Writing into Darkness: Exploring Difficult Material in Prose

Read and be prepared to discuss Aubrey Hirsch’s personal essay “Over and Over Again” (approx. 9 pages). I’ll email everyone a pdf a few days prior.

After introductions, we’ll read and discuss the opening page of Fernanda Melchor’s Hurricane Season (I’ll screenshare and read aloud) followed by a short in-class writing prompt, to be shared after. Next, we’ll discuss Aubrey Hirsch’s personal essay: how the structure she chose conveys disassociation; her effective use of repetition; the way the piece moves between evasion, analysis, and confrontation. Finally, we’ll assign workshop slots for the remaining sessions, dividing the class into alternating weeks (Cohorts A and B).

Assignment:

• Using Hirsch’s essay as inspiration, write up to 400 words about a scary or traumatic event that happened to you. Be as detailed and forensic as possible, almost as if you were making a report, and evoke the visceral. Ex: Hirsch’s description of the cold tiles and the smell of oranges, how those details immediately put the reader into her POV versus a long exposition about her fear, etc.
• Also read assigned texts from Shirley Jackson’s “The Lottery” and two short excerpts from Lindsay Hunter’s Hot Springs Drive (approx. 15 pages total). For all reading assignments, no need to annotate but please come to class prepared to discuss.

In this session, we’ll workshop the written assignments from Cohort A addressing scary or traumatic events – be prepared to read out loud and screenshare your work. Then we’ll discuss Jackson’s story and the excerpts from Hunter’s novel, the way both authors use the expected comfort of domestic settings to effectively contrast the disturbing events that unfold. We’ll also examine how these pieces address pacing, comparing “The Lottery” with its disarming, slow buildup versus Hunter’s immediate tone of unsettling dread.

Assignment:

• Write up to 400 words that describe something disturbing that bubbles up from the mundane OR show hints of discord within a domestic setting, highlighting the contrast between the placid and savage.
• Also read assigned stories from Paul Bowles: “The Delicate Prey” and “The Hyena” (approx. 9 pgs).

In this session, we’ll workshop the written assignments from Cohort B addressing discord or savagery within a mundane or domestic setting. Then we’ll discuss each of Bowles’ stories: one describing the worst of human impulses and the other, an allegorical study where two animals represent instinct versus intellect. We’ll also study how effectively Bowles uses foreshadowing to evoke a sense of dread and suspense.

Assignment:

• Write up to 400 words of a scene written from the POV of a predator, either human or animal.
• Also read the assigned excerpt from Ira Levin’s Rosemary’s Baby (approx. 13 pgs).

 In this session, we’ll workshop the written assignments from Cohort A involving a predator’s POV, human or animal. Then we’ll discuss Levin’s novel excerpt, particularly how he weaves the events unfolding in Rosemary’s dream versus what’s actually happening, so the reader knows the difference. We’ll also examine how he allows us to see Guy’s deception before Rosemary does – another effective way to hook the reader.

Assignment:

• Write a scene, up to 400 words, told from a subconscious or dream state – either drunk, drugged, sleepy or in shock OR something unsettling involving the supernatural.
• Read Flannery O’Connor’s story, “A Good Man Is Hard to Find” (15 pgs).

In this session, we’ll workshop the written assignments from Cohort B addressing the subconscious/dream state or the supernatural. Then we’ll discuss O’Connor’s story – its tonal movements from humor to horror, its frequent use of foreshadowing, its religious fatalism and unflinching indictment of human folly. We’ll end the class with final wrap-up thoughts, including an AMA session.

As this is our last class, there won’t be further assignments – but I’ll leave you all with a list of reading recommendations pertaining to the themes discussed in this course.