Fire in the night lit up the sky as a few riders in the night advanced towards far end corridor of the castle. The damp air began to feel thick the further down they began to travel. Guards surrounded the castle every inch of the stronghold. The trespassers withdrew their weapons and began to fight for what they knew was meant to be theirs. The leader, a girl, bypassed the guards and snuck into the room that was guarded.
The room was as black as night. The fire from the torch dimmed and there was limited time to execute what needed to be done. There, it was there. Whispers began to arouse throughout the room. The lone trespasser wiped sweat from her brow and nervously looked around the bricked room-no one in sight. She took the glistening locket and headed for the door.
Stepping outside, quietly tears began to fill their eyes. Blood was shed on her account. The small group that went in was now assassinated by the king’s guard. She began to cry as she realized this was for a greater purpose. Footsteps were heard from behind her. She turned around and a loud “CRACK!” … Dizziness and black consumed her, as she faded out with throbbing pain…
“Bow to me. Give all to me, your highest king, given from the gods. I was chosen to lead your people out of poverty.” A tall, lanky man appeared from behind a throne that was basking in the sun near the stained-glass windows of his hall.
“I, Rohan, the first of my name, ruler of Middle Kingdom, demand you to hand it over.” “I, uh, your majesty, do not know what you speak of.” A young girl slowly stood up from her bloodied knees, bruises up and down her arms and legs. The girl appeared to be coming into her own. Her hair was tangled into a braid and her lips were badly blooded. Rohan hissed, “the locket around your neck would say otherwise.”
The girl replied back to the king nervously, “This locket is not what you think it is, sir. It is not for the faint hearted. It is meant to be destroyed. My father has been waiting for my return with this necklace. Our mages say it is possessed with dark magic.” Rohan stepped down to the girl and smiled. “Oh, my young girl, you won’t be returning to your father. There is a high price for those that steal from the crown.”
“Kill me if you must, but I will never bow to a king who wears a studded crown of every life he has ended.” The girl shouted in anger. Rohan laughed in an evil matter, coughing and wheezing to catch his breath. “As a matter of fact. I thought I would keep you as a gift for myself and my guards for the hard work they do. You stole that from me.” He seethed, his lips cracked and crooked smile began to appear. “I know who you are, Princess. You haven’t fooled me.”
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M.f.a. creative writing.
English Department
Physical Address: 200 Brink Hall
Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102
Phone: 208-885-6156
Email: [email protected]
Web: English
Thank you for your interest in the Creative Writing MFA Program at the University of Idaho: the premier fully funded, three-year MFA program in the Northwest. Situated in the panhandle of Northern Idaho in the foothills of Moscow Mountain, we offer the time and support to train in the traditions, techniques, and practice of nonfiction, poetry, and fiction. Each student graduates as the author of a manuscript of publishable quality after undertaking a rigorous process of thesis preparation and a public defense. Spring in Moscow has come to mean cherry blossoms, snowmelt in Paradise Creek, and the head-turning accomplishments of our thesis-year students. Ours is a faculty of active, working writers who relish teaching and mentorship. We invite you in the following pages to learn about us, our curriculum, our community, and the town of Moscow. If the prospect of giving yourself three years with us to develop as a writer, teacher, and editor is appealing, we look forward to reading your application.
A Decade Working in a Smelter Is Topic of Alumnus Zach Eddy’s Poems
The region surrounding the University of Idaho is the ancestral land of both the Coeur d’Alene and Nez Perce peoples, and its campus in Moscow sits on unceded lands guaranteed to the Nez Perce people in the 1855 Treaty with the Nez Perce. As a land grant university, the University of Idaho also benefits from endowment lands that are the ancestral homes to many of the West’s Native peoples. The Department of English and Creative Writing Program acknowledge this history and share in the communal effort to ensure that the complexities and atrocities of the past remain in our discourse and are never lost to time. We invite you to think of the traditional “land acknowledgment” statement through our MFA alum CMarie Fuhrman’s words .
Three years to write.
Regardless of where you are in your artistic career, there is nothing more precious than time. A three-year program gives you time to generate, refine, and edit a body of original work. Typically, students have a light third year, which allows for dedicated time to complete and revise the Creative Thesis. (48 manuscript pages for those working in poetry, 100 pages for those working in prose.)
