Posts Tagged ‘outlaws and inlaws’

That’s a Wrap

Tuesday, April 23rd, 2013

Some notes for the final stretch:

  • I will hold regular office hours this Thursday, 11-12.  On Friday, my office hour will be moved from late afternoon to 10-11 because of Kemp Symposium.
  • This blog will CLOSE for graded business on Saturday, April 27, at midnight.
  • You should check the blog before our final exam slot (Wednesday, May 1, 12-2:30) in case there are any announcements.
  • The final recitations/celebrations will be held in the Parlor of the Mansion.  Yummies are welcome.
  • Apparently the syllabus says that at the final exam you must recite a poem from the Norton anthology that is not on our syllabus.  ACK.  I blew that.  You may recite at least 14 contiguous lines from any poem of our primary authors or from the anthology.

For Monday

Saturday, April 13th, 2013

New Walcott  readings, replacing White Egrets:

The Sea is History

A Far Cry from Africa

Sea Grapes (or listen to DW read)

Dark August

 

Midsummer, Tobago

The Schooner Flight

Snake eats tail

Monday, April 8th, 2013

Gjertrud Schnackenberg is criticized for her use of pentameter because of its musical quality.

X. J. Kennedy was a light poet because he refused the shades of confessionalist.

Dana Gioia attacks academia and career poets as the downfall to poetry even though he is an unpolished formalist.

Adrienne Rich has her sonnet sequence like Professor Scanlon stated but it rejects the norms of traditionalism with the lesbian themes.

My question today was, “Are the New Formalist poets any different than other experimenting poetic genres?”.

And I talked about this with Andy after class.

I think we came to a middle ground that if it affects the form and it rejects the norm, then it isn’t exactly reverting towards the past, but that it is creating a new movement.

I think the New Formalism movement was just as experimental as the other poetry movements we have encountered.

I know Mario had an antagonistic view of the New Formalist, when it came to content vs. form, but I think the content is what makes the form so powerful such as with Adrienne Rich’s Lesbian infusion, the lightness of X.J.’s poetry, and Schnackenberg’s lyricism.

I too prefer a form to be birthed through my creativity like Mario and Vollmer, but I think that our way is just one of many which makes a creative poet, and we can’t reject how the formation of art occurs, because then we become just a hypocritical as the people we are trying to persuade into understanding our ingenuity.

Vollmer essay prompt is posted

Sunday, March 31st, 2013

Ariel: Sylvia-Ted Smackdown

Sunday, March 17th, 2013

Poems that are RED were not in Plath’s original manuscript, but were added by Ted Hughes for the 1965 edition of Ariel.

  1. Morning Song
  2. The Couriers
  3. Sheep in Fog 
  4. The Applicant
  5. Lady Lazarus
  6. Tulips
  7. Cut
  8. Elm
  9. The Night Dances
  10. Poppies in October
  11. Berck-Plage
  12. Ariel
  13. Death & Co.
  14. Lesbos – (This poem is censored in some conservative publications)
  15. Nick and the Candlestick
  16. Gulliver
  17. Getting There
  18. Medusa
  19. The Moon and the Yew Tree
  20. A Birthday Present
  21. Mary’s Song  (only in US version)
  22. Letter in November
  23. The Rival
  24. Daddy
  25. You’re
  26. Fever 103°
  27. The Bee Meeting
  28. The Arrival of the Bee Box
  29. Stings
  30. The Swarm  (only in US version)
  31. Wintering
  32. The Hanging Man
  33. Little Fugue
  34. Years
  35. The Munich Mannequins
  36. Totem
  37. Paralytic
  38. Balloons
  39. Poppies in July
  40. Kindness
  41. Contusion
  42. Edge
  43. Words

Plath’s version (on your syllabus).  Poems in BLUE are not in the Hughes version:

1. “Morning Song”

2.“The Couriers”

3. “The Rabbit Catcher” 

4. “Thalidomide” 

5. “The Applicant”

6. “Barren Woman”

7. “Lady Lazarus”

8. “Tulips”

9. “A Secret”

10. “The Jailor” 

11.  “Cut”

12. “Elm”

13. “The Night Dances”

14. “The Detective”

15. “Ariel”

16. “Death & Co.”

17. “Magi” 

18. “Lesbos”

19. “The Other”

20. “Stopped Dead” 

21. “Poppies in October”

22. “The Courage of Shutting-Up” 

23.“Nick and the Candlestick”

24. “Berck-Plage”

25. “Gulliver”

26. “Getting There”

27. “Medusa”

28. “Purdah” 

29. “The Moon and the Yew Tree”

30. “A Birthday Present”

31. “Letter in November”

32. “Amnesiac”

33. “The Rival”

34. “Daddy”

35. “You’re”

36. “Fever 103°”

37. “The Bee Meeting”

38. “The Arrival of the Bee Box”

39. “Stings”

40. “Wintering”

 

Ream

Thursday, February 21st, 2013

Dreams are drugs of dreary

Love.

         Hopes that suffocate

Don’t hold your breath Brothers,

Sisters alike dark and bright,

Right?

We close our eyes and blow out the

Candles.

Hope instead and

eat the daily bread or

dead dark red. No

Neon light undertones

that project our deepest

moans.

vmc02/18/13

 

Thursday Poems. Redux.

Wednesday, February 20th, 2013

Comment below if you WOULD like to do Thursday Poems with CoPo on April 4 from 5-5:30.  You need not know now which poet you would like to read (and we might consider whether you all want a true hodgepodge or a theme or a representative sample or…).  What I have now: Upma (Bishop), Catherine (Plath), Andy, Abbie, possibly Erica.

I Heart Gwendolyn Brooks. Like Mad.

Tuesday, February 19th, 2013

But do note this change in our schedule for FRIDAY, FEBRUARY 22:

Brooks: “The Anniad” (37-49); “the children of the poor” #s 1 (52), 2 (53), 3 (53); Ginsberg short writing due.  Bring your anthologies to return to poets from Monday.

 

Interpretive Performances Begin Friday

Sunday, February 10th, 2013

This Friday:

Eric, Karina, Mason, Hanna, Tricia, Mario, Andy, Chris

Full schedule will be posted under Assignments tab.

The Naughty List: February 3 Edition

Sunday, February 3rd, 2013

Allison

Chris

Eric

Gigi

Karina

Nico

Ty