harvard undergraduate creative writing collective

Harvard Undergraduate Creative Writing Collective

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The Harvard Undergraduate Creative Writing Collective is concerned with filling the gap in the creative writing community on Harvard’s campus. Through mentorship, drop-in hours, networking events, book clubs, workshop events, speaker series, and service opportunities, we ultimately seek to create a radically inclusive, tight-knit community for writers of all kinds on campus (& beyond), by: • Providing support and accountability for writers working on projects • Connecting writers with publishers, nonprofits, grants, and each other • Organizing writing & non-writing related events & programming • Partnering with other creative orgs at Harvard • Serving the greater Boston community

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All general members, upon filling out our brief interest form and joining our mailing list, get access to all our events, including workshops, speaker events, and socials.

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Harvard Undergraduate Creative Writing Collective Cambridge Massachusetts United States

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Harvard Creative Writing Collective

A student-run, radically inclusive organization at harvard for those interested in the joys and craft of creative writing..

The Harvard Creative Writing Collective (CWC) is a student organization dedicated to creating a radically inclusive community of writers on campus. Our goal is to make the art and joy of writing accessible to students across campus by providing resources, hosting events, and building camaraderie. Founded in the summer of 2021, we are currently operating with a board of 6 members and an active community of 30+ writers. We have a slate of events lined up for the fall 2021 semester, which include talks and workshops by invited speakers whom we hope to host in person. 

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• Creative Writing

The vital presence of creative writing in the English Department is reflected by our many distinguished authors who teach our workshops. We offer courses each term in fiction, poetry, nonfiction, screenwriting, playwriting, and television writing. Our workshops are small, usually no more than twelve students, and offer writers an opportunity to focus intensively on one genre. 

Apply to Creative Writing Workshops

Workshops are open by application to Harvard College undergraduates, graduate students, staff, and students from other institutions eligible for cross registration. Submission guidelines for workshops can be found under individual course listings; please do not query instructors.  Review all departmental rules and application instructions before applying.  

Fall 2024 Application Deadline: 11:59 pm ET on Sunday, April 7, 2024. Spring 2025 Application Deadline: TBD

Please visit our course listings for all the Fall 2024 workshops.

Our online submission manager (link below) will open for Fall 2024 applications on Friday, March 22 , 2024.

Students who have questions about the creative writing workshop application process should contact Case Q. Kerns at [email protected] .

Featured Faculty

Teju Cole  is a novelist, critic, and essayist, and is the first Gore Vidal Professor of the Practice. "Among other works, the boundary-crossing author is known for his debut novel “Open City” (2011), whose early admirers included Harvard professor and New Yorker critic James Wood." 

Faculty Bookshelf

The botany of desire by michael pollan (2001).

No Planets Strike by Josh Bell (2008)

The Emperor's Children by Claire Messud (2007)

Open City by Teju Cole (2011)

Creative Writing Workshops

• Spring 2024

English CACD. The Art of Criticism

Instructor: Maggie Doherty Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 students Course Site

This course will consider critical writing about art–literary, visual, cinematic, musical, etc.—as an art in its own right. We will read and discuss criticism from a wide variety of publications, paying attention to the ways outlets and audience shape critical work. The majority of our readings will be from the last few years and will include pieces by Joan Acocella, Andrea Long Chu, Jason Farago, and Carina del Valle Schorske. Students will write several short writing assignments (500-1000 words), including a straight review, during the first half of the semester and share them with peers. During the second half of the semester, each student will write and workshop a longer piece of criticism about a work of art or an artist of their choosing. Students will be expected to read and provide detailed feedback on the work of their peers. Students will revise their longer pieces based on workshop feedback and submit them for the final assignment of the class. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a letter of introduction (1-2 pages) giving a sense of who you are, your writing experience, and your current goals for your writing. Please also describe your relationship to the art forms and/or genres you're interested in engaging in the course. You may also list any writers or publications whose criticism you enjoy reading. Please also include a 3-5-page writing sample of any kind of prose writing. This could be an academic paper or it could be creative fiction or nonfiction.

English CACW. Advanced Fiction Workshop

Instructor: Paul Yoon TBD | Location: TBD Enrollment: Limited to 12 students Advanced fiction workshop for students who have already taken a workshop at Harvard or elsewhere. The goal of the class is to continue your journey as a writer. You will be responsible for participating in discussions on the assigned texts, the workshop, engaging with the work of your colleagues, and revising your work. Supplemental Application Information:   * Please note: previous creative writing workshop experience required. * Please submit ONLY a cover letter telling me your previous creative writing workshop experience, either at Harvard or elsewhere; then tell me something you are passionate about and something you want to be better at; and, lastly, tell me why of all classes you want to take this one this semester. Again, please no writing samples.

English CBBR. Intermediate Poetry: Workshop

Instructor:  Josh Bell   Monday, 12:00-2:45pm | Location: Barker 018 Enrollment: Limited to 12 students Course Site

Initially, students can expect to read, discuss, and imitate the strategies of a wide range of poets writing in English; to investigate and reproduce prescribed forms and poetic structures; and to engage in writing exercises meant to expand the conception of what a poem is and can be. As the course progresses, reading assignments will be tailored on an individual basis, and an increasing amount of time will be spent in discussion of student work. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a portfolio including a letter of interest, ten poems, and a list of classes (taken at Harvard or elsewhere) that seem to have bearing on your enterprise.

