Poetic Archaeology: Digging for New Language

with Tina Barry

Poetic Archaeology online writing course

July 15, 2026
Length: 4 weeks
Open to AllText-Based

Original price was: $345.00.Current price is: $295.00.

Click the Enroll Now button below, enter your details on the Checkout page,
and reserve your spot in the course.

Original price was: $345.00.Current price is: $295.00.Enroll Now

Reserve your spot and secure early bird pricing

As writers, we often find ourselves returning over and over again to the same sources of creative inspiration. But even the richest sources can become overmined, creating a kind of sameness in our poems’ content and form.

In this month-long workshop, we’ll break out of tired ruts by exploring texts, sources, and resources you may not have considered—existing materials unrelated to poetry that beg to be dug up for new forms, language, and image-making. Garden brochures, atlases, palmistry guidebooks, artistic masterpieces, bawdy tattoos, scientific texts, cookbooks, and the sections of the newspaper that go unread can all lead you down a path you didn’t anticipate, putting your writing on an unexpected trajectory.

Each session will open a new avenue for deepening and enlivening your poems. We’ll read poems and short prose by writers who approach their work through metaphysical or scientific lenses, writers who explore the inner lives of the inanimate, and nonfiction writers who look closely—perhaps even leer—at human behavior. Along the way, you’ll experiment with unexpected source material, dig for fresh language, and find new structures for shaping your work.

You’ll receive feedback on four poems, with the option to post a revision of each for further comments. By the end of the workshop, you’ll leave with four polished drafts, and fresh ways to build on your existing writing practice.

Who This Course is For

All poets welcome! This class is for writers at any stage who are seeking new and unique ways to enter their work.

Learning and Writing Goals

Learning Goals

In this course, you will learn to:

  • Find or to break out of stale go-to ways of launching poems.
  • Identify when familiar sources of inspiration have become overmined, and use unexpected materials to refresh your poems’ content, form, and language.
  • Draw poetic possibilities from nontraditional sources, including visual art, palmistry, scientific texts, newspapers, cookbooks, maps, and other found structures.
  • Study how poets and prose writers use unusual lenses—metaphysical, scientific, observational, or object-centered—to generate fresh approaches to subject matter.
  • Develop new strategies for image-making, structure, and voice by borrowing from forms and systems outside of poetry.

Writing Goals

In this course, you will: 

  • Write four new poem drafts inspired by unexpected source material and unconventional structures.
  • Revised, polished versions of those drafts, with the option to receive further comments on each revision.
  • Develop a set of new practices for digging into future poems when your usual sources, subjects, or forms begin to feel overworked.
  • Bring fresh language to your writing that might steer it into places that are unfamiliar and exciting.

Weekly Syllabus

Week 1: The Poem is in Your Hands

Our history etches itself onto our hands, with heart, head, life and fate lines forming a language of our past and future. We’ll explore the art of palmistry, to create a roadmap for new poems, short fiction or creative nonfiction. In addition to writings about palmistry, we’ll read Lydia Davis, Averill Curdy and others.

Week 2: There’s a Science to It

The science sections of newspapers and magazines, books on biology, chemistry, physics, horticulture and astronomy offer a rich world to plumb for metaphor and meaning. In week two, we’ll dig into those fields, looking for meaning from the cosmos, the oceans and what flowers on the earth. We’ll read the poems of Kimiko Hahn, Jane Hirshfield, Alison Hawthorne Deming, Barbara Louise Ungar and others.

Week 3: The Inner Life of Things

As William Carlos Williams said, “No ideas but in things.” We’ll do a deep dive into “things,” imagining the inner lives of everything from clothing to eyebrows and umbrellas. We’ll look at the writing of Sharon Mesmer, Baudelaire, Ted Kooser, among others, while continuing to play with a variety of forms.

Week 4: I’m Watching

As writers, it’s our job to be voyeurs. It’s our job to be if not peeping people, then invisible listeners eavesdropping on the conversation of the couple beside us at the café or the argument between teenagers on a park bench. It’s up to us to not just observe those moments, but to understand their subtext. What’s not shared with the voyeur is what grounds the writing—it’s the “why” of the piece. Examples include poetry by Marie Howe and other poets, and The Voyeur’s Motel, Gay Talese’s nonfiction dive into the life of a real voyeur.

Click the Enroll Now button below, enter your details on the Checkout page,
and reserve your spot in the course.

