ENGL 383 B: The Craft of Verse

Course Description: In this intermediate level class, we will explore poetic structure as understood through different kinds of poetic turn. Often our poems simply do not go far enough; we thrill to initial “inspiration,” only to have the piece fizzle out before it is fully realized in idea, image, setting, or music. One primary method of furthering development in redrafting is to incorporate a turn, or a shift, either in poetic content or at the level of stylistic devices. During this term, we’ll pay close attention to several types of developmental turns or thematic structures (the descriptive-meditative, the retrospective-prospective, the sonnet volta and others). Although making an argument is a rhetorical skill commonly practiced in many kinds of writing, students will come to understand the distinctive art of persuasion in poetic argument, and begin practicing it for themselves. Since poetry often asks us to read through images, one of our primary concerns will be with the role of the senses, or of the descriptive act, within the “world-making” of the poem. Again, as with the idea of argument, strong descriptive passages are applicable to many writing formats beyond poetry.

              Throughout the course, students will be asked to complete writing assignments that use the reading as some kind of jumping off point. A portion of several in-class sessions will be devoted to “free-writes” (this method will be explained at our first meeting). In addition to reading from our packet of selected essays and poems, we’ll be reading a few book-length poetry collections by contemporary poets. Brief but in-depth analyses of several published poems will be part of students’ participation grade. Also, since poetry is an auditory art, students should be prepared to regularly experiment with reading poetry aloud, whether their own, each other’s, or that of published authors. In addition to poetic writing assignments and responses to shared poems, each student will have the opportunity to assemble their own “family tree” of poems which interest to them. An emphasis on inclusivity is welcomed in these personal selections, as well as in the class overall. For the “family tree” assignment, suggested resources for discovering new poems will be provided, though students are not limited to these resources alone. 

REQUIRED MATERIALS: 

--COURSE PACKET. Print out from canvas within Discussions section.

AMERICAN SONNETS FOR MY PAST AND FUTURE ASSASSIN BY TERRANCE HAYES. Available at UW Bookstore.

--One additional book-length collection of poems. This book may be purchased from Open Books, where the staff will help you make a selection based on your interests (www.openpoetrybooks.com) or from the UW bookstore, Elliot Bay bookstore, or elsewhere. This book should be an individual volume of poetry, to be selected by you from any poet who appears on the websites Poetry Foundation, Poets. org or Split This Rock.  A book analysis will be due at the end of the term. The point of this requirement is to encourage student engagement with whole books of poetry as an art form, so YOU MAY NOT SUBSTITUTE ANOTHER FORMAT (such as favorite poems written by your neighbor, etc.) However, you may substitute this assignment with a personal anthology introduction final project More on that later.

--An active UW email address. You cannot substitute a non-UW address for the UW one that was used for your class registration, as the group email includes only your registration address.

GRADING: 

Your grade will be determined from four sources: your poems (with special emphasis on drafting and your final manuscript), your written creative and critical responses, your book analyses, weekly anthologies and your class participation.

Grades will follow the contract method in which labor is assessed. This will be explained more in-depth after our look at the various items that contribute to your final grade.

Points below add up to 400, for a grade of 4.0.

1. The Poems: 240 in total for this category. This breaks down into 50 pts for each of 4 poems (200 pts), and 20 points for each of 2 required revisions/ reflections (40pts).

You will be asked to write several poems during the quarter. Although these poems will be modeled on the work of accomplished poets in the field, you are encouraged to make each assignment your own, with your own style and personal stamp. At the end of the quarter, further drafts are due for at least two out of your total number of poems. Each new draft/ revision should be based on techniques and craft issues covered in class. In addition, each final version should be accompanied by a one page reflection on how and why you arrived at the decisions and changes you made based on a keen consideration of feedback. Thus, this portion of your grade will assessed not according to a “subjective” sense of your talent, but largely according to the visible effort, work, and inspiration that you put into the revision process.  Note: no poems will be accepted that feature identifiable (or hinted at) persons from the class. Similarly, no poems featuring class discussion will be accepted. In addition, comments, written or offered in discussion, are given in good faith by members of the class, including myself, and are for use solely in the context of the class itself.

