ࡱ> %` bjbj"x"x ;@@M  (\(\(\8`\] $r|_(qqqqIsIsIs$h FIsIsFF qqFT q qF qp_ ?U(\80$3p IswVK{}OIsIsIs\XIsIsIs$FFFF   $P(\   (\    English131: Writing Poetry Prof. Alan Soldofsky Fall 2008 M, W 1:30 2:45 P.M., 111 Clark Hall, soldofsk@email.sjsu.edu Phone: 924-4432 Hours: M, T, W 3:30 5:00 P.M., or by appointment Office: FO 106 COURSE SYLLABUS Course Content /Goals Course Theme: Talking Back to Poetry: Poems in Conversation with Other Poems Have you ever wanted to talk back to a poem? In this course you will write and revise original poetry, including several poems written to be in conversation with other poemsby postmodern and modern poets and by poets from earlier eras. Billy Collins writes that this talk among poets runs continuously back and forth through history, poets from all ages speaking at once in some great parlor of synchronicity. Class members will write at least two poems in which they specifically talk back to or subvert the work of another poet. Class members will also write a poem which includes lines quoted in homage to another poets work. Methods and Procedures In this course students will write and revise original poems, which class members will critique on Wednesdays each week in a workshop. On Mondays, students will discuss the weeks reading assignments (see course calendar), complete unfinished workshop discussions, 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 smaller groups (5 students per group) to discuss rough drafts of poems and 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 and for class members will write poems back to. 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 by jazz musicians in class as well as receive links to texts of poems and recordings of performances on the weekly playlist included in the Course Calendar. Using the Incubator Classrooms Technology We will use the high resolution LCD projector and Smartboard technology available in the  HYPERLINK "http://www.sjsu.edu/asc/classroom_resources/index.htm" Incubator Classroom to screen performances and to view text and mixed media files. We will distribute electronic files of our poems for the workshop (one writing group taking its turn each week). The poems to be discussed will be distributed in advance for students to read; then they will be viewed electronically on the Incubator Classrooms screens during workshops. The instructor will not provide hard copy of the poems in class. We will also experiment with interactive Tablet PCs to assist us in giving the authors their critiques. Learning Objectives: The principal text in this class will be class members original poems published on our workshops 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 workshop blog with members of your small writing group. You are expected to post at least one comment per poem that is discussed. Post your poems on the workshop blog for class electronic discussion outside of class meetings. You are expected to post your poems to the workshop blog a minimum of four times during the semester. Discuss your poems on a periodic basis in a workshop with all class members, led by the instructor (and occasional guest poets). You are expected to have your poems discussed in the workshop at least four times during the semester. Discuss the craft of writing poems, principally lyric poetry in free-verse. Write at least one metrically-based, poem, rhymed poem, and/or poem in a fixed or traditional form. Learn contemporary theories of prosody, demonstrated by the technical craft displayed in your poems. Write three poems modeled upon, addressing, or appropriating features from three published poems by contemporary and/or modern poets. This is how your poems talk back (or become part of a conversation) with other poetry. 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. Each student will give a brief reading from and a report on a twentieth century poet (chosen from the required anthology or from the web site  HYPERLINK "http://www.poets.org/" www.poets.org) whose work has inspired you to write an imitation or homage. You will finish the course by completing a short manuscript of your own poems. Texts 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 Poets Companion. Brown, Kurt and Harold Schechter (eds.).  HYPERLINK "http://www.randomhouse.com/catalog/display.pperl/9780307265456.html" Conversation Pieces. 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. Ryan, Kay.  HYPERLINK "http://www.amazon.com/Niagara-River-Poems-Grove-Poetry/dp/0802142222" The Niagara River. 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: Castillo, Ana.  HYPERLINK "http://www.amazon.com/My-Father-Was-Toltec-Selected/dp/140003499X" My Father Was a Toltec Hoagland, Tony.  