邢唷��>� ��欹�g� ��wbjbjVV H r<r<d��nn��8��L��|!�1L�1�1�1�2��34�3藞蛨蛨蛨蛨蛨蛨$<��顜�駡��5�2�2�5�5駡��1�1��,A,A,A�5��1��1藞,A�5藞,A,A�}�儌�1��犌n鯽��9z邁4穲�0L�p爮\<�h爮h儌爮�儌4�3Z-4@,Am44�4/�3�3�3駡駡�>h�3�3�3L��5�5�5�5��爮�3�3�3�3�3�3�3�3�3n �: San Jos� State University Department of English and Comparative Literature ENGLISH 131: Writing Poetry Fall 2011 Instructor:Prof. Alan Soldofsky Office Location:FO 106 Telephone:408-924-4432 Email:HYPERLINK "mailto:soldofsk@email.sjsu.edu"soldofsk@email.sjsu.edu Office Hours:M, T, W 2:30 � 4:00 PM, Th P.M. by appointment Class Days/Time:Th 4:00 � 6:45 PM Classroom:Clark Hall 129 Course Content /Goals Course Theme: Poems Into Performance Even before poet Allen Ginsberg launched a literary and cultural revolution with the reading of his poem 揌owl� in San Francisco抯 Six Gallery in October 1955, poets were composing their poems to be read out loud as a performance. Greek poetry in traditional forms was performed by poets wearing masks. And through the 20th century, modernist poets writing in English and in other languages crafted their texts not only for the page, but to be read aloud to audiences from the stage. A poem read aloud can potentially move audiences both intellectually and emotionally. But for the poem to work both aloud and on the page, it must be carefully crafted. Ginsberg, for example, revised 揌owl� through some 18 completed drafts. He often read the poem aloud to friends and smaller audiences as well as passed around mimeographed copies, incorporating his readers� comments and suggestions in the next revision. Because the performance of a poem can take many forms, and is considered a form of publication, class members will write at least 4 of their poems in the semester for live voice or digital performance, as one form of the poem抯 publication and distribution to class members. The other 6 poems you write may be composed as text only, or as both a text and oral performance. With prevalence and ease of using digital technology and social media, you might make a YouTube video of yourself reading or performing your poem, to share with class members in order more facilitate workshopping the poem抯 performance. Students will also discuss and critique live out loud performances of poems presented to the workshop in the classroom. Audio and video files can be posted on the ENGL 131: Poetry Writing web site (from Google Sites). Visiting Guest Poets Two or three times during the semester, guest poets known for producing strong, innovative work on the page as well as strong readings and performances will visit the class. These guest poets will give a brief reading and/or demonstration of how they perform their own poetry. They will also join with us for our class workshop to discuss student works. The schedule of visiting guest will be announced shortly in class and on our workshop抯 Google Site. Methods and Procedures In this course students will write and revise original poems, which class members will critique in our workshop. In the first hour of each class meeting we will discuss the week抯 reading assignments (see course calendar for student presentation schedule) and sometimes work in small groups to discuss rough drafts of poems, journal entries, and in-class writing exercises. The class will be divided into small writing groups (5 students per group) to discuss rough drafts of poems and lead discussions of the assigned reading. Included in the assigned reading will be work by published poets, some of which will be used as models for students to emulate in their own writing. Students will produce a finished portfolio of at least 10 poems, which will be submitted to the instructor (in draft) at regular intervals during the semester (see Due Dates). We will also regularly listen to and/or watch brief performances by poets and spoken word artists in class as well as receive links to texts of poems and recordings of performances on the weekly 損laylist� included in the Course Calendar. Using Classroom Technology We will use the high resolution LCD projector and 揝martboard� technology wired into the classroom to view texts of student poems and published poems as well as media files. The instructor will utilize electronic files of class members� poems for the workshop posted on our workshop抯 Blogger site (members of each small writing group will take its turn on a weekly group rotation). We will also have an ENGL 131: Poetry Writing Google Site for organizing and distributing course materials. Poems to be discussed should be posted on HYPERLINK "http://sjsupoetrysp2010.blogspot.com/" Blogger one week in advance for class members to read. Performance of poems on audio or video files (optional) may also be posted one week before these performances will be discussed in class. The instructor will not provide hard copy of the poems in class梩hough class members can bring in their own. The instructor will select poems each week posted on the workshop Blogger site to be workshopped, and post those poems on the workshop抯 HYPERLINK "https://www.sites.google.com/site/sjsupoetryworkshopf2011/home" Google site for class workshop. Learning Objectives: The principal text in this class will be class members� original poems published on our workshops HYPERLINK "http://sjsupoetrysp2010.blogspot.com/" blog site: These poems will be supplemented by assigned readings consisting of commentaries of poetic craft as well as readings of poems from the Autumn House anthology, other supplemental anthologies, and various Web sites. During the term students will: Complete at least 10 poems during the term. Discuss drafts and revisions of poems via email and on the \workshop blog with members of your small writing group. The minimum requirement is to post at least one comment per poem submitted by members of your small group. If you meet this requirement, you also be eligible to submit additional poems or projects for extra credit. Post your poems on the workshop blog for class electronic discussion and critique outside of class meetings. You are expected to post your poems to the workshop blog a minimum of four times during the semester. Have your poems workshopped on a periodic basis in class members. Discussion will be led by the instructor (and visiting guest poets). You are expected to have your poems discussed in the workshop at least four times during the semester. Complete and understand the reading assignments on the craft of writing poems, becoming familiar with the work of contemporary and modern poets included in the assigned reading. To become adept at writing poems in free-verse and in contemporary fixed-formed styles. Write at least one poem in a fixed metrical pattern, and/or one poem in a fixed rhymed or non-rhymed form. Learn contemporary poetics and theories of prosody, demonstrated in the technical craft displayed in your poems. Write a minimum of four poems composed for reading/performing aloud and/or as a digital media performance, as well as for reading as text on the page. Participate in a public reading by class members as culminating experience near the end of the semester (see course calendar). The goal of the course is to improve the quality of your poems by learning more about the craft of poetry and techniques of revision. You will also improve your poetry by imitating the craft and style of poems written by modern and contemporary masters. A second goal is to improve your ability to read or perform your poetry out load in the venue of a poetry reading or spoken word performance (or to create a digital performance or collaboration with other artists such musicians, visual artists, performers, etc.). You will receive a final grade in the course based partially on a short manuscript of your own poetry, and by participating in a public reading or performance of your work with the other class members. Textbooks Required: Addonizio, Kim and Dorianne Laux. HYPERLINK "http://www.amazon.ca/Poets-Companion-Kim-Addonizio/dp/0393316548/ref=pd_bowtega_1/702-3214351-8415204?ie=UTF8&s=books&qid=1186440959&sr=1-1"The Poet抯 Companion. Hoagland, Tony. HYPERLINK "http://www.amazon.ca/Real-Sofistikashun-Essays-Poetry-Craft/dp/1555974554/ref=sr_1_1/702-3214351-8415204?ie=UTF8&s=books&qid=1186440983&sr=1-1"Real Sofistikashun. Essays on Poetry and Craft. Thompson, Sue Ellen. HYPERLINK "http://www.autumnhouse.org/index.cfm?method=bookDetail&bookID=B28D4333-F58D-4178-BBC0F6667E9E87AB"Autumn House Anthology of Contemporary American Poetry Recommended: Poulin, Al and Michael Waters (Eighth edition). HYPERLINK "http://www.amazon.ca/Contemporary-American-Poetry-Jr-Poulin/dp/0618527850/ref=sr_1_2/702-3214351-8415204?ie=UTF8&s=books&qid=1186441016&sr=1-2"Contemporary American Poetry. Clips from Bill Moyer抯 PBS TV Show �HYPERLINK "http://www.pbs.org/wnet/foolingwithwords/main_video.html"Fooling Around with Words.