Department of English
- Creative Writing
Teaching and Research Interests
- African-American Literature
- American Literature
- Asian American Literature
- British Literature
- Contemporary Literature and Culture
- Digital Humanities
- Drama and Performance Studies
- Early Modern Literature
- Eighteenth-Century Literature
- Feminist, Gender, and Sexuality Studies
- Film and Media Studies
- Indigenous Literature
- Literary Theory
- Literature and Ethnicity
- Medieval Literature
- Native American and Indigenous Studies
- Poetry, Poetics, and Aesthetics
- Postcolonialism
- Psychoanalysis
- Romanticism
- Victorian Literature
Princeton Writing Program
The Writing Center
The Writing Center is open for in-person appointments. Our scheduling system is always up to date with our current availability; if no appointments are available, please consider joining our waiting list, which will notify you automatically when new appointment times are added to the schedule. We may have same-day availability for appointments as a result of cancellations.
Learn more about Writing Center appointments and our scheduling system.
Every writer needs a reader, and the Writing Center has a reader for every writer! Trained to respond to writing from a variety of genres and disciplines, Writing Center Fellows offer free, one-on-one conferences about writing at any stage in the process.
Located in New South , the Writing Center welcomes undergraduate and graduate students working on any kind of writing project, as well as postdocs and faculty working on writing related to their research. We regularly see:
- undergraduate students working on essays for classes
- juniors and seniors working on independent research projects
- graduate students working on seminar papers, research or grant proposals, articles, or dissertations
- international students making the transition to U.S. academic writing
- students writing essays for fellowships or for graduate school or job applications
- students crafting oral presentations
Writing Center Fellows can help with any part of the writing process: brainstorming ideas, developing a thesis, structuring an argument, or revising a draft. The goal of each conference is to develop strategies that will encourage students to become astute readers and critics of their own work. Although the Writing Center is not an editing or proofreading service, Fellows can help students identify patterns in their writing related to mechanics and sentence structure.
Writing Center Fellows are there to listen, strategize, suggest, diagnose, and offer advice. They serve as sounding boards, careful readers, and helpful critics, and are able to help draw out ideas and possibilities that are implicit in a student's own thinking and writing. Writing Center conferences complement, but do not replace, the relationships students have with their teachers and advisors.
Writing Center Appointments
To meet with a Writing Center Fellow, make an appointment using one of the links below. Come with whatever you've got—an assignment, ideas, rough notes, or a partial or full draft.
Writing Center Conferences
Open to all undergraduates and graduate students working on writing of any kind and at any stage in the process.
Bring a prompt to brainstorm, a rough draft of an essay, a cover letter, a grant proposal, a personal statement, a creative piece, or an oral presentation!
Standard Writing Center conferences are 50 minutes in length.
BOOK a WRITING CENTER CONFERENCE
Research Writing Conferences
These appointments are reserved for:
- Undergraduate juniors and seniors working on independent work. Bring ideas for a junior paper, a thesis funding proposal, essays for graduate school applications, or selections from a thesis!
- Graduate students, postdocs, faculty, and staff working on writing related to their research and teaching. Bring ideas for a seminar paper or conference presentation, a grant or fellowship proposal, a draft of an article, or selections from a dissertation!
Research Writing conferences with the Writing Center are 50 or 80 minutes in length.
Postdocs, faculty, and staff: Please complete this form to request access to our scheduling system.
BOOK a RESEARCH WRITING CONFERENCe
Have a question or not sure how to proceed? Contact [email protected] .
Anatomy of a Writing Center Conference
The Writing Center Fellow will likely ask you some orienting questions to get things started. Some of these might include:
- What’s the assignment?
- What feedback have you received about your writing in the past?
- How much time can you devote to revision?
- Is there something in particular you’re struggling with?
- What about your writing project excites you?
In collaboration with the Writing Center Fellow, you’ll narrow the scope of what you’ll focus on to two or three main concerns .
In preparation for reading your text together, the Fellow will ask what you want them to pay attention to as they read, where you want them to start, and how much you want them to read.
The initial agenda you set together can be renegotiated as the conference continues!
As you and the Fellow read together, you’ll be involved in the process . The Fellow might ask you to highlight areas you have questions about, or perhaps you’ll create a reverse outline , distilling each paragraph into one main idea.
The Fellow will honor your preliminary agenda . That said, they may also identify additional areas for discussion as they read.
When the two of you have finished reading, you’ll begin discussing together, starting with the previously identified issue(s) . You may also renegotiate your agenda at this stage.
In 25 minutes, you and the Writing Center Fellow may only be able to work on two or three kinds of problems in an essay—motive and thesis, sources and evidence, orienting and structure, etc.
This section of the conference will be interactive! The Fellow will help identify areas of concern in your writing, but it will be up to you to imagine solutions. Your writing is your own!
It may be productive for you to do some additional freewriting at this stage. Feel free to ask for time to do this if it would be helpful!
Planning for revision is an essential component of a successful conference . All writers need more revision than is possible during a single conference!
Together, you and the Writing Center Fellow will make a list of your next steps for revision and takeaways for future writing projects . This may include advice about longer-term issues that you can work on in your writing moving forward.
Where Is the Writing Center?
During the academic year, while classes are in session and during Reading Period, Writing Center conferences take place in person at the Writing Center in New South . Take the elevator or the stairs to the second floor and enter the door labeled "The Writing Center" (to the left as you exit the stairs or to the right as you exit the elevator). Take a seat in our reception area; you'll know you're in the right place when you see the whiteboard with "Welcome to the Writing Center!" written on it. A Writing Center Fellow will come and find you at the start time of your appointment.
Policies & Frequently Asked Questions
Our approach.
Rather than offer the discipline-based help you can get from your advisers, professors, or preceptors, Writing Center Fellows help you learn to articulate your ideas to a non-specialist reader. In general, the Writing Center does not match you with a Fellow according to your paper topic; no matter what the subject matter, our Fellows serve as sounding boards, careful readers, and helpful critics. However, if you're a junior, senior, or graduate student working on a research project, you may sign up for extended appointments with a Writing Center Fellow in your field or neighboring discipline.
Our scheduling system will display the names of all Writing Center Fellows who are working on a given day, so you will know the name of the Fellow you will be working with in advance. Please note, however, that we reserve the right to swap your appointment with a different Fellow working at the same time if the need arises. We encourage you to make appointments with a variety of Fellows so you can benefit from different perspectives on your writing!
Please bring your assignment prompt and two hard copies of the notes, outline, or draft you would like to work on. It would also be helpful to bring any feedback you’ve received on the project from your professor, preceptor, or adviser, and any key sources that you’re working with. These materials can help a Writing Center Fellow contextualize your project, and may be useful to refer back to during the conference.
