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“I think we are well-advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were,” writes Joan Didion in her essay, “On Keeping a Notebook.” In this four week class, we’ll read essays by writers engaged with their younger selves—and you’ll write experiments (350-750 words) each week to connect with and understand the person you used to be. We’ll read work by Marcia Aldrich, William Bradley, Bernard Cooper, Steve Edwards, Kiese Laymon, T Kira Madden, Jamila Osman, and more.
“I think we are well-advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were,” writes Joan Didion in her essay, “On Keeping a Notebook.” In this four week class, we’ll read essays by writers engaged with their younger selves—and you’ll write experiments (350-750 words) each week to connect with and understand the person you used to be. We’ll read work by Marcia Aldrich, William Bradley, Bernard Cooper, Steve Edwards, Kiese Laymon, T Kira Madden, Jamila Osman, and more.