
  • He has received the Stan and Tom Wick Award, a Ruth Lilly Fellowship, and a fellowship from The Louisiana  Division of the Arts.

David Christensen

Instructor, Writing for Stage & Screen [email protected]

  • Executive producer at the National Film Board of Canada where he oversees a slate of documentary, interactive, and animation productions made nationally and internationally.
  • Two Oscar-nominated films and multiple premiers at Berlin, Sundance, Toronto, and New York film festivals.

Ann Cummins

Instructor, Fiction [email protected]

  • Author of a story collection and novel.
  • Recipient of a Lannan Foundation Literary Fellowship.
  • Stories appear in The New Yorker, McSweeney’s, Antioch Review, The Best American Short Stories, and The Anchor Book of New American Short Stories.

Jonathan Dee

Instructor, Fiction [email protected]

  • Author of eight novels.
  • His novel “The Privileges” was a finalist for the 2010 Pulitzer Prize and winner of the 2011 Prix Fitzgerald and the St. Francis College Literary Prize.
  • A former contributing writer for The New York Times Magazine, a senior editor of The Paris Review, and a National Magazine Award-nominated literary critic for Harper’s.
  • Received fellowships from the National Endowment for the Arts and the Guggenheim Foundation.

Kristin Dombek

Instructor, Nonfiction [email protected]

  • Author of “The Selfishness of Others: An Essay on the Fear of Narcissism,” which has been translated into multiple languages, and “How to Quit,” forthcoming soon.
  • Essays appear in The New Yorker, Vice, The New York Times Magazine, Harper’s, London Review of Books, n+1, The Financial Times, The Paris Review, and Best American Essays.
  • Recipient of fellowships from the MacDowell Colony and the Rona Jaffe Foundation.
  • Has taught at Queens College/CUNY and Princeton.

Shelley Evans

Instructor, Writing for Stage & Screen [email protected]

  • Has written teleplays for ABC, CBS, Showtime, USA Network, Hallmark Movies and Mysteries, and Lifetime Television.

Elizabeth Gaffney

Instructor, Fiction [email protected]

  • Author of two novels.
  • Has also translated three novels and a memoir from German.
  • Resident artist at Yaddo, the MacDowell Colony, and the Blue Mountain Center.
  • Former staff editor at The Paris Review, and currently serves as the editor-at-large of A Public Space.

Myla Goldberg

Instructor, Fiction [email protected]

  • Bestselling author of four novels, including “Bee Season,” which was a New York Times Notable Book and winner of the Borders New Voices Prize. It was adapted to film and widely translated.
  • Has also published an essay collection, a children’s book, and short stories that have appeared in Harper’s.
  • Teaches also in the fiction programs at Sarah Lawrence and NYU.

Emily Fox Gordon

Instructor, Nonfiction [email protected]

  • Author of a novel, a collection of personal essays, and two memoirs, one of which was a New York Times Notable Book.
  • Her work appears in Boulevard, Salmagundi, The American Scholar, and Southwest Review, and has been anthologized in the Anchor Essay Annual.
  • Has taught writing workshops at Rice University, the University of Houston, The New School, the University of Wyoming, and the MFA program at Rutgers/Camden.
  • Recipient of two Pushcart Prizes.

Trish Harnetiaux

Instructor, Writing for Stage & Screen [email protected]

  • Her play “Tin Cat Shoes” premiered in 2018 kicking off Clubbed Thumb’s Summerworks (Playwrights Horizons Superlab).
  • Three other plays have been published by Samuel French.
  • Executive producer on the off-beat comedy series “Driver Ed” which premiered at the 2018 Tribeca Film Festival.
  • She has been a resident at MacDowell, Yaddo, The Millay Colony, and SPACE at Ryder Farm.

Marcus Jackson

Instructor, Poetry [email protected]

  • Author of two poetry collections.
  • His poems appear in The New Yorker, Harvard Review, The New York Times, and The Cincinnati Review.

Fred Leebron

Program Director, Master of Fine Arts in Creative Writing Instructor, Fiction [email protected]

  • Former Wallace Stegner Fellow at Stanford and Fulbright Scholar.
  • Author of five books of fiction, including “Six Figures,” which was a New York Times Notable Book of the Year and became a feature-length film.
  • Co-editor of “Postmodern American Fiction: A Norton Anthology;” and co-author of “Creating Fiction: A Writer’s Companion.”
  • Recipient of an O. Henry Award, a Puschart Prize, a Fine Arts Work Center in Provincetown Fellowship, and two fellowships from the Pennsylvania Council on the Arts.

Instructor, Poetry

  • Author of six books of poetry, including “The Carrying,” which won the National Book Critics Circle Award for Poetry.
  • Her book “Bright Dead Things” was named a finalist for the National Book Award, a finalist for the Kingsley Tufts Poetry Award, and a finalist for the National Book Critics Circle Award.
  • Currently the Poet Laureate of the United States and a MacArthur Foundation “Genius” Fellow.

Rebecca Lindenberg

Instructor, Poetry [email protected]

  • Author of two poetry collections, including the winner of the 2015 Utah Book Award.
  • Awarded an Amy Lowell Fellowship, a National Endowment for the Arts Literature Grant, a Fine Arts Work Center in Provincetown Fellowship, and a residency grant from the MacDowell Arts Colony.
  • Her poetry, lyric essays, and criticism appear in The Believer, Poetry, McSweeney’s Quarterly, American Poetry Review, Conjunctions, and Iowa Review.

Rebecca McClanahan

Instructor, Poetry and Nonfiction [email protected]

  • Author of eleven books, most recently “In the Key of New York City: A Memoir in Essays” and a revised edition of “Word Painting: The Fine Art of Writing Descriptively,” which has sold nearly 50,000 copies.
  • Her work appears in Best American Essays, Best American Poetry, Kenyon Review, Georgia Review, and in anthologies published by Doubleday, Norton, and Penguin.
  • Recipient of two Pushcart Prizes, the Glasgow Award in nonfiction, and four fellowships from the New York Foundation for the Arts and the North Carolina Arts Council.

James McKean

Instructor, Poetry and Nonfiction [email protected]

  • Author of three books of poems and two books of essays.
  • His poetry and nonfiction appear in Poetry, The Atlantic Monthly, The Georgia Review, The Southern Review, The Pushcart Prize Anthology, The Best American Sports Writing, and Poetry Northwest, and have been featured in Ted Kooser’s American Life in Poetry.

Orlando Menes

Instructor, Poetry [email protected]

  • Author of five poetry collections.
  • His poems appear in Poetry, Ploughshares, Harvard Review, The Antioch Review, Hudson Review, Shenandoah, Callaloo, and The Southern Review.
  • Editor of “Renaming Ecstasy: Latino Writings on the Sacred.”
  • Has published translations of poetry in Spanish, including My Heart Flooded with Water: Selected Poems by Alfonsina Storni.