The best beginning to a conference is when you, the writer, have reflected on what kind of help you would like. Be sure to read your draft closely before you arrive, and perhaps jot down some notes indicating what you would like to focus on.
Writing Center Fellows do not read papers in advance of your conference. We believe that you will become a better reader and reviser of your own work through the experience of articulating your writing concerns at the beginning of the conference. Your Writing Center Fellow can combine an understanding of those concerns with the perspective of a reader coming fresh to your paper, and then use both to help you think about possibilities for revision. Furthermore, the Writing Center is a popular resource for writers of all levels of experience at Princeton. If Fellows read papers in advance, we wouldn't be able to serve as many people.
The Writing Center Fellow will ask what you would like to work on during the session. The Fellow will also ask to see the assignment prompt and to hear about any feedback you have received on your writing from your professor, preceptor, or adviser. You and the Fellow will then spend 5-15 minutes together reading the parts of the paper that you have both agreed to focus on.
The Writing Center Fellow will discuss your writing with you, which will frequently involve asking you questions about your ideas and getting you to talk through problems arising your writing. If you haven't yet written anything, the Fellow will help you brainstorm and organize ideas. You can expect to take plenty of notes! You will spend the last part of the session developing a plan for further writing and revision.
Learn more about how our conferences are typically structured.
Because our methods for working with writing are highly interactive, you should expect to be able to review no more than 8-12 pages at most in a single 50-minute conference with a Writing Center Fellow. How many pages you will be able to review together during your conference depends on the material you'll be working with and the type of feedback that you are hoping to receive. If you plan to bring a longer paper, we suggest identifying specific sections on which you would like to receive feedback.
Our Policies
Please do not contact individual Fellows regarding their availability for Writing Center appointments. Our Fellows are students too, and it's important to us that we protect their time. Our scheduling system is always up to date with Fellows' current availability for appointments, and new appointment times are added frequently during our busy periods. We recommend that you join our waiting list to be notified when new appointments are added; please check the "Our Scheduling System" section of our FAQs for more information about how to join the waiting list.
It is our policy that all Writing Center appointments must be made, modified, and canceled through our scheduling system.
If you have questions regarding Writing Center appointment availability, please write to the Associate Director for the Writing Center, Benjamin Fancy ( [email protected] ).
Your intake form is used to help the Writing Center Fellow you'll be working with to prepare for your appointment before meeting with you. Since Fellows do not read papers in advance, the information you provide in your intake form gives them an initial sense of what you'd like to work on and a jumping-off point to begin conversation about your writing. It also serves as an opportunity for you to reflect on your writing process and the kind of help you're hoping to receive. Finally, the information you provide helps to ensure that our services are a good fit for the kind of assistance you're looking for; for instance, while Writing Center Fellows can help identify patterns in your writing related to grammar and mechanics, we are unable to offer proofreading or editing services.
If you do not complete your intake form fully, a Writing Program administrative staff member may reach out to ask that you complete your form. If you do not complete your form, your appointment may be canceled. You can return to our scheduling system at any time to update your intake form as needed.
If you find you no longer need an appointment that you've booked, we ask that you cancel as soon as possible, and no later than 5 hours in advance , via our scheduling system; this allows other students the chance to book an appointment at the time you had been holding. Cancelations with less than 5 hours' notice are considered late cancelations; conferences cannot be canceled less than 1 hour before their start time. If you do not cancel at least 1 hour in advance and you do not attend your appointment, this is considered a no-show.
After two late cancelations or two no-shows, your account in our scheduling system is deactivated and you must write to the Associate Director for the Writing Center, Benjamin Fancy ( [email protected] ), if you wish to continue scheduling appointments. If you consistently arrive late to your appointments, your ability to make appointments may also be restricted. The Writing Center is a popular resource, and these policies are in place to help ensure that appointments are available for students who need them.
Our online scheduling system will normally allow you to book a maximum of two conferences each week. During our busiest times, we may temporarily limit you to scheduling one conference per week through our scheduling system. This is to ensure equitable access to appointments during periods in which demand is at its highest.
Our online scheduling system will allow you to book appointments up to two weeks ahead of time.
Writing Center Fellows will not discuss your conference with your instructor or share that you came to the Writing Center.
Writing Center Fellows will be happy to answer your questions about citation practices. While individual Fellows may not be experts on every citation style, they can guide you to resources that will help you produce citations on your own. They can also help diagnose potential issues related to source use in your paper from their perspective as experienced, non-specialist readers. It’s important to note that just as Fellows are unable to serve as proofreaders or editors, they cannot produce citations for you. It’s also essential to make sure you understand your instructor’s expectations for citation whenever working on an assignment.
One resource that we recommend for help with citations is A Pocket Style Manual by Diana Hacker and Nancy Sommers, which provides in-depth information and guidance on a variety of different citation styles. A copy of this manual is available to consult in every Writing Center conference room.
If you wish to consult with a Writing Center Fellow about a writing assignment that is framed as an exam, you must bring written permission from your instructor to the conference (this includes take-home exams and qualifying exams).
During the academic year—while classes are in session and during Reading Period—Writing Center conferences take place in person in New South; virtual appointments cannot be booked through our online scheduling system during these times and requests are considered on a case-by-case basis.
During breaks and exam periods as well as throughout the summer, Writing Center conferences take place virtually. A Zoom link will be provided in your confirmation email for appointments booked through our scheduling system during these times.
To request a virtual appointment while we are operating on an in-person basis, please write to the Associate Director for the Writing Center, Benjamin Fancy ( [email protected] ) with as much advance notice as possible (ideally 48 hours or more). When requesting a virtual appointment, please provide a list of dates and times when you would be available to meet. Please note that we are unable to accommodate requests to change an appointment that you have already booked on our in-person schedule to a virtual appointment.
Writing Center Fellows cannot meet with students about an assignment that they themselves are also currently working on. While you may certainly conference with a Writing Center Fellow who is taking a class with you, you may not work together on assignments for that class. If you make an appointment with a Fellow who is in the same class as you and is currently working on the same assignment, we will try to swap your appointment with that of another Fellow working at the same time. If we cannot make a swap, then we will need to cancel your appointment and you will need to reschedule for a different time.
While we encourage the practice of taking dictation and recording your own voice as a useful tool for reflection and note-taking, Writing Center conferences may not be recorded.
Please refer to the Generative AI Guidance provided by the McGraw Center for Teaching and Learning. Students wishing to engage with generative AI in Writing Center conferences are responsible for understanding whether and in what contexts the use of generative AI is permitted in their courses, research, and writing process.
Our Scheduling System
You'll be prompted to set up your profile the first time you log on to the system. This information helps us to better serve you and contact you if we have any questions prior to your appointment. You will be prompted periodically to verify that the information in your profile is up to date.
