ÐÏࡱá>þÿ þÿÿÿ  ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿì¥Á'` ø¿‡objbj$š$š BFðFðéf�ÿÿÿÿÿÿ¤  X(X(X(8�(´D*Œ w‹òÜ*\80N0N0N062Z�2¬2ÿKLLL78L`˜k`øŠ$iŽhÑ�‚‹ -<6262-<-<‹ N0N0è1‹ßBßBßB-<x N0 N0ÿKßB-<ÿKßBßB:kHˆ +IN0Ð* @7Àþ>ËX(¥=˜óH ;KÄG‹0w‹ýH.S‘=@2S‘+I+IS‘ ?Iü¼2´p5îßB^7Œê8C¼2¼2¼2‹‹oBp¼2¼2¼2w‹-<-<-<-<   DX(   X(   ÿÿÿÿ San José State University Department of English and Comparative Literature ENGLISH 151: Twentieth Century Poetry Instructor:Prof. Alan SoldofskyOffice Location:FO 106Telephone:408-924-4432Email:soldofsk@email.sjsu.eduOffice Hours:M T W 1:30 – 2:45 PM, Th PM by appointmentClass Days/Time:M W 3:00 – 4:15 PM Classroom:Sweeny Hall 444 Course Content /Goals: In this course students will read selected works by a diverse group of Modern and Post-modern poets. In a subject as voluminous as twentieth century poetry, it is difficult to choose what poets and poems to include for the course. Given the great number of poets whose work is of significance and worth knowing, I have elected to examine several poets in depth rather than to conduct a survey of the entire field. Such a survey could hardly do justice to the rich poetic heritage we have carried forward from the last century. Students are urged to read as widely as possible, beyond the poets and on the required reading list. By reading more than what is merely required, students will inevitably discover new favorite poets and poems that did not fit the narrow confines of the required list. In putting the reading list together, I have attempted to include the work of poets whose production influenced all that has been produced since, or whose work has been so innovative that it introduced something new into the canon of modern poetry. Included on the reading list are: William Carlos Williams, Wallace Stevens, Robinson Jeffers, Hart Crane, Marianne Moore, Elizabeth Bishop, Frank O’Hara, Robert Lowell, and James Wright. The course will take students on a guided tour of some the most significant poetry written in the twentieth century. Texts: REQUIRED: Joel Conarroe, Eight American Poets. Hart Crane, Complete Poems of Hart Crane, ed. Marc Simon. Phillips, Carl. Speak Low Robinson Jeffers, The Wild God of the World, (Stanford Univ.). Robinson Jeffers, Selected Poems. (Vintage paperback). Carey Nelson, editor, Oxford Anthology of Modern American Poetry. James Wright Selected Poems. RECOMMENDED: Beach, Christopher. The Cambridge Introduction to Twentieth-Century American Poetry. William Carlos Williams, Selected Poems. ON-LINE RESOURCES: Modern American Poetry Web Site:  HYPERLINK "www:english.uiuc.edu/maps" www:english.uiuc.edu/maps. American Academy of Poets Web Site: HYPERLINK "../../2008 Spring/ENGL 151/www.poets.org"www.poets.org Class Methods and Procedures: The class will be conducted as a seminar, including participation by both undergraduate and graduate students. All students will closely read poems on the assigned reading list. Students will discuss these poems in small study groups as well as with the whole class. Each small group is required to make individual seminar presentations on two of the poets on the reading list. These presentations will require members of the small group to read additional poems by poet they have selected (or have been assigned). Students in the small group may wish also to read poems by poets on the supplemental reading list associated with the poets they are working on. The seminar presentations are to be based on papers students are writing for the class. Each student is responsible for a minimum of two seminar presentations. Extra credit will be given to any student who wishes to write a paper on one of the poets on the supplemental reading list. Course Requirements: Read the poems and articles on the required reading list. Give one 10-minute seminar presentations in class, based on a term paper project. Write two term papers (6 to 8 pages each--a minimum of 1,500 words per paper). Mid-term take-home exam (first have of the semester covered). Final take-home exam (second