1. PARTICIPATION: 40 points

30 pts out of 40: A class that combines close reading and original writing in a workshop setting is successful when its participants openly and specifically share their thoughts about the work under consideration. Hence, a significant portion of your grade will be determined by the comments you offer. Students should be familiar with all the poems under discussion, not just those about which she or he is writing a critique. Obviously, students should have read carefully each of the poems by published authors, as close reading here is directly applicable to your creative responses. This portion of your grade includes not only speaking and coming to class regularly, but a sense of whether or not you are paying attention in class to the comments of others. 

You are encouraged to respectfully challenge, disagree, and question the thoughts of others in relation to our materials at hand. A good rapport between us all is essential to foster a creative environment. Obviously however, this can’t happen in the presence of rudeness, disrespect, a poor attitude, or complaining, etc. This is not a required course, so presumably you are here because you want to be. Please let that fact show.

Sub-category within Class engagement:  Late Work Policy

In a workshop format, lateness and persistent absence can seriously undermine the success of a given class, and is potentially disrespectful of a fellow student whose poem may be under discussion. Please come to class, and come on time.

Late work will be graded down for each day late.

10 points out of 40: You are required to attend one poetry reading during the quarter and write a 1-2 paragraph long account. The Theodore Roethke Reading this year features Pulizter Prize Winning Poet, Brandon Som. It takes place May 8, 7:30 pm in the Roethke Auditorium, Kane Hall.

https://english.washington.edu/calendar?trumbaEmbed=view%3Devent%26eventid%3D182097081

1. ANNOTATIONS: 25 points

When assigned, each student should complete a written annotation for ONE poem from the author we will be discussing for the day. These should be uploaded to the discussion page on CANVAS ENGL 383. These analyses/ annotations should discuss not only content but also how ONE craft element in a poem functions. The rationale in asking for analysis of only one craft element at a time is to encourage depth of thinking and focus. Craft elements include such things as image, metaphor, fragment, diction range, tone, lineation, blank space, turns, etc. In analysis, you want to not only observe these phenomena, but also briefly take a position, or make an argument, as to what the phenomena is doing in the poem, how it is functioning in relation to other aspects. While there are always implications within a piece, as well as subtleties, poems are not mysterious riddles to be solved in a guessing game with the reader, so please refrain from the temptation to impose external story, situation or additional objects and/or persons onto the poem. The poem means what the words say on the page, so we need to stick to the page. Also, you should NOT be evaluating the poem subjectively here; evaluative remarks will cancel out the work and you will need to do it again. Rather than discussing whether you “like” or “don’t like” a particular poem, look more deeply for what craft techniques it employs and how the writer uses them. (Further, this approach saves the professor from the impossible expectation that every student will “like” every poem we come across.)  Since studying craft is what improves writing, theoretically you can employ the techniques even of someone whose work is distasteful to you, especially if you concentrate on craft rather than only content. As a result of this assignment, everyone should be able to use these written remarks as a starting point for class discussion and even as poem prompts. You are responsible for knowing ahead of time the annotations of your fellow students. You should come prepared to participate expertly in our discussion of that poem (though not necessarily to read from your page of written work).

1. STUDENT CRITIQUES/ / WORKSHOPPING OF STUDENT POEMS: 25 points

For some classes, you or your fellow students will have written a poem, or a draft of a poem, to which other students will have an opportunity for constructive response. You might address, for example, two or so craft elements that seem more fully realized in this current draft, and two or so more than could use further work. As with class discussion/ workshop, a tone of constructive suggestions, possible directions for future drafting, etc., will be expected. While serious revision/ redrafting/ more drafting are often required, disrespect will not be tolerated in any form. Don’t be too nice or too critical. Direct your comments to how we can help this writer improve the piece. Note: you are required to give at least one aspect of the poem that could be improved with more time, work, and the inspired further drafting.

1. PERSONAL POETRY ANTHOLOGIES: 20 points

This is a chance to show us which poems engage you most at the moment. It’s also just an invitation to explore more poetry on your own, which will hopefully be a habit you’ll continue after this course and for life.