Our degree requirements are designed to reflect the real-world interests of a writer. Students are encouraged to focus their studies in ways that best reflect their artistic obsessions as well as their lines of intellectual and critical inquiry. In effect, students may be as genre-focused or as multi-genre as they please. Students must remain in-residence during their degrees. Typically, one class earns you 3 credits. The MFA requires a total of 54 earned credits in the following categories.
12 Credits : Graduate-level Workshop courses in Fiction, Poetry, and/or Nonfiction. 9 Credits: Techniques and Traditions courses in Fiction, Poetry, and/or Nonfiction 3 Credits : Internships: Fugue, Confluence Lab, and/or Pedagogy 9 Credits: Literature courses 12 Credits: Elective courses 10 Credits: Thesis
Students are admitted to our program in one of three genres, Poetry, Fiction, or Nonfiction. By design, our degree path offers ample opportunity to take Workshop, Techniques, Traditions, and Literature courses in any genre. Our faculty work and publish in multiple genres and value the slipperiness of categorization. We encourage students to write in as broad or focused a manner as they see fit. We are not at all interested in making writers “stay in their lanes,” and we encourage students to shape their degree paths in accordance with their passions.
During your degree, you will take Workshop, Techniques, Traditions, and Literature courses.
Our workshop classes are small by design (typically twelve students or fewer) and taught by core and visiting MFA faculty. No two workshop experiences look alike, but what they share are faculty members committed to the artistic and intellectual passions of their workshop participants.
Techniques studios are developed and taught by core and visiting MFA faculty. These popular courses are dedicated to the granular aspects of writing, from deep study of the poetic image to the cultivation of independent inquiry in nonfiction to the raptures of research in fiction. Such courses are heavy on generative writing and experimentation, offering students a dedicated space to hone their craft in a way that is complementary to their primary work.
Traditions seminars are developed and taught by core and visiting MFA faculty. These generative writing courses bring student writing into conversation with a specific trajectory or “tradition” of literature, from life writing to outlaw literature to the history of the short story, from prosody to postwar surrealism to genre-fluidity and beyond. These seminars offer students a dynamic space to position their work within the vast and varied trajectories of literature.
Literature courses are taught by core Literature and MFA faculty. Our department boasts field-leading scholars, interdisciplinary writers and thinkers, and theory-driven practitioners who value the intersection of scholarly study, research, humanism, and creative writing.
We teach our classes first and foremost as practitioners of the art. Full stop. Though our styles and interests lie at divergent points on the literary landscape, our common pursuit is to foster the artistic and intellectual growth of our students, regardless of how or why they write. We value individual talent and challenge all students to write deep into their unique passions, identities, histories, aesthetics, and intellects. We view writing not as a marketplace endeavor but as an act of human subjectivity. We’ve authored or edited several books across the genres.
Learn more about Our People .
The MFA experience culminates with each student writing and defending a creative thesis. For prose writers, theses are 100 pages of creative work; for poets, 48 pages. Though theses often take the form of an excerpt from a book-in-progress, students have flexibility when it comes to determining the shape, form, and content of their creative projects. In their final year, each student works on envisioning and revising their thesis with three committee members, a Major Professor (core MFA faculty) and two additional Readers (core UI faculty). All students offer a public thesis defense. These events are attended by MFA students, faculty, community members, and other invitees. During a thesis defense, a candidate reads from their work for thirty minutes, answers artistic and critical questions from their Major Professor and two Readers for forty-five minutes, and then answer audience questions for thirty minutes. Though formally structured and rigorous, the thesis defense is ultimately a celebration of each student’s individual talent.
The Symposium Reading Series is a longstanding student-run initiative that offers every second-year MFA candidate an opportunity to read their works-in-progress in front of peers, colleagues, and community members. This reading and Q & A event prepares students for the third-year public thesis defense. These off-campus events are fun and casual, exemplifying our community centered culture and what matters most: the work we’re all here to do.
All students admitted to the MFA program are fully funded through Teaching Assistantships. All Assistantships come with a full tuition waiver and a stipend, which for the current academic year is roughly $15,000. Over the course of three years, MFA students teach a mix of composition courses, sections of Introduction to Creative Writing (ENGL 290), and additional writing courses, as departmental needs arise. Students may also apply to work in the Writing Center as positions become available. When you join the MFA program at Idaho, you receive teacher training prior to the beginning of your first semester. We value the role MFA students serve within the department and consider each graduate student as a working artist and colleague. Current teaching loads for Teaching Assistants are two courses per semester. Some members of the Fugue editorial staff receive course reductions to offset the demands of editorial work. We also award a variety of competitive and need-based scholarships to help offset general living costs. In addition, we offer three outstanding graduate student fellowships: The Hemingway Fellowship, Centrum Fellowship, and Writing in the Wild Fellowship. Finally, our Graduate and Professional Student Association offers extra-departmental funding in the form of research and travel grants to qualifying students throughout the academic year.