HYPERLINK "http://www.amazon.ca/Hard-Rain-Hollyridge-Press-Chapbook/dp/0977229823/ref=sr_1_4/702-3214351-8415204?ie=UTF8&s=books&qid=1186440857&sr=1-4" Hard Rain. Poulin, Al and Michael Waters (Seventh 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 Moyers 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 Areas poetry and literary newsletter. Course Requirements Complete a manuscript of 10 poems that you finished during the semester. 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. 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. 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. 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. Give a short presentation about poem you have read in the Poulin anthology or online. Consult with the instructor before you give you presentation. In your talk, explain in what you like about the it and how you read it, close reading individual lines and passages. Include relevant biographical information about the author and about the poetry the author writes. Due Dates for Submitting Poems Aug. 27: 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 poets voice. Also bring a poem by another poet who youd like to talk back to. Oct. 8: Set 1 containing four completed drafts of new poems. Nov. 5: Set 2 containing three completed drafts of new poems plus revisions of Set 1 Dec. 12: Final portfolio (including completed new poems for Set 3 and revisions of Set 2). Reading reviews. FINAL MEETING 12:15 A.M. (By advance arrangement, revisions of poems Set 2 and 3, to be included in final portfolio.) Submitting Poems for the Workshop One week before the workshop post your poem(s) to the class blog:  HYPERLINK "file:///D:\\My%20Documents\\poetrysjsu.blogspot.com" Poetry91.blogspot.com. 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 Poetry91 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 classin case someone forgets to print it out or the computers in the classroom dont 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 instructors 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 (if help is needed, meeting/emailing group members to help prepare for the discussion.) The instructor will also assist the group in-class during the discussion. The instructor will present several of the poems on the PLAYLIST each week, but group members are encouraged to lead the discussion. (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 are encouraged to use the technology provided in the Incubator Classroom when they lead the discussions. That includes enhancing the discussion with the use of Web sites, Power Point presentations, annotated Word files, and other electronic and Web-based media files. Some assistance may also be provided by the Incubator Classroom technical staff. 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. 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. 8 Four Poems for Set 1: Assignments Write a poem in which you attempt to convince your boyfriend or girlfriend to be with youhowever you want to define that. Think of the poem as your updated version of  HYPERLINK "http://en.wikipedia.org/wiki/The_Passionate_Shepherd_to_His_Love" The Passionate Shepherd to His Love. (You dont have to be specific about your beloveds gender.) Try to persuade the person the poem addresses through your originality, cleverness, wit, playfulness, intensity, sincerity, or all the above. You might even try something as forward as a updated version of To  HYPERLINK "http://rpo.library.utoronto.ca/poem/1386.html" His Coy Mistress. Or even a twist on James Tates  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. Write a poem that presents images of a family member(s) you 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. Base the poem on a family photograph. Or write the poem from the family members point of view. Steal the strategy from a poem youve read to use for yoursand leave as few fingerprints as possible. Let the poems 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. 5 Three Poems for Set 2: Assignment Write a poem in the voice and style of another poet, meant to be found as a lost poem among that poets works. EXAMPLE: Mary Ruefles,  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 poets lines or images in your poem. EXAMPLE: Donald Justices  HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177424" Variations on a Text by Vallejo. Or you can write a parody of another poets work such as Kenneth Kochs  HYPERLINK "http://plagiarist.com/poetry/7848/" Variation on a Theme by William Carlos Williams. SET 3 SUBMISSION DEADLINE: DEC. 12 (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 you may write a poem which uses a repeated word, phrase, or refrain. EXAMPLES: Allen Ginsbergs  HYPERLINK "http://www.writing.upenn.edu/~afilreis/88/america.html" America. Allen Ginbsergs  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 you may 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 its 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 respondor talk back--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. You should place your greatest attention on the poems discussed by the textbook authors each week. Often students write such comments in the margins of their books. 