Course syllabus

 

 

English 343, Writing Poetry and Other Experiments, 2018

Wednesday 11-2:00 114-G17 (Commerce A, G17)

Associate Professor Lisa Samuels. Arts 1/Humanities Building room 631; office Wednesday 2:30-3:30 PM & by appointment (l.samuels@auckland.ac.nz)

Professor Michele Leggott. Arts 1/Humanities Building room 603; office hour to be advised (m.leggott@auckland.ac.nz)

 

Course description  

This course is for upper-level undergraduates who want to expand their poetry styles and ideas, write material-toward-poetry as well as ‘finished’ poems, and develop a reading community in which we attend to each other’s writing. The course operates like a class in drawing or dance, with exercises designed to open your writing perceptions and strengthen your writing muscles.

The last century has been good for poetries in global Englishes: innumerable approaches characterize what’s called poetry. We will discuss and write in some of those approaches. We’ll also investigate web sites and books and talk about differences between composition and revision strategies. We will discuss representation, images, rhythms, diction, lines, words, syntax, sounds, rhymes, code mixing, page area, digitality, typography, punctuation, appropriation, performance, translingualism, rearrangement, and more. We will discuss particular writing strengths, how to optimize the versioning of your poems, and how to fit some poems and poetics together into two portfolios.

 

Requirements

1. Readings. We will read three poetry books (to be available at UBS) as well as Canvas postings, handouts, and this syllabus. You need these materials in order to participate in the course.

Stephanie Anderson, In the key of those who can no longer organize their environments (Horse Less Press 2013)

Tusiata Avia, Fale Aitu | Spirit House (Victoria University Press 2016)

Stephanie Christie, The Facts of Light (Vagabond 2014)

2. Preparation and participation. A hands-on creative production, reading, discussion, and performance class means that everyone makes the class work together. Your writing and reading in advance of class time will help you succeed in class participation, which is both a requirement and a generosity. Excused absences must be documented by official notices. If you have good reasons for missing class, please explain them to us.

3. Your writing. Bring 1-3 pages (or the digital and/or performance and/or sound equivalent) of poetry in draft for discussion EACH WEEK. For page work, use 12-point font unless stylistic exceptions are a feature of that poetry. All assigned and unassigned weekly poetry needs to be brought to class in a printed form (printer or hand-writing) that can be written on. Bringing two copies can be effective for this requirement.
4. Peer response. When you read peer writing, work to help identify the effects of that writing and suggest alternatives. The better you can identify how someone else is writing, the better you learn how writing operates. You can use the studio response sheet, ‘ways of reading’ suggestions, and/or ‘ERR(o)R’ approaches to organize your peer responses.
5. Exercises. We will carry out planned and spontaneous writing exercises, including imitations of poetic forms and other ways of generating poetic material. Take full advantage of these exercises by attending to their implications for your writing and by completing them.
6. Portfolios. You will hand in two portfolios, after weeks 6 and 12. Each portfolio should contain 5-8 poems, depending on length and type. NB PORTFOLIO 2 IS TO CONTAIN 6-8 POEMS. THIS NEW REQUIREMENT ADDRESSES THE ISSUE OF 'EXERCISE #1 AND EXERCISE #2' SET OUT BELOW. NOW YOU DON'T NEED TO THINK ABOUT THE DIFFERENCE BETWEEN 'POEMS' AND 'EXERCISE.' SIMPLY AIM FOR A MINIMUM OF 6 POEMS. The 5-poem [PORTFOLIO 2 6 POEM] count is a minimum; the minimum word count for poetry in each portfolio is 600 words. This minimum word count is based on the expectation that you will write to revision standard at least 100 words of poetry per week.

Please note: for each portfolio, you also need to send an electronic file in doc format that includes ONLY your ‘finished’ 5-8 poems for review. Send this doc file to the email addresses recorded at the top of this syllabus.

Make it clear how the portfolio is organized. Include a list of ‘Contents.’ Number your portfolio poems #1, #2, and so on, in addition to providing titles (if you title your poems; not all writers do). Provide draft work as evidence of your effort and revising. You can clip the draft work for each poem to the back of the ‘finished’ version and label it ‘Draft for Poem #[X].’ Or you can include a notebook, or photocopied pages, if you tend to write by hand. Where symbols, digital environments, and other non-verbal art are used in your poems, we will assess how those art forms are effective in relation to the verbal content. You can send us url links or provide flash drives containing such work.

