{"id":16,"date":"2023-07-29T23:16:50","date_gmt":"2023-07-30T03:16:50","guid":{"rendered":"https:\/\/sites.smith.edu\/eng125-03-f23\/?page_id=16"},"modified":"2023-12-07T22:02:25","modified_gmt":"2023-12-08T03:02:25","slug":"syllabus","status":"publish","type":"page","link":"https:\/\/sites.smith.edu\/eng125-03-f23\/?page_id=16","title":{"rendered":"Syllabus"},"content":{"rendered":"\n<pre class=\"wp-block-preformatted\">To write, one must read. To write well, one must read well. Which means: to read widely, to read with enthusiasm, to read for pleasure, to read with an eye for another's craft. \n\u2013 Joyce Carol Oates\n\nThe writer studies literature, not the world. He lives in the world; he cannot miss it. \n\u2013 Annie Dillard\n\nHere, I walk into class thinking, Really I have nothing to say to these people, the proper study of writing is reading, is well-managed awe, desire to make a thing, stamina for finishing, adoration of \u2009language, and so on...\n\u2014 Lia Purpura<\/pre>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Week 1&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/strong><\/p>\n\n\n\n<p>Thursday, 9\/7 \u2014 <strong>Introductions<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Jo Ann Beard: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/08\/Jo-Ann-Beard-In-the-Current.pdf\" target=\"_blank\">In the Current<\/a>; Stephen Dunn: <a href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/08\/Stephen-Dunn-Decorum-1.docx\" target=\"_blank\" rel=\"noreferrer noopener\">Decorum<\/a><\/li>\n<\/ul>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 2&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NONFICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 9\/12 \u2014 <strong>What is Creative Nonfiction?&nbsp;\/ Creating a Writing Practice<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Joan Didion:&nbsp;<a href=\"https:\/\/lithub.com\/joan-didion-why-i-write\/\" target=\"_blank\" rel=\"noreferrer noopener\">Why I Write<\/a><\/li>\n\n\n\n<li>Virginia Woolf:&nbsp;<a href=\"http:\/\/www.debbiejlee.com\/woolf.pdf\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Moments of Being<\/em><em>&nbsp;<\/em><\/a><\/li>\n\n\n\n<li>Ann Lamott:&nbsp;<a href=\"https:\/\/wrd.as.uky.edu\/sites\/default\/files\/1-Shitty%20First%20Drafts.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Shitty First Drafts<\/a><\/li>\n\n\n\n<li>Donna Steiner:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/everydayfiction.com\/exit-by-donna-steiner\/\" target=\"_blank\">Exit<\/a>  (print)<\/li>\n\n\n\n<li>Stephen Elliot:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/medium.com\/@nowhere500\/where-i-slept-2fd238c30a7\" target=\"_blank\">Where I Slept<\/a> (print)<\/li>\n\n\n\n<li>T Clutch Fleischmann: <a rel=\"noreferrer noopener\" href=\"http:\/\/thefanzine.com\/house-with-door\/\" target=\"_blank\">House With Door<\/a><\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Read Joan Didion\u2019s essay, \u201cWhy I Write\u201d and write a letter addressed to me in which you describe your relationship to writing. Here are some questions to guide you: What has been your experience as a writer? How have you come to writing? What writing experiences have shaped you, or what experiences in your life have influenced your writing (or your call to write)? What is important to you about writing? Even if you don\u2019t consider yourself to be a \u201cwriter,\u201d address the role of writing in your life to date. 1 page, single-spaced, typed (please print and bring a hardcopy to class)<\/li>\n\n\n\n<li>Bring 1 object &amp; 1 photograph to class<\/li>\n\n\n\n<li>Bring a blank notebook to class, exclusively for 125. Within it, list 5 writing goals for the semester.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 9\/14 \u2014 <strong>Researching Your Lives, Finding Subjects \/ Place, Home, &amp; Family<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Eliot Sloan:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/creativewriting\/files\/2020\/02\/Sloan.pdf\" target=\"_blank\">The Green Room<\/a> (print)<\/li>\n\n\n\n<li>Gabrielle Hamilton:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.newyorker.com\/magazine\/2011\/01\/17\/the-lamb-roast\" target=\"_blank\">The Lamb Roast<\/a> (print)<\/li>\n\n\n\n<li>Jo Ann Beard: <a href=\"https:\/\/www.jstor.org\/stable\/40634052?seq=1#page_scan_tab_contents\" target=\"_blank\" rel=\"noreferrer noopener\">Cousins<\/a><\/li>\n\n\n\n<li>[<strong>Optional\u2014<\/strong> T Clutch Fleischmann: <a href=\"https:\/\/www.musicandliterature.org\/features\/2019\/5\/22\/time-is-the-thing-a-body-moves-through-by-t-fleischmann-excerpt#:~:text=I%20land%20in%20some%20summer,with%20or%20without%20taking%20hormones.\">excerpt<\/a> <em>Time is the Thing a Body Moves Through<\/em>]<\/li>\n\n\n\n<li>WRITING DUE:\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>Moment of Being Exercise: Read Woolf&#8217;s Moments of Being excerpt and write a brief\/flash essay evocatively describing 1 moment of being in your life, however you define this, in as much detail as possible in the present tense of the moment; bring it alive in language. (For example, Jo Ann Beard&#8217;s &#8220;In the Current&#8221; evokes a &#8220;moment of being.&#8221;) 1pg max. Post. <\/li>\n\n\n\n<li>Letter: Write a letter to your childhood self. 1pg max. Post.<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Reading Response (see 125 tab)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 3&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NONFICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 9\/19 \u2014 <strong>Writing Landscape<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Annie Dillard:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/home.ubalt.edu\/ntygfit\/ai_05_mapping_directions\/ai_05_see\/ad_total_eclipse.htm\" target=\"_blank\">Total Eclipse<\/a>&nbsp;(print)<\/li>\n\n\n\n<li>Rebecca Solnit:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/assets.website-files.com\/5e9f1c5f2f493e99116fb917\/5fa1fda56ee73d962e96afd2_solnit.pdf\" target=\"_blank\">The Blue of Distance<\/a> (print)<\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Write a travelogue flash collage that sensorily evokes a moment of journeying \/ a trip  <\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong><mark class=\"has-inline-color has-vivid-green-cyan-color\">Class in The Botanic Garden of Smith College <\/mark><\/strong><\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 9\/21 \u2014 <strong>Writing Culture (Food\/Art\/Politics)<\/strong> &nbsp;&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>David Wong Louie:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/harpers.org\/archive\/2017\/08\/eat-memory\/\" target=\"_blank\">Eat, Memory<\/a> (print)<\/li>\n\n\n\n<li>Jo-Ann Beard:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.newyorker.com\/magazine\/1996\/06\/24\/the-fourth-state-of-matter\" target=\"_blank\">The Fourth State of Matter<\/a> (print)<\/li>\n\n\n\n<li>Kiese Laymon:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/gawker.com\/5927452\/how-to-slowly-kill-yourself-and-others-in-america-a-remembrance\" target=\"_blank\">How to Slowly Kill Yourself and Others in America<\/a> (print)<\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Write a flash essay on 1 topic\/encounter of interest (art, food, politics, etc.)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>**<strong>*DUE: ESSAY<\/strong>\u2014Produce 1 essay that you will continue to revise during this unit. It must be a piece you care about and will remain invested in. It can be a 1-page flash essay or a longer essay; memoir or journalistic; a meditation on a subject of interest; a story from your memory or someone else\u2019s. You may revise any of our writing exercises (moments of being, autobiographies, object stories, family vacation stories, photograph stories), or create something new. Use the readings as models. You have total freedom here.