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Creative Writing Program
The Creative Writing Program at the University of Oregon is a two-year, fully-funded residency in which Master of Fine Arts (MFA) students concentrate in either poetry or fiction. The program emphasizes the workshop, integrating concentrated time for writing with craft seminars and individualized reading tutorials. Each year we invite six writers for our Reading Series: recently we’ve hosted Nana Kwame Adjei-Brenyah, Elizabeth McCracken, and Justin Torres on the fiction side; in poetry, Ocean Vuong, Solmaz Sharif, and Robin Coste Lewis. We offer two tracks for undergraduate study: a minor in Creative Writing , with workshops, seminars, and literature courses, as well as the Walter and Nancy Kidd Creative Writing Workshops , a unique yearlong studio experience in which students pursue their passion for creative writing in small classes with the support of peers and a graduate mentor. Follow us on Instagram to learn more about our program.
Diversity Statement
Creative Writing News and Events
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What You Can Do with a Creative Writing Degree
Our alumni have a long history of success with publishing, translation, fellowships, and prizes. Recent graduates have received Wallace Stegner Fellowships, the Dylan Thomas Award (University of Wales), the Amy Lowell Scholarship, the Philip Levine Prize in Poetry, the Rona Jaffe Foundation Writers’ Award, and other honors. Many of our graduates have launched successful careers working for:
- Newspapers, magazines, and book publishers
- Media companies
- Colleges and universities
- Marketing and advertising agencies
- Research institutes
Careers for Undergraduates
Careers for Graduate Students
How a Creative Writing MFA Enhances Your Life
“My time in the MFA was incredibly enriching for both my work and my life. The program's dual commitments to the tradition and our own individual sensibilities proved invaluable for me. The lessons learned therein continue to inform and instruct my poetry as well as my living.”
—Loїc-Aime-Mulatris, MFA in poetry, '21
Our Degree Programs
Students in the Creative Writing Program can pursue a minor or an MFA. We also offer Kidd Workshops, a unique studio experience in which students workshop their creative work in small classes with the support of peers and a graduate mentor.
Declare or Change Minor
Develop as a Literary Artist
Deepen your intellectual life and expand your writing skills within a community of like-minded peers in our Kidd Workshops, and hear from award-winning writers in our annual Reading Series.
Kidd Workshops Reading Series
Learn from Experts in the Field
Our faculty comprises award-winning authors and poets, including Pushcart Prize winners, National Endowment for the Arts recipients, and honorees of the Walt Whitman and O. Henry awards. In addition to a broad range of novels, nonfiction books, and poetry collections, their work has appeared in The New Yorker, The Atlantic, Harper’s, Best American Short Stories , and many other venues.
Publications Faculty Directory
Scholarships and Funding
The Creative Writing Program offers awards for both undergraduate and graduate students. Our MFA program fully funds students during their two-year residency program.
Undergraduate Scholarships Graduate Funding
Academic Support
Our academic advisors can help students understand their major or minor requirements, plan their course of study, explore study abroad opportunities, and more.
Undergraduate Advising Support for Graduate Students
Give to the Creative Writing Program
Learn More About Giving to CAS
Search this site
Humanities menu.
Creative Writing Program
The Creative Writing Program at the University of Oregon is a two-year, fully-funded residency in which Master of Fine Arts (MFA) students concentrate in either poetry or fiction. The program emphasizes the workshop, integrating concentrated time for writing with craft seminars and individualized reading tutorials. Each year we invite six writers for our Reading Series: recently we’ve hosted Nana Kwame Adjei-Brenyah, Elizabeth McCracken, and Justin Torres on the fiction side; in poetry, Ocean Vuong, Solmaz Sharif, and Robin Coste Lewis. We offer two tracks for undergraduate study: a minor in Creative Writing , with workshops, seminars, and literature courses, as well as the Walter and Nancy Kidd Creative Writing Workshops , a unique yearlong studio experience in which students pursue their passion for creative writing in small classes with the support of peers and a graduate mentor. Follow us on Instagram to learn more about our program.
Diversity Statement
Creative Writing News and Events
All events »
What You Can Do with a Creative Writing Degree
Our alumni have a long history of success with publishing, translation, fellowships, and prizes. Recent graduates have received Wallace Stegner Fellowships, the Dylan Thomas Award (University of Wales), the Amy Lowell Scholarship, the Philip Levine Prize in Poetry, the Rona Jaffe Foundation Writers’ Award, and other honors. Many of our graduates have launched successful careers working for:
- Newspapers, magazines, and book publishers
- Media companies
- Colleges and universities
- Marketing and advertising agencies
- Research institutes
Careers for Undergraduates
Careers for Graduate Students
How a Creative Writing MFA Enhances Your Life
“My time in the MFA was incredibly enriching for both my work and my life. The program's dual commitments to the tradition and our own individual sensibilities proved invaluable for me. The lessons learned therein continue to inform and instruct my poetry as well as my living.”
—Loїc-Aime-Mulatris, MFA in poetry, '21
Our Degree Programs
Students in the Creative Writing Program can pursue a minor or an MFA. We also offer Kidd Workshops, a unique studio experience in which students workshop their creative work in small classes with the support of peers and a graduate mentor.
Declare or Change Minor
Develop as a Literary Artist
Deepen your intellectual life and expand your writing skills within a community of like-minded peers in our Kidd Workshops, and hear from award-winning writers in our annual Reading Series.
Kidd Workshops Reading Series
Learn from Experts in the Field
Our faculty comprises award-winning authors and poets, including Pushcart Prize winners, National Endowment for the Arts recipients, and honorees of the Walt Whitman and O. Henry awards. In addition to a broad range of novels, nonfiction books, and poetry collections, their work has appeared in The New Yorker, The Atlantic, Harper’s, Best American Short Stories , and many other venues.