English CCEP. Ekphrastic Poetry: Workshop

Instructor: Tracy K. Smith Wednesday, 3:00-5:45 pm | Location: Lamont 401 Enrollment: Limited to 12 students Course Site What can a poem achieve when it contemplates or even emulates a work of art in another medium? In this workshop, we'll read and write poems that engage with other art forms--and we'll test out what a foray into another artistic practice allows us to carry back over into the formal methods and behaviors of poetry. With poems by Keats, Rilke, Auden, Hughes, and Brooks, as well as Kevin Young, Evie Shockley, Ama Codjoe and other contemporary voices. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCFC. Poetry Workshop: Form & Content

Instructor: Tracy K. Smith Tuesday, 12:00-2:45pm | Location: Sever 112 Enrollment: Limited to 12 students Course Site

In this workshop, we’ll look closely at the craft-based choices poets make, and track the effects they have upon what we as readers are made to think and feel. How can implementing similar strategies better prepare us to engage the questions making up our own poetic material? We’ll also talk about content. What can poetry reveal about the ways our interior selves are shaped by public realities like race, class, sexuality, injustice and more? Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26)   

Supplemental Application Information:  Please submit a writing sample of 5-10 poems and an application letter explaining your interest in this course.

English CCIJ. Intermediate Fiction Workshop

Instructor: Jesse McCarthy Thursday, 3:00-5:45 pm | Location: Barker 269 Enrollment: Limited to 12 students Course Site This is an intermediate course in the art of writing literary fiction. Previous experience with workshopping writing is encouraged but not required. The emphasis of the course will be learning how to read literature as a writer, with special attention given to the short story, novella, or short novel. We will read these works from the perspective of the writer as craftsperson and of the critic seeking in good faith to understand and describe a new aesthetic experience. We will be concerned foremost with how literary language works, with describing the effects of different kinds of sentences, different uses of genre, tone, and other rhetorical strategies. Together, we will explore our responses to examples of literature from around the world and from all periods, as well as to the writing you will produce and share with the class. As a member of a writing community, you should be prepared to respectfully read and respond to the work of others—both the work of your peers and that of the published writers that we will explore together. Apply via Submittable  (deadline: 11:59pm EDT on Saturday, August 26) Supplemental Application Information:  This course is by application only but there are no prerequisites for this course and previous experience in a writing workshop is not required . In your application please submit a short letter explaining why you are interested in this class. You might tell me a bit about your relationship to literature, your encounter with a specific author, book, or even a scene or character from a story or novel. Please also include a writing sample of 2-5 pages (5 pages max!) of narrative prose fiction.

English CCFS. Fiction Workshop

Instructor: Teju Cole Spring 2024: Tuesday, 6:00-8:45pm | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD This reading and writing intensive workshop is for students who want to learn to write literary fiction. The goal of the course would be for each student to produce two polished short stories. Authors on the syllabus will probably include James Joyce, Eudora Welty, Toni Morrison, Alice Munro, Jhumpa Lahiri, and Diane Williams.

Supplemental Application Information:   Please submit a cover letter saying what you hope to get out of the workshop. In the cover letter, mention three works of fiction that matter to you and why. In addition, submit a 400–500 word sample of your fiction; the sample can be self-contained or a section of a longer work.

English CLPG. Art of Sportswriting

Instructor: Louisa Thomas Spring 2024: Tuesday, 9:00-11:45am | Location: TBD Enrollment: Limited to 12 students Course Site Spring 2025: TBD

In newsrooms, the sports section is sometimes referred to as the “toy department” -- frivolous and unserious, unlike the stuff of politics, business, and war. In this course, we will take the toys seriously. After all, for millions of people, sports and other so-called trivial pursuits (video games, chess, children’s games, and so on) are a source of endless fascination. For us, they will be a source of stories about human achievements and frustrations. These stories can involve economic, social, and political issues. They can draw upon history, statistics, psychology, and philosophy. They can be reported or ruminative, formally experimental or straightforward, richly descriptive or tense and spare. They can be fun. Over the course of the semester, students will read and discuss exemplary profiles, essays, articles, and blog posts, while also writing and discussing their own. While much (but not all) of the reading will come from the world of sports, no interest in or knowledge about sports is required; our focus will be on writing for a broad audience.  Supplemental Application Information:  To apply, please write a letter describing why you want to take the course and what you hope to get out of it. Include a few examples of websites or magazines you like to read, and tell me briefly about one pursuit -- football, chess, basketball, ballet, Othello, crosswords, soccer, whatever -- that interests you and why.

English CALR. Advanced Screenwriting: Workshop

Instructor: Musa Syeed Spring 2024: Wednesday, 12:00-2:45pm | Location: TBA Enrollment: Limited to 12 students Course Site Spring 2025: TBD

The feature-length script is an opportunity to tell a story on a larger scale, and, therefore, requires additional preparation. In this class, we will move from writing a pitch, to a synopsis, to a treatment/outline, to the first 10 pages, to the first act of a feature screenplay. We will analyze produced scripts and discuss various elements of craft, including research, writing layered dialogue, world-building, creating an engaging cast of characters. As an advanced class, we will also look at ways both mainstream and independent films attempt to subvert genre and structure. Students will end the semester with a first act (20-30 pages) of their feature, an outline, and strategy to complete the full script.