&nbsp;<\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NONFICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 9\/26<strong> \u2014 Experimental Prose<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>NOTE: I will provide a handout for this week, no printing necessary.<\/em><\/li>\n\n\n\n<li>Jen Boully: The Body <a rel=\"noreferrer noopener\" href=\"https:\/\/writing.upenn.edu\/epc\/mags\/vert\/Vert_issue_6\/jboullythree.html\" target=\"_blank\">excerpt<\/a><\/li>\n\n\n\n<li>Hanif Abdurraquib: <em>They Can\u2019t Kill Us Until They Kill Us <\/em><a rel=\"noreferrer noopener\" href=\"https:\/\/thenewinquiry.com\/august-9th-2014\/\" target=\"_blank\">excerpt<\/a><\/li>\n\n\n\n<li>Anne Carson: <a href=\"https:\/\/yalereview.org\/article\/carson-short-talks\" target=\"_blank\" rel=\"noreferrer noopener\">Short Talks<\/a><\/li>\n\n\n\n<li>Carmen Machado: <em>In the Dream House<\/em> <a href=\"https:\/\/www.nytimes.com\/2019\/11\/05\/books\/review\/in-the-dream-house-by-carmen-maria-machado-an-excerpt.html\" target=\"_blank\" rel=\"noreferrer noopener\">excerpt<\/a><\/li>\n\n\n\n<li>Ross Gay:<a href=\"https:\/\/onbeing.org\/blog\/joy-is-such-a-human-madness\/\"> <\/a><a href=\"https:\/\/onbeing.org\/blog\/joy-is-such-a-human-madness\/\" target=\"_blank\" rel=\"noreferrer noopener\">Joy Is Such a Human Madness<\/a><\/li>\n\n\n\n<li>Maggie Nelson: <em>Bluets <\/em><a href=\"https:\/\/pen.org\/from-bluets\/\" target=\"_blank\" rel=\"noreferrer noopener\">excerpt<\/a><\/li>\n\n\n\n<li>Ira Sukrungruang, Summer Days, 1983 <\/li>\n\n\n\n<li>[<strong>Optional\u2014<\/strong> Jenny Price:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/s3.amazonaws.com\/emma-assets\/u7qbb\/545e285b254b8fc163f4c55e67e4049b\/Believer-JPrice-full.pdf\" target=\"_blank\">13 Ways of Seeing Nature in L.A.<\/a>; Donna Steiner: <a rel=\"noreferrer noopener\" href=\"https:\/\/muse.jhu.edu\/article\/362780\" target=\"_blank\">Elements of the Wind<\/a>; Lia Purpura: <a rel=\"noreferrer noopener\" href=\"https:\/\/agnionline.bu.edu\/essay\/being-of-two-minds\/\" target=\"_blank\">Being of Two Minds<\/a>]<\/li>\n\n\n\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Write your own series of \u201cshort talks\u201d (\u00e0 la Anne Carson)<\/li>\n\n\n\n<li><em>No Reading Response this week<\/em><\/li>\n\n\n\n<li><a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/09\/125-Nonfiction-Peer-Response.doc\" target=\"_blank\">Peer Review Forms<\/a>\/Letters (#1, #2)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 9\/28<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong> (#3, #4)<\/li>\n\n\n\n<li>DUE: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/09\/125-Nonfiction-Peer-Response.doc\" target=\"_blank\">Peer Review Forms<\/a>\/Letters<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>*Conferences<\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 5&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NONFICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 10\/3<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Write down your most favorite line that you have written so far and <strong>bring to class<\/strong><\/li>\n\n\n\n<li>TWO-in-ONE Exercise: Take 2 specific, disparate scenes from anything you\u2019ve written this unit and link them within a single cohesive storyline.<\/li>\n\n\n\n<li>[Optional: Take a straightforward piece of prose from this unit and scramble its form\/style\/tone into something new.] <\/li>\n\n\n\n<li>DUE: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/09\/125-Nonfiction-Peer-Response.doc\" target=\"_blank\">Peer Review Forms<\/a>\/Letters <\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 10\/5<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li><a rel=\"noreferrer noopener\" href=\"https:\/\/lithub.com\/kiese-laymon-on-revision-as-love-and-love-as-revision\/\" target=\"_blank\">podcast<\/a> &#8220;Kiese Laymon on Revision as Love, and Love as Revision&#8221;<\/li>\n\n\n\n<li>WRITING DUE:  \n<ul class=\"wp-block-list\">\n<li><em>Note: these revision exercises will not be formally turned in, but my hope is that you will test the possibilities of your Essay in unexpected ways, and perhaps discover new revisionary paths, or more clarity\/confirmation about what does work in your first draft<\/em>. [<em><mark class=\"has-inline-color has-vivid-cyan-blue-color\">The energy of revision is the energy of creation and change, which is also the energy of destruction. \u2014Maggie Anderson<\/mark><\/em>]\n<ul class=\"wp-block-list\">\n<li>Rewrite the opening in a dramatically different way. Change the POV of your essay. Use a highlighter to mark every moment of tension in your essay. What do you notice \/ where does tension come?&nbsp;Reduce your essay by half without compromising meaning or impact. Reorder the paragraphs. What happens? (If possible, put scissors to hardcopy.) Write the essay backwards.<\/li>\n\n\n\n<li>[Optional:&nbsp;<em>Hidden Titles<\/em>: Find the 10 most commonly used words in your writing this unit and use these words as \u201chidden\u201d titles for individual flash stories. (Let the words instigate writing without being a known presence, then eliminate them altogether in the end.)]<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>*Conferences<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>DUE FRIDAY, 10\/6: Nonfiction Portfolio<\/strong> <strong>\u2014 by midnight, via email<\/strong><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Revision<\/span> of Essay<\/li>\n\n\n\n<li><span style=\"text-decoration: underline\">Draft<\/span> of Essay w\/my comments<\/li>\n\n\n\n<li>Three <span style=\"text-decoration: underline\">Peer Response Forms\/Letters <\/span>that most helped your revision process<\/li>\n\n\n\n<li><span style=\"text-decoration: underline\">Writer\u2019s Memo<\/span>: Share a reflection of your journey through nonfiction \u2013 discuss your progress, process, questions you have of your own writing, goals that have arisen out of this experience, discoveries about what you prefer as a reader (what is the essay or who is the nonfiction writer that most influenced your writing), insights about what has inspired writing from you, what you\u2019ve realized about your writing habits, if\/how your idea(s) for what makes a good essay changed over the course of this unit, the most important thing you\u2019ve discovered about NF in general and in your writing, how you see yourself making the transition into the fiction unit, etc. (1-2 pages); at the end of this, offer a <span style=\"text-decoration: underline\">Grade Proposal<\/span>, considering what you have done to address issues of your first draft; ways that you\u2019ve addressed workshop comments or my feedback; how the essay is improved (and, if you wish, what might still need work), etc.<\/li>\n\n\n\n<li>OPTIONAL: Include up to 3 nonfiction pieces written anytime during this unit that you\u2019d like me to see.<\/li>\n<\/ol>\n\n\n\n<p><strong>*NOTE: <\/strong>Please include in your&nbsp;email subject:&nbsp;the assignment name (ie. Nonfiction Portfolio). Please attach your Revision and Memo as google doc or .docx (no pdfs accepted). Each attached document file name must include your first &amp; last name and assignment name (ie. Stacie Cassarino, Essay, Revision).&nbsp;Hard copies will also be accepted on Thursday in class, otherwise email the portfolio <strong>by midnight <\/strong>on Friday. <span style=\"text-decoration: underline\">*You must also post your ESSAY revision to our blog as a way of sharing your work with the class (I&#8217;ll create a space entitled ESSAY) by next week.<\/span><\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 6&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; FICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 10\/10 \u2014 FALL BREAK<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 10\/12 \u2014 <strong>the Real vs.