Poets on Teaching: A Sourcebook

Overview

In response to a lack of source works for wide-ranging approaches to teaching poetry, award-winning poet Joshua Marie Wilkinson has gathered ninety-nine micro-essays for poets, critics, and scholars who teach and for students who wish to learn about the many ways poets think about how a poem comes alive from within—and beyond—a classroom. Not narrowly concerned with how to read poetry or how to write poetry, by virtue of their central concern with teaching poetry, the essays in this fresh and innovative volume ...

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Overview

In response to a lack of source works for wide-ranging approaches to teaching poetry, award-winning poet Joshua Marie Wilkinson has gathered ninety-nine micro-essays for poets, critics, and scholars who teach and for students who wish to learn about the many ways poets think about how a poem comes alive from within—and beyond—a classroom. Not narrowly concerned with how to read poetry or how to write poetry, by virtue of their central concern with teaching poetry, the essays in this fresh and innovative volume address both reading and writing and give teachers and students useful tools for the classroom and beyond.

Divided into four sections—“Reflections / Poetics,” “Exercises / Praxis,”  “New Approaches to Poetry Courses and Methodology,” and “Talks / Directives”—Poets on Teaching provides practical, intelligent advice. “Reflections / Poetics” encompasses the most expansive approaches to teaching poetry, where poets reflect variously on what teachers can cultivate in their classrooms. “Exercises / Praxis” consists of hands-on approaches to reading and, especially, writing poems. “New Approaches to Poetry Courses and Methodology” features essays on rethinking specific courses, offering new ideas for course design and pedagogy. “Talks / Directives” contains a series of more informal and conversational discussions geared toward becoming a stronger reader, writer, teacher, and student of poetry. Poets on Teaching will be required reading for new and experienced teachers alike.

 

Contributors: 

Kazim Ali, Rae Armantrout, Hadara Bar-Nadav, Dan Beachy-Quick, Bruce Beasley, Claire Becker, Jaswinder Bolina, Jenny Boully, Joel Brouwer, Lily Brown, Laynie Browne, Stephen Burt, Julie Carr, Joshua Clover, Matthew Cooperman, Oliver de la Paz, Linh Dinh, Ben Doller, Sandra Doller, Julie Doxsee, Lisa Fishman, Graham Foust, John Gallaher, Forrest Gander, C. S. Giscombe, Peter Gizzi, Lara Glenum, Kenneth Goldsmith, Johannes Göransson, Noah Eli Gordon, Arielle Greenberg, Richard Greenfield, Sarah Gridley, Anthony Hawley, Terrance Hayes, Eric Hayot, Brian Henry, Brenda Hillman, Jen Hofer, Paul Hoover, Christine Hume, Brenda Iijima, Lisa Jarnot, Kent Johnson, Bhanu Kapil, Karla Kelsey, Aaron Kunin, Quraysh Ali Lansana, Dorothea Lasky, Sueyeun Juliette Lee, Ada Limón, Timothy Liu, Sabrina Orah Mark, Dawn Lundy Martin, Kristi Maxwell, Joyelle McSweeney, Christina Mengert, Albert Mobilio, K. Silem Mohammad, Fred Moten, Jennifer Moxley, Laura Mullen, Sawako Nakayasu, Aimee Nezhukumatathil, Hoa Nguyen, Jena Osman, D. A. Powell, Kristin Prevallet, Bin Ramke, Jed Rasula, Srikanth Reddy, Barbara Jane Reyes, Boyer Rickel, Elizabeth Robinson, Martha Ronk, Emily Rosko, Prageeta Sharma, Evie Shockley, Eleni Sikelianos, Richard Siken, Ron Silliman, Tracy K. Smith, Juliana Spahr, Sasha Steensen, Peter Streckfus, Cole Swensen, Michael Theune, Tony Trigilio, Spring Ulmer, Karen Volkman, Catherine Wagner, G. C. Waldrep, Mark Wallace, Tyrone Williams, Mark Yakich, Jake Adam York, Stephanie Young, Timothy Yu, Matthew Zapruder, Andrew Zawacki, and Rachel Zucker

 

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Product Details

  • ISBN-13: 9781587299049
  • Publisher: University of Iowa Press
  • Publication date: 8/28/2010
  • Edition description: 1
  • Pages: 350
  • Sales rank: 828,930
  • Product dimensions: 6.10 (w) x 9.20 (h) x 0.90 (d)

Meet the Author

Joshua Marie Wilkinson’s Lug Your Careless Body out of the Careful Dusk won the Iowa Poetry Prize in 2005. His other poetry collections include Selenography and The Book of Whispering in the Projection Booth, among others. With Christina Mengert, he edited 12 × 12: Conversations in 21st-Century Poetry and Poetics (Iowa, 2009). He is an assistant professor of English at Loyola University Chicago.

