邢唷��>� ��欹�y� ��_Nbjbj�� 4�遻遻麰b��...8fr�.YZ(6(^^^999沊漍漍漍漍漍漍$v[�(^�罼99999罼^^�諼��9T^^沊�9沊��@H�跭^��p谠"谔��*跧(嘪靀0YJ�鴁�.鴁P跭跭鴁颣�99�99999罼罼�999Y9999��鴁999999999� �: San Jos� State UniversityDepartment of English and Comparative LiteratureEnglish 131: Writing Poetry Section 2 Spring 2012 揥riters Write, Writers Read� Instructor:Sally Ashton, MFAOffice Location:FO 222Telephone:924-4491 Please use email ONLY to contact me. Email:sashton1a@gmail.comOffice Hours:T/Th 9-10:00am, or by appointmentClass Days/Time:Section 02: T/Th Noon-1:15pmClassroom:Health Building 405Course Description This course focuses on work: the work of the poet, and the work of the poem. The work of the poet is to envision, write, and revise using all the poetic tools necessary. What are they? Why choose one over the other? What are contemporary poets using today? The work of the poem is to become more than the sum of its parts, not merely well-chosen words, but art. Great expectations all the way around, but we抣l get to work writing, reading, and discussing poetry, poetic device, your work and discoveries. Prerequisites: Completion of English 71 or by permission of professor. In the Department of English and Comparative Literature, students will demonstrate the ability to: (SLO抯) read closely in a variety of forms, styles, structures, and modes, and articulate the value of close reading in the study of literature, creative writing, and/or rhetoric; show familiarity with major literary works, genres, periods, and critical approaches to British, American and World Literature; write clearly, effectively, and creatively, and adjust writing style appropriately to the content, the context, and the nature of the subject; develop and carry out research projects, and locate, evaluate, organize, and incorporate information effectively; articulate the relations among culture, history, and texts. Course Goals and Student Learning Objectives for Eng 131 Writing Poetry During the term students will: Read and critique assigned poems as models of effective poetry to imitate. (SLO 1, 2, 5) Write and revise at least 10 finished poems during the semester. (SLO 1, 3) Learn to make conscious craft choices to best effect and to describe your choices. (SLO 1, 2, 3, 5) Discuss drafts and revisions of poems with members of your small writing group. (SLO 1, 3) Discuss your poems in a workshop with all class members, led by the instructor. (SLO 1, 3, 5) Discuss the craft of writing poems, principally lyric poetry in free-verse, but including poems in fixed forms. (SLO 1, 2, 5) Read about and discuss contemporary prosody, and consider your poems in this context. (SLO 1, 2, 3) Develop a keen attention to the precision of language that is the foundation of good poetry (SLO 1, 3) Develop a working poetry vocabulary (SLO 1, 3) 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. You will finish the course by completing a short manuscript of your own poems. Required Texts/Readings The principal texts in this class will be students� own poems in addition to readings from the textbooks you are asked to purchase: Textbook Writing Poems, EIGHTH EDITION. Michelle Boisseau; Hadara Bar-Nadav; Robert Wallace. ISBN# 978-0-205-17605-2 The Best American Poetry 2011. Guest Editor, Kevin Young. Series Editor, David Lehman. Course Reader (purchase in class) Class hand-outs Other equipment / material requirements required 1 Mead Composition Book, College Ruled. (Marble) This course ONLY 1 double-pocket folder: This course ONLY Stapler: All work stapled before class Regular internet access The ability to print multiple copies of assignments for workshop, often 20 pages. Classroom Protocol Come to class on time; don抰 check or send texts while in class; use common sense and decent behavior. Please do not eat in class. Neither will I. Assignments and Grading Policy WRITING AND WORKSHOP Each student will revise and submit the following new writing. This includes bringing copies for workshop and participating in workshop. Poetry: 10 completed poems; drafts due as per Course Schedule, below. (SLO #1, 3) First revised group due March 15: Image poem; Descriptive-Meditative poem; Sonnet American; Ode; Fixed form poem. Second group due at the final will include: Ekphrastic