Publications Faculty Directory
Scholarships and Funding
The Creative Writing Program offers awards for both undergraduate and graduate students. Our MFA program fully funds students during their two-year residency program.
Undergraduate Scholarships Graduate Funding
Academic Support
Our academic advisors can help students understand their major or minor requirements, plan their course of study, explore study abroad opportunities, and more.
Undergraduate Advising Support for Graduate Students
Give to the Creative Writing Program
Learn More About Giving to CAS
Search this site
College of arts and sciences menu, college of arts and sciences, creative writing, writing about climate change is writer’s way of making an impact.
- Read more about Writing about climate change is writer’s way of making an impact
President names two profs as arts and humanities fellows
- Read more about President names two profs as arts and humanities fellows
Grab the sunscreen, a beverage and plenty of reading
- Read more about Grab the sunscreen, a beverage and plenty of reading
Annual Kidd writing competition showcases UO talent
- Read more about Annual Kidd writing competition showcases UO talent
African American lecture series features the UO's Mat Johnson
- Read more about African American lecture series features the UO's Mat Johnson
UO’s Mat Johnson gains visibility with Invisible Things
- Read more about UO’s Mat Johnson gains visibility with Invisible Things
Garrett Hongo's Quest for Artistic Perfection
- Read more about Garrett Hongo's Quest for Artistic Perfection
Nathan Harris and "The Sweetness of Water"
- Read more about Nathan Harris and "The Sweetness of Water"
For "The Five Wounds," Four Words
- Read more about For "The Five Wounds," Four Words
UO names writing professor Mat Johnson its newest Knight Chair
- Read more about UO names writing professor Mat Johnson its newest Knight Chair
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Admissions menu, creative writing.
Undergraduate minor
About the minor
Creative writing minors study the craft of writing with award-winning faculty writers. Closely reading the work of exemplary authors, students hone their skills through writing exercises and create their own stories and poems. In courses ranging from introductory to advanced level fiction, non-fiction, and poetry, students develop imaginative and critical thinking and interpretive skills, in the process producing a portfolio of original work.
A little more info
- Kidd Workshops allow peers in a learning community to collaboratively deepen their intellectual lives and develop themselves as literary artists throughout the course of a year. Kidd Workshops offer students a unique opportunity to receive sustained and close attention to their writing.
- Each year the department offers the Walter and Nancy Kidd Memorial Writing Competition in Poetry and Fiction
Career opportunities
A minor in creative writing can enhance a wide range of majors. Creative writing helps prepare students to pursue careers in copy editing, journalism, web content editing, marketing, social media, publishing, film or screenplay writing, television, psychology, and therapy.
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Around the o menu.
Around the O
Kidd workshops: creating the writer.
As the Kidd creative writing workshops turn 30, a poet reflects on a year in the program
RELATED LINKS
The Walter and Nancy Kidd Creative Writing Workshops
Walter Evans Kidd
History of the Kidd
Creative Writing Program
Launched in 1991, the Walter and Nancy Kidd Creative Writing Workshops offer University of Oregon undergraduates an intensive, yearlong immersion in poetry and fiction writing. The program attracts participants from all majors and provides a rigorous and supportive community for those interested in the craft of writing and close reading of literature.
Classes are limited to 10 students. Over the course of the year, participants workshop their writing with peers, learn to read like writers, and attend lectures by UO creative writing faculty members and distinguished authors who visit as part of the creative writing program’s annual reading series. There are no prerequisites to apply and students eligible for financial aid receive scholarship support from the Walter and Nancy Kidd endowment (awards range up to $3,000 annually).
The Kidd Workshops were envisioned and designed by creative writing professor Garrett Hongo. Led by graduate student instructors, the workshops are a cornerstone of UO’s highly regarded MFA program in creative writing , which admits only 2 percent of applicants each year.
Andi Butts, an English major and junior in the poetry track, captured a year in the program in four essays for Oregon Quarterly .
Explore the Creative Writing Minor
“Shredded” by Friends (and better for it)
Creative writing is difficult, and needless to say, when you add a pandemic to the mix, it becomes even more of a challenge. There’s no doubt that class is much different over a computer screen than it is in person, and no amount of skilled writing or nuanced critique can prevent the many difficulties inherent to doing school by Zoom. Some days, technical issues seem to arrive in abundance, turning even the most basic class activities—such as reciting our original work to one another—into tasks that necessitate repetition. “Your audio cut out,” “You froze,” or the classic “WE CAN’T HEAR YOU” have become the most commonplace of statements, made by students and instructors through both chuckles and groans. And still, none of this detracted from the Kidd workshops’ impact on my growth as a student of literature and a writer.
Workshops are the Kidd’s heart. During workshop, we present our writing aloud to our classmates, who then offer us feedback on what we can do to improve it. When a piece of mine is “up for workshop,” I prepare ahead of time to have it torn to shreds. (I have learned that entering workshop expecting to have my ego coddled is the best way to leave it ready to quit writing.) On one particular workshop day, I presented a poem that I believed in my heart of hearts to be one of my best. It combined some of my favorite poetic elements, including an extended metaphor, visceral imagery, and a fervent tone. But when I read the poem to the class, I was met with a sea of perplexed faces on my computer screen, followed by questions about the metaphor and various critiques about some of the other questionable technical choices.
My peers’ scrutiny stung. I hadn’t anticipated it. Instead of allowing myself to sink into shame, I paused, took a deep breath, and reminded myself, this is only going to help me . I thanked my classmates for their responses, stepped away from the poem for a couple of weeks, and then revisited it, ready, at last, to apply the ideas my peers had offered me. My writing is all the better for it.
