Saturday, December 5, Noon-4pm
Sunday, December 6 Noon-4pm
Application deadline: November 20
Terese Svoboda is the author of more than a dozen books. Her forthcoming titles include When the Next Big War Blows Down the Valley: Selected & New Poems and Anything That Burns You: A Portrait of Lola Ridge, Radical Poet.
Ander Monson, author of Letter to a Future Lover: Marginalia, Errata, Secrets, Inscriptions, and Other Ephemera Found in Libraries (2015), leads a generative trawl through the 60,000-volume library at Poets House. Through encounters with unexpected materials found between the pages, library-nauts will have the unique opportunity to “publish work back” into books that once seemed completed.
What are your syntactic habits and how do they constrict or limit where your poems will take you? If you can say “my poems always/ never…” (ex. are in first person, start in present tense, use complete sentences, ask questions, etc.) this session is a chance to see what happens when you try something new. We’ll look at poems, experiment with various syntactic strategies, and explore ways to move out of the familiar and generate drafts of new poems. To help us think about syntax and revision, participants are encouraged to bring in a draft of a poem.
Scholar and poet Rosamond King shares her insights into the groundbreaking output of 20th-century Caribbean poets, including the works of Kamau Brathwaite and M. NourbeSe Philip in this interactive seminar. (Full audio, approx. 1 hr, 15 mins.)
While thousands of people all over the world attend electronically, you are invited to join Al Filreis, Director of the Center for Programs in Contemporary Writing at the University of Pennsylvania, and co-teachers Lilly Applebaum, Ali Castleman, and Anna Strong at Poets House for this live recording. Designed for all levels, this introduction to Imagism nurtures a richer appreciation for great poets such as H.D. and William Carlos Williams.
Fred Moten, whose recent collection, The Feel Trio, was a 2014 National Book Award Finalist, explores the ways in which race and poetics--in the wake of colonialism and in the midst of ecological disaster--enter into artistic experimentation, shaping the conditions under which black poets work. Moten’s “partial correspondences” investigate the formal implications of blackness and experimentation, generativity and discovery.