Poetry I LITR 110B, Sec. 3
Thursday 5-7:20 PM
www.poetry1sec3.wordpress.com
Erica Mena-Landry
Office Hours: Thursday 3-4, by appointment
Literary Arts (68.5 Brown St.) 3rd Floor, room 304
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Goals
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This is a generative workshop. The goals of our workshop time, and our readings, will be
to encourage you to develop new modes, skills, and techniques in writing creatively. We
will experiment with constraint and conceptual writing practices; try our hands at multimedia/new media/e-lit composition; delve into research-based poetry; practice literary
translation; and generally be open to as many processes and approaches as we can. The
one thing we will not be doing in this class is writing autobiographically (except a
few, special times). Our goal will be to write almost entirely outside the
autobiographical first-person (or self-referential third-person).
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Each student will have at least two workshop sessions, dedicated to your own work, for
which you should submit 6-8 and 8-10 poems (or pages of poetry) respectively. Work
must be submitted ONE WEEK BEFORE the class in which you will be workshopped.
Cross-genre work should fit somewhere 8 paragraphs for really dense stuff, 25
paragraphs for more straightforward stuff. Each workshopped student gets about 30
minutes of our undivided attention.
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Assignments
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1. Reading Responses (10)
Each week you’ll be asked to read several texts, and write reading responses.
These should be short (500-1000 words), critical (but not scholarly) responses to
the texts or text we’ve read. They can be arguments, close readings, poetic
responses or review-style treatments. I encourage you to try writing many
different styles of responses over the semester. Whichever style you choose, I
expect these response-papers to reflect college-level standards of writing (proper
grammar, syntax, spelling, etc.). Any departures from academic standards must be
intentional, creative, and purposeful. These must be posted to the blog the day
before class by noon.
2. Poetry (24)
a. Each week there will be a writing assignment/prompt, often relating to the texts we’ll
be reading for the week. These must be submitted to me at least 48 hours
before class.
b. You must also turn in one additional poem every week. It can be another take on the
assignment (or a previous assignment). It can be something unrelated to anything
we’re doing in class. These must be submitted to me at least 48 hours before
class.
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c. Twice during the semester you’ll have the opportunity to turn in 6-8 and 8-10 poems
(respectively) for your classmates to respond to as part of the workshop. These
may be drawn from these poems that you’re turning in to me, or they may be
something else entirely. It’s up to you. They must, however, not be
autobiographical. You must submit the work you want to have workshopped at
least ONE WEEK before class by email to the entire class.
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3. Workshop Feedback
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Download and print out your fellow student’s work that will be workshopped in class.
Please don’t use your computer to read the text during workshop. I know this kills
more trees, but it also keeps us more focused on the work. Read through each
piece at least twice and write comments on the paper itself to prepare you talk
about it in class. (This means no “track changes” commenting. Pen on paper
builds character and wrist strength.)
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4. Poetry Reading
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In addition, answer the workshop questions list (this can be done on your computer, or by
hand). Give a copy to the author following his/her workshop, along with any
notes on the poems themselves. Send a copy to me as an email attachment before
class. (Even if just 45 seconds before.) These will be evaluated based on how
thoughtfully and thoroughly you’ve commented on your fellow student’s work.
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Go to and write about (500-1000 words) at least one poetry reading/performance during
the semester. Due by the last week of classes.
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5. Discovery
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Part of being an engaged reader and writer in the poetry world is to be aware of the
current movements of poetry. You must find and write a brief (500-1000 word)
review of a recently-published (within two years) book or chapbook of poetry or
poetry in translation from a small independent press. By mid-semester you must
have identified the book you want to write about, and have prepared a short (5
minute) discussion or close reading of one poem or short excerpt from the book
for class. Due by the last week of class.
6. Final Portfolio
For your final portfolio, you will turn in 10-15 poems that have been revised based on
your workshop feedback, my comments, and what you’ve learned about poetry
and your own work through the course, along with the versions of the poems I
wrote my comments on. Due at the last class.
Attendance & Participation
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This is a workshop, so you being here is the most important part of participation. More
than two absences will result in NC. I do not distinguish between excused and unexcused
absence. You must participate thoughtfully in class discussions and in the workshop.
Everyone must have an individual conference with me by the half-way point of the
semester. You can come to my office hours unscheduled, or make an appointment, but it
must be done by the mid-point of the semester.
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Electronic device policy
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If I see you texting, browsing the internet, on Facebook, or tweeting, I’ll quietly note it,
and if it happens frequently I will consider it to be an absence. It’s just a matter of
respect.
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Laptops are ok, though I reserve the right to forbid laptops during discussions or
workshops.
