princeton creative writing supplement

Application Checklist

Below you'll find the list of components that comprise the Princeton first-year application. In an effort to simplify all that is required of you, we frame the process in three action steps: 1) Submit, 2) Request and 3) Report.

More information about optional components of the application is available at the base of the page. 

First-Year Application Checklist

A Completed Application. You must submit your application online through the Coalition Application or  Common Application . Princeton's CEEB Code: 2672

Princeton-specific Questions. In addition to the questions provided by the Coalition Application or Common Application, all applicants must submit the Princeton-specific Questions . You should submit the Princeton-specific Questions online through the Coalition Application or Common Application website. 

Application Fee or Fee Waiver. You may submit a fee waiver one of two ways: 1) Select the fee waiver option on the Coalition Application or Common Application. Your school counselor must approve your fee waiver request online or submit your fee waiver form by mail or fax. 2) Select one of the following fee waiver options on the application: Princeton-specific,  ACT ,  College Board  or  NACAC . All low-income students are eligible for the Princeton-specific fee waiver. In addition, all applicants who are serving or have served in the U.S. military are eligible for the Princeton-specific fee waiver. If you use the Princeton-specific fee waiver, you do not need to get approval from your college counselor or academic adviser.

• Graded Written Paper. A graded written paper  is required, preferably in the subjects of English or history.

Transcript. An official transcript must be sent by a school counselor or school official.

• School Report (SR) . The SR form is available from the Coalition Application or Common Application website. Please ask your school counselor or other school official to complete and submit the SR form.   
• Counselor Recommendation.  Please note that the SR and the Counselor Recommendation are separate items. Be sure to “invite ”  your school counselor or academic adviser to complete both items.  
• Two (2) Teacher Recommendations. Please ask two of your teachers who have taught you in higher level courses (e.g., AP, IB Higher/Standard Level, A-Levels, etc.) in different academic areas of study to complete and send the teacher recommendation forms, available on the Coalition Application or Common Application website. The subjects should be in core academic areas, such as English, language, humanities, social sciences, natural sciences or math.  
• Midyear School Report. Please ask your school counselor or other school official to complete and submit this form when your midyear grades are available. 

We are extending our test optional policy for first-year and transfer applicants for the next three admission cycles (that is, for applications due in the falls of 2023, 2024, and 2025).

• SAT or ACT . If you choose to submit testing, applicants should take the SAT or the ACT by the October test date for single-choice early action and the December date for regular decision. When registering for the SAT or ACT, use the following codes to ensure your scores are sent to Princeton: SAT: 2672 and ACT: 2588 .  
• SAT Subject Tests. Princeton does not require SAT Subject Tests. If you chose to sit for a Subject Test (prior to January/June 2021 when the College Board eliminated the test) and wish to submit the score, you may do so.  
• TOEFL, IELTS or PTE Academic scores . If English is not your native language and you are attending a school where English is not the language of instruction, you must take the Test of English as a Foreign Language (TOEFL) , the International English Language Testing System Academic (IELTS Academic) or the Pearson Test of English Academic (PTE Academic) . You are not required to take the TOEFL, IELTS or PTE Academic if English is your native language or if you have spent at least three years at a secondary school where English is the primary language of instruction. Please have your scores sent directly to Princeton: TOEFL: 2672

Optional Application Components  

Arts Supplement, if applicable.  If you've excelled in  architecture, creative writing, dance, music, music theater, theater  or  visual arts , and would like us to consider your talent, you are welcome to submit an  optional Arts Supplement . Early action applicants must submit digital arts materials by Nov. 6 and regular decision applicants by Jan. 8. On the Coalition, Common or QuestBridge Application, please indicate your intention to submit an Arts Supplement in Princeton’s member questions. You will be able to submit an Arts Supplement through your Princeton Applicant Status Portal. Please keep in mind that you need to submit your application to Princeton University before you can submit your Arts Supplement. Given the timeline, students who are participating in the  QuestBridge National College Match  will be unable to submit an Arts Supplement.