Supplemental Application Information:  Please submit a 3-5 page writing sample. Screenplays are preferred, but fiction, creative non-fiction, poetry, and plays are acceptable as well. Also, please write a short note to introduce yourself. Include a couple films/filmmakers that have inspired you, your goals for the class, as well as any themes/subject matter/ideas you might be interested in exploring in your writing for film.

English CNFR. Creative Nonfiction: Workshop

Instructor: Darcy Frey Fall 2024: Wednesday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students. Course Site Spring 2025: TBD

Whether it takes the form of literary journalism, essay, memoir, or environmental writing, creative nonfiction is a powerful genre that allows writers to break free from the constraints commonly associated with nonfiction prose and reach for the breadth of thought and feeling usually accomplished only in fiction: the narration of a vivid story, the probing of a complex character, the argument of an idea, or the evocation of a place. Students will work on several short assignments to hone their mastery of the craft, then write a longer piece that will be workshopped in class and revised at the end of the term. We will take instruction and inspiration from published authors such as Joan Didion, James Baldwin, Ariel Levy, Alexander Chee, and Virginia Woolf. This is a workshop-style class intended for undergraduate and graduate students at all levels of experience. No previous experience in English Department courses is required. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:   Please write a substantive letter of introduction describing who you are as writer at the moment and where you hope to take your writing; what experience you may have had with creative/literary nonfiction; what excites you about nonfiction in particular; and what you consider to be your strengths and weaknesses as a writer. Additionally, please submit 3-5 pages of creative/literary nonfiction (essay, memoir, narrative journalism, etc, but NOT academic writing) or, if you have not yet written much nonfiction, an equal number of pages of narrative fiction.

English CKR. Introduction to Playwriting: Workshop

Instructor: Sam Marks TBD | Location: TBD Enrollment: Limited to 12 students This workshop is an introduction to writing for the stage through intensive reading and in-depth written exercises. Each student will explore the fundamentals and possibilities of playwriting by generating short scripts and completing a one act play with an eye towards both experimental and traditional narrative styles. Readings will examine various ways of creating dramatic art and include work from contemporary playwrights such as Ayad Aktar, Clare Barron, Aleshea Harris, Young Jean Lee, and Taylor Mac, as well established work from Edward Albbe, Caryl Churchill, Suzan Lori-Parks, and Harold Pinter. Supplemental Application Information:  No experience in writing the dramatic form is necessary. Please submit a 5-10 page writing sample (preferably a play or screenplay, but all genres are acceptable and encouraged). Also, please write a few sentences about a significant theatrical experience (a play read or seen) and how it affected you.

English CACF. Get Real: The Art of Community-Based Film

Instructor: Musa Syeed Wednesday, 12:00-2:45pm | Location: TBD Enrollment: Limited to 12 student Course Site

“I’ve often noticed that we are not able to look at what we have in front of us,” the Iranian director Abbas Kiarostami said, “unless it’s inside a frame.” For our communities confronting invisibility and erasure, there’s an urgent need for new frames. In this workshop, we’ll explore a community-engaged approach to documentary and fiction filmmaking, as we seek to see our world more deeply. We’ll begin with screenings, craft exercises, and discussions around authorship and social impact. Then we each will write, develop, and shoot a short film over the rest of the semester, building off of intentional community engagement. Students will end the class with written and recorded materials for a rough cut. Basic equipment and technical training will be provided.

Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7)

Supplemental Application Information:  Please submit a brief letter explaining why you're interested to take this class. Please also discuss what participants/communities you might be interested in engaging with for your filmmaking projects. For your writing sample, please submit 3-5 pages of your creative work from any genre (screenwriting, poetry, fiction, non-fiction, etc.)

English CAFR. Advanced Fiction Workshop: Writing this Present Life

Instructor: Claire Messud Thursday, 3:00-5:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site Intended for students with prior fiction-writing and workshop experience, this course will concentrate on structure, execution and revision. Exploring various strands of contemporary and recent literary fiction – writers such as Karl Ove Knausgaard, Rachel Cusk, Chimamanda Adichie, Douglas Stuart, Ocean Vuong, etc – we will consider how fiction works in our present moment, with emphasis on a craft perspective. Each student will present to the class a published fiction that has influenced them. The course is primarily focused on the discussion of original student work, with the aim of improving both writerly skills and critical analysis. Revision is an important component of this class: students will workshop two stories and a revision of one of these. Apply via Submittable  (deadline: 11:59pm ET on Sunday, April 7)

Supplemental Application Information:  Please submit 3-5 pages of prose fiction, along with a substantive letter of introduction. I’d like to know why you’re interested in the course; what experience you’ve had writing, both in previous workshops and independently; what your literary goals and ambitions are. Please tell me about some of your favorite narratives – fiction, non-fiction, film, etc: why they move you, and what you learn from them.