Original price was: $345.00.Current price is: $295.00.Enroll Now

Reserve your spot and secure early bird pricing

Student Feedback for Tina Barry:

Tina Barry is an outstanding teacher who is always responsive and supportive. Throughout the course she helped us grow as writers through suggestions and comments that conveyed respect and care. Kathleen Thomas

Tina is wonderful at giving very detailed feedback to us as soon as we posted our work. Her input on my writing was very helpful. Lori McDonald

I enjoyed this writing experience and I especially was pleased about how much I learned about writing everyday poetry. I now have a new appreciation and interest in poetry. I plan to continue to write poems as new hobby. Sharon Morrison

I’ve taken several online courses with Tina Barry, and she is by far one of the best poetry teachers I’ve had—online or elsewhere. The assigned readings for each lesson were stimulating and varied, and her prompts inspired some of my best poems. She was quick to respond with insightful, clarifying and concise edits and comments – her ability to read the poems on many levels deepened my understanding of my own work. She has an exquisite ear for language and the musicality of a line, and craft-wise, her thoughtful feedback not only helped me to improve the poems I submitted to the workshop but also carried over to the way I continue to write and re-write my poems. Elizabeth Burk

A+ Again! Tina’s classes always inspire poems for me… she’s one of my favorite all-time teachers. Susan Vespoli

Tina’s prompts yielded results I never could have imagined. One of the poems I wrote has inspired me to grow the piece into a chapbook. This never would have happened were I not in this class. Tina’s feedback was thoughtful and she always provided concrete next steps for us to further develop our work. She challenged us with the feedback, but always in a constructive and supportive way. Debbie Feit

Excellent. Tina gave consistently thoughtful feedback – on various aspects of the poems, from structure to tempo to content – and was able to meet each writer where they are which is crucial, I feel. As a beginner I felt encouraged but also nudged to consider things I hadn’t before. Anne Samulevicius

Tina did an excellent job of both helping us generate ideas and providing feedback. The feedback by the teacher and students helped me improve my poems in surprising and interesting ways. I found it helpful to hear what was striking or moving in the poem, or what was confusing. The prompts were helpful in generating new ideas for poems as well! Pat LaDouceur

I had an enriching experience these past four weeks. The other participants were excellent writers, willing to comment, and share ideas. Tina, of course, had excellent suggestions all of which I’ve already incorporated into the pieces written during the course. I was able to overcome a months-long dry spell, suddenly writing about minutia I might otherwise have overlooked. It certainly feels great to break through my writer’s block. My fingers are flying over the keyboard and scribbling with pen in my journal. Thanks again to Tina and Writer’s.com for making this hot, COVID-filled summer productive and enjoyable. Sharon Thompson

Tina Barry excels to the highest level. Her lessons and assignments are always engaging and thought-provoking. Tina creates an atmosphere that inspires and encourages all of us to be both daring and focused. I have been in several of Tina’s workshops; in each one my writing and commitment to writing has deepened from her guidance, support and respect for me and all participants. Kathleen Thomas

My experience was great! The group was very engaging. Tina was exceptional. Crystal Manboard

Tina’s suggestions to all the participants was respectful and helpful. I feel like I know her now! The alternate prompts she offered for each lesson helped me find the inspiration to begin that writing assignment. Charlotte Randolph

Too many workshops are led by poets who know how to publish, but cannot teach or lead. Tina Barry does all of the above brilliantly, giving lesser beings hope that their words matter, because they matter so much to her. She refuses to be boring, and presses you—no, dares you—not to be either. Pamela Brown

A workshop with Tina Barry has always been a memorable and valuable investment in my writing life. The depth of Tina’s preparation is evident from the start. Throughout the workshops, Tina stays in contact with every participant with excellent and challenging critiques and comments. I have never been disappointed. CR Green

What makes Tina stands out as a teacher, my teacher last year, is her capacity to combine deep knowledge of form, craft, and an eye for pointing to what may make your poems better. During the class I took with her, I benefited as much by the keen comments she offered to the other students, as her comments on my poems. It was an education in itself. Her commitment to her students is as deep as her commitment to teaching excellence. Tina is an avid listener to your words, respecting and pushing you to your best work. Juan Mobili

I have taken several classes from Tina Barry and found them stimulating and exciting. They are of the highest caliber, for she encourages us to look at new ways of writing, examining ourselves and translating thoughts into poetry. I have saved her lessons, which have encouraged me to continue my quest for becoming a better poet and writer. Her comments have always been thorough, considerate, encouraging and complete. I continue to seek her out because of her expertise. Elizabeth Kirkpatrick-Vrenios, Professor Emerita, American University

I enjoyed Tina’s classes and found that her excellent insights and group leadership skills combined to give me new themes and knowledge for writing. She is always available for an immediate response to students’ questions and observations. I really like her flexibility in encouraging independent, differing writing styles. Karen Waldron

July 15, 2026
Length: 4 weeks
Open to AllText-Based

Original price was: $345.00.Current price is: $295.00.

Click the Enroll Now button below, enter your details on the Checkout page,
and reserve your spot in the course.

Original price was: $345.00.Current price is: $295.00.Enroll Now

Reserve your spot and secure early bird pricing

About

Tina Barry is the author of I Tell Henrietta (Aim Higher, Inc., 2024), Beautiful Raft and Mall Flower (Big Table Publishing, 2019, 2016). She was a restaurant critic for the Brooklyn Paper from 2001-2008, and wrote food and relationship stories for the NY Daily News, Time Out NY, The Sun, and other publications, Her poetry and short fiction can be found in Rattle, Verse Daily, ONE ART: a journal of poetry, SWWIM, Gyroscope, The Best Small Fictions 2020 (spotlighted story) and 2016, and elsewhere. Tina’s has five Pushcart Prize nominations, and several Best of the Net and Best Microfiction nods. She teaches at The Poetry Barn and Writers.com.