During the week, using the Split This Rock poetry website and/or the Poetry Foundation and/or Poets.org websites, simply find 10 poems that appeal to you now for some reason. That reason could be subject matter or a stylistic approach.  These poems are assembled for you own pleasure, and presumably ours. You get credit for doing it. I’m not going to grade your choices as such, but they must be from the sources mentioned above. We will explore the STR and PF websites some in class before the first anthology is due.

We will make time for you to chat about some of your choices, and you’ll have a chance to write a poem prompted by the poem of your choice.

Cut and paste all 10 poems into a single document. Upload this document to the Canvas space provided for the week on or before Fridays at five IF a Personal Poetry Anthology is assigned that week (see syllabus for dates).

1. END OF QUARTER WORK/ Final Project: 50 points

 You will complete either the Book analyses option OR the Introduction to Final Personal Anthologies at the end of the term. We will go over these options more fully around mid-quarter.

At end of quarter, you are asked to write a 3-5-page analysis of one entire book of poems to be purchased from Open Books (www.openpoetrybooks.com. 2414 N 45th St., Seattle, WA 98103 (206) 633-0811) or another bookseller. I will distribute guidelines for this assignment, along with recommended possible authors. 

OR YOU MAY SUBSTITUE THE FOLLOWING ASSIGNMENT:

Another option to fulfill this portion of your grade is to complete the anthology assignment, in which you compile a personal poetry anthology according to the guidelines provided. You can choose poems from individual books, selected or collected poems of an author, and/or on-line finds. You’ll need to write a 3-5-page section for your anthology that introduces its rhyme and reason to potential readers, just as if you were pitching it to a potential publisher. What holds these poems together, what makes them important (to you, to others)?

Class Format: We’ll always be reading with an eye toward our own writing, and the process of each individual writer here discovering what works and making it their own. This is the ongoing dialogue between self and tradition, past and present, which all writers have been engaged in since writing began. One primary goal in developing your ability to analyze poems written by established writers is to eventually learn to apply these reading and analytical skills to your own creative work.  We will also discuss student poems, sometimes as a larger group and sometimes in conference, with a view toward useful, constructive and thoughtful criticism which aims at discovering each poem’s “best self.” Every opportunity that a student has to speak, in class or in conference, is a chance to further articulate his or her own aesthetics and critical thinking, and yet it is of vital importance that we honor and respect each poem’s particular vision and ambition. It’s also vital that you pay attention during class discussions in preparation for writing your prose accounts of your revisions and for your close readings of poems.     

Useful information and links:

For poetry and criticism:

Split This Rock.org

Poetry Foundation

Poets.org

Jstor, UW library literary database. 

Additional resources:

It is not unusual for creative works to refer to various kinds of stressful situations, including mental health issues. As readers, unless a text tells us otherwise, it often is not possible to determine whether these issues apply to the writer personally or are a fictionalized account or persona poem. As is the case for all poems, and for the purposes to class discussion and commentary, it is customary to assume the speaker of a poem is NOT the poet writer. Nevertheless, as a standard precautionary (and common sense or humane) measure, I will routinely refer students who write about these matters to UW Health and Wellness, whose personnel are trained in mental health challenges.   

UW Health and Wellness. Health and Wellness link:

https://wellbeing.uw.edu/unit/counseling-

https://hfs.uw.edu/live-on-campus/Health-and-Wellness-Resources

UW Women's Center

Survivor Support & Advocacy: Health & Wellness offers confidential advocacy and support for students impacted by sexual assault, relationship violence, stalking, sexual harassment and other related experiences.

Q Center: A student-run LGBTQ center for UW students, faculty, staff, alumni and community members

 Excerpt from the UW Website Departmental Commitment to Diversity, Equity, and Inclusion:

The UW English Department aims to help students become more incisive thinkers, effective communicators, and imaginative writers by acknowledging that language and its use are powerful and hold the potential to empower individuals and communities; to provide the means to engage in meaningful conversation and collaboration across differences and with those with whom we disagree; and to offer methods for exploring, understanding, problem solving, and responding to the many pressing collective issues we face in our world--skills that align with and support the University of Washington’s mission to educate “a diverse student body to become responsible global citizens and future leaders through a challenging learning environment informed by cutting-edge scholarship.”

