ENGL 380: Writing Poetry Report a Broken Link

English 380: Writing Poetry focuses on expanding poetic technique through guided practice, close reading, regular use of a writer’s notebook, constructive interaction with peers, and informed instructor responses. With attention to weekly writing, reading, and revision, the course promotes learning to think and work like a poet. Students will find copious references to what various poets say about poetry and its creation, as well as engage in challenging technical examination of specific works. Balancing attention to the essential “small details” of the art, the course also opens awareness of pertinent historical and cultural questions that enter into the discipline. Increasing command of form and technique is pursued in a manner designed to nurture meaningful personal voice, style, and vision. From initial groundwork exercises, including listening and reading activities, students build toward a final portfolio of carefully revised poems that explore various traditional and contemporary forms and approaches.

Lesson 1: Sound and Rhythm


Lesson 2: Reading Poetry Aloud


Readings by Jennica Harper, Marita Dachsel, Elizabeth Bachinsky, and Amber Dawn from their works
“Oliver Square,” by Cadence Weapon (Roland Pemberton)
Beadwork poems, Marilyn Dumont
“Because I Could Not Stop for Death—,” by Emily Dickinson, read by Juliet Stevenson 
“Returning,” by Louise Bernice Halfe 
Reading and discussion of “Inniskeen Road: July Evening,” by Patrick Kavanagh

Frances Rocks reads the work and provides an Irish air “Nora” on the piano. 

“Carnarvon Street Lament” and “Evening Raga for Paldi,” by Renée Sarojini Saklikar

Cascadia Poetry Festival Reading: Renée Sarojini Saklikar [0:35–1:28; 1:58–4:25].

“In Flanders Fields,” by John McCrae, read by Leonard Cohen
A Surreal Poem “Two Went to Sleep,” by Leonard Cohen 
“poetry duzint have 2 b about aneething. . . ,” by bill bissett 
Six Readings by Tim Bowling
“A Marriage,” by R.S. Thomas

“A Story about the Body,” by Robert Hass 

“Two Songs,” by Adrienne Rich 

“The Widow’s Lament,” by William Carlos Williams 

“A Puppy Called Puberty,” “A Dog Called Elderly,” by Adrian Mitchell 

“O Tell Me the Truth about Love,” by W. H. Auden 

Lesson 3: What’s in a Line?


Excerpt from Introduction, The Spirit of Sound: Prosodic Method in the Poetry of William Blake, W.B. Yeats, and T.S. Eliot, by Deborah Hoffman

pp. 18–20

Lesson 4: More on Line and Sound


"Because I Could Not Stop for Death," by Emily Dickenson
"Pastoral," by William Carlos Williams
"At the Faucet of June," by William Carlos Williams
"How to Scan a Poem," Annie Finch

Lesson 6: Patterns of Imagery


"The Game between the Jews and the Indians Is Tied Going into the Bottom of the Ninth Inning," by Sherman Alexie

Lesson 7: Diction—Levels and Multiple Meanings


"The Fish," Elizabeth Bishop 
“Triolet for the Amphetamine Afflicted,” Susan McCaslin
A Country Tradition 

Lesson 8: Syntax—Grammar’s Got Rhythm


"Blackjack," by Steven Heighton 
"Landing," by Sandy Shreve
“Old Women of Toronto,” by Miriam Waddington 
"polar bears on yonge street," by bill bissett 

Lesson 9: Rhetoric—Four Classic Modes


"The Back Seat of My Mother's Car," by Julia Copus 
"Tanka," by Henry Beissel
“Old Women of Toronto,” by Miriam Waddington
"Blackjack," by Steven Heighton
"Going to Sleep," by Dorothy Livesay 
"Two Songs," by Adrienne Rich 

Lesson 10: Point of View, Persona, and Literary Spirit


"The Fish," by Marianne Moore
“Old Women of Toronto,” by Miriam Waddington
"Blackjack," by Steven Heighton 
“Sestina of the Geographic Tongue,” by Rachel Rose 
"The Back Seat of My Mother's Car," by Julia Copus 
"Glenn Gould's Hands," by Kate Braid 
"The Sea Rose," by H.D. 

Lesson 13: Stanzas and Sections


"Syllabics," from In Fine Form, Kate Braid and Sandy Shreve, editors

Lesson 22: Other Variations—Pattern, Concrete, and Conceptual


"Hand Game," by Frances Boyle