A panel discussion and conversation about poems written by children – and poems written for children – with children’s literature scholar Jennifer Brown, educator and founder of The Touchstone Center Richard Lewis, historian and children’s literature critic Leonard Marcus, educator Annie Wright, widow and editor of poet James Wright, and members of The Touchstone Center Theatre Ensemble, Clea Rivera and Harry Mann.
A workshop exploring the magic and mystery of poetry. We’ll write poems inspired by the earth and sky. Then our poems will be celebrated through narration, music and mime. Each child will take their poems home in an earth/sky box.
Application deadline: EXTENDED TO Friday, October 3
This workshop will examine current trends in collage-style writing, or poetry that carries meaning, emotion, and sometimes stories within lines that are nearly cut and pasted leaps. We will study a few current poets, write new poems, and workshop each other's work.
Farrah Field is the author of the poetry collections Rising and Wolf and Pilot.
Saturday, January 17, 2015, 12:00-4:00pm
Sunday, January, 18, 2015, 12:00-4:00pm
Application Deadline: EXTENDED TO Friday December 19, 2014
Elaine Equi's recent books include Ripple Effect: New & Selected Poems, and Click and Clone. A new collection, Sentences and Rain, is forthcoming in 2015. She teaches at New York University and in the MFA Program at The New School.
The term “narrative” is often misused, confused with realism or accessibility, but understanding narrative can strengthen poetry writing. Students will examine narrative in the poems of Barbara Guest and John Ashbery, among others, and are invited to bring their own poems with narrative elements.
Westminster College and Vermont College of Fine Arts professor Natasha Sajé’s latest works are Vivarium and Windows and Doors: A Poet Reads Literary Theory.
“Poems are never finished, merely abandoned,” wrote Paul Valéry. How do we take those abandoned drafts, our stuck poems, and re-enter them with fresh verve? Each session we discuss procedures and strategies for revising our poems, do short in-class revision exercises, discuss some published works, before turning to workshop as a group student poems. This class is an invitation to play and radically re-visit poems-in-progress.
How many languages/tongues do you speak? How many landscapes does your body navigate? How deeply do you listen? Does everything have to be completely understood? Through a series of writing exercises, a bit of translation/mistranslation and the use of Butch Morris’ Conduction Theory, we’ll explore the possibilities of writing and performance while not seeking to become performance poets. During this six weeks, we will look at excerpts from A Manifesto for Discomfortable Writing and A Manifesto for Ultratranslation.
Our culture encourages us to only talk about the big questions through an examination of the everyday and the specific. But sometimes we want to speak directly to the things that stupefy and excite us and to address the big questions. In the last century, humanity has undergone huge transformations in science and technology and we have not yet metabolized all this in our written culture. In addition to beginning such writing, we’ll read poetry and essays that are overtly about big ideas, like meaning, time, death, chance, suffering, and the external reality of the world.