1. Transversal Ecocritical Praxis by Patrick D. Murphy
  2. People Get Ready by Kevin Meehan
  3. The Season of Risks by Susan Hubbard
  4. The Historicism of Charles Brockden Brown by Mark L. Kamrath
  5. Intercultural Communication by Houman Sadri and Madelyn Flammia
  6. Oye What I'm Gonna Tell You by Milanés
  7. Mud Song by Terry Thaxton
  8. Marielitos, Balseros and Other Exiles by Cecilia Rodríguez Milanés
  9. The Rhetorical Nature of XML by J.D. Applen and Rudy McDaniel
  10. Virtual Teams in Higher Education by Flammia
  11. Writing for the Web: Composing, •Coding, and Constructing Web Sites
  12. The Terrible Wife by Terry Thaxton
  13. According to the Gospel of Haunted Women
  14. Rattlesnakes and the Moon by Darlin Neal
  15. Ecocritical Explorations in Literary and Cultural Studies by Patrick D. Murphy
  16. Crossing The Creek by Anna Lillios
  17. The Flight of the Kuaka by Donald Stap
  18. The Heaven of Animals by James Poissant
  19. Everyday Chica by Cecilia Rodríguez Milanés
  20. Drawing on the Victorians, edited by Anna Maria Jones
  21. The Zero Theorem by Pat Rushin
  22. Getaway Girl by Terry Thaxton
  23. Innocence, Heterosexuality, and the Queerness of Children’s Literature by Tison Pugh
  24. The Society of S by Susan Hubbard
  25. Lizard Man by David James Poissant
  26. Collecte Writings of Charles Brockden Brown edited by Mark L. Kamrath
  27. As If, poems by Russ Kesler
  28. The Year of Disappearances by Susan Hubbard
  29. Getaway Girl by Terry Thaxton
  30. Problem Novels by Anna Maria Jones
  31. Elegant Punk by Darlin Neal
Jocelyn Bartkevicius

Jocelyn Bartkevicius, Ph.D.

Jocelyn Bartkevicius is the editor of The Florida Review and director of the MFA program in creative writing. She 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 continues to publish studies of Virginia Woolf as well as book reviews and interviews. She is completing a memoir, The Emerald Room.

FInd her on Facebook, where she has an individual author page: 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

Duties

Editor, The Florida Review

Director, MFA Program in Creative Writing

Recent Research Activities

Current research focuses on 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

  • 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

Courses

Course Number Course Title Mode Date and Time Syllabus
11633 CRW4224 Advanced Nonfiction Workshop Web Web Not Online

CRW 4224.0W61: Advanced Nonfiction Writing (Bartkevicius)

Spring 2018

Prerequisite: Successful Completion of CRW 3013, Introduction to Creative Writing, CRW 3053, Theory and Practice of Creative Writing. and CRW 3211, Introduction to Nonfiction Writing.

This is a workshop-based course in literary nonfiction (memoir, personal essay, and—in some semesters—literary journalism). We’ll focus on craft-based discussions of new student writing and studies of selected published works as a way of informing our understanding of craft. Students will write sketches, full manuscripts, and craft studies. Reading is expected to include: The Boys of My Youth, by Jo Ann Beard; The Best American Essays 2013, edited by Cheryl Strayed; A Self Made of Words, by Carl Klaus, and selected online journals of nonfiction.




11410 CRW5130 Form & Theory in Creative Wr Rdce Time M 7:30PM - 9:00PM 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)

Course Number Course Title Mode Date and Time Syllabus
80862 CRW3211 Creative Nonfiction Writing Web Web Not Online
CRW 3211.0W61: Creative Nonfiction Writing
(Bartkevicius)

PR: Successful Completion of CRW 3013.

This course builds upon the writing, reading, and workshopping skills learned in CRW 3013, Introduction to creative writing. Some writers brand new to literary nonfiction may be under the (false) impression that it is all about facts, a kind of cross between researched journalism and report writing. Actually, literary nonfiction is very much like fiction writing: It is about creating stories, characters, and places. The main difference between writing fiction and literary nonfiction is this: The fiction writer can invent, can make stuff up. The literary nonfiction writer can use every other aspect of craft, but not invention. In some ways, literary nonfiction can also resemble poetry. Flash nonfiction often reads much like a prose poem.
We will explore these aspects of literary nonfiction through craft studies, introductory exercises, longer works of writing, and workshop. Reading is expected to include Tell It Slant, edited by Brenda Miller and Suzanne Paola, The Boys of My Youth, by Jo Ann Beard, and selected online nonfiction journals.
81644 CRW3211 Creative Nonfiction Writing Web Web Not Online
CRW 3211.0W62: Creative Nonfiction Writing
(Bartkevicius)

PR: Successful Completion of CRW 3013.