� Supplemental Web Sites: Web Site of the Academy of American Poets: HYPERLINK "http://www.poets.org/"www.poets.org Web Site of the Poetry Foundation: HYPERLINK "file:///D:\\My%20Documents\\www.poetryfoundation.org"www.poetryfoundation.org Web site: HYPERLINK "http://www.poetrydaily.com/"www.Poetrydaily.com Web site: HYPERLINK "http://www.Poetryflash.org"www.Poetryflash.org. Web site of Poetry Flash, the Bay Area抯 poetry and literary newsletter. Course Requirements 1. Complete a manuscript of 10 poems that you finished during the semester. 2. Revise drafts of poems based upon the criticism received from classmates or the instructor. Ideally, each student will have at least of three poems (or four shorter poems) discussed in the workshop during the term. 3. Workshop your classmates� poems. Offer constructive criticism to other class members in the workshop on the course blog which will be used for submitting poems for the workshop for discussion. 4. Keep up with all reading assignments. To document your having completed the readings assigned each week, you are to keep your reading notes in a journal that is due when you submit your portfolio to the instructor. You may make notes in your journal in the form of either prose or poetry, or perhaps a bit of both. The schedule of reading assignments is included with the greensheet. If you do not keep up with the reading material assigned, your class participation grade will be lowered. 5. Attend at least two poetry readings during the semester. Readings you can attend are held on campus, in downtown San Jose, or in other parts of the Bay Area (Consult HYPERLINK "http://www.poetryflash.org/"Poetryflash.org for a comprehensive Bay Area reading schedule.) You are required to turn in a 500-word (two page) descriptive review of each of the readings you attend. Submit your reading review with as a supplement to your journal. Reading reviews are graded Pass/Fail. 6. Read or perform one of your poems in the class culminating experience, a public reading/performance called 揚oems Out Loud: Powering 无忧短视频抯 Legacy of Poetry,� which will include a reading/performance by one of the guest visiting poets. Due Dates for Submitting Poems Sept. 1 -- Bring an old poem to class (hard copy well as a Word file or .PDF) to share with your small group. This is a sample of your poet抯 voice. Also bring a favorite poem by another poet that you can read out loud. Oct. 13 -- Set 1 containing four completed drafts of new poems. Nov. 17 -- Set 2 containing three completed drafts of new poems plus revisions of Set 1. Dec. 15 -- Final portfolio (including completed new poems for Set 3 and revisions of Set 1 and 2.) Reading reviews. Personal blogs/journals. Submitting Poems for the Workshop At least one week before the workshop, post your poem(s) to the class blog: HYPERLINK "http://sjsupoetrysp2010.blogspot.com/"无忧短视频 Poetry F2011. Only class members (listed as authors) will have the ability to post entries and read this blog. I will show how the blog works in class. Be sure that you know the dates listed in the Course Calendar that your group will have work discussed in the workshop. Send the instructor a copy of your poem(s) that you have posted on the Poetry无忧短视频 blog. That will allow me to respond to your poem(s) privately, and to set up a folder of your work on my computer. Bring backup hard copies of the poem(s) to class梚n case someone forgets to print it out or the computers in the classroom don抰 work. You may also bring your lap top and/or flash drive with files of the poem(s). Workshop Procedure Each writing group will take a turn at having its members work discussed in the workshop, beginning with Group A. There will be no more than 5 poets in each group. Post your poems on the Poetry Workshop Blog: to make your poems available for class or small group discussion. Class members are urged to download poems from the class workshop blog. You can turn in a poem(s) for the instructor抯 comments prior to the date the poem is to be discussed in the workshop. (It is preferred that you email poems to the instructor as an attached Word file or send a link to your Web site.) Listen quietly to the comments offered in the workshop. Explain only factual references or matters of form or prosody which may not be apparent from reading the poem. Do not try to defend the poem. Listen to what is said, and decide which of the comments and suggestions are ones you want to follow up on. Make comments about the text of the poem, not about the author. Do not make negative comments when you know you have a different taste in poetry than the poet being discussed. Do your best to read everyone poem in the workshop on its own aesthetic terms. Presentation / Discussion of Assigned Readings The small groups will rotate weekly giving presentations and leading discussions on the assigned reading (see course calendar). The instructor will assist the group prepare (meeting/emailing group members to help prepare for the discussion.) The instructor will also assist the group in-class with leading the discussion. The instructor will present several of the poems on the PLAYLIST each week, but group members are encouraged to pick poems from the list on which they want to discuss. (The poems in the PLAYLIST are intended for your enjoyment, and to expose you to the work of a diversity of poets. They may also be used as models for your poems.) Group members will receive a collective grade for their efforts (although group members who do not contribute will be noted). Poetry Portfolio and Assignments You are required to complete four poems in response to the assignments listed below. Examples of published poems matching the assignments will be discussed in class. In your portfolio, a minimum of five poems must be written in open form. One poem must be written in metered, rhymed, or formally patterned verse. The other four poems may be either open form, formal (rhymed or unrhymed), or patterned verse (sonnet, villanelle, sestina, etc.). One poem in your final portfolio must be at longer than 30 lines. It is up to you to decide when during each submission period to complete the assigned poems. The assignments must be included in the Set for which they are assigned. The submission deadline for each set of poems in your portfolio is listed below. You must complete all required poetry portfolio assignments in order to be eligible to submit additional poems or projects for extra credit. The instructor reserves the right to revise these requirements and to notify students of such revision in a timely manner, e.g., "subject to change, announced at least one class meeting in advance." SET 1 SUBMISSION DEADLINE: OCT. 13 Four Poems for Set 1: Assignments Write a poem that presents images of a family member(s) 杫ou can fictionalize or exaggerate your portrayal (who will know). The poem should contain at least one unusual metaphor or simile. The more indirect the poem is the better. You may base the poem on a family photograph. Or write the poem from the family member抯 point of view. Steal the strategy from a poem you抳e read to use for yours梐nd leave as few fingerprints as possible. You can make the poem a narrative or a narrative lyric. But allow the poem抯 ending be open or ambiguous. EXAMPLES: Barbara Ras, �HYPERLINK "http://writersalmanac.publicradio.org/index.php?date=2007/02/05"A Wife Explains Why She Likes Country,� Robert Pinsky, �HYPERLINK "http://www.ibiblio.org/ipa/poems/pinsky/the_green_piano.php"The Green Piano,� Laura Kasischke, �HYPERLINK "http://www.poemhunter.com/poem/kitchen-song/"Kitchen Song.