• Interview.  Princeton offers optional alumni interviews. Interviews take place after the Admission Office has received your application. You may choose to opt out of the interview in the Princeton Supplement, and this choice will not put you at any disadvantage in the admission process. If you do not opt out, you may receive an email inviting you to interview with a member of our Princeton Alumni Schools Committee. If so, we encourage you to take advantage of this opportunity. The interviews are 30-45 minute informal conversations, where you can discuss the things that are important to you and also ask questions to someone who attended Princeton. We cannot guarantee that every applicant will receive an interview. This will depend on the availability of alumni in your area. Our dedicated alumni do manage to contact the vast majority of our applicants every year; however, if you do not receive an interview for any reason, it will not put you at a disadvantage since the interview is optional. We do not offer on-campus interviews. These interviews must not be recorded in any way, either by the interviewer or the applicant. Given the timeline, students who are participating in the QuestBridge National College Match will be unable to complete an interview.

Application Confirmation

You may log in to Princeton's Applicant Portal  to verify whether we have received all your required application materials. You will receive a confirmation notice when we have received your application. The confirmation notice will arrive approximately 24-48 hours after you submit your admission application. If your application is incomplete, we will let you know which pieces are missing. Beginning in mid-October, you also may track the completeness of your application online through the Applicant Portal. Please note: You cannot apply for financial aid until you apply for admission. Please review our application dates and deadlines .

If a student has submitted an application on three separate occasions, the Office of Admission generally will not review subsequent applications. In these instances, if an application fee was submitted, it will be returned.

The University's admission process involves a holistic review of each applicant's entire file. No particular factor is assigned a fixed weight; rather, the process involves a highly individualized assessment of the applicant's talents, achievements and his or her potential to contribute to learning at Princeton. Please see the Joint Statement on Common Ivy Group Admission Procedures for more information about admission policies.

Princeton-specific Questions

Review the additional essay questions of our application.

Graded Written Paper

The graded written paper will help the Office of Admission assess the student’s written expression in an academic setting.

Optional Arts Supplement

The optional Arts Supplement is for students who have devoted a significant amount of time and energy to one or more art forms and who wish to have their work considered as part of their application.

From the Blog

Prefrosh, curious about academics start here, poets should come ready to move/yell/play/discover, my favorite place on campus: chancellor green.

As part of the application process, Princeton University collects from its applicants certain demographic information covered by Title VI of the Civil Rights Act of 1964. This information may be collected through graduate and undergraduate application materials, including the Common Application. You are not required to provide this information. If you choose to provide this information, it will not be shared with any University faculty members, administrators, or others who are involved in evaluating your application for admission and will not be considered in the admissions process. In addition, your refusal to provide any of this information will not subject you to any adverse treatment.

The University uses this information to help prepare certain disclosures regarding students required by state and federal law, and to enable the University’s Institutional Research Office to conduct analytical and policy studies that support University planning and decision-making. Aggregate applicant data may be shared with academic departments or admissions officers only after the admissions process has concluded to facilitate analysis. Any information that you share is subject to the University’s Data Privacy policies (available at https://registrar.princeton.edu/student-and-alumni-services/policies/data-privacy ).  

On Creative Writing and Virtual Community

January 11, 2021, grady trexler.

Zoom isolation is real, especially for the other first-year students and I who haven’t yet had the chance to live on campus because of Princeton’s fully virtual instruction during the fall semester. Oftentimes, during classes or clubs I feel as though I’m the odd one out. Everyone who has been on campus has a shared vocabulary of buildings, Princeton traditions, courses, professors and dining halls. It’s been hard for me to feel a connection to Princeton — or with anyone save the people I've been living with, for that matter — when everything has been filtered through a screen. So, the little pockets of community I found throughout my first fall semester became especially meaningful to me, like the introductory poetry workshop I was able to take.

This year, the Program in Creative Writing  offered workshops only for first-year students. I knew that I wanted to pursue creative writing at Princeton, so I applied and was accepted, and every Tuesday for the fall semester I met with eight other first years and our professor for two hours to discuss poetry. This was a completely new world for me, and one I was keen to experience. I’ve been writing creatively for most of my life — and writing poetry since high school — but had never before had the chance to devote so much time to it at a high level. At my high school, poetry was taught but rarely written, and I didn’t have a chance to spend more than a sporadic few weeks on it in a class. Being able to spend a whole semester writing, reading and editing poetry was something new and did wonders for my writing.