 

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Read an Excerpt

Poets on Teaching

A SOURCEBOOK

University of Iowa Press

Copyright © 2010 University of Iowa Press
All right reserved.

ISBN: 978-1-58729-904-9


Chapter One

Reflections / Poetics

March Hares and Wild Trout Against the Domestication of Poetry SARAH GRIDLEY

Teaching, the eccentric art.

Teaching the eccentric art.

Poet. Teacher. Do I contradict myself?

I contradict myself. I tend practical skills and reckless fancies. I know and have no clue. I am full of worry and surety, shy and open to encounter. I am put together and pixilated. I orbit and am orbited. My trees clap their hands and weep.

Here we are in our partialities. Embodied minds, disputed souls, wobbly selves. Where is a body of knowledge between us. A circumference. A flower. An abundant radius.

We have felt that effortful form of facing each other, singing to and with each other.

Without the world (at large) for their convergence, our senses should be senseless.

Thus the mind is made up. Like the expression, "a mountain pass."

Dylan Thomas said: "The best craftsmanship always leaves holes or gaps ... so that something that is not in the poem can creep, crawl, flash, or thunder in" (190).

I feel the same is true in teaching poetry: the best class is one that is weirded out-punctured-made eccentric-by the creeping, crawling, flashing, or thundering in of something that is not in the classroom.

QueeQueg was a native of Kokovoko, an island far away to the West and South. It is not down in any map; true places never are (Melville 70).

* * *

One day I take a pragmatist's approach to teaching poetry. I call myself neither materialist nor idealist. I call myself "a meliorist." I tie my shoes. I go to work. I open the windows to the rain and bells.

One day I take a Tarot card approach to teaching poetry. I am the Fool at Zero. I tie my worldly belongings to the end of a staff, I put my blindfold on, I call my barking dog to heel, I step off from a cliff. To my students I say: Do as I do, not as I say.

One day I take a Taoist approach to teaching poetry. I stay at home. I read A. R. Ammons to my overweight cat: "Poetry is a verbal means to a non- verbal source. It is a motion to no- motion, the still point of contemplation and deep realization. Its knowledges are all negative and, therefore, more positive than any knowledge. Nothing that can be said about it in words is worth saying" (8).

* * *

Hey Educator, Hey Agent of Clarity, where are you leading them?

From a dictionary of anecdotes: When Chester Harding painted Daniel Boone's portrait, the painter asked the frontiersman, who was then in his eighties, if he had ever been lost. Boone replied, "No I can't say I was ever lost, but I was bewildered once for three days." (Faragher 65).

In a chapter of Exuberance devoted to the topic of play, Kay Redfield Jamison notes that trout raised in hatcheries are known to have smaller brains than those born in the wild. She also quotes Darwin, who found that the brains of domestic rabbits were "considerably reduced in bulk in comparison with those of the wild rabbit or hare" (59).

Poet. Teacher. What species is it? Does it educate? Or point the ways toward wilderness?

When the students are themselves poets, are they not pointing me in ways toward wilderness, too?

In an undergraduate intermediate poetry workshop, Amanda writes,

I know the constant of fish teeming in tea-spoons.

In the same workshop, Jeremy writes,

a window was recovered from a two-sided stream.

Ambiguity: "to drive in two ways." Compassion's greatest ally. We can see its creative arcs across literature-most famously in Keats's definition of negative capability, in Coleridge's phrase for the imagination, the "esemplastic power" (Coleridge 161)-in Rilke's urging, "Take your practiced powers and stretch them out / until they span the chasm between two / contradictions ..." (260-261).

I am thinking of being in two places at once. Of "Tea at the Palaz of Hoon"-of Stevens's reminder that we might always find ourselves, beyond the space of within ourselves, more truly and more strange (65).

Ben writes,

I imagine a butterfly that breathes fire. I name it Danaus Incendius and invite it to nest in my fireplace.