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Plagiarism
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For the creative work, you’re going to have to try very, very hard if you want to get in
trouble for plagiarism. There will be points in the class where the whole assignment is to
adapt, appropriate, translate and otherwise use other writers’ stuff. That said, there is a
line, and you can cross it, and if you do, you fail the assignment, maybe the class, plus
other bad stuff will happen to you. If you have an idea for a creative assignment, and you
don’t know if it crosses the line, talk to me about it. Ahead of time.
For the responses, plagiarism is just like normal. You quote somebody without citing –
plagiarism. You paste from Wikipedia or whatever – plagiarism. You already know this.
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Grade structure
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This is a S/NC course, so there isn’t a lot of flexibility in the grading. If you miss more
than 2 classes, don’t turn in your workshop pieces, or don’t complete the assignments,
you’ll probably be in trouble. Talk to me if you have concerns.
Non-Discrimination
Our class will not discriminate on the basis of race, color, national origin, age, disability,
sex, marital status, familial status, parental status, religion, sexual orientation, or political
beliefs. Anyone who does engage in any of these forms of discrimination will be asked to
leave the class.
Disability
If you have a disability and feel you will need accommodations in order to complete
course requirements, please contact the Student and Employee Accessibility Services. If
you qualify for accommodations, please submit the appropriate forms in a timely manner
so that your needs can be addressed.
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Required Texts
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(Syllabus subject to change at instructor’s discretion.)
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Death Centos by Diana Arterian (purchase from me)
A Humument by Tom Phillips (purchase online)
CLASS 1: 9/5/13
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In Class:
Introduction
Syllabus
In-class writing
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FOR NEXT WEEK:
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Read: Donald Hall “Poetry and Ambition”
Adam Roberts “The Righteous Skeptic’s Guide to Reading Poetry” part 1; part 2; part
3; part 4; part 5
Write: A poem engaging with a mythological/classic/biblical theme.
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Reading Response prompts: What makes a poem great? Who determines greatness? Is
there any bias to how greatness is determined? What are your poetic goals?
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CLASS 2: 9/12/13
In Class:
5 minutes of music / writing
Discuss readings (60 minutes)
Break (10 minutes)
Sign up for workshops
In-class writing (20 minutes)
FOR NEXT WEEK:
Read: Marjorie Perloff’s “Poetry on the Brink”
Amy King’s “Beauty and the Beastly Poetry Biz”
excerpt from Kenny Goldsmith’s “Uncreative Writing”
Fitterman’s This Window Makes Me Feel
selections from Against Expression & I’ll Drown My Book
Write: A conceptual poem.
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REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
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CLASS 3: 9/18/13
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In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 1 __________________
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WORKSHOP 1 __________________
WORKSHOP 1 __________________
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Break (10)
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FOR NEXT CLASS:
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Read: Guy Debord Derive & Detournment
Shorter American Memory by Rosemarie Waldrop
Jackson Mac Low “Stein 100: A Feather Likeness of the Justice Chair”
Caroline Bergval “Via”
Death Centos by Diana Arterian
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Write: A poem through/using other people’s words.
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REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
CLASS 4: 9/26/13
In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 1 __________________
Break (10)
WORKSHOP 1 __________________
WORKSHOP 1 __________________
FOR NEXT CLASS:
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Read:
A Humument by Tom Phillips
A Little White Shadow Mary Ruefle
excerpt from Voyager Srikanth Reddy
excerpt from Radi Os by Ronald Johnson
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Write: An erasure poem.
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REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
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In Class:
5 minutes of music / writing
Discuss readings (10)
WORKSHOP 1 __________________
WORKSHOP 1 __________________
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CLASS 5: 10/3/13
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Break (10)
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WORKSHOP 1 __________________
WORKSHOP 1 __________________
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FOR NEXT CLASS:
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Read: from engulf—enkindle Anja Ulter
Gertrude Stein excerpt from Tender Buttons
Gerard Manly Hopkins
Lyn Heijinian “The Rejection of Closure”
excerpt from “Pythagorean Silence” Susan Howe
Write: Something that uses language/grammar/syntax in a non-normative way.
REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
CLASS 6: 10/10/13
In Class:
5 minutes of music / writing
Discuss readings (10)
WORKSHOP 1 __________________
WORKSHOP 1 __________________
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Break (10)
WORKSHOP 1 __________________
WORKSHOP 1 __________________
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FOR NEXT CLASS:
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Write: A poem using language of excess.