“Do Whatever Works”
Eminent writers and faculty members shed light on their work during craft talks, another critical component of the Kidd workshops. New-York-based poet Juliana Gray—whose collection, Honeymoon Palsy , was one of my favorite reads of 2020—provided my favorite craft talk of the year. Gray’s biting and infectious wit engaged me from the get-go, in spite of the fact that I had been cooped up in my bedroom for weeks on end, down with a case of COVID-19. More importantly, Gray offered a great deal of worthwhile advice for writers of fiction and poetry alike, the most notable of these being, “Do whatever works.”
“Do whatever works,” a phrase that, at the time, seemed to be vague beyond measure, was one that Gray said in the context of a larger discussion about balancing the specific with the general. At first, I found this piece of advice frustrating. Gray spoke of the importance of being precise, but her advice to “do whatever works” seemed to abandon precision altogether. What am I supposed to do with that? I wondered. But as I kept listening, I realized how often I am so focused on meeting certain criteria in my poetry—such as making sure that my diction and tone are consistent or including enough concrete details throughout (but not too many!), or fleshing out the speaker—that I forget to notice the big picture. For me, doing “whatever works” means asking myself what the poem is trying to do, and then doing it. It means not losing sight of my voice and intuition for the sake of making the “correct” choices in technique. It means attending to the balance of the specific and general by seeing the poem in its entirety, rather than as different, distinct parts.
Gray’s advice, though almost deceivingly straightforward, has encouraged me to trust myself; because of this, my poetry has been transformed.
Line of Inquiry
The line of inquiry (LOI), a 12- to 15-page paper that we develop over the course of the year, is the most demanding part of the Kidd workshops. As an analytical person by nature and a self-professed English literature nerd, I also find the LOI to be the most thrilling. In this paper, we are free to explore whatever topic interests us, so long as it is related to craft. During fall term, we begin to narrow the focus of our exploration, gathering sources—poetry or fiction and craft essays—related to our chosen subject. Winter term is dedicated to examining these sources in depth and creating an annotated bibliography. At last, during spring term, we write essays, our LOIs, based on our research, the findings of which we present to our peers.
My LOI centers on modern female poets’ works about abuse and trauma. I analyze the technical choices that these poets made to render trauma in their work and argue through a feminist lens that writing about these subjects is an act of resistance and necessity.
The topic of my LOI, in and of itself, did not emerge out of thin air; it was developed and refined over the course of many months. Researching and analyzing this topic in depth has made me mindful of the extent to which sociocultural norms and beliefs inform—and are informed by—art and people’s values within it. This is most apparent to me in my own life. I have examined and reexamined the teachings I’ve absorbed—from professors and others—about what is and isn’t valuable in poetry and creative writing, more generally. I’m more willing to come to my own conclusions about what makes writing “good.” I feel more excited to write, more in touch with my true values in art. Writing the LOI was an immense undertaking, but I have learned more about my writing through it than through any other part of the Kidd. For that, I am genuinely thankful.
An Emerging Voice
I entered the Kidd workshops with a few other creative writing classes under my belt, but none that demanded the same speed, rigor, and imagination that the Kidd program asked of its students. I was adept at constructive criticism, though I was better at pointing out what wasn’t working in a piece of writing than what was. Coming up with ideas, and the language to express them, was a challenge at best, and I paid little attention to devices like meter and form. I was unsure of my poetic voice, fixated on how my writing stacked up against that of my peers and aiming for perfection, which came at the expense of my authenticity.
Thanks to the workshops, my understanding of craft and technique has reached a height I did not foresee. This has deepened not only my grasp on poetry but my love for it, too. My imagination has expanded; ideas seem to bubble up in an endless supply, and I now have more tools to bring them to light. Perhaps most importantly, I am beginning to develop my poetic voice, which has helped me feel more connected to and confident in my writing. I spend less time comparing myself to my peers and more time learning from them, recognizing the privilege it is to be a part of a group filled with so many talented, intelligent, and encouraging people, many of whom have become my friends.
I applied to be a part of the Kidd workshops not because of a passion for technique but because poetry moves me. It has moved me since I discovered it as a sensitive 13-year-old, struggling to feel at home in the world around me, and it will continue to move me as I—and my writing—grow and change.
Creative writing is not an aimless, impractical endeavor; it allows us—whether we are the writer or the reader—to make sense of the events in our lives. It is the avenue by which we can notice the world around us, often in unexpected and, at times, beautiful ways. We need this now more than ever.
Poems by Andi Butts
I stare up at my bedroom ceiling— bone white and chipped in one place— and watch dust dangle like tiny ghosts in the static afternoon air, shifting about in a slow stir, headed nowhere. It should be quiet here— the drone of the box fan in the corner, the occasional inhalation when I remember to breathe— though it hardly ever is. There is too much time to think.
At dusk, dust looming overhead, I am a cadaver on an exam table, autopsied by the men in my imagination who have returned to see me dead, frozen in bed. One by one, they take what they want from me, dissecting my corpse limb to limb, turning me, now turned out, into hollowed-out skin,
just as before. I choke on air, and my heart hammers against my chest as if attempting escape. Here, I become who I have been for six, seven years now— a bug-eyed, gasping thing, trapped in its own memory.
Soon enough though, my heart falls back into its usual numbed pace— soon enough, I am no longer swallowing air like I am starved of it, at least for a night or two. It is too dark to see the dust, but I know
it is there, still looming, coating the room, little by little, in a film of gray.