As a department, we begin with the conviction that language and texts play crucial roles in the constitution of cultures and communities, past, present, and future.  Our disciplinary commitments to the study of creative writing, language, literature, and culture require of us a willingness to engage openly and critically with questions of power and difference. As such, in our teaching, service, and scholarship we frequently initiate and encourage conversations about topics such as race, immigration, gender, sexuality, class, indigeneity, and colonialisms. These topics are fundamental to the inquiry we pursue.  We are proud of this fact, and we are committed to creating an environment in which our faculty and students can do so confidently and securely, knowing that they have the backing of the department.

383 The Craft of Verse Professor Pimone Triplett                   T/Th                THO 231

Professor Triplett’s Office Hours: Fridays, 3:30-5:00 on zoom and by appointment. Email is ptrip@uw.edu Please do email me ahead of time if you can for an appointment so that I can send the link. Conferences should focus on discussion of written work. You should come prepared to take notes during conferences, as points discussed one-on-one are often hard to keep in mind later in the quarter. In person conferences also available; just let me know.

WEEK 1: DESCRIPTION AND THE FIVE SENSES AS ETHOS, 4/1-4/3

4/1, Tuesday. Introductions.

Review of course materials and requirements.

What poetry asks of us, or how to read a poem through image, imagination, voice. Figurative language. “In a Station at the Metro,” Ezra Pound.

POEMS for close reading and discussion:  Robert Hayden, “Those Winter Sundays.”

HOMEWORK:

• Print course packet from Canvas. Please bring this printed packet to class whenever the syllabus says we’ll be using it in class, as you’ll need to be able to take notes on the poems in the margins.
• Read start of course packet. Come prepared Thursday, 4/3, to discuss pp. 1-7 in class as close reading time allows.
• After you’ve read through the course policies, requirements and syllabus, and understand it, please put your signature at the end your copy to acknowledge having read the doc. Then scan that page, and send it to me on or before 4/6 at 1pm, or bring it to class at 1:30 that day.

4/3, Thursday.

Discussion of readings and poems assigned above, pp. 1-7.

Annotations and how to do them. We’ll review course policies re: annotations above (p. 3) and, under Canvas discussions, “Useful and Less Useful Annotation Examples.” Asking questions for the class concerning any puzzling areas are always welcome in these short assignments.

Questions about course overall.

In general, all assignments should be uploaded and located on Canvas within the DISCUSSIONS heading.

In general, the rhythm of class homework will be:

1. When poems are assigned to write, e.g., Poem #1, Poem #2, etc., these creative student poems written by both groups A and B will be due 5 pm on the Sunday BEFORE our upcoming class on Tuesday/Thursday. Workshopping groups A and B will alternate workshop weeks. Please read the instructions of what to do AFTER each class and for the NEXT class, labeled "HOMEWORK." (Do NOT simply look at the date of the next class for your homework, as this method may confuse you. Since work is often due BEFORE the date of our class on Tuesdays, I have written out your work to do as homework for next time in the second half of each class entry in order to avoid anyone looking only at, say, Thursday, then realizing something was due Monday or Wednesday.) Groups A and B are simply the first and second half of the alphabet, respectively (though subject to change at professor’s discretion). See Canvas under “people” for your name if you have questions.

1. Chapter summaries (when assigned), annotations of single poems (when assigned), and student critiques (when assigned) will be due 5pm on Mondays or Wednesdays. For student critiques, be sure to select a poem that has not yet been responded to when you open the canvas page. That way, we can hopefully avoid having several responses to one poem and fewer to another.

