Summer Course: Modern American Poetry

I’m getting ready to teach an online course, Modern American Poetry. The course requires junior standing and at least one previous literature class, but it is open to all majors. That is, I think I can expect a certain amount of reading savvy and engagement with the material, but not a lot of background in poetry as such, especially modern poetry. The last time I taught the class, in the flesh, as it were, I used Cary Nelson’s fat and inclusive anthology, which I like — it also has a good web-based supplement that includes critical statements about the poets, which I use as a way of getting students to enter into a “conversation” or on-going argument about a particular writer or text. But I had fourteen weeks during the regular semester, with class seventy-five minute class meetings twice a week. With the summer course, I can go as long as ten weeks, but students usually prefer a more compressed schedule in the summer, so I’m going to schedule eight weeks, with a couple of weeks of non-required start-up time during which the site will be live and I’ll be posting some general thoughts; students can also of course use this time to get going on the reading, which will not be voluminous, but will require close attention. So I’m going to abandon the Nelson anthology for the two, much more conservative, anthologies edited by Joel Conarroe, Six American Poets and Eight American Poets. Rather than assign a text about poetry — I like Terry Eagleton’s How to Read a Poem — I will link to online resources and create a few pdf files of commentary for students.

Conarroe’s six poets are Whitman, Dickinson, Stevens, Williams, Frost, and Hughes. I will put all six on the syllabus; his eight are Bishop, Merrill, Plath, Ginsberg, Roethke, Berryman, Sexton, and Lowell. Of these, I will drop Sexton, who wrote very few good poems, I think, and Merrill, to whom I’ve never warmed, whatever virtues he possesses. And then I’ll add Eliot’s “Prufrock” and “The Waste Land” — he was born in St. Louis, after all. Along the way, I’ll try to link to less mainstream poets as a supplement. For instance, I’ll use Hughes to link to a bunch of good online material about the Harlem Renaissance. I’ll expect about as much reading and writing from students each week as I would expect in a week & a half (three class meetings) during the regular semester.

Week 1: What is Modernism & what do we mean by “modern”?

Week 2: Dickinson & Whitman as the inventors of American modernism.

Week 3: Stevens & Eliot

Week 4: Williams & Frost

Week 5: Hughes & the Harlem Ren

Week 6: Bishop & Lowell

Week 7: Plath & Berryman

Week 8: Some contemporary poems / the reaction against the personal

The Full Ceremonial Monte

Attended the opening ceremony of the translation conference this morning — hundreds of people in the new, monumental National Convention Center.  There was dancing and singing and speech-making and then lunch. I met a lot of the writers — American and Vietnamese — that I’ve corresponded with over the years, or seen in passing on one of my trips. I’m not crazy about being stuck out at the West Lake compound, but I’ve been able to get off on my own enough to get some work done on the classes I will begin teaching next week. And I’ll spend the last couple of days of my trip back down town, so it’s all good. I feel energized and excited about developing some translation projects, work that will begin tomorrow when we begin doing small-scale workshops.