More often than not, we spent our time discussing things completely unrelated to poetry: how we were doing with midterms, what we were looking forward to doing over the weekend, one of our classmate’s new dogs. It was wonderful to be in such a small class and to all be first-years, all interested in poetry, meeting every week for the whole semester. Though, it wasn’t the same as being in the same classroom, but for a while each week, I was happy to join a Zoom call where I knew everyone and everyone knew my name, the type of poetry I liked to write and where I was living for the semester. 

This isn’t to knock larger classes — I took an introductory metaphysics course in the philosophy department which I loved — but a recommendation to try out a smaller class. Especially for your first semester of college, it helps to have a little pocket of the undergraduate community that you can feel at home in, even if it’s only in a Zoom call.

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Creative Writing Courses

Creative Writing

Poetry in the Political & Sexual Revolution of the 1960s & 70s

Frs 102 · spring 2021.

FRS 102 · Tuesdays, 1:30 - 4:20 PM

Instructors: Alex Dimitrov

What does artistic production look like during a time of cultural unrest? How did America’s poets help shape the political landscape of the American 60s and 70s, two decades that saw the rise of the Black Panthers, “Flower Power,” psychedelia, and Vietnam War protests? Through reading poetry, studying films like Easy Rider, and engaging with the music of the times (Bob Dylan, Joni Mitchell, Jimi Hendrix, The Doors) we will think about art’s ability to move the cultural needle and not merely reflect the times but pose important questions about race, gender, class, sexuality, and identity at large.

The American Dream: Visions and Subversions in American Literature

Frs 176 · spring 2021.

FRS 176 · Wednesdays, 1:30 - 4:20 PM

Instructors: Joyce Carol Oates

What is “The American Dream”? Is it an ideal, a shared cultural goal, a perennial challenge? A riddle, a chimera? How does the American Dream manifest itself in individual works of art?

Introductory Poetry

Cwr 202 · spring 2021.

Multiple sections offered

Instructors: Michael Dickman · Paul Muldoon · Monica Youn · Susan Wheeler · Tracy K. Smith

Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Criticism by practicing writers and talented peers encourages the student’s growth as both creator and reader of literature.

Introductory Fiction

Cwr 204 · spring 2021.

Instructors: Alaa Al Aswany · Aleksandar Hemon · Daphne Kalotay · A.M. Homes · Idra Novey

The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers a perspective on the place of literature among the liberal arts. Criticism by practicing writers and talented peers encourages the student's growth as both creator and reader of literature.

Literary Translation

Cwr 206 / tra 206 / com 215 · spring 2021.

C01 · Tuesdays, 1:30 - 3:20 PM

Instructors: Jhumpa Lahiri

Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 20-25 page sample of the author's work. All work will be translated into English and discussed in a workshop format. Weekly readings will focus on the comparison of pre-existing translations as well as commentaries on the art and practice of literary translation.

Yaass Queen: Gay Men, Straight Women, and the Literature, Art, and Film of Hagdom

Cwr 207 / thr 207 / gss 220 · spring 2021.

S01 · Tuesdays, 1:30 - 3:20 PM

Instructors: Hilton Als

Modern queer writers have long written about the rich and complicated relationship straight cis women have had with queer men. And yet, outside of queer literary circles, little attention has been paid to how these relationships challenge or replicate traditional family structures, and form a community outside of the status quo. We will examine the stories male writers constructed and analyze women writers who held a mirror up to those straight and queer men who were drawn to lesbian culture. By examining photography and painting, we will further look at the artist's relationship to and identification with queerness, or straight female power.

Advanced Poetry

Cwr 302 · spring 2021.

Instructors: Rowan Ricardo Phillips · Susan Wheeler

Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the places of literature among the liberal arts.

Advanced Fiction

Cwr 304 · spring 2021.

Instructors: Alaa Al Aswany · Aleksandar Hemon

Advanced practice in the original composition of fiction for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the place of literature among the liberal arts. Criticism by practicing writers and talented peers encourages the student's growth as both creator and reader of literature.

Playwriting II: Intermediate Playwriting

Thr 305 / cwr 309 · spring 2021.

S01 · Wednesdays, 1:30 - 4:20 PM

Instructors: Migdalia Cruz

A continuation of work begun in Introductory Playwriting, in this class, students will complete either one full-length play or two long one-acts (40-60 pages) to the end of gaining a firmer understanding of characterization, dialogue, structure, and the playwriting process. In addition to questions of craft, an emphasis will be placed on the formation of healthy creative habits and the sharpening of critical and analytical skills through reading and responding to work of both fellow students and contemporary playwrights of note.