HOMEWORK:

• Annotation #1. Due 4/7, Monday by 5pm on Canvas 383 A, see “Discussions” section in which to place your entry. Read essay by Corey Marks, “The Description-Meditative Poem” and supplemental chapter poems (pp. 22-32 in packet). Briefly summarize the essay’s main points in bullet format. Then annotate, or apply and/or discuss at least two of the essay’s main points to one supplemental poem at the close of the chapter and submit to canvas discussion space. How are these points functioning at the local level of an individual poem? Two full paragraphs minimum. A good rule-of-thumb is to read every poem at least 3 times. First time read for what stands out or is unique or distinctive, like sound or voice or attitude, perhaps sensory image (Eliot says a good poem communicates before it is understood). The second time, read for content or meaning. This may include sensory imagery and metaphor as well. The third time read for structure and development and/or the link between steps 1 and 2.  NOTE: For now, you do NOT need to follow the course packet item labeled “Guidelines for Annotations,” p. 33.

WEEK 2: THE DESCRIPTIVE-MEDITATIVE POEM, 4/8-4/10

REMINDER: THE ASSIGNMENTS DUE BEFORE CLASS ARE LISTED AS “HOMEWORK” AT THE END OF EACH PREVIOUS CLASS, ALONG WITH DUE DATES AND INSTRUCTIONS.  

4/8 Tuesday. Discussion: What is description good for? Why the focus on image and metaphor? What does abstract vs concrete mean in poetry?

Discussion of “The Descriptive-Meditative Poem” by Corey Marks (essay), including a look at your chapter summaries/annotations that were due 4/7.

Discussion of supplemental poems included in essay, as many as we have time for, and continuing on into next week. (Selections for in-class close readings vary somewhat, depending on overall class entries for the annotations page.) As a practice, you should be ready to discuss all the poems given for the class period, but there is not enough class time to close read every single one.

HOMEWORK

• Due 4/10. Read, sign, scan and send signature page for course policies, requirements and syllabus.
• Review packet poems pp 34-42.
• Read “The Great Figure: On Figurative Language” by D.A. Powell (located on Canvas under Discussions; not in course packet).

4/10, Thursday. Discussion of several packet poems pp. 34-42 as time allows.

Discussion of Powel Essay. Discussion of poetry websites. Discussion of Personal Poetry Anthologies and how to do them.

In-class exercise and/or free writes. What is a free-write and how can it help?

Discussion of some methods to develop poems/ prose from free writes.

HOMEWORK:

• Due 4/11, Friday by 5pm, weekly personal anthology #1. Upload on to canvas discussion space. See course description for instructions.
• Annotation #2. Due 4/14, Monday by 5pm: review Des-Med essay main points and apply at least 2 of these points to annotate 1 additional poem. Choose from among the essay chapter’s supplemental poems (pp. 22-32 in packet) or from the packet poems I have added, pp. 34-42.
• For 4/15, pick up Terrance Hayes book, AMERICAN SONNETS…., available at UW bookstore. Begin reading the first 1/3 of the book. Annotate 1 poem of your own choosing from the first 1/3 and upload to canvas space on or before Wednesday, 4/16 by 5pm. Be prepared to discuss in class 4/17.

WEEK 3: THE DESCRIPTIVE-MEDITATIVE POEM continued and Book Discussion, Terrance Hayes, AMERICAN SONNETS….first 1/3 of Book, 4/15- 4/17

4/15, Tuesday. Further discussion of “The Descriptive-Meditative Poem” by Corey Marks (essay).

Further continuing discussion of supplemental poems included in essay, as many as we have time for, and continuing on into next week. (Selections for in-class close readings are somewhat depending on overall class entries for the annotations page.)

Further discussion of some packet poems pp. 34-42.

Introduction to Hayes book.

                HOMEWORK:

• Annotation #3. Due 4/16, 5pm. Read first third of the Hayes book, AMERICAN SONNETS. If helpful, consult separate discussions entry labeled “Some Poetic Terms.” Upload onto Canvas at least 2 of Hayes’ characteristic or distinctive techniques from the book’s first 1/3, along with passages where you illustrate how they function in at least one poem (in order words, an annotation). Come to class prepared to discuss these craft elements and the poem you’ve annotated.