With each portfolio, one poetry exercise is also to be included. Label these Poetry Exercise #1 (for Portfolio 1) and Poetry Exercise #2 (for Portfolio 2 - NOTE THAT FOR PORTFOLIO 2 WE ARE SIMPLY ADDING UP TO 6 POEMS MINIMUM, SO NO LABELED 'EXERCISE #2' NEEDS TO BE INCLUDED). At least one portfolio poem must be developed from your writing outside of class-assigned exercises, and at least one must be developed in response to a class-assigned exercise. NB: Your Exercise can be in draft form and can correlate with a ‘finished’ poem. The amount of work you do from Exercise draft to revision will be reflected in your mark for effort and range expansion.

 

Class organization

First hour: class time. Reading and writing preparation are indicated in the Daily Schedule and/or handed out in advance or in class. We will read, listen, look, write, depending on the material for that day. We will discuss the readings, exercises, studio work, and other relevant matters. Here you will sometimes be expected to attend to prepared and spot lectures and sometimes to participate as we do exercises and discuss readings.

Second hour: small group peer response time. Here assigned groups will discuss student poems together, with the guidance of the studio preparation tips and response sheet. We will circulate among the studio groups.

Third hour (weeks 2-11 only): exercise time. We will re-group as a class, debrief about your studio discussions, and work together on exercises and particular poetic effects.

 

Grading numerics and remarks

Portfolio: 80% total: 40% x two (for each portfolio, 5% Poetry Exercise, 10% Expanding your Range, 25% Achievement).

Weekly writing and preparation 10%: come prepared, with the required weekly writing and indications of dedication to poetry activities (outside reading, etc).

Participation 10%: attention and generosity in all class activities.

The portfolios demonstrate your engagement with course ideas as evidenced in your own creative output. We will look for the maximum quality of such evidence and for sustained imaginative work and effort. Because students pursue creative assignments differently, grading criteria are expressed in terms of categories rather than of paradigms of accuracy. Your poetry will be assessed according to creative categories such as minimalism, maximalism, energy, restraint, proceduralism, and free form. Some developing poets are drawn to order, distillation, quietude, and/or pre-set forms. Some are drawn to sampling, mixed media, performance, and/or collaboration. Some are drawn to verbal energy, representational indeterminacy, myriad inclusions, and/or free-form work. This class will both help and assess you as you identify and develop, and also as you expand outward from, your poetic tendencies.

Because it is important to push against as well as develop your tendencies, and because different exercises open different areas of your poetry art, grades will also be assigned according to the quality of your efforts to try new compositional styles and multiple poetic tools. This is what we call ‘expanding your range.’ Expanding your range can equal intensifying and/or differentiating and/or adding to a form as well trying different styles.

 

Technology policies

Though email is quick, human beings need time. During the term, we will ordinarily read a message within 48 hours and reply within 72. We extend the same timeline courtesy to you. Please do not use iPods, mobile phones, or other such devices during class time. If an emergency situation requires you to be contactable on a given day, please let us know so that the class can be prepared for an interruption. You are welcome to use computers to take notes and check relevant online materials in direct engagement with class work. During class time, please do not use your computer for messaging, blogging, or other things that take your attention from the class.

 

Disabilities Accommodation Statement

If you have a condition that impairs your ability to satisfy course criteria, please meet with us to discuss feasible instructional accommodation. Accommodation can be provided only for a documented disability. Please tell us about such circumstances by the second week of the semester or as soon as possible after a condition is diagnosed.

*

 

Weekly Schedule. This schedule is subject to change. You are responsible for noting any changes we make during class or via Canvas.

 

Week 1 (July 18)

Welcome. Staff Student Consultative Committee, syllabus.

Assignment: EXERCISE in Metric proceduralism

In-class discussion of meter and lines. In-class composition.

Transparency, opacity, and poetry’s knowing. We’ll discuss language in poetry and exposition. Poetry gives language a chance to dream itself and the writer and reader a chance to use our most important cultural comprehension tool – language – in something other than a restricted economy. 

 

Week 2 (25 July)

NOTE: 10-1 (3 hour) class begins this week.

Terms: discourse, code switching, generative composing.

Assignment: EXERCISE in Collaborative text

In-class discussion of discourse: generally a term for ways of using language, “a” discourse (in a profession or artistic practice, e.g.) is a particular, contextualized way of using language. Arguably, all language use is discourse, but not all language users decide what kind of discourse they are using, and discourse and code mixing is constant.