&nbsp;the Fantastical \/ Microfictions<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Microfictions: Gordon Jackson:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/koppen.weebly.com\/uploads\/1\/3\/3\/4\/13349759\/sunday-at-the-zoo-and-billys-girl.pdf\" target=\"_blank\">Billy\u2019s Girl<\/a>; Ron; Carlson: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/08\/Ron-Carlson-Reading-the-Paper.docx\" target=\"_blank\">Reading the Paper<\/a>; David Ordan: <a rel=\"noreferrer noopener\" href=\"\/\/\/Users\/scassarino\/Downloads\/Any+Minute+Mom+Should+Come+Blasting+Through+the+Door.pdf\" target=\"_blank\">Any Minute Mom Should Come Blasting Through the Door<\/a>; Sandra Cisneros:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/ldbarefield.cuipblogs.net\/files\/2009\/09\/bread-say-yes.pdf\" target=\"_blank\">Bread<\/a>; Carmen Maria Machado:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.vqronline.org\/fiction\/2018\/06\/mary-when-you-follow-her\" target=\"_blank\">Mary When You Follow Her<\/a>; Lucy Corin:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/tinhouse.com\/miracles-by-lucy-corin\/\" target=\"_blank\">Miracles<\/a>; Deb Olin Unferth:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/muumuuhouse.com\/dou.fiction2.html\" target=\"_blank\">Likeable<\/a>; George Saunders:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/www.unm.edu\/~gmartin\/535\/Sticks.htm\" target=\"_blank\">Sticks<\/a>; Aimee Bender:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.missourireview.com\/article\/the-rememberer\/\" target=\"_blank\">The Rememberer<\/a>  (&amp; Openings) \u2014 HANDOUT<\/li>\n\n\n\n<li>Judy Budnitz:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/archive.nytimes.com\/www.nytimes.com\/books\/first\/b\/budnitz-leap.html\" target=\"_blank\">Dog Days<\/a> \u2014 ONLINE<\/li>\n\n\n\n<li>[Optional: Aimee Bender: <a rel=\"noreferrer noopener\" href=\"https:\/\/tinhouse.com\/on-the-making-of-orchards-by-aimee-bender\/\" target=\"_blank\">On the Making of Orchards<\/a>]<\/li>\n\n\n\n<li>WRITING DUE:  \n<ul class=\"wp-block-list\">\n<li>Reading Response: select 1 reading for this week and closely examine something you learn from it as a writer<\/li>\n\n\n\n<li>Conversion Exercises: 1) Take any brief clip you wrote for the NF unit and make it as fantastical as possible to convert it into a fictional story.;  2) Write a brief scene from memory (one already written in the NF unit or totally new) narrated in 3rd person POV<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p>Week 7 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <strong>FICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 10\/17 \u2014 <strong>Characters<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>NOTE: laptops permitted for discussion<\/em><\/li>\n\n\n\n<li>Flannery O\u2019Connor:&nbsp;<a href=\"https:\/\/repositorio.ufsc.br\/bitstream\/handle\/123456789\/163600\/Good%20Country%20People%20-%20Flannery%20O%27Connor.pdf?sequence=1&amp;isAllowed=y\" target=\"_blank\" rel=\"noreferrer noopener\">Good Country People<\/a><\/li>\n\n\n\n<li>Kate Braverman:&nbsp;<a href=\"https:\/\/lighthousewriters.org\/sites\/default\/files\/downloads\/Braverman%20Mekong-Delta.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Tall Tales From the Mekong Delta<\/a><\/li>\n\n\n\n<li>Toni Morrison:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.cusd80.com\/cms\/lib6\/AZ01001175\/Centricity\/Domain\/1073\/Morrison_recitatifessay.doc.pdf\" target=\"_blank\">Recitatif<\/a><\/li>\n\n\n\n<li>[Optional: James Joyce:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/www.lonestar.edu\/departments\/english\/joyce_eveline.pdf\" target=\"_blank\">Eveline<\/a> ; Michael Ondaatje: <a rel=\"noreferrer noopener\" href=\"https:\/\/exceptindreams.livejournal.com\/289600.html\" target=\"_blank\">7 or 8 Things I Know About Her (A Stolen Biography)<\/a>]<\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Reading Response<\/li>\n\n\n\n<li><span style=\"text-decoration: underline\">Interview<\/span>: Write a list of 100 short fragments about 1 character you are working on in your story (or could imagine inventing); the sentences don\u2019t need to connect or follow in a logical way; the idea is for you to outrun your own ideas of this character; don\u2019t be monotonous; ask everything you can of this character, everything you must know\u2026not just physical attributes, but also what they typically eat for breakfast, what they dream about, what they keep in their pockets or under their bed, who they love or have loved, the rituals, habits, and nuances of their personality and lifestyle, the events that have shaped their lives so far, the futures they imagine, etc. Remember, these 100 characteristics will not all make it into your story, but you as the author need to know what they are in order to write the character as realistically and consistently as possible.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 10\/19 \u2014 <strong>Voice\/POV\/Dialogue<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>NOTE: laptops permitted for discussion<\/em><\/li>\n\n\n\n<li>Jamaica Kincaid:&nbsp;<a href=\"https:\/\/www.bpi.edu\/ourpages\/auto\/2017\/10\/14\/55813476\/Girl%20Jamaica%20Kincaid.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Girl<\/a><\/li>\n\n\n\n<li>Raymond Carver:&nbsp;<a href=\"https:\/\/www.northernhighlands.org\/cms\/lib5\/NJ01000179\/Centricity\/Domain\/115\/What%20We%20Talk%20About%20When%20We%20Talk%20About%20Love.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">What We Talk About When We Talk About Love<\/a><\/li>\n\n\n\n<li>Amy Hempel:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/fictionaut.com\/stories\/amy-hempel\/in-the-cemetery-where-al-jolson-is-buried.pdf\" target=\"_blank\">In the Cemetery Where Al Jolson is Buried<\/a><\/li>\n\n\n\n<li>[Optional: Ann Beattie: <a rel=\"noreferrer noopener\" href=\"https:\/\/tnsatlanta.org\/wp-content\/uploads\/The-Burning-House-Beattie.pdf\" target=\"_blank\">The Burning House<\/a>]<\/li>\n\n\n\n<li>WRITING DUE:\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Accident Exercise: <\/span>Write the accounts of an accident from the perspectives of 5 people who are witness to it, all 1st POV. Use as many varied characters as possible.&nbsp;<strong><span style=\"text-decoration: underline\">OR<\/span><\/strong>    <span style=\"text-decoration: underline\">1 Event 5 Ways: <\/span>Take a simple event and describe it using the same characters and elements of setting in 5 radically different ways (change style, tone, sentence structure, voice, psychic distance, POV, form, etc.).<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Dialogue Exercise:<\/span> Write a dialogue in which each of the two characters has a secret. Do not reveal the secret but make the reader intuit it.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p>*<strong>DUE: STORY!!!!! <\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; FICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 10\/24 \u2014 <strong>Form<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li><em>NOTE: laptops permitted for discussion of readings<\/em><\/li>\n\n\n\n<li>Lydia Davis:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/www.conjunctions.com\/print\/article\/lydia-davis-c24\" target=\"_blank\">Five Stories<\/a>&nbsp;<\/li>\n\n\n\n<li>Donald Barthelme: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.jessamyn.com\/barth\/rebecca.html\" target=\"_blank\">Rebecca<\/a> \/ <a href=\"https:\/\/loa-shared.s3.amazonaws.com\/static\/pdf\/Barthelme_School.