Lake Como, Italy
In June 2014, we’re holding our Abroad Writers’ Conference at a 18th century Villa on the shores of Lake Como.
We’ll be staying in the town of Como, the largest southernmost town on the lake. The lovely historic center will take you back in time. The center of town was the center of silk making, this traces back to the Gauls, later on the Romans.
There’s several Renaissance churches and palaces with a lovely lakefront promenade.
Como is part Gothic and part Renaissance. The Duomo, Piazza del Duomo in the center of town is just off the lake.
Como’s main street, Corso Vittoriao Emanuele II, cuts through the medieval quarter, where wood-beamed houses line narrow streets. The 12th century San Fedele is just 2 blocks south of the Duomo.
We are holding our conference at Villa La Gallietta at Lake Como, Villa La Gallietta was one of seven eighteenth-century villas built along the western shores of Lake Como, near the church of Saint George and Villa Olmo.
Originally built by Pietro Antonio Fossani from Milan, who in 1772 bought the Villa Gallia and the surroundingn land. Gallietta means “little Gallia”, with relation to the larger building Villa Gallia.
In 1830, the Villa was renovated by Melchiorre Nosetti. Nosetti adapted the facade to a neoclassical style.
The building’s current appearance dates back to the renovation of 1830, commissioned by the physician Dr. Giuseppe Frank, professor at the University of Pavia, who purchased it in 1825 and hired the architect Melchiorre Nosetti who not only adapted to the facade to a basic Neoclassical style, but also refurbished the interiors. Upon his death, Giuseppe Frank named the University of Pavia as his sole heir, which a short time later sold the villa to the Marquis Brivio Sforza, in 1866.
The villa was also the subject of a novel written in 1856 by the French author Nathalie Comtesse.
Authors teaching workshops and giving readings at Lake Como are:
RAE ARMANTROUT–Pulitzer Prize in Poetry
NIKKY FINNEY–National Book Award in Poetry
PAUL HARDING–Pulitzer Prize in Fiction
EDWARD HUMES–Pulitzer Prize in Journalism
JACQUELYN MITCHARD–Orange Prize finalist, Editor-in-chief Merrit Books
ALEX SHOUMATOFF–Contributing editor Vanity Fair
JANE SMILEY–Pulitzer Prize in Fiction
SUSAN WHEELER–National Book Award finalist in Poetry
Plus FINISHING LINE PRESS AUTHORS
BARRY GREEN–Principal Bassist for the Cincinnati Symphony
MARINA PACOWSKI–Pianist and vocal coach at the Music Conservatory Maurice Ravel in Bayonne, France
Pulitzer Prize winner in Poetry
Rae Armantrout was born in Vallejo, California, in 1947, and grew up in San Diego. She holds a bachelor’s degree from the University of California, Berkeley, where she studied with Denise Levertov, and a master’s degree in creative writing from San Francisco State University.
She has published numerous books of poetry, including Just Saying (Wesleyan University Press, 2013); Money Shot (2011); Versed (2009), which won the Pulitzer Prize in 2010; Next Life (2007), selected by the New York Times as one of the most notable books of 2007; Up to Speed (2004), a finalist for the PEN Center USA Award in Poetry; Veil: New and Selected Poems (2001), also a finalist for the PEN Center USA Award; The Pretext (2001); Made To Seem (1995); and The Invention of Hunger (1979).
Part of the first generation of Language poets on the West Coast, her work has been praised for syntax that borders on everyday speech while grappling with questions of deception and distortion in both language and consciousness. About her poems, Robert Creeley has described “a quiet and enabling signature,” adding, “I don’t think there’s another poet writing who is so consummate in authority and yet so generous to her readers and company alike.”
In the preface to her selected poems, Veil, Ron Silliman describes her work as: “the literature of the anti-lyric, those poems that at first glance appear contained and perhaps even simple, but which upon the slightest examination rapidly provoke a sort of vertigo effect as element after element begins to spin wildly toward more radical…possibilities.”
Armantrout’s poetry has been widely anthologized, appearing in Language Poetries, (New Directions), In The American Tree, (National Poetry Foundation), Postmodern American Poetry (Norton), Poems for the Millennium, Vol. 2 (University of California), American Women Poets of the 21st Century (Wesleyan), and several editions of Best American Poetry. She is also the author of a prose memoir, True, which was published by Atelos in 1998.
