Here's this section of 619 as described in the Spring '99 English Course Descriptions booklet:
This workshop will be modeled on the legendary Corcoran School of Art assignment called "80 Works," described in the Washington Post, October 20, 1996 .... [A photo-reduced copy is attached to this syllabus] We will use Behbsp; Norton Anthology of Poetry, ed. Ellison et alia (Norton, pb). Any edition.
NAMP Morton Anthology of Modern Poetry, ed. Ellmann et alia (Norton, pb). Any edition. CP Contemporary American Poetry, 4th, 5th, or 6th ed., ed. Al Poulin, Jr. (Houghton Mifflin)
Princeton Handbook of Poetry & Poetics, ed.
Princeton Encyclopedia of Poetry and Poetics, ed. Preminger et
alia (Princeton, cl & pb). (Preferred alternative to NF.)
Strong Measures: Recent American Poetry in Traditional Forms, ed.
Dacey & Jones (Harper & Row, pb).
Reserve" (this semester "in my office")
OF "80 WORKS"
initial guide to "80
Works" is the Post article, "Give Me 80!": our
workshop should, like the Corcoran requirement, involve various levels
of stress, exhaustion, dissociation, hyperventilation and giddiness. We
should expect some of the work produced by each poet to be inspired, serious
& moving, and we should expect some work to be weird, silly, childish,
adolescent, prematurely senile, gross, perverted, and banal. But I hope
everything we see hEach
member of the group must complete at least 5 assignments invented by other
members of the group. Assignments will be distributed on Mondays (only)
and, in weeks 2 through 6, at least one poem in response must be handed
in (i.e., distributed to the class) the following Thursday.
NO INCOMPLETES! Because of the nature of this workshop, you do not have the stress-reducing option of taking an Incomplete. All work must be completed by Spring Break. Of course, if you die in the next 7 weeks, you may petition the Dean to withdraw from the course.
You may do
up to 4 responses to any one assignment and count each of them as "a
work." If you do 10 responses to one assignment, however, only 4
will count toward your 80 works.
In so far as there are readings, you really must do them by the dates when they will be discussed.
to get to class by 7:20 so that you don't waste everyone else's time &
tuition. (We have lots to do!) If you have a class from 4:30-7: 1 0, you
might leave that early sometimes in order to get to 619 on time or to
give yourself breathing time between classes. If other commitments mean
that you will regularly be late to class, please let us know so that we
don't assume Except if specified, I don't care if you revise during these
7 weeks or not.
FORMAT & ASSEMBLING HANDOUTS
In other words, at each meeting you should distribute packets for that day, with the poems due and the poems you did on your own in the same order in which they occur in the Menu. Put poems which respond to another student's assignment after those on the menu, and put poems that respond to your own assignments at the end of the packet.
(I can understand a desire to economize by fitting poems onto pages however they can be packed in most tightly, but that's a misguided economy if it means we waste huge amounts of class time simply trying to figure out where things are. For the same reason, I ask that you distribute your assignments separately and that, if you are passing out poems late (or early), you make those a separate handout.)
Because I often include successful work from classes in future handouts, for general bookkeeping during this 7 weeks, and to help us locate poems quickly, please:
(1) include the following info in the upper right corner of the first page of each typed poem or packet
the number and name of the assignment just above the title of each poem.
Use - for
an unstressed syllable, / for a stressed syllable, (/) for a "courtesy
stress" (a stress created by the rhythm of words before and after),
and in those rare cases where it is justified, * for a "hovering
stress" (a syllable which can but-poems you feel are "finished"
and "representative." These should be handed out separately
from other work and can be printed on 2 sides of a page. These poems do
not count toward the 80 works: they are simply to help us get acquainted.
(2) Bring a line, passage or stanza of your own that you like, have never
been able to use, and are willing to give away. (3) Assignments 6 (Part
1); 7A (Part 1); 7B (i.e., bring the line, passage or stanza); 14A or
14B; 15; 26A or 26B or 26C; and either 28A or 28B. Note that Assignment
27 will be due later in the course-start looking!
3/07 (Time TBA)
poems, no matter how serious or desperate their subjects, are stronger
if they imply that--somehow, at some point--the poet stepped back and
Starbuck's "Margaret, Are You Drug?," a satire of Gerard Manley
Hopkins's "Spring and Fafl: to a young child.")
12. If a poem can be abandoned, the poet should abandon it; if poetry itself can be abandoned, the poet should abandon it.
of difference are not degrees of value: a poet's self-admonitions need
not apply to anyone else to produce valid work for that poet.
WORKS "RESERVE MATERIALS
PLEASE NOTE: Many of these books are old, many are old paperbacks. Do not bend back spines and please treat all items as rare books--which is to say: very gently. Thank you!
Aldridge, NOTPOEAE (visual/concrete poems)
Hecht & Hollander, Jiggery-Pokery: A Compendium of Double Dactyls.
Hollander, Rhyme's Reason
Hollander, Types of Shape (visual/emblem poems)
Kempton, Karl, Lost Alfabet Found (visual objects-without discursive content. "Each letter derives from a found object." The letters are composed of letters & punctuation from a standard keyboard.)
Paz, Roubaud, Sanguineti & Tomlinson, Renga: A Chain of Poems (The four poets use the sonnet rather than the tanka for their form; each stanza of the four-stanza sonnets is in a different language (Spanish, French, Italian and English). English translations by Tomlinson are printed enface.)
Wepman, etc. The Life (a collection of toasts.)
ed., Anthology of Concr1-26
(MVI #2, Vol 1):
(MVI 42, Vol, 11):
FOLDER 6 (397, Folder 2): Imagism
FOLDER 7 (MVI 43, Vol. 1): Imagism Essays. Also available as: POUND, E., "A Retrospect" (2 cc) PRATT, W., "Introduction" to 7'he Imagist Poem (3 cc)
(MVI #3, Vol. H): Imagism
FOLDER 9A (MVI #5): Linked Verse (Renga) Linked Poems (Renshi)
(397, Folder [II):
(MVI 46, Vol. 1): Metaphor "Variations on a Metaphor"
(MVI #6, Vol. 11): Metaphor Essays by Pinsky, Eliot & Ransom (all
mainly in praise of extended metaphor) Poems using extended metaphor Ira
Sadoff s "Self-Portrait" assignment & examples
Info for Sadoff's "Self-Portrait " assignment:
(NM #7, Vol. 1): William Gass's essay "And" Catalogue poems
(MVI #8, Vol. 1): Sonnets
(MVI #8, Vols. 11 & III): Villanelles & Sestinas
(MVI 49): Dramatic Poems Traditional Dramatic Monologues Personae Poems
FOLDER 19: NO WORDS POEMS (Original of Smithsonian article on artist Goldsworthy.)Ý
© 1999 Peter Klappert All rights reserved.