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JOHN CABOT UNIVERSITY

COURSE CODE: "CW 554"
COURSE NAME: "Graduate Creative Writing Workshop: Poetry"
SEMESTER & YEAR: Summer Session I 2018
SYLLABUS

INSTRUCTOR: Susan Bradley Smith
EMAIL: [email protected]
HOURS: MTWTH 11:10-1:00 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:

COURSE DESCRIPTION:
ADMISSIONS REQUIREMENTS: Current enrollment in an accredited graduate program in Creative Writing OR, for students not currently pursuing a graduate program in creative writing but who wish to receive graduate credit, a bachelor's degree from an accredited institution (transcripts required) and assessment of a significant writing sample or previous publications (See JCU website for application procedures).
COURSE DESCRIPTION: This workshop aims to develop the graduate-level creative, editorial, and reading habits needed for the production of poems; to develop self-editing skills; to foster an aesthetic sensibility for use in writing poems. Students will read both contemporary and canonical poetry and materials related to analyzing and editing poems, and participate in a traditional creative writing workshop through in-class writing exercises, reading classmates’ poems, and producing their own poems and discussing them in workshop. Students will compile a portfolio of the work they produce during the term.
SUMMARY OF COURSE CONTENT:

This is a creative writing course aiming to develop skills in reading and writing poetry and engaging in critical discourse about poetry. The workshops are designed to build creative and critical confidence, and will introduce students to some leading poets and explore issues of craft. Each workshop offers different skill-based exercises to develop awareness of various poetic forms, and provide an impetus to writing poetry. This course encourages wide reading of poetry and literary history as well the development of personal, poetic reflective practice in order to develop a meaningful relationship to creative production. We will consider the poet both as an individual and as writer within the community, exploring questions such as: What does it mean to be a poet?; How is poetry conceptualized and crafted?; How are aesthetics determined?; How does the personal inform the political and vice versa?; What are the major achievements of contemporary poetry?; and, What are the particular challenges for twenty-first poetry and poetics? The workshops provide a supportive, critical space for each student’s work to receive individual and group assessment and feedback. It is expected that by the end of the course students will have a heightened awareness of what poetry is and why it matters, and have significantly developed their talents as creative practitioners. 

My teaching philosophy informs the practice-led research that underpins both my approach to writing poetry and leading workshops: I believe poetry to be a devotional art. Consider this, for example: Auden’s prophetic line, ‘young poets exploding like bombs’ (from Spain) was recently appropriated by the Chilean Art Collective Casagrande. Their ‘Poetry Bombs’ (poems dropped en-masse from helicopters) rained on world cities once bombed during warfare, aiming to reclaim such spaces as sites of remembrance, communication, and intervention. 21st century life has a ‘Mood Spectacular’. This demands new ways not just of being but writing, responding in kind to precarious times. Poetry has always been a responsive art, and forever receptive to young poets prepared for the devotion it demands.

LEARNING OUTCOMES:

Students completing this workshop course will be familiar with the skills needed to produce poems, to self-edit work in progress, and to discern the characteristics of quality poetry.

It is expected that by the end of the course students will have a heightened awareness of what poetry is and why it matters, and have significantly developed their talents as creative practitioners.

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Writing Portfolio: 8 PoemsYou are required to submit 8 poems for your final assignment. This submission must also include your workshop notes, and copies of your drafting and redrafting, so that I can assess your emerging critical and creative relationship to your poetry. You 8 poems must include examples of the following: 1. A free verse poem on the subject of poetry 2. A free verse poem (free choice of subject) 3. A pantoum 4. A poem in a traditional poetic form of your choosing, but demonstrating stylistic innovation 5. An epistolary poem (personal) 6. An epistolary poem (political) 7. A list poem (confessional) 8. A love poem in any style PLEASE NOTE: YOU MAY CHOOSE TO SUBMIT AND ELEGY IN PLACE OF ONE OF THE ABOVE REQUIREMENTS100

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

COURSE SCHEDULE

WEEK 1

WORKSHOP TOPIC: DOES POETRY MATTER?

