Graduate (MFA) and Undergraduate (BFA) Courses

*Note: this is a partial list. For a complete list and for day & time information, please go to SeaNet and search for courses.

MFA COURSES FALL 2008

CRW 530-003: POETRY WORKSHOP FOR NON-MAJORS, COX M
Many graduate students in the MA English and MALS degree programs have an interest in writing poetry, yet are unable to take MFA workshops. Once in a while, we are able to offer a workshop strictly for graduate students who are able to take such a course outside their major for credit. This will be a process and craft workshop wherein student poets can critique and encourage each other's work. We'll focus on the creation of poems, as well as the structural aspects of lyric and narrative poetry. Journal consists of responses to extensive reading assignments in modern and contemporary poetry and poetics, as well as numerous process exercises. Individualized reading lists.

CRW 542-001: GRADUATE POETRY WRITING, WHITE M
In this graduate poetry workshop, we will focus on form and craft. Students will be asked to work in a variety of traditional as well as open-ended, experimental forms, with the aim of widening each poet’s repertoire. Halfway through the semester, the course will evolve into a conventional workshop, but the hope is that each student will either return to one’s “own” style, or perhaps to an entirely new style, with a heightened awareness of how form carries feeling and meaning. Course grade will be based on a portfolio of work submitted at the end of class.

CRW 543-001: FORMS OF POETRY, MÖRLING M
In this class we will extend the notion of craft beyond the technical aspects of poems and look at Keats’ idea of Negative Capability. How is our own imagination compatible with the present moment and the multiplicity of simultaneous events? What is our process of selection? How does our individual perception inform the philosophical perspective of our poems? Are poems, like the bowls of the ancient Japanese potters, born? Or are they made? Emily Dickinson wrote: “Nature is a haunted house. Art--/ a house that tries to be haunted.”  How can our poems be as natural as possible, the form and the content inevitable to the point of near invisibility? The global designer Bruce Mau has said: “For most of us, design is invisible. Until it fails.” Is this what the 18th century Japanese poet Ryokan meant when he wrote: “Who says my poems are poems?/ My poems are not poems,/ After you know my poems are not poems, / Then we can begin to discuss poetry.”

CRW 544-001: GRADUATE WORKSHOP IN FICTION, GERARD P
We’ll use two classic meditations by American writers (Annie Dillard’ Living by Fiction and Flannery O’Connor’s Mystery and Manners) to set the stage for a workshop in fiction of all kinds, traditional and more experimental, short forms and excerpts from longer forms. Part of the aim of the class is for each writer to discover his or her aesthetic, and one of the outcomes of the course should be for each writer to have concisely articulated that aesthetic. So we will examine the manuscripts for all the usual concerns—structure, character, dramatic movement, narrative intelligence, etc., and also for how it exemplifies an artistic vision for what fiction can and ought to do.

CRW 544-002: FICTION WRITING WORKSHOP, LEE R
This is a writing workshop, focusing primarily on the short story or novella, with special attention to characters as the conduit through which one approaches theme, plot, and image in fiction writing.   Writers will produce at least two short stories, and vigorously edit the work of other writers in the class.

CRW 547-001: FORMS OF FICTION: NEW NONTRADITIONAL FICTION, BRENNER W
We will read some spanking new nontraditional fiction – mostly novels– whose unusual forms may alter your perception of fictional form, what it should do, can do, must do. What can you steal from these books? Why are their strange forms necessary?  What do they make you want to write? This is primarilly a reading course; we will continue the discussion started in last year’s nontraditional Forms of Fiction but under a new subtitle and with all new books, thus open to all MFA students regardless of whether you took the earlier class. Assignments: One longish final project, and the occasional one-page creative response. Books will include but not be limited to:  Peter Cameron’s The Weekend, Kate Christensen’s The Epicure’s Lament, Joshua Ferris’s Then We Came to the End, Rebecca Lee’s The City Is A Rising Tide, Michael Chabon’s Wonder Boys, Joy Williams’s The Quick And The Dead, Miranda July’s No One Belongs Here More Than You, John Holman’s Squabble (if obtainable), and Julie Hecht’s book-length interview with Andy Kauffman, Was This Man a Genius?