poem; New Poem; Three poems written 揑n the manner of� poems from assigned reading. All 10 Poems will be presented in a final, revised portfolio at the end of the semester with first packet poems subject to grade improvement. Daily Reading: Selections chosen from our texts, visiting authors, and selected outside material are required not only for your success in this class, but your success as a writer. Journal responses are required. (SLO 1, 2, 5) Journal: You are required to keep a well-organized journal/notebook in which you will do assigned creative writing activities inside and outside class. You will also record your responses to the assigned readings here. You are urged to write down quotes from your readings that you may want to share with your classmates. You can also use your journal to develop drafts of new material or simply to react to what is working in your imagination as you respond to ideas and work presented by others in the course. Your notebook is due at the midterm and at the end of the semester. You will be graded on the quality and quantity of your entries. (SLO 1,2,3,5) 2 Literary Event Response Papers: You must attend two literary events this semester on or off campus. Write a 1-2 page paper that focuses on your personal response to the event: What did you like and why? What did you learn? What surprised you and why? What did you find interesting and why? What questions did it raise? Would you attend a similar event again? Why or why not? Etc. At the top left of your paper list the title of the event, and the day, time and location. (SLO 3, 5) For information about literary events see: www.litart.org (Center for Literary Arts at 无忧短视频) http://www.pcsj.org/calendar.html (Poetry Center San Jose) http://www.sjsu.edu/english/events (English Department Events listed) Poetryflash.org Bay Area, Northern and Southern California listings and compendium Assignment Format All assignments handed in (except the journal/notebook) should be typed 12 pt. font and include page numbers. Prose is double-spaced; Poetry is single spaced. Use double space between stanzas. Multi-page assignments must be stapled. Your name, my name, the assignment title, and the date single-spaced should be included at the top Left of the first page(MLA format). ***Workshop Procedures: Workshop attendance is required for participating in this class whether your work is under consideration or not. The class will be divided into groups of approximately five students each. These will serve as your workshop groups, W, X, Y, & Z.*** Poems must be distributed, hard copy, to all participants on assigned dates including Me and You(typically 6 copies total). No Exceptions; No email. Workshop dates cannot be changed. I have zero tolerance for late arrival to Workshop and zero tolerance for missing Workshop Days. Grading: Grades will be based on the quality and quantity of writing you do as well as the quality and constructiveness of the criticism offered during the workshops. Grade distribution: Group I (5 poems) due March 15. 40% Group II/Final Portfolio (5 poems plus revisions from Group I) due May 23. 40% Journal, Literary event papers, general participation 20% as outlined including meeting due dates. ENGLISH DEPARTMENT GRADING STATEMENT: In English Department courses, instructors comment on and grade the quality of writing as well as the quality of ideas being conveyed. All your writing should be distinguished by correct grammar and punctuation, appropriate diction and syntax, and well-organized paragraphs. 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. Creative writing, though subject to the instructor's individual subjectivity, can be evaluated according to general standards used to determine how well a piece of writing works. These include: 1) Textual and/or technical competence and eloquence. 2) Imaginative risk. 3) Energy and freshness of language. 4) Effective use of metaphor and other forms of figurative language. 5) Clarity and precision of detail. 6) Capacity for mixed feelings and uncertainty. 7) Effective use of grammar, syntax, rhythm; also meter, rhyme, and other elements of poetic style and form. 8) Naturalness and believability. 9) Appropriateness of style to subject. 