World Literature and Literary Translation with David Brunson
This 6-week online course will serve as an introduction to the art of literary translation. Texts will be translated from a target language into English, so reading proficiency in a second language is required. All languages from all time periods are welcome!

During the course, you will identify a translation project that you would like to explore, then translate texts from that project into English. It will be helpful if you come to the class with a sense of the kind of project, author(s), genre, and language that you might like to translate. Additionally, you will: participate with classmates in translation workshops, read and discuss translated literature from a craft-based perspective, explore foundational concepts of contemporary literary translation, and learn about the publishing process.

By the end of the class you will have a portfolio of translations ready to send out to literary magazines and translation MFA/MA/BA programs, as well as the basic tools and skills to continue the long-term pursuit of literary translation.  

* This class has alreay ended.

David M. Brunson has an MFA in Poetry and Literary Translation from the University of Arkansas, where he received a Sturgis International Fellowship and a Lily Peter Fellowship for his work as a translator. His poetry and translations have appeared in or are forthcoming in Copper Nickel,   Washington Square Review, The American Journal of Poetry,  The Bitter Oleander, Nashville Review,  Asymptote, and elsewhere.

He is the editor of the Spanish-language anthology Una cicatriz donde se escriben despedidas: Poesía venezolana en Chile, published by Libros del Amanecer in Santiago, Chile. His debut volume as a translator,  A Scar Where Goodbyes Are Written: The Poetry of Venezuelan Migrants in Chile,  is forthcoming from LSU Press in 2023. He is also a Best of the Net nominee, and has been named as a semifinalist in the Cutbank, Iron Horse, and Snowbound poetry chapbook contests. He currently lives in Santiago, Chile.


Creative Nonfiction Workshop with Wang Bang
In this course, we are going to learn the tips for developing your voice in creative non-fiction:

1. A deep dive into the topic;
2. Using your lived experience but fact-check your own life and understand that memory can’t always be trusted;
3. Getting your opinions down and out into the world;
4. Plan the structure in a more playful form, be a time traveler;
5. Mining for details.

Creative non-fiction thrives on the tension we often experience in novels, short stories or dramas. It belongs to those who have an irresistible urge to tell the truth to the world, and to be authentic. If you believe this is the voice you are seeking, come to my class, let’s share what we have written and what we are going to create, and most importantly, what we can do to turn the world into a less gloomy place by the power of writing.

* This class has alreay ended.

Wang Bang is a bilingual writer currently based in Cambridge, UK. She began her career as a journalist, and has gone on to write fiction and non-fiction. She has published eight books, including a collection of film reviews, several collections of short stories, a Manga story entitled Ya San (published in French), and a film script, The Dream Cages, which won the award for the Best Feature Drama at the 2011 NYIFF . Her short stories have been published in Chutzpah, Guggenheim Art Museum, Words Without Borders,  HK Literature, etc. Her essay collection, Observations of Life in the UK, published by Dan Du in Beijing, was shortlisted by the Chinese Youth Writer Award 2019 and selected for the 10 best non-fiction of 2018 in China by the Shou Huo (the Harvest) Literary Magazine.  She is one of the ten winners of the Escalator 2022 program, selected by the National Centre for Writing in Eastern Region, England.

Personal Statement Workshop with Kalisha Buckhanon
We know personal essays and statements must answer questions, but the best of these writings leave their readers asking questions (i.e. wanting to know more and to continue reading). This course will train students to go above and beyond basic personal essay and statement elements on to creating powerful emotions and takeaways with their writing. The first half of the course will focus us on learning the tasks of essay and statement writing while we visit famous

nonfiction works. The last half of the course will continue to explore great works but also offer roundtable instructor and peer feedback on student essays or statements. This course is for anyone who wants to stand out in their personal writing, college or grad school applications and academic work.

* This class has alreay ended.

Kalisha Buckhanon is from the American Midwest. She has master’s and bachelor’s degrees in English from University of Chicago with a Creative Writing M.F.A. from The New School in New York City.  She is author of the novels Upstate, Conception, Solemn and Speaking of Summer.  Her next novel, the mystery Running to Fall, comes September 2022 from the historic African American Literature Book Club.

