About the Course
Why just write poems when you can write better ones? This course is built on the notion that the most exciting writing begins after the first draft. It is specifically for folks who believe that writing poems just to express oneself is like using the Internet just for email.
After all, poetry can change the way you and your readers think of the world and its inhabitants; it can break new ground for language; turn a blank sheet of paper into a teeming concert of voices and music.
Though any of us may have the potential to make that happen, having an understanding of how several tools of poetic composition can be used (and audaciously “mis-used”) gives you more ways to try (and if we do this right, we might surprise ourselves most of all).
We’ll cover key poetic terms and devices by studying poems by a handful of modern and contemporary poets and then get a chance to try our own hand at writing new poem drafts from a select number of prompts. Throughout the course you will have the opportunity to workshop your poem drafts and get feedback on your work, working towards a more polished poem.
Skills you will gain
- Poetry Writing
CalArts has earned an international reputation as the leading college of the visual and performing arts in the United States. Offering rigorous undergraduate and graduate degree programs through six schools—Art, Critical Studies, Dance, Film/Video, Music, and Theater—CalArts has championed creative excellence, critical reflection, and the development of new forms and expressions.
- Introduction and the Poetic Line: Poetry orchestrates its music, arguments, tensions, and environment via arrangements of language into lines and stanzas. This week we’ll address the importance of the line break, perhaps the most conspicuous, signature tool in the poet’s toolkit.
- Abstraction and Image: Abstraction doesn’t mean “deep,” and image doesn’t mean “picture.” Images are typically understood as anything you can literally touch/taste/see/hear/smell, and abstractions are those things for which we have symbols (a clock for “time,” a heart for “love”) but no image.
- Metaphor and Other Formulas of Difference: Most of us think of simile and metaphor, personification and other similar figures of speech as being about similarities between objects, concepts, and entities.
- Rhyme: This week we’ll explore how rhyme leverages patterns of sameness and how we can estrange similarity for compelling poetic effects.
- Rhythm: All spoken language has rhythm, the trick is working the rhythm in such a way that drives your poem toward the effects you’re after.
- Sharpened Poetry: Revision Strategies: When you revise a poem, you are not trying to dull the emotional flash of your first draft. You must, instead, intensify it.
To enroll for this course, click the link below.
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