The eccentric finds us places we need not own to know.

From the eccentric we learn the art of dispossession. Of walking away from home, of becoming the hosted guest. As Akhmatova reminds us: A land not our own / and yet eternally memorable (85).

Emma writes,

beneath the words of the messenger whose command throws caution to the sea and feeds luxury to the wind.

I am thinking of a question from Huston Smith: "We have first to ask how the boundary of the self is to be defined. Not, certainly, by the amount of physical space our bodies occupy, the amount of water we displace when we submerge in the bathtub. It would make more sense if we gauge a man's being by the size of his spirit, that is, the range of reality with which he identifies himself" (28).

Michael writes,

The slippery toothpaste rubs across my teeth. The parading beagle, unseen shower cap on the mind. Like a waffle ball bouncing against les reglements. See, Free, Content.

Be wilder, I say to the workshop.

Be wilder, their poetry says to me.

Against les reglements. By nothing less than free imaginings, let us outdo the laws of averages, of gravity, and of penalty.

Jon writes,

palm scents, palm leaves driven windward, fiber husks plucking hides to trill huracan in the breasts of pocket finches-

In the strange economy of teaching poetry-where giving to and receiving from are this blessedly mixed up-as opposed to what's certain let us live for uncertainty, as opposed to lost let us be bewildered.

What's Difficult? SRIKANTH REDDY

The fascination of what's difficult Has dried the sap out of my veins, and rent Spontaneous joy and natural content Out of my heart. There's something ails our colt That must, as if it had not holy blood Nor on Olympus leaped from cloud to cloud, Shiver under the lash, strain, sweat and jolt As though it dragged road- metal. My curse on plays That have to be set up in fifty ways, On the day's war with every knave and dolt, Theatre business, management of men. I swear before the dawn comes round again I'll find the stable and pull out the bolt.

Casting a cold eye on his years of toil laboring to promote the fledgling Abbey Theater in turn-of-the-century Dublin, Yeats confesses that he has squandered his youthful energies on the agonies of showbiz in the opening lines of "The Fascination of What's Difficult": "The fascination of what's difficult / Has dried the sap out of my veins, and rent / Spontaneous joy and natural content / Out of my heart." Tendering his letter of resignation to the theatrical world within the rigorous formal grid of the sonnet, however, Yeats never really renounces his ethos of difficulty entirely. Rather, he turns away from one kind of difficulty-the ordeal of "the day's war with every knave and dolt" at his beloved playhouse-toward the more private and fugitive "secret discipline" of writing lyric poems. There is, in the end, no doing away with difficulty altogether. By a curious economy of hardship, though, one's worldly troubles may be translated, displaced, or sublimated into the arduous contours of literary form.

As a teacher of poetry, I try to encourage my students to cultivate a fascination with what's difficult about this art, from prosody's endless demands to the toil of revision to the psychological challenges of self-disclosure. Though I myself may be an exception to this particular rule, I tell them, poetry isn't for wimps. Of course, the difficulty inherent to poetic expression is what makes this form of writing so marginal in our culture today. Few people have the time, the energy, or the "inner resources" to undertake the labor of slow reading that a poem like Berryman's "Dream Song 14" requires:

... I conclude now I have no inner resources, because I am heavy bored. Peoples bore me, literature bores me, especially great literature ...

The wages of ease, intimates Berryman's speaker, is ennui. At the same time, though, I've often worried about rending both "spontaneous joy" and "natural content" from the work of young writers through my own fascination with what's difficult. Burden these literary colts with too much pedagogical road metal and they lose the sense of improvisatory pleasure and natural self-expression which enliven all good art. A poetry workshop should, ideally, "pull out the bolt" from a student's literary consciousness, instead of constraining the writer with cumbersome technical problems unsuited to her temperament. While it is useful to assign restrictive formal exercises to one's students, it seems to me equally important to instruct them in the other forms of difficulty-emotional difficulty, conceptual difficulty, etcetera-available to us as entrants into the ancient agon of lyric writing.

In the end, it's difficult to know what kind of difficulty to embrace as a poet. Anybody can learn to write a passable sonnet, just as anybody can learn how to construct a conceptual poem-given world enough and time. It might, however, be worthwhile for an expert sonneteer to lay aside the difficulties of octave and volta in order to explore the challenges of new theoretical approaches to the lyric. And it might benefit a conceptual poet to momentarily abandon philosophical problems in favor of a more technical prosodic discipline. Oftentimes, the truest difficulty resides where we least expect it. To my mind, the hardest thing about writing poems, then, lies in locating the problem of difficulty itself, for oneself. Or to paraphrase Yeats, you have to find the stable before you can pull out the bolt.