� SET 2 SUBMISSION DEADLINE: NOV. 17 Three Poems for Set 2: Assignment Write a poem in the voice and style of another poet, meant to be found as a 搇ost poem� among that poet抯 works. EXAMPLE: Mary Ruefle抯, �HYPERLINK "http://bothellpoets.blogspot.com/2006/02/i-got-kick-out-of-this.html"A Poem by Dean Young.� Or you can write homage to another poet in which you import a few of that poet抯 lines or images in your poem. EXAMPLE: Donald Justice抯 �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177424"Variations on a Text by Vallejo.� Or you can write a parody of another poet抯 work such as Kenneth Koch抯 �HYPERLINK "http://plagiarist.com/poetry/7848/"Variation on a Theme by William Carlos Williams.� SET 3 SUBMISSION DEADLINE: DEC. 15 -- (FINISHED PORTFOLIO) Three Poems for Set 3: Assignment Write a poem in a traditional verse form (a HYPERLINK "http://www.sonnets.org/basicforms.htm"sonnet, HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/5796"villanelle, HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/5792"sestina, HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/5786"pantoum, etc.). If you write a sonnet, select either a Italian or Shakespearian sonnet form. Or you may write in an improvised free line but using a traditional verse form. EXAMPLES: Find examples in CAP or follow the links to examples of poems in traditional forms in the sites listed above. Or write a poem for performance which uses a repeated word, phrase, or refrain. EXAMPLES: Allen Ginsberg抯 �HYPERLINK "http://www.writing.upenn.edu/~afilreis/88/america.html"America.� Allen Ginbserg抯 �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15308"Howl.� Walt Whitman, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15755"Song of Myself.� Or write a song (include also a file containing a performance of the finished piece). In your poem, use one word in at least two different ways; i.e. use the word you select in ways which show its multiple grammatical usages (if it抯 a noun and a verb, for instance, use if in both ways in the course of the poem). Or use if to make a pun. Usually, writing a sestina or villanelle forces you to do so. Readings Journal/Blog You are required to keep weekly notes, commentary, or do exercises in which you respond in poetry or prose to the assigned readings and Playlists each week. The notes can include drafts of poems (which you are not obliged to finish) as well as subjective comments linking what you are learning about the craft and technique(s) of writing poems to the poetry that you are writing. Focus on the poems you抮e reading that are your favorites. Attach any sound/video files to your journal, if you wish to submit your work electronically. Or set up a blog site of your own and provide the instructor the link. You can also keep a handwritten journal if that is your preference梱ou can submit Xerox copies of the handwritten journal at due dates. Attend and write about two poetry readings. During the semester you required to attend and take notes on (or review) two poetry readings. There are many readings scheduled each month by colleges/universities, bookstores, and nonprofits in Silicon Valley, Santa Cruz, and the greater San Francisco/Berkeley area. A schedule of readings taking place in our area is posted on the ENGL 131 Google Site. For information on other events, consult the calendar pages of HYPERLINK "http://www.poetryflash.org/"PoetryFlash.org. In your journal note specific details about the poems the poet read, including titles and subjects of individual poems, style, tone, imagery, and 搒chool� or mode of poetics the poet seems most a part of (i.e. traditional, lyric, experimental, hybrid, political, spoken-word, etc.). If you cannot attend a reading in person, you may view a video of a reading posted on sites such as U.C. Berkeley HYPERLINK "http://lunchpoems.berkeley.edu/"揕unch Poems� series. Three ways to keep your reading journal: 1). Keep your journal entries on your computer, and print them out or email them to me as Word files when they are due. 2). Keep your journal as a blog (which you have the option to share with other class members)梡rovide the link to the instructor. 3). Or you can handwrite your journal in a bound notebook and submit the notebook (or Xerox copies) on due dates. If you select option 3, send any sound/video files to the instructor by email or post on the poetry workshop抯 Google Site. Extra Credit: Individual Presentation on a Modern or Contemporary Poem When your it is your group抯 turn to present the week抯 reading assignment, you may request to also give an individual presentation for extra credit (or to include in your Journal/Blog). You can select a poem by a poet whose work you抳e discovered (and enjoyed) in Conversation Pieces or the Autumn House Poetry Anthology, in one of our other text books or from the 揚laylist� in the course calendar. Then give a brief oral presentation in which you read the poem (or poems) aloud and then analyze the poem抯 strengths (and perhaps its weaknesses) for the class. In your presentation, describe and analyze what you found in the poem, (its tone, imagery, diction, figures of speech, prosody, or other aspects of craft) which you judge to make the poem successful You must get the instructor抯 approval for the poem you which you propose to present. Post your presentation materials (slides, notes, etc.) on the ENGL 131 Google Site. Also post materials containing relevant biographic and/or bibliographic information about the poet whose poem you are presenting. You must have completed all required poems as well as reading assignments at the time you request to do extra credit. Students who are not current with their required poetry writing and reading assignments are not eligible to do extra credit projects. Grading Policy 50% of the grade is based upon your completed poetry portfolio. Grades earned for the individual sets of poems are provisional and can be changed until the final portfolio is submitted. 20 % of the grade is based upon the quality of your readings/performances of your poems in class and at the culminating 揚OETRY OUTLOUD!� reading. 10% of the grade is based upon your participation in the workshop, quality of criticism, and any additional poems you complete for the course. 10% of the grade is based on the quality of the presentations and discussions of the weekly assigned reading, lead by your small group. I will report small group grades to group members on portfolio submission due dates. 