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POETRY WORKSHOPS RALPH ANGEL Poetry Workshop AUGUST 3—8 9am–12N Type: Poetry Price: $600 Open to all Perhaps the most challenging poetry to read well and with sophistication is one's own. In this workshop we will concentrate on close, careful reading, but we'll get there by doing a lot of writing. And by writing, by experimenting, we will come to better recognize and distinguish effective from less effective orchestrations of language, and, in that way, become better editors of our own work.
ROBIN BECKER This is a workshop for beginning poets interested in trying out a range of approaches, forms and styles. Each member of the group will generate a new poem (or poems) every day for discussion; together, we'll explore the poet's handling of line, metaphor, musical elements, syntax and word choice. We'll ask questions such as "What forms might suit this material?" and "How do we add lyrical/musical elements to this poem?" Daily hand-outs will supplement class discussion. My aim is to create a supportive atmosphere in which we attempt the unfamiliar and surprise ourselves with the results. This is a course for those with little or no previous work in prosody.
CATHERINE BOWMAN The focus of this intensive workshop will be on generating new poems as well as revising old work. There will be daily writing exercises, optional take home assignments, readings from a packet of poems I bring to the workshop each day, and group discussions of the poems you have written. Each class will begin with a free-writing exercise on a particular topic, which will serve to generate new work and offer strategies for writing about difficult subjects. We'll discuss the poems you have written, then look at several poems by other poets. Class will end with another writing exercise based on our discussion of these poems and an optional take-home assignment.
HENRI COLE This course is a concentrated workshop in poetry writing for those who wish to improve their craft as poets while broadening their knowledge of poetry. Poems by students will be discussed in a "workshop" format with an emphasis on the process of revision. Daily assignments will be given. For contemplation: "Poets who fail (and by fail I mean fail themselves and never write a poem as good as they know they are capable of)… lack the self-criticism necessary to perfect the poem. They resist the role of a wrong thing in a right world and proclaim themselves the right thing in a wrong world… In a sense they are not honest and lack the impulse (or fight it) to revise and perfect… the poet who says ‘I am the greatest' has damned himself forever." - Theodore Roethke
MARTHA COLLINS
This workshop will focus on different
syntactic strategies for writing poems.
Through the reading of published poems
and the writing of daily exercises, we will
try to get beyond the predictable subjectverb-
object sentence ("I love you"), and in
the process explore ways in which syntax
and prosody—sentence and line—work
together to create complex poetic textures.
Participants should leave the workshop with
the beginnings of at least four new poems,
some of which we will discuss in class, as
well as starting points for other poems. Please bring: 11 copies of one poem for reading and brief discussion at the beginning of the workshop, and 11 copies of another for possible discussion later in the week.
MARK CONWAY In this workshop we will mainly generate new work. We'll also read visionary poetry from the past – I'm especially interested in "ecstatic" poetry, writing I hesitate to call mystical, but which shares certain attributes: the desire (and fear) of having the self invaded, of being exposed and broken open. But what makes a poem "visionary?" And how can we get that elusive quality into our own writing? We'll also make time for the anti-ecstatic, those moments when the prayer fails or when blessings turn into a curse. We'll look at poets (Blake, Dickinson, and others) and learn strategies from their work – how Dickinson interrupts herself and uses the broken off, the unfinished; Blake's "minute particulars" – as a way to write our way into this territory.
WYN COOPER
A poem doesn't need to be formal to have
form. In this workshop we'll explore the idea
of form—the prose poem, the postcard,
the grocery list, the sonnet, the suicide
note—to generate new work. Sometimes
the constraints of a form can be liberating,
but when those constraints keep the poem
from succeeding, there's no reason not to
go beyond that form to find the center of
the poem. Each student will have one poem
discussed each day. Please bring: 11 copies of one poem to the Sunday night orientation session.
DAISY FRIED
Participants will present poems-in-progress
for rigorous and supportive mutual critique.
This workshop assumes that participants
are excited by and committed to revision,
and that there are no best schools of
poetry, but only individual poems finding
their own best form according to each
poem's internal logic. Also, that the
following qualities are often worthwhile
in a poem: story-telling techniques, rich
ambiguity, humor and irony as a way of
getting to serious matter, the yoking of
disparate dictions, the coincidence of the
messy and the elegant. Poets who like to
put as much real world as possible, in all its
texture and surprise, into their poems, may
especially value this workshop.
