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“那時(shí)候，你還很年輕，人人都說(shuō)你美。現(xiàn)在，我是特意來(lái)告訴你，對(duì)我來(lái)說(shuō)，我覺(jué)得現(xiàn)在的你比年輕的時(shí)候更美。與你那時(shí)的面貌相比，我更愛(ài)你現(xiàn)在備受摧殘的面容?！?/p>

瑪格麗特·杜拉斯的《情人》是一部關(guān)于愛(ài)與欲望、殖民與階級(jí)、身份與他者、西貢與巴黎的經(jīng)典著作。杜拉斯書(shū)寫(xiě)了貫穿一生的愛(ài)情，那既是熾烈如火又溫柔似水的體驗(yàn)，既是自我確立又是自我毀滅的過(guò)程。她以沉默訴說(shuō)不可言說(shuō)之事，展現(xiàn)留白的巨大張力。

欲望是火，文字是墨。

在杜拉斯灼熱的筆觸下，愛(ài)欲從不以完滿示人——它破碎、矛盾、帶著殖民地的濕熱與巴黎的冷霧，卻因此更接近真實(shí)的生命。

三明治的老朋友Nazli即將回歸，帶來(lái)“城市·記憶·欲望”系列的第三個(gè)工作坊，聚焦于“欲望”。這次工作坊延長(zhǎng)至六周，其中4周為文本研讀課，2周為寫(xiě)作實(shí)踐課。我們將延續(xù)前兩期的探索，通過(guò)文學(xué)與生活的雙重視角，審視城市、記憶與欲望的共生關(guān)系。本課程將精讀杜拉斯的《情人》（原著及電影改編），并輔以波德萊爾、蘭波、卡瓦菲斯、王鷗行等詩(shī)人的詩(shī)作。

課程將采用文本與影像對(duì)照研讀法，逐場(chǎng)解析敘事場(chǎng)景。每堂課配有專(zhuān)屬主題曲——來(lái)自萊昂納德·科恩的經(jīng)典作品，其灼熱詩(shī)性與杜拉斯的文字力量交相輝映。

在欲望書(shū)寫(xiě)的學(xué)習(xí)中，電影將教會(huì)我們?nèi)绾芜\(yùn)用影像、密閉空間、城市與地景，而原著則傳授細(xì)節(jié)篩選、記憶重構(gòu)、情感命名的要義。我們將學(xué)習(xí)如何從集體情欲經(jīng)驗(yàn)中剝離個(gè)人敘事，詩(shī)歌與音樂(lè)的研習(xí)不僅提供創(chuàng)作工具，更將激發(fā)我們尋找精準(zhǔn)、優(yōu)美且鋒利如刀的文字表達(dá)。

寫(xiě)作技法部分將重點(diǎn)參考杜拉斯《寫(xiě)作》和維林·克林肯博格《關(guān)于寫(xiě)作的若干短句》。另提供羅蘭·巴特《戀人絮語(yǔ)》與米歇爾·德·塞托《日常生活實(shí)踐》作為拓展閱讀。

火與墨：欲望的敘事工作坊亮點(diǎn)

完成屬于你的英文寫(xiě)作作品

學(xué)員將完成一篇英文虛構(gòu)或非虛構(gòu)作品的初稿（約15頁(yè)/1000-5000字之間），在規(guī)定截稿日期前提交后，導(dǎo)師Nazli會(huì)針對(duì)每位學(xué)員的作品，進(jìn)行一對(duì)一書(shū)面反饋、點(diǎn)評(píng)；

30人以?xún)?nèi)小班在線授課

每周一次線上視頻課程，導(dǎo)師在線授課、交流；

英文原著文本帶領(lǐng)精讀

每次課程前一周，導(dǎo)師Nazli將精選相關(guān)作家英文原著文本，提供閱讀材料和思考問(wèn)題，引導(dǎo)你以更多元的視角提前進(jìn)入閱讀與思考，為自己的寫(xiě)作提供養(yǎng)料；

課后寫(xiě)作練習(xí)

每周課程結(jié)束后，導(dǎo)師將根據(jù)當(dāng)天內(nèi)容布置寫(xiě)作任務(wù)，打開(kāi)你的寫(xiě)作思路，通過(guò)寫(xiě)作實(shí)踐鞏固你從課程內(nèi)容中得到的靈感和啟發(fā)；

一對(duì)一語(yǔ)音交流指導(dǎo)

課程最后一周，提交作品后，你可以和導(dǎo)師預(yù)約一對(duì)一語(yǔ)音交流指導(dǎo)時(shí)間，討論你的作品、修改、建議等；

優(yōu)秀作品發(fā)表機(jī)會(huì)

優(yōu)秀作品有機(jī)會(huì)在國(guó)外網(wǎng)站或三明治的平臺(tái)上發(fā)表。

工作坊安排 Schedule

Week 1 Image and Memory

? Class Objective: To learn the ways in which desire and memory are connected, how certain images represent certain times of one’s life, how the poetic reach of memory creates connections in the narrative, and how to turn oneself into an image.