10) Compelling audience interest. A: Creative writing that receives an 揂� is likely to: Fulfill all assignment requirements Demonstrate complex, unique and/or insightful approach Function well as a whole Demonstrate engaging voice Incorporate strong word choices Incorporate, where appropriate, striking imagery Lack clich閐 or over-used language Incorporate unusual/unique associations that fit the tone of the piece Lack spelling and punctuation errors, typos, etc. B: Creative writing that receives a 揃� is likely to: Fulfill the assignment requirements Demonstrate insightful approach Function generally well as a whole Demonstrate a generally engaging voice Incorporate some strong word choices Use some concrete imagery Mostly lack clich閐 or over-used language Mostly lack spelling and punctuation errors, typos, etc. C: Creative writing that receives a 揅� is likely to: Meet the assignment requirements Be derivative of other works Not completely function as a whole (some parts may be underdeveloped) Incorporate some strong, and some weaker, word choices Lack concrete imagery Include clich閐 or over-used language Have some spelling and punctuation errors, typos, etc. D: Creative writing that receives a 揇� is likely to: Not fulfill the assignment requirements Not function as a whole Be a cursory response that demonstrates lack of motivation and/or poor understanding of the assignment F: No response. (Note: Graded assignments will be based on this criteria, which will be discussed in class. All assignments, graded and non-graded, will receive written feedback from instructor based on this criteria, as applicable.) **A minimum of one meeting in my office, scheduled by YOU, is required during the semester before the last full week of classes. GOOD teacher/BAD teacher: Attendance and Classroom Policies Meet with Me! I抦 hanging out in my office hours just for YOU! Try and come in throughout the semester to discuss your prose and poetry. An appointment is recommended even during office hours so you don抰 have to wait around. Take advantage of some one-on-one time. Late Work. Late work receives a reduction of 1 grade per class session it is late. If the paper is turned in after the class period on the assigned due date, the essay will be graded down half a letter grade. If you are sick or have to miss class for any other reason on the day something is due, arrange to have a classmate turn it in if you do not want a grade reduction. For extenuating circumstances, I must be contacted before the due date to consider an extension. No Work by Email. No work in my mailbox. No exceptions. I do not accept work by email or in my campus mailbox. If you need to miss a class session, ask a classmate to turn in your classwork and to collect handouts and assignments for you. Otherwise, turn in the paper as 搇ate� next class session. Your Responsibility If You抮e Absent. If you miss class, contact a classmate to get notes, assignments, etc. It is your responsibility to figure out what抯 going on and to show up prepared the next class session. Please do not ask me to do extra things for you if you choose not to come to class. Always bring your journal and required texts to class. These are required for participation. If you抮e not prepared to contribute to the class, be prepared to be asked to leave for the day. Be Fully Present No electronic devices are to be on/used/visible during class. Infractions will result in being dismissed from class. Academic policies You are responsible for reading the 无忧短视频 academic polices available online: HYPERLINK "http://www.sjsu.edu/english/comp/policyforsyllabi.html" http://www.sjsu.edu/english/comp/policyforsyllabi.html Campus Policy in Compliance with the American Disabilities Act If you need course adaptations or accommodations because of a disability, or if you need to make 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 requesting accommodations must register with the HYPERLINK "http://www.drc.sjsu.edu/" Disability Resource Center (DRC) at http://www.drc.sjsu.edu/ to establish a record of their disability. Writing Poetry Seminar English 131, Spring 2012, Course Schedule The schedule is subject to change with advance notice in class and follow-up email. Check it. Abbreviations