You may update your profile at any time by going to the Welcome menu, then select Profile & Communication Options .
You can also manage your email options, system preferences, and register for text message notifications from this screen.
- Log on to our scheduling system .
- Search for an appointment using Preferred Appointment Date and Preferred Appointment Time , then click Find Appointments . Perfect matches for your search will be listed if they are available, otherwise you'll see a list of the closest matches. Click Reserve for the appointment you would like to book.
- Please note that at least one full hour must be available in order to book an appointment. Verify this using the dropdown for the end time of your appointment.
- Be sure to tell us about the assignment or project you're working on, then click Create Appointment to book your appointment.
Your appointment will be confirmed by email shortly after booking. Be sure to make a note of your appointment in your personal calendar!
- Search for an appointment using Preferred Appointment Date and Preferred Appointment Time . Use Limit to to narrow down your search by all 80-minute conferences or Fellows in a specific discipline, then click Find Appointments . Perfect matches for your search will be listed if they are available, otherwise you'll see a list of the closest matches. Click Reserve for the appointment you would like to book.
- Please note that at least one and a half hours must be available in order to book an 80-minute appointment. Verify this using the dropdown for the end time of your appointment.
- Go to the My Appointments menu and choose the appointment you would like to cancel.
- Select Cancel Appointment .
In Standard Display mode:
- Search for an appointment using Preferred Appointment Date and Preferred Appointment Time , then click Find Appointments . If you're unable to find an appointment that fits your schedule on this day, select the Waiting List button.
- Select Join Waiting List to be notified of any openings for that day. You may also limit the notification based on your desired appointment time.
In Calendar Display mode:
- Navigate to the day on which you'd like to schedule an appointment. If you're unable to find an appointment that fits your schedule on this day, click the Waiting List link below that day's appointments.
If an appointment becomes available, you'll be alerted by email or text message depending on your notification preferences. Appointments that open are available on a first come, first served basis, so be sure to act quickly to book your appointment.
Creative Writing Courses
Creative Writing
Poetry in the Political & Sexual Revolution of the 1960s & 70s
Frs 102 · spring 2021.
FRS 102 · Tuesdays, 1:30 - 4:20 PM
Instructors: Alex Dimitrov
What does artistic production look like during a time of cultural unrest? How did America’s poets help shape the political landscape of the American 60s and 70s, two decades that saw the rise of the Black Panthers, “Flower Power,” psychedelia, and Vietnam War protests? Through reading poetry, studying films like Easy Rider, and engaging with the music of the times (Bob Dylan, Joni Mitchell, Jimi Hendrix, The Doors) we will think about art’s ability to move the cultural needle and not merely reflect the times but pose important questions about race, gender, class, sexuality, and identity at large.
The American Dream: Visions and Subversions in American Literature
Frs 176 · spring 2021.
FRS 176 · Wednesdays, 1:30 - 4:20 PM
Instructors: Joyce Carol Oates
What is “The American Dream”? Is it an ideal, a shared cultural goal, a perennial challenge? A riddle, a chimera? How does the American Dream manifest itself in individual works of art?
Introductory Poetry
Cwr 202 · spring 2021.
Multiple sections offered
Instructors: Michael Dickman · Paul Muldoon · Monica Youn · Susan Wheeler · Tracy K. Smith
Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Criticism by practicing writers and talented peers encourages the student’s growth as both creator and reader of literature.
Introductory Fiction
Cwr 204 · spring 2021.
Instructors: Alaa Al Aswany · Aleksandar Hemon · Daphne Kalotay · A.M. Homes · Idra Novey
The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers a perspective on the place of literature among the liberal arts. Criticism by practicing writers and talented peers encourages the student's growth as both creator and reader of literature.
Literary Translation
Cwr 206 / tra 206 / com 215 · spring 2021.
C01 · Tuesdays, 1:30 - 3:20 PM
Instructors: Jhumpa Lahiri
Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 20-25 page sample of the author's work. All work will be translated into English and discussed in a workshop format. Weekly readings will focus on the comparison of pre-existing translations as well as commentaries on the art and practice of literary translation.
Yaass Queen: Gay Men, Straight Women, and the Literature, Art, and Film of Hagdom
Cwr 207 / thr 207 / gss 220 · spring 2021.
S01 · Tuesdays, 1:30 - 3:20 PM
Instructors: Hilton Als
Modern queer writers have long written about the rich and complicated relationship straight cis women have had with queer men. And yet, outside of queer literary circles, little attention has been paid to how these relationships challenge or replicate traditional family structures, and form a community outside of the status quo. We will examine the stories male writers constructed and analyze women writers who held a mirror up to those straight and queer men who were drawn to lesbian culture. By examining photography and painting, we will further look at the artist's relationship to and identification with queerness, or straight female power.
Advanced Poetry
Cwr 302 · spring 2021.
Instructors: Rowan Ricardo Phillips · Susan Wheeler
Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the places of literature among the liberal arts.
Advanced Fiction
Cwr 304 · spring 2021.
Instructors: Alaa Al Aswany · Aleksandar Hemon
Advanced practice in the original composition of fiction for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the place of literature among the liberal arts. Criticism by practicing writers and talented peers encourages the student's growth as both creator and reader of literature.
Playwriting II: Intermediate Playwriting
Thr 305 / cwr 309 · spring 2021.
S01 · Wednesdays, 1:30 - 4:20 PM
Instructors: Migdalia Cruz
A continuation of work begun in Introductory Playwriting, in this class, students will complete either one full-length play or two long one-acts (40-60 pages) to the end of gaining a firmer understanding of characterization, dialogue, structure, and the playwriting process. In addition to questions of craft, an emphasis will be placed on the formation of healthy creative habits and the sharpening of critical and analytical skills through reading and responding to work of both fellow students and contemporary playwrights of note.
Advanced Literary Translation
Cwr 306 / com 356 · spring 2021.
Life is Short, Art is Really Short
Cwr 315 · spring 2021.
C01 - James Richardson · Tuesdays, 1:30-3:50 PM
Instructors: James Richardson
All literature is short — compared to our lives, anyway — but we'll be concentrating on poetry and prose at their very shortest. The reading will include proverbs, aphorisms, greguerias, one-line poems, riddles, jokes, fragments, haiku, epigrams and microlyrics. Imagism, contemporary shortists, prose poems, various longer works assembled from small pieces, and possibly even flash fiction. Students will take away from the thrift and edge of these literary microorganisms a new sense of what can be left out of your work and new ideas about how those nebulae of pre-draft in your notebooks might condense into stars and constellations.
Writing Near Art/Art Near Writing
Vis 323 / cwr 323 / eng 232 / jrn 323 · spring 2021.
