1. Oye What I'm Gonna Tell You by Milanés
  2. The Night We Set the Dead Kid on Fire by Ephraim
  3. Mud Song by Terry Thaxton
  4. Marielitos, Balseros and Other Exiles by Cecilia Rodríguez Milanés
  5. Everyday Chica by Cecilia Rodríguez Milanés
Department of English Graduate Programs
Jocelyn Bartkevicius

Jocelyn Bartkevicius, Ph.D.

Jocelyn Bartkevicius studied literary fiction and nonfiction writing at The University of Iowa, nonfiction writing at the Bennington Writing Seminars, and completed a doctoral dissertation on the essays of Virginia Woolf. Her stories and essays have appeared in anthologies and such journals as The Iowa Review, The Missouri Review, The Bellingham Review, Fourth Genre, The Hudson Review, Gulf Coast, and TriQuarterly Online. She has won several teaching awards and her essays have been awarded prizes from several literary journals. She is the former editor of The Florida Review and former director of the MFA program in creative writing. She is completing a book on the convergence of American Burlesque and Soviet deportation and prison camps.

Find her on Facebook, where she has an individual author page: https://www.facebook.com/JocelynBartkevicius" style="cursor: pointer; color: #3b5998; text-decoration: none; ">www.facebook.com/JocelynBartkevicius

Education

  • Ph.D. in English from University of Iowa
  • M.F.A. in Creative Writing from Bennington College
  • M.A. in Creative Writing from University of Iowa

Research Interests

  • Literary nonfiction
  • Memoir
  • Personal Essay
  • Ecological Criticism and Ecotheory
  • Virginia Woolf

Recent Research Activities

Current research focuses on research for a memoir on Burlesque and Soviet atrocities, creative writing pedagogy, and the form and history of the personal essay. "Donna Brazile Loves Mudslinging: or Why We Need the Essay Now" is available at TriQuarterly Online (http://triquarterly.org/views/donna-brazile-loves-mud-slinging-or-why-we-need-essay-now).

Awards

  • Crab Orchard Review Essay Award
    • The Annie Dillard Award in the Essay
    • The Missouri Review Editors' Prize in Nonfiction
    • The Iowa Woman Essay Award
    • Notable essay citations in The Best American Essays 2010, 1999, and 1990
    • Barbara Deming Memorial Award
    • Vogel Scholar in Nonfiction Writing, Bread Loaf Writers Conference
    • Teaching Incentive Program Award, 2005 and 1999

    Activities

    A reading and presentation at Stanford University for the Association for the Advancement of Baltic Studies (AABS) in Spring 2018.

    Courses

    Course Number Course Title Mode Date and Time Syllabus
    19294 LIT6076 Studies in Cont Nonfiction Face to Face Instruction (P) Tu 1900-01-01 19:30:00 - 1900-01-01 22:15:00 Not Online

    The Art of Witness: Or, Writing an American Life

    In “How to Write a True War Story,” Tim O’Brien suggests that the best way to tell the truth is to fictionalize. Throughout the entire collection, The Things They Carried, O’Brien explores how direct experience and observation might mingle with fiction to convey the heart and soul of human experience. Over the course of the semester we’ll consider this and related ideas about contemporary nonfiction.

    We’ll start by considering the nature of narrative prose, and the “line” between nonfiction and nonfiction. We’ll explore the role that memory and perception play in creating effective prose narratives, and how writers interweave history, culture, class, social justice, war, and other matters into their artistic renderings of the lives they are living. We’ll also examine how a book can be built from individual or related essays as well as a variety approaches to crafting book-length memoirs, graphic narratives, and subject- or adventure-centered works.

    In addition to O’Brien’s book, the reading is expected to include Tara Westover’s Educated; Marcia Aldrich’s Companion to An Untold Story; Trevor Noah’s Born a Crime; Alison Bechdel’s Fun Home; Richard Blanco’s The Prince of Loss Cocuyos: A Miami Childhood; Anthony Bourdain’s Kitchen Confidential; Jo Ann Beard’s The Boys of My Youth; Dinty Moore’s Between Panic and Desire; John D’Agata’s Next American Essay; Roxanne Gay’s Hunger, William Finnegan’s Barbarian Days: A Surfing Life; and After Montaigne, a collection edited by David Lazar and Patrick Madden.

    During the semester, writing projects will include sketches, imitations, brief reflections. Students can choose a final project in the form of a conference presentation and related craft essay (designed for Poets and Writers or AWP’s Writer’s Chronicle), or a creative project with accompanying exploratory essay.

    Course Number Course Title Mode Date and Time Syllabus
    81547 CRW6025 Adv Graduate Writing Workshop Face to Face Instruction (P) Tu 1900-01-01 19:30:00 - 1900-01-01 22:15:00 Not Online

    This is a workshop course in literary nonfiction. We’ll focus on craft-based discussions of new writing, with a few conversations about selected published works as a way of informing our understanding of craft. You will be asked to write new work for the workshop portion of this class. Stand-alone essays (or short, self-contained memoirs) are preferred.  Chapters of your memoir may be negotiated if are submitted with context-setting information. You’ll be encouraged take risks, to see your writing as hard work, but rewarding work. To take the time to explore new approaches, to work beyond the down times, to be brave. To that end, from time to time you may be invited to write sketches to supplement the workshop manuscripts. The final project will be an additional new piece or a thorough revision of one of the workshop pieces. An informal essay about your work during the semester will accompany that writing project.

    During our workshop discussions, we'll discuss and critique manuscripts in terms of craft (that is, their structure, style, strength of characterization, voice, etc.). In reading and commenting on classmates' work, one goal of course is to collaborate in helping each writer become the best he or she can be. Another goal of commenting: learning to be a good editor and critic gives you skills and objectivity that you can later apply to drafts of your own.

    No courses found for Summer 2018.

    Course Number Course Title Mode Date and Time Syllabus
    11410 CRW5130 Form & Theory in Creative Wr Mixed-Mode/Reduce Seat-Time(M) M 1900-01-01 19:30:00 - 1900-01-01 21:00:00 Not Online

    Focusing on craft—especially style and structure—we’ll read works by writers who have crossed genre. Our explorations will include the following: Writers who have interrogated the same subject in more than one genre; Writers who push the borders of genre in a single work; Writers who revisit and transform another writer’s work in a new genre, and more.

    Assignments will include vigorous class discussion, brief studies of craft, imitation exercises, and a final creative project.

    Books are expected to include the following:

    ·         Chimamanda Ngozi Adichi’s, Americanah (novel) and We Should All Be Feminists (essay and Ted Talk);

    ·         Lidia Yuknavitch’s, On the Small Backs of Children (novel) and The Chronology of Water (memoir);

    ·         Ralph Ellison’s Invisible Man and Clint Smith’s New Yorker essay, “Ralph Ellison’s Invisible Man as a Parable of Our Times.

    ·         Essays by Virginia Woolf and imitation essays by Annie Dillard.

    ·         Jane Smiley’s A Thousand Acres (novel), David Denby’s “Queen Lear, (essay)” and William Shakespeare’s King Lear (play or film).

    ·         Essays and stories by David Foster Wallace.

    ·         John Updike’s Self-Consciousness (memoir) and selected short fiction.

    ·         Kathryn Harrison’s The Kiss (memoir) and Exposure (a novel)

    No courses found for Fall 2017.

    Updated: Sep 19, 2018

    Department of English • College of Arts & Humanities at the University of Central Florida
    Phone: 407-823-5596 • Fax: 407-823-3300 • english@ucf.edu