She has taught writing for almost twenty years at the University of California, San Diego.
National Book Award Winner in Poetry
Nikky Finney was born in South Carolina, within listening
distance of the sea. A child of activists, she came of age during the civil rights and Black Arts Movements. At Talladega College, nurtured by Hale Woodruff’s Amistad murals, Finney began to understand the powerful synergy between art and history. Finney has authored four books of poetry: Head Off & Split (2011); The World Is Round (2003); Rice (1995); and On Wings Made of Gauze (1985). The John H. Bennett, Jr. Chair in Southern Letters and Literature at the University of South Carolina, Finney also authored Heartwood (1997) edited The Ringing Ear: Black Poets Lean South (2007), and co- founded the Affrilachian Poets. Finney’s fourth book of poetry, Head Off & Split was awarded the 2011 National Book Award for poetry.
“Finney’s wondrous acceptance speech is an acknowledgement to being alive while being inextricably bound to the past. It is now appropriately included in the new edition ofHead Off & Split. Like the speech, the book is a manifold act of acknowledgement. ‘If my name is ever called out, I promised my girl-poet self, so too would I call out theirs.’ The history we begin with is rooted in acknowledgement, in witness, and, as Finney shows us, in collaboration. Her poems are duets and choruses. We hear the italicized voices of Rosa Parks, Mayree Monroe, Robert F. Williams—even the titles are peopled acknowledgements: ‘Shaker: Wilma Rudolph Appears While Riding the Althea Gibson Highway Home,’ ‘Dancing with Strom,’ ‘Alice Butler,’ ‘The Condoleezza Suite.’ The poems braid the immediacy of the weather channel, the NBC Nightly News, Discover Magazine, politics, and catastrophes to the enduring struggle against forces “devoted to quelling freedom and insurgency, imagination, all hope.” In short, all that is breathtaking in this poet’s acceptance speech is breathtaking in her poems.”
– Terrance Hayes, author of Lighthead, winner of the 2010 National Book Award
“Beginning with the sweepingly inclusive and powerful ‘Red Velvet,’ a Middle Passage poem for our times, Nikky Finney takes the reader to a wonderfully alive world where the musical possibilities of language overflow with surprise and innovation. Finney has an ear to go along with the wildness of her imagination, which sweeps through history like a pair of wings. Her carefully modulated free verse is always purposeful in its desire to move the reader in a way that allows us to imitate access to necessary observations about ourselves. These poems, in other words, have the power to save us.”
– Bruce Weigl, author of What Saves Us
Paul Harding (born 1967) is an American musician and author, best known for his debut novel Tinkers(2009), which won the 2010 Pulitzer Prize for Fiction and the 2010 PEN/Robert W. Bingham Prize among other honors. Harding was drummer in the band Cold Water Flat throughout its existence from 1990 to 1996.
Harding grew up on the north shore of Boston in the town of Wenham, Massachusetts. As a youth he spent a lot of time “knocking about in the woods” which he attributes to his love of nature. His grandfather fixed clocks and he apprenticed under him, an experience that found its way into his novel Tinkers. Harding has a B.A. in English from the University of Massachusetts Amherst and an MFA from the Iowa Writers’ Workshop and has taught writing at Harvard University and the University of Iowa.
After graduating from UMass, he spent time touring with his band Cold Water Flat in the US and Europe. He had always been a heavy reader and recalls reading Carlos Fuentes‘ Terra Nostra and thinking “this is what I want to do”. In that book Harding “saw the entire world, all of history”. When he next had time off from touring with the band he signed up for a summer writing class at Skidmore College in New York. His teacher was Marilynne Robinson and through her he learned about the Iowa Writers’ Workshop writing program. There he studied with Barry Unsworth, Elizabeth McCracken and later Robinson. At some point he realized some of the people he admired most were “profoundly religious” and so he spent years reading theology, and was “deeply” influenced by Karl Barthand John Calvin. He considers himself a “self-taught modern New England transcendentalist“.
Harding’s second novel, Enon (2013), concerns characters from his first novel, Tinkers, looking at the lives of George Crosby’s grandson, Charlie Crosby, and his daughter Kate.