A Note on Hanging and the Uselessness of Verse ALBERT MOBILIO

In "A Poet's Notebook," French symbolist Paul Valéry claimed that a poem's true worth depended upon its content of "pure poetry," which he defined as the "perfect adaptation in the sphere of perfect uselessness." In the early twentieth century this notion of verse for verse's sake helped subvert dominant utilitarian beliefs about poetry's role and meaning. Poetry, to paraphrase Valéry, isn't a tool for storytelling, teaching social or moral lessons, or achieving self-understanding, but rather a bauble, an objet d'art whose seamless impracticality alone might command the attention of readers. Several decades later, with much contemporary art wired for visual immediacy and commercial viability, no aesthete need argue for poetry's splendid isolation; the genre has become-in mainstream culture-an almost universally accepted exemplar of self-consuming effetism. But Valéry's argument-that true poetry offers "apparent and convincing probability in the production of the improbable"-continues to hold meaning for poets, purposefully so in the classroom, where they attempt to impart some elements of their art and its practice.

One work surely to be counted as a pure poem is Chidiock Tichborne's "Elegy." Written in the Tower of London the night before his execution for plotting to kill Queen Elizabeth I, its three stanzas address the twenty-eight-year-old author's imminent demise with admirable equanimity: "And now I die, and now I was but made. / My glass is full, and now my glass is run, / And now I live, and now my life is done." Tichborne had no prospect of ever enjoying an audience's flattery, the perquisites of a literary career, or even awareness of a single reader. The poem was composed without expectations, written in and for the moment. Its stanzas did not save the poet's life or redeem his soul: the words, rhymes, and images merely embody Tichborne's adaptation in the "sphere of perfect uselessness."

Of course, the specter of being drawn and quartered doesn't animate the poetry workshop. Instead, writing students-all students-are encouraged to be future-minded. The pedagogical supposition undergirding the typical classroom experience is that the acquisition of knowledge or skill will prove necessary or useful. One learns geometry to perhaps, one day, design buildings. Anatomy might predicate a medical career. Studying literature improves verbal facility and might just as well equip bankers and advertising executives as literary scholars. In contrast, learning how to write, especially learning how to write poems, offers the student meager practical skill and knowledge. Of course, one might gain a sensitivity to, say, syntax and rhythm, and such things could be put to use by a future politician or motivational speaker. But those who study poetic craft are best advised to regard the art as its own end. Thoughts of publishing, as well as of a potential readership, should be put aside to focus on creating that "convincing probability," which must convince no one but themselves. If, in every other area of their lives, students are called upon to be responsible members of communities, this one class can permit utter solipsism-the freedom to disengage from expectation and perform that which is useless.

The sociopolitical dimension of this refusal to engage is clear: poetry can be an assertion of autonomy. The potentially compelling aspect of such an assertion (which, admittedly, is commonplace these days) is that it be needlessly articulate, needlessly artful. The quality of the assertion, its improbable elegance, constitutes the renunciation. Tichborne's defiance in the face of mortality is not to be found in the poem's thematic content. Indeed, the poem argues for the inevitability of fate-"I sought my death and found it in my womb." While there is a certain personal bravado on display-he wrote in truly fraught circumstances-resistance flexes most vigorously in Tichborne's graceful meter and witty, inventive tropes ("My feast of joy is but a dish of pain"). Perhaps in his last hours, the poet howled in fear, denounced his enemies, or called upon God-all serviceable acts; he also spent some of that time counting off syllables for the sake of metrical precision, his sole intent being to delight the ear.

Acquiring the rudiments of verse-making enables students to achieve nothing ... except that. But if they read, listen, and write and write, they might do this useless thing beautifully. For themselves. For the moment. For pure poetry.

(Continues...)