used in Schedule: 揥P�: Writing Poems; 揃AP� Best American Poetry 2011; 揅R�: course reader BRING assigned texts and Journal to EVERY class. DateHomework Readings, Assignments DUE this dateTopics and ConsiderationsThurs 1/26 Purchase all materials: Texts; Required Journal; Pocket Folder EMAIL me TONIGHT: sashton1a@gmail.com Introduction to the course Review SyllabusQuestionnaireBiosTues 1/31 Bring $$ for Course Booklet AND all required materials. Read: WP Ch. 1(entire chapters are to be read unless otherwise noted) Journal: In classReview Texts Journal instructions 揝tarting Out� In class writingThurs 2/2 Read: CR 揑mage� pg. Image WorkshopTues 2/7DUE: IMAGE poem Read: WP Ch. 2 Journal: Daily Image揥hat is Verse?� Small Groups Poem HandoutThurs 2/9Read: CR 揇escriptive Meditative� & poem handout(2/7) Journal: Daily Image (continue until notified)Structure and surprise: 揇escriptive Meditative� HandoutsTues 2/14 DUE: Descriptive meditative poem Read: WP Ch. 3 and CR Sonnet/scansionScansion, meter, form Armantrout Handout Journal: Lines in iambic pentameterWed 2/15Author Event: Poet Rae Armantrout REQUIRED.7 pm: Reading and book signing. MLK Library 225/229Thurs 2/16Read: Armantrout poems and WP Appendix I, pg 219 Journal: Lines in iambic pentameter 1pm: Rae Armantrout In Conversation with Juliana Spahr.Rae Armantrout Workshop strategies MLK Library 225/229Tues 2/21DUE: Sonnet American WORKSHOPThurs 2/23Read: CR 揟he Ode� and WP Ch. 7 Journal: Lines with Metaphor 揟he Ode� (could be blank verse) and Metaphor.Tues 2/28 DUE: Ode poem Journal: Lines with MetaphorWORKSHOPThurs 3/1 Read: WP Ch. 5 Journal: Rhyming couplets (heroic!)The sound (and look) of sense; Formal poems/formal choices. Repeat or count something.Tues 3/6 DUE: Formal poem Journal: Rhyming quatrains (WP pg. 55)WORKSHOPWed 3/7Author Event: Fiction writer Yiyun Li 7pm: Reading and book signing. ENGR 189Thurs 3/8DUE: Journal I Reading: WP ch. 6Subjects for poetry Handouts for 3/15Tues 3/13 Mid-termNo Class, but�. Prepare poetry packet First Author Event Paper Due 4/3!Class cancelled to comp for 2 required out of class author events. Thurs 3/15DUE: POETRY PACKET, first set: (Image poem, Descriptive-Meditative, Sonnet American, Ode, Formal) CR 揈kphrastic Poetry� and handout 揈kphrastic poetry;� writing in response to art.Tues 3/20REQUIRED: museumMuseum (I hope) Noon-1:15Wed 3/21Author Event: Julia Scheeres, Creative non-fiction. Lurie Chair7pm: Reading and book signing. MLK Library 225/229Thurs 3/22DUE: Ekphrastic poem Read: WP Ch. 10 Journal: WORKSHOP 揊inding the Poem�Spring Break!!!March 26-March 30Spring breakTues 4/3DUE: New Poem and FIRST Literary Event Paper Read: WP Ch. 8 and BAP 揊oreword� and 揑ntroduction BRING: Best American Poetry(BAP)WORKSHOP QUIZ: Vocabulary Voice and Best American PoetryWed4/4Author Event: Juan Felipe Herrera, Poet 7pm: Reading and book signing. MLK Library 225/229Thurs 4/5Read: BAP pg. 1-25 Journal: Top 5 BAP poems In the manner ofTues 4/10 DUE: Poem in the manner of #1 Journal: On writing this poemWORKSHOPThurs 4/12Read: BAP pg. 26-50 Journal: Top 5 BAP poemsTues 4/17 DUE: Poem in the manner of #2 Journal: On writing this poemWORKSHOP4/17Author Event: Geoffrey Wolff: Fiction, Journalist 7pm: Reading and book signing. MLK Library 225/229Wed 4/18Author Event: Geoffrey Wolff: Fiction, Journalist1pm: In Conversation with Tobias Wolff. MLK Library 225/229 Thurs 4/19Read: BAP pg. 51-75 Journal: Top 5 BAP Poems Tues 4/24 DUE: Poem in the manner of #3 Journal: On writing this poemWORKSHOPThurs 4/26DUE: Poems for Review packet (3 in order of importance of critique) Read: WP ch. 11Devising, revising and large workshopTues 5/1Read and critique Group W抯 poems LARGE WORKSHOP- Group WThurs 5/3Read and critique Group X抯 poems Journal: feedbackLARGE WORKSHOP- Group XTues 5/8Read and critique Group Y抯 poems Journal: feedbackLARGE WORKSHOP- Group YThurs 5/10Read and critique Group Z抯 poems Journal: feedbackLARGE WORKSHOP- Group ZTues 5/15LAST DAY OF CLASS DUE: Journal #2; Literary Event Paper #2; Top 5 BAP Self-critique PaperWed 5/23 9:45FINAL 9:45 a.m.DUE: Final poetry packetFinal Exam period: Meet in classroom Poetry Reading TBA Writing Poetry, Eng 131, Section 2. 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