ROSS GAY So often we write poems knowing exactly where they're going. And, frankly, these are usually the least interesting poems to read (and write). How, then, do we separate the impulse or occasion of the poem from the heart that the poem must discover? In this class we will read poems by, among others, Rilke, Robert Hayden, Aracelis Girmay, Patrick Rosal, Brigit Pegeen Kelly, Larry Levis, Maxine Kumin, Adelia Prado, and essays by Federico Garcia Lorca, and Fanny Howe, to determine what makes a poem surprise and enlighten. To determine what lifts a poem from the predictable or mundane to the revelatory. The beautiful. The shattering. To this end we will do several exercises that might destabilize our own manner of composing poems, and perhaps even our manner of composing our worlds. Participants should be prepared to present a new poem each day to the workshop.
KIMIKO HAHN
The Penguin Book of Literary Terms defines
poetry as ‘a species of magic.' Rather than
conduct a fault-finding workshop where
we trim out flaws to produce a polished
product, I am interested in magic. I am
interested in holding a draft and seeing
where the source of the poem might be. As
part of this process, we will look at diction,
lineation, various kinds of rhyme/sounds—
as well as content. Sessions will include
looking at 2-3 new drafts from the past, say,
six months, as well as in-class exercises.
MARIE HOWE I'm interested in generating new work that breaks through the barriers of style we might not be aware of, barriers of syntax, tone, diction, subject matter, music, etc. We'll write together on paper and out loud and share our work without the usual critique. We'll read poems that might help us break out of patterns that are holding us back. My aim is to provide some strategies that might help us make new channels within ourselves so that new poems will have a place to travel through, out and into the world. Bring a fresh notebook and one or two books you love. You might also bring a few poems you've already written if you're prepared to make them new. The class will concern itself with breaking out of habits: the very new.
MAJOR JACKSON
To write poetry is to engage in a life-long
journey of honing one’s skills in attuning life
to the basic workings of language. It is a
kind of spiritual practice that requires a wild
discipline. The task is to uncover the joys of
making. In this poetry workshop, we will tap
into what we collectively know about how
poems function and offer feedback on how
to enrich a poem’s ability to say what has not
been said before. Please bring: three recently written poems and a list of your favorite devices and techniques in writing poetry. We will communally share our "tricks" of the trade, our enthusiasm, and our critical eye with the best intentions of helping each other grow in the art.
MAXINE KUMIN My plan is to focus intensively on participants' poems, especially the not-quite resolved ones, and to apply the nuts-andbolts approach to achieving a passionate clarity. We'll look at diction, syntax, the uses of imagery, form and meter. Often a poem that is going astray can be ordered, coaxed or even wrenched into a formal pattern and find its way to completion. Ways in which such ancient forms as villanelle and pantoum can be adapted, even subverted, will be part of our strategy. What to bring: Please bring one poem and 11 copies of it to our first meeting.
CLEOPATRA MATHIS
Bring in you most unruly "children"—the
teenage ones whose emotional life is still
beyond you. We'll aim for the closest look at
the essential questions and possibilities that
haven't yet been developed. In a rigorous,
line-by-line reading, we will identify the poem's
complexities and discuss ways to break
out of our usual habits and conventions.
The workshop will also examine the poem's
syntax and structure, and through them, bring
relevant aspects of craft into focus. Please bring: one poem to class each day. I also encourage you to bring the Norton Anthology of Modern Poetry to the workshop, so I can make specific reading suggestions when we discuss your poems.
CARL PHILLIPS This workshop will explore ways of getting a stalled poem to begin moving again, via looking at strategies employed in assigned readings and seeing how we can use those strategies to ‘re-see' our own poems. We'll also discuss ways of discerning a poem's intentions, which often differ from the writer's. Finally, we'll see what new poems can be made from salvaging older work in the course of our week together.
MARIE PONSOT
This workshop will focus on the reading and
writing of poetry. Through close reading of
student work and a few poems we admire
by other writers, we will discuss the broader
issues of form, style and structure, as well
as more specific issues of craft such as
line, rhythm, and metaphor. We will use
the workshop participants' poems as
springboards for discussion. Please send: two copies of 4 or 5 poems of your own to FAWC by July 31, and bring 11 copies of a poem by someone you admire to the first meeting.