CRW 580-001: STORYTELLING IN THE CINEMA, BERLINER T
This course teaches students how movies tell stories.  We will study the principles of film narration and the stylistic devices films use to construct narratives.  We’ll examine the ways in which different film genres (such as the Police Thriller and the Melodrama), different film modes (such as Hollywood film and art cinema), and different filmmakers fashion stories.  Throughout, the course will focus on the means by which narrative cinema interacts with the mind of the spectator in order to construct an aesthetic experience.

CRW 580-002: BOOKBUILDING, SMITH E (2 credit hours, plus 1-hour DIS lab)
Designed for students who are interested in a career in book design and production, as well as for writers who want to be better informed about working with designers, this course offers intensive hands-on training in both the craft of bookmaking and desktop publishing technologies. To prepare students with technical skills, this course will involve an introduction to principles of effective graphic design; training in software programs for typesetting, page layout, and image manipulation; and an overview of printing and bookmaking technologies, past, present, and future. Students produce a progressively more complex series of design projects, including a type specimen, a handmade zine or broadside, and culminating in a limited-edition chapbook of their own work. Throughout the semester, students will learn to create finished works of art that show attention to detail and creativity within all phases from design to production. Graduate students prepare an additional presentation on some aspect of book design or production. May be repeated for credit under different subtitles. [Note: contact instructor to add DIS lab hour after enrolling.]

CRW 580-003: PUBLISHING PRACTICUM, SMITH E
A select group of graduate and undergraduate students form the nucleus of The Publishing Laboratory editorial staff, with responsibility for proposing, editing, designing, and marketing viable book projects. Put another way: you’re working for a publishing house, and your tasks will include everything from analyzing a book’s market potential, to copyediting an author’s manuscript, to designing chapbooks and broadsides, to collating and binding books. The staff meets together in the Lab informally for about two hours weekly; each staff member is expected to put in 6-9 additional hours independently in the Lab each week. Although there will be some classroom training, the emphasis will be on learning by doing.

CRW 580-005: FIRST COLLECTIONS, WHITE M
In this multi-genre seminar, we will ask, and attempt to answer, one of the most pressing questions on the mind of every MFA student: what makes a great first collection? Primarily a reading seminar, we will not only study great canonical masters such as James Joyce and Sylvia Plath, but also contemporary writers such as Rick Bass and Meghan Daum. The last third of class will be workshop: students will present new work, with an eye toward the larger vision, each in their own genre. Other writing requirements will include a proposal for a first collection, inspired and informed by our readings, which might potentially evolve into the MFA thesis proposal.

English Graduate courses

BFA COURSES SUMMER 2008

CRW 208: POETRY WRITING, WEATHERS J
Books: The Vintage Book of Contemporary American Poetry, J.D. McClatchy; Poet’s Choice, Ed Hirsch
This will be an intensive summer course that is designed to give students a solid background in contemporary poetry. The focus will be on reading and writing poetry, with more emphasis on the reading and understanding of poetics. Students will turn in poems and do assigned readings and journal writing from the anthologies. In-class writing exercises will help to hone specific skills, while encouraging creativity, and learning to engage the mind in making new and sometimes startling connections. It is the philosophy of the course that each student who enters will emerge with a sense of belonging in the craft, regardless of the level of skill with which s/he enters.

BFA COURSES FALL 2008
(day, time, and location available on SeaNet)

CRW 203-001: FORMS OF CREATIVE WRITING, FURIA P
Students will study the major forms of creative writing--poetry, drama, fiction, and creative nonfiction--by writers such as Sophocles, Shakespeare, Austen, Twain, Dickinson, and Hemingway. There will be a combination of lectures and small, discussion-workshop sections. Writing assignments will include both creative and analytical exercises designed to heighten student appreciation of artistic achievement in various forms. There will also be a final examination over all the reading in the course.

CRW 207-001: FICTION WRITING, KAUFFMAN L
Text: The New Granta Book of the American Short Story, edited by Richard Ford
The ultimate goal in this course will be the creation of original, interesting, vibrant, energetic, and artistic literary short stories. To achieve this lofty goal we will employ a variety of means. Firstly, we will read. From the reading of contemporary published short stories, through analysis and thoughtful discussion, we will determine important skills and conventions practiced by accomplished authors. The second step will be to apply these techniques and conventions to our own original writing. We will write in this class. We will write short out-of-class exercises, we will write short in-class exercises, we will write criticisms (less creative, but very helpful for your growth as an artist), and we will write a longer short story (10-20 pp). This brings us to the third step in the process: revision. We will “workshop” our short stories to determine their individual strengths and weaknesses. Then we will edit, rewrite, revise, and resubmit the piece as a polished, finished, interesting, vibrant, energetic, and artistic literary short story.