Pulitzer Prize winner in Journalism
Pulitzer Prize-winning journalist and author Edward Humes has written thirteen narrative nonfiction books, ranging from the true-crime bestseller Mississippi Mud to the critically acclaimed enviro-chronicle Garbology: Our Dirty Love Affair with Trash, to the PEN Award-winning No Matter How Loud I Shout, a narrative account of life and death inside Los Angeles Juvenile Court.
His latest book will be published in October 2013, a biography entitle, A Man His Mountain: The Everyman Who Created Kendall-Jackson and Became America’s Greatest Wine Entrepreneur.
Humes has taught for the graduate program in literary nonfiction at the University of Oregon; in the University of California-Irvine’s literary journalism department; and at Chapman University, where he taught feature writing. He has written for a number of print and online publications, including the New York Times, The Wall Street Journal, Los Angeles Times, Readers Digest, the Oxfor American, Glamour and Sierra. His narrative account of a troubled shelter for foster children for Los Angeles Magazine, “The Forgotten,” received the Casey Medal for Public Service.
Humes’s books rely on narrative story-telling and immersion journalism to bring the feel and style of a novel to nonfiction, and his work has covered a broad range of subjects that include justice, crime, historical nonfiction, the environment, science, medicine and biography. For Baby ER, he spent a year as a author in residence at a leading neonatal intensive care unit. For School of Dreams, he joined the Class of 2001 at a California high school that had moved from worst to first–in both grades and stress. Monkey Girl spins the tale of a later-day Scopes Trial that tore apart a Pennsylvania community on questions of science and faith. Eco Barons and Over Here were Humes’s first forays into biographical narrative: Eco Barons tells the intertwined stories of a band of dreamers, schemers and billionaires working to save the planet from environmental destruction; Over Here is a anecdotal history of the World War II GI Bill, using the lives of a some of the extraordinary men and women who helped transform post-war America with the opportunities that unique legislation once offered.
His writing career began in newspapers, leading in 1989 to his Pulitzer Prize for specialized reporting for coverage of the military, which that year included dispatches from Panama; a narrative account of the unjust execution of a World War II army private and his nephew’s quest for exoneration; and a yearlong investigation of fatal military helicopter crashes linked to flawed night-vision devices. The latter revealed a Pentagon cover-up of the cause of more than sixty crashes and 120 deaths, leading to a congressional investigation and life-saving reforms.
“Reminiscent of Truman Capote’s In Cold Blood….Reads as smoothly as a finely crafted suspense novel.” Chicago Tribune on Mississippi Mud
“Gripping…An important episode in the country’s ongoing struggle to reconcile faith, science, and culture. Humes’s book is a compelling account of that struggle.” Washington Post on Monkey Girl
“A finely etched, powerfully upsetting portrait.” New York Times on No Matter How Loud I Shout
“This is the same seamless, honest and also lyrical writing that earned Humes a Pulitzer Prize.” Los Angeles Times on Mean Justice
“Unlike most dirty books, this one is novel and fresh on every page. You will be amazed.” Bill McKibben, on Garbology
“Told with the drama and beauty of a novel…Humes succeeds where many would have failed because he is working out of the best American tradition of nonfiction narrative, of literary journalism, by paying homage to practitioners of the craft such as John McPhee, Joan Didion, Richard Rhodes and Tom Wolfe.” Los Angeles Times, on No Matter How Loud I Shout
Radio Interview: Edward Humes on Garbology on Fresh Air with Terry Gross, National Public Radio, April 26, 2012.
TV Interview: “Turning Trash to Treasure,” CNN – The Road to Rio, April 19, 2012.
Article, Slideshow, Video: “Inside America’s Largest Landfill,” CNN, April 26, 2012.
Slate, The Afterword, with June Thomas: America’s Love Affair with Garbage, May 24, 2012.
AOL TV: Edward Humes in You’ve Got…. 90 seconds on Garbology, June 2012.
Review: “Edward Humes Enjoys Digging Through Rubbish,” Los Angeles Times, April 17, 2012.
“Blood and Oil,” by Edward Humes, Sierra Magazine article on why the US military is making renewable power and sustainability part of their 21st century defense strategy, July/August 2011.
“The Ranch at the End of the World,” NPR column by Edward Humes, March 2009.
“The Many Lives of Jerry Brown,” California Lawyer profile by Edward Humes, Oct. 2008.
“Where the Wild Things Are… Still,” Sierra Magazine article on the controversial Tejon Ranch conservancy (part of the Eco Barons story), by Edward Humes. Jan/Feb 2010.