Generative composing refers to techniques for composing using pre-set procedures, tools, and environments.

 

Week 3 (1 August)

Assignment: EXERCISE with Prompt lines (additional sheet provided in-class).

Active revision (not the same thing as editing). Ways to revise from different composition modes. “First thought best thought” considered. These revision topics feature now that we have had peer response work and you have an increasing number of exercise drafts and new poetry compositions to hand.

 

Week 4 (8 August)

Read Stephanie Anderson, In the key of those who can no longer organize their environments

Exercise on appropriative/archive poetry to be advised.

*LOUNGE READING Wed 8 August Old Government House 5.30-7 pm

 

Week 5 (15 August)

Assignment: Timing in composition exercise

Working together as a group, with someone calling out tempo: alternate between composing fast and very slowly. Your attention should be fixed on the timing of your writing rather than its content as such. You can also use a metronome, the pace of your breath, or similar timing

 

Week 6 (22 August)

Performance. For exercise hour, bring an object that reflects or dramatically prepares you for performing: your Red Reading Shirt, your Talking Stick, etc. Prior to our class meeting, check ubuweb, pennsound, and meshworks, online, for various performance models.

We will also discuss “presentation versions” of poems, anticipating your handing in of Portfolio A. Versioning is a well-established and encouraging way to understand how we make “finished” poems.

 

*Friday 24 Aug: National Poetry Day

**Portfolio 1 to Arts 1 Reception by 3 PM Thursday 30 August** Extensions are granted only with official excuses. Unexcused lateness results in a deduction of 2 points per day late up to 6 September. After that date unexcused late portfolios will not be read or graded.

*Mid-semester break Monday 27 August–Sunday 9 September*

 

Week 7 (12 September)

READ Tusiata Avia, Fale Aitu | Spirit House

Assignment: The House you Used to Live in exercise

Deixis makes for presentness (“here”; “that”). It is indexical; it points to place, time, and action. Personal pronouns (they / I / we / you) introduce bodies and affective verisimilitude into the poem: someone is there with an experience. We’ll discuss how deixis locates your poem in time and place.

 

Week 8 (19 September)

Assignment: EXERCISE in Computing poetry. Digital and other multimedia poetry. We will listen to and look at examples of poetry carried out with computing platforms and with media in addition to language. See nzepc <http://www.nzepc.auckland.ac.nz/>, Electronic Literature Collection 2, 2011, online access <http://collection.eliterature.org/2/>, and more.

*LOUNGE READING Wed 19 Sept at Old Government House 5.30-7 pm: MCW-focused

 

Week 9 (26 September)

Assignment: EXERCISE in Translingual poetry

Dialects, foreign languages, graphemes. Creative writers have been using two or more languages in works for many centuries. Language change and mixing is a constant; bringing a second or third language into our poetry gives us practice in participating in that mixing. Recent translingual poetry is often overtly involved with transidentity / ethnic / nation / culture issues.

 

Week 10 (3 October)

READ Stephanie Christie, The Facts of Light

Assignment: EXERCISE in Open experiment. We will discuss again how poetry experiments with the expository and communicative resources of language and how those experiments may be said to know in relation to other formulations of “knowing” and “social action.” You might try a formal imitation of a poem by Stephanie Anderson, Tusiata Avia, or Stephanie Christie (your choice). Using the same number/types of lines and the same number of words per line, write your words into the shape of your chosen model poem.

NOTE POSTGRADUATE ENGLISH 2019 INFORMATION SESSION FRIDAY 5 OCTOBER, 124 OLD CHORAL HALL, ROOM 124, 12 NOON - 12:50 PM

 

Week 11 (10 October)

Bring one cleanly printed poem you want to include in our class chapbook.

Assignment: EXERCISE in Move-look-listen-touch (in and out of class).

Revising and editing. We will revisit the topic of revising, with reminders about poetic ecology, listening for wheel-spinning and diluting and modulations, and bringing in new/pastiche parts to a poem. We’ll also re-visit the topic of editing to a ‘presentation version’ of a poem.

 

Week 12 (17 October)

Final meeting. Class chapbook making, discussion of Portfolio 2.

*LOUNGE READING Wed 17 Oct at Old Government House 5.30-7 pm

 

**Portfolio 2 to Arts 1 reception by 3 PM on Wednesday 24 October.** Extensions are granted only with official excuses. Unexcused lateness results in a deduction of 2 points per day late up to 31 October. After that date unexcused late portfolios will not be read or graded.