4/17, Thursday. Discussion of Hayes’ craft elements and themes, first third of book.

Some discussion a/or sharing of personal anthology selections.

Review of Poem #1 assignment.

Review of student critique guidelines.

HOMEWORK:

• Due 4/18, Friday by 5pm, Weekly Personal Anthology #2.
• Due, 4/20, Sunday by 5 pm, BOTH groups A and B upload POEM #1, the Descriptive-Meditative poem, to canvas discussion space.
• Due, 4/21, Monday by 5pm, student critiques of peer poems. Both Groups A and B should respond to 1 other student poem on canvas. Use guidelines provided for responses. Be sure to respond first to any poem that does not yet have any responses, if there are any empty spots when you log on. That way, we can avoid anyone having no entries, or too few, on any one poem. Enter this work in the canvas space directly below the poem you are critiquing.

WEEK 4: BOOK DISCUSSION, AMERICAN SONNETS…. SECOND THIRD OF BOOK AND WORKSHOPPING, 4/22-4/24

4/22, Tuesday. Workshopping of Group A, POEM #1 Des-Med.

In-class writing exercise and/or free-writing and/or revision techniques.

HOMEWORK:

• Annotation #4. Due 4/23. Wednesday by 5pm, identify 2 distinctive craft elements to annotate 1 poem from the second third of the Hayes book and upload to canvas.

4/24, Thursday. Discussion of Hayes, second third of book.

HOMEWORK:

• Due 4/25, Friday by 5pm. Upload personal anthology #3 to canvas.

WEEK 5: WORKSHOPPING AND HAYES BOOK, LAST THIRD,  4/29-5/1

4/29, Tuesday. Workshopping of Group B, POEM #1 Des-Med.

                HOMEWORK:

• Annotation #5. Due 4/30, Wednesday by 5pm, identify 2 distinctive craft elements and use them to annotate 1 poem from the last third of the Hayes book and upload to canvas.

5/1, Thursday. Discussion of Hayes, last third of book. Workshopping of Group B continued.

                HOMEWORK:

• 5/2, Friday by 5pm, upload Personal Poetry Anthology #4 to canvas space. 
• Due 5/4, Sunday by 5 pm,  both groups A and B compose and upload to canvas space POEM #2, Hayes related. Your poem is a poetic “relation” to your reading here. Yours might be a kind of cousin to Hayes’ poetry, or Hayes’ poems might be to you like an aunt or sister, etc. This poem should be inspired by Hayes’ craft, but adapting and making your own least 2 of Hayes’ techniques culled from our class discussions. Note: you are not required to copy or imitate Hayes’ subject matter, content or “meaning.” Have a look at the attached list of Hayes' techniques in the Canvas discussion page , along with additioanal instructions, for Poem #2.
• Due 5/5, Monday by 5pm, respond with student critique to 1 fellow student poem and upload onto canvas.
• 5/8. Brandon Som, last year’s Pulitzer Prize winner in poetry, will read at 7:30PM as the 2025 Theodore Roethke Reader, Kane Hall, Roethke Auditorium.  EXTRA CREDIT IF YOU ATTEND! SEE DISCUSSIONS. (If you are behind in class attendance or have late assignments, this is a chance to get extra credit toward your participation grade.) You are required to attend one poetry reading during the quarter and submit a paragraph detailing your impressions. This event will be great, so please come! Refreshments at reception to follow!

WEEK 6, WORKSHOPPING AND PERSONAL ANTHOLOGIES, 5/6-5/8

5/6, Tuesday, workshopping of POEM #2, Hayes related, Group B.

Review End of Quarter Option, the Personal Anthology Introduction assignment.

5/8. Brandon Som, last year’s Pulitzer Prize winner in poetry, will read at 7:30PM as the 2025 Theodore Roethke Reader, Kane Hall, Roethke Auditorium.  EXTRA CREDIT IF YOU ATTEND! SEE DISCUSSIONS. (If you are behind in class attendance or have late assignments, this is a chance to get extra credit toward your participation grade.) You are required to attend one poetry reading during the quarter and submit a paragraph detailing your impressions. This event will be great, so please come! Refreshments at reception to follow!