Daniel Mueller

Instructor, Fiction [email protected]

  • Author of three short story collections.
  • His work appears in The Missouri Review, The Iowa Review, Story Quarterly, Story, The Mississippi Review, Henfield Prize Stories, and Playboy.
  • He is the director of the Creative Writing program at the University of New Mexico.

Brighde Mullins

Instructor, Writing for Stage & Screen [email protected]

  • Her plays have been developed and produced in New York, Dallas, Salt Lake City, London, Los Angeles, and San Francisco.
  • Recipient of an NEA Fellowship in Playwriting, a Whiting Foundation Award, a United States Artists Fellowship, and a Guggenheim Fellowship.
  • She has held residencies at Lincoln Center, New York Stage and Film, MacDowell, and Yaddo. She is a Usual Suspect at New York Theatre Workshop and has been a Core Member of the Playwrights’ Center in Minneapolis.
  • Has taught at Harvard, Brown, and the University of Southern California.

Instructor, Fiction [email protected]

  • Author of three novels, including “The Perfect Man,” which won The Commonwealth Writers’ Prize for the Best Book of Europe and South Asia.  His work has been translated into eight languages. 
  • Recipient of a Guggenheim Fellowship and a PEN Beyond Margins Award. 
  • Has been a writer-in-residence at the University of Missouri, Western Michigan, and Northwestern University.

Jenny Offill

Instructor, Fiction [email protected]

  • Author of three novels, including “The Department of Speculation,” named one of the 10 Best Books of 2014 by the New York Times, and shortlisted for the Pen/Faulkner Award and the L.A. Times Fiction Award.
  • Co-editor of two anthologies: “The Friend Who Got Away” and “Money Changes Everything.”

David Payne

Instructor, Fiction [email protected]

  • NY Times Notable author of five novels and a memoir.
  • His work appears in The New York Times, Libération, The Washington Post, and The Oxford American.
  • Has taught at Bennington, Duke, and Hollins.

Susan Perabo

Instructor, Fiction [email protected]

  • Author of two story collections and two novels.
  • Her fiction appears in Best American Short Stories, Pushcart Prize Stories, New Stories from the South, One Story, The Iowa Review, The Missouri Review, and The Sun.
  • She is a Writer in Residence and professor of English at Dickinson College.

Instructor, Nonfiction and Poetry [email protected]

  • Author of multiple books of poetry, nonfiction, and fiction, two of which won the Library of Virginia Book of the Year Award.
  • He is a professor of English at William and Mary College in Virginia.

Robert Polito

Instructor, Poetry and Nonfiction [email protected]

  • Author of numerous books of poetry and nonfiction, including “Savage Art: A Biography of Jim Thompson,” which received the National Book Critics Circle Award.
  • Editor of the Library of America volumes “Crime Novels: Noir of the 1930s & 1940s” and “Crime Novels: American Noir of the 1950s,” as well as “The Selected Poems of Kenneth Fearing.”
  • His poems and essays appear in The New Yorker, The New York Times Book Review, Best American Poetry, Beast American Essays, and Best American Film Writing.
  • Recently served as President of the Poetry Foundation.

Patricia Powell

Instructor, Fiction [email protected]

  • Author of three novels. 
  • The recipient of a PEN New England Discovery Award and a Lila-Wallace Readers Digest Writer’s Award.
  • Has taught at Harvard University, U-Mass, MIT, and Mills College.

Steven Rinehart

Instructor, Fiction [email protected]

  • Author of a story collection and a novel.
  • The recipient of fellowships from the National Endowment for the Arts, the James Michener Center, and the Virginia Center for the Arts.
  • Writes and ghostwrites for a former US President, Fortune 100 CEOs, entrepreneurs, and social activists.
  • He teaches at the Gallatin School of NYU.

Instructor, Fiction [email protected]

  • Author of 12 books of fiction.
  • A two-time National Book Award Finalist, and an Edgar Award Nominee.

Elissa Schappell

Instructor, Fiction [email protected]

  • Author of two books of fiction, including “Use Me,” a runner-up for the PEN/Hemingway Award, a New York Times “Notable Book” and a Los Angeles Times “Best Book of the Year.”
  • Co-editor of two essay anthologies: “Money Changes Everything” and “The Friend Who Got Away”
  • Her fiction and nonfiction appear in One Story, McSweeney’s, BOMB, Interview, the KGB Bar Reader, The Paris Review, The New York Times, The Los Angeles Times, Elle, Vogue, Harper’s Bazaar, and Real Simple.
  • She has taught at NYU, Texas State, and Columbia University.

Dana Spiotta

Instructor, Fiction [email protected]

  • Author of five novels, which have won the St. Francis College Literary Prize and have been a finalist for the National Book Critics Circle Award and the National Book Award.
  • Recipient of a Guggenheim Fellowship, the Rome Prize from the American Academy in Rome, and the American Academy of Arts and Letters John Updike Prize in Literature.
  • She also teaches at Syracuse University.

Maxine Swann

Instructor, Fiction [email protected]

  • Author of three books of fiction.
  • Awarded an O. Henry Prize, a Pushcart Prize, and her work has been included in The Best American Short Stories of 1998 and 2006.

Héctor Tobar

Instructor, Fiction and Nonfiction [email protected]

  • Author of five books of fiction and nonfiction, published in ten languages, including the New York Times bestseller “Deep Down Dark,” which was adapted into a feature film.
  • Work appears in Best American Short Stories, L.A. Noir, The New Yorker, and The Los Angeles Times, and he is currently a contributing writer for the New York Times opinion pages.
  • He is an associate professor at the University of California, Irvine.

Ashley Warlick

Instructor, Fiction [email protected]

  • Author of four novels.
  • Recipient of an NEA Fellowship and the Houghton Mifflin Literary Fellowship.
  • Her work appears in The Oxford American, McSweeney’s, Redbook, and Garden and Gun.
  • She is a partner at M. Judson, Booksellers and Storytellers in Greenville, SC.
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MFA Thesis Workshops Spring 2024

columbia university mfa creative writing faculty

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columbia university mfa creative writing faculty

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Mostly dividing his time between New York City and Tehran, Iran, Salar regularly publishes personal essays and short stories, plus numerous translations of other authors that appear in journals across the world.

A professor at the City University of New York’s CITY COLLEGE campus in Harlem, he teaches workshops in the English Department’s MFA program and also serves as Director of Undergraduate Creative Writing. Website: salarabdoh.com

columbia university mfa creative writing faculty

Author Website

Spring 2020

Spring 2019

Portrait of Michelle Valladeras

She has been anthologized in Language for a New Century: Contemporary Poetry from the Middle East, Asia & Beyond, and The HarperCollins Book of English Poetry by Indians . Her honors include a Pushcart Prize Nomination and she was awarded “The Poet of the Year” by the Americas Poetry Festival of New York. She is currently working on a book about faith called Searching for Tara.

columbia university mfa creative writing faculty

Naima’s second novel,  Didn’t Never Know , is the story of the integration of a public high school in a small Southern town, which sets off a chain of events that bonds two families together in unexpected and complicated ways over the course of their lives. It is forthcoming from Grand Central Publishing.