Know Me My Athena, I know why you have done this, why you have made a monster of me— my hair now skeletal and scaled, scouring the air in search of fools who stare, sibilating a warning. But how it would stiffen and hush in your midst; how my blood, though disparate from that of the woman I once was, still roils at the thought of you.
Poseidon took from me the thing for which you most longed—I know this is the truth of it. I know that when you looked at me, you felt, for once, unwise, that you may come undone like an unstable fresh clay pot collapsing mid-revolution. My vow to abstain—broken by a force not my own—was not the cause of your fury, your vengeance, no. It was the tie between us, which Poseidon frayed and left ragged, unraveling thread by thread. If you must remember anything, let it be this: though you have transformed me into terror, you, my immortal one, withstand petrification. Remember how my hair used to shimmer in sunlight. Remember how you once saw me and know that I, as monstrous as I now may be, will wait for you to know me.
Previous Stories
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University of Oregon
Eugene , OR
http://crwr.uoregon.edu
Degrees Offered
Fiction, Poetry
Residency type
Program length, financial aid.
The Creative Writing Program funds all incoming students with a Graduate Teaching Fellowship (GTF) appointment. These positions are not teaching assistantships (TAs) in which students teach discussion sections of a course taught by regular faculty; students are the “instructors of record” for all of these courses. Previous teaching experience is not required for the GTF appointments; training is provided by the Program. However, applicants will need to demonstrate their probable success as a first-time teacher through their application materials and letters of recommendation.
Teaching opportunities
All students how graduate teaching fellowships
- T. K. Dalton MFA (Fiction) 2007
- Stephanie Dickinson MFA (Poetry)
- Eugene Gloria MFA (Poetry)
- Erin Hoover MFA 2005
- Major Jackson MFA (Poetry) 1999
- Keetje Kuipers MFA (Poetry) 2006
- Chang-Rae Lee MFA (Fiction) 1993
- Claire Luchette MFA (Fiction) 2017
- Sarah Murphy MFA
- Jude Nutter MFA (Poetry) 1997
- Alycia Pirmohamed MFA (Poetry) 2014
- Kirstin Valdez Quade MFA (Fiction) 2009
- Chloe Garcia Roberts MFA (Poetry) 2008
- Jennifer Ruden MFA
- Maxine Scates MFA 1975
- Lysley Tenorio MFA (Fiction) 1998
- Brian Turner MFA (Poetry) 1996
Send questions, comments and corrections to [email protected] .
Disclaimer: No endorsement of these ratings should be implied by the writers and writing programs listed on this site, or by the editors and publishers of Best American Short Stories , Best American Essays , Best American Poetry , The O. Henry Prize Stories and The Pushcart Prize Anthology .
- Southern Oregon University
- Event Details
Creative Writing Club - Open Mic
Celebrate the end of the term, share your work, and engage with others writing! --- Event Details: hawknest.sou.edu/rsvp?id=376707
Friday, June 7 at 6:00pm to 8:30pm
Stevenson Union, ASSOU Student Lounge 1250 Siskiyou Boulevard, Ashland, OR 97520
https://hawknest.sou.edu/rsvp?id=376707
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Amplify Your Business Writing with AI
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Instructor: Lucas Terk
In this course, join instructors Natasha Terk and Lucas Terk as they show how to use generative AI as a tool to not only write more efficiently, but also to continue to develop your business writing skills.
The course begins by focusing on the ways that generative AI can be a welcome partner in the writing process before turning to key techniques for building effective prompts with generative AI. Natasha and Lucas demonstrate how generative AI tools, like ChatGPT, can enhance writing outcomes by helping to research the needs and questions of a prospective audience, gather information, optimize your writing process, and more. By the end of this course, you’ll be prepared to create better outlines, leverage generative AI to write and format documents, polish grammar and streamline sentence structure, and infuse your own voice and style into your business writing.
Instructor Pool 2023/2024: Creative Writing (MFA)
Job posting for instructor pool 2023/2024: creative writing (mfa) at oregon state university.
- Top 1.4% university in the world
- More research funding than all public universities in Oregon combined
- 1 of 3 land, sea, space and sun grant universities in the U.S.
- 2 campuses, 11 colleges, 12 experiment stations, and Extension programs in all 36 counties
- 7 cultural resource centers that offer education, celebration and belonging for everyone
- 100 undergraduate degree programs, 80 graduate degrees plus hundreds of minor options and certificates
- 35k students including more than 2.3k international students and 10k students of color
- 217k alumni worldwide
- For more interesting facts about OSU visit: https://oregonstate.edu/about
- Medical, Dental, Vision and Basic Life. OSU pays 95% of premiums for you and your eligible dependents.
- Free confidential mental health and emotional support services, and counseling resources.
- Retirement savings paid by the university.
- A generous paid leave package, including holidays, vacation and sick leave.
- Tuition reduction benefits for you or your qualifying dependents at OSU or the additional six Oregon Public Universities.
- Robust Work Life programs including Dual Career assistance resources, flexible work arrangements, a Family Resource Center, Affinity Groups and an Employee Assistance Program.
- A Master’s degree in a relevant field and at least 1 book-length publication by (or under contract with) a national press.
- Teaching experience at the college or university level.
- A demonstrable commitment to promoting and enhancing diversity.
- MFA or PhD in Creative Writing) and at least one book-length publication published by (or under contract with) a national press.; or PhD in English, American Studies, Liberal Studies (or a related field) and at least one book-length publication published by (or under contract with) a national press.
- A strong commitment to and experience with local, regional, national, and/or transnational literary communities.
- Ability to develop and teach creative writing seminars and workshops with a focus on racial/ethnic, gender/sexual, class-based and other forms of difference.
