|
Description
Wallace Stevens suggests that 'The essential thing in form is to be free in whatever form is used.' We'll pursue this seeming paradox with exercises in meter and free verse, exploring both traditional forms, like sonnets, and experimental forms, like collage and serial poems. We read diverse contemporary and classic poets, write several poems, and workshop peer work weekly, culminating in a portfolio of new poems as a final project.
|
Class Number
2002
Credits
3
|
|
Description
Might there be a kind of poem that acts like a parasite latched on to a host body? A poem whose very life is the fusion of various sources, voices, discourses? This poetry workshop invites students to read and write poetry that, either overtly or subtly, engages with other texts or weaves together various discourses. We'll examine ways that poems create intertextual relationships (e.g. quoting, voicing, alluding, echoing, stealing, sampling, imitating, translating...) and test out these methods in our own writing. While the focus of the readings and exercises will mainly be on poetry, students writing prose, fiction, or hybrid genres are invited to join and work in their own genres. Afterall, the theoretical concept of intertextuality comes from Bakhtin's critical texts on Rablais and Dostoyevsky! Readings will likely sample older intertextual models (such as ballads), as well as modern and contemporary explorations, such as work by Ted Berrigan, Terrance Hayes, Rosmarie Waldrop, Jack Spicer, Maggie Nelson, and others.
|
Class Number
2087
Credits
3
|
|
Description
While collaboration is often central to the practice of studio artists, most writers have typically written alone, their work usually seen as the product of a single imaginative 'vision.' Writing collaboratively raises many questions, challenges and opportunities, from working out differences in style and process to grappling with the notion of authorial intent. At its best, collaboration can open up the individual artist to new ways of thinking about form, language, and process. We will read a number of collaborative texts, and exercises and projects will be collaboratively developed in response to those texts; each student will have a chance to work with every other member of the class, and will also have an extended partnership with one or two other students. Texts will include work from Harry Mathews, Georges Bataille, Leslie Scalapino, Robert Creeley, and many others. While the focus of the collaborations is on writing, projects in the past have included elements of performance, video, drawing, etc and artists from all disciplines are welcome in the class.
|
Class Number
2017
Credits
3
|
|
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
|
Class Number
2004
Credits
3
|