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">The School<\/a><\/li>\n\n\n\n<li>Charles Yu: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/10\/Charles-Yu-Fable.docx\" target=\"_blank\">Fable<\/a><\/li>\n\n\n\n<li>Margaret Atwood: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/10\/Atwood-HappyEndings.pdf\" target=\"_blank\">Happy Endings<\/a><\/li>\n\n\n\n<li>[<strong>Optional<\/strong>: Susan Minot: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/10\/Lust-Susan-Minot-1-1.pdf\" target=\"_blank\">Lust<\/a> ; T Kira Mahealani Madden: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.vqronline.org\/fiction\/2021\/03\/judy-her-good-robe\" target=\"_blank\">Judy in Her Good Robe<\/a> ; Daniel Orozco: <a rel=\"noreferrer noopener\" href=\"https:\/\/fsgworkinprogress.com\/2011\/05\/17\/orientation-by-daniel-orozco\/\" target=\"_blank\">Orientation<\/a>]<\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Write a 1-sentence story (in. 250 words). See Machado\u2019s \u201cMary When You Follow Her\u201d (or convert something you&#8217;ve written for an exercise in this unit into a 1-sentence story)<\/li>\n\n\n\n<li>Write a brief passage on some stock subject (a journey, landscape, sexual encounter) in the rhythm of a long novel, then in the rhythm of a tight short story.<\/li>\n\n\n\n<li>Write a 10-minute story told backwards from the end to the beginning <\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 10\/26<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li>WRITING DUE: \n<ul class=\"wp-block-list\">\n<li>Following Hemingway\u2019s 6-word story (which we&#8217;ll review in class), convert the major story you wrote for this unit into a 6-word story. Then explain why you need all those pages to tell your story.<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><strong>DUE:<\/strong> <strong>Peer Letter <\/strong><span style=\"text-decoration: underline\">via Email <\/span>(cc me): Carefully read the writer\u2019s story. Then reread it. On your second reading, highlight or underline anything that could be improved in clarity and style. Write marginal notes to the writer regarding problematic or troubling spots. Next, draft a letter to the writer in which you articulate, in your own words: 1. what the story is doing\u2014main ideas; 2. the strengths of the story; 3. two or more elements on which the writer should focus in revisions, along with specific examples\u2014specific spots in the draft\u2014that help to explain why these elements need attention. 4. Any other comments or suggestions you think might assist the writer. Remember, the recipient of the letter can only benefit from honest criticism, as well as encouragement. Please refresh your memory of questions on the <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/09\/125-Fiction-Peer-Response.doc\" target=\"_blank\">Peer Review Forms<\/a>; you do not need to fill this out (although you may do so to provide additional helpful detail for the writer), but you should address as many of those elements in your thorough, close-reading of your peer\u2019s story. This is also an exercise in letter-writing, a beautiful, lost form that can collapse distances, especially now.<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 9&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; FICTION<\/strong><\/p>\n\n\n\n<p>Tuesday, 10\/31<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li><span style=\"text-decoration: underline\">Optional<\/span> Revision Exercises: \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Note: these revision exercises will not be formally turned in, but my hope is that you will test the possibilities of your Story in unexpected ways, and perhaps discover new revisionary paths, or more clarity\/confirmation about what does work in your first draft<\/em>. Trying some of these out can lead to breakthroughs or deepened understandings. [<em><mark class=\"has-inline-color has-vivid-cyan-blue-color\">The energy of revision is the energy of creation and change, which is also the energy of destruction. \u2014Maggie Anderson<\/mark><\/em>]\n<ul class=\"wp-block-list\">\n<li>Rewrite opening page from the perspective of a minor character. Reflect on why you should or should not adopt this perspective.<\/li>\n\n\n\n<li>Write the opening of your story in a dramatically different way, try changing voice\/pov, diction, sentence length, adjectives; play with language and structure<\/li>\n\n\n\n<li>Rewrite the opening paragraph of your story three times \u2013 in 1st, 2nd, 3rd&nbsp;POV<\/li>\n\n\n\n<li>Reduce your story by half without compromising meaning or impact.<\/li>\n\n\n\n<li>Use a highlighter to mark every moment that shows tension in your story. What do you notice? Does tension come from language, structure, setting, character, voice? Then, use different colored highlighters to mark parts that: 1. tell something about character, 2. tell something about plot, 3. tell something about setting: Consider how often the colors overlap; for each sentence that performs only 1 function, ask if this is a sentence that tells the reader something \u2013 try to make it show instead of tell. (Try this out with a published story we&#8217;ve read as a reading exercise.)<\/li>\n\n\n\n<li>Write the story backwards, considering how structure is useful to content<\/li>\n\n\n\n<li>Intensify and magnify the tension, the trouble, the issue to shrillness, even to the point of absurdity. Be extreme, and then think about what this exercise tells you about your story (have you resorted to clich\u00e9?)<\/li>\n\n\n\n<li>Change the story into a letter being written to someone<\/li>\n\n\n\n<li>Draw your story&#8217;s shape<\/li>\n\n\n\n<li>Identify the crucial moment of the story; what is in your character\u2019s pockets at this moment? Who just walked in unexpectedly? What is going on in the background? In the weather? Step outside the story and write the five-minute story of this moment.<\/li>\n\n\n\n<li>Add a character to the story. Take one out.<\/li>\n\n\n\n<li>Change the time: if the story occurs in the past, write it in the present or vice versa. Should you keep the change?<\/li>\n\n\n\n<li>Change the form.<\/li>\n\n\n\n<li>Fracture the story plane into several fragments, put them out of order and rewrite the story. \/ OR Use scissors to cut the story into paragraphs and parts, reordering them, then taping them into a new version.<\/li>\n\n\n\n<li>Cut off the first page. \/ Cut off the final paragraph.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Optional<\/span> Story Test: Provide 1 sentence or more for each of these questions: \n<ul class=\"wp-block-list\">\n<li>Your character is a plant. What type and why? <\/li>\n\n\n\n<li>Your character\u2019s future is a sound. What is it and why? <\/li>\n\n\n\n<li>The plot is a type of weather condition. What is it and why? <\/li>\n\n\n\n<li>The story is a smell. What is it and why? <\/li>\n\n\n\n<li>The ending of your story is a color. What is it and why? <\/li>\n\n\n\n<li>Choose 6 words at random and ask: How do they relate to your character? <\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><span style=\"text-decoration: underline\">Optional<\/span> <em>Hidden Titles<\/em>: Find the 5-10 most commonly used words in your writing this unit and use these words as \u201chidden\u201d titles for individual flash stories. (Let the words instigate writing without being a known presence, then eliminate them altogether in the end.)