MARTHA RHODES The writers best served by this workshop will be those who seek real guidance as far as revision is concerned and poets who feel stuck, or who want to revise their work but are reluctant, or timid, or just at a standstill. This will also be a productive workshop for writers who wish to generate new work. We will focus on looking at poems not only through the lens of "how do I make this better?" but also through the lens of "what other possible routes can I take with this poem?" We will look at revision in terms of cosmetic editing and also discover a more radical approach to revising poems. Participants will be encouraged to generate new work from the poems they already have. Indeed, we will discover that writing a new poem is often the same as revising an old poem.
MICHAEL RYAN
When asked how he studied other poets'
work, Phillip Larkin responded, "Oh, for
Christ's sake, one doesn't study poets. You
read them, and think, That's marvelous,
how is it done, could I do it? and that's how
you learn." In this workshop, we'll look at
the marvelous to see how it's done. Writerly
reading is reading for usage: carnivorously,
closely and slowly, through prescribed
lenses of attention. A different lens makes
a different picture. If you can see it you
have a better chance of being able to do it
yourself. For the workshop, you may submit
previously composed work or poems-inprocess
triggered by our examples of the
marvelous. The purpose of the workshop
will be to describe your work back to you
and identify your strengths as well ways to
improve the piece under consideration. Please send: ten copies of your five best poems to FAWC by July 1st; we won’t talk about these poems in workshop but they will provide a larger context for discussing your work. I will email handouts after you enroll.
VIJAY SESHADRI The ways in which poets develop and distribute energy and movement in poems determine the success of those poems. In this workshop, we will do what amounts to energy work, examining—in student poems, exercises, and examples drawn from the canon and from contemporary poetry—the manipulation of syntax, rhetoric, metaphor, meaning, and revelation to both contain and liberate the energies of the self. There will be some in-class exercises. The only prerequisite is that those enrolled be eager to write, think, and talk poetry.
ALAN SHAPIRO
All writing is revision. And all revision is or
ought to be an opportunity for discovery
and surprise. In order to flourish as a
poet, you need to cultivate a love for play,
a willingness to go against the grain of
what you know and like, of everything
you've maybe learned to do too well. But
how do you break habits of composition?
How do you follow this or that suggestion
without betraying your original impulse?
And since I take it as axiomatic that all
poems are inexhaustibly revisable, at what
point do you say enough already and stop
fiddling, despite the imperfections you can't
eliminate? These are some of the questions
we will think about as we examine each
other's work over the course of the week.
While I will bring in examples of work by
other poets, the majority of class time will
be focused on the work you submit for
class discussion. Please bring: 11 copies of four or five poems to the Sunday night orientation session.
JEAN VALENTINE This will be a regular workshop, with some time set aside for each person to bring us one poem by another writer—a poem she or he feels closest to as a writer—and a short passage about writing/being which means something to him or her. What to bring: 11 copies of the poem and passage mentioned above. Also, please bring one writing assignment which you have found the most searching—and, as always, copies of your own poems, especially "unfinished" ones.
AFAA WEAVER When you put pen to paper, or keyboard to monitor, do you come from a place of memory or do you look out onto the vast void inside and outside of yourself for that first line? The question of what part of our imaginations and our memories we use to get at the poem raises many questions. We ask ourselves if the poem is a record of something we or someone else lived, or does the poem come from a place where poems themselves live. It is perhaps sometimes a blend, or it may always be a blend. The business of how narrative a poem is or is not arises. These are questions each poet must ask herself/ himself, and what I hope to do for you in this course is accompany you along the way of looking at how poems come into being as we write.
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BIOGRAPHY
Ralph Angel is the author of four collections
of poetry: Exceptions and Melancholies
(2007 PEN USA Award); Twice Removed;
Neither World (James Laughlin Award); and
Anxious Latitudes, as well as a translation
of Federico Garcia Lorca's Poema del
cante jondo / Poem of the Deep Song.
His most recent honors include a Willis
Barnstone Poetry Translation Prize, a
Pushcart Prize and awards from the
Fulbright Foundation, the Elgin Cox Trust
and The Modern Poetry Association. He is
Edith R. White Distinguished Professor of
English and Creative Writing at the University
of Redlands, and a member of the MFA
Program in Writing faculty at Vermont College.