This course builds upon the writing, reading, and workshopping skills learned in CRW 3013, Introduction to creative writing. Some writers brand new to literary nonfiction may be under the (false) impression that it is all about facts, a kind of cross between researched journalism and report writing. Actually, literary nonfiction is very much like fiction writing: It is about creating stories, characters, and places. The main difference between writing fiction and literary nonfiction is this: The fiction writer can invent, can make stuff up. The literary nonfiction writer can use every other aspect of craft, but not invention. In some ways, literary nonfiction can also resemble poetry. Flash nonfiction often reads much like a prose poem.
We will explore these aspects of literary nonfiction through craft studies, introductory exercises, longer works of writing, and workshop. Reading is expected to include Tell It Slant, edited by Brenda Miller and Suzanne Paola, The Boys of My Youth, by Jo Ann Beard, and selected online nonfiction journals.
81645 CRW4224 Advanced Nonfiction Workshop Web Web Not Online
CRW 4224.0W61: Advanced Nonfiction Writing
(Bartkevicius)

PR: Successful Completion of CRW 3013, Introduction to Creative Writing and CRW 3211, Introduction to Nonfiction Writing.

This is a workshop-based course in literary nonfiction (memoir, personal essay, and—in some semesters—literary journalism). We’ll focus on craft-based discussions of new student writing and studies of selected published works as a way of informing our understanding of craft. Students will write sketches, full manuscripts, and craft studies. Reading is expected to include: The Boys of My Youth, by Jo Ann Beard; The Best American Essays 2013, edited by Cheryl Strayed; A Self Made of Words, by Carl Klaus, and selected online journals of nonfiction.
Course Number Course Title Mode Session Date and Time Syllabus
61183 CRW4224 Advanced Nonfiction Workshop Web B Web Not Online
CRW 4224.BW61: Advanced Nonfiction Writing
(Bartkevicius)

PR: Successful Completion of CRW 3013, Introduction to Creative Writing and CRW 3211, Introduction to Nonfiction Writing.

This is a workshop-based course in literary nonfiction (memoir, personal essay, and—in some semesters—literary journalism). We’ll focus on craft-based discussions of new student writing and studies of selected published works as a way of informing our understanding of craft. Students will write sketches, full manuscripts, and craft studies. Reading is expected to include: The Boys of My Youth, by Jo Ann Beard; The Best American Essays 2013, edited by Cheryl Strayed; A Self Made of Words, by Carl Klaus, and selected online journals of nonfiction.
Course Number Course Title Mode Date and Time Syllabus
11607 CRW3211 Creative Nonfiction Writing Web Web Not Online
CRW3211.0W59: Nonfiction Writing Workshop
(Bartkevicius)

PR: English major or minor, junior standing, and grade of C (2.0) or better required in CRW 3013 and CRW 3053

This is a class in the art and craft of writing and reading literary nonfiction. Emphasizing discovery and craft, we'll examine several forms literary nonfiction writing takes - memoir, personal essay, and nature writing especially. We'll explore how many of the techniques you've learned in fiction, poetry, and other literary genres can work in nonfiction writing as well.

This is primarily a workshop class. Our reading and discussion will prepare for the main requirements of the class: open, well-prepared-for and in-depth discussion and analysis of student manuscripts, a dialectical forum for exploring and sharpening the writing skills necessary for creating viable literary nonfiction. Additional course goals include: deepening student appreciation for literary prose, investigating and experimenting with strategies for writing and reading nonfiction effectively, and practicing critical and analytical--not taste-bound--commentary.
19175 CRW4722 Editing for Creative Writers Web Web Not Online
No Description Available
11363 LIT6076 Studies in Cont Nonfiction Rdce Time Tu 7:30PM - 9:00PM Not Online
LIT6076.0M01: Studies in Contemporary Nonfiction
(Bartkevicius)

PR: Admission to the Creative Writing MFA Program

"The line between fact and fiction is fuzzier than most people find it convenient to admit.....For imagination and memory are Siamese twins, and you cannot cut them so cleanly apart." That's David Shields (channeling Jonathan Raban) in his controversial book Reality Hunger. Through reading, writing, and class discussions, we'll consider this contention about the nature of narrative prose, and the line between nonfiction and fiction, and also explore the role that memory and perception play in creating effective prose narratives. While the reading of course focuses on nonfiction, we'll read some fiction as well to fuel the conversation about what line--if any--exists between them.

