Sunday, February 28, 2010
checklist: invited Jo Ann Beard to the reading series, boxed, drank coffee, worked on an application for travel funds to Russia, worked on a radio app, worked on my book, took a walk/talk in the rain, roasted cauliflower, watched a weird one-hour reality tv show about three couples in sex therapy. but i didn't laugh today. i really need a good laugh.
Saturday, February 27, 2010
Willi Smith was so talented. My mother used to wear a few pairs of baggy WilliWear pants and I couldn't wait to get big enough to borrow them--and I did. I found this sweater today and marveled at the shape of the arms (hard to tell when I'm not wearing it). It was the queen jewel at sal's today.
Friday, February 26, 2010
Thursday, February 25, 2010
Monday, February 22, 2010
My new course at NYU, Fall '10
Nonfiction Narratives: Multiple Accounts
In this workshop, we’ll embrace oral history as both methodology and genre, seizing upon narrative discrepancies as oral history opportunities. Considering texts such as Voices from Chernobyl and Legs McNeil's Please Kill Me, we’ll explore how oral history can help us approach complex subjects and historic events, particularly those stories containing conflicting accounts. As part of this discussion, we’ll examine the elastic nature of memory, and the distinctions between individual memory and collective memory. We will challenge ourselves to reflect divergent viewpoints in our nonfiction writing, borrowing the lessons of conventional, as well as more overtly experimental nonfiction to accomplish this. How do we chronicle stories that do not conform to narrative convention? How can we retain conflicting accounts within our chronicle, rather than synthesizing them into one account? Students will read newspapers daily, looking for missing stories and missing voices. These omissions will serve as the inspiration for weekly interviews and writing projects. The work of writers and documentarians such as Mary Ellen Mark, Luc Sante, Anna Deveare Smith, Moises Kaufman, and Alex Haley will be included in our coursework.
Nonfiction Narratives: Multiple Accounts
In this workshop, we’ll embrace oral history as both methodology and genre, seizing upon narrative discrepancies as oral history opportunities. Considering texts such as Voices from Chernobyl and Legs McNeil's Please Kill Me, we’ll explore how oral history can help us approach complex subjects and historic events, particularly those stories containing conflicting accounts. As part of this discussion, we’ll examine the elastic nature of memory, and the distinctions between individual memory and collective memory. We will challenge ourselves to reflect divergent viewpoints in our nonfiction writing, borrowing the lessons of conventional, as well as more overtly experimental nonfiction to accomplish this. How do we chronicle stories that do not conform to narrative convention? How can we retain conflicting accounts within our chronicle, rather than synthesizing them into one account? Students will read newspapers daily, looking for missing stories and missing voices. These omissions will serve as the inspiration for weekly interviews and writing projects. The work of writers and documentarians such as Mary Ellen Mark, Luc Sante, Anna Deveare Smith, Moises Kaufman, and Alex Haley will be included in our coursework.
Tuesday, February 16, 2010
Monday, February 15, 2010
Saturday, February 13, 2010
Friday, February 12, 2010
Moments after speaking of wallpaper with Lisa, I saw this on Robinson Street. More wallpaper to unstick.
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