Each year, we bring a Distinguished Visiting Writer to campus. DVWs interface with our writing community through public readings, on-stage craft conversations hosted by core MFA faculty, and small seminars geared toward MFA candidates. Recent DVWs include Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Kate Zambreno, Dorianne Laux, Teju Cole, Tyehimba Jess, Claire Vaye Watkins, Naomi Shihab Nye, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, William Logan, Aisha Sabatini Sloan, Gabino Iglesias, and Marcus Jackson, among several others.
Established in 1990 at the University of Idaho, Fugue publishes poetry, fiction, essays, hybrid work, and visual art from established and emerging writers and artists. Fugue is managed and edited entirely by University of Idaho graduate students, with help from graduate and undergraduate readers. We take pride in the work we print, the writers we publish, and the presentation of both print and digital content. We hold an annual contest in both prose and poetry, judged by two nationally recognized writers. Past judges include Pam Houston, Dorianne Laux, Rodney Jones, Mark Doty, Rick Moody, Ellen Bryant Voigt, Jo Ann Beard, Rebecca McClanahan, Patricia Hampl, Traci Brimhall, Edan Lepucki, Tony Hoagland, Chen Chen, Aisha Sabatini Sloan, sam sax, and Leni Zumas. The journal boasts a remarkable list of past contributors, including Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, B.H. Fairchild, Nick Flynn, Terrance Hayes, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Philip Levine, Anthony Varallo, Robert Wrigley, and Dean Young, among many others.
The Creative Writing Program is proud to partner with the Academy of American Poets to offer an annual Academy of American Poets University Prize to a student at the University of Idaho. The prize results in a small honorarium through the Academy as well as publication of the winning poem on the Academy website. The Prize was established in 2009 with a generous grant from Karen Trujillo and Don Burnett. Many of our nation’s most esteemed and celebrated poets won their first recognition through an Academy of American Poets Prize, including Diane Ackerman, Toi Derricotte, Mark Doty, Tess Gallagher, Louise Glück, Jorie Graham, Kimiko Hahn, Joy Harjo, Robert Hass, Li-Young Lee, Gregory Orr, Sylvia Plath, Mark Strand, and Charles Wright.
Centrum fellowships.
Those selected as Centrum Fellows attend the summer Port Townsend Writers’ Conference free of charge. Housed in Fort Worden (which is also home to Copper Canyon Press), Centrum is a nonprofit dedicated to fostering several artistic programs throughout the year. With a focus on rigorous attention to craft, the Writers’ Conference offers five full days of morning intensives, afternoon workshops, and craft lectures to eighty participants from across the nation. The cost of the conference, which includes tuition, lodging, and meals, is covered by the scholarship. These annual scholarship are open to all MFA candidates in all genres.
This fellowship offers an MFA Fiction student full course releases in their final year. The selection of the Hemingway Fellow is based solely on the quality of an applicant’s writing. Each year, applicants have their work judged blind by a noted author who remains anonymous until the selection process has been completed. Through the process of blind selection, the Hemingway Fellowship Fund fulfills its mission of giving the Fellow the time they need to complete a substantial draft of a manuscript.
This annual fellowship gives two MFA students the opportunity to work in Idaho’s iconic wilderness areas. The fellowship fully supports one week at either the McCall Outdoor Science School (MOSS), which borders Payette Lake and Ponderosa State Park, or the Taylor Wilderness Research Station, which lies in the heart of the Frank Church River of No Return Wilderness Area. Both campuses offer year-round housing. These writing retreats allow students to concentrate solely on their writing. Because both locations often house researchers, writers will also have the opportunity to interface with foresters, geologists, biologists, and interdisciplinary scholars.