Her debut novel Upstate is published in the UK and France, an American Library Association ALEX Award winner, a Hurston/Wright Foundation Debut Fiction Finalist, a New York Public Library’s Best Books for Teens and an inaugural “Literature for Justice” title for National Book Foundation. Her other honors include a Friends of American Writers Award for Conception, a Pushcart Prize nomination for her short story "Word," an Illinois Arts Council Fellowship in Prose and Phi Beta Kappa induction. 


Generative Fiction Workshop with Elaine Hsieh Chou
The possibilities of flash fiction are endless. A flash fiction piece can be plot-driven, character-driven or setting-driven. But it can also be a question, a hypothesis, a dream, a memory, a feeling. Instead of being limiting, the short word count (500 to 1500 words) offers writers a limitless space of play and experimentation. Condensing or tightening a story’s focus can create an intense and singular reading experience that leaves a lasting impression. When we cut out what is unnecessary and only commit to what is necessary, when we depart from the conventional demands and structures of a short story, what magic can we create within the precious space we are given?

Students will write a new flash fiction piece every week based on a writing exercise/prompt.  This class will introduce students to the workshop model, where they submit their own work for peer critique. Here we will learn how to give constructive feedback, how to interpret feedback and how to meaningfully apply it. We will also read and analyze examples of published flash fiction. Readings will include work by K-Ming Chang, Tania James, Jamaica Kincaid, Mahreen Sohail and more.

*This class has alreay ended.

Elaine Hsieh Chou is a Taiwanese American writer from California. A Rona Jaffe Graduate Fellow at NYU and a NYSCA/NYFA Fellow, her short fiction appears in The Normal School, Black Warrior Review, Guernica, Tin House Online and Ploughshares. After living in Taipei and Paris, she is now based in New York. Her debut novel DISORIENTATION comes out from Penguin Press (US) on March 22, 2022 and and Picador (UK) on July 21, 2022.

Fiction Workshop with Yan Ge

Coming soon!

Yan Ge was born in Sichuan, China in 1984. She is a fiction writer in both Chinese and English and is the author of thirteen books in Chinese, including five novels. She has received numerous awards and was named by People’s Literature magazine as one of twenty future literature masters in China. Her work has been translated into eleven languages, including English, French and German. The English translation of her latest novel The Chilli Bean Paste Clan was published in 2018. Another translated novel, Strange Beasts of China, was published in 2020/2021; both won English PEN Translates Awards.  Yan’s English writing has appeared in the New York Times, the Irish Times, TLS, the Stinging Fly and elsewhere. She has an MFA in Creative Writing from the University of East Anglia where she was the recipient of the UEA International Award 2018/19. Her English language debut short story collection Elsewhere will be published by Faber in the UK and Scribner in the USA in spring 2023, followed by a novel , Hotel Destination. Yan lives in Norwich with her husband and son. Yan has taught creative writing workshops and courses in various institutions and at literary festivals, including the National Center for Writing, the University of East Anglia, and the Ted Hughes Arvon Centre, among other places.







Jianan Qian writes in both Chinese and English. She has published four books in her native language Chinese. Among them, the nonfiction work "A Future that Concerns Me" was selected by Douban as one of the Top 10 Chinese nonfiction books in 2019. She has won a China Times Short Story Jury Prize in Taiwan. In English, she is a staff writer at The Millions. Her works have appeared in The New York Times, Granta, Guernica, Gulf Coast, and elsewhere. Her story "To the Dogs" won the O. Henry Prize in 2021. She has received fellowships from the Iowa Writers' Workshop, the McDonnell International Scholars' Academy at the Washington University in St. Louis, the University of Southern California, and the Summer Institute at UCLA. Currently, she is pursuing a Ph.D. in Literature and Creative Writing at the University of Southern California.

How to Tell An Authentic Chinese Story? Fiction Workshop with Na Zhong 

在课程的前半段我们将⼀起细读来⾃哈⾦、李翊云、颜歌等中国作家的英⽂作品,也将对照亚裔作家Te-Ping Chen、Juliana Xuan Wang、Jia Tolentino等⼈书写中国的作品,除此之外,我们还会打开视野,阅读来⾃中国之外的英⽂写作者书写⾮主流经验的作品。我们既会讨论作品的主题、语⾔、⼈物、对话等基本元素,也将深⼊到⽂本根 部,思考作者的写作动机、故事与隐含读者的关系,梳理故事之所以成⽴的逻辑。在课堂的下半段,我们将对2-3名学员提交的作品进⾏讨论。⽤英⽂书写中国经验,与翻译有什么关系,⼜有什么不同?如何找到⾃⼰的写作⽴场和策略?如何让作品获得”Authenticity”?希望在⼯作坊结束时,你将找到⾃⼰的答案。

*This class has alreay ended.