half of the semester covered). Exam and Due Dates: First term paper Oct. 18 Mid-term take home exam handed out Oct. 20 Mid-term take-home exam due Oct. 27 Second term paper Dec. 6 Final exam handed out Dec. 6 Final exam due Tue., Dec. 14, 12:15 PM Seminar Presentations / Term-Papers Each seminar presentation and term paper you complete should be considered two parts of a single project. Undergraduates will complete two term-papers and one seminar presentation project (based on a term-paper) during the semester; graduate students will complete three. You are required to give a 10-minute presentation in which you present material that will be included in your term paper. Before you begin work on each of your presentations and papers, be sure to submit and abstract for approval by the instructor. You will not allowed to give your paper unless I approve your project in advance. The seminar presentations will be scheduled to coincide with the poet or topic to which they are most closely related. First Presentation / Term Paper (1,500 – 2,000 words) An investigation and close reading of two poems by one of the poets on the required reading list. The guiding question is: “How do the poems you’ve chosen to discuss participate in—or resist—some aspect of literary Modernism. Read the poems in-depth, provide biographical information if and where necessary. Document any source material you use (MLA format), although secondary sources are not required for this project. Second Presentation / Term Paper First Option: (1,500 – 2,000 words) An investigation and close reading of two poems by a single poet who appears on the required or recommended reading list. The guiding question is: “How do the poems you chosen to discuss exemplify the poetic practice of this poet?” Read the poems in-depth, provide biographical and or historical information if and where necessary. Use secondary source materials, and document (MLA format) to support your arguments. Second Option: (length negotiable) Write two poems in the style and on subjects/themes you find evident in work by a poet on the required reading list. Then analyze the poems you’ve written, comparing them to a poem or poems by the poet whose work you’ve emulated. If you use supporting quotes from secondary sources, document the materials following MLA format. Graduate Students / Extra Credit: First Option: An investigation and close reading of a long poem by a poet on the required reading list recommended by the instructor, such as William Carlos Williams, “Spring and All,” Hart Crane’s “The Bridge,” “ The guiding question is: “How does the poem(s) you’ve chosen to discuss exemplify the poetic practice of this poet? And of what significance to the poet’s reputation and/or legacy is this work? Use secondary source materials, and document (MLA format) to support your arguments. Second Option: A personal essay in which you offer a close reading or a detailed appraisal of a group of thee to five poems by a poet on the recommended reading list. The guiding question is: “How do you read these poems and of what significance are these poems, in your estimation, to the development of Modern or Postmodern poetry?” (Robert Hass’ essay “Lowell’s Graveyard” is a good model.) Secondary sources (MLA format) are optional. Reading Journal or Blog You are to keep a weekly journal or write in a blog about each of the poems assigned. You should write at least a couple of sentences per poem. Include in your notes biographical details about the poet or secondary source references on a poem that help you to better read the text. You should make these notes keeping in mind that you will use them when you take your exams. You may keep your journal either on your computer or handwritten in a composition book or small loose-leaf notebook. You will be asked to turn in your notebook when you complete your mid-term and your final exam. The journal will be graded on a Credit (high pass, pass, or low pass) or No Credit basis. The journal will represent 10 percent of your