10 % of the grade is based upon your readings notebook. Your progress over the semester will be factored into your final course grade. A NOTE ON GRADES: In English Department courses, instructors will comment on and grade the quality of student writing as well as the quality of the ideas being conveyed. All student writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs (stanzas). Grades given conform to the English Department and university grading policy. The Department of English is committed to the differential grading scale as defined in the official 无忧短视频 Catalog (揟he Grading System�). Grades issued must represent a full range of student performance: A = excellent; B = above average; C = average; D = below average; F = failure. In English Department courses, instructors will comment on and grade the quality of student writing as well as the quality of ideas being conveyed. All student writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs, stanzas, or poetic form. Grades issued will represent a full range of student performance and will adhere to the following 无忧短视频 academic standards of assessment. Academic Integrity: "Your own commitment to learning, as evidenced by your enrollment at San Jose State University and the University's Integrity Policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the Office of Judicial Affairs." The policy on academic integrity can be found at: HYPERLINK "http://sa.sjsu.edu/judicial_affairs/index.html"http://sa.sjsu.edu/judicial_affairs/index.html AVOIDING PLAGIARISM: Plagiarism is the unacknowledged use of somebody else抯 words or ideas and is considered an instance of academic dishonesty that instructors must report. Repeated instances of plagiarism will result in a student抯 expulsion from the University. You commit plagiarism by buying, stealing, or borrowing a paper or creative work; hiring someone to write a paper or creative work; building on someone抯 ideas without providing a citation; or copying from another source or using a source too closely when paraphrasing. In other words, submit only your own work. To learn how to cite sources accurately and forthrightly, consult your handbook. Academic integrity Students should know that the University抯 HYPERLINK "http://www.sa.sjsu.edu/download/judicial_affairs/Academic_Integrity_Policy_S07-2.pdf"Academic Integrity Policy is availabe at http://www.sa.sjsu.edu/download/judicial_affairs/Academic_Integrity_Policy_S07-2.pdf. Your own commitment to learning, as evidenced by your enrollment at San Jose State University and the University抯 integrity policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the office of Student Conduct and Ethical Development. The website for HYPERLINK "http://www.sa.sjsu.edu/judicial_affairs/index.html"Student Conduct and Ethical Development is available at http://www.sa.sjsu.edu/judicial_affairs/index.html. Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of another as your own, or the use of another person抯 ideas without giving proper credit) will result in a failing grade and sanctions by the University. For this class, all assignments are to be completed by the individual student unless otherwise specified. If you would like to include in your assignment any material you have submitted, or plan to submit for another class, please note that 无忧短视频抯 Academic Policy F06-1 requires approval of instructors. HYPERLINK "http://sa.sjsu.edu/judicial_affairs/index.html" Campus policy in Compliance with the Americans with Disabilities Act HYPERLINK "http://sa.sjsu.edu/judicial_affairs/index.html" "If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities register with the DRC to establish a record of their disability." Dropping and Adding Students are responsible for understanding the policies and procedures about add/drops, academic renewal, etc. HYPERLINK "http://info.sjsu.edu/web-dbgen/narr/soc-fall/rec-324.html"Information on add/drops are available at http://info.sjsu.edu/web-dbgen/narr/soc-fall/rec-324.html . HYPERLINK "http://www.sjsu.edu/sac/advising/latedrops/policy/"Information about late drop is available at http://www.sjsu.edu/sac/advising/latedrops/policy/ . Students should be aware of the current deadlines and penalties for adding and dropping classes. LEARNING GOALS FOR ENGLISH 131: POETRY WRITING Learning Goals: Aug 25 � Oct. 7 (Weeks 1 - 7) To construct clear images which 搒how and don抰 tell.� To write poems that contain vivid and concrete details, implying more than the words literally express. To control the poem抯 diction, using fresh, interesting nouns and verbs. To carefully limit adjectives and other modifiers. To write poems that read clearly at the literal level. To include lucid and memorable metaphors/figures of speech which heighten the language. To write an imaged-based poem whose subject is a family member. To write a poem that experiments with surreal imagery and/or collage of fragments. To write a 揹iscursive� poem in which you 搕hink� out loud about a very limited, particular subject. To practice reading/performing at least one of your new poems, enacting the presentation through your voice. To complete four poems for Set 1 of your portfolio, including the two poem assignments. Learning Goals: Oct. 13 � Nov. 12 (Weeks 8 � 12) To write a poem with lines whose rhythm is controlled by manipulation of grammar and/or syntax. To write in poem in which you consciously control tone. To write a poem in which you control line length and meter. To write a poem in which a word or phrase is regularly repeated. To write a poem that contains variety of interesting 搇anguage events.� To write a poem that in some way invokes a specific landscape or geographical place. To begin to identify the poetry 搗oice� of poets you admire, and to understand what makes such voices distinct梐nd why they appeal to you. To begin to develop a poetry reading/performance 搗oice,� the way you present yourself as a literary persona whose style is recognizably yours. To complete three poems for Set 2 of your portfolio, including the assigned 損oem in the voice and style of another poet or in homage to another poet.� To revise poems from Set 1 as directed by instructor抯 critiques. Learning Goals: (Weeks 13 - 16) To create a whole poem collaged together from fragments. To recognize the basic rhythms of English-language poetry (iamb, trochee, spondee, anapest, dactyl, etc.). To write metrically-based natural-sounding lines (without stilted diction or syntax) in a poem that depends upon sonic repetition. To use assonance, consonance, and alliteration effectively. To use external and internal rhyme effectively. To distinguish types of patterned verse: the sonnet (Petrarchan and Shakespearian), the villanelle, the sestina, the pantoum, the ballad, and 揵lues� form. To write an effective poem in one form of traditional patterned verse or repetitive form. To revise a poem effectively梕ither in open or closed form梒ontrolling the grammar and syntax in an manner which creates interesting 搇inguistic events.� To complete three poems for Set 3 of your portfolio, including one poem in a traditional verse form or which contains a repeated word, phrase, or refrain. To create an effective reading/performance of one poem from Set 3. To revise poems from Set 2 as directed by the instructor. To complete and submit your poetry portfolio, including revisions. ENGL 131: Fall 2011 Workshop Calendar and Reading Assignments梬ith Links NOTE: The calendar lists work assigned by week. The assigned readings will be presented by individual groups and discussed in class on the Monday dates listed below. Following discussion of assigned readings, the workshop of student抯 work will begin. The instructor reserves the right to revise this schedule and to notify students of such revision in a timely manner, e.g., "subject to change, announced at least one class meeting in advance." Presentations of assigned readings will be made by Small Writing Groups in 揇, A, B, C� order. Week 1: Aug. 25Class Orientation. Student Introductions梔ivide into groups. Introduction of poems where 搇anguage events敆elements ranging from imagery to metaphor allusion to irony and ambiguity exert influence on how a reader processes the poem抯 text. Using classroom digital tools: Blogger and ENGL 131: Writing Poetry Google Site. Discussion/samples: Difference between poems written for the page and written to be read aloud or performed (written for the stage). PLAYLIST: Poems and performance for discussion. Tony Hoagland, �HYPERLINK "http://www.writing.upenn.edu/~afilreis/88/america.html"Hard Rain.