Naima’s stories and essays have appeared in the  New York Times , the  Rumpus ,  Aster(ix) ,  Kweli ,  The Paris Review Daily , and elsewhere. She has taught writing to students in jail, youth programs, and universities. Naima is currently visiting faculty at the MFA program at City College in Harlem and Antioch University in L.A.

columbia university mfa creative writing faculty

Unger has been a featured writer in book festivals in San Juan, Miami, Los Angeles, Guatemala, Sharjah, Managua, Bogotá, Lima, La Paz, Oaxaca, and Guadalajara.

columbia university mfa creative writing faculty

She received her B.A. and M.A. from the University of Arizona, and her Ph.D. from Stanford University.  She teaches a range of subjects from feminist and critical literary theory, poetics, film studies, contemporary literature, and women’s literature.

columbia university mfa creative writing faculty

He has taught poetry and nonfiction workshops. An independent book editor with an interest in the ways writers engage with the culture, he has also led MFA courses in publishing and authorship.

columbia university mfa creative writing faculty

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columbia university mfa creative writing faculty

UBC’s Creative Writing graduate program offers an intensive, diverse and collaborative environment for crafting literary excellence.

As well as writing workshops and craft seminars, we offer community-building opportunities with Brave New Play Rites, New Shoots, and PRISM international, our literary magazine.

Graduates of our MFA program have achieved success in publishing, filmmaking, theatre, podcasting, television, and many other fields. In addition to producing and publishing original work, graduates are qualified to teach creative writing at the college and university level.

columbia university mfa creative writing faculty

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I chose to pursue graduate studies in creative writing at UBC because I wanted a collaborative, supportive environment in which to write and work. I wanted to engage closely with the diverse voices, ideas and perspectives of other writers, and to learn from these writers in ways that might challenge or surprise me.

Related news, meet our november 2023 mfa grads.

columbia university mfa creative writing faculty

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What postmemory makes possible: A conversation with poets Brandon Shimoda and Victoria Chang

columbia university mfa creative writing faculty

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columbia university mfa creative writing faculty

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Department of English

columbia university mfa creative writing faculty

  • Creative Writing

Creative Writing Faculty

Jehanne dubrow, ph.d..

columbia university mfa creative writing faculty

[email protected]

Office: Auditorium 216

Jehanne Dubrow was born in Italy and grew up in Yugoslavia, Zaire, Poland, Belgium, Austria, and the United States. She is the author of nine poetry collections and three books of creative nonfiction, including most recently Exhibitions: Essays on Art & Atrocity (University of New Mexico Press, 2023). A tenth book of poems, Civilians , will be published by Louisiana State University Press in 2025. Her poems and essays have appeared in The Southern Review, The New England Review, The Colorado Review , and POETRY . http://jehannedubrow.com/

columbia university mfa creative writing faculty

__________________________________

Tarfia Faizullah

columbia university mfa creative writing faculty

Assistant Professor

[email protected]

Office: Auditorium 213

Tarfia Faizullah is the author of Seam (SIU 2014) and Registers of Illuminated Villages (Graywolf 2018). Her work appears in Yale Review , The Nation , Poetry Magazine , Guernica , American Poetry Review , the Academy of American Poets, BuzzFeed , PBS Newshour , and the like, and is reviewed by NPR , Slate Magazine , Paris Review , Boston Review , Ms . Magazine , and others. Her awards include a Fulbright fellowship, three Pushcart Prizes, as well as awards from the Writers League of Texas and a Texas Institute of Arts and Letters. She occasionally serves as faculty at Bread Loaf Writers' Environmental Conference and Sewanee Writers' Conference, among others, when she is not busy being an introvert. In 2016, Harvard Law School recognized Tarfia as one of 50 Women Inspiring Change. https://www.tfaizullah.com/

columbia university mfa creative writing faculty

Corey Marks, Ph.D.

columbia university mfa creative writing faculty

Distinguished Teaching Professor | Director of Creative Writing

940-565-2126

[email protected]

Office: Auditorium 214

Corey Marks is the author of The Radio Tree (New Issues Press, 2012), winner of the Green Rose Prize, and Renunciation (University of Illinois Press, 2000), a National Poetry Series selection. His poems have appeared in New England Review , The Paris Review , Poetry Northwest , Ploughshares , Southwest Review , The Threepenny Review , TriQuarterly , and The Virginia Quarterly Review . He has received a fellowship from the National Endowment for the Arts, the Natalie Ornish Prize from the Texas Institute for Letters, and the Bernard F. Conners Prize from The Paris Review.

columbia university mfa creative writing faculty

Daniel Peña, M.F.A.

columbia university mfa creative writing faculty

[email protected]

Office: Auditorium 205

Daniel Peña is a Pushcart Prize-winning writer and Assistant Professor. Formerly, he was based out of the UNAM in Mexico City where he worked as Fulbright-Garcia Robles Scholar. A graduate of Cornell University and a former Picador Guest Professor in Leipzig, Germany, his writing has appeared in Ploughshares, The Rumpus, the Kenyon Review, Texas Monthly, NBC News, and The New York Times Magazine among other venues. He's currently a regular contributor to The Guardian and the Ploughshares blog. His debut novel, Bang, was published in 2018 from Arte Publico Press to critical acclaim. His debut collection of essays, How to Look Away , is forthcoming from One World/Penguin Random House. He lives in beautiful DFW. https://www.danielpena.me/

columbia university mfa creative writing faculty

Miroslav Penkov, M.F.A.

Professor/ Distinguished Teaching Professor

[email protected]

Office: Auditorium 213C

Miroslav Penkov was born in 1982 in Bulgaria. He moved to America in 2001 and eventually completed an MFA in creative writing at the University of Arkansas. He is the author of the story collection, East of the West (Farrar, Straus and Giroux, 2011), and the novel, Stork Mountain (Farrar, Straus and Giroux, 2016). His stories have won the BBC International Short Story Award 2012 and The Southern Review 's Eudora Welty Prize and have appeared in A Public Space, Granta, One Story, The Best American Short Stories 2008 , The PEN/O. Henry Prize Stories 2012 , and The Best American Nonrequired Reading 2013. He was a finalist for the 2012 William Saroyan International Prize for Writing, and the Steven Turner Award for First Fiction by the Texas Institute of Letters. His work has been translated in over twenty languages. He is currently a fiction editor of American Literary Review . http://www.miroslavpenkov.com

columbia university mfa creative writing faculty

Sarah Perry, M.F.A

columbia university mfa creative writing faculty

[email protected]

Office: Auditorium 206B

Sarah Perry (she/they) is memoirist and essayist who writes about love, trauma, gender-based violence, queerness, and the power dynamics that influence those concerns. She is the author of the memoir After the Eclipse , which was named a New York Times Book Review Editors' Choice and a Barnes and Noble Discover Great New Writers pick. Perry is the recipient of a 2020-2022 Tulsa Artist Fellowship, the 2018 Betty Berzon Emerging Writer Award, and fellowships from the Edward F. Albee Foundation, VCCA, Playa, and The Studios of Key West. She holds an M.F.A. in nonfiction from Columbia University. She was the 2019 McGee Distinguished Professor of Creative Writing at Davidson College, and has also taught at Columbia University, Manhattanville College, and elsewhere. Her writing has appeared in Off Assignment , Elle magazine , The Guardian , and other outlets.