Advanced Literary Translation

Cwr 306 / com 356 · spring 2021.

Life is Short, Art is Really Short

Cwr 315 · spring 2021.

C01 - James Richardson · Tuesdays, 1:30-3:50 PM

Instructors: James Richardson

All literature is short — compared to our lives, anyway — but we'll be concentrating on poetry and prose at their very shortest. The reading will include proverbs, aphorisms, greguerias, one-line poems, riddles, jokes, fragments, haiku, epigrams and microlyrics. Imagism, contemporary shortists, prose poems, various longer works assembled from small pieces, and possibly even flash fiction. Students will take away from the thrift and edge of these literary microorganisms a new sense of what can be left out of your work and new ideas about how those nebulae of pre-draft in your notebooks might condense into stars and constellations.

Writing Near Art/Art Near Writing

Vis 323 / cwr 323 / eng 232 / jrn 323 · spring 2021.

C01 · Fridays, 1:30-4:20 PM

Instructors: Rindon Johnson

What we'll be writing together won't quite be art criticism and it won't quite be traditional historical writing either, what we'll be writing together is something more akin to poetry, fiction, art criticism and theory fused into a multivalent mass. Keeping in mind that language can hold many things inside of itself, we'll use somatic and idiosyncratic techniques as a lens, reading a range of poets, theorists, critics, writers and artists who are all thinking with art while writing about bodies, subjectivity, landscape, and the inimitable forms that emerge from the studio.

Introduction to Screenwriting: Writing for a Global Audience

Cwr 349 / vis 349 · spring 2021.

C01 · Wednesdays, 1:30-3:50 PM

Instructors: Christina Lazaridi

How can screenwriters prepare for the evolving challenges of our global media world? What types of content, as well as form, will emerging technologies make possible? Do fields like neuroscience help us understand the universal principals behind screenwriting and do tech advances that alter the distance between audience and creator, man and machine, also influence content of our stories?

Advanced Screenwriting: Writing for Television

Cwr 405 / vis 405 · spring 2021.

C01 · Mondays, 1:30 - 4:20 PM

Instructors: Susanna Styron

This advanced screenwriting workshop will introduce students to the fundamental elements of developing and writing a TV series in the current “golden age of television.” Students will watch television pilots, read pilot episodes, and engage in in-depth discussion about story, series engine, character, structure, tone and season arcs. Each student will formulate and pitch an original series idea, and complete the first draft of the pilot episode and season arcs by end of semester.

Revision Workshop

Thr 409 / cwr 409 · spring 2021.

S01 · Tuesdays, 1:30-4:20 PM

Instructors: Nathan Davis

This course will explore, through theory and (especially) practice, the rewriting/revising of plays, screenplays and teleplays. Students will begin the semester with a written piece of dramatic material that they wish to develop further. Through discussion, writing exercises, group feedback, and the study of existing scripts, each student will devise a revision process that is appropriate for their material and emerge with a new draft.

How to Write a Song

Atl 496 / cwr 496 · spring 2021.

Instructors: Bridget Kearney · Paul Muldoon

Taught by Bridget Kearney (Lake Street Dive) and Paul Muldoon (Rogue Oliphant) with class visits from guest singer/songwriters and music critics, this course is an introduction to the art of writing words for music, an art at the core of our literary tradition from the Beowulf poet through Lord Byron and Bessie Smith to Bob Dylan and the Notorious B.I.G. Composers, writers and performers will have the opportunity to work in small songwriting teams to respond to such emotionally charged themes as Gratitude, Loss, Protest, Desire, Joyousness, Remorse, and Defiance.

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Arts supplement advice?