A critical and historical introduction to poetry as a social discourse, and a reflective consideration of your role as poet, citizen, and creative arts practitioner.

MICRO-WRITING EXERCISE

The tanka, the shallot, and tactile emotions.

POETS/POEMS

·      Kathryn Gallagher, ‘Poem for a shallot’

·      George Oppen, ‘Five Poems about Poetry’

·      Camille Guthrie, ‘Beautiful Poetry’

·      John Brehm, ‘At the Poetry Reading’

RECOMMENDED CRITICAL & THEORETICAL READING

·      Horace, ‘Ars Poetica’ [The Art of Poetry’]

·      Johanna Shapiro & Lloyd Rucker ‘Can Poetry Make Better Doctors?

·      Dana Gioia, ‘Can Poetry Matter?’

ASSIGNMENT

Write two free-verse poems using the following themes as prompts:

·      poets as citizens

·      the value of poetry to a particular community

·      coming-of-age as a poet

·      the life poetic

·      what poetry means to you

·      student life

REFLECTIVE PRACTICE/POETRY CHALLENGE

Recite a poem to someone/something you care about, or love—human, object or animal! Reading and reciting poems is a time-honored tradition. Use holidays or birthdays as an opportunity to celebrate with a poem. Consider adding a poetry reading to your evening meal, or breakfast. John Keats for example believed reading love poems created 'a burning forehead' and 'parched tongue'.

DUE

For workshopping this week, please bring along an example of your own poetic writing, or your favourite poem written by someone else.  This will not be part of your formal assessment, but meant as an introductory exercise.

Please come to class next week with the draft of the your poems from the above assignment, a suitable amount of copies for distribution, and be prepared to workshop your own and other poet’s work. 

WEEK 2

WORKSHOP TOPIC: THE PANTOUM

A pantoum is a poetic form which banks on its refrains within a series of interwoven quatrains to form a musical pattern. The impact of such echoing is melodious and touching, and can make an important topic either comic or haunting. Often referred to as being a spiritual form, the pantun is a Malaysian poetic form that was introduced to the West by French writer and poet, Victor Hugo (1802-1885).

MICRO-WRITING EXERCISE

Creating original figurative language/musicality in poetic form. 

POETS/POEMS

·      Peter Porter, ‘The Pantoum of the Opera’

·      Noyes Leslie Harrison, ‘Pantoum for a walk in the woods’

·      Maria Nazos, ‘Cape Cod Pantoum’

RECOMMENDED CRITICAL & THEORETICAL READING

·      Willard Spiegelman, ‘The State of American Poetry’

·      Annie Finch, ‘Female Tradition as Feminist Innovation’

ASSIGNMENT

Write two poems in a traditional poetic form that appeals to you. In one poem, attempt to strictly adhere to the rules of the form. In your second poem, aim to extend the boundaries of that form in an innovative manner (for example, the imperfect pantoum). 

REFLECTIVE PRACTICE/POETRY CHALLENGE

Start a commonplace book. In a small notebook, record poems or fragments of poems that you come across in your reading. As you add to your own commonplace book, you will be drawing a map of your life as a reader and thinker, creating a valuable portrait of your memory and time. Meet and share and recite excerpts.

DUE

Poems 1 & 2 due for workshopping. 

WEEK 3

WORKSHOP TOPIC: THE EPISTOLARY POEM

From the Latin ‘epistle’ meaning a letter epistolary poems have a long history. Horace wrote famous verse epistles and the form continues to be used today. Epistolary poetry, since its classical beginnings, has typically addressed people who are loved but these subjects have often in some way mistreated, neglected, or abandoned the person (poet) writing about them. As such they are a classical practice that has maintained its exciting poetic possibilities in contemporary times. 

MICRO-WRITING EXERCISE

Writing a prose-poem letter from an email/the art of ine breaks

POETS/POEMS

·      Ovid, ‘Letters of Heroines’ (there are 15 in this cycle)

·      Leonard Cohen, ‘Famous Blue Raincoat’

·      Sir Thomas Wyatt, ‘They Flee From Me, That Sometime Did Me Seek’

·      Sylvia Plath, ‘Daddy’ 

RECOMMENDED CRITICAL & THEORETICAL READING

·      Hannah Brooks-Motl, ‘Learning the Epistolary Poem’

ASSIGNMENT

Write two epistolary poems, addressed to different subjects. One subject should be someone you know, and for the other select a historical figure or fictional character. You may instead choose to write to a group. 