Originally from Maine, Perry now splits her time between Denton, Texas and Tulsa, Oklahoma. She is working on two books: a sequel memoir titled The Book of Regrets and a collection of one hundred short essays called Sweet Nothings . https://www.sarahperryauthor.net/

columbia university mfa creative writing faculty

John Tait, Ph.D.

columbia university mfa creative writing faculty

Associate Professor

[email protected]

Office: Auditorium 206A

John Tait's short stories have appeared in Narrative, Crazyhorse, Southwest Review, TriQuarterly, Prairie Schooner, The Sun , and elsewhere and have been reprinted in New Stories from the Southwest and the Crazyhorse 50th Anniversary Anthology . He has been the recipient of a Canada Council for the Arts Grant for Emerging Writers and has also received the Everett Southwest Literary Award, the Tobias Wolff Fiction Award, the Rick DeMarinis Award, as well as first prize in the H. E. Francis Literary Competition, the Dogwood Fiction Awards, and the River City Fiction Awards. He is currently fiction co-editor of American Literary Review . www.johntait.org

Jill Talbot, Ph.D.

columbia university mfa creative writing faculty

Associate Professor | Editor, American Literary Review

[email protected]

Office: Auditorium 213B

Jill Talbot is the author of The Way We Weren't: A Memoir and Loaded: Women and Addiction , the co-editor of The Art of Friction: Where (Non) Fictions Come Together , and the editor of Metawritings: Toward a Theory of Nonfiction . Her writing has appeared in journals such as AGNI, Brevity, Colorado Review, Diagram, Gulf Coast, Hotel Amerika, Passages North , The Normal School, and The Paris Review Daily and has been recognized four times in The Best American Essays . https://www.jilltalbot.net/

columbia university mfa creative writing faculty

Bruce Bond, Ph.D.

Regents Professor Emeritus

columbia university mfa creative writing faculty

[email protected]

Office: 213 Auditorium

Bruce Bond is the author of thirty-two books including, most recently, Immanent Distance: Poetry and the Metaphysics of the Near at Hand (U of MI, 2015), For the Lost Cathedral (LSU, 2015), The Other Sky (Etruscan, 2015), Black Anthem (Tampa Review Prize, U of Tampa, 2016), Gold Bee (Helen C. Smith Award, Crab Orchard Award, Southern Illinois University Press, 2016), Sacrum (Four Way Books, 2017), Blackout Starlight: New and Selected Poems 1997-2015 (L.E. Phillabaum Award, LSU, 2015), Rise and Fall of the Lesser Sun Gods (Elixir Book Prize, Elixir, 2018), Frankenstein's Children ( Lost Horse, 2018), Dear Reader (Parlor, 2018), Plurality and the Poetics of Self (Palgrave, 2019), Words Written Against the Walls of the City (LSU, 2019), Scar (Etruscan, 2020), The Calling (Parlor, 2021), Behemoth (New Criterion Poetry Prize, Criterion Books, 2021), Patmos (Juniper Prize, U of MA), Choreomania (Madhat, 2022), Liberation of Dissonance (Nicholas Schaffner Award for Literature in Music, Schaffner Press, 2022), Invention of the Wilderness (LSU, 2022), and Therapon (co-authored with Dan Beachy-Quick, Tupelo Press, forthcoming), The Mirror, the Patch, the Telescope (co-authored with David Keplinger, MadHat, forthcoming), and Vault (Richard Synder Memorial Prize, Ashland Poetry Press, forthcoming). His work has appeared in numerous journals and anthologies, including seven editions of Best American Poetry . Other prizes include the Allen Tate Award, the Lynda Hull Memorial Poetry Award, two TIL Best Book of Poetry Prizes, the Meringoff Prize, the Colladay Award, the Richard Peterson Prize, the Meridian Editors Award in Poetry, the Knightville Poetry Award, the Laurence Goldstein Award, the River Styx International Poetry Award, and fellowships from the NEA and the Texas Institute for the Arts. At the University of North Texas, he won the Eminent Professor Award, the Toulouse Scholar Award, the Creative Impact Award, and the David Kesterson Award for Graduate Teaching. Presently at the university, he is a Regents Emeritus Professor of English.

columbia university mfa creative writing faculty

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columbia university mfa creative writing faculty

Christy Monet (Brandly), September 2023 – August 2024 Dr. Monet Brandly is a political scientist and Slavicist specializing in intellectual history as viewed from the perspectives of the history of political thought and literary studies. She conducts research and teaches in the fields of political theory, literature, and history, with a focus on Russophone political thought and its engagements with empire, liberalism, and American culture over the last two centuries. She earned her Ph.D. in both Political Science and Slavic Languages and Literatures from the University of Chicago in 2023. She also holds an M.A. in International Relations from the University of Chicago, as well as a B.A. in Political Science from St. Mary’s College of Maryland. Her current book project on the family novel in Imperial Russia explores the ways in which the development of liberal thought in 19th-century Russia created space for the reimagining of both the form of the family and its role in the political—a reimagining in stark contrast to the eventual removal of the family from the political in Western liberal thought. This research is based, in part, on research undertaken in both Moscow and St. Petersburg in the archives of the Russian State Library and the Pushkin House, respectively. Her doctoral dissertation and current book project have been supported by an Alfa Fellowship, a University of Chicago Harper Dissertation-Year Fellowship, an Institute for Humane Studies Publication Accelerator Grant, and a Princeton University Press Book Proposal Grant. This is her first post-doctoral academic appointment, although she previously worked for the Moscow-based publishing house Novoe literaturnoe obozrenie (NLO) as an editorial assistant and translator during her graduate studies.

columbia university mfa creative writing faculty

Mina Magda, September 2023 – August 2024 Dr. Magda is a scholar of Russian literature, visual art, and performance spanning the long nineteenth century and early Soviet period. Her interdisciplinary research centers politics of racial representation, gendered labor, and colonial culture. Becoming Modern: Negrophilia, Russophilia, and the Making of Modernist Paris, her current book project, examines the aesthetic interplay among modernists of the Russian and Black diasporas in Paris—namely, Josephine Baker and the Ballets Russes—the visual technologies of race-making that framed their careers, and their shared imbrication in the histories of celebrity and coloniality. She demonstrates how the comparison between Baker and the Ballets Russes helps us think of racial formation as a network of political, aesthetic, and commercial negotiations through which we can examine the limits and relational contingencies of racial self-determination, and ask at what cost conceptions of modern subjecthood were afforded. Magda received her PhD in Slavic Languages and Literatures at Yale University in 2023 and holds an MA in Russian and Slavic Studies from New York University. Her doctoral dissertation was supported by fellowships at the Houghton Library and Beinecke Library and the MacMillan International Dissertation Research Fellowship.