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 may share with other class members. 3). Or you can handwrite your journal in a bound notebook and turn the notebook in on due dates. Presentation on a Modern or Contemporary Poem You are to select a poem by a poet whose work youve discovered (and enjoyed) in Conversation Pieces or the Autumn House Poetry Anthology, in one of our other text books or from the Playlist in the course calendar. You will then give a brief oral presentation in which you read the poem (or poems) aloud and then analyze the poems 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. For extra credit or to fulfill an assignment, you may also write a poem back to the poem youve chosen to present. You must get the instructors approval for the poem you on whom you propose to present. Your presentation must be accompanied by a file of notes, Power Point slides or other materials containing the poem you will be discussing. Post your presentation materials on the ENGL 131 Google Groups. Also post materials containing relevant biographic and/or bibliographic information about the poet whose poem you are presenting. Extra credit will be given to students who recite the poem from memory. The purpose of the exercise is to widen the number of poets whose work class members learn about and who they may want to read more of on their own. Individual presentations begin October 13 (Week 8). There will be two or three presentations scheduled each week. Grading Policy 60% 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. 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 presentation of a poem (and the electronic presentation/notes you provide the class. 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 91 Catalog (The 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 91 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 elses words or ideas and is considered an instance of academic dishonesty that instructors must report. Repeated instances of plagiarism will result in a students 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 someones 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 Universitys  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 Universitys 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 persons 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 91s 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. Workshop Calendar and Reading Assignments with Links NOTE: The calendar lists work assigned by week. The assigned readings will be discussed in class on the Tuesday date listed below. 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." Small Writing Groups will rotate in D, A, B, C order in making presentations/leading discussions about the readings. Learning Goals: (week of) Aug. 25 Oct. 6 To construct clear images that show and dont tell. To write poems that contain vivid and concrete details, which often imply more than they literally say. To control the poems diction, using fresh, interesting nouns and verbs. To carefully limit the use of adjectives and other modifiers. To write poems that read clearly at the literal level. To include in poems lucid and memorable metaphors/figures of speech which heighten the object of comparison. To write a poem that doesnt just describe or explain an emotion but a poem which produces an emotion (a feeling of love for example) in the reader. To write an imaged-based poem whose subject is a family member. To write a poem which experiments with surreal imagery and/or collage of fragments. To write a discursive poem in which you think out loud about a very limited, particular subject. To complete four poems for Set 1 of your portfolio, including the two poems assigned. Week 1 Aug. 25:  First Meeting: Class Orientation. Student Introductionsdivide into groups. PLAYLIST: Introduction of poems where language eventselements ranging from imagery to metaphor allusion to irony and ambiguity exert influence on how a reader processes the poems text. 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 Hard Rain. Bob Dylan,  HYPERLINK "http://www.bobdylan.com/songs/desolation.html" Desolation Row. Watch a clip of Dylan singing  HYPERLINK "http://www.youtube.com/watch?v=wIBoHaaSz2g&mode=related&search=" Desolation Row.  