- Experience with publishing and/or advising student-led literary publications.
- Experience with on-line teaching formats (Zoom, etc.)
- A resume/CV
- A cover letter indicating how your qualifications and experience have prepared you for this position.
- A diversity statement indicating how your teaching philosophy and practices promote diversity, equal opportunity and inclusion in the classroom and broader community.
- Representative writing sample of 25 pages or less, upload as “Other Document 1”.
- You will also be required to submit the names of at least three professional references, their e-mail addresses and telephone numbers as part of the application process.
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Low Residency Creative Writing at PNCA: Summer Residency 2024 Talks, Workshops, Readings, Panels, and Performances
June 05, 2024
From June 20 to June 30, PNCA's Low Residency Creative Writing program hosts its Summer Residency. Here's information on talks, workshops, readings, panels, and performances.
Faculty Talks, Workshops, and Readings are open to the public, in person or on Zoom. All events are in Room 413 of PNCA's 511 Building unless otherwise noted. If you'd like Zoom links, please email Jay Ponteri at [email protected].
Friday, June 21
9-10 am: Talk by Poupeh Missaghi titled “Memory Work”
Memory, our own and others, can play an important role in our writing—whether in the genre of memoir writing or other forms of nonfiction and even fiction. This talk delves into some inner workings of the brain and the psyche in relation to memory and how our understanding of memory can inform our craft and stylistic choices as we shape and reshape the residues of the past in our artmaking.
3-5 pm : A Generative Making Session with Jay Ponteri titled “...to feel and to feel for and with...”
In this workshop we will read aloud a variety of writings—handouts provided—then write together as a way of manifesting Christina Sharpe’s vision of care (from her book In the Wake: On Blackness and Being ): “…a way to feel and to feel for and with, a way to tend to the living and the dying.”
6-7:30 pm : A Faculty Reading by Alejandro de Acosta, Matt Hart, and Vi Khi Nao
Saturday, June 22
9-10 am : Talk by Dao Strom titled “ & may i claim ocean as my literary form, sea as my preferred genre? : work that spills out of its own seams”
In this experimental lecture we will explore the notion of boundaries between literary forms, and their blurring/malleable qualities especially in regards to hybrid-literary forms. Drawing from concepts that inform the editorial vision and questioning in A Mouth Holds Many Things: A De-Canon Hybrid-Literary Collection, an anthology + exhibit project co-edited/co-curated by myself (with Jyothi Natarajan), this lecture will be itself an experiment in embodying—attempting to materialize—a hybrid space between lecture and poetic contemplation, with pause also for listening and generative exercise. This talk will advocate for the in-between, shifting, and mutable, for those works and writers who have a hard time containing themselves inside the given borderlines of named genres. In this space we will contemplate what it means to make work that spills out of its own containers, bursts its own seams.
6-7pm : A Faculty Reading by Jay Ponteri and Sara Sutter
Sunday June 23
9-10:30 am : A Workshop by Stephanie Adams-Santos titled “What the Water Gave Me: Embodiment, Dreams, Fragments, and the Surreal Imagination”
This somatic dreamwork workshop explores connections between artistic practice and embodied reality. How can we deepen the connection between our artistry and our living, and move toward a wild, embodied, and mycelial craft that metabolizes, transforms, and generates life? How might we nurture dialogue between the fragmented aspects of ourselves and begin dismantling internalized forces of fascism, capitalism, and oppressive structures within our own psyches, creating art and modes of living that are rooted in authenticity and liberation? In a time of genocide and growing fascism, how can we root our creative endeavors (life force) in the loam of the soul and attune our imaginations to an ever-fuller and more vital reality? I don’t have the answers, but I want to live into these questions alongside you.
Reading: Play and Theory of the Duende by Federico Garcia Lorca
6-7:30 pm : A Faculty and Guest Artist Reading at the IPRC with Stephanie Adams-Santos, Poupeh Missaghi, Scott Nadelson, and Dao Strom
Monday, June 24
9-10 am : A Talk by Vi Khi Nao titled “Literary Cryptology”
Bank robberies always fascinate me because they involve breaking into a vault. In the literary sphere, these metaphorical heists become even more captivating. This talk explores the art of implanting cryptic notes and double entendres in literary works. Cryptic messages add depth by subtly conveying themes and viewpoints, enticing readers to uncover buried meanings upon re-reading. Double entendres introduce dyadic meanings within phrases, often injecting humor or irony, and elevating readers to look beyond the superficial. Mastering these techniques augments narrative power, demanding a balance between explicit storytelling and subtle subtext. We will read/decode two flash pieces and attempt to create our own cryptic work
Wednesday, June 26
10-11 am : A Talk by Alejandro de Acosta titled Thick Description as Solution and Problem
How can you describe a moral act in an amoral manner, or the other way around? Or how can you describe a rational act irrationally, or the other way around? More importantly: why? Thick description is a writing practice derived from philosophy and anthropology. It aims to get beyond the limitations of the describer's own point of view by noting contextual clues without interpreting. Another observer, or the reader of the description, could learn something from a thickly described scene that the initial observer may not have discerned. I'll discuss thick description as a solution to a series of writing conundrums, including how to summon the larger world a narrative is unfolding within, communicating the moral valence of events, and the inscrutability of other minds. I'll also talk about how thick description can itself be a problem: the problem of the baroque.
6-8 pm : A performance by Gabrielle Civil titled Black Weirdo School in the Lemelson Innovation Studio
The Black Weirdo School is a decentralized network of performances, art works, conversations, and free public classes remixing tropes of race, art, and education.