columbia university mfa creative writing faculty

Anastasiia Vlasenko, September 2022-August 2023 Dr. Vlasenko is a postdoctoral fellow who studies electoral politics and democratization with specialization in politics of Ukraine and Russia. Her monograph project, ‘The Electoral Effects of Decentralization: Evidence from Ukraine’ investigates how decentralization reform affects electoral mobilization and diversity in a weakly institutionalized democracy. Vlasenko is particularly interested in transitional period reforms, propaganda, legislative politics, and forecasting. Her research has been published in the Journal of Politics.  She received her Ph.D. from the Department of Political Science at Florida State University in 2022, M.A. in Political Science from Florida State University in 2018, M.A. in International Relations from New York University in 2016, and M.Sc. in European Affairs from Lund University in 2013, and B.A. in Political Science from the National University of Kyiv-Mohyla Academy in 2011. In 2020-2021, she worked at Hertie School in Berlin as a visiting researcher. In 2014-2016, Vlasenko was a Fulbright scholar at New York University. At Florida State University, she taught courses on comparative politics and post-Soviet studies.

columbia university mfa creative writing faculty

Margarita Kuleva, December 2022-November 2023 Dr. Kuleva is a sociologist of culture, interested in exploring social inequalities in the art world and cultural industries in Russia and the UK. Primarily, she works as an ethnographer to discover the ‘behind the scenes’ of cultural institutions to give greater visibility to the invisible workers of culture. Kuleva received her PhD in art sociology from the National Research University Higher School of Economics in collaboration with Bielefeld University in 2019. The dissertation entailed a comparative study of the careers and professional identities of young cultural workers in visual art sectors in Moscow, St Petersburg and London. Based on more than 70 in-depth interviews, it was one of the first systematic studies of post-Soviet creative labour. Some findings from these studies were recently presented in journal publications including  Cultural Studies  (2018) and  International Journal of Cultural Studies  (2019), as well as  European Journal of Cultural Studies  (2022). Her current research project,  The Right to Be Creative , focuses on hidden political struggles at contemporary Russian cultural institutions. Dr. Kuleva previously worked at National Research University Higher School of Economics as an Associate Professor and held the position of Chair of the Department of Design and Contemporary Art in St Petersburg. In 2019-2020, Kuleva was a fellow of the Center for Art, Design and Social Research (Boston, Massachusetts). As a researcher, artist, and curator, she has collaborated with a number of Russian and international cultural institutions, including Manifesta Biennale, Pushkin House in London, Boston Center for the Arts, Garage MoCA, Goethe Institute, Helsinki Art Museum, Street Art Museum, Ural Industrial Biennale and New Holland St. Petersburg.

Past Post-Doctoral Fellows

columbia university mfa creative writing faculty

Nikolay Erofeev, March 2022-May 2022

Dr. Erofeev is an architectural historian whose work focuses on socialist architecture and urban planning. His monograph project, ‘Architecture and housing in the Comecon’ looks at architecture and urbanisation patterns produced by global socialism. Combining in-depth scrutiny of the design of the built environment with an analysis of the everyday processes of subject-making that shaped the socialist project in Mongolia, the project aims to provide a new understanding of the urban and domestic spaces produced in the Global South. Erofeev received his D.Phil (PhD) in History from the University of Oxford in 2020 where he was a Hill Foundation Scholar and his specialist degree (M.A.) in the History of Art from the Moscow State University in 2014. His doctoral project discussed the design and production of prefabricated mass housing in the Soviet Union and argued the architectural story of this understudied ‘bureaucratic modernism’ represents a much more creative and influential development in the history of modern architecture as a whole. Erofeev had academic appointments at Manchester Metropolitan University where he was teaching Master of Architecture dissertations. Erofeev is currently conducting research at the University of Basel as a postdoctoral fellow supported by the Swiss Government Excellence Scholarship.

columbia university mfa creative writing faculty

Jennifer Flaherty, September 2020-August 2021

Dr. Flaherty is a postdoctoral fellow specializing in nineteenth- and twentieth- century Russian literature, culture and intellectual history, with current research interests in Hegel’s influence on Russian thought as well as labor theory. Her book project on representations of peasants investigates how the stylistic innovations of nineteenth-century Russian literature express the tensions of modernity that lie at the heart of its agrarian myth. She received her Ph.D. in Slavic Languages and Literatures from the University of California at Berkeley in 2019, her M.A. in Humanities from the University of Chicago in 2010, and her B.A. in Philosophy from Appalachian State University in North Carolina. She’s had academic appointments as a visiting assistant professor in the department of Modern Languages and Literatures at the College of William of Mary, and as a lecturer at in the Slavic department at UC Berkeley. Flaherty has conducted research as an American Councils Fellow in Moscow and with Harvard’s Institute for World Literature. Her doctoral dissertation received support from UC Berkeley’s Townsend Center for Humanities. She has a forthcoming article in The Russian Review and has published in Tolstoy Studies Journal and PMLA.

columbia university mfa creative writing faculty

Nataliia Laas, September 2022-August 2023 Dr. Laas specializes in political economy, consumer society, gender, the history of the social sciences, and environmental history in the Soviet Union. She currently works on a book manuscript, provisionally titled A Soviet Consumer Republic: Economic Citizenship and the Economy of Waste in the Post-WWII Soviet Union. This project departs from the standard economy-of-shortages narrative and offers a different dimension, an “economy of waste,” to describe Soviet consumption. It argues that after World War II and especially with the onset of Cold War competition with the West, in addition to periodic shortages the Soviet state regularly confronted a new challenge: glutted markets, overproducing factories, and excess commodities. Unlike shortages that were often vindicated by the official Bolshevik ideology as the people’s sacrifice on the road to the country’s industrialization and economic growth, excess and waste were endemic to the malfunctioning of a command economy but far more difficult for authorities to explain and justify. By focusing on the emergence of socialist market research and consumer studies, the book explores how the economy of waste reshaped relationships between the state and its citizens. Laas received her PhD in History from Brandeis University in 2022. Her doctoral dissertation was supported by a Harriman Institute Carnegie Research Grant and a Mellon Dissertation Completion Fellowship from Brandeis, among others.

columbia university mfa creative writing faculty

Emily Laskin, September 2022-August 2023

Dr. Laskin specializes in the literature of Central Asia, working extensively in Russian and Persian. Her current book project,  No Man’s Land: The Geopoetics of Modern Central Asia , focuses on the literature of the so-called Great Game, the Russo-British rivalry for influence in Central Asia, putting Russian and British imperial writing on Central Asia in dialogue with contemporaneous Persian literature published across the region, from Kabul, to Bukhara, to Istanbul. Laskin’s recent work on the literature of the Great Game appears in  Novel: A Forum on Fiction , and she is an editor of the forthcoming volume  Tulips in Bloom: An Anthology of Modern Central Asian Literature . She received her Ph.D. in 2021 in Comparative Literature at the University of California, Berkeley, and also holds an M.A. in Russian, East European, and Eurasian Studies from Columbia University. Her doctoral dissertation was supported by a Mellon/ACLS fellowship and a Berkeley Dean’s Fund grant for archival research in Moscow and St. Petersburg.