“Earth Day Analysis: How Waste Hurts the Economy,” by Edward Humes,Wall Street Journal, April 22, 2012.
Orange Prize Finalist
Editor-in-chef for Merrit Books
Jacquelyn Mitchard has written nine novels for adults, including several New York Times bestsellers and several that have enjoyed critical acclaim, recently winning Great Britain’s People Are Talking prize and, in 2002, named to the short list for the Orange Broadband Prize for Fiction. She has written seven novels for Young Adults as well, and five children’s books, a memoir, Mother Less Child and a collection of essays, The Rest of Us: Dispatches from the Mother Ship. Her essays also have been published in newspapers and magazines worldwide, widely anthologized, and incorporated into school curricula. Her reportage on educational issues facing American Indian children won the Hampton and Maggie Awards for Public Service Journalism. Mitchard’s work as part of Shadow Show, the anthology of short stories honoring her mentor, Ray Bradbury, currently is nominated for the Bram Stoker, Shirley Jackson, and Audie Awards. She served on the Fiction jury for the 2003 National Book Awards, and her first novel, The Deep End of the Ocean, was the inaugural selection of the Oprah Winfrey Book Club, later adapted for a feature film by Michelle Pfeiffer. Mitchard is the editor in chief and co-creator of Merit Press, a new realistic YA Fiction imprint. A Chicago native, Mitchard grew up the daughter of a plumber and a hardware store clerk who met as rodeo riders. A member of the Lac du Flambeau Chippewa tribe, she is a Distinguished Fellow at the Ragdale Foundation in Lake Forest, Illinois. Mitchard taught Fiction and Creative Non-Fiction at Fairfield University and was the first Faculty Fellow at Southern New Hampshire University. Her upcoming YA novel, What We Lost in the Dark, will be published in January by Soho Teen. She lives on Cape Cod with her husband and their nine children.
Contributing editor; Vanity Fair, Outside and Conde Nast Traveler:
Staff Writer, New Yorker
In l986 he started writing for newly resurrected Vanity Fair with a piece on the Murder of Dian Fosseythat was made into the movie, “Gorillas in the Mist,” and the magazine has been his main outlet ever since. He has written dozens of memorable pieces in the ten thousand word range for them, a few even policy-changing like his seminal “The Silent Killing of Tibet” and his exposee of the illegal logging of the ancient redwoods in the Bohemian Grove Club. His most three pieces, “Agony and Ivory,” “Positively 44th Street,” and “The Last of Eden,” will give an idea of his wide range of subject matter and writing style, and the genres of literary journalism he is going to be teaching and talking about. Environmental writing, nature writing, ethnography, travelogue, science writing, family history, memoir, advocacy journalism, writing to effect positive change. He will impart tips of the trade that may spell the difference between getting published or not, and on how to interview celebrities and hostile subjects.
Shoumatoff has published ten books : Florida Ramble (Postcards from Florida in its most recent edition), Westchester : Portrait of a County, The Rivers Amazon, Russian Blood, The Capital of Hope, In Southern Light, The Mountain of Names, African Madness, The World is Burning, and Legends of the American Desert : Sojourns in the Great Southwest. The last one was glowingly front-paged by the New York Times book review and both Time magazine and the New York Post’s number two non-fiction book of the year. He is at present 600 pages into his autobiography, Suitcase on the Loose, and writing a book about his recent trip into the rainforest of Borneo with a boyhood friend he’d been out of contact with for 55 years.
He is also coming out with a docuseries, Suitcase on the Loose, the first episode of which was just shot among the last Penan hunter-gatherers in Sarawak. The mission of the show is the same as what he writes about and of the Web site he started in 2001, Dispatchesfromthevanishingworl
“one of our greatest storytellers”– Graydon Carter, editor Vanity Fair magazine
“one of the great prose stylists of this or any other century”– Michael Hogan, Huffington Post
“Shoumatoff is a genuine citizen of the world, at home with people everywhere, and his example serves as an inspiration to all who cherish the ties that unite humankind… In my opinion, he ranks among the very best nature writers of our or any other time”– Timothy Ferris, science writer
“I never realized anybody could write about Westchester with so much love.”– William Shawn, editor The New Yorker
Pulitzer Prize Winner
F. Scott Fitzgerald Award for Outstanding Achievement in American Literature
Born in Los Angeles, California , Smiley grew up in Webster Groves, Missouri, a suburb of St. Louis, and graduated from John Burroughs School. She obtained an BA in literature at Vassar College (1971), then earned an MA at the University of Iowa (1975), Moughs .F.A. (1976) andPh.D. from the University of Iowa. While working towards her doctorate, she also spent a year studying in Iceland as a Fulbright Scholar. From 1981 to 1996 she was a professor of English at Iowa State University, teaching undergraduate and graduate creative writing workshops, and continuing to teach there even after relocating to California.