final grade. In the notebook, I am looking for clarity and precision of your close reading, and that you practice close reading the poems for their literary features and attributes. Grading: Journal grade (10%) Seminar presentation (20%) Term papers—two (40%) Mid-term take-home exam (15%) Final take-home exam (15%) *Graduate Students Only Graduate Students most complete a third scholarly or creative project as part of their requirement. Also give two seminar presentations based on term-paper or creative project. Undergraduates may request to complete a write a third paper or give a second presentation credit, with the instructor’s permission. An option for the third project is to write a parody of one of the poet’s on the reading list, accompanied by a short, informal paper that discusses the poem you’ve written. NOTE: 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. 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°µÍø 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 students’ 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°µÍø academic standards of assessment. Academic Integrity: "Your own commitment to learning, as evidenced by your enrollment at San Jose State University and the University's Integrity Policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the Office of Judicial Affairs." The policy on academic integrity can be found at:  HYPERLINK "http://sa.sjsu.edu/judicial_affairs/index.html" http://sa.sjsu.edu/judicial_affairs/index.html Avoiding Plagiarism: Plagiarism is the unacknowledged use of somebody else’s words or ideas and is considered an instance of academic dishonesty that instructors must report. Repeated instances of plagiarism will result in a student’s expulsion from the University. You commit plagiarism by buying, stealing, or borrowing a paper or creative work; hiring someone to write a paper or creative work; building on someone’s 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. The instructor reserves the right to revise the 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. Campus policy in compliance with the Americans with Disabilities Act "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." Course Calendar: (The works assigned will be read and discussed in class on the date they are listed. It’s important to read the work before the class meeting. You will get much more from the discussion that way. Make notes in your reading journal that you can bring to class. We will add to these notes using Wikis and other collaborative software in class. The assigned reading schedule may be adjusted to better accommodate class discussion or because of other scheduling changes. All poems listed on the calendar are required to be discussed in your notebook unless you are instructed otherwise.) Aug. 25: Class orientation.  HYPERLINK "https://my.hamilton.edu/academics/resource/wc/Writing_About_Poetry.PDF" Writing analytical papers about poetry. William Carlos Williams, introduction  HYPERLINK "http://stage.sjsu.edu/upload/course/course_2135/Wagner-Martin%20on%20Spring%20&%20All.htm" (handout). Background to Modernism, W.B. Yeats, T.S. Eliot, William Carlos Williams. Web Resources: HYPERLINK "http://en.wikipedia.org/wiki/Modernist_poetry_in_English"What is Modernism (Wikipedia)  HYPERLINK "http://www.poets.org/poet.php/prmPID/117" William Butler Yeats (an introduction from Academy of American Poets)  HYPERLINK "http://www.yeats-sligo.com/html/wbyeats.html" William Butler Yeats Society (text, video, and criticism)  HYPERLINK "http://www.nli.ie/yeats/" Yeats Online Exhibition (National Library of Ireland) Key Yeats Poems: “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15528" Easter 1916”; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/20310" Sailing to Byzantium”; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15527" The Second Coming,”; “ HYPERLINK "http://home.wlu.edu/~connerm/ENG105A01/Group5/poem.htm" The Circus Animals Desertion” Yeats Reads “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15529" The Lake Isle of Innisfree”; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/20931" Adam’s Curse” Aug. 30: T.S. Eliot in MAP (to compare with Williams): “ HYPERLINK "http://www.wsu.edu:8080/~wldciv/world_civ_reader/world_civ_reader_2/eliot.html" The Love Song of J. Alfred Prufrock,”  278 – 282; “ HYPERLINK "http://eliotswasteland.tripod.com/" The Wasteland Pt. I,” 285 – 288.  