English CAKV. Fiction Workshop: Writing from the First-Person Point of View

Instructor:  Andrew Krivak Tuesday, 9:00-11:45 1m | Location: TBD Enrollment: Limited to 12 students Course Site This course is a workshop intended for students who are interested in writing longer form narratives from the first-person point of view. The “I” at the center of any novel poses a perspective that is all at once imaginatively powerful and narratively problematic, uniquely insightful and necessarily unreliable. We will read from roughly twelve novels written in the first-person, from Marilynne Robinson and W.G. Sebald, to Valeria Luiselli and Teju Cole, and ask questions (among others) of why this form, why this style? And, as a result, what is lost and what is realized in the telling? Primarily, however, students will write. Our goal will be to have a student’s work read and discussed twice in class during the semester. I am hoping to see at least 35-40 pages of a project —at any level of completion—at the end of term.  Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please write a substantive letter telling me why you’re interested in taking this class, what writers (classical and contemporary) you admire and why, and if there’s a book you have read more than once, a movie you have seen more than once, a piece of music you listen to over and over, not because you have to but because you want to. Students of creative nonfiction are also welcome to apply.

English CCSS. Fiction Workshop: The Art of the Short Story

Instructor: Laura van den Berg Tuesday, 12:00-2:45 pm | Location: TBD Enrollment: Limited to 12 students Course Site This course will serve as an introduction to the fundamentals of writing fiction, with an emphasis on the contemporary short story. How can we set about creating “big” worlds in compact spaces? What unique doors can the form of the short story open? The initial weeks will focus on exploratory exercises and the study of published short stories and craft essays. Later, student work will become the primary text as the focus shifts to workshop discussion. Authors on the syllabus will likely include Ted Chiang, Lauren Groff, Carmen Maria Machado, and Octavia Butler. This workshop welcomes writers of all levels of experience. Apply via Submittable  (deadline: 11:59pm EDT on Sunday, April 7) Supplemental Application Information:  Please submit a letter of introduction. I’d like to know a little about why you are drawn to studying fiction; what you hope to get out of the workshop and what you hope to contribute; and one thing you are passionate about outside writing / school. Please also include a very brief writing sample (2-3 pages). The sample can be in any genre (it does not have to be from a work of fiction). 

Write an Honors Creative Thesis

Students may apply to write a senior thesis or senior project in creative writing, although only English concentrators can be considered. Students submit applications in early March of their junior year, including first-term juniors who are out of phase. The creative writing faculty considers the proposal, along with the student's overall performance in creative writing and other English courses, and notifies students about its decision in early mid-late March. Those applications are due, this coming year, on TBA . 

Students applying for a creative writing thesis or project must have completed at least one course in creative writing at Harvard before they apply. No student is guaranteed acceptance. It is strongly suggested that students acquaint themselves with the requirements and guidelines well before the thesis application is due. The creative writing director must approve any exceptions to the requirements, which must be made in writing by Monday, February 7, 2022. Since the creative writing thesis and project are part of the English honors program, acceptance to write a creative thesis is conditional upon the student continuing to maintain a 3.40 concentration GPA. If a student’s concentration GPA drops below 3.40 after the spring of the junior year, the student may not be permitted to continue in the honors program.

Joint concentrators may apply to write creative theses, but we suggest students discuss the feasibility of the project well before applications are due. Not all departments are open to joint creative theses.

Students who have questions about the creative writing thesis should contact the program’s Director, Sam Marks .

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Rewriting the Boundaries of Creative Writing

On the fourth floor of Lamont Library, large windows light up the sleek offices and conference rooms of the Harvard English Department’s creative writing space. Inside, you can find books written by the College’s faculty strewn across the shelves and students meeting with their professors to discuss their short stories or creative theses. The space is built to inspire.

But who gets access to this space?

In 2012, The Crimson reported that many students expressed dissatisfaction with the exclusivity of the creative writing program at Harvard. Admission to any of the workshops hinges on an application,which must include a cover letter, writing supplement, and short response about experience with previous critical literature courses. At the time, the English department offered 13 creative writing courses with a cap of 12 students each. In 2018, that number rose to 20 workshops, which similarly took the form of small seminar-style courses. But the demand for academic creative writing opportunities rose, too. The English department chair at the time, Nicholas J. Watson, explained that the department had received an enormous amount of interest in 2018: a total of 800 applications from 500 individual students.

In 2019, The Crimson’s Editorial Board questioned the exclusivity of creative writing, considering the program’s then 60 percent acceptance rate.

“We believe that creative writing-based classes that emphasize a student's originality of thought, rather than their ability to learn and mimic an established academic style, are invaluable,” the Editorial Board wrote, also referencing the value of creative writing in revitalizing the humanities. “The English Department should continue making positive adjustments to the creative writing program to ensure that its benefits are available to all.”

This spring, the Department is offering 18 creative writing workshops in total, and students’ interest in the creative writing program has grown even more, says Sam W. Marks, a senior lecturer on playwriting.

“There’s something about the program that is exciting, because of its intimate nature,” he says. “We definitely want to preserve that while also increasing accessibility, and that’s the conversation that we're going to keep having.” He pointed out that the Department is in the early stages of developing initiatives to make creative writing within reach for more students.

But in the meantime, those who choose to pursue creative writing outside of the classroom may still confront selectivity. Student writing organizations such as The Advocate and The Lampoon all have required “comps,” or semester-long educational or evaluative processes, which are highly competitive.

An organization called the Harvard Creative Writing Collective, founded in the summer of 2021, works to combat the exclusivity of creative writing at Harvard. The group’s mission statement declares a dedication to “creating a radically inclusive community of writers on campus.”

The organization’s President and founder, Brammy Rajakumar ’23, shared that the organization was born out of her desire to expand access to creative writing, especially beyond English concentrators. Rajakumar herself is a joint concentrator in Chemistry and English, showcasing how a creative field can inform work in any discipline.