CRW 207-002: FICTION WRITING, CONRAD T
Texts: The Scribner Anthology of Contemporary Short Fiction, 2nd Edition (ed. by Lex Williford & Michael Martone)
This course will focus on contemporary fiction--how we craft and respond to it. No previous experience necessary. The course will emphasize craft and structure as well as innovation and imagination.  Assignments will include short graded assignments, reading quizzes and two short stories. Also required: regular class attendance, active participation, and thoughtful written responses to peer work.  Some writers we may read: Jhumpa Lahiri, Kevin Brockmeier, George Saunders, Julie Orringer, and Kelly Link.

CRW 207-003: FICTION WRITING, WHITNEY G
Texts: Course Packet
In this introductory course to fiction writing, the first half of the semester will be dedicated to studying, analyzing and defining some of the basic elements of the short story. We will read and discuss several published works in the context of terms such as characterization, conflict, narrative arc, etc. The second half of the semester will involve workshop and discussion of an original short story of your own. Requirements for the course include a portfolio containing all exercises written throughout the semester, written responses to peer stories, vocal participation in peer workshop, one short story, and a substantial revision of this story. 

CRW 207-004: FICTION WRITING, SAMS A
Texts: Martone and Williford, The Scribner Anthology of Contemporary Short Fiction: 50 North American Stories Since 1970 (Second Edition); online course reserves
In this course students will study the techniques and mechanics of literary fiction and then apply what they learn to their own writing. We will begin by reading and analyzing a wide variety of contemporary short fiction (published after 1970), as well as a few classic heavyweights that helped establish and popularize the form. Students will later submit their own work for energetic peer review and in-class discussion, followed by a look into the importance of editing and revision. Assignments will include short exercises, reading responses, and one complete short work of fiction with a polished revision. Attendance and participation are essential.

CRW 207-005: FICTION WRITING, HEINTZELMAN B
A beginning course in the art of fiction writing.  We will read and discuss published stories with a focus on the basic elements of fiction, including narration, description, dialogue, and style. Requirements will include brief writing exercises, written responses to peer work, and participation in class discussions.  The semester will culminate with the composition of an original short story that students will workshop in class and later revise. 

CRW 208-001: POETRY WRITING, BUETER J.
Texts: Legitimate Dangers: American Poets of the New Century edited by Michael Dumanis and Cate Marvin and course reserves.
This course will be concerned with the reading and critiquing of contemporary poetry and of student poetry. The ultimate goal is for each student to develop a poetic voice that is important to themselves and to a greater audience. In working towards this goal, an ability to closely read and intelligently discuss a poem will also be developed; these tools are crucial to becoming dynamic writers. Course requirements will include several poems, reading responses, a presentation, and a final portfolio.

CRW 208-002: POETRY WRITING, ST. JOHN D
Texts: Milosz, The Book of Luminous Things, Course Packet
This course serves as an introduction to poetry writing and is geared towards the beginner poet or the casual reader of poetry. Class will begin with an overview of poetry of many different disciplines and nationalities, and will gradually transition into a workshop of student’s own work. Discussion will more often than not be craft-oriented, centering around those choices which give a poem its resonance, those regarding form, style, and imagery. Requirements include weekly maintenance of a writing journal, written and oral participation during peers’ workshops, & a culminating portfolio consisting of final revisions of three poems.

CRW 208-003: POETRY WRITING, WEATHERS J
Books: The Vintage Book of Contemporary American Poetry, J.D. McClatchy; A Book of Luminous Things: An International Anthology of Poetry, Czeslaw Milosz
This course is designed to give students a solid background in contemporary poetry. The focus will be on reading and writing poetry, with more emphasis on the reading and understanding of poetics. Students will turn in a poem a week, and do assigned readings and journal writing from the anthologies. In-class writing exercises will help to hone specific skills, while encouraging creativity, and learning to engage the mind in making new and sometimes startling connections. It is the philosophy of the course that each student who enters will emerge with a sense of belonging in the craft, regardless of the level of skill with which s/he enters.