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 11\/2 \u2014 NO CLASSES<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>**<strong>*DUE: Fiction Portfolio<\/strong> \u2014 by midnight 11\/3 via email<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Revision&nbsp;of Story<\/li>\n\n\n\n<li>Draft&nbsp;of Story w\/my comments<\/li>\n\n\n\n<li>Writer\u2019s Memo: Share a reflection of your journey through fiction \u2013 discuss your progress, process, questions you have of your own writing, goals that have arisen out of this experience, discoveries about what you prefer as a reader (what is the story or who is the fiction writer that most influenced your writing), insights about what has inspired writing from you, what you\u2019ve realized about your writing habits, if\/how your idea(s) for what makes a good story changed over the course of this unit, the most important thing you\u2019ve discovered about Fiction in general and in your writing, how you see yourself making the transition into the poetry unit, etc. (1-2 pages); at the end of this, offer a&nbsp;Grade Proposal, considering what you have done to address issues of your first draft; ways that you\u2019ve addressed workshop comments or my feedback; how the story is improved (and, if you wish, what might still need work), etc.<\/li>\n\n\n\n<li>OPTIONAL: Include up to 3 fiction pieces written anytime during this unit that you\u2019d like me to see.<\/li>\n<\/ol>\n\n\n\n<p><strong>*NOTE:&nbsp;<\/strong>Please include in your&nbsp;email subject:&nbsp;the assignment name (ie. Fiction Portfolio). Please attach your Revision and Memo as google doc or .docx (no pdfs accepted). Each attached document file name must include your first &amp; last name and assignment name (ie. Stacie Cassarino, Story, Revision).&nbsp;Hard copies will also be accepted on Thursday in class, otherwise email the portfolio&nbsp;<strong>by midnight&nbsp;<\/strong>on Friday.&nbsp;*You must also post your STORY revision to our blog as a way of sharing your work with the class (I&#8217;ll create a space entitled STORY) by next week.<\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 10&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; POETRY<\/strong><\/p>\n\n\n\n<p>Tuesday, 11\/7 \u2014 <strong>What is Poetry? \/ Prose Poems \/ Narrative Poems<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>NOTE: I will provide a handout for this week.<\/em><\/li>\n\n\n\n<li>[<strong>OPTIONAL<\/strong>: <span style=\"text-decoration: underline\">On Poetry<\/span>\u2014Robert Frost:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poeticous.com\/frost\/the-figure-a-poem-makes\" target=\"_blank\">The Figure a Poem Makes<\/a>; Audre Lorde:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/makinglearning.files.wordpress.com\/2014\/01\/poetry-is-not-a-luxury-audre-lorde.pdf\" target=\"_blank\">Poetry is Not a Luxury<\/a>; AR Ammons:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/templepoetry.blogspot.com\/2009\/06\/poem-is-walk.html\" target=\"_blank\">A Poem is a Walk<\/a>; Ezra Pound:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/12675\/in-a-station-of-the-metro\" target=\"_blank\">In a Station of the Metro<\/a>]<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Prose Poems<\/span>\u2014Robert Hass:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/genius.com\/Robert-hass-a-story-about-the-body-annotated\" target=\"_blank\">A Story about the Body<\/a>; Nicole Sealey:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/even-gods\" target=\"_blank\">Even the Gods<\/a>; Cameron Awkward-Rich: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.splitthisrock.org\/poetry-database\/poem\/meditations-in-an-emergency\" target=\"_blank\">Meditations in an Emergency<\/a>; Shira Erlichman:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/brooklynpoets.org\/poet\/shira-erlichman\/\" target=\"_blank\">Ode to Lithium #600<\/a>; Oliver Baez Bendorf: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.up.edu\/garaventa\/files\/fildg%20files\/bendorf-outing-iowa.pdf\" target=\"_blank\">Outing, Iowa<\/a>; Harryette Mullen:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/black-nikes\" target=\"_blank\">Black Nikes<\/a>; Hala Alyan: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/142865\/oklahoma\" target=\"_blank\">Oklahoma<\/a>; Richard Jackson: <a rel=\"noreferrer noopener\" href=\"https:\/\/superstitionreview.asu.edu\/issue2\/poetry\/richardjackson\" target=\"_blank\">Ten Things I Need to Know<\/a><\/li>\n\n\n\n<li><span style=\"text-decoration: underline\">Narrative Poems<\/span>\u2014Elizabeth Bishop:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poets.org\/poetsorg\/poem\/fish-2\" target=\"_blank\">The Fish<\/a><\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Take 1 prose piece you\u2019ve written and recast it with line-breaks two ways \u2014 as&nbsp;a 1)&nbsp;narrative poem&nbsp;(a poem that tells a story)&nbsp;<strong>AND<\/strong>&nbsp;2)&nbsp;lyric poem&nbsp;(a poem that uses language to evoke). You are not required to adhere to any metrical or formal elements or structures \u2014 both poems&nbsp;should be free verse.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 11\/9 \u2014 <strong>Lyric Poems<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Note: <\/em>selection TBA<\/li>\n\n\n\n<li>Elizabeth Bishop:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetrysociety.org\/psa\/poetry\/poetry_in_motion\/atlas\/austin\/casabianca\/\" target=\"_blank\">Casabianca<\/a>; Natalie Diaz:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/56832\/my-brother-my-wound\" target=\"_blank\">My Brother My Wound<\/a>; Max Ritvo:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.newyorker.com\/magazine\/2016\/06\/27\/poem-to-my-litter-by-max-ritvo\" target=\"_blank\">Poem to My Litter<\/a>; Ocean Vuong:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/self-portrait-exit-wounds\" target=\"_blank\">Self-Portrait as Exit Wounds<\/a> \/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.newyorker.com\/magazine\/2015\/05\/04\/someday-ill-love-ocean-vuong\" target=\"_blank\">Someday I\u2019ll Love Ocean Vuong<\/a>; Ada Limon:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/149814\/how-to-triumph-like-a-girl\" target=\"_blank\">How to Triumph Like a Girl<\/a>; Donika Kelly:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/as.vanderbilt.edu\/nashvillereview\/archives\/12474\" target=\"_blank\">Fourth Grade Autobiography<\/a>; Mark Doty: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/55501\/charlie-howards-descent\" target=\"_blank\">Charlie Howard\u2019s Descent<\/a>; <a rel=\"noreferrer noopener\" href=\"https:\/\/www.theatlantic.com\/magazine\/archive\/1995\/09\/a-display-of-mackerel\/376458\/\" target=\"_blank\">A Display of Mackerel<\/a>; James Wright:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/46481\/a-blessing\" target=\"_blank\">A Blessing<\/a>&nbsp;;&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems-and-poets\/poems\/detail\/47734\" target=\"_blank\">Lying in a Hammock<\/a>; Franz Wright:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/nickcourtright.com\/2012\/04\/18\/year-one-by-franz-wright\/\" target=\"_blank\">Year One<\/a>&nbsp;;&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/apoemaday.tumblr.com\/post\/668662089696624640\/on-earth\" target=\"_blank\">On Earth<\/a>&nbsp;;&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.instagram.com\/p\/CcAw94pL6kH\/\" target=\"_blank\">Promise<\/a>; Louise Gluck:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poemhunter.com\/poem\/the-wild-iris\/\" target=\"_blank\">The Wild Iris<\/a>; Terrance Hayes:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/145598\/the-blue-terrance-5a68e57e6e40a\" target=\"_blank\">The Blue Terrance<\/a>; Alex Dimitrov:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/Alex-Dimitrov-The-Years.jpg\" target=\"_blank\">The Years<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/56630\/together-and-by-ourselves\" target=\"_blank\">Together and by Ourselves<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/harvardreview.org\/content\/dark-matter\/\" target=\"_blank\">Dark Matter&nbsp;<\/a>\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/kgbbarlit.com\/content\/my-secret\" target=\"_blank\">My Secret<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/www.versedaily.org\/2013\/darling.shtml\" target=\"_blank\">Darling<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/iowareview.org\/blog\/sunset-14th-street\" target=\"_blank\">Sunset