{"id":165930,"date":"2023-10-30T13:20:27","date_gmt":"2023-10-30T17:20:27","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=165930"},"modified":"2023-12-01T10:24:13","modified_gmt":"2023-12-01T15:24:13","slug":"gluck-syllabus","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/10\/30\/gluck-syllabus\/","title":{"rendered":"The Displaced Person: A Syllabus"},"content":{"rendered":"

\"\"In an interview in our Fall issue<\/a>, Robert Gl\u00fcck told Lucy Ives, “I\u00a0think about the workshops I ran at Small Press Traffic in the seventies and eighties, how reading became a part of writing. We were reading our lives and living our fictions.” We asked Gl\u00fcck\u2014whose free community workshops spearheaded the New Narrative movement in San Francisco\u2014for a syllabus from one of his former classes. This one is from a course called\u00a0The Displaced Person<\/em>.<\/p>\n

Here is my catalogue description:<\/p>\n

This M.F.A.-level course in fiction explores\u2014through readings, writing assignments, and critical essays\u2014the many ways in which alienation defines the self, from Lacan\u2019s mirror stage, where the self comes to be organized around an image outside of the body, to the various kinds of exile we experience by virtue of class, age, race, and sexuality, as well as the hatred of the other, the discontents of language, and the economies of pleasure that society seems to be founded on.<\/p><\/blockquote>\n

I assigned class presentations, creative responses based on my prompts, and brief critical responses\u2014two observations supported by examples. Discrete observations allow students to express and get past initial resistance.<\/p>\n

My class anthology was more of an environment than a set syllabus. I also taught books\u2014Jane Bowles\u2019s Two Serious Ladies<\/em>, Philip K. Dick\u2019s Ubik<\/em>. I had a session on the Gnostics and imported Bruce Boone to talk about them.<\/p>\n

Some of the readings:<\/p>\n

\u201cWe Refugees,\u201d Hannah Arendt; \u201cCorrespondence with Jacques Rivi\u00e8re,\u201d \u201cAll writing is pigshit \u2026,\u201d \u201cFragments of a Journal in Hell,\u201d and \u201cVan Gogh: The Man Suicided by Society,\u201d Antonin Artaud; stories by Isaac Babel; Back Roads to Far Towns<\/em>, Basho; Company<\/em>, Samuel Beckett; \u201cThe Collector of Treasures\u201d and other stories by Bessie Head; \u201cEnrique Mart\u00edn,\u201d \u201cLast Evenings on Earth,\u201d and \u201cDance Card,\u201d Roberto Bola\u00f1o; \u201cThe Gloomy Mood of Ah Mei on a Sunny Day,\u201d \u201cRaindrops in the Crevice between the Tiles,\u201d \u201cSoap Bubbles in the Dirty Water,\u201d \u201cThe Fog,\u201d and \u201cHut on the Mountain,\u201d Can Xue; \u201cThe Dead Man,\u201d \u201cMadame Edwarda,\u201d and \u201cThe Notion of Expenditure\u201d, Georges Bataille; \u201cThe Idyll,\u201d \u201cThe Madness of the Day,\u201d and \u201cFoucault\/Blanchot,\u201d Maurice Blanchot; \u201cSleep It Off, Lady,\u201d Jean Rhys; \u201cThe Mirror Stage,\u201d (this is quite a good cartoon explanation of Lacan\u2019s theory) Jacques Lacan; Diary<\/em>, Vaslav Nijinsky; excerpts from a day in the life of p<\/em>., kari edwards; excerpt from Great Expectations<\/em>, Kathy Acker; The Return of Painting<\/em>, Leslie Scalapino; \u201cOn the Line,\u201d Deleuze & Guattari; from Soft Architecture,<\/em> Lisa Robertson; from Powers of Horror<\/em>, Julia Kristeva; from Ugly Man<\/em>, \u201cThe Ash Gray Proclamation\u201d Dennis Cooper; poems of Paul Celan; from The Lover<\/em>, Marguerite Duras; from Wittgenstein\u2019s Nephew<\/em>, Thomas Bernhard; from The Bruise<\/em>, Magdalena Zurawski; A Tomb for Boris Davidovich<\/em>, Danilo Ki\u0161; \u201cRobin,\u201d \u201c1969,\u201d Eileen Myles; \u201cHashish in Marseilles,\u201d \u201cThe Work of Art in the Age of Mechanical Reproduction,\u201d and \u201cThe Storyteller,\u201d Walter Benjamin; \u201cWe Refugees,\u201d Giorgio Agamben; from The Arab Apocalypse, <\/em>Etel Adnan; \u201cSplendor in the Wind,\u201d Ra\u00fal Zuritas; \u201cThomas Gospel\u201d and other gospels from the Gnostic Gospels. Other writings included works by Lydia Davis, Fanny Howe, Camille Roy, Darius James, Charles Baudelaire, Edmond Jab\u00e8s, and Mehdi Charef.<\/p><\/blockquote>\n

Sample assignment:<\/p>\n

Write a page or two of wisdom literature. By that I mean, what you think the truth is, however you want to put it. No parodies of the Bible please.<\/p><\/blockquote>\n

 <\/p>\n

Robert Gl\u00fcck is the author of nine books of poetry and prose, including the novel<\/em> Margery Kempe and the long poem<\/em> I, Boombox.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cMy class anthology was more of an environment than a set syllabus.\u201d<\/p>\n","protected":false},"author":2263,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68590],"tags":[16806,68603],"class_list":["post-165930","post","type-post","status-publish","format-standard","hentry","category-syllabi","tag-syllabus","tag-theory"],"acf":[],"yoast_head":"\nThe Displaced Person: A Syllabus by Robert Gl\u00fcck<\/title>\n<meta name=\"description\" content=\"October 30, 2023 \u2013 \u201cMy class anthology was more of an environment than a set syllabus.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2023\/10\/30\/gluck-syllabus\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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