Open Enrollment Class Registration - Fernandes

$325.00

Experimenting with Lyric Poetry with Megan Fernandes

What does it mean to experiment? To play? To leap into uncertainty? To subvert a sense of form, structure, tone? In what ways can writers experiment with alternative modes of desire, grief, humiliation, or wonder? To experiment is a human and artistic instinct, a curiosity to play in the space of some unknown.

Price: $325.00

Open Enrollment Class Registration - Brolaski

$325.00

Visions and Visionary Poetics with Julian Talamantez Brolaski

Price: $325.00

Open Enrollment Class Registration - Sexton

$325.00

Finding the Art in the Line with Elaine Sexton

Price: $325.00

One Day Workshop - The Bridges Amidst: Poetry and Prose

A dynamic afternoon seminar with poet and novelist Renée Ashley and memoirist Rosie Schaap. Renée Ashley will lead a discussion on compression and information in poetry, which will lead to some writing prompts. Rosie Schaap will lead a seminar focused on the ways in which poetry can inspire nonfiction, and how poems can be integral to the structure of nonfiction narrative. Together, they will discuss the bridges that exist inside poetry and prose, and the benefits of writing in both genres. This seminar is open to the public; registration is required.

Poetry in the Body with Priscilla Becker

Through breath-work (pranayama), meditation (dhyana), body-motion (asana), participants will simultaneously activate and calm their bodies (which include our minds!) at the start of each class. The body will be put to work, rather than pushed aside. Poetry in Motion recognizes the body as an integral part of the creative process, something to work with, not in spite of. In-class writing exercises (appropriate combo) include writing via meditation, writing in particular postures, writing while moving. It’s a hands-on class—literally—utilizing the tactile.

Preludes: The Long Poem with Paolo Javier

This class will introduce a variety of strategies of composing long poems. Participants will survey innovative approaches, ranging from the diaristic (Lyn Hejinian) to the biofictional (Fred Wah); the cataloguist (Lisa Robertson) to the pyschogeographic (WC Williams, Frances Chung); the durational (Bernadette Mayer, Gertrude Stein) to the spectral (James Merill, Alice Notley); the personist (Frank O'Hara, Vincent Katz) to the anti-imperialist (Aime Cesaire, Barbara Jane Reyes); and the text-sound textualist (Khlebnikov, John Cage) to the text-imagiste (bp Nichol, Jill Magi).

Poets Respond: Poetry as Political Dialogue with Camille Rankine

What is political activism anyway? It’s something both prepared for and spontaneous – like making poetry.” – Adrienne Rich

The Art of Truth Telling: Discernment, Authenticity, and Risk with Eugenia Leigh

James Baldwin said, “The role of the artist is exactly the same as the role of the lover. If I love you, I have to make you conscious of the things you don’t see,” and Emily Dickinson wrote, “The Truth must dazzle gradually.” Participants in this workshop will develop the art of seeing and practice the craft of dazzling gradually while examining the nuances between fact and truth. The goal will be to transform poems that simply report or observe into poems that take emotional and creative risks to illuminate truths with authenticity and artistry.

The Whole Poem: Unlocking the Full Potential of a Poem's Content and Form with Neil Shepard

From first draft to final draft, strategies are required for seeing the whole poem, both its full potential for content and its most satisfying form. Required, as Charles Olson said, is the intense perception of the first draft – to “see” not only the spark but all of the light that makes a poem glow. Then we need to “re-see” the poem, practicing the kind of deep revision that leads us to reconsider everything from word choice and vivid image to metaphoric subtext, grammatical pattern, and inner music of the poem.

An Equal Music: Writing Poems from a Musical Influence with Jay Deshpande

Poets are frequently influenced by a favorite musician or song. Sometimes it’s Bob Dylan’s lyrics, the aesthetics of the blues, or the emotional sweep of Mahler that we want to carry to the page. But how do we make use of the music we love if we don’t write about it and we don’t try to mimic it? In effect, the music-inspired poem is the most challenging form of ekphrasis, because the author must be extra vigilant to form her own language rather than to mimic that of the song.

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