Rajakumar seeks to ensure that the HCWC’s openness will allow anyone with any level of interest in creative writing to pursue that field. “We are always focused on lowering the barrier to engaging with creative writing and making the writing world more flexible and feasible,” she says.

HCWC hosts weekly teas and poetry readings, as well as events with guest speakers who work at the intersection of writing and other fields. “We just want to create a space where people could just drop by and say ‘hey,’” Rajakumar says. There is no pressure to prepare prior to an event and no experience needed to try your hand at an open mic event or share your writing with the group.

All of these initiatives — which include a folder for people to share and comment on work, for those who would prefer not to do so in-person — aim to foster a sense of community among writers. “It's also all about the connection, the people you know, and people who know people who you know,” Rajakumar says. For her, meeting other writers and sharing opportunities is an essential aspect of creative writing.

Service is also a key element of the HCWC’s mission. The group recently worked in conjunction with StoryWish, a student organization that empowers “chronically ill children to dream big and write their own storybooks,” and the Phillips Brooks House Association Mission Hill Afterschool program. Together, they taught elementary school children how to develop storylines, identify the parts of a story, and even try their hand at their own, according to Rajakumar. This workshop aims to help students “develop their own voice and ideas and be creative, especially if they might not be otherwise exposed to creative writing programs,” Rajakumar wrote in a follow-up email statement.

Between the English Department’s efforts to expand access to creative writing courses, and the founding of student organizations like the HCWC, the future looks bright for a culture of inclusivity within the creative writing world at Harvard.

— Magazine writer Michal Goldstein can be reached at [email protected].

— Magazine writer Jem K. Williams can be reached at [email protected].

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Want to make art ? Reach out to one of these staff members or student organizations to help you find your way! For a comprehensive list of all the creative writing, dance, drama and music co-curricular organizations active this semester, log into the Student Organization Center Online .

The Office for the Arts at Harvard General inquiries, funding, administrative support, guest artists, free workshops, advocacy, and all around one-stop shopping.           Jack Megan , Director           Alicia Anstead , Associate Director for Programming           Stephanie Troisi , Student Services Coordinator

Creative Writing Curricular:           Sam Marks , Director of Creative Writing, English Department           Lauren Bimmler , Undergraduate Program Administrator, English Department Co-curricular:           The Harvard Advocate           The Harvard Crimson           The Harvard Lampoon           Tuesday Magazine Academic Study: Poetry reading/events, Christina Davis , Curator, Woodbury Poetry Room Literary Publications: Chloe Garcia Roberts , Deputy Editor, Harvard Review

Dance Curricular:           Elizabeth Epsen , Communications and Programs Manager, Harvard Dance Center Co-curricular:           Harvard Ballet Company           Harvard-Radcliffe Modern Dance Company           Ghungroo (South Asian Association)

Drama Curricular Courses: Debra Levine , Director of Undergraduate Studies, Theater, Dance & Media Curricular Productions (including Design and Tech): James Stanley , Producing Artistic Director, Theater, Dance & Media Co-curricular (Artistic, Administrative, Design, & Tech):           Dana Knox , Manager of College Theater, Office for the Arts           Harvard Radcliffe Dramatic Club (HRDC) Academic Study: Matthew Wittmann , Curator, Harvard Theater Collection Professional Internships: Ryan McKittrick , Director of Artistic Programs, American Repertory Theater (A.R.T.)

Film Curricular:          Matt Saunders , Director of Undergraduate Studies, Art, Film and Visual Studies           Paula Soares , Manager of Academic Program, Art, Film, and Visual Studies         Lucien Castaing-Taylor , Director of the Film Study Center and Director of Graduate Studies Co-curricular:           Harvard College Film Festival           Harvard Undergraduate Filmmakers Association         Academic Study:             Harvard Film Archive

Music Curricular: Nancy Shafman , Director of Administration, Harvard Music Department Co-curricular:           Andy Clark , Director of Choral Activity           Mark Olson , Director of Band and Wind Ensemble           Federico Cortese , Director of the Harvard Radcliffe Orchestra           Allen Feinstein , Director of the Harvard Pops Ensemble and Hasty Pudding Band           Yosvany Terry , Director of Jazz Ensemble           Don Braden '85, Coach, OFA Jazz Combo Initiative  Academic Study:   Loeb Music Library

Studio Arts Curricular:          Matt Saunders , Director of Undergraduate Studies, Art, Film and Visual Studies           Paula Soares , Manager of Academic Program, Art, Film, and Visual Studies Co-curricular:          Ceramics Program, Kathy King , Director           Harvard Undergraduate Student Art Collective           Harvard Studio Art Society  ​​​​​​           Harvard Undergraduate Art Club           Harvard Undergraduate Design Collective Academic Study: Harvard University Art Museums, Jeanne Burke , Staff

ARTS FIRST Festival Interested in being part of Harvard’s annual arts festival? Performers, producers, communications team members and volunteers are needed and welcomed. Join the OFA's annual celebration of creativity across all areas of the arts and Harvard.            Marin Orlosky , Arts First Coordinator

Learn about the BSO tickets at OFA

Thanks to gift from the late Harvard Professor Arthur Maass, undergraduate students at Harvard can receive free tickets to selected performances by the BSO. Professor Maass was a long-time subscriber and patron of the BSO with his membership beginning in 1946. Upon his passing, a provision in his estate plans dictated that funds were to be made available to supply tickets to Harvard undergraduates.