on 14th&nbsp;Street<\/a> \/ <a rel=\"noreferrer noopener\" href=\"https:\/\/www.pw.org\/content\/poem_written_in_a_cab\" target=\"_blank\">Poem Written in a Cab<\/a>; Jenny George:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/Jenny-George-Rehearsal-e1650479321583.jpg\" target=\"_blank\">Rehearsal<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/Jenny-George-Troubles-e1650479280964.jpg\" target=\"_blank\">Troubles<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/Jenny-George-Spring-e1650479302757.jpg\" target=\"_blank\">Spring<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/Jenny-George-Winter-Variations-e1650479252838.jpg\" target=\"_blank\">Winter Variations<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/fourwayreview.com\/three-poems-by-jenny-george\/\" target=\"_blank\">Death of a Child<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/fourwayreview.com\/three-poems-by-jenny-george\/\" target=\"_blank\">Reprieve<\/a>; Robin Coste Lewis:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/58758\/summer-56d23d6ca8538\" target=\"_blank\">Summer<\/a>; Oliver Baez Bendorf: <a rel=\"noreferrer noopener\" href=\"https:\/\/therumpus.net\/2015\/04\/04\/national-poetry-month-day-4-bothboth-by-oliver-bendorf\/\" target=\"_blank\">Both\/Both<\/a>; Taneum Bambrick: <a rel=\"noreferrer noopener\" href=\"https:\/\/gulfcoastmag.org\/online\/summer\/fall-2021\/closeness\/\" target=\"_blank\">Closeness<\/a>; Gabrielle Calvocoressi:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.newyorker.com\/magazine\/2018\/11\/19\/hammond-b3-organ-cistern\" target=\"_blank\">Hammond B3 Organ Cistern<\/a> \/ <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/156433\/miss-you-would-like-to-take-a-walk-with-you\" target=\"_blank\">Miss you. Would like to take a walk with you<\/a>; Carl Phillips:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/47859\/hymn-56d228a3766e7\" target=\"_blank\">Hymn<\/a> \/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/47861\/the-truth\" target=\"_blank\">The Truth<\/a>; Hieu Minh Nguyen:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/146001\/staying-quiet\" target=\"_blank\">Staying Quiet<\/a>; Hanif Abdurraquib: <a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/how-can-black-people-write-about-flowers-time\" target=\"_blank\">How Can Black People Write About Flowers at a Time Like This<\/a>; Jericho Brown: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/152728\/bullet-points\" target=\"_blank\">Bullet Points<\/a>; Keetje Kuipers:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/Keetje-Kuipers-Becoming-e1650478205695.jpg\" target=\"_blank\">Becoming<\/a>; Dianne Seuss:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/courtgreen.net\/issue-13\/diane-seuss\" target=\"_blank\">I Could Do It. I Could Walk Into the Sea<\/a>; Richard Siken:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/48158\/litany-in-which-certain-things-are-crossed-out\" target=\"_blank\">Litany in Which Certain Things Are Crossed Out<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/detail-woods\" target=\"_blank\">Detail of the Woods<\/a>; Ross Gay:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/92014\/love-i39m-done-with-you\" target=\"_blank\">Love, I\u2019m Done With You<\/a>; Robert Hass:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems-and-poets\/poems\/detail\/47553\" target=\"_blank\">Meditation at Lagunitas<\/a>; Kaveh Akbar: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.newyorker.com\/magazine\/2017\/06\/05\/what-use-is-knowing-anything-if-no-one-is-around\" target=\"_blank\">What Use Is Knowing Anything If No One Is Around<\/a>; Tracy K. Smith: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/147467\/wade-in-the-water\" target=\"_blank\">Wade in the Water<\/a>; Richie Hoffman: <a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/bright-walls\" target=\"_blank\">Bright Walls<\/a>; Li-Young Lee: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/50871\/the-cleaving\" target=\"_blank\">The Cleaving<\/a>; Sharon Olds: <a rel=\"noreferrer noopener\" href=\"https:\/\/voetica.com\/voetica.php?collection=2&amp;poet=672&amp;poem=4927\" target=\"_blank\">San Francisco<\/a> <\/li>\n\n\n\n<li>WRITING DUE: &nbsp;\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Found Poem<\/span>\u2014 Between-the-Lines Poem: Choose your favorite poem from the readings. Type out the poem, leaving triple-space between lines. Then, between the lines, fill in a new line of your own which is sparked by the original line. Eliminate all original poem lines at the end. The poem that remains is your own. Tinker with it and make it cohere.<\/li>\n\n\n\n<li>READING RESPONSE (select 1 poem)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 11&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; POETRY<\/strong><\/p>\n\n\n\n<p>Tuesday, 11\/14 \u2014 <strong>Forms<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Sonnet<\/strong>\u2014Edna St. Vincent Millay: <a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/what-lips-my-lips-have-kissed-and-where-and-why-sonnet-xliii\" target=\"_blank\">Sonnet XLIII<\/a>; Gwendolyn Brooks:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/51983\/the-rites-for-cousin-vit\" target=\"_blank\">the rites for Cousin Vit<\/a>; Kim Addonizio:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/47526\/first-poem-for-you\" target=\"_blank\">First Poem For You<\/a>&nbsp;(compare Shakespeare&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/46455\/sonnet-55-not-marble-nor-the-gilded-monuments\" target=\"_blank\">sonnet 55<\/a>); Claude McKay:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poets.org\/poetsorg\/poem\/america-2\" target=\"_blank\">America<\/a>; Robert Hayden:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/46461\/those-winter-sundays\" target=\"_blank\">Those Winter Sundays<\/a>; Adrienne Rich: <a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/twenty-one-love-poems-poem-ii\" target=\"_blank\">excerpt<\/a> from Twenty-One Love Poems; Terrance Hayces: sel.&nbsp;<em>American Sonnet For My Past &amp; Future Assassin<\/em>&nbsp;(<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/143917\/american-sonnet-for-my-past-and-future-assassin-598dc83c976f1\" target=\"_blank\">I lock you<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/143916\/american-sonnet-for-my-past-and-future-assassin-598dc8f97f34b\" target=\"_blank\">Probably twilight<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/143918\/american-sonnet-for-my-past-and-future-assassin\" target=\"_blank\">Inside me<\/a>) ; Danez Smith:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/92050\/the-17-year-old-the-gay-bar\" target=\"_blank\">The 17 Year-Old &amp; the Gay Bar<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/granta.com\/crown-smith\/\" target=\"_blank\">Crown<\/a> \/ <a rel=\"noreferrer noopener\" href=\"https:\/\/agnionline.bu.edu\/poetry\/don-t-worry-if-there-s-a-hell-below-we-re-all-going-to-go-sonnet-chopped-screwed\/\" target=\"_blank\">(dont worry) if there&#8217;s a hell below&#8230;<\/a>; Dianne Seuss <a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/six-unrhymed-sonnets\" target=\"_blank\">selected<\/a><\/li>\n\n\n\n<li><strong>Sestina<\/strong>\u2014Elizabeth Bishop:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/staff.washington.edu\/rmcnamar\/383\/bishop.html\" target=\"_blank\">Sestina<\/a>; Kim Addonizio:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/creativewriting\/files\/2020\/04\/Kim-Addonizio-Sestina-of-the-Alcoholic-Daughter.jpg\" target=\"_blank\">Sestina of the Alcoholic Daughter<\/a><\/li>\n\n\n\n<li><strong>Villanelle<\/strong>\u2014Elizabeth Bishop:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/47536\/one-art\" target=\"_blank\">One