The reading is expected to include:
- Reality Hunger: A Manifesto, by David Shields;
- Life is Short, Art is Shorter, by David Shields;
- Fun Home, by Alison Bechdel;
- Maus, by Art Spiegelman;
- Boyhood, by J.M. Coetzee;
- The Boys of My Youth, by Jo Ann Bear;
- This Boy's Life, by Tobias Wolff;
- The Things They Carried, by Tim O'Brien;
- The Hours, by Michael Cunningham;
- Companion to an Untold Story, by Marcia Aldrich;
- Waveform, by Marcia Aldrich;
- Slaughterhouse Five, by Kurt Vonnegut;
- I Could Tell You Stories, by Patricia Hampl;
- Autobiography of a Face, by Lucy Grealy

Assignments include annotations (short, interpretive analyses), imitations, a conference paper and other presentations, and a final paper, designed as a submission for a journal such as Writer's Chronicle or Poets and Writers.
Course Number Course Title Mode Date and Time Syllabus
81843 CRW4224 Advanced Nonfiction Workshop Web Web Not Online
CRW4224.0W61: Advanced Nonfiction Writing Workshop
(Bartkevicius)

PR: English major or minor, junior standing, and grade of C (2.0) or better in CRW3013, CRW3053, and CRW3211.

This is a workshop-centered course, and the focus will be on both student writing and studies in what aspects of craft make literary nonfiction effective and compelling.

Reading may include The Best American Essays 2013 (Cheryl Strayed), A Self Made of Words: Crafting a Distinctive Persona in Nonfiction Writing (Carl H. Klaus), The Boys of My Youth (Jo Ann Beard), and Life is Short, Art is Shorter (David Shields).
81844 CRW6025 Adv Graduate Writing Workshop Rdce Time Th 7:30PM - 9:00PM Not Online
CRW6025.0M01: Advanced Writing Workshop - Nonfiction and Poetry
(Bartkevicius)

PR: Admission to the Creative Writing MFA

This is a workshop course in which students will write and discuss literary nonfiction and/or poetry. (Students are welcome to focus on just one of these genres, or to experiment with both). We'll focus on craft-based discussions of your new writing, with a few conversations about select published works as a way of informing our understanding of craft. Reading is likely to include "The Best American Essays" and "The Best American Poetry" 2013.

Nonfiction students are invited to write all subgenres of literary nonfiction, including memoir, personal essay, flash nonfiction, graphic narrative, and literary journalism. Poetry students will be invited to explore a similar range of styles.

The workshop is designed for MFA candidates in nonfiction writing and poetry. However, fiction writers in the program are invited to explore nonfiction or poetry in this class as well.
Course Number Course Title Mode Session Date and Time Syllabus
51000 CRW3211 Creative Nonfiction Writing Web A Web Not Online
CRW3211.AW59: Creative Nonfiction Writing Workshop
(Bartkevicius)

PR: English major or minor, junior standing, and grade of C (2.0) or better required in CRW 3013 and CRW 3053

This is a class in the art of writing and reading literary nonfiction. Emphasizing discovery and craft, we'll examine several forms that literary nonfiction can take--memoir, personal essay, and collage especially. We'll explore how many of the techniques you've learned in fiction and poetry can work in nonfiction writing as well.

This is primarily a workshop class. Our reading and discussion will prepare for the main requirements of the class: open, well-prepare-for and in-depth discussion and analysis of student manuscripts, a dialectical forum for exploring and sharpening the writing skills necessary for creative viable literary nonfiction. Additional course goals include: deepening student appreciation for literary prose; investigating and experimenting with strategies for writing and reading nonfiction effectively; practicing critical and analytical--not taste-bound--commentary.

Updated: Sep 10, 2011

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