C01 · Fridays, 1:30-4:20 PM
Instructors: Rindon Johnson
What we'll be writing together won't quite be art criticism and it won't quite be traditional historical writing either, what we'll be writing together is something more akin to poetry, fiction, art criticism and theory fused into a multivalent mass. Keeping in mind that language can hold many things inside of itself, we'll use somatic and idiosyncratic techniques as a lens, reading a range of poets, theorists, critics, writers and artists who are all thinking with art while writing about bodies, subjectivity, landscape, and the inimitable forms that emerge from the studio.
Introduction to Screenwriting: Writing for a Global Audience
Cwr 349 / vis 349 · spring 2021.
C01 · Wednesdays, 1:30-3:50 PM
Instructors: Christina Lazaridi
How can screenwriters prepare for the evolving challenges of our global media world? What types of content, as well as form, will emerging technologies make possible? Do fields like neuroscience help us understand the universal principals behind screenwriting and do tech advances that alter the distance between audience and creator, man and machine, also influence content of our stories?
Advanced Screenwriting: Writing for Television
Cwr 405 / vis 405 · spring 2021.
C01 · Mondays, 1:30 - 4:20 PM
Instructors: Susanna Styron
This advanced screenwriting workshop will introduce students to the fundamental elements of developing and writing a TV series in the current “golden age of television.” Students will watch television pilots, read pilot episodes, and engage in in-depth discussion about story, series engine, character, structure, tone and season arcs. Each student will formulate and pitch an original series idea, and complete the first draft of the pilot episode and season arcs by end of semester.
Revision Workshop
Thr 409 / cwr 409 · spring 2021.
S01 · Tuesdays, 1:30-4:20 PM
Instructors: Nathan Davis
This course will explore, through theory and (especially) practice, the rewriting/revising of plays, screenplays and teleplays. Students will begin the semester with a written piece of dramatic material that they wish to develop further. Through discussion, writing exercises, group feedback, and the study of existing scripts, each student will devise a revision process that is appropriate for their material and emerge with a new draft.
How to Write a Song
Atl 496 / cwr 496 · spring 2021.
Instructors: Bridget Kearney · Paul Muldoon
Taught by Bridget Kearney (Lake Street Dive) and Paul Muldoon (Rogue Oliphant) with class visits from guest singer/songwriters and music critics, this course is an introduction to the art of writing words for music, an art at the core of our literary tradition from the Beowulf poet through Lord Byron and Bessie Smith to Bob Dylan and the Notorious B.I.G. Composers, writers and performers will have the opportunity to work in small songwriting teams to respond to such emotionally charged themes as Gratitude, Loss, Protest, Desire, Joyousness, Remorse, and Defiance.
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Graduate Program Overview
Graduate Studies Program
Ph.D PROGRAM IN ENGLISH AT PRINCETON
The aim of the Princeton graduate program in English is to produce well-trained and productive scholars, sympathetic and intelligent critics, and effective and imaginative teachers. The five year Ph.D program is intense but also supportive. Princeton maintains a feeling of intimacy despite being a high powered research university; it is large enough to sustain an extremely diverse, cosmopolitan, and lively intellectual community, but small enough so that no one need feel lost in it. Because this is a residential university, whose traditions emphasize teaching as well as research, the faculty is easily accessible to students and concerned about their progress.
Located between New York and Philadelphia, Princeton combines the cohesive identity of a university town, with easy access to the cultural and professional resources of major urban centers.
FACULTY The faculty of the Department of English is notable for its scholarly reputation, commitment to teaching, and accessibility. Faculty members have diverse interests in the field of literary study, from the traditional methods of historical research to the newer areas of literary theory, Afro-American studies, feminist criticism, and film. For a listing of current faculty and their fields, see the sheet included with this brochure. While Princeton maintains a single faculty engaged in both undergraduate and graduate teaching, the majority of graduate seminars are conducted by senior members of the faculty. Students may take courses as well in cognate departments such as comparative literature, classics, philosophy, linguistics and art history.
The university offers programs in creative writing, visual arts, and theater and dance. Although these programs do not have graduate courses, graduate students are welcome to participate when space permits. The faculty in creative writing is one of the most outstanding in the country, and includes Joyce Carol Oatesm Toni Morrison, Russell Banks, Paul Auster, Edmund Keeley, James Richardson, and Julie Agoos.
COURSE OF STUDY
The graduate program in English is a five-year program leading to the Ph.D. Students may not enroll for the Master of Arts degree. During the first two years, students prepare for the General Examination through work in seminars, and directed or independent reading. The third and fourth years are devoted to teaching in undergraduate courses, and to the writing of a dissertation.
The major work of the first two years should reinforce the student's general knowledge of English and American Literature. During the second year, the student also begins intensive study in a special field of interest, which may be a historical period, a genre, or literary theory and criticism. While programs are flexible, a student normally enrolls in three seminars in the first three terms, and two seminars in the fourth term. Students are also encouraged to continue taking courses in the third year and beyond.
The two-part written comprehensive examination must be completed by the end of the second year. A written examination in the special field, and a follow-up one-hour oral must be completed by the beginning of the third year. Students with intensive preparation or previous graduate study are encouraged to take the comprehensive at the end of the first year.
Students must also demonstrate a reading knowledge of two-foreign languages before the completion of the General Examination. The languages normally recommended are Latin, Greek, French, German, and Italian, but other languages relevant to the student's program of study may be substituted with the approval of the director of graduate studies.
Each entering student is assigned a faculty advisor who works with the Director of Graduate Studies in planning course selection in the first year. At the beginning of the second year, students choose two faculty members in their field of special interest as advisors for Part II of the General Examination and conduct the follow-up oral. By the third year each student chooses a dissertation director, who must be a tenured member of the department, and may also indicate a preference for a second reader, who may be either tenured or untenured. The Dissertation Committee has the option of recommending a second reader when the prospectus is approved.
GRADUATE ADVISORY COMMITTEE (GAC)
The GAC is constituted of all registered graduate students, and has a rotating chair. It meets on the first Wednesday of every month to discuss issues of concern to students, and to present them to the Department. The GAC also organizes social activities, including a fall picnic, a Christmas dance, and an end-of-the-year celebration.
COLLOQUIUMS
Graduate students are welcome to participate in a variety of seminars and colloquiums organized by the English Department and other departments and programs. These may involve the discussion of an article or problem, the presentation of a paper, or a forum for debate. Colloquiums also include one-day conferences on a number of topics. Among those sponsored by the Department and jointly run by the graduate students and faculty, are groups on History and Literature; Gender and Feminist Literary Theory; Renaissance Studies; and Politics and Literature. Students also may join the weekly Graduate Women's Studies Seminar; participate in the meetings of the Shelby Cullom Davis Center for Historical Studies; attend the Christian Gauss Seminars in Criticism; and involve themselves in any of the eighteen colloquiums under the aegis of the Council of the Humanities.