� HYPERLINK "http://www.poetryfoundation.org/audio/PoetryFoundation.orgPodcast.07.12.06.mp3"Listen to 揌ard Rain.� Bob Dylan, �HYPERLINK "http://www.bobdylan.com/songs/desolation.html"Desolation Row.� YouTube of Dylan singing �HYPERLINK "http://www.youtube.com/watch?v=n0onT5Us4Mk"Desolation Row.� HYPERLINK "http://www.kexp.org/learn/feature_bobdylan.asp"Listen to commentary and Dylan singing �HYPERLINK "http://www.kexp.org/audio/learn/DiscoveringDesolationRow.wma"Desolation Row.� James Tate, �HYPERLINK "http://books.google.com/books?id=EjkBAyHa514C&pg=PA21&lpg=PA21&dq=%22James+Tate%22+%2B+Flight+%2B%22like+a+glum+cricket%22&source=web&ots=s6QejdNbC5&sig=kJKG3KUoLbaYs2hRqmvGxV9krSI&hl=en&sa=X&oi=book_result&resnum=2&ct=result"Flight.� Yusef Komunyakaa, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=171045"Togetherness.� Billy Collins, �HYPERLINK "http://writersalmanac.publicradio.org/index.php?date=2001/12/29"Nightclub.� Listen to Billy Collins read �HYPERLINK "http://ia331343.us.archive.org/3/items/BillyCollinsTheBestCigarette/34_Nightclub_vbr.mp3"Nightclub.� Lois Ann-Yamanaka, � HYPERLINK "http://www.youtube.com/watch?v=BqFat9GlEMM" Boss of the Food,� from Saturday Night at the Palala Theater. Juan Felipe Herrera, � HYPERLINK "http://www.youtube.com/watch?v=W8Ben-1n5zQ" 187 Reasons Mexicans Can抰 Cross the Border.� Allen Ginsberg, � HYPERLINK "http://www.youtube.com/watch?v=MVGoY9gom50&feature=related" Howl pt. 1� Anne Waldman, � HYPERLINK "http://www.youtube.com/watch?v=6DSThugrJ-M" Fast Speaking Woman� JOURNAL/BLOG EXERCISE: Comment on your three top favorite poems or poetry performances from the Week 1 Playlist. Week 2 Sept. 1 Week 2 Sept. 1 ContinuedMeet in small writing groups to share poems brought to class and to practice using the Incubator classroom technologies. ASSIGNED READING: PC (Poet抯 Companion): 揥riting and Knowing,� 19 � 29. Present poems from PLAYLIST (Week 1). (PRESENTERS/DISCUSSION LEADERS: GROUP D) PLAYLIST: Susan Mitchell, �HYPERLINK "http://www.loc.gov/poetry/180/140.html"The Dead,� Poet抯 Companion (PC) 24. David Lee, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/16766"Loading a Boar,� PC 25. Ellery Akers, �HYPERLINK "http://books.google.com/books?id=skuaq3033OoC&pg=PA25&lpg=PA25&dq=%22What+I+Do%22+%2B%22Ellery+Akers%22+%2B+I+drive&source=web&ots=3Kd0u84HjH&sig=p_KSGc16Mhxqma-u3vZUJ4eDxLo&hl=en&sa=X&oi=book_result&resnum=1&ct=result" \l "PPA28,M1"What I Do,� PC 25 � 28 WORKSHOP: New Poems from Group A. JOURNAL/BLOG EXERCISE: Choose one of the poems from the Week 2 PLAYLIST and comment on why it works. Week 3 Sept. 8Visiting poet Sally Ashton reads from her poems. Discusses elements of reading and performing poetry with the instructor. PLAYLIST: Sharon Olds, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=178285"My Son the Man,� RS 3 �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=176442"I Go Back to May 1937 Watch Sharon Olds read �HYPERLINK "http://www.pbs.org/wgbh/poetryeverywhere/olds.html"I Go Back to May 1937.� HYPERLINK "http://images.google.com/imgres?imgurl=http://www.bbc.co.uk/radio4/womanshour/01/media/Sharon-Olds247x165.jpg&imgrefurl=http://www.bbc.co.uk/radio4/womanshour/01/2006_42_thu.shtml&h=1369&w=2049&sz=103&hl=en&start=1&tbnid=DNFKhkTBskWz0M:&tbnh=100&tbnw=150&p"Listen to Sharon Olds read a series of poems. WORKSHOP: New poems from group B. JOURNAL/BLOG EXERCISE: Select one of the poems by Sharon Olds and explain why you do or do not like the poem and/or her performance of it Week 4 Sept. 15.READINGS: RS (Real Sofisticashun): 揂ltitudes, a Homemade Taxonomy,� 1 � 20. (PRESENTERS/DISCUSSION LEADERS: Group A) PLAYLIST: Yusef Komunyakaa, �HYPERLINK "http://www.ibiblio.org/ipa/poems/komunyakaa/tu_do_street.php"Tu Do Street� HYPERLINK "http://www.cortlandreview.com/features/millennium/index.html"Listen to Yusef Komunyakaa read a number of his poems. Galway Kinnell, �HYPERLINK "http://fray.slate.com/discuss/forums/thread/1405940.aspx"Sheffield Ghazal 4: Driving West.� Wallace Stevens, �HYPERLINK "http://writersalmanac.publicradio.org/index.php?date=2002/12/01"The Well Dressed Man With a Beard.� Mary Ruefle, �HYPERLINK "http://suppleamounts.blogspot.com/2008/03/double-ruefle.html"Trust Me, �HYPERLINK "http://bothellpoets.blogspot.com/"A Poem By Dean Young,� CP 152. Dean Young assorted poems including �HYPERLINK "http://www.ndsu.edu/instruct/cinichol/CreativeWriting/423/YoungDean2.htm"Even Funnier Looking Now.� Douglas Goetsch, �HYPERLINK "http://www.janestreet.com/poems/firstpresent.html"Unbelievable Story.� WORKSHOP: New poems from Group C. JOURNAL/BLOG EXERCISE: Make notes analyzing one of the poems in the Playlist in terms of Tony Hoagland抯 taxonomy of Image, Diction, and Rhetoric. Why do you admire梠r not admire梩he poem you抳e selected to analyze. Week 5 Sept. 22 Week 5 Sept. 22 ContinuedREADINGS: PC 揟he Family: Inspiration and Obstacle,� 30 � 38; 揑mages, 85 � 93). RS �HYPERLINK "http://www.graywolfpress.org/Related_Content/Book_Excerpts/Excerpt_from_Real_Sofistikashun/"Self-Consciousness,� 61 � 67. (PRESENTERS/DISCUSSION LEADERS: Group B) PLAYLIST: Li-Young Lee, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=171752"The Gift,� PC 35 � 36. Philip Levine, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=179090"You Can Have It,� PC 38 � 39; HYPERLINK "http://www.ibiblio.org/ipa/poems/levine/what_work_is.php"What Work Is.� Lawrence Ferlinghetti, �HYPERLINK "http://ww2.lafayette.edu/~hollidac/ferlinghetti2.html"In Goya抯 Greatest Scenes We Seem to See,� RS 64; �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=171598"I Am Waiting.� HYPERLINK "http://www.lannan.org/lf/rc/event/lawrence-ferlinghetti/"Listen to Lawrence Ferlinghetti read in Santa Fe, 2003 (intro by Quincy Troupe). Robert Hayden, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=175758"Those Winter Sundays,� CP 223. Patrick Phillips, �HYPERLINK "http://www.amazon.com/gp/reader/0820331198/ref=sib_dp_pop_sup?ie=UTF8&p=random" \l "reader-link"Those Georgia Sundays,� CP 224. Jane Kenyon, �HYPERLINK "http://katebenedict.com/lectio/kenyon.html"A Boy Goes Into the World,� CP 227. Karen Swenson, 揂 Girl Goes Into the World,� CP 228. Josephine Miles, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=176189"Belief.� HYPERLINK "http://www.californiareport.org/domains/californiareport/archive/R612221630/g"Listen to Gary Soto read, �HYPERLINK "http://www.tatteredcoat.com/archives/2005/04/16/national-poetry-month-gary-soto/"Oranges.