Whether Anne Carson responds to Virginia Woolf or Samuel Beckett, or Caroline Bergvall composes with Dante, poets enter each other’s texts directly and indirectly. But how do we enter into another’s text and still retain an original voice? Where are the boundaries? In this workshop we will encounter multiple responses to Gertrude Stein, Virginia Woolf, and Emily Dickinson, and tackle a variety of writing exercises designed to create new pathways to one's own, as well as other's, work.
This workshop involves reading, writing, and debate about the love poem. The sonnet form, traditionally focused on love, will provide a starting point for in-class writing exercises. We’ll also examine strategies and techniques as they are variously employed by poets such as: Ian Duhig, Michael Donaghy, Carol Ann Duffy, Edna St. Vincent Millay, Sharon Olds, C.K. Williams, Hugo Williams, Alice Oswald, Tom Clarke, Paul Muldoon and Douglas Dunn. You needn’t be in love to attend.
This is a workshop for poets who are looking to enrich and enliven their writing practice, creating new and expansive possibilities for the poem. We will explore diverse strategies, including collage, word games, ekphrastic experiments, and systematized destruction of the expected. The class is process-oriented and aims at enlarging poetic vocabularies and notions of form. We will read some writings by established poets in addition to discussing our own works-in-progress in a supportive atmosphere.
According to W. H. Auden, a poet feels most like a poet when making the last revision to a new poem. Yet so many times we get stuck in an early draft of a poem and don’t know how to proceed. How can we enter and re-imagine the poem, both formally and thematically? In this hands-on workshop dedicated to the art of revision, students will learn a variety of techniques and approaches for turning the inert draft into a poem that breathes and sings.