All graduate students who have passed the General Examination are required to teach in undergraduate courses as part of their preparation. While the minimum requirement is six hours, most students teach more than this. The department offers many opportunities for teaching experience in conjunction with its large and popular undergraduate program. Students may teach in the writing program, conduct sections of large lecture courses, or direct precepts in upper-division courses. This teaching is supervised by experienced members of the faculty, and occasional colloquiums are offered on teaching methods and other matters of professional interest.
LIBRARY COLLECTIONS
In addition to the general collection of the Firestone Library, students in the Department of English have access to a number of special collections which are particularly rich in materials for study: one of the most important collections of Medieval and Renaissance manuscripts in the United States; works of the Restoration Period, with emphasis on the drama; the theater collection, which contains materials for the study of theatrical history; extensive collections concerning the history and literature of the middle Atlantic and southern states; the Sinclair Hamilton Collection of American Illustrated books, 1670-1870; the Morris L. Parrish Collection of Victorian Novelists; the J. Harlin O'Connell Collection of the 1890's and the Gallatin Collection of Aubrey Beardsley; and the archives of major American publishing houses. The extensive Miriam Y. Holden Collection of Books on the History of Women is located adjacent to the department's basic literature collection in the Scribner Room. The Robert H. Taylor Collection, which is strong throughout the range of English literature, is now housed in the library and is available for the students' use.
JOB PLACEMENT
The department has a strong record of job placement, and works closely with students to help them prepare for the application and interview process. In the past few years, for example, Princeton Ph.D.s have taken tenure track positions at major colleges and universities in the United States and Canada, including University of British Columbia, Cornell, Fordham, Harvard, Kenyon, Michigan, Rutgers, Tulsa, UCLA, Virginia, Washington University and Yale.
ADMISSION AND FINANCIAL AID
Competition for admission to the program is keen. About twelve new students From a wide range of backgrounds are enrolled each year. The department looks for candidates of outstanding ability and scholarly promise who have the potential to be lively, effective and sympathetic teachers. It's judgements are based on letters of recommendation, transcripts, a personal statement, a sample of the candidate's academic writing, and performance on the GRE verbal aptitude and advanced tests. Facility in foreign languages is also taken into account. Inquiries to the department are routinely shared with the Office of Graduate Admission. However, if you do not receive an application form and "Guide to Graduate Admission" within three weeks of receiving this brochure, please write to the Office of Graduate Admission , Princeton University, Princeton, NJ 08544.
Fellowships are awarded by the Graduate School at large, on the department's recommendation. Awards are made on the combined bases of financial need, ad demonstrated on the GAPSFAS (financial statement) form, and academic merit. Unfortunately, not all admitted students can be offered financial aid; students are therefore encouraged to seek outside sources of support. Fellowship awards are usually continued at their original levels while the student is in good standing in the program. In the third and fourth years, students have the opportunity to teach in undergraduate courses as Assistants in Instruction. Assistants in Instruction are paid at a rate somewhat higher than most fellowships.
ENGLISH DEPARTMENT
The department offices, lecture halls, and seminar rooms are located in McCosh Hall. Graduate seminars meet here, in classrooms and faculty offices, as well as in the English Graduate Seminar Room in Firestone Library. The Hinds Library, the department's reading room and lounge, is located in McCosh, and offers a casual meeting-place over coffee for students and faculty during the day. There is a separate English Graduate Reading Room in the Library , where reserve books for graduate seminars are kept on the shelves. It is adjacent to the Scribner Room, the department's large non-circulating collection of books and journals.
The Graduate School provides University housing for about 65 percent of the graduate student body. New students have first priority. Many students without dependants choose to live in the Graduate College, a handsome Gothic dormitory complex located about one-half mile from the center of campus. Unfurnished apartments for married students are also available. While housing in the Princeton area is expensive, many graduate students find convenient and attractive private housing, sharing accommodations or investigation neighboring towns. There are also opportunities for graduate students to apply for resident positions in the undergraduate colleges.
VISITING PRINCETON
Applicants for admission are welcome to visit the campus at any time, and tours of the campus are available. Interviews are not required, but if you want an appointment to meet with the Director of Graduate Studies or a faculty member, contact the department, and we will try to arrange one. Since admissions is handled by the faculty of the department, rather than by a staff, we cannot always schedule interviews for those who would like them, and from January 1 to March 15, we are unable to offer interviews since selection work makes it impossible to handle appointments. Admitted students are invited to the campus in March and April, and have the opportunity to visit seminars, stay with graduate students, and meet with faculty.
Bigsna Gill
Bigsna is a development practitioner from India and brings more than a decade of social impact experience in the ‘poverty, climate action and sustainable development’ realms. Her work at the grass roots has focused on building inclusive, clean-tech solutions that prioritize energy access, food and water security, resilient livelihoods and gender equity in marginalized and vulnerable rural communities. She also has significant experience in policy analysis and action research on rural electrification, gender and energy, and clean cooking. Before transitioning to the social sector, she ran an independent writing firm and worked for several years in banking. Bigsna holds a B.A. in economics and a post graduate diploma in forestry management. She is an animal lover, reader, podcast addict, traveller, sports enthusiast and enjoys creative pursuits like photography and DIY projects. After Princeton, she hopes to influence universal approaches towards sustainable development and build scalable people-centric solutions at the intersections of human prosperity and environmental sustainability.
Undergraduate Announcement 2024 - 2025
Creative writing, general information, program offerings:, program offerings.
The Program in Creative Writing , part of the Lewis Center for the Arts, with a minor in creative writing, like our present certificate students, will encounter a rigorous framework of courses. These courses are designed, first and foremost, to teach the students how to read like a writer, thoughtfully, artistically, curiously, with an open mind attuned to the nuances of any human situation. This skill is not only for students who plan to be professional writers, but most important, this is a skill we believe to be crucial for all students. The many courses offered by the creative writing department teach students how to structure a narrative and write it well; how to use lived experience in the compressed linguistic construct of a poem so that it provides a meaningful experience for a reader; how to think about, and undertake, the translation of a literary work into another literary work in another language; how to write and adapt literary narratives for a variety of screen media.
Goals for Student Learning
• The Art of Reading
A sophisticated reader of literature is one who reads with a discerning but not judgmental mind. Teaching the art of reading to our students is one of the most effective ways to prepare them to navigate a murky, complex and increasingly more contentious world.
• The Art of Writing
Whether the students work in fiction, poetry, creative nonfiction or screenwriting, our goal is to teach students to write clearly and dynamically, to communicate complex ideas, and to distill experience into arts.