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Read: excerpts from Gurrlesque
excerpt from Mommy Is A Bed of Feathers
excerpt from Transfer Fat
Johannes Gorransson essay
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REMINDER: NEXT CLASS’S WORKSHOPPERS MUST EMAIL THEIR POEMS BY
10/17/13 TO THE WHOLE CLASS
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NO CLASS 10/17/13
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Read: Autobiography of Red
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Write: A classic story (myth, religious story, fairy tale) from a new point of view (i.e.
another character in the story; a contemporary setting; etc.).
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CLASS 7: 10/24/13
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In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 1 __________________
Break (10)
WORKSHOP 1 __________________
WORKSHOP 1 __________________
FOR NEXT CLASS:
Read: excerpt from Science Fiction by Andrew Joron; “Sci-Fi” and “My god, its full of
stars” by Tracy K. Smith; “Poets on the Alien Planet” Jan Bottiglieri; excerpt from
Cyborgia by Susan Slaverio; excerpt from Physics for Poets, essay from Cry at Zero;
Cristina Rosetti Goblin Market
Assignment: Write something that incorporates science or scientific concepts (it doesn’t
have to speculative, but it definitely can be!).
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Write Critically: What are the possibilities of a speculative poem, as opposed to any other
kind of poem? Are all poems, maybe, inherently speculative? How does genre in poetry
(and we’ve looked at a few now) set up expectations that a poem then meets or violates?
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REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
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In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 2 __________________
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CLASS 8: 10/31/13
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Break (10)
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WORKSHOP 2 __________________
WORKSHOP 2 __________________
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Read: “The Extremophile” by Christian Bök; Lorraine Niedecker; excerpt from The Keep
Emily Wilson; W.S. Merwin; “The Language Habitat: an Ecopoetry Manifesto” by James
Engelhardt; “Draft 71: Headlines, with Spoils” Rachel Blau DuPlessis; “Pollen” Mei-mei
Berssenbrugge; selections from How2 ecopoetics issue
(http://www.asu.edu/pipercwcenter/how2journal/vol_3_no_2/ecopoetics/index.html)
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Assignment: Write about nature.
REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
CLASS 9: 11/7/13
In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 2 __________________
Break (10)
WORKSHOP 2 __________________
WORKSHOP 2 __________________
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FOR NEXT WEEK:
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Read: excerpt from Ventrakl by Christian Hawkey
selections of Zukofsky’s Catullus
An Introduction to Venantius Fortunatus for Schoolchildren by Mike Schorsch
selection from Mysterieuse
selection from False Friends
Assignment: Create a translation.
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Write Critically: Are these poems translations? Can we identify what they are (and what
the aren’t) translating? How do we evaluate the choices the translators made to
foreground certain elements of the poem rather than others?
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REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
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Break (10)
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CLASS 10: 11/17/13
In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 2 __________________
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WORKSHOP 2 __________________
WORKSHOP 2 __________________
FOR NEXT CLASS:
Read: from Spicer’s After Lorca
Forrest Gander’s review of Double Flowering
excerpt from The Imaginary Poets
Write: Create a pseudo-translation/forgery.
REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
CLASS 11: 11/21/13
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In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 2 __________________
Break (10)
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WORKSHOP 2 __________________
WORKSHOP 2 __________________
FOR NEXT CLASS:
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Read: “They Feed, They Lion” Philip Levine; Denise Levertov; “Alabanza” Martín
Espada; “I Explain A Few Things” Pablo Neruda; Darwish; Adrienne Rich
Place & Reznikof & Holocaust book
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Write: A poem that engages with political/social issue.
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Write Critically: What kinds of poems are ethical? What kinds of poems aren’t ethical?
What categories do these poems fall into (race issues, feminist, anti-war, etc.)? Could
other poems we’ve read this semester be considered to be ethically positioned? Could any
of them not?
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REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
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NO CLASS 11/28/13 – THANKSGIVING
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Read: Ovid’s Metamorphoses
Use this time to work on your final portfolio, prepare your discovery, and write up your
poetry reading (if you haven’t already).
CLASS 12: 12/5/13
In Class:
5 minutes of music / writing
Discuss readings (30)
Discovery poems!
Break (10)
WORKSHOP 2 __________________
WORKSHOP 2 __________________
FOR NEXT WEEK:
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Read: Finish Ovid’s Metamorphoses
Write: A poem.
REMINDER: NEXT WEEK’S WORKSHOPPERS MUST EMAIL THEIR POEMS
TONIGHT TO THE WHOLE CLASS
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13. Last Class
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WORKSHOP 2 __________________
WORKSHOP 2 __________________
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Break (10)
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In Class:
5 minutes of music / writing
Discuss readings (30)
WORKSHOP 2 __________________