English 3150: Intermediate Poetry Workshop University of North Texas Spring 2016 3150.001 TR 12:30-1:50 pm AUDB 201
Dr. Anne Keefe Email: [email protected] Office: LANG 408A Office Hours: TR 8:15-9:15 am W 1-2 pm
“It is the pleasure of the workshop that everyone there gets to be a part of such moments of sweetness, when there appears at last a poem that is fine and shapely, where before there was only struggle, and the tangled knot of words. We all partake, then, a little, of the miracle, that is made not only of luck and inspiration and even happenstance, but of those other matters too— technical knowledge and diligent work—matters that are less interesting perhaps, but altogether essential, for such things support the ineffable and moving light of the poem: they are the bedrock of the river.” --Mary Oliver, A Poetry Handbook
Description This course is an intermediate level workshop focusing on the craft of poetry writing. We will engage the art of poetry through technical exercises in sound, meter, form, image, and voice. Structured in a workshop environment, the class discussion will center on student-created texts, with supplemental readings from contemporary poets, and culminate with a final portfolio of revised work.
Required Texts Mary Oliver, A Poetry Handbook: A Prose Guide to Understanding and Writing Poetry (ISBN: 9780156724005) Additional course readings will be provided in our course reader, which I will distribute on the first day of class, or as handouts. Electronic versions of all readings will also posted on our Blackboard site. You are responsible for bringing your reader, handout, or textbook to class when a reading is assigned for that class day.
Course Expectations
Because a workshop depends on student writing as its primary text, this course will require you to consistently generate new writing, along with completing some craft readings by working poets, and preparing written responses for discussion of work by your peers.
You are expected to be on time and prepared for each class session. Absences, tardies, and/or late work will negatively affect your grade, as will a lack of participation or unproductive participation. It is your responsibility to provide printed copies of your work to me and your peers in the workshop.
Creative writing is personal and independent work, and sharing it in a public forum can be intimidating. So, it is absolutely imperative that we all respect the work and contributions of each member of the workshop by listening attentively and providing constructive feedback during workshop and class discussion, as well as in written responses. The different backgrounds, perspectives, styles, and personalities in this workshop group will enrich the writing of each individual, but only if each member is willing to participate and contribute equally. Remember that each work is a work-in-progress and each author is a person in the room.
Assignments and Requirements
Workshop Poem Assignments: The attached schedule of assignments notes each time you are required to turn in a typed draft of a poem for workshop. You will need to bring enough typed copies (19) for each member of the class and myself. Workshop poems must be typed, proofread, and clearly include your name and a title for the piece (staple poems longer than 1 page). If you are absent on your scheduled workshop day, you miss your chance at workshop for that unit. Likewise, if you turn your poem in late, there is no guarantee that we will be able to fit it into the workshop schedule. Written work will not be accepted via email (if you are absent on the day an assignment is due, you may email it to me to show that it was completed on time, but you will need to bring a hardcopy to class the following session).
In-Class Writing Prompts and Form Practice Sheets: We will do some prompted writing exercises in class. You are expected to have a notebook in which you are collecting these exercises (which you may go on to develop for the portfolio). We will also practice scansion and identifying form and meter using worksheets in class and for homework. These count as part of your participation grade.
Workshop Comments: You are expected to come to class with written comments on each person’s draft. As you read, you should be asking questions, writing responses and reactions, and thinking critically about the meaning and effectiveness of the work. Don’t just read for interpretation of what’s happening, also focus on how the author creates meaning through the use of form, tone, diction, artistry, effectiveness of metaphor, etc. As the course progresses you will learn more and more vocabulary to aid you in your responses, but trust your instincts as a reader and share your experience of the work with the author. Written comments should always maintain respect and consideration for the work of the author. Comments such as “I don’t like this” or “this doesn’t work” are vague and unhelpful. Be specific and explain your reactions. Point to the specific moments in the text that lead you to your conclusions. Ask questions about what you don’t understand.
Literary Journal Review: This project gives you a chance to engage with the type of poetry being published right now. You will be assigned a current literary journal to read and review. Each of the journals is located in the current periodicals section (lower level) of Willis Library (detailed instructions on how to find the journal will be handed out in class; you can also ask for assistance at the Library Services Desk on the 1st floor of Willis). You will select a recent issue of the journal to read and then you will write up a short review paper to be posted on our course discussion site. Reviews will need to cite at least one poem from your sample issue, to help you discuss what style of poetry you tend to see in this journal. Reviews should also include a summary of submission guidelines for poetry. Once initial reviews are posted, each student will be required to post three discussion comments on reviews by your peers.