CRW 208-004: POETRY WRITING, TERRY D
Text: American Alphabets: 25 Contemporary Poets, David Walker, Editor
Prerequisite: ENG 101 or 103 or consent of instructor. This course is designed as an introduction to poetry writing—previous experience is not required. The course will begin with an examination of contemporary poems, in conjunction with exercises designed to stimulate your creativity. The emphasis during the second half of the semester will be workshop sessions in which students’ work becomes “the text.” Requirements include written responses to the work of your peers, oral participation in workshops, completion of a portfolio consisting of two revised workshop poems and a written response to the work of one of the poets featured in the assigned anthology.

CRW 209-002: INTRODUCTION TO CREATIVE NONFICTION, JENKINS, R
This course is an exploration of modern nonfiction.  We will read and discuss published work to help define what nonfiction encompasses. Students will write brief exercises, move on to longer pieces of polished writing for workshop, and critique other students’ writing. Other requirements include excellent attendance, enthusiastic and thoughtful participation, and a final portfolio of revised work. The text will be a course packet.

CRW 209-004: CREATIVE NONFICTION, HARRIS-GERSHON D
Texts: Eggers, A Heartbreaking Work of Staggering Genius; Krakauer, Into the Wild.
This course is an introduction to writing creative nonfiction, and will begin with an examination of contemporary writing across the three main "flavors" of creative nonfiction: memoir, creative reportage and lyric essay. This reading will be in conjunction with writing opportunities meant to give you artistic license to attempt (and surpass) that which you see in the work of others. The emphasis during the latter half of the semester will be workshop sessions in which students’ work becomes “the text.”  Requirements include written response to the work of your peers, oral participation in workshops, and completion of a portfolio consisting of final revisions of two essays.

CRW 209-005: CREATIVE NONFICTION WRITING, BRINDLEY, E
Texts: Lee Gutkind and Annie Dillard, In Fact: The Best of Creative Nonfiction; Gerard: Writing Creative Nonfiction: Instruction and Insights from the Teachers of the Associated Writing Programs
This will be an introductory course to writing creative nonfiction.  It will begin in an examination of different forms of creative nonfiction including craft exercises and contemporary examples of nonfiction. The latter half of the semester will focus mainly on students’ work and a revision process through workshops and critiquing. Students are required to complete two short nonfiction pieces, provide written responses to their peers’ work, oral participation in workshops, and a portfolio containing final revisions of the two nonfiction pieces.

CRW 292-001: EDITING FOR PUBLICATION, BASS T (substitution for CRW 322)
Majors only. Prerequisite: CRW 207, 208, 209, or consent of instructor. This course will focus on editing literary manuscripts, mainly using each student’s own writing. We will emphasize developing and applying skills in writing structure, copyediting, grammar, mechanics, spelling, formatting, style, and other fundamentals crucial to effective, polished writing within the creative writing profession. Students will complete exercises and larger projects. Class participation is a must. An attendance policy will be enforced. Textbooks will include, among others, The Copyeditor’s Handbook by Amy Einsohn, and Eats Shoots and Leaves: The Zero Tolerance Approach to Punctuation by Lynne Truss, and On Writing Well (30th Edition) by William Zinsser. [Note: This course counts toward the BFA degree and the 12-hour Certificate in Publishing.]

CRW 302-001: FORMS OF CREATIVE NONFICTION, BASS T
Prerequisite: ENG 101 or 103 and junior standing. In this course, we will study the aesthetics and techniques of various forms of creative nonfiction, including memoir, the personal essay, true crime, the “nonfiction novel,” journalism, and the nonfiction short-short. We will read and discuss a variety of works, and we will write some of our own. Assignments will include many readings and some short writing assignments. The course will include brief tests on the readings. Class participation is a must. An attendance policy will be enforced. Several required textbooks, including: Weird Hauntings by Joanne Austin, Finders Keepers by Mark Bowden, The New New Journalism by Robert Boynton, Short Takes by Judith Kitchen, Holidays on Ice by David Sedaris, The Bookseller of Kabul by Asne Seierstad, and The Devil’s Highway by Luis Alberto Urrea.

