ENG 570: Techniques of Poetry
Joseph T. Thomas, Jr.
email: jtthomas@mail.sdsu.edu
Class Meetings: Tues & Thurs, 2:00-3:15pm; AH3113
Office: AL-255
Contact: jtthomas@mail.sdsu.edu
Office Hours: Wednesday: 10:00-12:00 ; 2:00-3:00 (& by appointment)
!!!! IMPORTANT: Online Schedule !!!!
(Note: As our course is a writing class, our schedule is tentative and open-ended, so as to allow us to organically respond to the class's needs and interests. This schedule, then, may be revised often. So revisit often.)
The men on the hill, they say, 'learn the rules, then break them.' I like to 'think the reverse' wherever possible and even if not: break 'em enough times you won't have to learn 'em, or the rules will have changed, or you will change them, or make up your own rules and don't follow those either, anyway whose rules are they? I didn't see the signs, musta missed them in the duststorm, or as we say in Medias Res (Medias Res, Nevada) - rope 'em and then learn 'em, shoot 'em and then cook 'em (chop up fine before marinating indefinitely), float jerkily and carry a Bic pen at all times, where am I? Is this my fear/or did I just step into the public sphere?, are you there Mordred? Give me your tired Tuxes, your tattered nabobs of oligarchy yearning to Keep Smut Off the Net, thank your Senator Exxon the open spaces around here were scaring me, how many syllables can you fit on the head of a pin cushion? What's that spell, Mario? Who are you calling a verse? That's not what I meant y'all, not what I meant at all.
Charles Bernstein, "The Revenge of the Poet-Critic, or The Parts are Greater Than the Sum of the Whole," from My Way, Speeches and Poems University of Chicago Press, 1999.
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In English 570, Techniques of Poetry, we will explore, as the name suggests, various poetic techniques, ranging from traditional rhyme and meter, to the experimental forms of the historical and contemporary avant-garde. The class will be conducted as a hybrid seminar/workshop. Thus, this is not a class on "poetry writing," but a class concerning the techniques one might employ when writing poetry. We're not, then, interested in expression but in form, technique, artifice. The primary aims of this class (i.e., its objectives) are
Towards this end, students will write one critical paper on poetics, give one group, in-class presentation, compose a portfolio of their own poetry--including a reflective introduction--and read and critically engage the work of their classmates. We will also be reading a wide variety of poetry and essays on poetry and poetics. The success of this class depends on you, so I expect you to attend every class session and participate. |
Texts (required):
FINCH, ANNIE & KATHRINE VARNES -- EXALTATION OF FORMS HOLLANDER, JOHN -- RHYME'S REASON MATHEWS, HARRY -- OULIPO COMPENDIUM SHIRINYAN, ARA -- Speech Genres 1-2 (online link to PDF file) KOCH -- MAKING YOUR OWN DAYS
Late Work:
Work will be turned in on the date due or not at all. We all have schedules, and it is imperative that we keep to them. However, I am not completely draconian. In extreme cases I may accept late work, but don't count on it.
Assignments/Grade Distribution:
20%: Participation/In-Class Writings
15%: Prepared Writing
20%: Fifteen Minute Group Poet Presentations
25%: Final Portfolio
20%: Critical Paper (On Poetics)
Participation/In-Class Writings: (20%)
I expect you to come to class with something to say. In addition to researching the authors we read, think about when they were publishing, reacquaint yourself with historical context that surrounds them, their works' reception, etc. Make connections between the content of this course and others you have taken, and apply whatever theoretical, philosophical, or pedagogical rubrics you feel are appropriate (check out the poetry and theory links on my links page. And use print sources as well. The library is a wonderful place).
We will also be doing a great deal of writing in class. This writing cannot be made up. Your “in-class writing ” grade has three components: the writing itself, your willingness to engage with the writing of your classmates, and your willingness to share and discuss your own writing. All writings that you prepare for class are public writings. So don't produce anything you feel uncomfortable sharing with me or your classmates.
Prepared Writing: (15%)
‘Prepared Writing’ refers to any writing prepared out of class. We will discuss these works as a class and in small groups. All prepared writing, unless I say otherwise, is to be typed.
Fifteen Minute Poet Presentations: (20%)
This is a broad assignment, so don't be overwhelmed. The first step is select a group of classmates to work with, then simply to choose a poet whose work is formally, technically impressive. That is, find a poet who is doing things poetically that strike you as odd or provocative, one who challenges conventional notions of poetic value and form. Then research this poet. Read several of her or his books. Find out what other poets are saying about your poet. What kinds of publications is s/he found in? If she or he is still alive, you might contact the poet: chat with them about influences, about their poetic project (and remember, if you contact a living poet, PLEASE, have the courtesy to do a little research before talking with them.) Now you'll want to spend some time reflecting on what you've learned. Outline your thoughts and prepare a fifteen minute talk on the poet. Plan on bringing in some examples of her or his poetry. Create a handout that boils down what you think is important about the author and her or his work. Focus your talk, of course, on technique, on form, and be prepared to relate your poet's technical percularities to other works we've read and even to other poets we haven't read. Have your selection for your presentation approved by me before Sept 27.
You may want to use these sites as starting places for your poet search:
Final Portfolio: (25%)
Your final portfolio will be a collection of representative works you've produced for our class. You will be writing poems and performing exercises throughout the semester, and any of these are fair game for the portfolio. We'll discuss the portfolio more as the semester progresses.
Your portfolio will also include your poetics paper (the draft you first submitted and a final, revised draft) as well as a critical, reflective introduction. More on this as the semester progresses.
Critical Paper: (20%)
You will prepare a 1,500 to 2,000 words paper investigating an issue or set of related issues in poetics. This paper will be due around mid-term. This paper should be researched, and, unless you clear it with me first, will employ MLA style in-text citations and a works cited page.