Idaho admitted its first class of seven MFA students in 1994 with a faculty of four: Mary Clearman Blew, Tina Foriyes, Ron McFarland (founder of Fugue), and Lance Olsen. From the beginning, the program was conceived as a three-year sequence of workshops and techniques classes. Along with offering concentrations in writing fiction and poetry, Idaho was one of the first in the nation to offer a full concentration in creative nonfiction. Also from its inception, Idaho not only allowed but encouraged its students to enroll in workshops outside their primary genres. Idaho has become one of the nation’s most respected three-year MFA programs, attracting both field-leading faculty and students. In addition to the founders of this program, notable distinguished faculty have included Kim Barnes, Robert Wrigley, Daniel Orozco, Joy Passanante, Tobias Wray, Brian Blanchfield, and Scott Slovic, whose collective vision, rigor, grit, and care have paved the way for future generations committed to the art of writing.
Situated in the foothills of Moscow Mountain amid the rolling terrain of the Palouse (the ancient silt beds unique to the region), our location in the vibrant community of Moscow, Idaho, boasts a lively and artistic local culture. Complete with independent bookstores, coffee shops, art galleries, restaurants and breweries, (not to mention a historic art house cinema, organic foods co-op, and renowned seasonal farmer’s market), Moscow is a friendly and affordable place to live. Outside of town, we’re lucky to have many opportunities for hiking, skiing, rafting, biking, camping, and general exploring—from nearby Idler’s Rest and Kamiak Butte to renowned destinations like Glacier National Park, the Snake River, the Frank Church River of No Return Wilderness Area, and Nelson, BC. As for more urban getaways, Spokane, Washington, is only a ninety-minute drive, and our regional airline, Alaska, makes daily flights to and from Seattle that run just under an hour.
For upcoming events and program news, please visit our calendar .
For more information about the MFA program, please contact us at: [email protected]
Department of English University of Idaho 875 Perimeter Drive MS 1102 Moscow, ID 83844-1102 208-885-6156
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‘The Locket’ by Montague delves into his complex relationship with his mother, revealing hidden love through a locket she wore.
John Montague
His collections include A Drunken Sailor and The Dead Kingdom.
Poem Analyzed by Emma Baldwin
B.A. English (Minor: Creative Writing), B.F.A. Fine Art, B.A. Art Histories
Within ‘The Locket’ Montague explores themes of mother/son relationships and love. The mood is solemn, and at times depressing, throughout. From context clues and the fact that the son is named “John” in the poem, the speaker in this piece is generally considered to be Montague himself. The relationship between himself and his mother is explored in other poems within his oeuvre .
The poem takes the reader through a series of moments, from his birth to his mother’s death. Their relationship was fraught from the moments of his birth. Montague describes how from the start his mother was disappointed and pained by him. He felt guilt over this and tried throughout his life to make her love him. She sent him away in his youth but he continued to visit her for a time until she told him to stop.
The poem concludes with the revelation that throughout her life she wore a locket with the poet’s picture inside.
‘ The Locket’ By John Montague is a seven stanza poem that’s separated into sets of six lines, known as sestets . These sestets do not follow one single pattern of rhyme . Instead, each stanza contains a variety of end and internal rhymes that provide the poem with a pleasing rhythm throughout.
Montague also makes use of several poetic techniques in ‘The Locket’. These include alliteration , enjambment , and caesura . The latter, caesura, occurs when a line is split in half, sometimes with punctuation, sometimes not. The use of punctuation in these moments creates a very intentional pause in the text. A reader should consider how the pause influences the rhythm of one’s reading and how it might proceed an important turn or transition in the text. For example, line three of the fifth stanza reads: “lovely Molly, the belle of your small town”
Alliteration occurs when words are used in succession, or at least appear close together, and begin with the same letter. For example, “wrong way” in line five of the second stanza. Or, another example, “cue to come on” in line five of the first stanza.
Sing a last song (…) my first claim to fame.
In the first stanza of The Locket,’ the speaker asks that one final song be sung for his deceased mother. She was an important force in the poet’s life and caused him a great deal of pain and stress. In the third line, she’s referred to as a “fertile source of guilt and pain”. She made him feel both these things at once, as is depicted in the following lines.
He speaks on his birth and entry into the world. The second stanza provides more details, but in this section, he alludes to a terrible birth and this being his “claim to fame”. The internal rhyme in this line helps the overall rhythm of the poem, especially as it comes at the end of the stanza.
Naturally, she longed for a girl, (…) Not readily forgiven,
In the second stanza, he adds in additional details. He explains that his mother didn’t want a boy child, she “longed” for a girl. There was nothing that he could’ve done, as a sweet young child, to make up for the fact that he is a boy. There’s another more physical element of pain connected with the birth as well. He was born the “wrong way around,” making the birth even more painful for his mother. She could never forgive him for these two “ blunder [s]”.
