1/17/2024 0 Comments Lyrical writing![]() ![]() In his chapter about how he judges submissions (he’s an agent) by the sound of the writing, something clicked for me. Several years ago, when I read Noah Lukeman’s The First Five Pages: A Writer’s Guide to Staying Out of the Rejection Pile, I learned that not only do others hear rhythm in prose, but also that prose rhythm is considered a good thing. I’d occasionally heard a rhythm in my head while reading stories but never paid much attention. But prose writing-our normal, everyday writing with sentences and paragraphs rather than lines, stanzas, and verses-can have a rhythm too. On successfully completing the module students will be able to:ġ Read and respond to a range of traditional, modernist and post-modernist poetries as technical exemplars of the craft of writing poetry.ĢĜritically question and reflect upon how poetic traditions and movements are formulated and understood, and the ways in which poetic innovation participates in, and develops, traditions that precede it.ģ Understand how their own work may be contextualized in relation to cultures that precede and surround them.Ĥ Identify and evaluate the technical and stylistic choices made by writers and understand how these choices can be applied to their own writing.ĥĝevelop their capacities for close reading and editorial scrutiny.ĦĚpply these developed skills to the reading of poetry produced by their classmates and by themselves.ħěegin to identify their own formal, stylistic and thematic approaches and reflect on the range of narrative, stylistic and technical choices open to the contemporary writer.ĨĚpply sophisticated writing techniques to their own creative work.ġĞnhance their capacities for close reading and editorial analysis.ĢĞxtend their creative writing skills to an advanced levelģĞffectively communicate their creative ideas using a variety of methods ĤĚpply sophisticated writing techniques to their own creative work.We’re probably all familiar with the idea that poetry, music, and song lyrics can have rhythm. The intended subject specific learning outcomes. Jeff Hilson, The Reality Street Book of Sonnets (Reality Street, 2008) Learning outcomes Caroline Bergvall, Laynie Brown, Teresa Carmody, Vanessa Place (Les Figues Press, 2012) I’ll Drown My Book: Conceptual Writing by Women ed. Mary Hickman, 'Defaced/refaced books: The erasure practices of Jen Bervin and Mary Ruefle’, Jacket 2 (2014)Ĭaroline Bergvall, ‘What do We Mean by Performance Writing?’ Keynote for 1st Performance Writing Symposium (Dartington, 1996) Jonathan Baillehache, ‘Chance Operations and Randomizers in Avant-garde and Electronic Poetry: Tying Media to Language’ Textual Cultures, Vol. Rebekka Lotman, 'Sonnet as Closed Form and Open Process', INTERLITTERARIA, Vol. Hazel Smith, The Writing Experiment: Strategies for Innovative Creative Writing (Allen & Unwin: 2005). Total Study Hours: 300 Method of assessmentĪlternative Assessment: 100% coursework (8 poems plus 1,000 word reflective essay) Indicative reading ![]() You will learn how to apply this thinking to your own writing: how, for example, might you want to write back against something that’s made you angry? Could a poetic procedure help you to take back or examine its power over you? Could you erase it, collage it, reduce it to it sound? You will be given the tools to learn how to identify how what is important to you could make an interesting writing project, and discover what forms of articulation can enable you to write this most effectively. This module allows you to think through the relationships between identity, intention, effect, and subject matter through a variety of different writing methods, techniques, procedures and approaches and forms. We will explore what poetry can be and where it meets prose, art, and music, looking at a range of writers: from more traditional poetic texts to contemporary and experimental writing that defies traditional form and easy categorization as a ‘poem’, and investigating how language can be played with through writing experiments and exercises. You will have the opportunity to discuss and learn how to write texts for sound performance, visual texts, traditional poetic forms, prose poems, and lyric essays. ![]() This module approaches these questions from different angles. Can poetry help us reimagine and restructure our world? What forms might those imaginings and restructures take? What are you, and your poetry, invested in? And what kinds of writing could your poetry be? Shelley called poets ‘the unacknowledged legislators of the world’. Feminist poet and critic Adrienne Rich suggested that poetry could be a space that allows 'the structures of power to be described and dismantled'. ![]()
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