Standard policy for claiming tickets is as follows:

• BSO tickets will be made available approximately one week in advance of any given concert, depending on ticket availability from the BSO box office. We generally begin to receive tickets in late September/Early October. 
• Distribution dates/times will be listed in The Beat
• Tickets will be on a first-come, first-served basis and must be picked up in person. Lines can form early (sometimes up to 1 hour before distribution begins!)
• Please wait quietly and in an orderly manner until distribution time begins. 
• To receive tickets, students must show a valid Harvard undergraduate student ID. Limit is typically two tickets per ID, subject to change. (Occasionally students are permitted to four tickets, pending BSO availability.)
• Students who receive tickets must wait two weeks after the BSO performance date before they are again eligible to participate in the program.

This opportunity is available to Harvard undergraduates only.   Sign up  for The Beat for the latest on concert dates and availability of free BSO tickets.

Boston Symphony Orchestra , 301 Massachusetts Ave., Boston 

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Harvard's creative writing program has new home

Faculty and students have settled into the new home of creative writing atop Lamont Library. The bright, windowed fourth-floored space featuring a workshop conference room and faculty offices is a move up from the basement of the Barker Center, where most of the program, which is part of the English Department, was previously housed. Michael Pollan, Claire Messud, Musa Syeed, and Darcy Frey are among those who lead small workshops in genres such as fiction, playwriting, nonfiction, screenwriting, and poetry.

“Creative writing has long been at the heart of the Harvard art-making community,” said Frey. “With the Lamont space, we’re now at the heart of the actual campus. A writer — student or otherwise — would be hard put to find more inspiring views than the ones we have from our fourth-floor aerie: sunlight, clouds, the tops of steeples. We feel like we’re looking out on a sky painted by Constable.”

You can read the full Harvard Gazette article here.

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Creative Writing and Literature

Students enrolled in the Master of Liberal Arts program in Creative Writing & Literature will develop skills in creative writing and literary analysis through literature courses and writing workshops in fiction, screenwriting, poetry, and nonfiction. Through online group courses and one-on-one tutorials, as well as a week on campus, students hone their craft and find their voice.

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Commencement 2024

Honorary degree recipient Ken Burns delivers the Undergraduate Commencement speech at Brandeis University's 73rd Commencement Exercises on May 19, 2024.

Brandeisian, love it.

President Liebowitz, Ron, Chair Lisa Kranc, and other members of the board of trustees, Provost Carol Fierke, fellow honorees, distinguished faculty and staff, proud and relieved parents, calm and serene grandparents, distracted but secretly pleased siblings, ladies and gentlemen, graduating students of the class of 2024, good morning.

I am deeply honored and privileged that you have asked me here to say a few words at such a momentous occasion that you might find what I have to say worthy of your attention on so important a day in all of your lives. Thank you for this honor.

Listen, I am in the business of history. It is not always a happy subject on college campuses these days, particularly when forces seem determined to eliminate or water down difficult parts of our past, particularly when the subject may seem to sum an anachronistic and irrelevant pursuit, and particularly with the ferocious urgency this moment seems to exert on us. It is my job, however, to remind people of the power our past also exerts, to help us better understand what's going on now with compelling story, memory, and anecdote. It is my job to try to discern patterns and themes from history to enable us to interpret our dizzying and sometimes dismaying present.

For nearly 50 years now, I have diligently practiced and rigorously tried to maintain a conscious neutrality in my work, avoiding advocacy if I could, trying to speak to all of my fellow citizens. Over those many decades I've come to understand a significant fact, that we are not condemned to repeat, as the saying goes, what we don't remember. That is a beautiful, even poetic phrase, but not true. Nor are there cycles of history as the academic community periodically promotes. The Old Testament, Ecclesiastes to be specific, got it right, I think. What has been will be again, what has been done will be done again. There is nothing new under the sun. What those lines suggest is that human nature never changes or almost never changes. We continually superimpose that complex and contradictory human nature over the seemingly random chaos of events, all of our inherent strengths and weaknesses, our greed and generosity, our puritanism and our prurience, our virtue, and our venality parade before our eyes, generation after generation after generation. This often gives us the impression that history repeats itself. It does not. "No event has ever happened twice, it just rhymes," Mark Twain is supposed to have said. I have spent all of my professional life on the lookout for those rhymes, drawn inexorably to that power of history. I am interested in listening to the many varied voices of a true, honest, complicated past that is unafraid of controversy and tragedy, but equally drawn to those stories and moments that suggest an abiding faith in the human spirit, and particularly the unique role this remarkable and sometimes also dysfunctional republic seems to play in the positive progress of mankind.

During the course of my work, I have become acquainted with hundreds if not thousands of those voices. They have inspired, haunted, and followed me over the years. Some of them may be helpful to you as you try to imagine and make sense of the trajectory of your lives today.