Close Reading Paper: This is a short, formal paper that is a close reading explication of a single poem. You will be given a few poems to chose from, and should use the paper to demonstrate your knowledge of the course concepts. You can also refer to the Vendler reading on “Describing Poems” for strategies.
Final Portfolio: At the end of this course you will compile a final portfolio—basically a folder or envelope containing your work for the course and your revisions of that work. You will need to save all drafts with my comments for this final portfolio so that you can demonstrate that you have revised deeply.
Grading Breakdown
25% Class Participation (reading preparedness, in-class writing and worksheets, workshop comments, and discussion) 20% Poem Assignments (6 poems total) 10% Literary Journal Review and discussion comments 15% Close Reading Paper 30 % Final Portfolio (7 poems total: 6 revised poem assignments + 1 new poem developed from in-class prompts)
Policies and Course Information Blackboard Course Website (BB): Our course website is available via Blackboard by logging in with your UNT ID and password at learn.unt.edu. Assignment sheets for each poem and pdf versions of the selected poetry readings will be posted on this site. You are responsible for the course content and any annoucements posted on Blackboard. (NOTE: if you don’t check your UNT email regularly, please add an email address that you use regularly to your Blackboard user profile so that you don’t miss annoucements or emails from your instructors.) Please do not try to use Blackboard to contact me; use my direct UNT email ([email protected]). Technical issues with Blackboard? First, trouble-shoot by trying BB in another browser (Ex. If you are using Internet Explorer, switch and try it in Safari). If you still have trouble, contact UNT’s IT helpdesk: http://www.unt.edu/helpdesk/bblearn/.
ABSENCE POLICY Unexcused Absences: You are allowed 3 unexcused absences during the semester with no grade penalty. However, these absences can result in missed grades for workshop participation and/or writing assigment deadlines. Students should plan to “save” their allowance of unexcused absences for illness, injury, family responsibilities, minor emergencies, car trouble, and so on. Absences due to these typical causes are not authorized by the Department of English as excusable absences (even with “official” notes from medical professionals, etc.).
Grade Penalty for Excessive Unexcused Absences: A student who exceeds 3 unexcused absences will receive a grade penalty of 1 letter grade per excessive absence on his or her final grade for the course (this penalty begins with the 4th unexcused absence).
*ABSENCE MAKE-UP POLICY: You have the option of earning up to 2 extra unexcused absences by attending the English Department’s Visiting Writer events and writing a short response paper. These events will be annouced in class and on Blackboard.
The following actions may also result in a student being counted as officially absent: • Showing up to class more than 10 minutes late • Failing to attend a mandatory scheduled conference with the instructor • Sleeping during class • Unauthorized use of electronic devices, wearing headphones (see me if you require the use of a laptop for note-taking) • Working on outside materials for other classes • Repeatedly forgetting to bring textbooks to class • Disrupting class: Those disrupting class will be asked to leave. Actions considered misconduct by the University may be found in the UNT Student Code of Conduct. These include disruptions of teaching or research, acts of incivility, violence, harassment, repeatedly talking out of turn or monopolizing class discussion, and unauthorized use of electronic devices.
Excused Absences: 1. In extreme or special cases: Every once in awhile, a student encounters an extreme situation during the semester such as serious illness or death in the immediate family, hospitalization, or other personal emergency. In such cases the student should notify his/her instructors as soon as possible as well as make an appointment with the Dean of Students. The Dean will then verify the seriousness of the situation, and inform the student’s instructors that absences related to the event or situation can be excused. 2. For univeristy-sponsered activities: In accordance with university policy, the only authorized absences are those incurred as a consequence of participating in university- sponsored activities. Authorized absences must be approved in advance by department chairs and academic deans. Within three days after the absence, the student must obtain an authorized absence card from the Dean of Students and present this card in person to his or her instructor. Students with authorized absences may make up the work missed or be given special allowance so that they are not penalized for the absence. All assignments and scheduled work must be turned in before or on the date of the excused absence. 3. For religious holidays: In accordance with State law, students absent due to the observance of a religious holiday may take examinations or complete assignments scheduled for the day missed within a reasonable time after the absence. Travel time required for religious observances shall also be excused. Please see the UNT Student Handbook for information on which holidays or holy days are covered by this policy. State law also requires that students notify their teachers at the beginning of the semester if they expect to miss class on a religious holyday during the semester but want to make up the work missed. Students will be allowed to make up the work provided they have informed their teachers in writing within the first 15 days of the semester. Once again, all assignments and scheduled work must be turned in before the date of the excused absence. University policy requires that students provide their teachers with an official notification card issued by the university if they want to make up any in-class work they missed while they were involved in a religious activity authorized by the university.