Smiley published her first novel, Barn Blind, in 1980, and won a 1985 O. Henry Award for her short story “Lily”, which was published in The Atlantic Monthly. Her best-selling A Thousand Acres, a story based on William Shakespeare‘s King Lear, received the Pulitzer Prize for Fiction in 1992. It was adapted into a film of the same title in 1997. In 1995 she wrote her sole television script, produced for an episode of Homicide: Life on the Street. Her novella The Age of Grief was made into the 2002 film The Secret Lives of Dentists. Her essay “Feminism Meets the Free Market” was included in the 2006 anthology Mommy Wars by Washington Post writer Leslie Morgan Steiner.
Thirteen Ways of Looking at the Novel (2005), is a non-fiction meditation on the history and the nature of the novel, somewhat in the tradition of E. M. Forster‘s seminal Aspects of the Novel, that roams from eleventh century Japan’s Murasaki Shikibu‘s The Tale of Genji to 21st-century American women’s literature.
In 2001, Smiley was elected a member of The American Academy of Arts and Letters. She participates in the annual Los Angeles Times Festival of Books in association with UCLA. Smiley chaired the judges’ panel for the prestigious Man Booker International Prize in 2009.
National Book Award finalist in Poetry
Susan Wheeler grew up in Minnesota and New England. She is the author of several books of poetry and the novel Record Palace (Graywolf, 2005).
Her first collection, Bag ‘o’ Diamonds (University of Georgia Press, 1993), was chosen by James Tate to receive the Norma Farber First Book Award from the Poetry Society of America.
Her other collections are Smokes (Four Way Books, 1998), Source Codes (Salt, 2001), Ledger (Iowa, 2005), and Assorted Poems (Farrar, Straus and Giroux, 2009), which includes poems from her first four books.
Her poems have appeared in eight editions of the The Best American Poetry series, as well as The Paris Review, New American Writing, Talisman, The New Yorker and many other journals.
About her work, John Ashbery writes: “Susan Wheeler’s narrative glamour finds occasions in unlikely places: hardware stores, Herodotus, Hollywood Squares, Flemish paintings, green stamps, and echoes of archaic and cyber speech. What at first seems cacophonous comes in the end to seem invested with a mournful dignity.”
Wheeler’s awards include the Witter Bynner Prize for Poetry from the American Academy of Arts & Letters, and fellowships from the John Simon Guggenheim Foundation and the New York Foundation for the Arts.
Wheeler has taught at the University of Iowa, NYU, Rutgers, and Columbia University, and is currently on the creative writing faculty at Princeton University. She has lived in the New York area for twenty years.
A Selected Bibliography
Bag ‘o’ Diamonds (University of Georgia Press, 1993)
Smokes (Four Way Books, 1998)
Source Codes (Salt, 2001)
Ledger (Iowa, 2005)
Assorted Poems (Farrar, Straus and Giroux, 2009)
Record Palace (Graywolf, 2005)
Barry Green is a U.S. orchestral and solo double bass player and teacher. He was the principal bassist for the Cincinnati Symphony. A contemporary of people such as Gary Karr, he has developed and publicized his own method for double bass.
He has published three instructional books, The Inner Game of Music (Doubleday, 1986-over 250,000 copies sold ), The Mastery of Music: Ten Pathways to True Artistry (Broadway Books 2003), and Bringing Music to Life (2009 GIA Music). Also, he has published a DVD onThe Inner Game of Music (U. of Wisconsin-Clinics on cassette) and Bringing Music to Life (2009 GIA Music). In addition he has released seven Inner Game of Music Workbooks for band, orchestra, small ensembles, keyboard, voice and all instruments in C and transposing keys plus a workbook for SEBSEQUA (Barber Shop and Sweet Adelines choruses).