Na Zhong is a writer and translator based in New York. Her words can be found or are forthcoming in Guernica, The Margins,  Lit Hub,  A Public Space, The Shanghai Literary Review,  The Millions, among others.  She is the Chinese translator of Sally Rooney's Conversations with Friends,  Normal People, and Beautiful World, Where Are You?


Poetry Workshop with Shangyang Fang
Have you ever travelled to a foreign land, where you walked through pebbled streets of painted houses, sat beside the dried fountain of an intimate plaza, among vendors, balloons, and unnamable birds, and thought: ah, I wish I could live here, but well, I am just a fellow traveler? Often, we walk past the houses of poetry. We may read its delightful surfaces, but we never really enter the house—there is luminous music—a whole band is playing in the living room!

Reading a poem is a lived experience. In this class, we are not travelers or strangers in the land of poetry. We are the hosts. We live here. We inhabit poetry. By being the host, we have certain responsibilities—we must know where the rooms are, the stairs, decorations, the structure of the house. We’ll practice reading a poem aloud, or memorize and recite it. We’ll do a close reading of it. We’ll do an imitation of its form and style as a way to engage prosodic techniques. Yes, we will write our own poems.

Lessons will cover topics like: how to describe an orange? How to describe one’s feelings? Who is the “you” in a poem? Who am “I” even? How does the “I” reach “you”? We will also talk about narrative structure, metaphors, love poems, and elegies. We will learn how to speak again in the new language of poetry, as Valéry said, “poetry was a separate language or, more specifically, a language within a language.” By using this new language, hopefully, we can see a different world.

*This class has alreay ended.

Shangyang Fang grew up in Chengdu, China, and composes poems both in English and Chinese. While studying civil engineering at the University of Illinois, Urbana-Champaign, he realized his bigger passion lies in the architecture of language and is now a poetry fellow at Michener Center for Writers. He is the recipient of the Joy Harjo Poetry Award and Gregory O’Donoghue International Poetry Prize. His name, Shangyang, originating from Chinese mythology, was a one-legged bird whose dance brought forth flood and rain. He is the author of Bury the Mountain (Copper Canyon Press).

Experimental  Writing

Experimental writing and Language-based Art workshop

This class is concerned with investigating the instances and ways in which language, writing, and literature intersect with visual art practices, experimental music, and avant-garde cinema. We will look at the work of historical and contemporary artists, filmmakers, writers, and musicians whose practices are especially concerned with the materiality of language—language as image, as sound, as directive, etc.—as well as with working across multiple languages. The concept of language will be defined, questioned, amended, and problematized across media and genre through group discussions and self directed student projects.

This course will introduce students to a wide spectrum of experimental literary and language-based practices. Class discussions will focus on helping students to develop critical thinking through the formal, historical, and theoretical analysis of course materials, with homework assignments and student projects acting as extensions of our discussions.

*This class has alreay ended.

Nathanael Jones is an Afro-Caribbean Canadian writer and artist born in Montreal and currently based in Chicago, USA. His practice is interested in probing the spaces between poetry, performance, installation, and experimental music in order to draw attention to the structures and systems which make up our world. He holds a Bachelor of Fine Arts (Interdisciplinary) from NSCAD University and an MFA in Writing from the School of the Art Institute of Chicago (SAIC). He has performed and exhibited at the Chicago Cultural Center, Experimental Sound Studio, Sullivan Galleries, Elastic Arts, Anna Leonowens Gallery, Khyber Centre for the Arts, 062 Gallery, Tiger Strikes Asteroid, Averill and Bernard Leviton Gallery. His work has been published online and in print with Aurochs, DREGINALD, Infinity's Kitchen, Parallax (Singing Saw Press), Damask Press,  and is forthcoming from Partial Press. He is the recipient of a Carol Becker-Dean's Merit Scholarship, an SAIC Incentive Scholarship, and was an SAIC Writing Fellow.