William Carlos Williams poems in MAP continued “Spring and All,” (handout); Web Resources You Can Explore:  HYPERLINK "http://www.bartleby.com/39/36.html" Preface to Lyrical Ballads – Wordsworth (for background to Romanticism)  HYPERLINK "http://anon.salon.speedera.net/anon.salon/mp3s/eliot1.mp3" T.S. Eliot Reads Prufrock  HYPERLINK "http://town.hall.org/radio/HarperAudio/011894_harp_01_ITH.au.gsm" T.S. Eliot Reads Part I of the “Wasteland”  HYPERLINK "http://www.english.uiuc.edu/maps/poets/a_f/eliot/tradition.htm" T.S. Eliot’s Emotion and the Individual Talent  HYPERLINK "http://world.std.com/~raparker/exploring/thewasteland/table/explore6.html" Exploring the Wasteland  HYPERLINK "http://etext.lib.virginia.edu/railton/enam312/wcwhp.html" Williams on “The Wasteland”  HYPERLINK "http://www.english.uiuc.edu/maps/poets/s_z/williams/spring.htm" Notes from MAP on Spring and All Sept. 1: Video from Voices and Visions. William Carlos Williams poems in Modern American Poetry: “HYPERLINK "http://www.theotherpages.org/poems/william1.html"The Young Housewife, ” 165; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15536" Spring and All,” 167 – 168; “To Elsie;” 168 – 170“ HYPERLINK "http://everything2.com/title/To+Elsie" To Elsie;” 168 – 170; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15535" This Is Just to Say,” 191 – 192; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15537" The Red Wheel Barrow,” 170.  (These poems are discussed on the video.) (These poems are discussed on the video.) Web Resources:  HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15538" W.C.W. Reads To Elsie:  HYPERLINK "http://www.english.uiuc.edu/maps/poets/s_z/williams/housewife.htm" Notes from MAP on “The Young Housewife”  HYPERLINK "http://www.english.uiuc.edu/maps/poets/s_z/williams/elsie.htm" Notes from MAP on “To Elsie” Sept. 6: Labor Day Holiday Observed: No Class Scheduled Sept. 8: William Carlos Williams in MAP continued:  HYPERLINK "http://www.cscs.umich.edu/~crshalizi/Poetry/Williams/The_Yachts" “The Yachts,” 192 – 193; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/21034" The Descent,” 193 – 194. “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15541" Asphodel, That Greeny Flower,” 194 – 200. Student presentations on Williams. Web Resources:  HYPERLINK "http://www.english.uiuc.edu/maps/poets/s_z/williams/yachts.htm" Notes on “The Yachts” from the MAP Web site  HYPERLINK "http://www.english.uiuc.edu/maps/poets/s_z/williams/thedescent.htm" Notes on “The Descent” from the MAP Web site  HYPERLINK "http://www.english.uiuc.edu/maps/poets/s_z/williams/asphodel.htm" Notes on “Asphodel That Greeny Flower” from MAP Web site.  HYPERLINK "http://209.58.132.78/moe/thoughts/williams.htm" Williams on the common American, poverty, and the local subject Sept. 13: Wallace Stevens introduction. Wallace Stevens poems in MAP: “Thirteen Ways of Looking at a Blackbird,” 127 – 129; “Tea at the Palaz of Hoon,” 129; “Anecdote of the Jar,” 130; “Disillusionment of Ten O’clock,” 131; “A High-Toned Old Christian Woman,” 131. Sept. 15: Wallace Stevens poems in MAP continued: “The Snow Man,” 132; “Emperor of Ice Cream,” 132; “Sunday Morning,” 135 – 138. Sept. 20: Wallace Stevens poems in MAP continued: “Study of ‘Two Pears,” 141 – 142; “Of Modern Poetry,” 142; “The Course of a Particular,” 142 – 143; “The Plain Sense of Things,” 143; “Of Mere Being,” 144. Student presentations of other Stevens’ poems. Sept. 22: Robinson Jeffers introduction. Albert Gelpi essay "Jeffers and the Sublime” from Wild God of the World, 1-19. Soldofsky essay on Jeffers, (handout). Robinson Jeffers poems from WGW “Shine, Perishing Republic,” 28; “Continent’s End,” 29; “Apology for Bad Dreams;” 44 – 47; “Tor House,” 51. Sept. 27: Robinson Jeffers continued: “The Purse-Seine,” 157-158; “Mal Paso Bridge,” (handout); “For Una,” 167 – 169; “My Dear Love,” (handout); from “Hungerfield,” (handout). Sept. 29: Robinson Jeffers continued (in Selected Poems) “Roan Stallion,” 14 – 34; (in WGW) “Love the Wild Swan,” 152; “Cassandra,” 170, “Original Sin,” 172; “De Rerum Virtute,” 176 – 178. Oct. 4: Robinson Jeffers continued: “The Deer Lay Down Their Bones,” 179 – 180; “Vulture,” 183. Introduction to Hart Crane.  