HYPERLINK "http://www.kexp.org/learn/feature_bobdylan.asp" Listen to commentary and Dylan singing  HYPERLINK "http://www.kexp.org/learn/feature_bobdylan.asp" 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.  HYPERLINK "http://en.wikipedia.org/wiki/The_Passionate_Shepherd_to_His_Love" The Passionate Shepherd to His Love and reply poems, CP (Conversation Pieces) 23 - 34. Andrew Marvell,  HYPERLINK "http://rpo.library.utoronto.ca/poem/1386.html" To His Coy Mistress. Annie Finch,  HYPERLINK "http://rpo.library.utoronto.ca/poem/3054.html" A Reply From His Coy Mistress, CP 113. 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. Aug. 27 Meeting: Finish the Aug. 25 PLAYLIST. Demonstration of the Incubator Classroom technology systems. How to use Google Groups and the 91Poets blog. Meet in small writing groups to share poems brought to class and to practice using the Incubator classroom technologies. JOURNAL/BLOG EXERCISE: Write your own reply to one of The Passionate Shepherd to His Love poems in poetry (rhymed or free verse) or prose. Or write your own updated version of To His Coy Mistress. Week 2 Sept. 1: Sept. 3: LABOR DAY Campus Closed READINGS: RS (Real Sofisticashun): Altitudes, a Homemade Taxonomy, 1 20. PRESENTERS/DISCUSSION LEADERS: Group D PLAYLIST: Susan Mitchell,  HYPERLINK "http://www.loc.gov/poetry/180/140.html" The Dead, Poets 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 or revised poems by members of Group A. Week 3 Sept. 8:  READINGS: RS (Real Sofisticashun): Altitudes, a Homemade Taxonomy, 1 20. PRESENTERS/DISCUSSION LEADERS: Group A 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. 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. JOURNAL/BLOG EXERCISE: Analyze at least three poems you read during the week as to how they employ image, diction, and rhetoric (using Tony Hoaglands taxonomy). Suggest which element is dominant in each of the poems youve 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 1900after 1950 even better. You might share these poems with the class on your blog or post them in Google Groups. WORKSHOP: Group B. Week 4 Sept. 15: READINGS: PC The Family: Inspiration and Obstacle, 30 38; Images, 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 Goyas 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, A 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: Group C. JOURNAL/BLOG EXERCISE: Analyze one of the poems you read this listing important images and details. Describe how the authors 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. Also, describe how you become self-conscious when you try to write about a family member. Week 5 Sept. 22:READINGS: PC Simile and Metaphor, 94 - 103. RS Tis Backed Like a Weasel, 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://micro-fiche.net/archives/20" 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. (Well  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://www.wmrfh.org/dcrews/index_files/ContemporaryPoetry.htm" 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: Group D. JOURNAL/BLOG EXERCISE: Analyze how metaphor functions in two poems from the assigned list or playlist, and from one poem you found on your own. Describe whether the dominant function is to bring into the poem something fantastic or inexplicable or to find something in the poem that is an equivalent. In your notes distinguish between the image part of the metaphor (its figurative element) and its object (its literal element). Try making up wild metaphors and conservative ones for the same object.  Week 6 Sept. 29:READINGS: PC Poetry 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. 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.geocities.com/bjlandry_00/Otherwriters/gluckmockorange.html" 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; other  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: Group A. JOURNAL/BLOG EXERCISE: Which of the work of the three tenors are you most attracted to? Why? Write the opening lines of a poem of place in the style of Pinsky, Hass, or Gluck. If you like the poem, you may finish it and include it in your portfolio. You might even try to write a poem about San Jose or Santa Clara Valleythere are not many poems in print yet about our valley.  