CRW 303-001: FORMS OF POETRY, MÖRLING M
In this class we will consider forms and how they fit and inform the philosophical perspective of our poems?  What choices do we make in crafting our poem—what is our process of selection. Are poems, like the bowls of the ancient Japanese potters, born? Or are they made? Emily Dickinson wrote: “Nature is a haunted house. Art--/ a house that tries to be haunted.”  How can our poems be as natural as possible, the form and the content inevitable to the point of near invisibility? The global designer Bruce Mau has said: “For most of us, design is invisible. Until it fails.” Is this what the 18th century Japanese poet Ryokan meant when he wrote: “Who says my poems are poems? / My poems are not poems, / After you know my poems are not poems, / Then we can begin to discuss poetry.”

CRW 306-001: FORMS OF FICTION, FURIA P
Students will read examples of fictional narrative, beginning with epic, Homer's Odyssey, medieval romance, Sir Gawain and the Green Knight, fabliaux, Chaucer's "Miller's Tale" and "Reeve's Tale," the novel, Jane Austen's  Pride and Prejudice, Emily Bronte's Wuthering Heights, American short stories from Irving to Updike, and Faulkner's stream-of-consciousness narrative  As I Lay Dying.  There will be several creative and analytical written assignments as well as a final examination over all the readings in the course. 

CRW 307-001: INTERMEDIATE FICTION WRITING, BENDER K
Prerequisite, 207. This class will be a workshop format. Students will write two new drafts of short stories and critique each other's work in class. We will also do in-class exercises to explore the creative processes and reading outside of class.  

CRW 307-002: INTERMEDIATE FICTION WRITING, BRENNER W
The best fiction never relies on the familiar, but simmers with originality and surprise from sentence to sentence. In this class students will continue to grapple in a hands-on way with the demands of crafting literary fiction, and the underlying essential of discovering and learning how to use one’s truly original vision and authentic authorial voice. This is a workshop course, meaning the primary text and focus of our discussions is student writing. Students will write two or three finished pieces of fiction (15-30 pages total) and occasional one-page exercises, meeting regular deadlines. We will also read published literary fiction by a range of contemporary authors. Attendance and active participation in discussion are considered mandatory.

CRW 308-001: INTERMEDIATE POETRY, ADAMS L
Pre-requisite—CRW 208.  Texts: Emerson, Late Wife; Hass, Time & Materials; Trethewey, Native Guard. This course is intended for poets who have acquired a basic knowledge of the craft and who now wish to hone their skills. The majority of class time will be spent workshopping student work, but we will also read and discuss three collections of contemporary poetry (listed above). Requirements include journal responses to each of these collections, as well as written responses to the work of peers. Final portfolio will consist of an analytical introduction and revisions of workshopped poems.

CRW 309-001: INTERMEDIATE CREATIVE NONFICTION, DEGRAMONT M
This course will build on the foundation of CRW 209. Students will write memoir and essays, and their work will be discussed in a workshop environment. The focus will be on craft, narrative scene, and making one’s own personal experience relevant to the world at large. Written critiques and extensive class participation will be required. In addiction to workshop, class will involve writing exercises and discussion of reading assignments. We will read memoir and essays by accomplished authors including Dave Eggers, Tobias Wolff, Terry Tempest Williams, and Ruth Reichl.

CRW 320-001: SPECIAL WORKSHOP IN WRITING: THE PROSE POEM, ADAMS L
Text: Ray Gonzalez, No Boundaries
This course will take an in-depth look at the contemporary prose poem. The majority of class time will be spent workshopping the creative work of students. Requirements include written responses to the work of peers, a final portfolio of workshopped prose poems with an introduction to that work, and a critical/analytical essay. For the major, this course will count as a writing workshop or as a creative writing elective, for the minor as a creative writing elective. CRW 320 may be repeated under different subtitles, for a maximum of 9 hrs.

CRW 315-001: SPECIAL TOPICS: WHEN THOREAU MET DARWIN, GESSNER D
This is a course meant to explore the overlapping areas between literature and science by studying the lives and works of two men, and two books, that have had an immeasurable impact on today’s world.  Thoreau published Walden in 1854, only five years before Darwin (reluctantly) published The Origin of Species. While Thoreau lived in a different, pre-Darwinian world, there is more overlap than one might at first expect between the two books. We will explore the impact that the theory of evolution has had not just on science and our lives, but on literature and art. The course will be rigorous and require students to fully participate in class discussions. I am hoping for a mix of students from different majors.