Thursday, June 27
9-10 am : A Talk by Matt Hart titled “ Many a Meditative Hour”
This narrative talk will deliberately and seriously slow everything down to—the cliché would be “a snail’s pace,” so—to a snail’s pace. Besides the necessary slowness and cliché, we will also be focusing our lights on narrative itself, sentimentality, and the fact that we die. Nevertheless, this is a talk about writing. The title is from Wordsworth.
3-5 pm : Session One of a Two-Day Workshop by Gabrielle Civil titled “Ritual Poetics”
Preparation for ritual is ritual . . . In this workshop, we will prepare ourselves for writing as ceremony. We will explore the role of spirit, incantation, chant, rite, and gesture in our creative practice. Inspired by Jayne Cortez, Sonia Louise Taylor, Steffani Jemison, Selah Saterstrom, Sawako Nakayasu, Petra Kuppers, Maya Deren, Arthur Rickydoc Flowers, and more, we’ll mine ritual touchstones in our own lives and create new liturgies and scores. Paying close attention to the work of Ntozake Shange, Akilah Oliver, and Leslie Scalapino, we will enact writing as embodied practice on and off the page.
6-7 pm : An Evening with Brandon Shimoda in the Lemelson Innovation Studio
Brandon will give a reading of his work then join faculty Dao Strom in Conversation.
Friday, June 28
3-5 pm : Session two of a Two-Day Workshop by Gabrielle Civil titled “Ritual Poetics”
6-7:30 pm : A panel and presentation (and celebration) by co-editors Dao Strom and Jyothi Natarajan of the Hybrid anthology A Mouth Holds Many Things published by Fonograf Editions; other participants include faculty Stephanie Adams-Santos and Jennifer S. Cheng and Guest Artist Gabrielle Civil. This event is at Stelo Gallery, jointly hosted by PNCA and Stelo Gallery.
PNCA Low Residency Faculty / Guest Artist Bios
Alejandro de Acosta is a teacher, writer, and translator, still in no particular order. His most recent teaching includes private tutoring in literature and philosophy. His most recent writing includes a manuscript of poems and a novel, finally. His most recent translations include poems by Macedonio Fernández, Alberto Laiseca, and Paulo de Jolly. Alejandro lives in Gainesville, Florida.
Stephanie Adams-Santos is a Guatemalan-American artist and writer whose work spans poetry, prose, screenwriting, and illustration. Often grappling with themes of strangeness and belonging, their work reflects a fascination with the weird, numinous and primal forces that shape inner life. They are the author of several poetry collections and chapbooks, including DREAM OF XIBALBA (selected by Jericho Brown as winner of the 2021 Orison Poetry Prize; finalist for the Oregon Book Award and the Lambda Literary Award) and SWARM QUEEN'S CROWN (finalist for a Lambda Literary Award). Stephanie served as Staff Writer and Story Editor on the television anthology horror series TWO SENTENCE HORROR STORIES (Netflix). In addition to their literary work, Stephanie is creating an original tarot deck that blends poetry, animism, and ancestral magic.
Jennifer S. Cheng’s work includes poetry, lyric essay, and image-text forms, exploring immigrant home-building, shadow poetics, and the interior wilderness. Her hybrid book MOON: LETTERS, MAPS, POEMS (2018) was selected by Bhanu Kapil for the Tarpaulin Sky Award and named a Publishers Weekly “Best Book of 2018.” She is also the author of HOUSE A, selected by Claudia Rankine for the Omnidawn Poetry Prize, and INVOCATION: AN ESSAY, an image-text chapbook published by New Michigan Press. A former National Endowment for the Arts Literature Fellow, she has received awards and fellowships from Brown University, the University of Iowa, San Francisco State University, the U.S. Fulbright program, Kundiman, Bread Loaf, MacDowell, and the Academy of American Poets. Having grown up in Texas and Hong Kong, she lives in San Francisco. www.jenniferscheng.com
Gabrielle Civil is a black feminist performance artist, poet, and writer, originally from Detroit, MI. Her recent performances include Black Weirdo School (Pop Up Critique) (2023), the déjà vu—live (2022) and Jupiter (2021). Her performance memoirs include Swallow the Fish (2017), Experiments in Joy (2019), (ghost gestures) (2021), the déjà vu (2022) and In & Out of Place (2024) . Her writing also appears in New Daughters of Africa, Teaching Black, Kitchen Table Translation and A Mouth Holds Many Things: A De-Canon Hybrid Literary Collection. She earned her Ph.D. in Comparative Literature from New York University and teaches at the California Institute of the Arts. The aim of her work is to open up space.
Matt Hart is the author of ten books of poems, most recently FAMILIAR (Pickpocket Books, 2022). His work has appeared in American Poetry Review , Big Bell , Kenyon Review , and Poetry, among others. The recipient of a 2024 Individual Excellence Award in Poetry from the Ohio Arts Council, he edits the journal SOLID STATE and plays in the post-punk/indie rock band NEVERNEW ( www.nevernew.net ).
poupeh missaghi is a writer, editor, translator (between English and Persian) and educator. Her second book Sound Museum is forthcoming in October 2024 (Coffee House Press) and her debut novel trans(re)lating house one was published in 2020 (Coffee House Press). Her translations include I’ll be Strong for You by Nasim Marashi (Astra House, 2021) and In the Streets of Tehran by Nila (Ithaka Press, 2023), as well as forthcoming Boys of Love by Ghazi Rabihavi (University of Wisconsin Press, 2024). She is currently an assistant professor of English and Literary Arts at the University of Denver, and a faculty mentor at the Low-Residency MFA in Creative Writing at the Pacific Northwest College of Art, OR.
