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I want it to provoke discussions in creative writing classrooms, and ultimately, I want the issues of race and identity to be considered essential to the writer’s craft. MURA: As I state in the introduction, the book is for both writers of color and for white writers. Who did you write this book for, and why? The book engages so many issues and with such depth and complexity that I do think varied readers would benefit from it, and I could see it being used in varied contexts, both including and beyond the creative writing classroom. PAIGE: Your new book is called A Stranger’s Journey: Race, Identity, and Narrative Craft in Writing immediately striking is the complex synthesis you undertake, even in the title, of subjects that are often compartmentalized or marginalized in American letters. Here is part one of their two-part discussion:
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They remain in touch on many of these issues and others. After taking the workshop, “Writing on Race,” co-taught by Mura and author Alexs Pate, Paige worked with Mura for two semesters, including one in which Mura served as Paige’s final thesis advisor. Mura and Paige first met in 2012 at the low-residency Stonecoast MFA in Creative Writing program. The History of the Decline and Fall of the Roman EmpireĪ Philosophical Enquiry into.Brevity Assistant Editor Alexis Paige talks with her mentor-turned-friend, David Mura, author and VONA faculty and board member, about his new book, A Stranger’s Journey: Race, Identity, and Narrative Craft in Writing.
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Paradise Lost Paradise Regained Lycidas, Comus, and the Minor Poems Samson Agonistes AreopagiticaĪ Tale of a Tub Gulliver's Travels Shorter Prose Works Poems
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Religio Medici Hydriotaphia, or Urne-Buriall The Garden of Cyrus The Countess of Pembroke's Arcadia Astrophel and Stella An Apology for Poetry The Canterbury Tales Troilus and Criseyde Life is a Dream The Mayor of Zalamea The Mighty Magician The Doctor of His Own Honor La Dorotea Fuente Ovejuna Lost in a Mirror The Knight of Olmedo Mention individual works by a canonical master, and in other instances IĪttempt to call attention to authors and books that I consider canonicalīut rather neglected. In this and in the remaining lists, I sometimes do not Through Goethe's Faust, Part Two, an era that gives usĪ huge body of reading in five major literatures: Italian, Spanish, English,įrench, and German. "It is a span of five hundred years from Dante's Divine Comedy The Book of the Thousand Nights and One Night.The Golden Ass The Middle Ages: Latin, Arabic, and the Vernacular Before Dante Tragedies, particularly Medea and Hercules Furens The Girl from Andros The Eunuch The Mother-in-Law Pseudolus The Braggart Soldier The Rope Amphitryon The Pre-Socratics (Heraclitus, Empedocles).The Birds The Clouds The Frogs Lysistrata The Knights The Wasps The Assemblywomen Oedipus the King Oedipus at Colonus Antigone Electra Ajax Women of Trachis PhiloctetesĬyclops Heracles Alcestis Hecuba Bacchae Orestes Andromache Medea Ion Hippolytus Helen Iphigenia at Aulis Oresteia Seven Against Thebes Prometheus Bound Persians Suppliant Women Western literary tradition and is rarely conveyed adequately in the Wealth of ancient Chinese literature is mostly a sphere apart from Texts, because of their influence on the Western canon. "I have included some Sanskrit works, scriptures and fundamental literary Homer, Plato, the Athenian dramatists, and Virgil, the crucial work is I would think that, of all the books thatĪre in this first list, once the reader is conversant with the Bible, Philosophical, historical, and scientific writings that are themselves "Since the literary canon is at issue here, I include only those religious,