Poetry is the art of creating imaginary gardens with real toads.—Marianne Moore
Course Description:
We will focus on the development of poetic voice within the last century of English and American verse. However, the poetry of the previous hundred years obviously draws influence from what came before it. Thus, reference will be made often to the primary influences upon contemporary poetry. Most of the poetry studied within the course exhibits a recognition of a personal identity or first person point of view. Some poets choose to highlight issues of sexuality or childhood development while others focus on gender roles or concepts of power and the body. Yet, keep in mind that subject matter does not drive the voice of these poems necessarily. What we will discover is how great a role sound and structure play in the development of each of the poems we read—this sound is what distinguishes poetry from prose, what breaks the line from the sentence. Ultimately, this course is intended to explore the ways in which rhythm and rhyme are incorporated into or battled against in every poem we read.
Texts:
Alison Booth, Norton Introduction to Poetry (8th edition)
Stuart Dischell, Dig Safe
Requirements:
2 essays of 3 to 5 pages
1 presentation
1 midterm
1 final
3 poems
2 conferences with me
Essays (2 @ 15%) 30%
Final 15%
Midterm 15%
Poems (3 @ 5%) 15%
Presentation 10%
Participation 10%
Recitation 5%
We will write two essays focusing on the analysis of two or three poems by
one or two poets. The specifics of the essays will be explained upon assignment
but, for the most part, you will dissect a specific selection of poetry looking
for common themes or similar use of sonic devices. Depending on the essay,
you will focus on either several poems by one poet or compare the works of
two different poets. You are required to turn in a typed paper topic (approximately
4-5 sentences long) for both essays.
For your presentation, you will choose one poet or theme which we have not
previously discussed at length within the course and offer your own insight
and response to this work to the class. For instance, you might highlight the
work of Gwendolyn Brooks by identifying similar structure within “The
Bean Eaters” and “We Real Cool” or you could
examine similarities within Larissa Szporluk’s Isolato and Sylvia Plath’s
Ariel.
You will also compose three poems of your own within the course as well. We will experiment with free verse, structured verse forms, the lyric, the dramatic, and the narrative. Of course, we will turn to examples from established poets for guidance and inspiration (though not plagiarism).
A final and a midterm exam will be administered during the term as well as possible pop quizzes (calculated into your participation grade).
Learning Goals for English 106:
By this semester’s end, students should be able to thoughtfully and judiciously read (British and American lyric, dramatic, and narrative) poetry, scan and analyze verse, evaluate different critical perspectives on poetry, compose original arguments, communicate clearly and effectively, understand aims and methods of verse as well as intellectual discourse regarding poetry, and write and workshop free and structured verse.
Grading:
Grades will be given according to participation and the completion of work—both throughout the term and at its end. Participation depends upon attendance, so if you miss more than two classes (excused or unexcused), your final grade will reflect this—it will drop after three missed and continue to fall every two more absences (-3=B at best, -5=C at best, -7=D at best). Two classes are allowed if an adequate excuse is offered (e.g.: illness or death). If you miss more than seven classes, you will automatically fail the course (excused or unexcused). And, if you plagiarize, rest assured that there are serious penalties: http://studentconduct.uncg.edu/policy/academicintegrity/. If you are concerned that you may miss a class or are unsure of what plagiarism may be, please talk with me about this.
Behavior:
Please be courteous to your fellow students when they are speaking, writing, and listening. This includes coming to class on time (if you are late, I will know and your grade will reflect it) and with cell phones turned off.
The Writing Center (McIver 101):
If at any point throughout the term you need help with a paper or would like to gain a new perspective on your work, feel free to visit the Writing Center. Readers are available Monday through Thursday from 9 am to 8 pm, Fridays until 3 pm and Sunday evenings from 5 to 8 pm.
Tentative Course Schedule:
The Basics
M Aug 15 introduction, review of syllabus
W Aug 17 what poetry is: read introductory chapter in Norton (p. 1-25)
F Aug 19 what tone is: read chapter on tone (p. 26-58)
M Aug 22 poem due
W Aug 24 who’s that: read chapter on speakers (p. 59-84)
F Aug 26 where, when, and what: read chapter on situation and setting (p. 85-97)
M Aug 29 essay due
W Aug 31 what’s happening: more compromising situations (p. 99-122)
F Sept 2 summing it up: an overview of understanding
The Words Themselves
M Sept 5 no class, holiday
W Sept 7 say what: read chapter on language (p. 123-146)
F Sept 9 poem due/conferences begin
M Sept 12 conferences
W Sept 14 conferences
F Sept 16 conferences
M Sept 19 my love is like a red, red rose: read chapter on metaphor and simile
(p. 147-173)
W Sept 21 a car is sex, an empty room is loneliness: read chapter on symbols
(p. 174-189)
F Sept 23 film
Sound and Sensibility
M Sept 26 click, buzz, bang: read chapter on sound (p. 190-208)
W Sept 28 la, la, la: read chapter on music (p. 209-219)
F Sept 30 essay due
Structure and Construction
M Oct 3 how to build: putting the noise together
W Oct 5 how it’s done right: read chapter on internal structure (p. 223-246)
F Oct 7 midterm exam
Warm for Form
M Oct 10 fall break
W Oct 12 knowing the verses: read chapter on external form (p. 250-270)
F Oct 14 practice and exercise with verse forms
M Oct 17 conferences
W Oct 19 conferences
F Oct 21 conferences
M Oct 24 presentations
W Oct 26 presentations
F Oct 28 presentations
The Trees for the Forest
M Oct 31 verse form due
W Nov 2 altogether now: read chapter on the whole text (p. 279-289)
F Nov 4 spotlight on Sylvia: read chapter on Plath (p. 411-442)
M Nov 7 Langston Hughes
W Nov 9 Wallace Stevens
F Nov 11 William Butler Yeats
M Nov 14 Emily Dickinson
W Nov 16 John Donne
F Nov 18 Gerard Manley Hopkins
Poetry Alive and Well
M Nov 21 read Dischell
W Nov 23 no class, holiday
F Nov 25 no class, holiday
M Nov 28 read Dischell
W Nov 30 read Dischell
F Dec 2 read Dischell, lecture/reading by Stuart Dischell
M Dec 5 last class
W Dec 7 final exam for 10-10:50 am class from 12-3 pm
F Dec 9 final exam for 12-12:50 pm class from 12-3 pm