? Required Reading: The Lover by Marguerite Duras, part 1 of 4; Selected poems by Ocean Vuong, Donna Stonecipher, Constantine Cavafy

? Voluntary Reading: A Lover’s Discourse by Roland Barthes, following entries: to be engulfed, absence, waiting, heart, body, writing, mad

? Class Soundtrack: “Dance Me to The End Of Love” by Leonard Cohen

Week 2 The Sexual and The Sensual

? Class Objective: To learn how to write sexual encounters and sensual descriptions that are powerful and personal as opposed to mainstream and clichéd, to leave space in writing that allows for implication while keeping the reader anchored in the text, and to combine the body with the mind, the carnal with the philosophical.

? Required Reading: The Lover by Marguerite Duras, part 2 of 4; Selected poems by Constantine Cavafy, Arthur Rimbaud, Yves Bonnefoy

? Voluntary Reading: Practice of Everyday Life by Michel de Certeau, Chapter VI Story Time

? Class Soundtrack: “Suzanne” by Leonard Cohen

Week 3 The City as a Landscape of Desire

? Class Objective: To learn how a city alters our experience of desire, the ways in which desire and the city are connected and how this connection affects our narratives of identity and desire, how to link the city’s architecture to desire, and how said architecture allows or restricts seeing, secrets, and storytelling.

? Required Reading: The Lover by Marguerite Duras, part 3 of 4; Selected poems by Charles Baudelaire, Donna Stonecipher, Ocean Vuong

? Voluntary Reading: Practice of Everyday Life by Michel de Certeau, Chapter VII Walking in the City

? Class Soundtrack: “Famous Blue Raincoat” by Leonard Cohen

Week 4 Death and Departure

? Class Objective: To learn how the end of an event, a relationship, an era, or a story arrives, in life and in writing, the literal and metaphorical meaning of death in love and desire, how to write endings that strengthen the story further, how to deepen the symbols for death and departure.

? Required Reading: The Lover by Marguerite Duras, part 4 of 4; Selected poems by Constantine Cavafy, Charles Baudelaire, Arthur Rimbaud

? Voluntary Reading: A Lover’s Discourse by Roland Barthes, following entries: image, I-love-you, magic, night, ravishment, scene, tenderness

? Class Soundtrack: “Chelsea Hotel #2” by Leonard Cohen

Week 5 Practical Realities of Wrong Assumptions About Writing

? Class Objective: To reexamine our beliefs and expectations of writing, and to recalibrate them in the light of essays and lessons of writers. We may be romantics as writers, but the reality is all the more inspiring!

? Required Reading: Selections from Writing by Marguerite Duras

? Voluntary Reading: Selections from Several Short Sentences About Writing by Verlyn Klinkenborg

? Class Soundtrack: “A Thousand Kisses Deep” by Leonard Cohen

Week 6 Editing Lecture

? Class Objective: To learn how to edit, the different ways of editing one’s own work, how each piece requires a new set of rules for revision, and the potential and promise of revision. Followed by a question-and-answer session for any writing questions students have.

? Required Reading: Selections from Several Short Sentences About Writing by Verlyn Klinkenborg

? Voluntary Reading: Selections from Writing by Marguerite Duras

? Class Soundtrack: “Ain't No Cure For Love” by Leonard Cohen

Guidelines

I will encourage and expect personal interpretations from all of you, which means you will have to trust yourself and give up the temptation to support your ideas with secondary sources. Just as importantly, you will listen to and work with other interpretations that may be very different from yours with maturity and respect. In my classes, all interpretations, comments, questions, and mindful musings are valid and encouraged as long as they are respectful and honest, and do not attack a person, race, or sexual orientation. We want to learn how to interpret texts in intellectual and creative ways even when the approaches may be much different than our own. I hope that the texts I provide and our reading discussions will help create the personal foundations of literary taste in each of you. When you learn to recognize good literature, you come that much closer to creating it.

Office hours

I am always here to talk! I will be available on Wednesdays and/or any other day that might work better for you. Remember to make an appointment, and we’ll take it from there. You may use office hours to ask questions about my comments and suggestions for your writing, to ask and share questions and observations about the readings, and much more. It’s my pleasure to continue our conversation outside the virtual classroom.

工作坊安排 Schedule

導(dǎo)師介紹

Nazli，土耳其作家，美國(guó)愛(ài)荷華大學(xué)非虛構(gòu)寫(xiě)作項(xiàng)目MFA碩士畢業(yè)，曾在中國(guó)中山大學(xué)本科兩年的教學(xué)經(jīng)歷，教授莎士比亞戲劇課、英語(yǔ)寫(xiě)作課。本科在美國(guó)Gettysburg College主修英語(yǔ)與創(chuàng)意寫(xiě)作，畢業(yè)后前往法國(guó)進(jìn)修藝術(shù)史和油畫(huà)。曾翻譯出版了三部青少年作品，并志愿參與 The Iowa Review的工作。

以自由職業(yè)的身份，一邊開(kāi)設(shè)線上寫(xiě)作與閱讀工作坊，一邊寫(xiě)作。過(guò)去四年中，她開(kāi)設(shè)了線上的虛構(gòu)和非虛構(gòu)寫(xiě)作課程，主題涵蓋愛(ài)倫坡、博爾赫斯、契訶夫、伍爾夫，以及愛(ài)爾蘭作家、五感寫(xiě)作、外語(yǔ)寫(xiě)作、當(dāng)代短篇小說(shuō)和記憶等。在寫(xiě)作工作坊中，她指導(dǎo)了超過(guò)500篇學(xué)生作品。Wechat Platform：waysofblackink。

閱讀三明治過(guò)去對(duì)Nazli的采訪：