<p>Since I never submitted my screenwriting work to any official contests (and therefore have no awards to prove my abilities), would it be a good idea to send a supplement as Theater? Technically, the scripts are for TV and film–not plays. But would it be accepted as a play? </p>

<p>Also, if I submit it as a play, the Princeton arts supplement says that one should “submit a play”…Do they mean the entire script for the play? Because that would about 70 pages in my case and that seems ridiculously long for a supplement. </p>

<p>Finally, does Princeton have the same philosophy as Yale about the arts supplement (i.e. Yale says, “Do not submit submissions that do not demonstrate an unusually high level of ability.”) I’m assuming “yes”. Now I think my work is very good of course, but how would I know if it is good enough to be submitted as a supplement? Do they only want people who have won awards for their writing to submit it? (To me, this doesn’t make sense because the awards themselves prove the quality, so why would a supplement be necessary?)</p>

<p>Sorry for all the questions, and thanks for any advice! :)</p>

<p>hey fellow artist! although i am not sure, i´d say that you should submit your work anyway, if you have invested time and if it something that is part of your life- my guess would be that they want to prevent people who just don´t usually draw, write or whatever, to submit a load of… well, crap to put it bluntly. however, art is something that can´t be measured with awards in my opinion, and if there is at least some truth behind lines like: we want to get to know you, your passions and your life etc, then you should totally do it. i don´t know if my art is any good in their opinion, but it is an essential part of my life, i have worked hard for it and so i will send it to them- so they can see who i am, not how many awards i won ^^ however, this is only my opinion… good luck</p>

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US Summer Reading 2024

• Grade 10: US History
• Creative Writing (McCulloch)
• Creative Writing (Quigley)
• Give My Regards to Broadway: American Plays and Musicals (Estes)
• (Hi)Story in Film and Literature (Latham)
• The Lives of Others: Investigating the Graphic Novel (Estes)
• Making the Old New Again: Adaptation and Classic Literature (Manners)
• Poetry: Making Meaning (Bechtler)
• Red Herrings and (Little) Grey Cells: The Detective in Literature (Manners)

Creative Writing (Quigley

CREATIVE WRITING

Mr. Quigley

In his essay “On Reading ‘The Rocket Man,’” Michael Chabon writes, “The most important short story in my life as a writer is Ray Bradbury’s “The Rocket Man.”  I read it for the first time when I was ten.  I was making my way, with pleasure, through a collection of Bradbury’s stories called R Is for Rocket .  I had been an avid reader for about five years, and at first the pleasure I felt was the familiar pleasure I derived from the flights of an author’s fancy, and from the anticipation and surprise of plot.  Then I came to “The Rocket Man.”  It’s the narrative of the young son of a rocket pilot whose father is to him at once an ordinary, ordinarily absent father, puttering around the house on his days off, and a terrible, mysterious demigod whose kingdom is the stars.  The danger of the father’s profession, the imminence and immanence of death, lie upon the family like the dust of stars that the narrator lovingly collects from his father’s flightsuit every time the Rocket Man comes home.  During one of the father’s leaves, the family travels to Mexico by car.  One evening they stop along a rural road to rest, and in the last light of the day the son notices bright butterflies, dozens of them, trapped and dying in the grille of the car.

“I think it was when I got to the butterflies—in that brief, beautiful image comprising life, death and technology—that the hair on the back of my neck began to stand on end. All at once, the pleasure I took in reading was altered irrevocably.  Before now I had never noticed, somehow, that stories were made not of ideas or exciting twists of plot but of language.  And not merely of pretty words and neat turns of phrase, but of systems of imagery, strategies of metaphor.  “The Rocket Man” unfolds to its melancholy conclusion in a series of haunting images of light and darkness, of machinery and biology interlocked, of splendor and fragility.  The sense of foreboding is powerful; the imagery becomes a kind of plot of its own, a shadow plot.  The end, when it comes, is at once an awful surprise, and inevitable as any Rocket Man, or those who mourn him, could expect.

“I have never since looked quite the same way at fathers, butterflies, science fiction, language, short stories, or the sun.”

Please choose ten of the following twenty-one short stories to print, read, annotate--and study  ( you will teach the class one of these ten stories with two peers during the first full week of school). While reading, please write five (one paragraph each) character descriptions and five (one paragraph each) setting descriptions   ( feel free to experiment--and/or imitate the style/voice/sentence structure of authors from the summer reading list you admire) .  A character you create might (eventually) fit into one of your settings--or not (something else for us to try...).  As you read, please mark any passages where you feel the writer achieves the kind of language Chabon stumbled upon when reading Bradbury’s “The Rocket Man,” passages constructed “not merely of pretty words and neat turns of phrase, but of systems of imagery, strategies of metaphor,” places where you find “haunting images of light and darkness, of machinery and biology interlocked, of splendor and fragility,” the kinds of places you like to revisit and get lost in for a while as a reader—sentences, scenes, and paragraphs that make your chest ache and inspire you to write—places, to paraphrase Chabon, where the hair on the back of your neck begins to stand on end .  When you find one of those spots, read it out loud and listen to it, roll the words around, note how they feel coming out of your mouth.  Then think about why the writer used certain words and phrases, why the sentences are laid out as they are, how the paragraphs flow, how the rhythms are engineered.  That is, of course, what the focus of our readings will be throughout the course.