His bass methods include The Popular Bass Method (with Jeff Neighbor) and Advanced Techniques of Double Bass Playing. He has seven solo LPs and three solo CDs, including, most recently, Live from St. Croix with Barry Green and James Hart and Ole-Cool with accompanying colleagues from Spain and America, and Seat of the Pants (music of Lenny Carlson).
Currently he lives in Oakland California, teaching bass and music for the San Francisco Symphony Education Department and at University of California Santa Cruz. He is a former Executive Director of the International Society of Bassists (1975-1981) and is the founder of the Northern California Bass Club.
Marina Pacowski is a professor at the Music Conservatory Maurice Ravel Bayonne Cote Basque (France) where she teaches piano accompaniment and vocal coaching. She studied piano successively with Ada Labeque, Alain Motard and Bruno Rigutto. Then she specialize in accompaniment under the tutelage of Angeline Pondepayre with whom she studied at the conservatory of Rueil-Malmaison.
She obtained an unaniimous First Prize in accompaniment a Gold Medal in Composition and Music Analysis as well as the SACEM Prize in Composition. Marina came in first place in Belvedere International competition in Vienna, in the vocal coast category. She also came in first at the competiton organized by the Opera National du Rhin where she worked for a year as a pianist and vocal coach within the Jeune Voix du Rhin program.
As a vocal coach she collaborated with the following conductors. Friedrich Pleyer, with the Royal Opera of Wallonia in Belgium, Marc Tardue in the Colliseu of Oporto in Portugal, Dejan Savio with the Opera National du Rhin, Alexander Martin at the Filature de Mulhouse.
As a concert pianist she performed as the principal soloist in the Concerto for piano by Peo Cabalette, “La Chambre d’amour”, in the Kursal in San Sebastian, Spain; and in the Grand Theatre de Saint-Quentin, France. She was also invited by L’Ensemble Fa, for a concert at the Salle Gaveau; and she played first piano in the Camina Burana, conducted by Didier Benetti, with the Grand Choeur Orpheo Pamplones at the Atrium of Dax.
Marina is an eclectic artist, she performs solo recitals and performs n a jazz group as a singer.
$4,950 single room in villa with two workshops or the Poetry with Music Workshop or Full Manuscript Line Edit & Critique. We encourage participants to please share rooms with others since we have limited space in the villa.
$3,500 shared twin or two in villa with two workshops, or Poetry with Music Workshop or Full Manuscript Line Edit & Critique.
$2,600 single room apartment w/two workshops or Poetry with Music workshop or Full Manuscript Line Edit & Critique
$1,790 single room apartment w/one workshop
$2,190 shared twin room apartment w/two workshops
$1,390 shared twin room apartment w/one workshop
Villa and buildings in the complex
Limited space in the main Villa. We would prefer if participants share a room, since we only have six bedrooms for participants. If you want to stay in the main villa I suggest reserving asap.
Villa price includes breakfast and a four course dinner served nightly with wine.
$4,950 single room in villa with two workshops or the Poetry with Music Workshop or Full Manuscript Line Edit & Critique
$3,500 shared twin or two in villa with two workshops, or Poetry with Music Workshop or Full Manuscript Line Edit & Critique.
We encourage participants to share a room at the main villa. The advantages are: 1. You’ll be with authors and your group. 2. You won’t need to walk or use local transportation. 3. Meals and workshops are included in the price.
includes Breakfast and Four Course dinner with Wine
Apartments in Como:
I have rented self-catering apartments around the town of Como.
The Main Villa is ½ mile from the center of town and 1 mile from Train Station. Apartments are scattered around town. If you take a bus, there’s a bus stop 2 blocks away from Main Villa.
These are all basic studio, 1, 2 and 3 bedroom apartments. Participants requesting single rooms will also have a choice of staying in a studio apartment; however, we only have four studio apartments. Meals are not include. Dinner at the villa will be an extra $50 per night.
Workshop that are included are: Fiction, Nonfiction and Poetry. If you’re interested in taking a Poetry with Music workshop or our Full Manuscript Edit and Critique workshop there’s an additional price due to extra cost.
$2,600 single bedroom in a shared apartment or studio w/two workshops or Poetry with Music workshop or Full Manuscript Line Edit & Critique
$1,790 single bedroom in shared apartment or studio w/one workshop
$2,190 shared twin bedroom in shared apartment w/two workshops, if you want to bring a spouse the price will be an additional charge of $590.00. We try to put couples in studio or one bedroom apartments.