• The Art of Exploration
We encourage our students to expand their horizons by learning new approaches and trying new genres, whether a poet trying out digital storytelling, or a prose writer creating a novel in verse. We encourage our students to bring their writings out to the world and to bring the world into their writing.
• Public Service and Global Citizenship
A writer in today’s world is not a hermit writing from the top of a tower. Our minor program aims to promote the values inherent in the University’s unofficial motto, “In the Nation’s Service and the Service of Humanity,” to draw from the model of Toni Morrison, and to cultivate a younger generation of writers who will be engaging with the public thoughtfully and meaningfully.
Prerequisites
For the minor program, our goal is to guide students through a course of study that begins with introductory courses, and then combines courses at advanced levels with cross-listed and approved courses offered by other units. The minor in creative writing includes a total of five courses. At least three of these must be CWR courses (cross-listed courses will also count). The final two courses can be CWR courses or, with the approval of the program director, up to two additional literature or comparative literature courses. To be eligible to apply for the minor, students must have taken the three creative writing courses by the end of their junior year. Senior year is focused on development of students' independent work.
As an example of a pathway through the minor, students typically enroll in two to three 200-level courses during their first and second years at Princeton. These include intro to fiction writing, intro to poetry, intro to translation and intro to screenwriting. Students who have taken two 200-level courses are allowed to register for 300- and 400-level courses, including advanced fiction writing, advanced poetry writing, advanced translation and advanced screenwriting.
Admission to the Program
In the spring semester of junior year, students apply to be admitted to the creative writing program for independent work during their senior year.
Program of Study
Students admitted to the minor program will have one year of one-on-one thesis work with an established poet or prose writer. This independent work includes weekly or biweekly conferences with the thesis advisers for two semesters. Under the direction of the thesis advisers, the students will produce a full-length collection of poetry, a collection of short stories or a finished novel manuscript. Each final thesis is read by another writer, who provides a thoughtful and detailed commentary, which gives a snapshot of the student’s career and offers future direction. This independent thesis work has long been a treasured tradition of the creative writing program, and we believe that the conversion to the minor program will more accurately reflect the amount of work both the students and the advisers have put in during their senior year. Apart from independent work, the students will also participate in two public readings — a reading of their work-in-progress with their peers alongside a published writer, and a thesis reading, a celebration of their final theses. An unofficial monthly lunch meeting for the thesis cohort, directed by an appointed faculty member, will serve as a support group.
Executive Committee
- Elena Araoz, Theater, LCA
- Tina M. Campt, Art and Archaeology
- Jane F. Cox, Lewis Center for the Arts
- Katie Farris, Lewis Center for the Arts
- Tina Fehlandt, Lewis Center for the Arts
- Martha Friedman, Lewis Center for the Arts
- Judith Hamera, Lewis Center for the Arts
- Christopher J. Harris, Lewis Center for the Arts
- Aleksandar Hemon, Lewis Center for the Arts
- Brian E. Herrera, Lewis Center for the Arts
- A.M. Homes, Creative Writing, LCA
- Ilya Kaminsky, Lewis Center for the Arts
- Deana Lawson, Lewis Center for the Arts
- Rebecca J. Lazier, Lewis Center for the Arts
- Yiyun Li, Lewis Center for the Arts
- Pamela E. Lins, Visual Arts, LCA
- Susan S. Marshall, Lewis Center for the Arts
- Moon Molson, Lewis Center for the Arts
- Paul B. Muldoon, Lewis Center for the Arts
- Nicolás Pereda, Lewis Center for the Arts
- Kirstin Valdez Quade, Lewis Center for the Arts
- David W. Reinfurt, Lewis Center for the Arts
- Joe Scanlan, Lewis Center for the Arts
- Patricia Smith, Lewis Center for the Arts
- Lloyd Suh, Lewis Center for the Arts
- Jeffrey Whetstone, Lewis Center for the Arts
- Rhaisa Williams, Lewis Center for the Arts
- Stacy E. Wolf, Lewis Center for the Arts
- Aleksandar Hemon
- Ilya Kaminsky
- Paul B. Muldoon
- Patricia Smith
Associate Professor
- Katie Farris
- Kirstin Valdez Quade
Professor Emeritus (teaching)
- Joyce Carol Oates
Professor of the Practice
- Michael C. Dickman
- Zoe K. Heller
- Sheila Kohler
- Jack Livings
- Jenny McPhee
- Lynn Melnick
- Susanna Moore
- Kathleen Ossip
- Lynn S. Strong
Visiting Associate Professor
- Monica Youn
For a full list of faculty members and fellows please visit the department or program website.
CWR 201 - Creative Writing (Poetry) Fall LA
Cwr 202 - creative writing (poetry) spring la, cwr 203 - creative writing (fiction) fall la, cwr 204 - creative writing (fiction) spring la, cwr 205 - creative writing (literary translation) (also com 249/tra 204) fall la, cwr 206 - creative writing (literary translation) (also com 215/tra 206) spring la, cwr 301 - advanced creative writing (poetry) fall la, cwr 302 - advanced creative writing (poetry) spring la, cwr 303 - advanced creative writing (fiction) fall la, cwr 304 - advanced creative writing (fiction) spring la, cwr 305 - advanced creative writing (literary translation) (also com 355/tra 305) fall la, cwr 306 - advanced creative writing (literary translation) (also com 356/tra 314) spring la, cwr 345 - special topics in creative writing (also ams 345/gss 383) not offered this year la, cwr 401 - advanced creative writing tutorial not offered this year la, cwr 402 - advanced creative writing tutorial not offered this year la, cwr 403 - special topics in screenwriting (also vis 406) not offered this year la, jrn 240 - creative nonfiction (also cwr 240) spring la, thr 205 - introductory playwriting (also cwr 210) fall la, thr 305 - playwriting ii: intermediate playwriting (also cwr 309) spring la.
Program in Translation and Intercultural Communication (PTIC)
Creative writing (literary translation) (la).
Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 20-25 page sample of the author's work. All work will be translated into English and discussed in a workshop format. Weekly readings will focus on the comparison of pre-existing translations as well as commentaries on the art and practice of literary translation.
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On the campus creative writing turns 70.
The Lewis Center is celebrating 70 years of creative writing at Princeton with a yearlong series of public readings by award-winning writers who are program alumni or have served on the faculty.
Novelist Robert Stone, formerly a visiting fellow, and poet C.K. Williams, a current member of the faculty, were scheduled to read in November; poet Maxine Kumin and professor and novelist Joyce Carol Oates kicked off the series in October. Reading later this academic year will be novelist Russell Banks and his wife, the poet Chase Twichell; poet W.S. Merwin ’48; novelist Mona Simpson; and current faculty members Chang-rae Lee and Jeffrey Eugenides. Each session includes a brief reading by a current student.
