With all the driving I’ve done the last couple weeks, I’ve been drafting poems aloud again & recording them on voice memo. I haven’t yet typed them up but I have transcribed them in my notebook. I’m waiting for the page, at least for a little bit. I will be writing about composing aloud for my next Ploughshares post, and I hope to draw on the experiences of other writers and make connections between craft choices and the method of composition.
In “Barbie Girl,” students read “Barbie Chang’s Tears” by Victoria Change from their assigned October 2016 issue of Poetry and then take a look at “The Last Mojave Indian Barbie” by Natalie Diaz. In doing so, they consider the ways in which poetry can challenge problematic representations in popular culture. Additionally, they are provided with the opportunity to revise a cultural icon through their own persona poem in order toaccurately reflect their own individualized experiences.
Before my Literary Editing & Publishing class yesterday, my students completed the following reading assignments:
Read “Self-Portrait of the Artist as Ungrateful Black Writer” by Saeed Jones and “They Pretend to Be Us While Pretending We Don’t Exist” by Jenny Zhang on Buzzfeed; “Sherman Alexie Speaks Out on the Best American Poetry 2015” on The Best American Poetry blog; “Have They Run Out of Provinces Yet?” by Calvin Trillin in The New Yorker; “Have They Run Out of White Poets Yet?” and “regarding the yellowface poet” by Franny Choi; “Diversity in Book Publishing Isn’t Just About Writers — Marketing Matters, Too” by Jean Ho, “Decolonize, Not Diversify” by Kavita Bhanot on Moodle; “Cate Marvin Discusses the VIDA Count: An Interview” (pgs. 279–284) and “Counting Bodies: Notes for Further Consideration” (285–286) by Marcelle Heath in Paper Dreams.
In class, they discussed editorial responsibilities toward the parity and decolonization of publishing. They broke down the semantic differences between “diversity” and “decolonization,” and they discussed the impact on writers of editorial biases through first-hand accounts and poetic responses by Saeed Jones and Franny Choi. In addition to the articles and works above, we read excerpts from “On Pandering” by Claire Vaye Watkins, and I charged my students with interrogating their own implicit and explicit biases. We discussed again the idea that there’s no one literary tradition, that there’s many literary traditions and the “canon” is just one of those traditions. We considered appropriation’s history within western literary culture and the ongoing negative impact it has on creative work. We also talked about how, ideally, all editors should frequently interrogate their own tastes, aesthetics, and biases so that they don’t become lazy in their work. This was one of the most important classes that I think I’ve ever facilitated, and my students had a great deal of insight, questions, and concerns to contribute during the discussion. Many of them were horrified to find out about these issues in publishing and how these implicit biases were sometimes ignored by editors.
In “Backstabbing,” students are practicing their abilities in creating a scene that hinges on the drama of subtext, dialogue, and conflict.
In this exercise, my Poetry Workshop students are introduced to poetic imitations by imitating the poems from the October 2016 issue of Poetry they chose to present in class.