$1,390 shared twin bedroom in shared apartment w/one workshop, if you want to bring a spouse the price will be an additional charge of $590.00. We try to put couples in studio or one bedroom apartments.
Fiction, Nonfiction, Poetry workshop: $800.00–5 day workshop/3 hours a day
Poetry with Music: $1,600–5 day workshop/3 days (8:00 – 12:00) & 2 days (8:00 – 4:00)
Full Manuscript Line Edit & Critique: $1,600–3 DAY workshop/8 hours a day
FICTION–PAUL HARDING, JANE SMILEY
“In our workshop we will gladly ponder whatever kind of prose you write, from the most photorealistic fiction to unlineated poetry, from the most heavily plotted story to stream-of-consciousness lyric. We will allow each piece its own terms and judge its effectiveness at embodying them, rather than any we might impose upon it from the outside. We will consider genre as a description applied subsequently to the composition of a piece of writing, not a received premise that might constrain it in its making.” PAUL HARDING
The workshop really depends on what participants give me, but it is analytical rather than judgmental, and my ideas are in “13 Ways of Looking at the Novel”. We’ll talk about how fiction and novels work in general and connect that to what each student is trying to accomplish.
All participants are required to read a few chapters–especially “A Novel of your Own”, part 1 and 2. It’s a book to be dipped into. Also read, “What is a Novel” and “The Circle of the Novel”. We should get some good discussions going that way.
CREATIVE NON-FICTION & MEMOIR–EDWARD HUMES & ALEX SHOUMATOFF
The Art of Being There: Immersion and Narrative in Nonfiction and Biography
A principal method for accomplishing this feat of turning life into narrative is immersion – the art of insinuating oneself inside a place, process, institution or person’s life, then using first-hand storytelling to reveal character, drama and import. Immersion nonfiction is about getting inside a story, in search of the insights, depth and detail that can imbue nonfiction prose with the same richness seen in great novels, and that can illustrate and expose important issues of culture, society, justice and government through highly dramatic and human narratives. Immersion writing has a storied history in America, dating back to such turn-of-the-century muckrakers as Nellie Bly and her classic “Ten Days in a Mad-House,” and continuing with such modern masters of the craft as Tracy Kidder and John McPhee. Whether your goal is short-form writing or long, 500 words or 50,000, the same approach and skills will serve a writer well.
This course will serve as a mini-boot camp for immersion research and narrative building. We’ll use the landscape and rich resources of our workshop setting as fodder for a series of “quick fire” research and writing exercises including:
– the sense of a place (treating setting as character)
– bringing characters to life
– interviewing 101
– using the historical to inform the present
In class we’ll analyze a series of short readings in a variety of narrative nonfiction genres, including crime, biography, environmental/nature and other specialized topics of interest to the group. We’ll explore in-depth the research methods and techniques for “getting inside,” for developing setting and character, and for building coherent narratives with strong beginnings, middles and ends while remaining true to your source material.
ALEX SHOUMATOFF – MEMOIR
ALEX will be doing a workshop at Lake Como on memoir and travel memoir, voyages of self-discovery, what he calls “accidental journalism” : how the most transformative experiences that happen when you put yourself out there are usually things you hadn’t planned for, the chance encounters and whiffs of the uncanny. One of our consummate travel memoirists, he will explain how the art of travel is orchestrating the unpredictable, and the art of travel memoir is bringing the journey back to life so vividly the reader feels he is the one on the trip. For fifty years, Shoumatoff has been like Everyman going to the ends of the earth to experience the Other, and discovering that they are one and the same, visiting the bushmen of the Kalahari and finding out that he is 75,000 years old.
“I’m returning in my head to where I was in November-December in the highlands of sarawak with the penan. going through my notebooks which have notes I took as things were happening and acting on me. So what I’m doing now is travel memoir, but the notes were letting whatever was happening act on me, letting the words to describe the life forms and activities I am witnessing come, to recreate and become them. in a sort of impressionistic telegraphese, as one of my editors call it. the way mavis gallant wrote her travel impressions in the fifties for the new yorker
Read Alex’s latest Vanity Fair Story, The Awa Indians of Amazonian Brazil: The Most Endangered Tribe on Earth http://www.vanityfair.com/contributors/alex-shoumatoff
Bellagio is often called one of the most beautiful towns in Italy. Nestled amid cypress groves and verdant gardens, its earth-toned old buildings climb from the lakefront promenade along stepped cobbled lanes. While Bellagio is a popular retreat for everyone from Milanese out for a day of relaxation to British and Americans who come to relax for a week or two, the town has, for the most part, managed to keep its dignity despite the crush of tourists that arrive in the summer months.