� HYPERLINK "http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=3447"Watch Gary Soto give a reading. WORKSHOP: New poems from Group D. JOURNAL/BLOG EXERCISE: Analyze two poems you read during the week as to how they employ image, diction, and rhetoric (using Tony Hoagland抯 taxonomy). Suggest which element is dominant in each of the poems you抳e selected. The poems can be from the assigned reading, the PLAYLIST, or poems you found on your own. At least two of the three poems you read should be written since 1900梐fter 1950 even better. (You might share these poems with the class on your personal blog or post them on class Google Site.) Week 6 Sept. 29 Week 6 Sept. 29 ContinuedSept 26: READINGS: PC 揝imile and Metaphor,� 94 - 103. RS 搼Tis Backed Like a Weasel,挃 21 � 32. (PRESENTERS/DISCUSSION LEADERS: Group C.) PLAYLIST: Sharon Olds, �HYPERLINK "http://www.geocities.com/soho/lofts/5596/poets/olds.htm"Feared Drowned,� PC 95 � 96. Jack Gilbert, �HYPERLINK "http://polymexina.livejournal.com/tag/jack+gilbert"Finding Something,� PC 97 � 98, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=172182"Michiko Dead,� PC 99. Robert Lowell, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15280"For the Union Dead.� Czeslaw Milosz, �HYPERLINK "http://www.boston.com/globe/search/stories/nobel/1980/1980q.html"The Fall.� HYPERLINK "http://www.lib.berkeley.edu/MRC/audiofiles.html" \l "milosz"Listen to Czeslaw Milosz reading, translated by Robert Hass and Robert Pinsky. Billy Collins, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=176054"Man in Space.� Watch a video of Billy Collins� �HYPERLINK "http://www.youtube.com/watch?v=RJjOKVxNdaM"Man in Space.� Billy Collins, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=176048"Workshop.� (We抣l HYPERLINK "http://music.download.com/billycollins/3600-8207_32-100467105.html"listen in class if we have time.) Laura Kasischke, �HYPERLINK "http://www.poemhunter.com/poem/kitchen-song/"Kitchen Song,� �HYPERLINK "http://central.wmrhsd.org/faculty/facultySubpage.asp?pageID=912&facultyID=332&fromNav=True"A Long Commute,� RS p. 27. John Donne, �HYPERLINK "http://www.luminarium.org/sevenlit/donne/flea.php"The Flea.� Robert Hass, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=179752"Interrupted Meditation.� WORKSHOP: New poems from Group A. JOURNAL/BLOG EXERCISE: Analyze one of the poems you read, listing important images and details. Describe how the author抯 self-consciousness is evident in the poem, and how you think it alters how the poem might have been written if the poet was less self-conscious, less aware of the act of writing a poem. How can you read/perform such a poem, using its self-consciousness as an artistic advantage? (EXTRA CREDIT: Create a sound or video file of you experimenting with performing one of your poems.) Week 7 Oct. 5Week 7 READINGS: PC 揚oetry of Place,� 74 � 81. RS �HYPERLINK "http://www.viterbo.edu/perspgs/faculty/WStobb/455threetenors.htm"Three Tenors,� 33 � 60. (PRESENTERS/DISCUSSION LEADERS: Group D) PLAYLIST: Robert Pinsky, excerpt from �HYPERLINK "http://www.npr.org/templates/story/story.php?storyId=5551502"An Explanation of America,� �HYPERLINK "http://www.pbs.org/newshour/bb/poems/july-dec02/9-11_9-11.html"9/11,� �HYPERLINK "http://www.ibiblio.org/ipa/poems/pinsky/at_pleasure_bay.php"At Pleasure Bay,� �HYPERLINK "http://3quarksdaily.blogs.com/3quarksdaily/2007/04/samurai_song_by.html"Samurai Song.� Listen/watch Robert Pinsky read poems. Robert Hass, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=178696"Dragonflies Mating,� �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177014"Meditation at Lagunitas� CAP 199 � 200, �HYPERLINK "http://www.harperacademic.com/catalog/excerpt_xml.asp?isbn=0880012129"Spring Drawing.� Louise Gluck, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=179759"Mock Orange,� CAP 156; �HYPERLINK "http://www.poemhunter.com/poem/love-poem-5/"Love Poem�; �HYPERLINK "http://famouspoetsandpoems.com/poets/louise_gluck/poems/15781"Untrustworthy Speaker�; HYPERLINK "http://www.poemhunter.com/i/ebooks/pdf/louise_gluck_2004_9.pdf"Internet collection of Louis Gluck poems. Charlie Smith, �HYPERLINK "http://canyon23.net/kbl/archives/2006/03/index.html"The Palms,� PC 76; �HYPERLINK "http://www.nortonpoets.com/ex/smithcheroin.htm"Heroin.� Gary Young, �HYPERLINK "http://www.democraticunderground.com/discuss/duboard.php?az=view_all&address=105x6846506"Our Life in California, PC 78. WORKSHOP: New poems from Group B. Visiting Guest poets, Nils Peterson, will give performance demonstration and take part in workshop of student pieces. JOURNAL/BLOG EXERCISE: Which one of the three tenors did you enjoy most? ? Why? Write the opening lines of a poem of place in the style of Pinsky, Hass, or Gluck. (EXTRA CREDIT: Read/perform your poem and save as a sound file. Play it back for yourself. How does it sound to you?) Week 8 Oct. 13 Week 8 Oct. 13 ContinuedSET ONE DUE (and Readings Journal pt. 1): READINGS: PC 揝top Making Sense: Dreams and Experiments,� 129 - 137. RS �HYPERLINK "http://www.cortlandreview.com/issue/33/hoagland_e.html"Fragment, Juxtaposition, Completeness,� 145 � 162. (PRESENTERS/DISCUSSION LEADERS: Group A) PLAYLIST: Katie Ford, �HYPERLINK "http://vnweb.hwwilsonweb.com.libaccess.sjlibrary.org/hww/results/getResults.jhtml?_DARGS=/hww/results/results_common.jhtml.33"Last Breath in Snowfall.� RS 150 (excerpt); �HYPERLINK "http://vnweb.hwwilsonweb.com.libaccess.sjlibrary.org/hww/results/getResults.jhtml?_DARGS=/hww/results/results_common.jhtml.33"Last Breath with No Proof.� Gary Snyder, �HYPERLINK "http://books.google.com/books?id=2Sl7sBlDoy4C&pg=PA14&lpg=PA14&dq=%22gary+snyder%22+%22trail+crew+camp+at+bear+valley%22&source=web&ots=EFwQl319jw&sig=tk_m5CKWe6ekyZZbIcmjxqdEtbM" \l "PPA14,M1"Trail Crew Camp at Bear Valley�� and other poems from The Back Country. RS 151 (excerpt). Gillian Conoley, �HYPERLINK "http://vnweb.hwwilsonweb.com.libaccess.sjlibrary.org/hww/results/external_link_maincontentframe.jhtml?_DARGS=/hww/results/results_common.jhtml.42"Tincture of Pine.� Allen Grossman, �HYPERLINK "http://littlereview.blogspot.com/2008/07/poem-for-monday_27.html"The Piano Player Explains Himself, RS 161. Jorie Graham, �HYPERLINK "http://vnweb.hwwilsonweb.com.libaccess.sjlibrary.org/hww/results/getResults.jhtml?_DARGS=/hww/results/results_common.jhtml.33"For one must want/to shut the other抯 gaze.� Richman, Jan, �HYPERLINK "http://books.google.com/books?id=skuaq3033OoC&pg=PA132&lpg=PA132&dq=%22you+ve+changed+dr+jekyll%22&source=web&ots=3JkZv93HmE&sig=i8EfMCJvpjMEjDquAWkm3S5Ge7E"You抳e Changed Dr. Jekyll,� PC 132. James Tate, �HYPERLINK "http://famouspoetsandpoems.com/poets/james_tate/poems/20110"Goodtime Jesus,� �HYPERLINK "http://www.americanpoems.com/poets/jamestate/13114"Restless Leg Syndrome.� HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15582"Listen to a reading of 揜estless Leg Syndrome.� Michael Palmer, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15666"Sun,�; �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15665"Who Is to Say.� WORKSHOP: New poems from Group C. JOURNAL/BLOG EXERCISE: Which poem that you read (or heard) this week appeals to you the most? Why? What do you think of strange, experimental, or fragmented poems?Week 9 Oct. 20READINGS: PC 揟he Shadow,� 56 � 61; 揤oice and Style,� 115 - 128. RS 揟wo Roads Diverged,� 69 � 80. (PRESENTERS/DISCUSSION LEADERS: Group B) PLAYLIST: Corrine Hales, �HYPERLINK "http://didhereallyjustsaythattome.blogspot.com/2008/07/sunday-morning.html"Sunday Morning.� PC 60 � 61. Patricia Smith, �HYPERLINK "http://web.bu.edu/agni/poetry/print/2002/56-smithp.html"Skinhead,� PC 124 � 126. HYPERLINK "http://voices.e-poets.net/SmithP/"Listen to Patricia Smith read 揝kinhead.� Jane Kenyon,� HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15920"Having it Out With Melancholy,� PC 58 � 59. Lucille Clifton, �HYPERLINK "http://englishmatters.gmu.edu/issue1/video/body_clifton.html"homage to my hips,� PC 117. William Matthews, �HYPERLINK "http://iris.nyit.edu/arthistory/ARTJ301/poetry/Blues.htm"Blues for John Coltrane, Dead at 41�; �HYPERLINK "http://capa.conncoll.edu/matthews.rising.htm" \l "icehouse"The Icehouse, Pointe au Baril, Ontario�; �HYPERLINK "http://capa.conncoll.edu/matthews.rising.htm" \l "moving"Moving Again.