Excerpted from Poets on Teaching Copyright © 2010 by University of Iowa Press. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Acknowledgments

Introduction

REFLECTIONS / POETICS

March Hares and Wild Trout: Against the Domestication of Poetry Sarah Gridley Gridley, Sarah 3

What's Difficult? Srikanth Reddy Reddy, Srikanth 7

A Note on Hanging and the Uselessness of Verse Albert Mobilio Mobilio, Albert 9

Sidelong and Uncodifiable Eleni Sikelianos Sikelianos, Eleni 11

Creative Unknowing Cole Swensen Swensen, Cole 15

How to Teach "Difficult" Poetry and Why It Might Not Be So Difficult after All Stephen Burt Burt, Stephen 18

Teaching: An Improvisation Julie Carr Carr, Julie 21

The Craft Can Be Taught but Not the Art Timothy Liu Liu, Timothy 24

Alien Eggs, or, the Poet as Mad Scientist Dawn Lundy Martin Martin, Dawn Lundy 26

Uncreative Writing Kenneth Goldsmith Goldsmith, Kenneth 29

Radical Strategies: Toward a Poetics of Play Karen Volkman Volkman, Karen 33

In Thought a Fine Human Brow Is Like the East When Troubled with the Morning Peter Gizzi Gizzi, Peter 36

A Note on Derrida and Teaching Poetry Lisa Fishman Fishman, Lisa 37

Unlearning to Write Ron Silliman Silliman, Ron 40

A Po Pedagogy Sandra Doller Doller, Sandra 43

Question and Answer Aaron Kunin Kunin, Aaron 47

Things That Have Their Origin in the Imagination Lily Brown Brown, Lily 50

The Image, Setting Forth Selfhood Richard Greenfield Greenfield, Richard 53

The Page as Poetry's Artifact Jenny Boully Boully, Jenny 56

It's Not That I Want to Say Fred Moten Moten, Fred 58

Nothing That Is Not There and the Nothing That Is: Some Notes on Teaching Poetry Laura Mullen Mullen, Laura 59

Roadie Mark Wallace Wallace, Mark 62

Teaching Poetry at the California School for the Blind Claire Becker Becker, Claire 65

The Poem as Canvas: Interdisciplinary Pedagogies Hadara Bar-Nadav Bar-Nadav, Hadara 68

The Human Teacher Tyrone Williams Williams, Tyrone 71

Becoming the Poem Spring Ulmer Ulmer, Spring 75

As Many Questions as Answers Bin Ramke Bin, Ramke 79

Myth and Permission Julie Doxsee Doxsee, Julie 82

A Pedagogy Torments Itself with a Question That Questions Itself Dan Beachy-Quick Beachy-Quick, Dan 85

The Box Forrest Gander Gander, Forrest 87

EXERCISES / PRAXIS

The Ax Rae Armantrout Armantrout, Rae 91

The Low-down on the Warm-up Evie Shockley Shockley, Evie 92

On the Elasticity of the Sonnet and the Usefulness of Collective Experimentation Laynie Browne Browne, Laynie 95

Teaching John Ashbery Graham Foust Foust, Graham 102

Six S's Catherine Wagner Wagner, Catherine 105

The Baggage Switch Noah Eli Gordon Gordon, Noah Eli 107

The Holograph Brenda Hillman Hillman, Brenda 110

Two Dozen English-to-English Translation Techniques Jen Hofer Jen, Hofer 114

Three Questions Peter Streckfus Streckfus, Peter 117

Poetry as Translation and Radical Revision Rachel Zucker Zucker, Rachel 120

Doing Things in Silence Tony Trigilio Trigilio, Tony 123

Taking Poetry Out for an Essay Christine Hume Hume, Christine 126

The Oddity of Point Roberts: Mapping the Unknown Bruce Beasley Beasley, Bruce 129

Competitive Poetry: Kukai Sawako Nakayasu Nakayasu, Sawako 131

Teaching Writing without Writing Brian Henry Henry, Brian 133

The Complaint Emily Rosko Rosko, Emily 135

The Poetry of Superstition and Supposition Aimee Nezhukumatathil Nezhukumatathil, Aimee 138

Obsession with Objects Martha Ronk Ronk, Martha 140

Taking Readings / To Take Time Matthew Cooperman Cooperman, Matthew 143

The Poetic Timeline: Toward a New Understanding of Process Oliver de la Paz Paz, Oliver de la 146

Writing the Body Bhanu Kapil Kapil, Bhanu 149

Trust the Turn: Focusing the Revision Process in Poetry Michael Theune Theune, Michael 151

