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Writer as Reader

Writer as Reader: Discovering New Ways into the Text

October 23, 2026
9:30 am – 4:00 pm
In-person at Bard College
Registration is open!

This year, IWT’s Writer as Reader workshops will be held on Friday, October 23, 2026. Writer as Reader workshops model writing practices that inspire students to read more carefully, grasp meaning in complex texts, and build understanding through collaboration. Using diverse writing-to-read strategies, workshop participants explore novels, poetry, nonfiction, historical documents, plays, music, and fairy tales. Each workshop will highlight strategies that foster close reading and help readers develop an appreciation for the connections between different but related texts. Writer as Reader workshops emphasize the pedagogical value of teaching texts that are unfamiliar or challenging to students, prompting them to read with attentiveness and an open mind. 

IWT can also bring a Writer as Reader workshop to your school. If you are interested, please contact us at 845-752-4516 or [email protected].

2026 Workshop Descriptions

Click to read descriptions

Love in the Twenty-First Century: Courtship and Feeling in Pride and Prejudice and Contemporary Pop Music

What does it mean to feel love—and how is that feeling informed by the historical moment? We will read Jane Austen’s Pride and Prejudice alongside songs by musical artists such as Beyoncé and Lorde, pairing a canonical novel of courtship with contemporary forms that render the intimate negotiations of desire, attachment, and self-understanding with remarkable precision. Both the novel and the lyrics ask what it means to know one’s own feelings, to misread another’s, and to navigate love within networks of family, friendship, and social expectation. In many ways, Austen’s novel sets the pattern for literary romance. We will ask how 21st-century pop revises that pattern—at times insisting on protection and self-possession, at others staging love as something mediated, self-aware, and shaped by the sense of being seen. We will also consider how language, voice, and form help fashion these feelings. This workshop will model strategies for helping students engage with complex representations of emotion, while also using informal and exploratory writing to take risks and make meaning with other readers and writers.

Texts: Jane Austen, Pride and Prejudice; selected contemporary pop songs

“I Will Always Be True to Myself”: Coming of Age and Identity in Marjane Satrapi’s Persepolis

This workshop will explore the legacy of Marjane Satrapi’s groundbreaking graphic novel Persepolis as a Bildungsroman chronicling the author’s coming of age during the Iranian Revolution, while considering the importance of teaching this text today amid renewed war and conflict with Iran. We will look at the history of the graphic novel as literature and trace how Satrapi’s use of place, history and personal narrative shapes both her artistic style and storytelling. Pairing Persepolis with selections from Pilgrim Bell by Kaveh Akbar and Brown Album: Essays on Exile and Identity by Porochista Khakpour will allow participants to consider how poetry and memoir differently represent exile, belonging, and identity. This workshop will introduce writing-based teaching practices that are helpful for teaching memoir, personal narrative, and graphic novels, and will explore how visual art can be used to help students to develop their own narratives. 

Texts: Marjane Satrapi, Persepolis (Books 1 and 2); Kaveh Akbar, Pilgrim Bell (selections); Porochista Khakpour, Brown Album: Essays on Exile and Identity (selections)

The Joy of Reading the Blues: Ross Gay’s Inciting Joy and James Baldwin’s “Sonny’s Blues”

This workshop will explore selections from Ross Gay’s Inciting Joy—including essays on music, dance, basketball, education, and grief—as a contemporary framework for reading the language, movement, and themes of James Baldwin’s “Sonny’s Blues.” The workshop centers Gay’s evolving meditation on joy as something communal, relational, and deeply entangled with sorrow, trauma, care, and gratitude. Baldwin’s story becomes a touchstone for tracing where joy is incited and what those moments of joy, in turn, make possible. Through informal writing and exploratory movement practices, we will engage Gay and Baldwin from within and between the texts and one another, generating language, insight, and classroom practices that invite students to encounter literature as something lived, felt, and shared.