So you never nursed me (…) your favourite saying,
In the third stanza, he moves into the second-person narrative perspective , directing his words to his mother. He tells her that she never nursed him, and her coldness never warmed. His father sang kind songs, a hint at his overall personality , but the “lack of money” hurt their relationship. The poet references her “favourite saying,” about love flying up the chimney when poverty “comes through the door”. This is yet another element that damaged their family dynamic.
Then you gave me away, (…) drinking by the fire, yarning
One of the major sources of the poet’s own pain is the fact that she gave him away as a young child. He was sent to live with other family members as though his mother couldn’t stand to be around him. The only way the two maintained a connection at all is because the poet “cycled down / to court” his mother “like a young man”. He had to get himself to his mother’s home and remind her that he’s her son that he wants a relationship with her.
Of your wild, young days (…) wound into your cocoon of pain.
The speaker addresses his mother’s pain in the fifth stanza. He alludes to her lost youth, her previous beauty, and the now “mournful” state she exists in. The repetition of the “l” consonant sound in this stanza is powerful. It speaks to the rain and “lashes” that wounded his mother.
Standing in that same hallway, (…) resigned to being alone.
In the most painful moment of the poem, Montague’s mother tells him that he shouldn’t “come again” to her house. She says it “roughly”. But, it appears that he understands her coolness and cruelty in this moment. She is “resigned to being alone” and his intermittent presence in her life is painful to her. But a reader can’t help but consider the fact that his presence is only intermittent because she sent him away.
And still, mysterious blessing, (…) of a child in Brooklyn.
The poem concludes with one final stanza. It reveals that all the time that the two fought and the speaker felt unloved and lost, his mother was wearing a locket with his image in it around her neck. Her loving heart was unable to shake off its cold exterior and it is only after her death that the poet realized that he was loved by his mother.
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Baldwin, Emma. "The Locket by John Montague". Poem Analysis , https://poemanalysis.com/john-montague/the-locket/ . Accessed 24 June 2024.
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To moscow- a brief look at the state of russian theatre.
Some Russian critics “ love to kill what they can’t control ” wrote John Freedman in the Moscow Times in 2015. He continued: “Theatre, of course, is bigger and messier and more lively than all of us put together.” After four consecutive nights watching new Russian plays (little performed in the UK) translated by Noah Birksted-Breen at London’s Frontline Club —plays that are consciously about the social state of Russia and her theatre, one could go away thinking Russia herself wants to kill what she can’t control. The question is whether and how this may happen. Is Russian theatre in peril? Sources comment that it is alive and kicking in the provinces, where most new plays are staged. But they are dystopian works “ that define Russia as an unconquerable, forbidden, illogical country where any social experimenting is drowned in the mysticism, viscosity, and waywardness of the Russian soul. ” The theatre critic Pavel Rudnev writes that Russia’s theatrical elders are expressing “anti-liberal” notes with stagings of some of Dostoevsky’s best-known works expressing the pointlessness of a revolutionary spirit . And the Putin government’s insistence on converting more and more theatres into state-run institutions and its pressure on private landlords who rent out space to the politically independent and outspoken theatres such as Teatr.doc must ring alarm bells. Softly, maybe, but ring they must.
On the first night of the play readings, a venture between the journalists’ charity, Plymouth Theatre Royal , and Sputnik Theatre , the choice of work, Doctor (Notes of a Provincial Doctor) was a good illustration of the present federation’s disintegration of social structures. The play explores how many hospitals in the Russian provinces are understocked, understaffed, or are being dismantled, often leaving patients with nowhere to turn. The play has been in rep at Teatr.doc for ten years as a result of its popularity with the medical community, in particular. Elena Iseva, the playwright, uses verbatim techniques to expound, word for word, the experiences of a doctor as he journeys from medical student to surgeon in rural Russia. Played with a hint of wistful yet slightly boorish sentimentalism by Alex Cox, drawing surely on Chekhov’s Mikhail Lvovich Astrov in Uncle Vanya or Tcheboutykin in The Three Sisters , Doctor (Notes of a Provincial Doctor) lays bare the sick, badly financed, and sometimes hilarious state of the Russian health system.