Queering the Narrative: Speculative Fiction Workshop with Future Host

This course teaches you how to write speculative fiction and cultivate a voice. Each week we will be dedicated to creating something about your creature of incarnation from the Book of Mountains and Seas. As the class proceeds, we will be led by your celestial counterpart, to find love, via blood and guts, fight and flee, to eventually establish oneself as a creature between heaven and earth. Through embodying a radically different body, we will evision a way of existence beyond compulsory heterosexuality, misogynistic subjugation and anthropocentrism. By navigating and surviving an imaginary landscape, we will find resonance with the surroundings and make intimate connections to our immediate and inherited history. We write to allow an alternative narrative of self to emerge.

Our writing will be anachronistic, treasonous and disruptive. We will be experimenting with pronouns or multitudes. By experimenting with erotica we channel the orgasmaic impusles and bring about pleasure. By looking at different genres: conspiracy theory, political manifesto or even astrological reading, we learn how to bend reality towards us. By deconstructing historical materials and problematizing archaeological findings, we recreate cults and myths. Through somatic exercises we will be evoking skeletal, muscular and cellular memories and anchor ourselves in the corporeal reality.

*This class has alreay ended.

Future Host- Tingying Ma  is a writer and artist. Tingying Ma’s work has been presented at the Museum of Chinese in America, New York; International Studio and Curatorial Program (ISCP), New York; Ullens Center of Contemporary Art (UCCA), Beijing; Ming Contemporary Art Museum (MCAM), Shanghai. A finalist for the 2018 Huayu Art Award, her practice has been supported by Shandaken Projects: Governors Island and LMCC: Arts Center. Her writing has been published by Wendy’s Subway, New York, T Magazine China, LEAP, The Broadcast by Pioneer Works.


Jessica Lanay 的诗


       For Sebastian

I had the abortion in Texas, of all places. A person, just a person now, left me at the clinic, and went to work, after accusing me of sleeping with her husband. There was so much milk, blood, and sugar. Is abandonment a medical history? Because what is in my veins holds. I shook you from my tree when you were still mostly seed. I bled down desert purple highways; my body said no as a swamped environment; the mother next to me on the city bus tearing up, I was so pale, I was disappearing. This isn’t an apology, but I keep explaining what happens to poor Black women who are unexpectedly with child. I want to take a poll of how many of us sleep on couches while trying our best to be so invisible that we didn’t need a welcome. You are not here because what I had to give you was still a pile of other’s failures and my misunderstanding about my responsibility to those failures. The only time I understood femininity was when I had something I needed to steal; my need made it mine. I want you to understand something about your mother, something in their body died before you blinked in the fish net; I was already a sky with rare rains and exoskeletal life. I hear you giggling in my dreams. I watch you twist the bathroom door handle. And while my choice was correct — I wonder at the difference between terror and being forgiven.

Jessica Lanay (She/They) is a Black feminist interdisciplinary writer, poet, and art journalist raised in Key West, Florida. Their/Her debut hybrid poetry collection, am•phib•ian won the 2020 Naomi Long Madgett Poetry Prize judged by Toi Derricotte from Broadside Lotus Press. They/She is a Cave Canem and Callaloo Fellow. Their/Her poetry can be found in Indiana Review, Prairie Schooner, Poet Lore, and others. They/She has performed her poetry at the Brooklyn Museum, The Cave Canem and Bowery Presents First Book series, and with Brooklyn Poets. Their/Her personal and craft essays can be found in Salt Hill Journal and Black Warrior Review. Lanay's art writing can currently be found in BOMB Magazine where she has interviewed artists such as El Anatsui, Howardena Pindell, Vanessa German, and Shikeith, among others. Their/Her art criticism can also be found in catalog contributions for The Andy Warhol Museum's exhibition Fantasy America, Nona Faustine’s monograph White Shoes, and the Washington Project for the Arts exhibition curated by Tsedaye Makonnen Black Women As/And The Living Archive.