ADA/ODA ACCOMMODATIONS: The University of North Texas makes reasonable academic accommodation for students with disabilities. Students seeking accommodation must first register with the office of disability accommodation (ODA) to verify their eligibility. If a disability is verified, the ODA will provide you with an accommodation letter to be delivered to faculty to begin a private discussion regarding your specific needs in a course. You may request accommodations at any time, however, ODA notices of accommodation should be provided as early in the semester as possible in the semester to avoid any delay in implementation. Note that students must obtain a new letter of accommodation for every semester and must meet with each faculty member prior to implementation in each class. For additional information see the office of disability accommodation website at http://www.unt.edu/oda. You may also contact them by phone at 940.565.4323. PLAGIARISM AND ACADEMIC DISHONESTY: The UNT policy manual defines plagiarism as: “(a) the knowing or negligent use by paraphrase or direct quotation of the published or unpublished work of another person without full and clear acknowledgement and (b) the knowing or negligent unacknowledged use of materials prepared by another person or by an agency engaged in the selling of term papers or other academic materials.” (18.1.11). • All writing in this course must be original and written for this class during this semester, and all uses of other writer’s material must be acknowledged and clearly cited in any writing submitted for a grade (this includes drafts). • The consequences for plagiarism at UNT are severe, and may include failure for the course, loss of scholarships, and in some cases dismissal from the university.
SCHEDULE OF READINGS AND ASSIGNMENTS
DATE TOPIC ASSIGNMENTS DUE Week 1 Course Overview and Policies • Billy Collins, “Introduction to Poetry” TUESDAY Ars Poetica: Poems on Poetry Marianne Moore, “Poetry” January 19 Introduction to Unit 1: Style Mark Strand “Eating Poetry” (reader)
THURSDAY Identifying Style • Check that your email address on Blackboard is correct January 21 • Oliver, pp.1-18 and 112-118 • DUE: Poem 1: Kunitz/Lawrence Mash-up Exercise (bring 4 hardcopies to class AND submit 1 electronic copy to BB before class by noon on 1/21)
Week 2 Describing Poems • Helen Vendler, “Describing Poems” (handout, pdf on TUESDAY Introduction to Literary BB) January 26 Journals Project
THURSDAY NO CLASS SESSION • Plan to use this day to complete your library research on January 28 Instructor on Medical Leave your assigned literary journal (see Literary Journal Review assignment sheet for details) Individual Library Time
Week 3 NO CLASS SESSION • DUE: Post a new discussion thread containing your TUESDAY Instructor on Medical Leave literary journal review on our Blackboard course February 2 website by noon on 2/2. Online Literary Journal Reviews posted THURSDAY NO CLASS SESSION • DUE: Post at least three comments on your peer’s February 4 Instructor on Medical Leave literary journal review threads on our Blackboard course website by noon on 2/4. Online Literary Journal Discussion Comments posted
Week 4 Introduction to Unit 2: Meter • Oliver pp. 19-34 TUESDAY and Sound • From the Course Reader: February 9 Matthew Francis, “Ant” Richard Wilbur, “Junk” Annie Finch, “In Cities, Be Alert” THURSDAY Meter and Sound Exercises • DUE: Form Practice Sheet 1 February 11 • Oliver pp. 35-57
Week 5 Workshop Poem 2: Group 1 • DUE: Poem 2: Meter and Sound Exercise (bring 19 TUESDAY hardcopies to class AND submit 1 electronic copy to BB February 16 before class by noon on 2/16)
THURSDAY Workshop Poem 2: Group 2 • DUE: Poem comments on Group 2 poems February 18
Week 6 Workshop Poem 2: Group 3 • DUE: Poem comments on Group 3 poems TUESDAY • Form Practice Sheet 2 February 23