Texts: Ross Gay, Inciting Joy; James Baldwin, “Sonny’s Blues”

Of Beasts and Boys: Trauma and Masculinity in William Golding’s Lord of the Flies and Justin Torres’s We The Animals

This workshop invites participants to explore themes of trauma, masculinity, and power through We The Animals, Justin Torres’s visceral coming-of-age novel about three brothers navigating violence and instability, alongside Lord of the Flies, William Golding’s enduring story of stranded schoolboys struggling to create order in the absence of adult authority. When traditional structures are lacking, what social and psychological forces shape notions of manhood and morality? Together, these texts allow us to examine the intersections of gender and power at a time when what we know about adolescent development stands in sharp contrast with the toxic models of manhood that boys still inherit. We will draw on writing-to-read and writing-based teaching practices to help students expand their ability to draw new insights from these texts and connect them to their own contested social worlds.

Texts: William Golding, Lord of the Flies; Justin Torres, We The Animals

Cautionary Tales: Mary Shelley’s Frankenstein and Suzanne Wang’s “Mall of America”

Mary Shelley’s Frankenstein, a novel that blends the gothic, Romantic, and science fiction, is a profound cautionary tale about hubris and the dangers of excess. One question at the heart of Shelley’s novel—what does it mean to be a responsible creator?—echoes loudly in our technology-driven world. In the short story “Mall of America” (2023), Suzanne Wang riffs on Shelley’s question and considers what we have unleashed with artificial intelligence. Written in the voice of an advanced AI programmed to maximize profits in a near-future shopping mall, Wang chronicles its interventions and explores eternal questions about what can happen when our creations gain agency. Reading these two cautionary tales alongside one another, we will consider what responsibilities creators bear toward their creations and how we can be reflective participants in technologies that we neither create nor helplessly inherit.

Texts: Mary Shelley, Frankenstein; Suzanne Wang, “Mall of America”

How Language Lets You In: Reading Born a Crime Across Contexts

“Language, even more than color, defines who you are to people,” observes Trevor Noah in his wry and harrowing autobiography Born a Crime. “Maybe I didn't look like you, but if I spoke like you, I was you.” Noah’s memoir recounts his experience of life under Apartheid in South Africa, navigating languages, racial classifications, and shifting identities. Reading Noah’s autobiography alongside poetry by Warsan Shire and excerpts from Chimamanda Ngozi Adichie’s acclaimed novel Americanah, participants will consider how language illuminates the complexities of belonging and cultural hybridity, especially when shaped by colonization and its afterlives. Participants will leave with adaptable writing-to-read strategies that they can bring to their classrooms and a sharper sense of how language can keep people out or let them in.

Texts: Trevor Noah, Born a Crime; Chimamanda Ngozi Adichie, Americanah (excerpts); Warsan Shire, “Home”

The Trouble with Certainty: Writing Past First Readings of Macbeth

Readers, even experienced ones, become attached to settled interpretations: Macbeth is a play about ambition; Lady Macbeth is the engine of Duncan’s murder; the witches deceive Macbeth; power corrupts. This workshop asks what happens when we treat those first readings not as wrong, but as provisional. Through performance exercises, close attention to key passages, low-stakes writing, and the generative friction of reading Macbeth alongside an unexpected companion text (Flannery O’Connor’s “Good Country People”), participants will practice ways of putting pressure on interpretations they already trust. We will ask: What does this scene—or this unexpected comparison—make harder, stranger, or more complicated about what we thought we knew? Participants will leave with reading strategies that help students move beyond summary or simple thematic claims toward more complex, textually grounded interpretations. 