Impersonal Universe Deck (IUD) K. Silem Mohammad Mohammad, K. Silem 153

Five Steps to the Five-Minute Chapbook Sasha Steensen Steensen, Sasha 157

A Wicker Swimmer: Straying Home Paul Hoover Hoover, Paul 161

A Word Is a Thing: Teaching Poetry through Object-Based Learning and Felt Experience Dorothea Lasky Lasky, Dorothea 166

The Manifest: An Idea with a Writing Prompt John Gallaher Gallaher, John 170

Accessing Supra-Intelligence: Poetry and Intuition Christina Mengert Mengert, Christina 174

Intentional Acts: Some Notes on the Heresy of Teaching Kazim Ali Ali, Kazim 176

NEW APPROACHES TO POETRY COURSES AND METHODOLOGY

Why I Hate MFA Programs, or an Argument to Prove That the Abolishing of the MFA Program in American Universities May, as Things Now Stand, Be Attended with Very Few Inconveniences Lisa Jarnot Jarnot, Lisa 181

The 95¢ Skool Joshua Clover Clover, Joshua 184

The Anxious Classroom: Translation and Disabled Pedagogy Johannes Goransson Goransson, Johannes 187

Thinking, Practice Stephanie Young Young, Stephanie 190

Varieties of Poetic Experience Jed Rasula Rasula, Jed 195

Poundian Poetic Ambition on the Semester System Jennifer Moxley Moxley, Jennifer 198

The Contract Model of Workshop Arielle Greenberg Greenberg, Arielle 204

Obstructions Joel Brouwer Brouwer, Joel 207

Creative Writing Midterms Elizabeth Robinson Robinson, Elizabeth 210

Exploring Bias in the Writing Workshop Prageeta Sharma Sharma, Prageeta 214

Teaching Writing Through the Sonnet Tradition Karla Kelsey Kelsey, Karla 218

Readings Jena Osman Osman, Jena 221

Learned Ignorance Andrew Zawacki Zawacki, Andrew 224

Continuing Poetry Hoa Nguyen Nguyen, Hoa 229

Teaching Asian American Women's Poetry: Subjectivity and the Politics of Language Sueyeun Juliette Lee Lee, Sueyeun Juliette 231

Seminar: Craft, Career, and Dead Giant Boyer Rickel Rickel, Boyer 237

The Ambition of Rhetoric: Finding Poetry in Composition Kristin Prevallet Prevallet, Kristin 240

New I Will Do Nothing but Listen, to Accrue What I Hear into This Song, to Let Sounds Contribute toward It; or, a Pedagogy Jake Adam York York, Jake Adam 243

TALKS / DIRECTIVES

My Next Great Poem Tracy K. Smith Smith, Tracy K. 249

What I Usually Say to My Students Linh Dinh Dinh, Linh 252

The Poem as Animal or Machine Terrance Hayes Hayes, Terrance 253

Prometheus and the Match D. A. Powell Powell, D. A. 256

On Teaching Students How to Read Poetry Eric Hayot Hayot, Eric 259

Mystery and Birds: Five Ways to Practice Poetry Ada Limon Limon, Ada 261

Different Language Ben Doller Doller, Ben 263

What I Tell Them Jaswinder Bolina Bolina, Jaswinder 267

Thirty-three Rules of Poetry for Poets Twenty-three and Under Kent Johnson Johnson, Kent 270

Yakking Points Mark Yakich Yakich, Mark 273

Some Questions for the Threshold of Poetry Brenda Iijima Iijima, Brenda 276

Don't Paraphrase Matthew Zapruder Zapruder, Matthew 278

Language Is the Site of Our Collective Infection Lara Glenum Glenum, Lara 281

Open Door: A Meditation Quraysh Ali Lansana Lansana, Quraysh Ali 283

Sonnet Talk C.S. Giscombe Giscombe, C. S. 285

Making the Case for Asian American Poetry Timothy Yu Yu, Timothy 288

Some Thoughts on Teaching Poetry to Spoken Word Artists Barbara Jane Reyes Reyes, Barbara Jane 291

Politics and the Porous Imagination Anthony Hawley Hawley, Anthony 293

Utilizing Distraction Kristi Maxwell Maxwell, Kristi 295

Why Richard Siken Siken, Richard 297

The Roster Sabrina Orah Mark Mark, Sabrina Orah 303

Mailing the Black Box G.C. Waldrep Waldrep, G. C. 303

Contributors 305

Index 313

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