BIOGRAPHY
Domain of Perfect Affection, Robin Becker's
sixth collection of poetry, was published in
2006 by the University of Pittsburgh Press.
Her other books include The Horse Fair, All-
American Girl and Giacometti's Dog. Her
poems appear in numerous anthologies
and textbooks, including Making Literature
Matter and Poetry: An Introduction. In
2002, The Frick Art & Historical Center
(Pittsburgh) published a limited-edition fine
art chapbook of her poems, Venetian Blue.
Professor of English and Women's Studies
at the Pennsylvania State University, she
received the 2000 George W. Atherton
Award for Excellence in Teaching. Other
awards include a Bunting Fellowship, a
Massachusetts Cultural Council Award,
and a National Endowments for the Arts
Fellowship. She regularly reviews for The
American Poetry Review, and writes a
column on contemporary poetry called
"Field Notes" for the Women's Review of
Books, where she serves as Contributing
and Poetry Editor.
BIOGRAPHY
Catherine Bowman's most recent collection of
poems, Notarikon, was published by Four Way
Books. Her new collection The Plath Cabinet
will be published in Fall 2008. She is also the
author of Rock Farm and 1-800-HOT-RIBS,
and the editor of Word of Mouth, an anthology
of poems by poets she has reviewed and
featured on National Public Radio's "All Things
Considered." Her poems have appeared in six
editions of Best American Poetry as well as
many literary magazines and journals, including
The Paris Review, TriQuarterly, The Kenyon
Review, The Los Angeles Times, Ploughshares
and Crazyhorse. Her writing has been awarded
the Peregrine Smith Poetry Prize, the Kate
Tufts Discovery Award for Poetry, and a New
York Foundation for the Arts Fellowship in
Poetry. She is currently the Ruth Lilly Professor
of Poetry and Director of the Creative Writing
Program at Indiana University.
BIOGRAPHY
Henri Cole was born in Fukuoka, Japan, in
1956. He has published six collections of
poetry, most recently Blackbird and Wolf
and Middle Earth, which was a finalist for
the Pulitzer. He has received many awards
for his work, including the Rome Prize,
Berlin Prize, Kingsley Tufts Award, and
Guggenheim Fellowship. Recently he has
collaborated with the visual artists, Jenny
Holzer and Kiki Smith. He lives in Boston.
BIOGRAPHY
Martha Collins is the author, most recently, of
the book-length poem Blue Front (Graywolf,
2006), which won an Anisfield-Wolf Award
and an Ohioana Award, and was one of
the New York Public Library's "25 Books
to Remember from 2006." Other awards
include fellowships from the NEA, the Bunting
Institute, and the Witter Bynner Foundation,
as well as the Laurence Goldstein Poetry
Prize, three Pushcart Prizes, and a Lannan
Residency Grant. Collins has also published
four collections of poems, two chapbooks,
and two collections of co-translations of
Vietnamese poetry. The founder of the
creative writing program at UMass-Boston,
she is currently editor-at-large for FIELD
magazine and the Oberlin College Press.
BIOGRAPHY
Mark Conway's book of poetry, Any Holy
City, won the Gerald Cable Book Award
and was short-listed for this year's PEN/
Joyce Osterweil Award for Poetry. His work
has appeared in The Paris Review, Slate,
American Poetry Review, Ploughshares,
Bomb, Prairie Schooner, the Boston
Review, the Grolier Poetry Prize Annual
and elsewhere. He has been awarded
fellowships from the McKnight, Jerome and
Bush Foundations, the Corporation of Yaddo
and the MacDowell Colony. He's poetry
editor of Post Road.
BIOGRAPHY
Wyn Cooper's most recent book of poems
is Postcards from the Interior, published
by BOA Editions in 2005. His earlier books
are The Way Back (2000), and The Country
of Here Below (1987). His poems are
included in 25 anthologies of contemporary
poetry. He has taught at Bennington and
Marlboro colleges, as well as at the Frost
Place Festival of Poetry. A former editor of
Quarterly West, he helps run the Brattleboro
Literary Festival in Vermont. His poem "Fun,"
from his first book, was turned into Sheryl Crow's
Grammy-winning song, "All I Wanna Do."