Week 7 Oct. 6: READINGS: PC Stop 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://www.pshares.org/issues/article.cfm?prmarticleid=7332" Last Breath in Snowfall. RS 150 (excerpt);  HYPERLINK "http://www.pshares.org/issues/article.cfm?prmarticleid=7370" 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://journals.enotes.com/american-poetry-review-journals/111027174" 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://journals.enotes.com/american-poetry-review-journals/20584786" For one must want/to shut the others 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" Youve Changed Dr. Jekyll, PC 132. James Tate,  HYPERLINK "http://famouspoetsandpoems.com/poets/james_tate/poems/20110" Goodtime Jesus,  HYPERLINK "http://famouspoetsandpoems.com/poets/james_tate/poems/20108" Restless Leg Syndrome.  HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15582" Listen to a reading of Restless 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: Group B. JOURNAL/BLOG EXERCISE: Write a series of fragments in which you mix quoted lines from the poetry youve read this week with poetry or prose of your own. Let the tone of what you write become jagged and complex. Dont worry if it doesnt make sense to you. What you write here shouldnt make sensethat is prose sense. DUE DATE Oct. 8: Set One (and Readings Journal pt. 1).  Learning Goals: Oct. 13 Nov. 3 To write a poem with lines whose rhythm is controlled by manipulation of grammar and/or syntax. To write a poem that self-consciously imitates another poets tone, style, and/or rhetoric. To write a 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 in which contains variety of interesting language events. To complete three poems for Set 2 of your portfolio, including the assigned poem in the voice and style of another poet or in homage to another poet. To revise poems from Set 1 as directed. Week 8 Oct. 13: READINGS: PC The Shadow, 56 61; Voice and Style, 115 - 128. RS Two 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 Skinhead. 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. Watch a video of  HYPERLINK "mhtml:file://C:\\Users\\Alan%20Soldofsky\\Documents\\2007%20Fall\\ENGLISH%20131\\Syllabus%20ENGL131%20F07.mht!rtsp://video.vcu.edu/blackbird/v3n2/levis_l/poem_v.rm" 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: Group C. JOURNAL/BLOG EXERCISE: Write a short uncensored letter to a dead poet (a la Jack Spicers 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 9 Oct. 20:  READINGS: PC The Music of the Line, 104 - 114. RS Sad Anthropologists, 83 106. PRESENTERS/DISCUSSION LEADERS: Group C. INDIVIDUAL PRESENTATIONS PLAY LIST: 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://darkdorothy.blogspot.com/2005/03/purple-bathing-suit.html" Purple Bathing Suit, RS 86. Jack Gilbert,  HYPERLINK "http://scoplaw.blogs.com/scoplaw/2004/04/jack_gilbert.html" Married, other poems, RS 89. Frank OHara,  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" Fathers Old Blue Cardigan. Galway Kinnell,  HYPERLINK "http://plagiarist.com/poetry/3103/" Oatmeal, CP 174 - 176. Margaret Gilbert, Eating Oatmeal, CP 177 178. Philip Schultz,  HYPERLINK "http://writersalmanac.publicradio.org/index.php?date=2007/06/19" What I Like and Dont Like. WORKSHOP: Group D. JOURNAL/BLOG EXERCISE: Take a draft of one of your poems and re-write it in: 1). Very long lines; 2). Very short lines; 3). Varied length lines; 4). Regular 3-line stanzas; 5). Regular 5-line stanzas. Then analyze it to see whether it has a more stable or a more angular tone, noting if the tone changes when you change the line length. Then try revising the draft to give the poem a more angular toneor try changing the tone to either dialectical, dialogic, or a surrogate tone (Hoaglands terms). See if you can make Hoaglands distinctions between tones clearer by applying them to your own writing. Or you can pick another poets poem and revise it to change the tonebe sure to credit the original poems author. EXAMPLE: Draft a revised version of Philip Shultzs poem  HYPERLINK "http://writersalmanac.publicradio.org/index.php?date=2007/06/19" What I Like and Dont Like. Week 10 Oct. 27:READINGS: PC Witnessing, 64 - 73. RS  HYPERLINK "http://www.poetrymagazine.org/magazine/0306/comment_177773.html" Fear of Narrative and the Skittery Poem of Our Moment, 173 187. PRESENTERS/DISCUSSION LEADERS: Group D. INDIVIDUAL PRESENTATIONS PLAYLIST: Frank OHara,  HYPERLINK "http://www.billieholiday.org/thedayladydied.htm" The Day Lady Died, CP 370. Carolyn Forch,  HYPERLINK "http://www.kcnet.com/~marc/poems.html" The Colonel. Linda Hogan,  HYPERLINK "http://books.google.com/books?id=skuaq3033OoC&pg=PA67&lpg=PA67&dq=%22linda+hogan%22+%22new+apartment%22+%22the+floorboards+creak%22&source=web&ots=3JkZza3HiI&sig=Z8MfGEaaaiu5DwO8K00sc35TCBc" \l "PPA67,M1" The New Apartment: Minnesapolis, PC 67 68. Mark Halliday,  HYPERLINK "http://www.elusiveillusions.com/halliday/couples.shtml" Couples, RS 174 175. Matthea Harvey,  HYPERLINK "http://fishousepoems.org/archives/matthea_harvey/ideas_go_only_so_far.shtml" Ideas Only Go So