The reading of Zhanna the night after, by twenty-seven-year-old playwright Yaroslava Pulinovich, may, at first, seem to bear no connection. It’s a stark look at a self-made new Russian woman who outmaneuvers the mafia gangs in the lawless “ pop, glamour, and gangster ” period of the 1990s (the first chaotic decade after the collapse of the Soviet Union) to manage a small chain of boutiques, making herself wealthy in the process. We join Zhanna just as her toy-boy is about to leave her for his younger and pregnant “real love.” What follows is a hard-hitting account of Zhanna’s quest for revenge. While Zhanna has been commonly referred to by the critics as a “straightforward melodrama,” it charts an important psychological shift in Russia’s national character during Perestroika and the move from economic restraint to excess living in a “grab what you can” cultural moment.
If the first two plays deal with Russia’s immediate history, Grandchildren by Alexandra Polivanova and Mikhail Kaluzhsky, is an attempt to rationalize Stalinism. Dealing with territory written about so hauntingly and truthfully by Vassily Grossman in Life and Fate , the play offers testimonies from the grandchildren of those whose family members were Stalinists, in the NKVD , or members of the Communist Party. It deals with guilt, self-censorship, and with the need to excuse and the desire to forgive. It is original, for when do we hear about or from the relatives of mass murderers, executioners, or any kind of criminal offenders? Who tells their stories? They are often the ones forgotten in the mass outcry pitying victims and venting rage against the victors, and they are left to process the legacy of inherited guilt on their own, when in fact, one could argue, it should be a communal experience. But if this play is trying, in some small part, to do what the Nuremberg Trials did for Germany—to bring a country to face and therefore to reconcile with its past—the post-reading discussion, given by speakers Alexandrina Markov, Oliver Bullough, Vladimir Ashurkov, and John Freedman warned that Russia may be creeping back into the Soviet Era, not out of it. The fact that a new Stalin educational center has opened in Penza, Meyerhold’s birthplace, is not lost on Russia’s artistic community, yet it highlights a deep psychological conflict raised in the play. Russia has not processed Stalin and WWII, yet through censorship and political pressure ( Putin’s version of Stalin is to be taught in schools for example ) her government continues to inflict wounds on open sores before they have had a chance to be understood or heal, a typical old-style KGB tactic . Is Russia heading back into the dark murky days of the USSR?
In December 2014, Vladimir Putin signed a new cultural policy document detailing Russia’s “rejection” of the “principles of tolerance and multiculturalism.” It goes on to caution against arts and culture that diverge from Russia’s traditional values, stating, “No experiments with form can justify the substance that contradicts the values traditional for our society.” What must this do to a people?
The closing play, Mikhail Durnenkov’s The War Has Not Started Yet , commissioned by A Play A Pint & A Pie and the National Theatre of Scotland , perhaps has a preemptive imaginative answer—of sorts. Reminiscent of the style in Mark Ravenhill’s Shoot/Get Treasure/Repeat, and premiering just as Russian troops occupied Ukraine, it is not about a war on a frontline, unless you see that line as a domestic one. Instead, using a large number of vignettes, it explores a variety of Russian characters suffering neurosis, psychosis, and schizophrenia as a result of what is happening to them in their own country. Characters are unable to function in a world that is increasingly lived through the pursuit of sensual fulfillment or, in equal amounts, internal and external oppression. They suffer mental and emotional overload and their natural human tendencies are suppressed, either by themselves or others. In the play, the characters fail to distinguish between what is real or not real (referring to Russian State TV’s tendency to fake news reports, or bend the truth of news stories to fit their agenda), they cross boundaries, abuse others, and look at the world through a filter of mysticism. One scene recounts a moment where a father feels that there is a connection between the simultaneous events of his son going missing and his ability to refrain from smoking at such a time of great stress. We don’t hear if the son is found and we presume that he is not. We realize that so many Russians are in jail, searching for meanings of their own, as the state’s official roads to truth dead end. Russia’s citizens look at their own lives and their country’s history, through the bars of state-led oppression.
What does the future look like for Russian theatre? It is unknown territory, though some fear one path may already have been laid out years ago in the Stalinist period. Teatr doc. itself is allowed to exist for the moment. But the authorities could shut Teatr. doc down if they wanted. Why don’t they? Perhaps it is something to do with why Putin invades other countries: he keeps himself in power by creating problems only he can solve. Perhaps the announcement that the Minister of Culture would vet new plays and since redacted because of a public outcry, was also a psychological trick. For now, though, Teatr.doc’s artistic director refuses to listen to what she calls the “whispers in her ear” or believe any “conspiracy theories” about the State’s real feelings about theatre, and the one she runs especially.