Princeton’s creative writing program — which has produced such noted contemporary writers as novelists Jonathan Safran Foer ’99 and Jodi Picoult ’87 — is “unparalleled,” said Lee, the program’s director. University creative writing programs, he said, usually are created to offer master’s degrees in fine arts. “There are very few places that are constituted as creative writing programs for undergraduates,” he said. Like students in the country’s most famous graduate programs, undergraduates at Princeton participate in small workshops with renowned writers.
Each year more students apply for a spot in one of the program’s workshops in poetry, fiction, translation, and screenwriting than there are places available. To remedy that problem, Lee said, the program increased its hiring of visiting faculty over the last three years, and the number of sections has increased by 50 percent, to about 14 to 16 offerings a semester. This fall, a record 175 students are enrolled in creative writing workshops.
The program started in 1939; at the time, Dean of the College Christian Gauss thought Princeton did little to cultivate writers and other artists. The program’s mission — still true today — was to encourage undergraduates to work in the creative arts under the supervision of professionals. Poet and critic Allen Tate was appointed the first resident fellow in creative writing, and he soon invited another noted poet and critic, Richard P. Blackmur, to assist him. Blackmur took over the program in the 1940s, attracting as teachers a succession of poets, writers, and critics, including John Berryman and Philip Roth. Poet Edmund Keeley ’48, who directed the program from 1966 to 1981, introduced translation courses into the curriculum and pushed for more permanent tenured faculty appointments. More recent faculty members have included Toni Morrison, Edmund White, and Paul Muldoon.
Today, small workshop courses averaging eight to 10 students provide intensive feedback and instruction for both beginners and advanced writers. The workshop format — in which students share their work with other students, read literature, and have individual faculty conferences — was one of Keeley’s innovations. Keeley wanted to expose students to the process of writing and “how writers themselves think about literature and talk about it,” he said. The format drew on student interest in criticism from their peers: Students “like to hear what their contemporaries are thinking,” he said.
To earn a certificate in creative writing, students must produce a creative thesis, and each year 15 to 20 seniors work to complete a novel or collection of short stories, poems, or translations. Some students write two senior theses, if the creative thesis does not fulfill the requirements of the department in which they are concentrating.
Math major Josephine Wolff ’10 is working on a collection of short stories in addition to a thesis for the math department. After “stumbling into” a creative writing workshop her freshman year, Wolff decided to enroll in the program. She said she finds it “thrilling and stressful” working with writers like Oates and Lee because “they care a lot about our writing and they read it very carefully. They take it seriously and comment on it as if it’s important.”
Faculty members benefit from the workshop discussions as well, said Lee, whose novel The Surrendered will be published in March. “I am stimulated by the exuberance and eagerness ... of these young writers,” he said. “It always reminds me what is so exciting about writing and the art of writing.”
Creative Writing Alumni
Following is a partial list of writers who took part in the program or studied with its faculty members. They are pictured left to right, starting at the top:
WILLIAM MEREDITH ’40, Pulitzer Prize-winning poet
W.S. MERWIN ’48, celebrated poet and winner of two Pulitzer Prizes
GALWAY KINNELL ’48, Pulitzer Prize-winning poet
JANE HIRSHFIELD ’73, poet; her books include “After”
WALTER KIRN ’83, novelist, critic, and author of the memoir “Lost in the Meritocracy”
JODI PICOULT ’87, best-selling and prolific novelist
JONATHAN AMES ’87, novelist and essayist who has been called “New York’s gonzo scribe”
MOHSIN HAMID ’93, Pakistani-born novelist; his latest book is “The Reluctant Fundamentalist”
JONATHAN SAFRAN FOER ’99, best known for his debut novel, “Everything is Illuminated”
Graduate School
Personal Statement
Applicants will be required to upload a personal statement with the admission application in the space provided. Prior to submitting, please review file upload requirements .
Requirements
Princeton is strongly committed to welcoming students with diverse experiences. Describe a personal experience that influenced your decision to pursue graduate study. Explain how the lessons from this experience would enrich Princeton’s residential scholarly community.
The essay must be written in English and should not exceed 250 words. No specific formatting is required.
Review your final statement before uploading and submitting the admission application. If you submitted an application and need to revise your essay, you may upload the corrected version through the checklist before the deadline. After the deadline, no revised essays will be accepted.
One of the Best Classes at Princeton: Creative Writing 201
April 2, 2020.
One of my favorite classes at Princeton is “CWR201: Creative Writing – Poetry,” a class I’m taking with Professor Jenny Xie. As a computer science engineering student, I’m often deluged with problem sets and programming projects. However, I’ve always been a writer at heart. In high school, I was heavily involved in poetry, and I would often use writing to reflect and recoup.
I tried to continue my writing habits on campus, but, at times, I would struggle to find the time and headspace. I also wanted to push my work in new directions and challenge my writing paradigms.
CWR201, and Princeton’s Program in Creative Writing in general, is excellent in this regard. Every Tuesday afternoon, in a brightly lit classroom overlooking Maya Lin’s new earthwork installation, I participate in a three-hour seminar alongside seven other students. I know three hours seems like a long time, trust me I had my reservations! But from Professor Xie’s opening words, I was totally absorbed. Students in every section of CWR201 work with and learn from distinguished poets: as an award-winning and published poet, Professor Xie brings valuable experience and wisdom for anyone interested in the poetry community. She also has a way with words that’s incredibly refreshing after so many hours of boiled-down technical terminology experienced in computer science classes.
Everyone in the class, too, has unique voices. We all came in with varying levels of experience with poetry, making our class atmosphere diverse and relaxed. Each week, we read deeply into a poetry packet organized around different themes, in addition to devoting time to workshopping each other’s poems.
Having a class where the only assignments are to read wonderful contemporary poetry and write your own, was exactly what I needed. I’ve been writing a lot more recently, creating words that I feel proud of. In the relentless forward movement of Princeton, it’s sometimes necessary to sit down and reflect. Throughout my ten weeks in class, I’ve found new ways of expressing myself, and through thoughtful workshop feedback from my professor and classmates, I’ve delved deeper into what I’ve written. One of my proudest moments this year was when I had my work from class published in The Nassau Weekly , one of Princeton’s main campus publications.
Because CWR201 is graded on a Pass/D-Grade/Fail basis only, it’s a class where students are encouraged to take risks and push boundaries. It doesn’t demand much of your time, but you’ll find that the time you do spend yields so much. I’ve created poetry I’m proud of, made new friends and connected with a professor I truly respect. If that’s not what Princeton is about, then I don’t know what is.
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The program allows undergraduates to work with practicing writers to develop their writing skills, learn the possibilities of modern poetry, fiction, nonfiction, screenwriting and translation, and gain a special access to the critical understanding of literature through their involvement in the creative process.