Art<\/a>&nbsp;(w\/drafts); Theodore Roethke:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/43333\/the-waking-56d2220f25315\" target=\"_blank\">The Waking<\/a><\/li>\n\n\n\n<li><strong>Pantoum<\/strong>\u2014Randall Mann:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems-and-poets\/poems\/detail\/56284\" target=\"_blank\">Pantoum<\/a>; Laure-Anne Bosselaar:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/stillbirth\" target=\"_blank\">Stillbirth<\/a>; Peter Meinke:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/browse?volume=142&amp;issue=1&amp;page=25\" target=\"_blank\">Atomic Pantoum<\/a><\/li>\n\n\n\n<li><strong>Ghazal<\/strong>\u2014Patricia Smith:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/detail\/49642\" target=\"_blank\">Hip-Hop Ghazal<\/a>; Jericho Brown:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems-and-poets\/poems\/detail\/57692\" target=\"_blank\">Hustle<\/a><\/li>\n\n\n\n<li><strong>Ode<\/strong>\u2014Pablo Neruda:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/49322\/ode-to-a-large-tuna-in-the-market\" target=\"_blank\">Ode to a Large Tuna in the Market<\/a><\/li>\n\n\n\n<li><strong>Elegy<\/strong>\u2014Frank O\u2019Hara:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/42657\/the-day-lady-died\" target=\"_blank\">The Day Lady Died<\/a>; Jericho Brown:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poets.org\/poetsorg\/poem\/another-elegy\" target=\"_blank\">Another Elegy<\/a>; Danez Smith:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/not-elegy-mike-brown\" target=\"_blank\"><em>not an elegy for Mike Brown<\/em><\/a>; CJ Evans: <a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/elegy-limestone\" target=\"_blank\">Elegy in Limestone<\/a>; Chen Chen: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/08\/Chen-Chen-Elegy-to-Be-Exhaled-at-Dusk.docx\" target=\"_blank\">Elegy to Be Exhaled at Dusk<\/a><\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Form Poem:<\/span> Write 1 form poem of your choice. Research the guidelines of that form if you aren\u2019t familiar with it, and read other&nbsp;poems in that form.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 11\/16 \u2014 <strong>Forms<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Epistle<\/strong>\u2014Keetje Kiupers:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.nytimes.com\/2019\/03\/28\/magazine\/poem-spring-letter-from-the-south.html\" target=\"_blank\">Spring Letter from the South<\/a>; Elana Bell:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/letter-jerusalem\" target=\"_blank\">Letter to Jerusalem<\/a>; Kim Addonizio:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/fivepoints.gsu.edu\/excerpt\/dear-reader-7-1\/\" target=\"_blank\">Dear Reader<\/a>; Donika Kelly: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/147622\/dear-\" target=\"_blank\">Dear \u2014<\/a>; Danez Smith:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/150542\/dear-white-america\" target=\"_blank\">dear white america<\/a><\/li>\n\n\n\n<li><strong>List<\/strong>\u2014Richard Jackson: <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/08\/Richard-Jackson-Things-I-Forgot-to-Put-on-My-Reminder-List.pdf\" target=\"_blank\">Things I Forgot to Put on My Reminder List<\/a>; Morgan Parker:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/58028\/if-you-are-over-staying-woke\" target=\"_blank\">If You Are Over Staying Woke<\/a>; Oliver Baez Bendorf: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.aprweb.org\/poems\/river-i-dream-about\" target=\"_blank\">River I Dream About<\/a><\/li>\n\n\n\n<li><strong>Ekphrastic<\/strong>\u2014Larry Levis:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/detail\/56757\" target=\"_blank\">Ocean Park #17, 1968: Homage to Diebenkorn<\/a>; Peter Balakian:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems-and-poets\/poems\/detail\/55012\" target=\"_blank\">Warhol \/ Madison Ave \/ 9-11<\/a><\/li>\n\n\n\n<li><strong>Haiku<\/strong>\u2014Sonia Sanchez: <a rel=\"noreferrer noopener\" href=\"https:\/\/poets.org\/poem\/haiku-i-count-morning\" target=\"_blank\">Haiku [i count the morning]<\/a><\/li>\n\n\n\n<li><strong>Other<\/strong>\u2014Maggie Millner: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.guernicamag.com\/from-couplets\/\" target=\"_blank\">excerpt<\/a> from <em>Couplets: A Love Story<\/em><\/li>\n\n\n\n<li>WRITING DUE:\n\n\n\n\n\n\n\n\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Conversion Poem<\/span> (Form\u2014&gt; Free): Transform your form poem into free verse. This may mean minimally or drastically changing the poem, depending on what it needs.<\/li>\n\n\n\n<li>Write a series of 3-5 <span style=\"text-decoration: underline\">HAIKUS<\/span> around a single theme.<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>[<strong>Optional<\/strong>: Write 1 <span style=\"text-decoration: underline\">ode<\/span> OR <span style=\"text-decoration: underline\">list<\/span> OR <span style=\"text-decoration: underline\">persona<\/span> OR <span style=\"text-decoration: underline\">epistle<\/span> OR <span style=\"text-decoration: underline\">ekphrastic<\/span> poem.]<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>**<strong>*DUE: POEM<\/strong> (hardcopy)<\/li>\n<\/ul>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 12&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; POETRY<\/strong><\/p>\n\n\n\n<p>Tuesday, 11\/21 \u2014 <strong>Experimental Lyrics &amp; Soundscapes<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Layli Long Soldier:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/kenyonreview.org\/kr-online-issue\/2012-fall\/selections\/layli-long-soldier-763879\/\" target=\"_blank\">excerpts<\/a>&nbsp;from&nbsp;<em>Whereas; <\/em>Danez Smith:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poets.org\/poetsorg\/poem\/note-body\" target=\"_blank\">a note on the body<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/56843\/alternate-names-for-black-boys\" target=\"_blank\">alternate names for black boys<\/a>; Monica Youn:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems-and-poets\/poems\/detail\/54040\" target=\"_blank\">Drawing for Absolute Beginners<\/a>; Rae Armantrout: <a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/89350\/bees-572b73911eea4\" target=\"_blank\">Bees<\/a>; Ocean Vuong:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/57586\/on-earth-were-briefly-gorgeous\" target=\"_blank\">On Earth We\u2019re Briefly Gorgeous<\/a>; Kimberly Grey: <a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/IMG_0451-2-e1651154480385.jpg\" target=\"_blank\">Proper Expressions of Love<\/a>; Keith S. Wilson:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/cdn.theatlantic.com\/media\/files\/keith_wilson_poem.pdf\" target=\"_blank\">Batter Bread, Mulatto Style (1935)<\/a>&nbsp;\/ l<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/155680\/line-dance-for-an-american-textbook\" target=\"_blank\">ine dance for an american textbook<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/155679\/reportage-on-a-theory\" target=\"_blank\">reportage on a theory<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/keithswilson.com\/wp-content\/uploads\/2019\/05\/Keith-S.