January 4, 2018
8 Weeks | $315
“Machines Made Out of Words”: An Introduction to the Craft of Poetry
Some say they hate poetry because they “don’t get it.” There’s a good reason for that feeling: academic courses in poetry tend to give the unfortunate impression that when Shakespeare died, poetry died with him. Who could blame these people for not liking poetry? If poetry ended 500 years ago, I probably wouldn’t care much about it either.
But poetry is alive and well. Contemporary poets can be touching, terrifying, and laugh-out-loud funny at once. This course isn’t about “thee” and “thou.” Contemporary poetry is, above all, about human experience: our experience, today.
The poet William Carlos Williams described a poem as “a machine made out of words.” My aim in this course is to help you become a literary mechanic. We’ll take apart poems to see how they work; we’ll tune the parts and put them back together even better than before. We’ll explore a wide range of contemporary poems (plus a handful of older classics), focusing on what makes them tick and how we can adapt those techniques to our own writing.
While our focus will be on poetry, the techniques we’ll explore apply just as well to fiction, and I definitely encourage prose writers to check out the class. We’ll spend time looking at how poems tell stories, and we’ll check out the blurry/imaginary line between prose poetry and flash fiction.
By the end of this 8-week class, students will:
- Have a strong sense of what you like in a poem—what matters most to you as a reader and as a writer? What do you want your writing to do?
- Understand all those terrifying poetry terms like trochaic pentameter and volta—and see why they’re much, much easier than your English teacher made them sound.
- Learn to “read like a writer”: take apart any poem (or story or essay!), figure out how it works, and learn to make its techniques your own.
- Write and revise 7-8 new poems and learn where and how to publish them, if desired.
Above all, we’ll have fun along the way—if writing poetry wasn’t a pleasure, nobody would write it.
1. What We Talk About When We Talk About Good Poems
Carefully study a favorite poem. Write a 500ish word overview of the craft elements that make it work.
Adapting the techniques discussed this week, write a poem in a voice obviously not your own: a stapler, a giraffe, Napoleon, etc.
3. Show Don’t Tell, or, Everything You Ever Wanted to Know about Imagery but Were Afraid to Ask
A twist on a classic writing exercise. Write two short poems that each describe a barn…
4. Go In Fear of Abstractions? Metaphor, Simile, and Conceit
Taking as examples the poems discussed this week, write a poem in which an abstract idea (love, hate, drunkenness, etc.) is made concrete through metaphor.
5. Lineation and You
1) Choose one of the poems written in the previous weeks and re-lineate it two new ways. Which of the three versions do you think works best and why?
2) Write a poem that uses a different lineation style than you usually use. If you usually write very short lines, try very long lines. If you usually break lines at syntactical breaks, try breaking the line against the syntax, etc.
6. Rhyme and Meter: How They Work and Why You Should Care
Write a poem in one of the following:
- Blank verse
- Iambic tetrameter quatrains
- Iambic pentameter couplets
Pay attention to how your subject matter guides your formal selection, and how the formal requirements affect the content of the poem.
7. Prose Poetry and Flash
Write a prose poem/flash fiction. How does your approach to writing change when working without line breaks?
8. Poem as Argument, Poem as Story
Write a poem that makes an argument without ceasing to be a poem.
Bonus Content: The Literary Workman – Revision and Publishing
Look back at what you wrote during this course. Revise as many of the poems as you’d like, focusing on making specific craft improvements. Once you’re satisfied, consider submitting one (or more!) to a literary magazine using the best practices discussed in the bonus course pack.
The lessons had very useful information and lots of poems for examples. Jonathan gave detailed constructive feedback that really helped me see how to improve my work. He was excellent in every regard. The two new classes Jonathan is delivering are exactly what I wanted. I plan to take both. Just want to thank you for this great learning experience. Barbara Ireland
I find you guys run great classes and this was no exception! I felt [Jonathan] was very thoughtful in setting up the material. He was engaged, thorough, and responded in a timely fashion. Andrea Sauder