Harold Bloom, introductory essay on Hart Crane.  Oct. 6: Soldofsky paper “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/A%20Bright%20Logic%20v.6.doc" A Bright Logic: Metaphorical Invention and the Vernacular of Compression in Hart Crane’s Early Poetry.”  In Complete Poems “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/hart-crane---legend-annotated" Legend”, 3; “ HYPERLINK "http://www.lorenwebster.net/In_a_Dark_Time/2003/07/31/hart-cranes-black-tambourine/" Black Tambourine,” 4; “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/hart-crane----possessions-annotatedhttp:/groups.google.com/group/20th-century-poetryengl151/web/hart-crane----possessions-annotated" Possessions,” 18. Oct. 11: Hart Crane continued. In Complete Poems “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/hart-crane---paraphrase-annotated" Paraphrase,” 17; “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/hart-crane----at-melvilles-tomb-annotated" At Melville’s Tomb, 33”; “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/Hart%20Crane--Voyages.htm" Voyages, 34 – 40.” Oct. 13: Hart Crane continued. In MAP “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/hart-crane---proem-to-brooklyn-bridge-annotated" Proem to Brooklyn Bridge,” 390 – 391; “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/hart-crane---the-river-annotated" The River,” 395 – 399; “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/hart-crane----cape-hatteras-annotated" Cape Hatteras,” 399 – 405; In Complete Poems: “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/Hart%20Crane--The%20Broken%20Tower.htm" The Broken Tower” 160 - 161. Hart Crane presentations. Oct 18: First term paper due.  Hart Crane completed. Carl Phillips: Poems selected from Speak Low. Introduction to Confessional poetry.  Oct. 20: Mid-term take home exam distributed. Discussion: Robert Lowell and the mid-century. Robert Lowell, “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/Robert%20Lowell--Words%20for%20Hart%20Crane.htm" Words for Hart Crane” (posted on Google Groups); Robert Lowell poems in MAP: “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15282" To Speak of Woe That is in Marriage,” 755; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15283" Man and Wife,” 755.  Oct. 25: From Eight American Poets (also handouts will be available): “ HYPERLINK "http://www.gpaulbishop.com/GPB%20History/GPB%20Archive/Section%20-%204/R.%20Lowell/Image%202/image_2.htm" Quaker Graveyard In Nantucket,” 73 – 76.  Robert Hass, “Lowell’s Graveyard” (handout).   Oct. 27: Mid-term exam due. Robert Lowell Continued: In MAP “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/Memories%20of%20West%20Street%20and%20Lepke.htm" Memories of West Street and Lepke,” 756 – 757; “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/Skunk%20Hour.htm" Skunk Hour,”  “ HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/For%20the%20Union%20Dead.htm" For the Union Dead,” 759 – 761; “ HYPERLINK "http://www.english.illinois.edu/Maps/poets/g_l/lowell/central.htm" Central Park,” 763 – 765; “ HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177164" Epilogue,” (posted on Google Groups). Nov. 1: Student presentations on Robert Lowell. Allen Ginsberg and the Beats: Allen Ginsberg poems in MAP: “Love Poem on Theme by Whitman,” 848; “Howl,” 848 – 857. Nov. 3: Introduction to Marianne Moore (posted on Google Groups).  