Mr. McCulloch and Mr. Q.

Short Story Selections

“Barbie-Q” by Sandra Cisneros (flash fiction/vignette) https://moodle.swarthmore.edu/pluginfile.php/145951/mod_resource/content/2/Cisneros.pdf

“The Bingo Van” by Louise Erdrich (fiction) http://faculty.gordonstate.edu/lsanders-senu/The%20Bingo%20Van%20by%20Louise%20Erdrich.pdf

“Bloodchild” by Octavia Butler (sci-fi) https://onezero.medium.com/bloodchild-802bd34ce721

“End Game” by Nancy Kress (sci-fi) https://www.lightspeedmagazine.com/fiction/end-game/

“Everyday Use” by Alice Walker (fiction) https://harpers.org/archive/1973/04/everyday-use/

“The Fixed” by Annie Dillard (memoir–nature) 

https://dayonecomptwo.files.wordpress.com/2011/02/dillard-the-fixed.pdf

“Girl” by Jamaica Kincaid (flash fiction) https://www.bpi.edu/ourpages/auto/2017/10/14/55813476/Girl%20Jamaica%20Kincaid.pdf

“Good Country People” by Flannery O’Conner (fiction) https://repositorio.ufsc.br/bitstream/handle/123456789/163600/Good%20Country%20People%20-%20Flannery%20O%27Connor.pdf?sequence=1&isAllowed=y

“Hands” by Sherwood Anderson (fiction) https://www.eastoftheweb.com/short-stories/UBooks/Hand.shtml

“Hills Like White Elephants” by Hemingway (fiction) https://faculty.weber.edu/jyoung/English%202500/Readings%20for%20English%202500/Hills%20Like%20White%20Elephants.pdf

“How to Become a Writer” by Lorrie Moore (metafiction) https://www.sfuadcnf.com/wp-content/uploads/2015/11/How-to-Become-a-Writer-Lorrie-Moore.pdf

“Light Like Water” by Gabriel Garcia Marquez (magical realism) http://wphoto.pbworks.com/f/light-is-like-water.pdf

“No Name Woman” by Maxine Hong Kingston (non fiction) https://learning.hccs.edu/faculty/nicole.zaza/engl1301/1301-readings/no-name-woman-by-maxine-hong-kingston/view

“An Occurrence at Owl Creek Bridge” by Ambrose Bierce (fiction)

https://blocs.xtec.cat/elruidodelalluvia/files/2013/01/Ambrose-Bierce-An-Occurrence-at-Owl-Creek-Bridge.pdf

“Sonny’s Blues” by James Baldwin (fiction) https://learning.hccs.edu/faculty/selena.anderson/engl1302/readings/sonnys-blues-by-james-baldwin/view

“The Swimmer” by John Cheever (fiction) https://loa-shared.s3.amazonaws.com/static/pdf/Cheever_Swimmer.pdf

“Thank You, Ma’m” by Langston Hughes (fiction) https://www.chino.k12.ca.us/cms/lib/ca01902308/centricity/domain/1689/thank%20you%20%20ma%20am.pdf

“There Will Come Soft Rains” by Ray Bradbury (sci-fi)  https://www.btboces.org/Downloads/7_There%20Will%20Come%20Soft%20Rains%20by%20Ray%20Bradbury.pdf

“The Third and Final Continent” by Jhumpa Lahiri (fiction) https://english.cornell.edu/sites/english/files/Lahiri.%20The%20Third%20and%20Final%20Continent.pdf

“Us and Them” by David Sedaris (memoir–humor) https://legacy.npr.org/programs/morning/features/2004/jun/sedaris/usandthem.html

“Where Are You going, Where Have You Been?” by Joyce Carol Oates (fiction)

https://www.ndsu.edu/pubweb/~cinichol/CreativeWriting/323/WhereAreYouGoing.htm

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