This thesis consists of a collection of poems and a critical preface. The preface is a discussion of Elizabeth Bishop's descriptive mode, as demonstrated by three of her poems: "Sandpiper," "The Monument," and "Santarém." I argue for Bishop's descriptions as creative acts, and examine the gestures that help her make the reader aware of the shaping power she exercises.
This collection consists of a critical preface and nine essays. The preface analyzes, first, how the imagination influences the personal journey of a writer, and second, the techniques authors use, mainly form, time, and space, to enact the imagination and propel the reader into an imagined narrative. The essays explore themes of loss, mental illness, the rift between the “real” and the “imagined” life, and the intangibility of memory itself. Collection includes the essays “Into the Snow,” “No Longer a Part,” “Borderland,” “Still Wounds,” “What Stays in Las Vegas,” “Remnants,” “The Root,” “Your Father,” and “The Land Lord.”
This collection of personal essays about incest, abuse, and depression explores the lasting effects of an invisible childhood. The essays follow the protagonist from the age of five to her early twenties. Her brother, at a young age, becomes sexually abusive of her and her sisters, and her parents fail to protect their daughters. The family is divided as the older girls strive to defend their little sisters, while their parents attempt to excuse their son. When her brother is finally sent away, the protagonist is left to salvage what remains of her relationships with her parents.
This two-part thesis includes a critical preface and a collection of my poems. Using three poems-Louise Glück's "Lullaby," Bob Hicok's "Poem for My Mother's Hysterectomy," and Nick Flynn's "Memento Mori"-the critical preface examines how, in poetry, the transformation of a body negotiates trauma and triggers a conceptual shift, the creation and revision of identity, and the release of the duende's inspirational force. The collection of poetry that follows seeks to transfigure the body as a way to explore the nuanced traumas of human experience.
This collection consists of a critical preface and five linked short stories. The preface analyzes the usage of violence in literate and other forms of media, and specifically the ways in which literature can address violence without aggrandizing or stylizing it. The stories explore this idea through the lens of the lives of two young men, following them from boyhood marked by violence to adulthood crushed by the trauma of the American Civil War. Collection includes the stories "Dead Foxes," "Cow Pen," "Fatherless," "Woodsmoke," and "Brotherhood."
Male or female, young or old, the characters of this collection inhabit a liminal space of trauma and social dislocation in which elements of the real and fabulous coexist in equal measure. The ghosts that populate the stories are as much the ghosts of the living, as they are the ghosts of the dead. They represent individual conscience and an inescapable connection to the past.
Investigating elements of the creative process in the work of three poets: James Wright, Gjertrud Schnackenberg, and Pegeen Kelly. Each poet deploys a different method for access to those experiences that lie at the edge of accessible language. Each method is discussed and its deployment illustrated. Wright leads us from the sensory world to the supersensual. Schnackenberg makes use of the formal device of the fairy tale. Kelly immerses in the logic of dreams. Drawing on Elaine Scarry's theory of the imagination, the case is made that the poetic act is a dialectic between the poet and the sensory world, in which perception and imagination are equally important.
The preface, "Against Buses: Charles Baxter and the Contemporary Epiphany" deals with the epiphany as a potential ending to short stories. Baxter holds that epiphanies are trite and without purpose in today's fiction. I argue that Baxter's view, while not without merit, is limiting. Beginning with James Joyce and Katherine Anne Porter and moving to my own work, I discuss how some epiphanies, particularly false ones, can enhance rather than detract from excellent fiction. Five short stories make up the remainder of this thesis: "Dedication," "Taking it with You," "Transition to Flowers," "Profile in Courage," and "Henderson Street Bazaar."
This collection contains a preface entitled "Of Other Worlds" and the following short stories: "The Mind's Eye," "Waking," "The Conquest of the World," "Persephone," and "Extradition." This creative thesis includes a blend of science fiction and literary realism short stories, which are collectively concerned with questions of time, narration, and the use of language. As well, the preface discusses science fiction theory, narrative strategies such as the use of the first person perspective, and the author's theory of composition.
This collection consists of a critical preface and five short stories. The preface analyzes what it terms 'fringe fiction,' or stories dealing with elements that are improbable or unusual, though not impossible, as it distinguishes this category from magical realism and offers guidelines for writing this kind of fiction. The short stories explore themes of attachment, loss, guilt, and hope. Collection includes the stories "Portrait," "Dress Up," "Change," "Drawn Onward, We Few, Drawn Onward," and "Broker."