HYPERLINK "http://groups.google.com/group/20th-century-poetryengl151/web/marianne-moore-links" Marianne More poems in MAP: “Poetry,” 251; “The Fish,” 252 – 253; “A Grave,” 254; “Silence,” 255, “The Pangolian,” 269 – 272. Nov. 8: Marianne More poems in MAP: “The Paper Nautilus,” 273 – 274. “The Steeple Jack” (posted on Google Groups). Robert Pinsky: Other student presentations on Moore. Introduction to Elizabeth Bishop Elizabeth Bishop poems in MAP: “The Fish,” 631 – 633; “Armadillo,” 638 – 639. Also “A Miracle for Breakfast” (posted on Google Groups). Nov. 10: Elizabeth Bishop poems in MAP: “At the Fish Houses,” 634 – 636; “Filling Station,” 636 – 637; “Questions of Travel,” 637 – 638; “In the Waiting Room,” 639 – 641. Nov. 15: Bishop continued: “Crusoe in England,” 643 – 647; “One Art,” 647; from Eight American Poets “The Moose,” 57 – 62. Other student presentations on Bishop. Introduction to Frank O’Hara (posted on Google Groups). Nov. 17: O’Hara’s manifesto “Personism” (read online line  HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/20421" http://www.poets.org/viewmedia.php/prmMID/20421). Also: read about the New York School: O’Hara poems in MAP: “Poem,” 827; “”Today,” 828; “A Step Away From Them,” 828 -829; “Autobiographia Literaria,” (read on line  HYPERLINK "http://www.americanpoems.com/poets/Frank-OHara/6610" http://www.americanpoems.com/poets/Frank-OHara/6610.) Nov. 22: O’Hara continued: “Day Lady Died,” 829 – 830; “Why I am Not a Painter,” 830 – 831; “A True Account of Talking to the Sun on Fire Island,” 831 – 833.” Nov. 24: O’Hara continued: “On Seeing Larry Rivers’ Washington Crossing the Delaware at the Museum of Modern Art,” 833; “Thinking of James Dean,” 834; “Meditation in an Emergency,” read online at  HYPERLINK "http://www.palace.net/~llama/poetry/emermed" http://www.palace.net/~llama/poetry/emermed. Other student Presentations on Frank O’Hara. Nov. 29: James Wright poems in Selected Poems: James Wright Introduction by Robert Bly SP xv – xxxiii “ HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=16968" At the Executed Murderer’s Grave,,” 25 – 27; “ HYPERLINK "http://plagiarist.com/poetry/2151/" Saint Judas,” 28; “ HYPERLINK "http://plagiarist.com/poetry/2151/" As I Step Over a Puddle at the End of Winter, I Think of an Ancient Chinese Governor,” 31; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/15590" Autumn Begins in Martin’s Ferry, Ohio,” 33; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/20112" Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota,” 34; “ HYPERLINK "http://www.poets.org/viewmedia.php/prmMID/16944" A Blessing,” 54. Dec. 1: James Wright poems in SP: “ HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177233" Minneapolis Poem,” 59 - 61; “ HYPERLINK "http://www.goodreads.com/quotes/show/22661" Speak,” 66 - 67; “In Response to a Rumor That the Oldest Whore House in Wheeling, West Virginia Has Been Condemned,”; 79 “ HYPERLINK "http://www.poetryfoundation.org/archive/poem.html?id=177239" To the Muse,” 80 – 81; “ HYPERLINK "http://www.ronnowpoetry.com/contents/wright/OldWPA.html" The Old WPA Swimming Pool in Martin’s Ferry, Ohio” 89 – 90; “ HYPERLINK "http://archives.newyorker.com/?i=1971-10-02" \l "folio=040" October Ghosts” (posted on Google Groups). James Wright student presentations. Dec. 6: Second term-paper due. Take Home Final Handed Out. James Wright poems in SP: “To the Creature of the Creation,” 93 - 94; “The Silent Angel,” 114 – 115; “ HYPERLINK "http://www.poemhunter.com/poem/hook/" Hook” 118 - 119; “To a Blossoming Pear Tree,” 316 – 317; “ HYPERLINK "http://hypermedia.educ.psu.edu/k-12/units/poetryinmotion/lightningbugs.html" Lightning Bugs Asleep in the Afternoon,” “Beautiful Ohio,” 120. Dec. 8: James Wright poems in SP: “Honey,” 132; “Leaving the Temple in Nîmes,” 135 – 136; “AWinter Daybreak Above Venice,” 137 – 138. James Wright presentations. Dec. 14: FINAL MEETING, 12:15 – 2:30 PM, Tue., Dec. 14. TAKE-HOME FINAL DUE. Graduate student term papers/projects due. Make-up student presentations.     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