Scott Nadelson grew up in northern New Jersey before escaping to Oregon, where he has lived for the past twenty-seven years. He has published a novel, a memoir, and six collections of short stories, most recently While It Lasts , winner of the Donald L. Jordan Prize for Literary Excellence. His new novel, Trust Me , is forthcoming from Forest Avenue Press in September 2024. Winner of the Reform Judaism Fiction Prize, the Great Lakes Colleges Association New Writers Award, and an Oregon Book Award, Scott’s work has appeared in a variety of magazines and literary journals, including Ploughshares , STORY, The Southern Review , New England Review , Harvard Review , Glimmer Train , and The Best American Short Stories . He teaches at Willamette University, where he is Hallie Brown Ford Chair in Writing, and in the Rainier Writing Workshop MFA Program at Pacific Lutheran University.
VI KHI NAO is the author of many books and is known for her work spanning poetry, fiction, play, film, and interdisciplinary collaborations. Her forthcoming novel, The Italian Letters, is scheduled for publication by Melville House in 2024. In the same year, she will release a co-authored manuscript titled, The Six Tones of Water with Sun Yung Shin, through Ricochet. Recognized as a former Black Mountain Institute fellow, Vi Khi Nao received the Jim Duggins, PhD Outstanding Mid-Career Novelist Prize in 2022.
Jyothi Natarajan is an editor, writer, and cultural worker and has collaborated with Dao Strom as part of De-Canon since 2021. She spent nearly a decade working at the Asian American Writers’ Workshop, where she edited the digital literary magazine The Margins and helped to establish The Margins Fellowship for emerging writers. Jyothi now works as Program Manager at Haymarket Books, where they administer a fellowship program for writers impacted by carceral systems. They are the recipient of the 2017 Wai Look Award for Outstanding Service to the Arts and, with Dao, are part of the 2023-24 IPRC re/source residency. Having grown up in Southern Virginia, Jyothi is now based out of Portland, Oregon.
Jay Ponteri directed the creative writing program at Marylhurst University from 2008-2018 and is now the program head of PNCA’s Low-Residency Creative Writing program. His book of creative nonfiction Someone Told Me has just been published by Widow+Orphan House. He’s also the author of Darkmouth Inside Me (Future Tense Books, 2014) and Wedlocked (Hawthorne Books, 2013), which received an Oregon Book Award for Creative Nonfiction. Two of Ponteri’s essays, “Listen to this” and “On Navel Gazing” have earned “Notable Mentions” in Best American Essay Anthologies. His work has also appeared in many literary journals: Gaze, Ghost Proposal, Eye-Rhyme, Seattle Review, Forklift, Ohio, Knee-Jerk, Cimarron Review, Tin House, Clackamas Literary Review, While teaching at Marylhurst, Ponteri was twice awarded the Excellence in Teaching & Service Award. In 2007, Ponteri founded Show:Tell, The Workshop for Teen Artist and Writers, now part of summer programming at Portland's Independent Publishing Resource Center (IPRC.org) on whose Resource Council he serves. He teaches memoir classes at Literary Arts. He lives in Portland.
Brandon Shimoda is the author of several books of poetry and prose, most recently The Grave on the Wall (City Lights), which received the PEN Open Book Award. He has three books forthcoming: Hydra Medusa (poetry and prose, Nightboat, 2023), a book of nonfiction on the ongoing afterlife of Japanese American incarceration (City Lights, 2024), and, with the poet Brynn Saito, an anthology of poetry on JA incarceration, written by descendants of the concentration camps (Haymarket, 2025).
Dao Strom is an artist who works with three “voices”—written, sung, visual—to explore hybridity and the intersection of personal and collective histories. She is the author of the poetry collection, Instrument (Fonograf Editions), winner of the 2022 Oregon Book Award for Poetry, and its musical companion, Traveler’s Ode (Antiquated Future Records); a bilingual poetry-art book, You Will Always Be Someone From Somewhere Else (Hanoi: AJAR Press); a memoir, We Were Meant To Be a Gentle People , and song cycle, East/West ; and two books of fiction, The Gentle Order of Girls and Boys (Counterpoint Press) and Grass Roof, Tin Roof (Mariner Books). She is co-editor with Jyothi Natarajan of the forthoming anthology called A Mouth Holds Many Things: A De-Canon Hybrid-Literary Anthology published by Fonograf Editions. She is a recipient of a 2016 Creative Capital Award and a 2020 Oregon Literary Arts Career Fellowship, and has received support also from RACC, Oregon Arts Commission, NEA, and others. A graduate of the Iowa Writers Workshop, Strom was born in Vietnam and lives in Portland, Oregon. She is co-founder of two collaborative art projects, She Who Has No Master(s), and de-canon .
Sara Jannette Sutter is a writer, educator, student, and psychonaut based in Portland, OR. Sara holds a BA in philosophy, an MFA in Poetry & Creative Nonfiction, and is now in their second year at California Institute of Integral Studies, where they are focusing on somatic and psychedelic-assisted therapy. Sara teaches literature and creative writing at University of Portland, Pacific Northwest College of Art and Craft, Willamette University, and virtually at Harrisburg Area Community College. While Sara’s most recent writings have been toward fulfilling academic requirements, published works appear i n Fence, the Seattle Review, Nailed Magazine , and others, along with her chapbooks, O to Be a Dragon (Finishing Line Press 2016) and Sirenomelia (Poor Claudia 2013). Sara is slowly at work on a new hybrid project that explores the generative and spiritual qualities of trauma.
PNCA's Low Residency Creative Writing January 2024 Residency Talks, Workshops, Readings, and Performances
PNCA's Low Residency Creative Writing January 2024 Residency Talks, Workshop, Readings, and Performances include new faculty Jennifer S Cheng, Megan Milks, Lara Mimosa Montes, and Emilly Prado and Guest Artist Gabrielle Civil.