� Larry Levis, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/16103"The Widening Spell of the Leaves,� �HYPERLINK "http://www.blackbird.vcu.edu/v4n2/poetry/levis_l/1967.htm"In 1967,� �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177469"The Oldest Living Thing in L.A.,� �HYPERLINK "http://www.blackbird.vcu.edu/v3n2/poetry/levis_l/poem.htm"Poem Ending With a Hotel On Fire.� Caesar Vallejo, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15870"Black Stone Lying on a White Stone,� tr. Robert Bly Jack Spicer, �HYPERLINK "http://epc.buffalo.edu/authors/spicer/lorcaletter.html"Second letter to Federico Garcia Lorca.� WORKSHOP: New or revised poems from Group D. JOURNAL/BLOG EXERCISE: Write a series of fragments in which you mix quoted lines from the poetry you抳e read this week with poetry or prose of your own. Let the tone of what you write become jagged and complex. (EXTRA CREDIT: Make a recording of you reading a fragmented poem in the style of one of the poets you抳e read/listened to this week. What is your impression of your reading? Explain.) Week 10 Oct. 27 Week 10 Oct. 27 Continued READINGS: PC 揟he Music of the Line,� 104 - 114. RS 揝ad Anthropologists,� 83 � 106. (PRESENTERS/DISCUSSION LEADERS: Group C) PLAYLIST: Denise Levertov, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15370"The Mutes,� �HYPERLINK "http://books.google.com/books?id=skuaq3033OoC&pg=PA108&lpg=PA108&dq=%22denise+levertov%22+%22where+is+the+angel%22&source=web&ots=3JkZxcaLeG&sig=iSpa14x4PqH5k33mvnKtFrI6so8" \l "PPA108,M1"Where Is the Angel,� PC 108. Louise Gluck, �HYPERLINK "http://beetbabies.blogspot.com/2006/05/poem-of-day-2.html"Purple Bathing Suit, 揜S 86. Jack Gilbert, �HYPERLINK "http://scoplaw.blogs.com/scoplaw/2004/04/jack_gilbert.html"Married, other poems,� RS 89. Frank O扝ara, �HYPERLINK "http://fuckin-a.livejournal.com/305670.html"Les Etiquettes Jaunes,� RS 94, �HYPERLINK "http://www.poetrysociety.org/journal/articles/tributes/ohara.html"Memorial Day, 1950,. �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=171383"Poem.� Peter Richards, �HYPERLINK "http://www.slope.org/archive/one/issue_one.html" \l "richards"Which Oval Her Ministry,� RS 96. Lewis Warsh, �HYPERLINK "http://tribes.tribe.net/confetta/thread/a2d56ae0-cc29-47b9-b809-abff6ad6eaed"More Than You Know,� RS 102 � 103. Anne Carson, from The Beauty of the Husband, �HYPERLINK "http://www.randomhouse.com/knopf/authors/carson/poem.html"Tango II,� �HYPERLINK "http://www.fort.org/carson_xii.html"Tango XII,� �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=175753"Father抯 Old Blue Cardigan.� Galway Kinnell, �HYPERLINK "http://plagiarist.com/poetry/3103/"Oatmeal,� CP 174 - 176. Margaret Gilbert, 揈ating Oatmeal,� CP 177 � 178. Philip Schultz, �HYPERLINK "http://writersalmanac.publicradio.org/index.php?date=2007/06/19"What I Like and Don抰 Like.� WORKSHOP: New or revised poems from Group A. JOURNAL/BLOG EXERCISE: Write a short uncensored letter to a dead poet (a la Jack Spicer抯 letter to Lorca) in which you describe something about your dark side and connect letting out your dark side with the voice and style in your poetry. Whose work do you prefer, William Matthews or Larry Levis? Why? Week 11 Nov. 3 Week 11 Nov. 3 READINGS: PC 揜epetition, Rhythm, and Blues� 149 � 158; RS 揚olka Dots, Stripes, and Plaids,� 129 � 144. (PRESENTERS/DISCUSSION LEADERS: Group D) PLAYLIST: William Dickey, �HYPERLINK "http://books.google.com/books?id=PO6Fo5geGFQC&pg=PA30&lpg=PA30&dq=%22Chants%22+%2B+%22William+Dickey%22&source=web&ots=FNxjPm_Cdx&sig=LrvoJGOBn3v0sSEDomCBeIFkJzE&hl=en&sa=X&oi=book_result&resnum=1&ct=result" \l "PPA30,M1"Chants,� PC 155 � 156. Galway Kinnell, �HYPERLINK "http://www.legacy-project.org/index.php?page=lit_detail&litID=95"When the Towers Fell;� HYPERLINK "http://downloads.newyorker.com/mp3/060911on_kinnell.mp3"listen to a reading of 揥hen the Towers Fell.� Anne Waldman, �HYPERLINK "http://www.geocities.com/cailinliet/fastwoman.html"Fast Speaking Woman;� HYPERLINK "http://mediamogul.seas.upenn.edu/pennsound/authors/Waldman/Battery/Waldman-Anne_01_Fast-Speaking-Woman_Battery_1974.mp3"listen to a reading of 揊ast Speaking Woman.� Etheridge Knight, �HYPERLINK "http://www.poemhunter.com/poem/a-poem-for-myself/"A Poem for Myself,� PC 156 � 157. Sandra McPherson, �HYPERLINK "http://books.google.com/books?id=skuaq3033OoC&pg=PA157&lpg=PA157&dq=%22sandra+mcpherson%22+%22bad+mother+blues%22&source=web&ots=3JkZA86DfK&sig=kMP0eFtHB1saXOaQkxJ2aUmJHO4" \l "PPA157,M1"Bad Mother Blues,� PC 157 � 158. Juan Felipe Hererra, �HYPERLINK "http://labloga.blogspot.com/2007/11/187-reasons-mexicanos-cant-cross-border.html"187 Reasons Mexican抯 Can抰 Cross the Border.� Video of Juan Felipe Herrera reading �HYPERLINK "http://www.youtube.com/watch?v=W8Ben-1n5zQ"187 Reasons Mexicans Can抰 Cross the Border.� Barbara Ras, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15239"You Can抰 Have It All.� Gertrude Stein, from Tender Buttons �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/19344"A Box,� RS 130; �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/19346"A Chair;� �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/19346"A Plate.� John Ashbery, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15461"Into the Dusk-Charged Air,� RS 132 - 133. Lyn Hejinian, �HYPERLINK "http://www.markszine.com/403/lhind.htm"Eleven Eyes.� Michael Palmer, �HYPERLINK "http://joshcorey.blogspot.com/2003/01/john-erhardt-wrote-me-long-considered.html"Autobiography 2 (hellogoodby) with commentary,� RS 138 � 139. WORKSHOP: New or revised poems from Group B. JOURNAL/BLOG EXERCISE: Which of the poems that you read this week appealed to you most? Aside from content, which poems appealed to the most because of their style? Try writing the opening of a poem in a chant or 揵lues� style.Week 12 Nov. 10 Set Two Due (and Readings Journal pt. 2) READINGS; RS 揙n Disproportion,� 107 � 127. (PRESENTERS/DISCUSSION LEADERS: Group A) PLAYLIST: Horace, HYPERLINK "http://books.google.com/books?id=1L-d9oUbgjYC&pg=PA114&lpg=PA114&dq=Rectius+Vives+%2BHorace+%2BThe+proper+course+in+life&source=web&ots=3_BNQOdGtA&sig=fiOkNLZlDIp82DUznlBpyZ19PDo&hl=en&sa=X&oi=book_result&resnum=7&ct=result" \l "PPA114,M1"Rectius vives,� RS 108 � 109. William Carlos Williams, �HYPERLINK "http://oldpoetry.com/opoem/11935-William-Carlos-Williams-Pastoral"Pastoral,� �HYPERLINK "http://www.cscs.umich.edu/~crshalizi/Poetry/Williams/Love_Song"Love Song,� HYPERLINK "http://www.cscs.umich.edu/~crshalizi/Poetry/Williams/Love_Song"link to other poems by William Carlos Williams.� HYPERLINK "http://writing.upenn.edu/pennsound/x/Williams-WC.html"Listen to William Carlos Williams reading. Wallace Stevens, �HYPERLINK "http://www.poemhunter.com/poem/bantams-in-pine-woods/"Bantams in Pine Wood,� �HYPERLINK "http://www.cs.rice.edu/~ssiyer/minstrels/poems/459.html"Two Figures in a Dense Violent Light,� RS 116; �HYPERLINK "http://poetry.poetryx.com/poems/5316/"Sea Surface Full of Clouds.� Denis Johnson, �HYPERLINK "mhtml:file://C:\\Users\\Alan%20Soldofsky\\Documents\\2007%20Fall\\ENGLISH%20131\\Syllabus%20ENGL131%20F07.web1.mht!https://poets.org/viewmedia.php/prmMID/19655"Heat,� �HYPERLINK "mhtml:file://C:\\Users\\Alan%20Soldofsky\\Documents\\2007%20Fall\\ENGLISH%20131\\Syllabus%20ENGL131%20F07.web1.mht!https://poets.org/viewmedia.php/prmMID/19654"The White Fires of Venus.� HYPERLINK "http://www.lannan.org/lf/rc/event/denis-johnson/"Listen to Denis Johnson reading. C.K. Williams, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15874"Tar,� �HYPERLINK "http://www.nationalbook.org/nba2003_ckwilliams.html" \l "excerpt"The Singing & other poems.