Putting in half measures against Russia’s artistic dissent by kicking Teatr.doc from building to building, yet allowing their plays to take place, or by threatening the censorship of new work but not following through with it, seems a fine line for the Russian government to tread and it forces the theatre world to be constantly on guard. Theatregoing in Russia is a serious business, though they reject it as a “time killing” enterprise. The 115 theatres in Moscow pride themselves on being almost completely sold out all of the time. Where else in the world does theatre matter as much as this? Putin is, for now, cutting just enough slack for theatre to survive as a much-muted place of dissent, but will it be enough for its people? Might they demand more? Theatre is “messier” and “bigger” than us, so it seems only time will tell.
This article was originally published by Howlround
– See more at: http://howlround.com/to-moscow#sthash.a87bQnpf.dpuf
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The Creative Writing Breakfast Club as featured in Time Out is a Free Flow Creative Writing hour with writer Laurie Bolger.
This session is about letting your creativity lead the way, generating new and exciting writing in your own unique style.
During this 60 minute workshop Laurie will take you through fast paced writing exercises to boost mindfulness. All you need is a pen and paper and somewhere chilled to sit and let your imagination do it’s thing.
Laurie Bolger is a London based writer & the founder of The Creative Writing Breakfast Club. Laurie’s work has been widely anthologised & has featured at Glastonbury, TATE & Sky Arts. Laurie’s first publication Box Rooms celebrated community & her W10 roots.
Laurie was the winner of The Moth Poetry Prize & was shortlisted for The Sylvia Plath, Bridport & Forward Poetry Prize. Her latest books include Makeover & Spin celebrating the resilience of working class women, autonomy & love.
Laurie has collaborated with global brands, charities & organisations such as Google, Small Luxury Hotels of the World, Liberty, Penhaligons, Nationwide, Glastonbury, Choose Love, Mind UK, TATE & Sky Arts.
Laurie has been teaching creative workshops for over a decade bringing people together to celebrate their own unique voices & scribbles.
“ If you ever want a cosy, creative, calming place to explore writing, Laurie's workshops are perfection…My heart is so full (I know what that means now)” Breakfast Clubber 2024
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Monday, 24 Jun 2024
MOSCOW (Reuters) - At least nine people were trapped on the upper floors of a burning electronics research institute outside Moscow, Russian emergency services and officials said on Monday.
Footage carried by the 112 Telegram channel showed some of the people smashing windows as black smoke billowed out of the building and flames licked its lower floors.
"According to preliminary information, there are 9 more people in the building," the emergency ministry said. "The rescue operation continues."
At least one person was saved by fire services, the ministry said.
Moscow regional governor, Andrei Vorobyov, said the fire had engulfed three floors of the building.
"According to eyewitnesses, there may be seven more people in the building. The search for victims continues," Vorobyov said.
(Reporting by Gleb Stolyarov; Writing by Guy Faulconbridge; Editing by Ros Russell)
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Stone Soup Creative Writing Project kids inspiring kids PROJECT FOR WRITERS ACTIVITY MENTOR TEXT: "The Golden Locket" by Shannon Griggs (age 10) All of a sudden I felt a strange tingling feeling on my back. Wings began to sprout out right above my shoulder blades. I soared gracefully into the sky and over the meadow as if I was born on wings.
Keys For Creative Writing. Fantasy, horror, roleplay, sci-fi, steampunk, Story Prompt, stuff, Writing / By Eddie. When you're facing a locked door — to a room, ideas, life, whatever — all you need is a key! Check out this post for lots of narrative ideas for "keys". ... locket, clasp, ...
Key Takeaways. Creative prompts serve as an oasis in the face of writer's block. Mind mapping techniques, such as doodling and connecting random words, can boost creativity. Unconventional techniques, like writing with the non-dominant hand or narrating to an imaginary audience, can overcome writer's block.
The Lost Locket. When a young girl named Emma found a delicate locket in a park, she had no idea that it would lead her on a remarkable journey. Inside the locket was a mysterious picture of a couple, clearly very much in love. Emma was determined to find out who these people were and the story behind the photo.
Descriptionari has thousands of original creative story ideas from new authors and amazing quotes to boost your creativity. Kick writer's block to the curb and write that story! Descriptionari is a place where students, educators and professional writers discover and share inspirational writing and amazing descriptions
The Locket. by SandraLynn Team Florent! Rated: E · Short Story · Family · # 2319257. My Mom's locket held a secret. I found something rummaging around in my mother's jewellery box. A gold locket with fancy letters engraved on it caught my eye. I'd never seen Mom wearing it. Of course, being about ten years old, I carried it to her and asked ...