columbia university mfa creative writing faculty

Vladimir Ryzhkovskyi, November 2020-October 2021

Dr. Ryzhkovskyi studied Russian, Soviet and East European history in Ukraine, Russia, and the US, where he recently earned a PhD from Georgetown University. By foregrounding the link between empire, culture, and knowledge, Ryzhkovskyi’s research probes the place of Russia and the Soviet Union within global history, particularly in relation to forms of Western imperialism and colonialism. His current book project, Soviet Occidentalism: Medieval Studies and the Restructuring of Imperial Knowledge in Twentieth-Century Russia, explores the twentieth-century history of medieval studies in late imperial and Soviet Russia as a model for demonstrating the crucial importance of Soviet appropriation of Western culture and knowledge in the post-revolutionary reconstituting and maintaining the empire following 1917. In addition to pursuing the imperial and postcolonial theme in the history of Soviet modernity, Ryzhkovskyi has published articles and essays on the history of late imperial and Soviet education, the history of late Soviet intelligentsia, and Soviet philosophy. A volume of unpublished writings by the Soviet historian and philosopher Boris Porshnev, co-edited with Artemy Magun, is forthcoming from the European University Press in 2021.

columbia university mfa creative writing faculty

Delgerjargal Uvsh, November 2020-October 2021

Dr. Uvsh received her Ph.D. in political science from the University of Wisconsin–Madison in 2020. She conducts research and teaches primarily in the field of comparative politics, with a focus on post-Soviet politics, the political economy of natural-resource dependence, institutional and regime change, and research methods. Using Russia as a critical case, Delgerjargal’s book project, “Reversal of the Resource Curse? Negative Revenue Shocks and Development in Russia and Beyond,” develops a theory of when and how declines in natural-resource revenue (negative revenue shocks) incentivize political elites to support private business activity and reverse the “resource curse.” Delgerjargal expanded her interest in the relationship between natural resources and institutional changes in a forthcoming book chapter, where she explores the short-term effects of negative revenue shocks on political regimes. Another extension, published in Land Use Policy , analyzes novel satellite data on forest-cover change in western Russian regions and shows that the dynamics of forest growth and deforestation have been different in the first versus the second decade of Russia’s transition. You can read more about Delgerjargal’s work at www.delgerjargaluvsh.com .

columbia university mfa creative writing faculty

Sasha de Vogel, September 2021-August 2022

Dr. de Vogel studies the politics of authoritarian regimes and collective action, particularly in Russia and the post-Soviet region. Her research examines when and why autocratic regimes promise concessions to protestors, how these promises affect mobilization and their impact on policies. Her research underscores that reneging, or deliberately failing to implement concessions as promised, is a fundamental strategic dimension of concessions. Her book project focuses on protest campaigns against the Moscow City government about policy-related grievances in the mid-2010s. During this period, more protest campaigns were promised a concession than experienced a detention, yet these concessions rarely resolved protesters’ grievances. Other research interests include comparative politics, authoritarian institutions, repression, authoritarian responsiveness and urban politics. Sasha received her PhD in Political Science from the University of Michigan in 2021, and also holds an MA in Russian, Eastern European and Eurasian Regional Studies and a BA in Slavic Studies from Columbia University. Her research has been supported by the National Science Foundation and the Carnegie Corporation/Harriman Institute, among others.

columbia university mfa creative writing faculty

columbia university mfa creative writing faculty

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2020 Outreach Courses

A grid of images suggesting people writing, reading, using laptops to work, and joining a Zoom call for a conversation.

CREATIVE WRITING, DISABILITIES AWARENESS, AND INCLUSION COURSE SERIES:

11/5/2020—12/22/2020 (Near East and Northern African regions, though open to all)

This short course series contains six one-hour courses (each with a 30-minute lecture and two 15-minute assignment sections). Courses are captioned/subtitled in Arabic and in English. Each course is taught by a different disabilities writer/activist.

The courses in the series are released on a weekly basis. To view the course series on your own schedule, please click here: bit.ly/DAwritingcourse

Instructors include Sheila Black , a poet, writer, and disabilities activist and currently director of development at the Association of Writers and Writing Programs (AWP), the main professional organization for creative writing programs; Ron Marz , comic book writer known for the Green Lantern and the Silver Surfer, but also for an international creative collaboration  project in 2012 where he and others, at the invitation of the Syrian government, created the Silver Scorpion, a Syrian-American teenage superhero who is wheelchair-bound; Elsa Sjunesson , Hugo, Aurora, and British Fantasy awards winner, and an activist for disability rights; and Melody Moezzi , writer, lawyer, and disabilities activist, a United Nations Global Expert and an Opinion Leader for the British Council's Our Shared Future initiative, and who, several years back, was part of an ECA program involving young American-Muslim leaders.

WORD/MOVEMENT

6/15/2020 through 8/1/2020   (Kazakhstan, Latvia, Russia)

The Movement sessions of this course work with aspects of meaning-making in dance, with establishing context and point-of-view, and with generation of movement and experimentation with structure. These sessions form the starting point of each Word session, which are in creative writing workshop format. Participants experiment with form and with language, fusing responses, insights, and reactions from the Movement sessions into their creative writing.

View text galleries of some of the course projects and assignments submitted by the Russian-speaking and Latvian-speaking participants here:   http://www.distancelearningiwp.org/wordmovementtextgalleries

(AFTERNOTE: This course’s emphases on diverse perspectives and on resiliency, occurring as it did in the midst of an unexpected global pandemic, both echoed and intersected with the myriad types of virtual artistic and issue-oriented collaborations appearing across the United States during this time.)

WOMEN'S CREATIVE MENTORSHIP PROFESSIONALIZATION PROJECT

4/15/2020 through 10/15/2020  (Argentina, Botswana, Colombia, Kenya, Mauritius, Mexico, Somalia, South Africa)

This project furthers already-established connections in the IWP's Women's Creative Mentorship (WCM) Project ,  broadens international networks and collaborations, and amplifies the many threads of conversation established by the mentor-mentee groups. A series of professional practice seminars anchored and applied these topics.

Participants were invited to create digital collages of their work in this project, and, given the COVID-19 pandemic, their work beyond it.