-Wilson-Who-is-There-to-Eulogize-the-Tree.pdf\" target=\"_blank\">Who Is There To Eulogize The Tree<\/a>; Hanif Abdurraquib:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.frontierpoetry.com\/2017\/05\/04\/poetry-two-poems-hanif-willis-abdurraqib\/\" target=\"_blank\">The Ghost of Marvin Gaye<\/a>; Harryette Mullen:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/51723\/up-from-slobbery\" target=\"_blank\">[up from slobbery]<\/a>&nbsp;\/&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.poetryfoundation.org\/poems\/51721\/its-rank-it-cranks-you-up\" target=\"_blank\">[it\u2019s rank it cranks you up]<\/a>; Leila Chatti:&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/sites.middlebury.edu\/silence\/files\/2022\/04\/Leila-Chatti-Tumor-e1651154911220.jpg\" target=\"_blank\">Tumor<\/a>; Sarah Sloat:&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/www.sarahjsloat.com\/\" target=\"_blank\">excerpts<\/a><\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li><span style=\"text-decoration: underline\">Conversion<\/span> <span style=\"text-decoration: underline\">Poem<\/span> (Free\u2014&gt;Experimental): Transform 1 free verse poem you\u2019ve written this unit into an experimental structure of your choice. Here you have full range and freedom to play with the idea of the poem. Remember, this should not entail a copy &amp; paste with a few spacing adjustments, but should involve a reinterpretation of your original poem into a new format.<\/li>\n\n\n\n<li><span style=\"text-decoration: underline\">Translation<\/span>&nbsp;<span style=\"text-decoration: underline\">Poem<\/span>: Translate a poem from a language you neither speak nor read. Do not consult with any translation sources. Your translation should come from the visual and musical quality and form in all of its unfamiliarity. Include&nbsp;original poem with&nbsp;your translation, and be prepared to discuss the choices you made with language. <\/li>\n\n\n\n<li>[<strong>Optional<\/strong>: 1) Write a <span style=\"text-decoration: underline\">serial<\/span> or sequence poem. 2) <span style=\"text-decoration: underline\">Music<\/span> <span style=\"text-decoration: underline\">Poem<\/span>: Listen to various types of music (jazz, classical, blues, techno, etc.) and free-write to each. Consider how the rhythms of your writing respond to and mirror musical textures. 3) <span style=\"text-decoration: underline\">Pacing<\/span> Exercise: Take one of your poems and rewrite it in two styles: as a fast poem, and as a slow poem.]<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 11\/23 \u2014 THANKSGIVING<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 13&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; POETRY<\/strong><\/p>\n\n\n\n<p>Tuesday, 11\/28<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong>\n<ul class=\"wp-block-list\">\n<li><strong>DUE: Peer Letters <\/strong><span style=\"text-decoration: underline\">via email <\/span>(cc me): Carefully read the writer\u2019s poem. Then reread it. On your second reading, highlight or underline anything that could be improved in clarity and style. Write marginal notes to the writer regarding problematic or troubling spots. Next, draft a letter to the writer in which you articulate, in your own words: 1. what the poem is doing\u2014main ideas; 2. the strengths of the draft; 3. two elements on which the writer should focus in revisions, along with specific examples\u2014specific spots in the draft\u2014that help to explain why these elements need attention. 4. Any other comments or suggestions you think might assist the writer. Be honest with your criticisms. Remember, the recipient of the letter can only benefit from honest criticism. But, at the same time, try to be encouraging. Your purpose is to help the writer of the poem, who may, at some point in the semester, also be in a position to help you. Please refresh your memory of questions on the <a rel=\"noreferrer noopener\" href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/09\/125-Poetry-Peer-Response.doc\" target=\"_blank\">Peer Review Forms<\/a>; you do not need to fill this out (although you may do so to provide additional helpful detail for the writer), but you should address as many of those elements in your thorough, close-reading of the writer\u2019s poem. This is also an exercise in letter-writing, a beautiful, lost form that can collapse distances, especially now.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 11\/30<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li><strong>DUE<\/strong>: Bring 1 poem NOT assigned this unit (but can be a poem from a poet we\u2019ve read) that you\u2019ve discovered independently during our unit and want to share with everyone because it\u2019s\u00a0<em>that<\/em>\u00a0good <\/li>\n<\/ul>\n\n\n\n<p><\/p>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 14&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Revisions<\/strong><\/p>\n\n\n\n<p>Tuesday, 12\/5<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li>Kim Addonizio &amp; Dorianne Laux: \u201c<a href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/wp-content\/uploads\/sites\/977\/2023\/08\/Kim-Addonizio-Dorianne-Laux-The-Energy-of-Revision-from-The-Poets-Companion.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">The Energy of Revision<\/a>\u201d<\/li>\n\n\n\n<li>WRITING DUE:\n<ul class=\"wp-block-list\">\n<li>Bring a clean copy of your favorite poem \u2014 one that YOU have written this unit \u2014 to class (for an in-class exercise). &#8211;&gt; bring Thursday!<\/li>\n\n\n\n<li>Final Poem: Take 1 failed poem from this unit and extract 1 line from it that you like. Use this line as the 1<sup>st<\/sup>&nbsp;line of a new poem.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p><mark class=\"has-inline-color has-vivid-red-color\">*Class will be held in the SMITH COLLEGE MUSUEM OF ART<\/mark><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Thursday, 12\/7<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Workshops<\/strong><\/li>\n\n\n\n<li><strong>DUE<\/strong>: Memorize 1 poem of your choice (to be presented orally)<\/li>\n\n\n\n<li>WRITING DUE: <strong>Poetry Portfolio<\/strong> (hardcopy)\n\n\n\n\n\n\n<ul class=\"wp-block-list\">\n<li>1) Revision of Poem<\/li>\n\n\n\n<li>2) Writer\u2019s Memo: Share a reflection of your journey through poetry \u2013 your progress, process, questions you have of your own writing, goals that have arisen out of this experience, discoveries about what you prefer as a reader (the poem or poet that most influenced your writing), insights about what inspired your writing, if\/how your idea(s) for what makes a good poem changed over the course of this unit, the most important thing you\u2019ve discovered about poetry, etc. (1-2 pages); at the end, offer a&nbsp;Grade Proposal <\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>3) Three (or more) poems reflecting your work this unit<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<p>__________________________________<\/p>\n\n\n\n<p><strong>Week 15&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Final Presentations<\/strong><\/p>\n\n\n\n<p>Tuesday, 12\/12<\/p>\n\n\n\n<p>Thursday, 12\/14<\/p>\n","protected":false},"excerpt":{"rendered":"<p>To write, one must read. To write well, one must read well. Which means: to read widely, to read with enthusiasm, to read for pleasure, to read with an eye for another&#8217;s craft. \u2013 Joyce Carol Oates The writer studies literature, not the world. He lives in the world; he cannot miss it. \u2013 Annie<\/p>\n<div class=\"entry-read-more\"><span class=\"read-more\"><a href=\"https:\/\/sites.smith.edu\/eng125-03-f23\/?page_id=16\" class=\"more-link\">Read More&nbsp;<i class=\"fas fa-long-arrow-alt-right\"><\/i><\/a><\/span><\/div>\n<p><!-- entry-read-more --><\/p>\n","protected":false},"author":6866,"featured_media":0,"parent":0,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-16","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=\/wp\/v2\/pages\/16","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=\/wp\/v2\/users\/6866"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16"}],"version-history":[{"count":160,"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=\/wp\/v2\/pages\/16\/revisions"}],"predecessor-version":[{"id":492,"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=\/wp\/v2\/pages\/16\/revisions\/492"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/eng125-03-f23\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}