5/8, Thursday, Continuing workshopping. Shares of Personal Poetry Anthologies.

Review of end of quarter Book Analysis option.

                HOMEWORK for week upcoming and preparing for end of quarter:

• There are two options for the final project, meaning that you can choose which one you’d like to do. One is a) the book analysis and the other is b) a personal anthology introduction. If you choose the former (a), begin reading your poetry book for the end of quarter book analysis assignment, taking notes as you go along, especially of distinctive patterns or repeating imagery. Or, if you choose (b) the personal anthologies (past and future). And begin to find and read as models at least 3 introductions to anthologies published by reputable presses. For both choices of project, you’ll want to look first at the assignment guidelines provided by the professor.
• Due 5/9, Friday by 5pm, upload Personal Poetry Anthology #5 to canvas space.  

WEEK 7, WORKSHOPPING AND PERSONAL ANTHOLOGIES, 5/13-5/15

5/13, Tuesday. No class/ Class cancellation.

5/15, Thursday. Workshopping of POEM #2, Hayes inspired, Group A.

HOMEWORK for week upcoming:

• Due 5/16, Friday by 5pm, upload Personal Poetry Anthology #6 to canvas space. 
• Due 5/18, Sunday by 5pm, upload POEM #3, personal anthology related. Write a poem that is a “relative” of one (or perhaps more than one, depending on your process) poem from your own personal anthologies thus far. Similar to what we did with the Hayes collection, choose at least 3 distinctive techniques and consider how they function in the poems. Upload this work in canvas as your annotation for this assignment. Then use these 2 different craft techniques inspired by your reading and thinking to jumpstart your own poem. It does not matter whether these 2 craft techniques occur in a single poem, or among several poems. Be sure to include the poems that you read and that contributed to your own creation. Also be sure to name the techniques you are trying out at the top of page 1 of your poem.
• Due 5/19, Monday by 5pm, respond to one student poem with a critique, using guidelines. Upload on to canvas directly below the poem you have selected (again, at the time you log on, be sure to choose a poem that has either no entries yet, or the fewest entries thus far.

WEEK 8, WORKSHOPPING, PERSONAL ANTHOLOGIES, CLOSE READING, 5/20-5/22

5/20, Tuesday. Workshopping POEM #3, personal anthology “relative” poem, Group A.

            HOMEWORK: Read “The 6 S’s by Catherine Wagner” (Canvas).

5/22, Thursday. Anthology shares, plus poems I will bring in (or email to you/ post on canvas ahead of time).

In-class exercise.

                HOMEWORK:

• Annotation #6 with Chapter Summary. Due 5/26, Monday, 5pm. Read chapter entitled “Retrospective Prospective” poem in packet. Briefly summarize chapter’s main points and upload onto canvas (bullet points are just fine.) Then annotate, which means apply and/or discuss at least one of the Yasick essay’s main points to one supplemental poem at the close of the chapter and submit to canvas discussion. Try to not only “spot” a phenomenon, but also tease out its function—what it is really doing—in the poem.

WEEK 9: WORKSHOPPING AND RETROSPECTIVE-PROSPECTIVE POEM, 5/27-5/29

5/27, Tuesday. Workshopping of POEM #3 Group B, Personal Anthology related.              

5/29, Thursday. Discussion of Retrospective-Prospective chapter (in packet).

HOMEWORK for week upcoming: 

• Due 6/1, Sunday at 5pm. Upload your POEM #4 into canvas space provided.
• Due 6/2, Monday at 5pm. Complete 1 student critique in canvas space directly below poems.

WEEK 10: WORKSHOPPING AND WRAPPING UP, 5/30-6/1

6/3, Tuesday. Workshopping of POEM #4, Ret-Pros Group B

6/5, Thursday. Workshopping of POEM #4, Ret-Pros Group A

FINAL PORTFOLIO DUE, June 12, Thursday. Upload into space on Canvas by 5pm. Or send by email attachment, all as one document, to ptrip@uw.edu by 5pm.