Listen, listen. In January of 1838, shortly before his 29th birthday, a tall, thin lawyer prone to bouts of debilitating depression addressed the young men's lyceum in Springfield, Illinois. "At what point shall we expect the approach of danger?" He asked his audience, "Shall we expect some trans-Atlantic military giant to step the earth and crush us at a blow?" Then he answered his own question. "Never. All the armies of Europe, Asia, and Africa could not by force take a drink from the Ohio River or make a track on the Blue Ridge in a trial of a thousand years. If destruction be our lot, we must ourselves be its author and finisher. As a nation of free men, we must live through all time or die by suicide." It is a stunning, remarkable statement, one that has animated my own understanding of the American experience since I first read it more than 40 years ago. That young man was of course Abraham Lincoln, and he would go on to preside over the closest this country has ever come to near national suicide, our civil war, and yet embedded in his extraordinary, disturbing, and prescient words is also a fundamental optimism that implicitly acknowledges the geographical forcefield two mighty oceans east and west and two relatively benign neighbors north and south have provided for us since the British burned the White House in the War of 1812 and inspired Francis Scott Key.

Lincoln's words that day suggest what is so great and so good about the people who happen to inhabit this lucky and exquisite country of ours. That's the world you now inherit: our work ethic and our restlessness, our innovation and our improvisation, our communities and our institutions of higher learning, our suspicion of power. The fact that we seem resolutely dedicated to parsing the meaning between individual and collective freedom; What I want versus what we need. That we are all so dedicated to understanding what Thomas Jefferson really meant when he wrote that mysterious phrase, "The pursuit of happiness". Hint, it happens right here in the lifelong learning and perpetual improvement this university is committed to.

But the isolation of those two oceans has also helped to incubate habits and patterns less beneficial to us: our devotion to money and guns and conspiracies, our certainty about everything, our stubborn insistence on our own exceptionalism blinding us to that which needs repair, especially with regard to race and ethnicity. Our preoccupation with always making the other wrong at an individual as well as a global level. I am reminded of what the journalist I.F. Stone once said to a young acolyte who was profoundly disappointed in his mentor's admiration for Thomas Jefferson. "It's because history is tragedy," Stone admonished him, "Not melodrama." It's the perfect response. In melodrama all villains are perfectly villainous and all heroes are perfectly virtuous, but life is not like that. You know that in your guts and nor is our history like that. The novelist, Richard Powers recently wrote that, "The best arguments in the world," — and ladies and gentlemen, that's all we do is argue — "the best arguments in the world," he said, "Won't change a single person's point of view. The only thing that can do that is a good story." I've been struggling for most of my life to do that, to try to tell good, complex, sometimes contradictory stories, appreciating nuance and subtlety and undertow, sharing the confusion and consternation of unreconciled opposites.

But it's clear as individuals and as a nation we are dialectically preoccupied. Everything is either right or wrong, red state or blue state, young or old, gay or straight, rich or poor, Palestinian or Israeli, my way or the highway. Everywhere we are trapped by these old, tired, binary reactions, assumptions, and certainties. For filmmakers and faculty, students and citizens, that preoccupation is imprisoning. Still, we know and we hear and we express only arguments, and by so doing, we forget the inconvenient complexities of history and of human nature. That, for example, three great religions, their believers, all children of Abraham, each professing at the heart of their teaching, a respect for all human life, each with a central connection to and legitimate claim to the same holy ground, violate their own dictates of conduct and make this perpetually contested land a shameful graveyard. God does not distinguish between the dead. "Could you?"

[Audience applauding]

"Could you?" A very wise person I know with years of experience with the Middle East recently challenged me, "Could you hold the idea that there could be two wrongs and two rights?"

Listen, listen. In a filmed interview I conducted with the writer James Baldwin, more than 40 years ago, he said, "No one was ever born who agreed to be a slave, who accepted it. That is, slavery is a condition imposed from without. Of course, the moment I say that," Baldwin continued, "I realize that multitudes and multitudes of people for various reasons of their own enslave themselves every hour of every day to this or that doctrine, this or that delusion of safety, this or that lie. Anti-Semites, for example," he went on, "are slaves to a delusion. People who hate Negroes are slaves. People who love money are slaves. We are living in a universe really of willing slaves, which makes the concept of liberty and the concept of freedom so dangerous," he finished. Baldwin is making a profoundly psychological and even spiritual statement, not just a political or racial or social one. He knew, just as Lincoln knew, that the enemy is often us. We continue to shackle ourselves with chains we mistakenly think is freedom.

Another voice, Mercy Otis Warren, a philosopher and historian during our revolution put it this way, "The study of the human character at once opens a beautiful and a deformed picture of the soul. We there find a noble principle implanted in the nature of people, but when the checks of conscience are thrown aside, humanity is obscured." I have had the privilege for nearly half a century of making films about the US, but I have also made films about us. That is to say the two letter, lowercase, plural pronoun. All of the intimacy of "us" and also "we" and "our" and all of the majesty, complexity, contradiction, and even controversy of the US. And if I have learned anything over those years, it's that there's only us. There is no them. And whenever someone suggests to you, whomever it may be in your life that there's a them, run away. Othering is the simplistic binary way to make and identify enemies, but it is also the surest way to your own self imprisonment, which brings me to a moment I've dreaded and forces me to suspend my longstanding attempt at neutrality.

There is no real choice this November. There is only the perpetuation, however flawed and feeble you might perceive it, of our fragile 249-year-old experiment or the entropy that will engulf and destroy us if we take the other route. When, as Mercy Otis Warren would say, "The checks of conscience are thrown aside and a deformed picture of the soul is revealed." The presumptive Republican nominee is the opioid of all opioids, an easy cure for what some believe is the solution to our myriad pains and problems. When in fact with him, you end up re-enslaved with an even bigger problem, a worse affliction and addiction, "a bigger delusion", James Baldwin would say, the author and finisher of our national existence, our national suicide as Mr. Lincoln prophesies. Do not be seduced by easy equalization. There is nothing equal about this equation. We are at an existential crossroads in our political and civic lives. This is a choice that could not be clearer.