BIOGRAPHY
Daisy Fried is the author of two books of
poems, My Brother is Getting Arrested Again
(University of Pittsburgh, 2006), a finalist
for the National Book Critics Circle Award
and one of Library Journal's 10 Best Poetry
Books of 2006, and She Didn't Mean to Do
It (Pittsburgh, 2000), which won the Agnes
Lynch Starrett Award. For her poetry, she
has received a Guggenheim Fellowship,
a Hodder Fellowship, a Pushcart Prize,
the Cohen Award from Ploughshares, a
Pennsylvania Council on the Arts Grant, a
Leeway Award for Excellence and a Pew
Fellowship. She taught creative writing most
recently at Smith College, where she was
Grace Hazard Conkling Writer-in-Residence.
She lives in Philadelphia.
BIOGRAPHY
Ross Gay's first book of poems is Against
Which. His poems have appeared in
American Poetry Review, Harvard Review,
Margie, The American Review of Poetry, and
Gathering Ground: A Reader Celebrating
Cave Canem's First Ten Years, among many
others. He has read his poems to audiences
in schools, on basketball courts, in prisons,
and on subways. He teaches in the
graduate MFA program at Indiana University
and a number of community and school
workshops around the country.
BIOGRAPHY
Kimiko Hahn is the author seven books of
poems, including: Earshot (Hanging Loose
Press, 1992), which was awarded the
Theodore Roethke Memorial Poetry Prize and
an Association of Asian American Studies
Literature Award; The Unbearable Heart
(Kaya, 1996), which received an American
Book Award; and, most recently, The Narrow
Road to the Interior (W.W. Norton, 2006),
whose title was stolen from Basho's famous
poetic journal. Hahn is a recipient of The
Shelley Memorial Prize and a Lila Wallace-
Reader's Digest Writers' Award as well as
fellowships from the National Endowment
for the Arts and the New York Foundation for
the Arts. She is a Distinguished Professor in
the MFA Program at Queens College/City
University of New York.
BIOGRAPHY
Marie Howe was a Fellow at the Fine Arts
Work Center in 1983. Her newest book of
poems is The Kingdom of Ordinary Time
(WW Norton). She is also the author of the
collections What the Living Do and The
Good Thief, winner of the 1988 National
Poetry Series award. She's received
grants and awards from the Guggenheim
Foundation, NEA, The Massachusetts
Cultural Council, and the Bunting Institute.
With Michael Klein, she edited an anthology,
In the Company of my Solitude: American
Writing from the AIDS Pandemic (1995). She
currently teaches at Sarah Lawrence College
and NYU.
BIOGRAPHY
Major Jackson is the author of two collections
of poetry: Hoops, and Leaving Saturn,
recipient of the 2000 Cave Canem Poetry
Prize and finalist for a National Book Critics
Circle Award. His poems have appeared
in the American Poetry Review, Boulevard,
Callaloo, Post Road, TriQuarterly, and The
New Yorker among other literary journals,
and on National Public Radio’s “All Things
Considered.” He is the recipient of fellowships
from the Bread Loaf Writers’ Conference, the
Fine Arts Work Center, and a Pew Fellowship
in the Arts; a commission from The Chamber
Orchestra of Philadelphia; and the recipient
of a Whiting Writers’ Award. A former Witter
Bynner Fellow for the Library of Congress, he
currently teaches at the University of Vermont
and is a faculty member of the Bennington
Writers Seminar.
BIOGRAPHY
Maxine Kumin's most recent poetry
collection, Still to Mow, was published in
2007. She is the author of Jack and Other
New Poems, The Long Marriage and a
memoir, Inside the Halo and Beyond:
Anatomy of a Recovery. Her awards include
the Pulitzer and Ruth Lilly Poetry Prizes, the
Poets' Prize, the Aiken Taylor Award, the
Harvard Arts Medal and the Poetry Society
of America's Robert Frost Medal. Kumin
is Distinguished Poet in Residence at the
New England College low-residency MFA in
Poetry program. She and her husband live
on a farm in New Hampshire.
BIOGRAPHY
Cleopatra Mathis's sixth book of poems,
White Sea, was published by Sarabande
Books in 2005. Various prizes for her work
include two fellowships from the National
Endowment for the Arts, the Jane Kenyon
Award for Outstanding Book of Poetry, the
Peter Lavin Award from the Academy of
American Poets, the Robert Frost Award,
and two Pushcart Prizes. Since 1982 she
has taught at Dartmouth College, where she
directs the creative writing program. A 1981-
82 Fellow at the Fine Arts Work Center, she
serves on the FAWC's Writing Committee.