2023 National Portfolio Day Hosted at PNCA
Launch your future in art and design! Visit with counselors, admissions team members, and faculty from art and design schools for a portfolio review before applying to colleges or universities.
PNCA Graduate Symposium: Art + Social Consciousness
PNCA welcomes the Portland community to participate in this year’s Graduate Symposium with keynote speakers featuring: Nina Elder + vanessa german!
Amanda Ross-Ho and Catherine Taft, in conversation, hosted by PNCA & ILY2
The Hallie Ford School of Graduate Studies, in collaboration with ILY2, is pleased to announce a conversation between artist Amanda Ross-Ho and writer and curator Catherine Taft.
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Creative Writing. The Creative Writing Program at the University of Oregon is a two-year, fully-funded residency in which Master of Fine Arts (MFA) students concentrate in either poetry or fiction. The program emphasizes the workshop, integrating concentrated time for writing with craft seminars and individualized reading tutorials.
Creative Writing (MFA) The Creative Writing Program at the University of Oregon is a two-year residency in which Master of Fine Arts (MFA) students concentrate in either poetry or fiction. The Program emphasizes the workshop, integrating concentrated time for writing with craft seminars and individualized reading tutorials.
Courses. CRWR 199. Special Studies: [Topic]. 1-5 Credits. Repeatable up to six times. CRWR 225. Kidd Workshop I. 4 Credits. Introduction to an intensive, yearlong sequence devoted to the study and practice of poetry, fiction, and nonfiction. CRWR 230. Introduction to Poetry Writing. 4 Credits.
The University of Oregon is term-based (Fall, Winter, Spring, and Summer). Each term is 11 weeks including finals. What is the typical MFA student course load? CRWR MFA students take 9-16 credit hours each term. CRWR workshops and seminars are each generally three hours long with a short break in the middle, once each week.
The Creative Writing Program at the University of Oregon is a two-year residency in which Master of Fine Arts (MFA) students concentrate in either poetry or fiction. ... 1219 University of Oregon. Eugene, OR 97403-1219. Office: Susan Campbell Hall , 170. P: 541-346-5129. F: 541-346-2804. [email protected]. Report a Concern;
UO names writing professor Mat Johnson its newest Knight Chair. ENGLISH - Mat Johnson, a professor in the Creative Writing Program in the College of Arts and Sciences, is the UO's newest Philip H. Knight Chair. Johnson joined the UO faculty in 2018 after a decade teaching at the University of Houston's creative writing program.
The Creative Writing Program offers two formal courses of study for University of Oregon undergraduates: Minor in Creative Writing. The creative writing minor offers courses in which students study matters of craft by reading and writing creative works, develop critical thinking and interpretive skills, hone their ability to articulate complex ideas with subtlety and clarity, and gain ...
Undergraduate minor About the minor Creative writing minors study the craft of writing with award-winning faculty writers. Closely reading the work of exemplary authors, students hone their skills through writing exercises and create their own stories and poems. In courses ranging from introductory to advanced level fiction, non-fiction, and poetry, students develop imaginative and critical ...
Creative Writing (MFA) 1 Creative Writing (MFA) The Creative Writing Program at the University of Oregon is a two-year residency in which Master of Fine Arts (MFA) students concentrate in either poetry or fiction. The Program emphasizes the workshop, integrating concentrated time for writing with craft seminars and individualized reading tutorials.
Launched in 1991, the Walter and Nancy Kidd Creative Writing Workshops offer University of Oregon undergraduates an intensive, yearlong immersion in poetry and fiction writing. The program attracts participants from all majors and provides a rigorous and supportive community for those interested in the craft of writing and close reading of literature.
The Creative Writing program at the University of Oregon emphasizes the workshop, integrating concentrated time for writing with craft seminars and individualized reading tutorials. You'll hear our program is not for the faint of heart. It isn't—and we're proud of that.
University of Oregon MFA in Creative Writing. 312 likes. This is the Facebook page for the University of Oregon Creative Writing Program
The Creative Writing Program funds all incoming students with a Graduate Teaching Fellowship (GTF) appointment. These positions are not teaching assistantships (TAs) in which students teach discussion sections of a course taught by regular faculty; students are the "instructors of record" for all of these courses.
Creative Writing Club - Open Mic Celebrate the end of the term, share your work, and engage with others writing! --- Event Details: hawknest.sou.edu/rsvp?id=376707 ...
Natasha and Lucas demonstrate how generative AI tools, like ChatGPT, can enhance writing outcomes by helping to research the needs and questions of a prospective audience, gather information, optimize your writing process, and more. ... This installment in the lynda.com Creative Inspirations documentary series introduces the diverse talents of ...
Apply for the Job in Instructor Pool 2023/2024: Creative Writing (MFA) at Bend, OR. View the job description, responsibilities and qualifications for this position. Research salary, company info, career paths, and top skills for Instructor Pool 2023/2024: Creative Writing (MFA)
For UO faculty and staff ready to try using Pressbooks, you can contact the OER team and request a book. Whether you have an OER project in mind, or just want to experiment with the tool, we can help you get started. Request a Book.
From June 20 to June 30, PNCA's Low Residency Creative Writing program hosts its Summer Residency. Here's information on talks, workshops, readings, panels, and performances.
Creative Writing Minor. Offered by English. The Creative Writing Minor at UMBC is appropriate for students of any major who are interested in creative writing as a form of expression. Students study the craft of writing across genres, including fiction, creative nonfiction, and poetry. They learn to read critically, produce and revise their own ...