The Program in Creative Writing offers Princeton undergraduates the opportunity to craft original work under the guidance of some of today's most respected practicing writers including Michael Dickman, Katie Farris, Aleksandar Hemon, A.M. Homes, Ilya Kaminsky, Yiyun Li, Paul Muldoon, and Patricia Smith.. Small workshop courses, averaging eight to ten students, provide intensive feedback and ...
Degree Information. A Master of Arts degree in Creative Writing takes from one to two years, and requires a thesis and often a comprehensive exam in English Literature. A Master of Fine Arts usually takes two to four years (though students can sometimes apply credits from an M.A.) and usually requires a manuscript of publishable quality.
Ph.D. Program in English at Princeton The aim of the Princeton graduate program in English is to produce well-trained and field-transforming scholars, insightful and imaginative critics, and effective and creative teachers. The Ph.D. program is both rigorous and supportive. With two years of coursework and three years of research and teaching, all
C01·Tuesdays, 1:30-4:20 PM. Instructors: Lloyd Suh. This is a workshop in the fundamentals of writing plays. Through writing prompts, exercises, study and reflection, students will be guided in the creation of original dramatic material. Attention will be given to character, structure, dramatic action, monologue, dialogue, language and behavior.
44b McCosh Hall. Department of English. 22 McCosh Hall. Princeton, NJ 08544. (609) 258-4061. [email protected]. Statement on Anti-Racism. Poetry at Princeton. Follow Us on Facebook.
History of Creative Writing at Princeton; Class of 2028; High School Poetry Contest; Director. ... Professor of Creative Writing. 609-258-4708. [email protected]. Idra Novey Lecturer in Creative Writing. ... Program In Creative Writing / 6 New South. Princeton, NJ 08544. Tel: 609.258.1500. Contact us.
Thesis applicants may wish to apply for a CWR course as a fallback. 2. Writing Sample Guidelines. Fiction: 3 stories (approx. 30-35 pages total) Non-Fiction: 3 stories (approx. 30-35 pages total) Poetry: 10-15 pages of poems Screenwriting: 15-30 pages of a short or feature screenplay Translation: 10-15 pages of translations.
Half-term courses on scientific writing for graduate students and postdocs at any stage of their careers to develop the practices that support scientific communication through cogent and rigorous written analysis. ... Princeton Writing Program. 2 New South · Princeton, NJ 08544 (609) 258-2702 · [email protected]
Open to all undergraduates and graduate students working on writing of any kind and at any stage in the process. Bring a prompt to brainstorm, a rough draft of an essay, a cover letter, a grant proposal, a personal statement, a creative piece, or an oral presentation! Standard Writing Center conferences are 50 minutes in length.
CWR 306 / COM 356·Spring 2021. C01 ·Tuesdays, 1:30 - 3:20 PM. Instructors: Jhumpa Lahiri. Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 20-25 page sample of the author's work. All work will be translated into English and discussed in a workshop format.
Princeton's renowned Program in Creative Writing offers undergraduate students the unique opportunity to pursue original work in fiction, poetry and translation under the guidance of some of the world's best-known writers. Among the 15 practicing writers on the program's faculty are Toni Morrison, Paul Muldoon, James Richardson, C.K. Williams, Edmund White, Joyce Carol Oates and Chang-rae Lee ...
The aim of the Princeton graduate program in English is to produce well-trained and productive scholars, sympathetic and intelligent critics, and effective and imaginative teachers. The five year Ph.D program is intense but also supportive. ... The university offers programs in creative writing, visual arts, and theater and dance. Although ...
Before transitioning to the social sector, she ran an independent writing firm and worked for several years in banking. Bigsna holds a B.A. in economics and a post graduate diploma in forestry management. She is an animal lover, reader, podcast addict, traveller, sports enthusiast and enjoys creative pursuits like photography and DIY projects.
The Program in Creative Writing, part of the Lewis Center for the Arts, with a minor in creative writing, like our present certificate students, will encounter a rigorous framework of courses. These courses are designed, first and foremost, to teach the students how to read like a writer, thoughtfully, artistically, curiously, with an open mind attuned to the nuances of any human situation.
Students will choose, early in the semester, one author to focus on in fiction, poetry, or drama, with the goal of arriving at a 20-25 page sample of the author's work. All work will be translated into English and discussed in a workshop format. Weekly readings will focus on the comparison of pre-existing translations as well as commentaries on ...
Bettman/Corbis. The Lewis Center is celebrating 70 years of creative writing at Princeton with a yearlong series of public readings by award-winning writers who are program alumni or have served on the faculty. Novelist Robert Stone, formerly a visiting fellow, and poet C.K. Williams, a current member of the faculty, were scheduled to read in ...
Princeton is strongly committed to welcoming students with diverse experiences. Describe a personal experience that influenced your decision to pursue graduate study. Explain how the lessons from this experience would enrich Princeton's residential scholarly community. The essay must be written in English and should not exceed 250 words.
One of my favorite classes at Princeton is "CWR201: Creative Writing - Poetry," a class I'm taking with Professor Jenny Xie. As a computer science engineering student, I'm often deluged with problem sets and programming projects. However, I've always been a writer at heart. In high school, I was heavily involved in poetry, and I would often use writing to reflect and recoup.I tried ...
Sheremetyevo International Airport (SVO/UUEE) is an international airport located in Khimki, Moscow Oblast.Sheremetyevo serves as the main hub for Russian flag carrier Aeroflot and its branch Rossiya Airlines, Nordwind Airlines or Ural Airlines. The product is equipped with an automatic installer, which means that the scenery will be ...
Chernogolovka is a town in Moscow Oblast, Russia. Center of the town is located some 43 km northeast of the Moscow city limit and 59 km from Red Square. Its population in 2018 was 21,342. Photo: A.Savin, CC BY-SA 3.0. Photo: Svetlov Artem, CC BY 3.0. Ukraine is facing shortages in its brave fight to survive.
Masters programs in screenwriting typically take two years to complete, while playwriting programs can require up to three years of study, depending on the school. A master's thesis in the form of a play or screenplay is generally a requisite for graduation. Most grad programs require at least one full-length play or screenplay per each year ...
4. Church of St. John the Baptist. 5. Horse Riding and Sports Club Ivanovskoe. Impressive horses, excellent facilities, top trainers and coaches. Quite cheap, too - all in all, if you are into... Things to Do in Chernogolovka, Russia: See Tripadvisor's 251 traveler reviews and photos of Chernogolovka tourist attractions.
Detailed ⚡ Weather Forecast in Chernogolovka for 10 days - 🌡️ Air Temperature, RealFeel, Wind, Precipitation, Atmospheric Pressure in Chernogolovka, Moscow Oblast - World-Weather.info