Jessica Lanay's writing practice is rooted in Black feminist practice, attention to interior cadence, and experimentation. Influenced by poets such as Pat Parker, Helen Oyeyemi, Wanda Coleman, and Bhanu Kapil, Lanay is interested in the presence of the spoken voice, and hairpin turn juxtapositions. Her writing emerges from a desire to reconstruct complicated and often unnamable emotions through text; she believes that the confessional and the personal femme perspective is inherently political and immediately important.

In Lanay's session she will analyze poems by Pat Parker, Bhanu Kapil, and Wanda Coleman and how each poet constructs their personal interior mental and emotional space and then she will talk briefly about her creative process. She will leave time for questions and conversation from participants.

To A False Memory

During a reading in 2015, in the middle of reading a new chapter I had written for my disappearing book, Ghostmaker, I stopped. I stayed quiet and stared into the audience. After a moment, I said out loud, to them, to me: “Wait. None of this happened.” And the way I write (and in ways, the way I live) has never been the same.

I was reading a scene I had written, a setting I’ve written about countless times before. Of my family—my parents, my brother, me—at the dinner table having a conversation. When I stopped, it was a moment in the scene when my father is saying something to me, perhaps something simple like, “Why aren’t you eating? Eat more!”

But this moment had never happened. The fact is, my parents don’t speak English so they couldn’t have said that. It then dawned on me—all of my memories have been edited, translated, stored in English. None of what I remember is the truth. They’re all made up. Rewritten. By me.

In this lecture, I will discuss how our ideas of truth and right handcuff our work as writers, make us less curious as readers, and how letting go of a Platonic idea of them can take our writing and reading skills to the next necessary phase.

A phase that is, ironically, filled with more honesty and humility.

This is especially true for bilingual or foreign language writers, those of us constantly trying to conform to a language that does not have room for our stories and memories.

Chiwan Choi






“Younger” (Brian Evenson)
“Worries of a Family Man” (Franz Kafka)

Patrick Doerksen  是一位居住在布鲁克林的作家。他曾获得纽约大学创意写作MFA全额奖金并跟随Joyce Carol Oates和Jonathan Safran Foer写作两年。

Partrick曾获得加州大学圣地亚哥分校骑士威尔海姆基金奖金Constance Saltonstall艺术基金会年度奖金担任驻留作家。

他的作品广泛的发表于美国著名文学杂志和期刊,包括Mysterion、Aurealis和企鹅出版《Journey PrizeAnthology》等等。

Patrick曾任教于纽约大学和罗斯福岛Coler Goldwater Hospital医院艺术疗愈项目。



这个大师课当然不是去讨论所谓“独立出版”行为的精神性,而是更多涉及出版以及文学推广的策略。“从罗伯—格里耶到罗伯—格里耶”所要表达的是如何在艺术的层面去理解文学,如何把文学的发展史在当代的意义上理解为艺术的发展史。如果说罗伯—格里耶的文学思想和理论在今天仍然具有意义,那么,对它们的实践就仍然是在解决那些基本的问题,例如作品的现实性与巴尔扎克式的现实主义的区别 ,例如自传与自传性写作的区别。


陈侗   是艺术家,广州美术学院教师,但他的另一个身份是“出版人”。 博尔赫斯书店及其艺术机构的创办人,广州美术学院教授,录像局联合创办人,“实验艺术丛书”、“午夜文丛”、“艺术迷宫”、“享乐者”、“罗伯-格里耶研究资料丛书”等多种丛书的策划人和编辑 。




a, 西北腹地的崇高价值(啊——);
b, 摇滚乐和反文化的误读(操!);
c, 实验音乐对意义和自我的看法(嘘);
d, 鲁迅与卡夫卡与hip hop(然而,yo!);
e, 并没有以为能看懂维特根斯坦(也就没有去写口语诗);
f, 罗万象躺着写诗;






















颜峻(罗万象) 中国诗人、音乐艺术家

颜峻  :  初中时开始写诗,后来因为喜欢摇滚乐而写起了乐评。后来搞起了音乐创作。主要使用田野录音、噪音、身体和概念。大多数音乐/声音作品是现场即兴。作为诗人经历过一个疯狂朗诵的时期(1998-2004)然后是一个日记体的时期《2004-2014),都和音乐有很大关系。


罗万象  :  2015年开始写诗。“他否定了除自己以外的一切,但他并不存在。”

作品可以在subjam. org/blog看到。

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