� HYPERLINK "http://www.kcrw.com/etc/programs/bw/bw070426ck_williams"Listen to an interview with C.K. Williams. WORKSHOP: New or revised poems from Group C. JOURNAL/BLOG EXERCISE: Which of the poems you read during this week appealed to you most? Which poet抯 style do you think you抎 want to influence your style of voice? Why? (EXTRA CREDIT: Practice reading/performing a favorite poem aloud. Make an audio file of yourself and play it back for yourself. What do you like about your reading? What do you want to improve?) Week 13 Nov. 17 Week 13 Nov. 17 READINGS: PC 揗eter, Rhyme, and Form,� PC 138 � 150. (PRESENTERS/DISCUSSION LEADERS: Group B) PLAYLIST: Academy of American Poets: HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/5791"Sonnet Page. Billy Collins, �HYPERLINK "http://www.billy-collins.com/2005/06/sonnet_billy_co.html"Sonnet.� Robert Frost, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15731"To Earthward:� �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15718"Design;� HYPERLINK "http://www.ketzle.com/frost/"link to other poems by Robert Frost James Wright: �HYPERLINK "http://plagiarist.com/poetry/2151/"Saint Judas.� William Wordsworth, �HYPERLINK "http://en.wikipedia.org/wiki/The_world_is_too_much_with_us"The World is Too Much with Us,� CP 57. Marvin Bell, �HYPERLINK "http://muse.jhu.edu.libaccess.sjlibrary.org/journals/prairie_schooner/v080/80.2bell.pdf"Variation on a Theme by Wordsworth,� CP 58. Molly Peacock, �HYPERLINK "http://rpo.library.utoronto.ca/poem/2975.html"The Lull,� PC. Elizabeth Bishop, �HYPERLINK "http://www.completeclassics.com/p/m/poem.asp?poem=29303&poet=6705&num=44&total=67"Sonnet (1928);� �HYPERLINK "http://plagiarist.com/poetry/3020/"Sonnet� (1979); �HYPERLINK "http://plagiarist.com/poetry/59/"The Sandpiper.� Lloyd Schwartz commentary on 揝onnet� 1979, HYPERLINK "http://www.theatlantic.com/unbound/poetry/soundings/bishop.htm"Atlantic Unbound. Robert Lowell, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15287"History.� Eavan Boland, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/19487"Atlantis桝 Lost Sonnet.� Ted Berrigan, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/16355"A Certain Slant of Sunlight.� WORKSHOP: New or revised poems from Group D. JOURNAL/BLOG EXERCISE: Get caught up with your personal Blog/Journal. Write about a poem which you find to be 揳ngular� or 揹isproportional.� Nov. 24THANKSGIVING BREAK Week 14 Dec. 1 READINGS: PC 揤illanelle, Pantoum, Sestina,� 161 � 170. RS 揊ashion Victims,� 189 � 191. (PRESENTERS/DISCUSSION LEADERS: Group C.) PLAYLIST: Dylan Thomas, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/5796"Do Not Go Gentle Into That Good Night,� Poets.org Villanelle page. Poets.org HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/5792"Sestina page. Poets.org HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/5786"Pantoum page. Carolyn Kizer, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15246"Parents� Pantoum,� Martha Collins, �HYPERLINK "http://dervala.net/2004/03/21/the-story-we-know/"The Story We Know,� PC 162. Tom Lux, �HYPERLINK "http://books.google.com/books?id=skuaq3033OoC&pg=PA164&lpg=PA164&dq=lux+%22all+the+slaves+within+me%22&source=web&ots=3JkZBe8DiN&sig=9s3iqr6BMKBQi4Wz6mdof-_gn7I"All the Slaves, PC 164. Linda Pasten, Scroll down to read �HYPERLINK "http://books.google.com/books?id=skuaq3033OoC&pg=PA164&lpg=PA164&dq=lux+%22all+the+slaves+within+me%22&source=web&ots=3JkZBe8DiN&sig=9s3iqr6BMKBQi4Wz6mdof-_gn7I"Something About Trees,� PC 163. Elizabeth Bishop, �HYPERLINK "http://oldpoetry.com/opoem/12701-Elizabeth-Bishop-A-Miracle-For-Breakfast"A Miracle for Breakfast,� �HYPERLINK "http://www.sccs.swarthmore.edu/users/03/ahead/sestina.html"Sestina,� �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15212"One Art,� Theodore Roethke, �HYPERLINK "http://www.washingtonpost.com/wp-srv/style/books/features/19980809.htm"The Waking.� James Wright: �HYPERLINK "http://plagiarist.com/poetry/1339/"A Blessing;� CP 218; �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177229"Lying In a Hammock At William Duffy抯 Farm In Pine Island, Minnesota;� �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177228"Autumn Begins in Martin抯 Ferry, Ohio.� WORKSHOP: New or revised poems from Group A and B to be selected. Students will give readings/performances. Guest Visiting Poet X to give reading/performance and demonstration of craft of performance techniques. Will participate in the workshop discussion critique of class members� work. JOURNAL/BLOG EXERCISE: Practice your reading or performance of a poem that you want to improve. Make notes for changes in the text, experiment and then revise the text. Record an audio/video file of the new reading. Explain what changes you抳e made and why. 7:00 P.M. Public Reading/Performance by all class members and guest visiting poet. Black Box Theater, Hugh Gillis Hall. (Participation by all class members required.)Week 15 Dec. 8 READINGS: PC 揟he Energy of Revision,� 186 �192. RS �HYPERLINK "http://www.cstone.net/~poems/essahoag.htm"Negative Capability,� 193 � 201; 揟hingitude and Causality,� 163 � 172. PRESENTERS/DISCUSSION LEADERS: Group D. PLAYLIST: William Blake, �HYPERLINK "http://en.wikipedia.org/wiki/London_(Blake)"London.� HYPERLINK "http://www.amielandmelburn.org.uk/collections/nr/03_65.pdf"Essay on Blake抯 revision of 揕ondon.� Jane Hirshfield, �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/19013"This Was Once a Love Poem,� �HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/19012"Waking the Morning Dreamless After a Long Sleep,� �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=171143"The Woodpecker Keeps Returning.� PBS video clip of Jane Hirshfield reading �HYPERLINK "http://www.pbs.org/wnet/foolingwithwords/main_video.html"The Poet;� William Carlos Williams, �HYPERLINK "http://www.poemhunter.com/poem/the-last-words-of-my-english-grandmother/"Last Words of My English Grandmother,� RS 193 � 194. Marianne Moore, �HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=171143"Critics and Connoisseurs,� �HYPERLINK "http://www.hearts-ease.org/library/contemporary/moore/8.html"Silence.� Paul Beatty, 揂bout the Author,� RS 198 - 199. HYPERLINK "http://www.walkerart.net/programs/vaexhib_qt/beattyhuie/beattyhuieqt.html"Listen to Paul Beatty reading. Gerald Stern, � HYPERLINK "http://72.14.253.104/search?q=cache:JQ2CrfPH8GsJ:https://www.uwec.edu/taylorb/120/Syllabus%2520120_files/Samples/Image/image%2520in%2520poetry/Shirt.doc+Stern+%2B%22The+Shirt+Poem&hl=en&ct=clnk&cd=5&gl=us" The Shirt Poem. Lynn Emanuel, � HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=24680" Frying Trout While Drunk.� HYPERLINK "http://wiredforbooks.org/lynnemanuel/" Listen to Lynn Emanuel reading her poem.� Mary Oliver, � HYPERLINK "http://cla.calpoly.edu/%7Esmarx/courses/380/maryoliver/maryoliverpoems2.htm" Hawk� and other poems. Brenda Hillman, � HYPERLINK "http://books.google.com/books?id=buud8iQ-ogkC&pg=PA30&lpg=PA30&dq=%22Brenda+Hillman%22+%2B+%22Night+Watchman%22&source=web&ots=ynnNNpehFe&sig=0i1qVDZgx2LYykYrSs91s2hOLwQ&hl=en&sa=X&oi=book_result&resnum=3&ct=result" Night Watchman,� RS 165 (excerpt). Adrian Blevins, � HYPERLINK "http://www.fishousepoems.org/archives/adrian_blevins/why_the_marriage_failed.shtml" Why the Marriage Failed.� Jean Follain, � HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/16574" Speech Alone,� tr. W. S. Merwin.� Lloyd Schwartz, � HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/19638" A True Poem.� WORKSHOP: New or revised poems from Group C and D to be selected. Students will give readings/performances. FINAL SESSION Dec. 13 4:45 PM Start timeFinal Portfolio Due (and Completed Readings Journal). Final Workshop readings/performances. 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