THURSDAY Introduction to Unit 3: Fixed • Oliver, pp. 58-66 February 25 Forms • From the Course Reader: Read “The Villanelle” section, focus on the following poems: Theodore Roethke, “The Waking” Elizabeth Bishop, “One Art” Dylan Thomas, “Do Not Go Gentle…”
Week 7 Workshop Poem 3: Group 1 • DUE: Poem 3: Fixed Form Exercise (bring 19 TUESDAY hardcopies to class AND submit 1 electronic copy to BB March 1 before class by noon on 3/1) • From the Course Reader: Read “The Sestina” section, and the essay by Lewis Turco, “Sestina: The End Game.” Focus on the poem: Elizabeth Bishop, “Sestina” THURSDAY Workshop Poem 3: Group 2 • DUE: Poem comments on Group 2 March 3 • From the Course Reader: Read “The Pantoum” section, focus on the poems: Donald Justice, “Pantoum of the Great Depression” Carolyn Kizer, “Parents’ Pantoum” John Ashbery, “Pantoum”
Week 8 Workshop Poem 3: Group 3 • DUE: Poem comments on Group 3 TUESDAY • From the Course Reader: Read the essay by Raymond March 8 Patterson, “The Blues.” Focus on poems: Ismael Reed, “Oakland Blues” Sherley Anne Williams, “Any Woman’s Blues”
THURSDAY Generative Workshop: Creative • Materials TBA March 10 Jumpstart Exercises
Week 9 SPRING BREAK No class session TUESDAY March 15 THURSDAY SPRING BREAK No class session March 17
Week 10 Introduction to Unit 4: Persona • Oliver, pp. 76-91 TUESDAY and Voice • From the Course Reader: March 22 Robert Browning, “Porphyria’s Lover” Louise Glück, “Purple Bathing Suit” John Hollander, “Adam’s Task”
THURSDAY Workshop Poem 4: Group 1 • DUE: Poem 4: Persona and Voice Exercise (bring 19 March 24 hardcopies to class AND submit 1 electronic copy to BB before class by noon on 3/24)
Week 11 Workshop Poem 4: Group 2 • DUE: Poem comments on Group 2 TUESDAY • Carolyn Forché, “The Poetry of Witness” (handout, pdf March 29 on Blackboard)
THURSDAY Workshop Poem 4: Group 3 • DUE: Poem comments on Group 3 March 31
Week 12 Introduction to Unit 5: Image • Oliver, pp. 92-108 TUESDAY • From the Course Reader: Ezra Pound, “A Retrospect” April 5 and “A Few Don’ts” THURSDAY Generative Workshop on • Materials TBA April 7 Imagery: Make it New!
Week 13 Workshop Poem 5: Group 1 • DUE: Poem 5: Image Exercise (bring 19 hardcopies to TUESDAY class AND submit 1 electronic copy to BB before class April 12 by noon on 4/12)
THURSDAY Workshop Poem 5: Group 2 • DUE: Poem comments on Group 2 April 14
Week 14 Workshop Poem 5: Group 3 • DUE: Poem comments on Group 3 TUESDAY • Denise Levertov, Some Notes on Organic Form April 19 (handout, pdf on BB)
THURSDAY Introduction to Unit 6: Free • Oliver, 67-75 April 21 Verse and Organic Form • From the Course Reader: William Carlos Williams, “A Red Wheelbarrow,” “Poem” A.R. Ammons, “Corsons Inlet” Harryette Mullen, “Sleeping with the Dictionary”
Week 15 Generative Workshop: • DUE: Close Reading Paper (submit 1 electronic copy to TUESDAY Language Games BB before class by noon on 4/26) Apirl 26 Introduction to Final Portfolio • Bring to class: a book that has interesting and unique, even technical, diction (cannot be a book of poetry) THURSDAY Workshop Poem 6: Group 1 • DUE: Poem 6: Free Verse/Organic Form Exercise April 28 (bring 19 hardcopies to class AND submit 1 electronic copy to BB before class by noon on 4/28)
Week 16 Workshop Poem 6: Group 2 • DUE: Poem comments on Group 2 TUESDAY May 3
THURSDAY Workshop Poem 6: Group 3 • DUE: Poem comments on Group 3 May 5
FINAL EXAM PERIOD: PORTFOLIO DROP-OFF
THURSDAY Portfolio Drop-Off Hours • DUE: Final Writing Portfolio May 12 Location: Dr. Keefe’s Office in LANG 408A *WARNING: I will not be able to track you down for Time: 10:30 am-12:30 pm missing items from the portfolio—you will be graded on what you submit.
***ABSOLUTELY NO LATE PORTFOLIOS will be accepted. The Portfolio is a required component of the course; failure to submit a portfolio will result in a failing course grade for the class.***
**If you’d like to turn your portfolio in early, you can drop it at the main English department office on the first floor of the Auditorium building. Ask a staff member to put it in my mailbox.