The angle of attack will be threefold:
The lives. We will read Joseph Wood Krutch’s biography of Thoreau and David Quammen’s The Reluctant Mr. Darwin.
The texts. We will read Thoreau’s Walden and Darwin’s On the Origin of Species. 
The legacy. We will read Jack Turner’s Abstract Wild, Stephen Jay Gould’s Ever Since Darwin, and Andrea Barrett’s Ship Fever. 

CRW 315-002: SPECIAL TOPICS IN CRW: POETRY AND THE SPOKEN WORD, COX M
A wide-ranging study of the oral presentation of poetry, including the oral tradition prior to print capability. We will listen to recordings by poets of all types and eras, using audio and video resources to study formal issues such as sonics, rhythm, derivation from musical forms, and the relationship of dramatic performance poetry to the written word. We will certainly practice reading our own work. And, if it can be arranged with a studio, the class may attempt to record a cd anthology of original poems.

CRW 323: BOOKBUILDING, SMITH E (2 credit hours, plus 1-hour DIS lab)
Designed for students who are interested in a career in book design and production, as well as for writers who want to be better informed about working with designers, this course offers intensive hands-on training in both the craft of bookmaking and desktop publishing technologies. To prepare students with technical skills, this course will involve an introduction to principles of effective graphic design; training in software programs for typesetting, page layout, and image manipulation; and an overview of printing and bookmaking technologies, past, present, and future. Students produce a progressively more complex series of design projects, including a type specimen, a handmade zine or broadside, and culminating in a limited-edition chapbook of their own work. Throughout the semester, students will learn to create finished works of art that show attention to detail and creativity within all phases from design to production. [Note: This course counts toward the 12-hour Certificate in Publishing. Contact instructor to add DIS lab hour after enrolling.]

CRW 324-001: Editing Atlantis, BASS T
Consent of instructor only. This course will allow students to gain hands-on experience in planning, editing, designing, and producing Atlantis, the UNCW undergraduate literary magazine. Class participation is a must. An attendance policy will be enforced. Textbooks will include, among others, Painless Grammar by Rebecca Elliott, and Eats Shoots and Leaves: The Zero Tolerance Approach to Punctuation by Lynne Truss. [Note: This course counts toward the BFA degree and the 12-hour Certificate in Publishing.]

CRW 407-001: ADVANCED FICTION WRITING, BENDER K
Prerequisite, 307. This class will be a workshop format and focus on revision. Students will write one story and revise it over the course of the semester. We will also do in-class exercises focusing on revision and will do some reading outside of class.   

CRW 407-002: ADAVANCED FICTION WRITING, DEGRAMONT M
This course is geared toward the experienced student of fiction.  We will focus on craft, subtext, and revision. Students will write short stories or sections of a novel, and their work will be discussed in a workshop environment. Written critiques and extensive class participation will be required. In addition to workshop, class will involve writing exercises and discussion of reading assignments. We will read stories by accomplished authors including Alice Munro, Mark Richard, Tobias Wolff and Raymond Carver.

CRW 408-001:  ADVANCED POETRY WRITING, COX M
A craft workshop wherein student poets can critique and encourage each other's work.  We'll focus on the structural aspects of lyric and narrative poetry. Journal consists of responses to extensive reading assignments in modern and contemporary poetry and poetics, as well as numerous process exercises. Individualized reading lists.

CRW 409-001:  ADVANCED CREATIVE WRITING, LEE R
This course will focus on the essay, with students each producing two essays for discussion during class. In general, we’ll study voice, idea and drama, with careful attention to language and its miraculous powers.

CRW 460: PUBLISHING PRACTICUM, SMITH E
A select group of graduate and undergraduate students form the nucleus of The Publishing Laboratory editorial staff, with responsibility for proposing, editing, designing, and marketing viable book projects. Put another way: you’re working for a publishing house, and your tasks will include everything from analyzing a book’s market potential, to copyediting an author’s manuscript, to designing chapbooks and broadsides, to collating and binding books. The staff meets together in the Lab informally for about two hours weekly; each staff member is expected to put in 6-9 additional hours independently in the Lab each week. Although there will be some classroom training, the emphasis will be on learning by doing. [Note: This course counts toward the 12-hour Certificate in Publishing.]

CRW 496-001: SENIOR SEMINAR IN WRITING, ADAMS L
See catalog description.