Lockets aren't just for photos. Fill your locket with a sweet note from someone you love. Many times I find antique lockets with a tiny snippet of someone's letter inside, from long ago. Worn close to the heart, these samples of writing {almost a lost art today!} of someone you love are so meaningful.
Describe locket : search results on Descriptionari Descriptionari is a place where students, educators and professional writers discover and share inspirational writing and amazing descriptions Descriptionar i
Amateur archaeologists Artie and Vera Pendergast, both in their 50s, climbed to their secret mountain plateau to continue their search for ancient British artifacts.
Check out our handwriting locket selection for the very best in unique or custom, handmade pieces from our necklaces shops. ... along with expert support and education, we help creative entrepreneurs start, manage, and scale their businesses. In 2020 alone, purchases on Etsy generated nearly $4 billion in income for small businesses. We also ...
I found a golden locket that a small Diamond in the middle. as I reached for it her hand touched mine. ... Neoseeker Forums » Creative Skills » Creative Writing » Locket [14+ C&C welcome]
Creative Writing Forums - Writing Help, Writing Workshops, & Writing Community. Home Blogs > J.P.Clyde > Locket in my Pocket. J.P.Clyde ...
A locket that possesses a power over anyone who desires to wear it.
The Hattie Lockett Awards are presented annually to three University of Arizona undergraduate students who demonstrate great promise as poets. Three prizes in the amount of $300 each are awarded each year. The award was established in 1978 by Clay Lockett in memory of his mother, Hattie Greene Lockett (1880-1962). An Arizona teacher, sheep rancher, and writer, Hattie Lockett
Check out our locket with photo and writing selection for the very best in unique or custom, handmade pieces from our shops.
For more information about the MFA program, please contact us at: [email protected]. Department of English. University of Idaho. 875 Perimeter Drive MS 1102. Moscow, ID 83844-1102. 208-885-6156. The Master of Fine Arts Creative Writing program at the University of Idaho is an intense, three-year course of study that focuses on the ...
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Legendary Locket The magic of ancient treasures. # 2319706 by KS23: MESSAGE THREAD. Legendary Locket · 05-07-24 4:43pm by KS23 • You have 0 Gift Points. Email me replies ... Creative Writing | Essay Writing | Letter Writing | Poetry Writing | Technical Writing | Story Writing
Within 'The Locket' Montague explores themes of mother/son relationships and love. The mood is solemn, and at times depressing, throughout. From context clues and the fact that the son is named "John" in the poem, the speaker in this piece is generally considered to be Montague himself. The relationship between himself and his mother is ...
Creative Writing Student Rahad Abir named Georgia Author of the Year! Mon, 06/24/2024 - 11:07am. Congratulations to Rahad Abir, an incoming PhD student in the Creative Writing Program on being named the Georgia Author of the Year, in the Literary Fiction and Short Story Collection category for his book Bengal Hound. Rahad Abir is a writer from ...
The institute was founded in 1933 on the initiative of Maxim Gorky, a writer, founder of the socialist realism literary method, and a political activist. [2] It received its current name at Gorky's death in 1936. The institute has been at the same location, not far from Pushkin Square, for more than seventy years, in a complex of historic ...
Some Russian critics "love to kill what they can't control" wrote John Freedman in the Moscow Times in 2015. He continued: "Theatre, of course, is bigger and messier and more lively than all of us put together." After four consecutive nights watching new Russian plays (little performed in the UK) translated by Noah Birksted-Breen at London's Frontline Club—plays…
IELTS Reading: gap-fill. Read the following passage about creative writing. New research, prompted by the relatively high number of literary families, shows that there may be an inherited element to writing good fiction. Researchers from Yale in the US and Moscow State University in Russia launched the study to see whether there was a ...
During this 60 minute workshop Laurie will take you through fast paced writing exercises to boost mindfulness. All you need is a pen and paper and somewhere chilled to sit and let your imagination do it's thing. Laurie Bolger is a London based writer & the founder of The Creative Writing Breakfast Club. Laurie's work has been widely ...
MOSCOW (Reuters) - At least nine people were trapped on the upper floors of a burning electronics research institute outside Moscow, Russian emergency services and officials said on Monday.