Tomorrow, I’m teaching a one-day course called “Walk the Line: The Tension Between Line & Syntax” at the Hudson Valley Writers’ Center in Sleepy Hollow, New York. We will consider the relationship between poetry’s vehicles of meaning: the line and the sentence. In doing so, we’ll investigate the ways in which these structures support, nuance, and deny one another to achieve resonance, depth, and subtext within a poem. This course will be generative, with exercises that rely on close reading and formal manipulation of texts, as well as the drafting of new pieces. Whether you want to learn more about what your favorite poets are doing with their poems or discover how to break lines in your own, this course will insist that poetry is a craft, honed by exercises and study.
Thanks to David Gants at Florida State University for posting some of his course material, including a “Book History Timeline,” from his 2007/2011 ENG 5933: History of the Book, as it proved to be incredibly useful in my ENG 3099: Literary Editing & Publishing course at Centenary University. Yesterday, I gave a brief presentation on the history of the book in order to ask the question, where should we begin our investigation into the history of literary publications, including the focus of our course, literary magazines. I linked to Gants’s timeline on my Moodle for students to read, and, throughout the presentation, we discussed the history of writing, texts, and books in broad strokes, from cuneiform to the little magazines (The Dial, The Little Magazine, and Poetry) of the early 20th century. Students arrived in the lecture having read selections on the history of the literary magazine from Paper Dreams: Writers and Editors on the American Literary Magazine.
To jumpstart my Writing Out of the Ordinary students thinking about the weird and wild, I created the following exercise for the first day of class.
1. The class breaks up into groups of at least five. Each group designates a leader and forms a line.
2. Each leader reads an entry in Borges’s Book of Imaginary Beings for two minutes. (I used “The Bird That Makes the Rain,” “A Crossbreed by Kafka,” and the “Hare in the Moon” as they’re among the shortest entries in the book.)
3. The leader then returns to the group and whispers details about the creature to the next group member; each member then whispers it to the next until everyone has heard about the creature.
4. The last group member must write, from memory, a summary of the creature as it was last described.
5. Each group then hands the summary to the leader of an adjacent group.
6. The groups then brainstorm and write a narrative (daily routine, an encounter, origin story, etc.) for the new creature.
There’s several “translations” here that I asked my students to consider:
1. text to memory,
2. speech to hearing (multiplied by however many students are in a group),
3. intention of the writer (the last group member) to readers (the next group),
4. and information (transcription) to imagination (the narrative).
This exercise introduces students to a practice of imaginative thinking, asks them to consider readers’ relationship to text, locates significant and memorable details, and provides them with a chance to interact and thus establish a good rapport with one another—a boon to future workshops!