Far, First Person Fabulous, RS 175. Rachel M. Simon,  HYPERLINK "http://canwehaveourballback.blogspot.com/2005/07/4-poems-rachel-m-simon-improvisation.html" Improvisation and other poems, RS 178 179. James Tate,  HYPERLINK "mhtml:file://C:\\Users\\Alan%20Soldofsky\\Documents\\2007%20Fall\\ENGLISH%20131\\Syllabus%20ENGL131%20F07.web1.mht!file:///C:\\Documents%20and%20Settings\\Alan%20Soldofsky\\My%20Documents\\2007%20Fall\\ENGLISH%20131\\Its%20Not%20the%20Heat%20So%20Much%20as%20the%20Humidity" Its Not the Heat So Much as the Humidity,  HYPERLINK "http://www.thalerpekar.com/cake.html" The Rally. John Ashbery,  HYPERLINK "http://amyking.org/blog/?p=166" Your Name Here,  HYPERLINK "http://writing.upenn.edu/~afilreis/88v/ashbery-millenium.html" If You Said You Would Come With Me.  HYPERLINK "http://www.fsgbooks.com/audio.htm" Listen to John Ashbery read a few poems. SUPPLEMENTAL READING (Preparing for  HYPERLINK "http://www.poetryfoundation.org/archive/poet.html?id=80608" Kay Ryans campus visit)  HYPERLINK "http://www.poetryfoundation.org/archive/feature.html?id=178088" Poetry is Funny (an short essay). Kay Ryan,  HYPERLINK "http://www.loc.gov/poetry/180/083.html" Home to Roost;  HYPERLINK "http://www.loc.gov/poetry/180/083.html" The Turtle, Kay Ryan page. WORKSHOP: Group A. JOURNAL/BLOG EXERCISE: Write notes for or a quick draft of a short nonlinear narrativea chopped up versionof a historical incident or fictionalized historical incident. You can invent facts as well as report real facts . In your narrative include the name of (or make an allusion to) a U.S. president, poet, or movie star if you can. An alternative is to draft a poem or a portion of a poem which alludes to its public subject indirectly, as in Kay Ryans Home to Roost. Oct. 23 HYPERLINK "http://www.loc.gov/poetry/laureate_current.html" US Poet Laureate KAY RYAN READS VISITS 91, 2:00 3:00 PM, place TBA. Extra credit for writing a response to her appearance. Kay Ryan reads at Villa Montalva, Carriage House Theater, 7:30 PM, Saratoga, Free, sponsored by Poetry Center San Jose. Week 11 Nov. 3:READINGS: PC Repetition, Rhythm, and Blues 149 158; RS Polka Dots, Stripes, and Plaids, 129 144. PRESENTERS/DISCUSSION LEADERS: Group A. INDIVIDUAL PRESENTATIONS 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 When 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 Fast 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 Mexicans Cant Cross the Border. Video of Juan Felipe Herrera reading  HYPERLINK "http://www.youtube.com/watch?v=W8Ben-1n5zQ" 187 Reasons Mexicans Cant Cross the Border. Barbara Ras,  HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15239" You Cant 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: Group B. JOURNAL/BLOG EXERCISE: Draft all or a portion of an experimental or compositional poem. You can compose the poem by collaging together phrases and/or images you found in poems you read this week. Or you can repeat a phrase that you found in a poem you read this week. Compose the poem in a manner that is equivalent to the sampling Hip Hop artists do. Emphasize language-as-pattern, do not emphasize the poems signification (meaning). DUE DATE Nov. 5: Set Two (and Readings Journal pt. 2).  Learning Goals: Nov. 10 Dec. 12 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 be able to scan a poem confidently. To write metrically-based natural-sounding lines (without stilted diction or syntax) in a poem that depends upon sonic repetition. To effectively deploy assonance, consonance, and alliteration. To effectively deploy external and internal rhyme. To distinguish types of patterned verse: the sonnet (Petrarchan and Shakespearian), the villanelle, the sestina, the pantoum, the ballad, and blues form. To write an effective poem in traditional patterned verse. To effectively revise a poemeither in open or closed formcontrolling the grammar and syntax in an manner which creates interesting linguistic 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 revise poems from Set 2 as directed. To complete and submit your poetry portfolio, including revisions. Week 12 Nov. 10:READINGS; RS On Disproportion, 107 127. PRESENTERS/DISCUSSION LEADERS: Group B. INDIVIDUAL PRESENTATIONS 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/i/ebooks/pdf/wallace_stevens_2004_9.pdf" 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: Group C. JOURNAL/BLOG EXERCISE: Analyze how one of the poems you read this week uses hyperbole to create disproportion or extravagant or zany effects. Try drafting the first few lines of a poem in which you use hyperbole to produce extravagance or zaniness. Week 13 Nov. 17:READINGS: PC Meter, Rhyme, and Form, PC 138 150 PRESENTERS/DISCUSSION LEADERS: Group C. INDIVIDUAL PRESENTATIONS 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, 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 Sonnet 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" AtlantisA Lost Sonnet. Ted Berrigan,  HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/16355" A Certain Slant of Sunlight. WORKSHOP: Group D. JOURNAL/BLOG EXERCISE: Select one of the sonnets you read this week, and copy it into your journal. Scan the poem usage traditional scansion marksyou can do this on the computer by putting the stressed syllables in CAPS. Week 14 Nov. 24READINGS: PC Villanelle, Pantoum, Sestina, 161 170. RS Fashion Victims, 189 191. PRESENTERS/DISCUSSION LEADERS: Group D. INDIVIDUAL PRESENTATIONS 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 Duffys Farm In Pine Island, Minnesota;  HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177228" Autumn Begins in Martins Ferry, Ohio. Mark Doty,  HYPERLINK "http://www.english.uiuc.edu/maps/poets/a_f/doty/onlinepoems.htm" Source, CP 219 222. WORKSHOP: Group A. JOURNAL/BLOG EXERCISE: Pick six line-ending words for a sestina you should try to write (at least a couple of stanzas). Remember that one of the words should be a kicker, slightly different in linguistic character from the other five. Also, ask write a short description of what you think is the poetic(s) fashion of the first decade of the 21st century. What do you approve of and disapprove about such fashion(s)? Week 15 Dec 1: READINGS: PC The Energy of Revision, 186 192. RS  HYPERLINK "http://www.aprweb.org/issues/mar03/hoagland.html" Negative Capability, 193 201. PRESENTERS/DISCUSSION LEADERS: Group A. 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 Blakes revision of London. 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, About the Author, RS 198 - 199.  HYPERLINK "http://www.walkerart.net/programs/vaexhib_qt/beattyhuie/beattyhuieqt.html" Listen to Paul Beatty reading. WORKSHOP: Group B. JOURNAL/BLOG EXERCISE: Take one of your finished poems or drafts and make it meaner. Try giving it a more edgy, angular tone. If you have found a favorite mean poem, copy it into your notebook (from any poem youve read this semester or earlier). Week 16 Dec. 8:READINGS: PC A Grammatical Excursion, 171 185. RS Obsession, 81 82; Thingitude and Causality, 163 172. PRESENTERS/DISCUSSION LEADERS: Group B. INDIVIDUAL PRESENTATIONS PLAYLIST: Steve Kowit,  HYPERLINK "http://www.loc.gov/poetry/180/106.html" The Grammar Lesson, PC 173. Galway Kinnell, The Bear, CAP 248 250. Stanley Kunitz,  HYPERLINK "http://come.6to23.com/voa/blog06/20060527075622.html" The Knot, and The Portrait, CAP 287 288. Marge Piercy,  HYPERLINK "http://www.americanpoems.com/poets/Marge-Piercy/17189" My Mothers Body. 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/~smarx/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. Alan Shapiro,  HYPERLINK "http://books.google.com/books?id=OgbM6s9shfgC&pg=PA57&lpg=PA57&dq=%22Alan+Shapiro%22+%2B%22In+Praise+of+the+Impure%22&source=web&ots=AxuZD2GLZn&sig=Lr2b4DyESj1wJBTF-jr2lCNW56s&hl=en&sa=X&oi=book_result&resnum=1&ct=result" \l "PPA32,M1" In Praise of the Impure (essay excerpt) WORKSHOP: Group C. JOURNAL/BLOG EXERCISE: Analyze one of the poems you read this week, describing how it involves a sense of past and future, i.e. the passage of time. Try revising one of your poems to put a greater sense of narrative time into it. Try more revising it more than one way if you are not satisfied with the first revision. Try a revision that incorporates a grammatical structure that suggests times passagean embedded, long, complex sentence works best, usually the longer the sentence the better. (Jack Kerouac believed that if you just kept your sentences going instead of ending them, your poem would incorporate past and future.) FINAL Dec. 12:FINAL MEETING AND CELEBRATION. 12:15 PM Poems of Kay Ryan, new U.S. Poet Laureate. On  HYPERLINK "http://www.poets.org/poet.php/prmPID/352" Poetry.org; on  HYPERLINK "http://www.poetryfoundation.org/archive/poet.html?id=80608" Poetry Foundation.org. Poems of Mark Doty. On  HYPERLINK "http://www.poets.org/poet.php/prmPID/91" Poetry.org; on  HYPERLINK "http://www.poetryfoundation.org/archive/poet.html?id=1842" Poetry Foundation.org. Individual presentations WORKSHOP: Group D. Also all groups make-up workshop poems. DUE DATE Dec. 12: Final Portfolio (and Completed Readings Journal).  POETRY READINGS YOU CAN ATTEND IN THE SOUTH BAY Oct. 23: Kay Ryan: In Conversation, 91, 2:00 3:00 PM. Reading at Villa Montalvo, Carriage House Theater, 7:30 PM, Saratoga, FREE. I will update this schedule for you early in the semester.     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