1. Intercultural Communication by Houman Sadri and Madelyn Flammia
  2. The Year of Disappearances by Susan Hubbard
  3. Problem Novels by Anna Maria Jones
  4. The Historicism of Charles Brockden Brown by Mark L. Kamrath
  5. Getaway Girl by Terry Thaxton
  6. Lizard Man by David James Poissant
  7. Elegant Punk by Darlin Neal
  8. Innocence, Heterosexuality, and the Queerness of Children’s Literature by Tison Pugh
  9. Marielitos, Balseros and Other Exiles by Cecilia Rodríguez Milanés
  10. Transversal Ecocritical Praxis by Patrick D. Murphy
  11. Everyday Chica by Cecilia Rodríguez Milanés
  12. Mud Song by Terry Thaxton
  13. Collecte Writings of Charles Brockden Brown edited by Mark L. Kamrath
  14. The Society of S by Susan Hubbard
  15. The Season of Risks by Susan Hubbard
  16. Getaway Girl by Terry Thaxton
  17. The Flight of the Kuaka by Donald Stap
  18. The Heaven of Animals by James Poissant
  19. Drawing on the Victorians, edited by Anna Maria Jones
  20. Writing for the Web: Composing, •Coding, and Constructing Web Sites
  21. According to the Gospel of Haunted Women
  22. Virtual Teams in Higher Education by Flammia
  23. As If, poems by Russ Kesler
  24. The Rhetorical Nature of XML by J.D. Applen and Rudy McDaniel
  25. Ecocritical Explorations in Literary and Cultural Studies by Patrick D. Murphy
  26. Crossing The Creek by Anna Lillios
  27. The Terrible Wife by Terry Thaxton
  28. Oye What I'm Gonna Tell You by Milanés
  29. Rattlesnakes and the Moon by Darlin Neal
  30. People Get Ready by Kevin Meehan
  31. The Zero Theorem by Pat Rushin
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
11327 CRW3211 Creative Nonfiction Writing Web Web Not Online

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.

11425 CRW4224 Advanced Nonfiction Workshop Web Web Not Online

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.

19294 LIT6076 Studies in Cont Nonfiction Face2Face Tu 7:30PM - 10:15PM Not Online
No Description Available
Course Number Course Title Mode Date and Time Syllabus
81455 CRW4224 Advanced Nonfiction Workshop Web Web Not Online

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.

81547 CRW6025 Adv Graduate Writing Workshop Face2Face Tu 7:30PM - 10:15PM 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.

Course Number Course Title Mode Session Date and Time Syllabus
50930 CRW4224 Advanced Nonfiction Workshop Web B Web Not Online

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
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.

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