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syllabus
This
is
an intensive workshop designed for students in the mid to later
stages of
the MFA degree in poetry. Though close-reading will occupy some of our
class
time, we will emphasize assessment of each poet's direction and
development.
Those of you in the third year will be working toward a thesis
manuscript. Those
in the second year may be working on a sequence or group of related
poems, or
simply learning to see your poems as a body of work. In addition to
your own
poems, written requirements will include peer manuscript critique and
analysis
of the sequence and organization of two published books of poems. Manuscripts
In the course of
the semester each of you will submit two
manuscripts for discussion, and most nights two manuscripts will be
discussed.
If you are in your third year of the MFA, your first manuscript
should
be 8-12 pages of your thesis (or proto-thesis) which may be a single
poem, a
group of related poems, or a representative sampling of several aspects
of the
collection. If you are in your second year, you may submit 8-12 pages
of a
single long poem, a group of related poems, or a selection
representative of
your best work to date. Your second manuscript will most likely
be a
revision or extension of the first manuscript, though some of you may
choose to
submit new poems. Manuscripts
must be submitted on paper, no later than
the
beginning of class on the meeting preceding your discussion date, and
must be
accompanied by a 500-1000 word statement. Each
week
you will
read the manuscripts submitted and write a 500-1000 word
critique-and-advice
statement for each poet. Bring a second copy for me. In our first
round, the
person whose last name follows the poet’s name on the alphabetical
class list
will initiate the discussion. and share responsibility with me for its
structure. Late
Manuscripts: Since
your classmates need adequate time to
read and critique your work
responsibly, late manuscripts will not be accepted for discussion. If
you miss
your place in the schedule, you will be rescheduled as time permits. Manuscript
Statements: Your first
manuscript must be accompanied by a
500-1000 word statement describing the nature and the ambition of the
work
included. For example, if you were submitting 12 pages of related
poems, you
might state your concept for the group, what you hope it aspires to
when it is
finished, and a few words on what is not yet there. Please also
indicate what
kinds of critique you are most interested in receiving—for example,
assessment
of your thematic scope, tracing of related images and concepts, formal
analysis, sequence of poems, etc. Your second manuscript statement
(same
length) should include something about your revisions, what you think
you have
achieved, plus an evaluation of how class critique did or did not
benefit this
process. If you are specific about what you want from us, we will be
more
likely to deliver it. In each case, the statement is due with the
manuscript
and not accepted after manuscript has been turned in. I
strongly
recommend that each critique begin not with evaluation, but with
description.
What are the poems' predominant forms? subjects? themes? What aesthetic
values
do they represent? What is the concept of poetic voice? the relative
weight of
poem-as-speech to poem-as-artifact? Do the poems seem finished? Do they
work
together toward a whole that is greater than the sum of its parts? Are
there
untapped strengths in this poet that these poems suggest but have not
developed? Your answers to these questions will determine your advice.
Do these
poems represent a direction that interests you as a reader? Do you
recommend
revision to individual poems? further development of some aspect you
enjoyed
here? pursuit of a different direction? a change of sequence? If you
have
difficulty with a group of poems, try mirroring back to the poet your
reading
process, pinpointing the places that cause the trouble. All
critiques
must
be completed in order to receive a grade for this course. And: just as
manuscripts
must be submitted on time to receive your critique, so your critique
must be
submitted on time to be of use to the poet. Each of you is allowed one
late
critique (up to one week late) “free”—that is, without grade penalty.
Subsequent late critiques will be accepted up to one week after
discussion of
the manuscript with a penalty equal to a full letter grade. Critiques
submitted
more than one week late will not be graded; however, they must be
completed and
given to the poet or you will receive an Incomplete for the course.
Critiques
will be graded as A, B, or Unsatisfactory. Unsatisfactory critiques
will have
to be revised to receive credit. My power to
assign grades, however, pales in
comparison with the importance of your commitment to each other. The
750
workshop
is potentially the most intense and important workshop you will be part
of at
GMU, but it only reaches that potential when everyone involved is
committed to
a process of intellectually rigorous but personally supportive
critique.
Uncivil, dismissive, or poorly thought-out, off-the-cuff critiques,
whether written
or oral, will poison this process. Class
Participation: You are expected to be present for the full
length of all
class sessions, to take part in discussion of all manuscripts, and to
engage in
analysis and discussion of a variety of poetic values and strategies. Manuscripts,
including
statements 50% Sept 23: Don Bogan 699 Master Class Oct 12: No class: Fall Break: Mon classes meet on Tues Structure/sequence
analyses
due
October 19 & November 16
a home for manuscripts
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English 750:001Fall 2010Monday 4:30-7:10 English Dept Conference Room (447) Susan Tichy Robinson A 455A 703/999-4441 stichy@gmu.edu Hours: T 3:00-4:00 M 3:00-4:00 & by appointment Susan Tichy's Main Page ST's Writing Exercises |