Texts: William Shakespeare, Macbeth; Flannery O’Connor, “Good Country People”

“He That Knoweth His Master’s Will”: Abolitionist Photography and Narrative of the Life of Frederick Douglass

In the years following his escape to freedom, Frederick Douglass, author of Narrative of the Life of Frederick Douglass, became the most photographed man of the nineteenth century: more portraits of him survive than of Abraham Lincoln. Traveling six months of the year to deliver speeches in support of Abolition, Douglass recognized photography’s potential as a political and rhetorical tool. “The great cheapness and universality of pictures,” he wrote, “must exert a powerful though silent influence upon the ideas and sentiment of present [and] future generations.” In this workshop, we will write our way to new understandings of Douglass’s famed Narrative through the lens of Abolitionist cartes de visite, the small, mass-produced photographs used to celebrate formerly enslaved people and antislavery activists. Working with Douglass’s accounts of enslavement on Maryland plantations, his self-education, and his own writings on photography, we will examine both his representation in photographs and the political uses of images of enslaved and freed people before, during, and after the Civil War.

Texts: Frederick Douglass, Narrative of the Life of Frederick Douglass and “What to the Slave is the Fourth of July?”; Abolitionist photographs from the Library of Congress digital archives.

Poetry Collections and the Collective: Eve L. Ewing’s Electric Arches

This workshop asks how poetry can help students explore their communities and their own place within them. Grounded in Eve L. Ewing’s multi-award-winning collection about Black girlhood and womanhood in 1990s Chicago—a book that combines visual art, poetry, and poetic narrative to render the specific textures of her life and imagination—we will examine how Ewing invites readers to explore their own internal worlds and communal bonds. We will think together about why we might teach a collection of poems, how to teach both individual and linked poems within a collection, and how tracing lineages between writers can become a way of thinking about community. We will pair Ewing’s text with poems and letters from key members of her writerly collective, including Gwendolyn Brooks and Hanif Abdurraqib, and use writing-to-read practices as tools for accessing a host of creative and documentary genres. Participants are invited to bring an additional poetry collection they teach (or hope to teach) in order to apply these methods directly to their own classrooms.  

Texts: Eve L. Ewing, Electric Arches; selections from Gwendolyn Brooks and Hanif Abdurraqib

The Sonnet: Shakespeare, Contemporary Sonneteers and the Development of Form

This workshop, a returning favorite, will explore the evolution and malleability of William Shakespeare’s sonnets by putting them in dialogue with sonnets by contemporary poets Bernadette Mayer, Wanda Coleman, and Gwendolyn Brooks. We will ask such questions as: What are the elements of the sonnet form that repeat and change in contemporary incarnations? How do historical moments influence the form? How is our reading of Shakespeare’s sonnets informed by twenty-first-century perspectives? This workshop will focus on supporting student analysis and helping students explore the formal and historical features of both Shakespearean and contemporary sonnets.

Text: William Shakespeare’s Sonnets (any edition); other songs will be provided.

Registration and Fees

  • Tuition
    Fee: $635
     
    Early-Bird Fee: $560
    The Early-Bird deadline is September 25, 2026. Tuition must be paid in full prior to the workshop.

    Group Discount Fee: $572
    10 percent discount for groups of three or more teachers from the same school.

    Early-Bird Group Discount Fee: $504
    10 percent discount for teams of three or more teachers from the same school. All must register by September 25, 2026; tuition must be paid in full prior to the workshop.

    Cancellation policy. No refunds will be issued for cancellations made later than one week before the workshops.
    REGISTER TODAY!
  • Credit and Scholarship Opportunities
    CTLE Credit
    All Bard IWT workshops are Continuing Teacher and Leader Education approved in New York State. A Writer as Reader workshop is 5 CTLE hours. 

    The Teresa Vilardi Scholarship
    IWT welcomes scholarship applications from those studying to become teachers (i.e., those registered in Bard’s MAT Program or another accredited undergraduate or graduate program in education) and in-service teachers with limited professional development funds. Scholarship applications will open soon.

Hear it from our participants

“It gave me a chance to be a student—to step out of my teacher self and into my experiential self—and to be reminded of the joy and possibility that exist on the other side.”​​​​​​

—2024 Writer as Reader participant

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ALL RIGHTS RESERVED. Bard College Institute for Writing and Thinking and Writing and Thinking are Trademarks of Bard College.
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