BIOGRAPHY
Carl Phillips is the author of nine books of
poems, most recently Quiver of Arrows:
Selected Poems 1986-2006. His awards
and honors include the Kingsley Tufts Poetry
Award, the Lambda Literary Award, an Award
in Literature from the American Academy
of Arts and Letters, and fellowships from
the Guggenheim Foundation, the Library of
Congress, and the Academy of American
Poets, to which he was named a Chancellor
in 2007. He teaches at Washington
University in St. Louis.
BIOGRAPHY
Marie Ponsot has published numerous
works, including Springing; The Bird
Catcher, winner of the National Book
Critics Circle Award and a finalist for the
1999 Lenore Marshall Poetry Prize; The
Green Dark; Admit Impediment; and
True Minds. A translator of books from
the French, she has taught in graduate
programs at Queens College, Beijing
United University, the Poetry Center of the
YMHA, New York University and Columbia
University. Her awards include a grant from
the National Endowment for the Arts, the
Delmore Schwartz Memorial Prize, and
the Shaughnessy Medal of the Modern
Language Association.
BIOGRAPHY
Martha Rhodes is the author of three
collections of poetry: Mother Quiet (Zoo
Press, 2004), Perfect Disappearance (winner
of the 2000 Green Rose Prize), and At the
Gate (Provincetown Arts Press, 1995). Her
poems have appeared in Agni, American
Poetry Review, Fence, Ploughshares,
and TriQuarterly, among other journals
and in many anthologies including The
Extraordinary Tide: New Poetry by American
Women, and The New American Poets:
A Bread Loaf Anthology. She teaches at
Sarah Lawrence College and in the MFA
Program for Writers at Warren Wilson
College. She is the director and founding
editor of Four Way Books, a literary press
based in New York City.
BIOGRAPHY
Michael Ryan is Professor of English
and Creative Writing at the University of
California, Irvine. He has written four books
of poems, an autobiography, a memoir,
and a collection of essays about poetry
and writing. His New and Selected Poems
won the 2005 Kingsley Tufts Poetry Award.
His work has also won the Lenore Marshall
Prize, a Whiting Writers’ Award, two NEA
Fellowships, a Guggenheim Fellowship, and
the Yale Series of Younger Poets Award,
and his poems and essays have appeared
regularly in The American Poetry Review,
The Threepenny Review, The New Yorker,
and many other magazines and anthologies.
BIOGRAPHY
BIOGRAPHY
Alan Shapiro has written ten books of poetry,
most recently Old War; Tantalus in Love; The
Dead Alive and Busy, 2001 winner of the
Kingsley Tufts Award; and Song and Dance,
published in 2002. The recipient of a writer's
award from the American Academy of Arts
and Letters, Shapiro has also published
three books of prose, and a translation
of Aeschylus's Oresteia, which Oxford
University Press published in 2003.
BIOGRAPHY
Jean Valentine is the author of ten books of
poetry, most recently Little Boat (Wesleyan,
2007). Earlier books are Growing Darkness,
Growing Light (1997), The Cradle of the Real
Life (2000) and Door in the Mountain (2004).
She has been a Guggenheim Fellow, was
awarded the Shelley Memorial Prize by the
Poetry Society of America in 2000 and won
the National Book Award in 2004. She lives
and works in New York City.
BIOGRAPHY
Afaa Michael Weaver (born Michael S.
Weaver) is a poet, playwright, short fiction
writer, free lance journalist, and editor. He
has received NEA and Pew fellowships
and been a Fulbright scholar. In playwriting
Afaa has received the PDI Award from ETA
Theater in Chicago. An ongoing student of
Chinese language and culture, he translates
contemporary Chinese poetry and irregularly
convenes an international conference on
contemporary Chinese poetry at Simmons
College, where he is the Alumnae Professor
of English. In April 2005 in Beijing he received
a gold friendship medal from the Chinese
Writers Association. The Plum Flower Dance/
poems 1985 to 2005, (U of Pitt Press 2007)
is his 10th collection of poetry.