REFLECTIVE PRACTICE/POETRY CHALLENGE

Watch a poetry movie. Suggestions include ‘Dead Poets Society’, ‘Sylvia’, and ‘Bright Star’, but there are many more. Compile a list! Gather some friends, watch your poetry-related movie, and discuss and recite some of the poet's work after the film.

DUE

Poems 3 & 4 due for workshopping. 

WEEK 4

WORKSHOP TOPIC: LOVE POETRY & THE CONFESSIONAL SELF

Addressed specifically to another being, a love poem is by nature a dramatic piece of writing, spoken by one character to another. This week’s workshop theme ‘love and the confessional self’ concentrates on ways of creating dramatic style within free verse form. Poets are encouraged to develop a keener relationship to textual reflection of the self through the thematic prism of love. 

MICRO-WRITING EXERCISE

The autobiographical impulse/imagery & found language/the list poem

POETS/POEMS

·      John Keats, ‘Bright Star’

·      Annie Finch, ‘Love Poem #2’

·      Francesca Beard, ‘The Poem That Was really a List’ 

RECOMMENDED CRITICAL & THEORETICAL READING

·      Beth Ann Fennelly, ‘Everything but: Creating tension in love poetry.’

·      Jacob Aron, ‘Valentine’s Love Poetry Brings a Hot Rush of Blood to the Cheeks’

ASSIGNMENT

Write two love poems. One of those poems should experiment with the form of the list poem. 

REFLECTIVE PRACTICE/POETRY CHALLENGE

Write a letter to a poet. Let the poets who you are reading know that you appreciate their work by sending them a letter. The Poet Who Forgot, for example, uncovers the unique personal friendship that developed between AD Hope and Catherine Cole through the creative dynamics of their mentor-apprentice relationship. AD (Alec) Hope was a world-renowned poet when Catherine Cole, a young undergraduate student of Australian Literature sent a polite letter ‘from student to poet’ asking for a meeting. That bold step sparked a lively correspondence between the two that continued for close to two decades, from 1983 until Hopes death in 2000.

DUE

Poems 5 & 6 due for workshopping.

WEEK 5 

WORKSHOP TOPIC: READING AND WRITING ELEGIES

The elegy began as an ancient Greek metrical form and is traditionally written in response to death. It is different from the epitaph (which is very brief), and the ode (which solely exalts) and the eulogy (mostly written in formal prose). The elements of the traditional elegy mirror three stages of loss: the lament (where the speaker expresses grief and sorrow); praise (expressing admiration of the often idealized dead); and finally consolation (expression of solace). This class considers consolation in twentieth-and twenty-first-century elegiac writing: can you make this work for you as a poet?

MICRO-WRITING EXERCISE

The body in mourning/concrete imagery. Draw a picture of yourself as a mourning subject, located in place and time. If you were piece of furniture, what would it be? 

POETS/POEMS

·      Theodore Roethke, ‘Elegy for Jane’

·      Hayden Carruth, ‘Ray’

·      Patti Smith, ‘Elegie’

RECOMMENDED CRITICAL & THEORETICAL READING

·      Carrie Jaurès Noland, ‘Rimbaud and Patti Smith: Style as Social Deviance’.

ASSIGNMENT

Write an elegy obedient to the traditional stanzaic formula of lament, praise and consolation. As this is our last workshop, you may email this poem for commentary. You may or may not wish to include it in your final portfolio for assessment, but please be mindful that it will not have been subject to the benefits of the complete workshop process.

REFLECTIVE PRACTICE/POETRY CHALLENGE

Celebrate poetry with ‘Poem in a pocket’. The idea is simple: select a poem you love, carry it with you, then share it with co-workers, family, and friends. Better still, attend a live poetry reading, and share your pocket poetry with other poetry devotees the audience.

DUE

Poems 7 & 8 due for workshopping.