One of Bellagio’s famed gardens surrounds the Villa Melzi built by Francesco Melzi, a friend of Napoleon and an official of his Republic. The villa was the retreat of Franz Liszt and is now the home of a distinguished Lombardian family; they allow the public to stroll through their acres of manicured lawns and fountains and to visit a pavilion where a collection of Egyptian sculpture is on display.
12:00 – 4:30
Ferry to Varenna from Como.
Workshop on the hydrofoil, discussing writings from the previous day.
You can happily spend some time clambering up and down the steep steps that substitute for streets in this charming village (on the eastern shore of the lake, about 10 min. by ferry from Bellagio) that, until not too long ago, made its living by fishing. The main attractions, though, are outside town.
The hilltop ruins of the Castello di Vezio are about a 20-minute walk above the town on a gradually ascending path. The main reason for a visit is to enjoy the stunning views of the lake, its shoreline villages, and the backdrop of mountains at the northern end.
The gardens of the Villa Monastero are more easily accessible, at the southern edge of town along Via 4 Novembre, and you can reach them by following the series of lakeside promenades through the Old Town from the ferry landing. This villa and the terraced gardens that rise up from the lakeshore were once a not-so-spartan monastery — until it was dissolved in the late 17th century when the nuns in residence began bearing living proof that they were on too-friendly terms with the priests across the way. If you find it hard to tear yourself from the bowers of citrus trees and rhododendrons clinging to terraces, you’ll find equally enchanting surroundings in the adjoining gardens of the Villa Cipressi
1:00 – 4:00
Workshopping 20 page stories that were previously submitted.
POETRY–RAE ARMANTROUT, NIKKY FINNEY and SUSAN WHEELER
VOICE AND VOICES
“When you read a poem, who do you imagine speaking? Sometimes that’s an easy question to answer, sometimes not, but it’s always worth considering. There may be more than one voice in any given poem. (One of my early poems begins with the lines, “Ventriloquy/is the mother tongue.”) In this workshop, I won’t ask you to write a persona poems, unless you already do, but we will work at identifying the voices (or personalities, if you like) that already inhabit your poetry.
In order to get the discussion going, we will read a few poems by Emily Dickinson, William Carlos Williams and contemporary poets Frank O’Hara, Harryette Mullen, Rachel Loden, and Drew Gardner. I may ask you to alter the tone of one of your poems by changing no more than two or three words. I will also invite you to rewrite another workshop member’s poem, not to improve it, but to make it speak in a different voice. Such exercise can help you develop a new awareness of the possibilities in your own work. They’re also fun.” Rae Armantrout
The workshop will attend to your endeavor: what is the particular poem up to, and what things might you consider to better it on its own terms? That said, exercises will both encourage you to articulate your own presumptions about poems in general and to experiment with side-drafts as Silly Putty™, expanding your field of play by shoving its edges around a bit. In addition to careful, considered reading of each others’ work and sundry other poems, we’ll look at an essay or two in order to take stock of just what ground we have inherited from the poetries of the recent past in order to channel greater ambitions for the poetry we write.
POETRY W/MUSIC –NIKKY FINNEY with Musicians: bass, BARRY GREEN–Cincinnati Symphony and Touring concert pianist/jazz singer MARINA PACOWSKI. Participants will be working with Nikky Finney for poetry, Marina Pacowski for voice coaching and Barry Green for combining poetry with music. A DVD will be made of each participants work.
FULL MANUSCRIPT LINE EDIT & CRITIQUE —JACQUELYN MITCHARD. This workshop will begin 2 months before one arrives in Italy. At Lake Como it will be an intensive three full day workshop. Jacquelyn will do a full line edit and 5 page written critique prior to the workshop of everyones full manuscripts, no limit on pages. Plus, all participant must read everyones manuscripts; afterwards, each participant will receive a four hour critique of their work.
Contact: Nancy Gerbault 209 2964052