Listen, listen. 33 years ago, the world lost a towering literary figure. The novelist and storyteller, not arguer, Isaac Bashevis Singer. For decades he wrote about God and myth and punishment, fate and sexuality, family and history. He wrote in Yiddish a marvelously expressive language, sad and happy all at the same time. Sometimes maddeningly all knowing, yet resigned to God's seemingly capricious will. It is also a language without a country, a dying language in a world more interested in the extermination or isolation of its long suffering speakers. Singer, writing in the pages of the Jewish Daily Forward help to keep Yiddish alive. Now our own wonderfully mongrel American language is punctuated with dozens of Yiddish words and phrases, parables and wise sayings, and so many of those words are perfect onomatopoeias of disgust and despair, hubris and humor. If you've ever met a schmuck, you know what I'm talking about. [audience laughs] Toward the end of his long and prolific life, Singer expressed wonder at why so many of his books written in this obscure and some said useless language would be so widely translated, something like 56 countries all around the world. "Why," he would wonder with his characteristic playfulness, "Why would the Japanese care about his simple stories of life in the shtetls of Eastern Europe 1,000 years ago?" "Unless," Singer paused, twinkle in his eye, "Unless the story spoke of the kinship of the soul." I think what Singer was talking about was that indefinable something that connects all of us together, that which we all share as part of organic life on this planet, the kinship of the soul. I love that.

Okay, let me speak directly to the graduating class. Watch out, here comes the advice. Listen. Be curious, not cool. Insecurity makes liars of us all. Remember, none of us get out of here alive. The inevitable vicissitudes of life, no matter how well gated our communities, will visit us all. Grief is a part of life, and if you explore its painful precincts, it will make you stronger. Do good things, help others. Leadership is humility and generosity squared. Remember the opposite of faith is not doubt. Doubt is central to faith. The opposite of faith is certainty. The kinship of the soul begins with your own at times withering self-examination. Try to change that unchangeable human nature of Ecclesiastes, but start with you. "Nothing so needs reforming," Mark Twain once chided us, "As other people's habits." [audience laughs]

Don't confuse success with excellence. Do not descend too deeply into specialism. Educate all of your parts, you will be healthier. Do not get stuck in one place. "Travel is fatal to prejudice," Twain also said. Be in nature, which is always perfect and where nothing is binary. Its sheer majesty may remind you of your own atomic insignificance, as one observer put it, but in the inscrutable and paradoxical ways of wild places, you will feel larger, inspirited, just as the egotist in our midst is diminished by his or her self regard.

At some point, make babies, one of the greatest things that will happen to you, I mean it, one of the greatest things that will happen to you is that you will have to worry, I mean really worry, about someone other than yourself. It is liberating and exhilarating, I promise. Ask your parents.

[Audience laughs]

Choose honor over hypocrisy, virtue over vulgarity, discipline over dissipation, character over cleverness, sacrifice over self-indulgence. Do not lose your enthusiasm, in its Greek etymology the word enthusiasm means simply, "god in us". Serve your country. Insist that we fight the right wars. Denounce oppression everywhere.

Convince your government, as Lincoln understood that the real threat always and still comes from within this favored land. Insist that we support science and the arts, especially the arts.

[Audience cheering]

They have nothing to do with the actual defense of our country; They just make our country worth defending.

Remember what Louis Brandeis said, "The most important political office is that of the private citizen." Vote. You indelibly... [audience applauding] Please, vote. You indelibly underscore your citizenship, and most important, our kinship with each other when you do. Good luck and godspeed.

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1993 how the construction company remstroy was created   the year 1993 was a period when a lot of construction companies, which had been working successfully during the soviet times and had rich staff capacity, were forced to cease their activity for various reasons. a lot of capable specialists either had to look for another job or change their field. but there were also those who were willing to realise their potential in the field of construction in accordance with the received degree and the experience they had accumulated. thus, in 1993 in elektrostal (moscow oblast) a group of specialists and people sharing each other’s ideas, who had enormous educational background and the highest degree in architecture, organized and registered ooo firm erg which began its rapid development and successful work, offering its service both on the construction market and other areas. 2000 industrial construction is the main area   seven years of successful work have shown that combining different types of activities in the same company is not always convenient. and in the year 2000 the founders of ooo firm erg decided to create and register a monoprofile construction company ooo remstroy construction company. industrial construction was chosen as the priority area. it was in this area that the directors of ooo sk remstroy began their working life and grew as specialists. in order to achieve the set goal, they selected a mobile team of professionals in the field of industrial construction, which allows us to cope with the tasks assigned to ooo sk remstroy throughout russia and the near abroad. 2010 manufacturing of metal structures   we possess modern equipment that allows us to carry out the entire cycle of works on the manufacture of metal structures of any complexity without assistance. designing – production – installation of metal structures. a staff of professionals and well-coordinated interaction of the departments let us carry out the work as soon as possible and in accordance with all customer’s requirements.” extract from the list of members of self-regulatory organizations, construction.

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