Click below to view the WCM participants' short videos, their texts and images, and their writing resource lists in response to being asked to describe their past few months, including the balancing/un-balancing of life, COVID-19, writing, and global and local concerns: http://www.distancelearningiwp.org/digitalcollageswmp2020

Upcoming Events

  • Feb 15 BMindful Holy Days: Parinirvana (Buddhism) Location: University of Iowa Division of Diversity, Equity, and Inclusion -->
  • Jan 28 — May 26 Write at the Stanley: A Generative Writing Workshop Location: Stanley Museum of Art , Visual Classroom -->
  • Feb 03 — Dec 05 Art & Write Night Location: University of Iowa Museum of Natural History , Hageboeck Hall of Birds (Bird Hall, third Floor) -->
  • Mar 10, 7:08 pm BMindful Holy Days: Ramadan (Islam) Location: University of Iowa Division of Diversity, Equity, and Inclusion -->
  • Lines & Spaces
  • Fall Residency
  • Between the Lines
  • Summer Institute
  • Crafting the Future
  • Women’s Creative Mentorship Project
  • International Conferences
  • Life of Discovery
  • Silk Routes
  • US Study Tours

Happening Now

In NY Times, Bina Shah worries about the state of Pakistani—and American—democracy.

“I went to [Ayodhya] to think about what it means to be an Indian and a Hindu... ”  A new essay by critic and novelist Chandrahas Choudhury .

In the January 2024 iteration of the French/English non-fiction site Frictions, T J Benson writes about “Riding Afrobeats Across the World.” Also new, a next installment in the bilingual series featuring work by students from Paris VIII’s Creative Writing program and the University of Iowa’s NFW program.

in NYTimes , Sanam Maher examines a new book about women defending themselves when the justice system in their country won’t.

The notorious Paris Review in-depth "Art of Fiction" interview with YU HUA (paywall) also includes an interesting list of recommended readings (free) for his creative writing students.

Find Us Online

Ministry of Foreign Affairs - Sri Lanka

Medical Faculty of University of Peradeniya Collaborates with Moscow City Clinical Hospital

columbia university mfa creative writing faculty

A video-conference was held between the Medical Faculty of University of Peradeniya and Moscow City Clinical 52 to discuss about specified areas and aspects for further collaboration in experts’ opinion exchange, online interaction, research and education, and signing of an MOU between the University and the Clinical Hospital.

In his introductory remarks, Ambassador Prof. M.D. Lamawansa underlined the first steps to establish links between the two institutions. Dean of the Medical Faculty Prof. Asiri Abeyagunawardena spoke about the main activity of the Center for Education, Research and Training on Kidney Diseases of the University with specific attention to the prevalence of chronic kidney disease of unknown origin in the country.

Prof. Thushara Kudagammana presented on paediatric allergic diseases and asthma in Sri Lanka, highlighting the pressing issues and developments with regard to diagnostics and therapeutic options, training and research while Dr. Champa Ratnatunga made a presentation on covering the general information on Laboratory Immunology, laboratory infrastructure, and specified the areas where diagnostics and research capabilities need to be further developed.

From Russian side, Dr. Darya Fomina briefed about the clinical and scientific resources of the regional center for allergy and immunology, focal problems and achievements, and ongoing projects on international cooperation and Dr. Oleg Kotenko spoke about the history of Moscow City Clinical and Scientific Center of Nephrology, Kidney Transplant Pathology and Urology, developed methodology, cumulative experience, structure and innovative multidisciplinary telemedicine approaches of the center.

During the meeting the participants expressed their readiness to cooperate in the possible areas of mutual benefit.

Moscow City Clinical Hospital was represented by its President Prof. Vladimir Vtorenko and his experts. From the University of Peradeniya, Dean of the Medical Faculty Prof. Asiri Abeygunawardana and his professional team took part in the discussion.

Ambassador Prof. M.D. Lamawansa and the Embassy team facilitated the meeting.

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පේරාදෙණිය විශ්වවිද්‍යාලයේ වෛද්‍ය පීඨය හා මොස්කව් නුවර සායනක රෝහල අතර

වෛද්‍ය පර්යේෂණ හා ප්‍රතිකාර පිළිබඳ අත්දැකිම් බෙදා ගැනීමේ වැඩසටහනක්

  ශ්‍රී ලංකාව හා මොස්කව් නුවර වෛද්‍ය පර්යේෂණ හා ප්‍රතිකාර පිළිබඳ අත්දැකිම් බෙදා ගැනීමේ වැඩ සටහනක් ඉකුත් සතියේ ආරමිභ විය. මෙහි ප්‍රථම වැඩසටහන ලෙස පේරාදෙණිය විශ්වවිද්‍යාලයේ වෛද්‍ය පීඨය හා මොස්කව් නුවර අංක 52 සායනක රෝහල අතර වීඩියෝ තාක්ෂණය ඔස්සේ  ළමා රෝග, වකුගඩු බද්ධ කීරිම, ප්‍රතිශක්තිකරණය හා රසායනාගාර කටයුුතු ආදි විෂයයන් රැසක අත්දැකීම් බෙදා ගනු ලැබීය.

රුසියානු සමුහාණ්ඩුවේ ශ්‍රී ලංකා තානාපති විශේෂඥ වෛද්‍ය මහචාර්ය එම්.ඩි. ළමාවංශ මහතා ගේ මෙහෙයවීම අනුව මෙම වෛද්‍ය පර්යේෂණ හා ප්‍රතිකාර අත්දැකීම් හුවමාරු වැඩසටහන ආරම්භ කර ඇත. ඉකුත් 5දා පැවැති මෙහි මුල්ම වැඩ සටහනට පේරාදෙණිය විශ්වවිද්‍යාලයේ වෛද්‍ය පීඨයේ පීඨාධිපති මහචාර්ය ආසිරි අබේගුණවර්ධන ළමා අසාත්මිකතා හා ප්‍රතිශක්ති විද්‍යාව පිළිබඳ විශේෂඥ වෛද්‍ය තුෂාර කුඩගමමන, ළමා වෘක්කවේද වෛද්‍ය ෂෙනාල් තල්ගහගොඩ, වැඩිහිටි වෘක්කවේද වෛද්‍ය රංජිත් අබේසේකර, වකුගඩු ව්‍යාධිවේදි වෛද්‍ය සුලෝචනා විජේතුංග, ප්‍රතිශක්ති විද්‍යාව පිළිබඳ විශේෂඥ වෛද්‍ය මහාචාර්ය සංජය අධිකාරි, ක්ෂුද්‍රජීව විද්‍යාව හා රසායනාගාර ප්‍රිශක්ති විද්‍යාව පිළිබඳ විශේෂඥ වෛද්‍ය චම්පා රත්නතුංග යන මහත්ම මහත්මීන් සමඟ මොස්කව් අංක 52 සායනික රෝහලේ සභාපති මහාචාර්ය විලැඩිමීර් විටෝරෙන්කෝ, අසාත්මික හා ප්‍රතිශක්තිකරණ මධ්‍යස්ථානයේ ප්‍රධානි වෛද්‍ය චාරියා ෆෝමිනා, වකුගඩු බද්ධ කීරීමේ ව්‍යාධි විද්‍යාව පිළිබඳ විද්‍යාත්මක මධ්‍යස්ථානයේ ප්‍රධානි ඔලෙක් කොටෙන්කෝ ජාත්‍යන්තර සහයෝගිතා දෙපාර්තමේන්තුවේ ප්‍රධානි වෛද්‍ය වට්යානා කිරිලෝවා යන මහත්ම මහත්මින් මෙම වැඩ සටහනට සම්බන්ධ  වී සිටියහ.

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  1. Writing

    The Columbia University MFA Writing Program is highly regarded for its rigorous approach to literary instruction and for its faculty of acclaimed writers and editors who are devoted and dedicated teachers. The faculty, the students, and the curriculum represent and foster a full range of artistic and literary diversity.

  2. Creative Writing < Columbia College

    The Creative Writing Program in The School of the Arts combines intensive writing workshops with seminars that study literature from a writer's perspective. Students develop and hone their literary technique in workshops.

  3. Columbia University School of the Arts

    Columbia Artist/Teachers (CA/T) provides MFA teachers with training and teaching opportunities on and off campus, with students of all ages and levels. Our Word, a student group promoting diversity within the Writing Program and in the broader literary community. Columbia Journal, a student-run literary magazine.

  4. Writing Program Thesis Anthology

    This approach to writing is evident across the program's curriculum, in our faculty, among speakers at our Creative Writing Lecture and Nonfiction Dialogue series, as well as our contributors to poetry readings and symposia. Our location in New York City provides connection to the nation's literary and publishing nexus.

  5. Film

    The Film MFA programs —in Screenwriting & Directing and in Creative Producing, recently joined by Writing for Film and Television —are among the world's premiere training grounds for emerging filmmakers. Since the Film MFA at Columbia began in 1966, it has been renowned for the global success of its alumni, including top prizes at the Oscar ...

  6. Literary Arts

    Home Arts at Columbia Literary Arts Literary Arts Opportunities for study and practice of writing and literature abound at Columbia. Aspiring writers may major in creative writing as undergraduates or pursue an MFA in Writing in fiction, nonfiction, or poetry at the School of the Arts.

  7. Creative Writing Master Degree Program

    As a full- or part-time student in the Creative Writing MFA program at Columbia, you'll be a member of a vibrant community of writers of fiction, nonfiction, poetry, and hybrid work across genres. Innovative and exploratory approaches are encouraged, as are more traditional approaches to prose and/or poetic forms.

  8. Faculty

    2023-2024 Visiting Graduate Faculty ... among other venues. An independent book editor, he also teaches poetry and publishing in the MFA creative writing program at the City College of New York. ... She received her MFA from Columbia University School of the Arts, where she was a Creative Writing Teaching Fellow in 2017. ...

  9. MFA in Creative Writing Faculty

    Hal Ackerman Instructor, Writing for Stage & [email protected] Former co-chair of the Screenwriting Program at UCLA. His play, Testosterone: How Prostate Cancer Made a Man of Me, received the William Saroyan Centennial Prize for Drama and won Best Script at the 2011 United Solo Festival. He has sold material to all the broadcast networks and

  10. Creative Producing MFA Curriculum

    Film MFA Program: Tuesday, December 19, 2023 @ 11:59 PM ET. Information Session. Sunday, November 19, 2023 11 AM ET Watch Online Q&A Sessions. Film MFA - Creative Producing Tuesday, December 5, 2023 Listen Online. Film MFA - Screenwriting & Directing AND Writing for Film & Television Thursday, December 7, 2023 Listen Online

  11. Graduate Admissions

    Applications for the 2024-2025 academic year are open from October 15, 2023 - January 5, 2024. Our application deadline is in early January for classes beginning the following July (Optional Residency) or September (On Campus and Joint Theatre/Film). Acceptance notices are sent in March. All applicants will be contacted by email, whether ...

  12. Creative Writing

    Study with award-winning faculty in a student-focused creative writing program that blends the best of traditional workshop and leading edge pedagogy. UBC Creative Writing offers world-class writing programs at the undergraduate, BFA and MFA level, on-campus and by Distance Education.

  13. Creative Writing

    MFA APPLICATION DEADLINES: January 15 for priority admission and funding consideration, February 15 to still be considered for possible funding, and April 15 to still be considered for fall admission. Please follow this link to start your MFA in Creative Writing application. INTERNATIONAL STUDENTS: Mason's campus is a richly diverse and dynamic ...

  14. MFA Thesis Workshops Spring 2024

    Rosario holds an MFA from Columbia University, where she has taught. She was formerly on faculty at Texas State University and a Visiting Scholar in the MIT Comparative Media Studies/Writing Program. Currently, Rosario is the 2017-18 Schumann Visiting Professor in Democratic Studies in the Latina/o Studies Program at Williams College and also ...

  15. Columbia University

    Columbia University, officially Columbia University in the City of New York, is a private Ivy League research university in New York City.Established in 1754 as King's College on the grounds of Trinity Church in Manhattan, it is the oldest institution of higher education in New York and the fifth-oldest in the United States.. Columbia was established as a colonial college by royal charter ...

  16. Graduate Programs (MFA)

    Graduate. UBC's Creative Writing graduate program offers an intensive, diverse and collaborative environment for crafting literary excellence. As well as writing workshops and craft seminars, we offer community-building opportunities with Brave New Play Rites, New Shoots, and PRISM international, our literary magazine.

  17. Creative Writing Faculty

    Miroslav Penkov was born in 1982 in Bulgaria. He moved to America in 2001 and eventually completed an MFA in creative writing at the University of Arkansas. He is the author of the story collection, East of the West (Farrar, Straus and Giroux, 2011), and the novel, Stork Mountain (Farrar, Straus and Giroux, 2016).

  18. Post-Doctoral Fellows

    Current Post-Doctoral Fellows. Christy Monet (Brandly), September 2023 - August 2024. Dr. Monet Brandly is a political scientist and Slavicist specializing in intellectual history as viewed from the perspectives of the history of political thought and literary studies. She conducts research and teaches in the fields of political theory ...

  19. Columbia University Mfa Creative Writing Faculty

    599 Orders prepared 100% Success rate Columbia University Mfa Creative Writing Faculty Jason Experts to Provide You Writing Essays Service. You can assign your order to: Basic writer. In this case, your paper will be completed by a standard author. It does not mean that your paper will be of poor quality.

  20. 2020 Outreach Courses

    It was taught by two expert practitioners: journalist and novelist Alisa Ganieva (Moscow; IWP Between the Lines Instructor, Fall Resident '12 & '18) and journalist Jen Percy (New York City; MFA degrees from the Iowa Writers' Workshop and the University of Iowa's Nonfiction Writing Program, faculty in the Creative Writing MFA Program ...

  21. Medical Faculty of University of Peradeniya Collaborates with Moscow

    A video-conference was held between the Medical Faculty of University of Peradeniya and Moscow City Clinical 52 to discuss about specified areas and aspects for further collaboration in experts' opinion exchange, online interaction, research and education, and signing of an MOU between the University and the Clinical Hospital.