Teaching a single-author poetry book is a different enterprise than assigning poems from an anthology. There’s a lot more information to sift and process: the future greatest hits are interspersed with poems that may be harder to absorb; ordering, epigraphs, and subsections suggest new meanings; there’s an arc to read for, a set of through-lines to discover. Those carefully composed slim collections, though, are my favorite way to encounter a poet. Maybe it’s all that intensive concept-album-listening I did as a teenager. I love to consider lyric fragments as part of a larger design.
In most of my undergraduate poetry courses, I assign at least a couple of these volumes, often recent ones I want to study more closely. I typically place them in the second half of the semester, after close-reading skills are sharp enough to stay in balance with the larger thematic readings students often prefer to do. One I taught recently was Evie Shockley’s 2011 the new black, a brilliant book to close a course on African-American poetry because it’s so historically-minded, so diverse in its strategies and affiliations, that it has a scholarly or critical quality.
The very last book we read together, though, was Rankine’s Citizen: An American Lyric, and for our last session I used an assignment I describe in the essay “Mapping Sea Garden,” collected in Annette Debo’s and Lara Vetter’s book Approaches to Teaching H.D. In short, I ask students to track some element of the volume and find a way to represent its recurrence on a single page. Then, for part of a class, each student brings his or her “map” (often a graph, list, or chart) up to the document camera, projects it, and talks through what he or she learned in the process.
I share a few visually striking ones below with the students’ permission, but they employed a wide variety of conceptual and graphic approaches, as fits such a complicated and visually-oriented book. The first presenter tracked animal references, which turn out to be quite prominent–he divided them into “predators” and “ruminants.” Others made lists of sensory references (there’s a full range, less tilted to vision than you might expect); emotions (they cool over the course of the book); or types of human interactions (strangers outnumber friends or colleagues). They were attracted to motifs such as rain, blossoms, and mouths. All of those strategies highlight important aspects of the book: its vividness, sense of danger, preoccupations with speech and wayward feeling.
Cynthia Lam wrote down every woman’s name, counted its recurrences, and created this word cloud. “Serena” dominates, even when you count the possessive and the full name, “Serena Williams,” separately.
The next, by Anna Kathryn Barnes, with its stencils and handwritten notes, seems to me to document a very personal process of reading–that experience of words and images lodging in your mind, haunting you, for reasons that may be idiosyncratic.
The same is true of the third piece pictured here, with its temporary tattoos of flowers and candy skulls. Its creator was thinking of masks, pronouns, and personas, but the swirling quotes also convey an emotionally charged encounter with Rankine’s challenging book.
A final favorite is more intensely blue in the original than my photograph–the reader wrote down all Rankine’s uses of the word “body” and discovered how often the word “blue” appeared in conjunction with it.
Onto their last assignment now, self-chosen: each student has to write a review of a book published by an African-American poet in the last 15 years, and the poet has to be someone whose work we haven’t studied together. I’m excited to hear their presentations today.
As far as my own work for National Poetry Month: oy. I did manage to get a poetry submission in, and I wrote an unusual number of words for a weekday during the teaching term, but my writing impulses were totally perverse. I worked on a hybrid critical-personal essay I’ve been cooking up concerning Claudia Emerson’s Pharaoh, Pharaoh. I started drafting this blog. I also wrote the first scene of what might be a NOVEL. Here’s hoping I’ll at least experience that phenomenon of accidental productivity through misbehavior…
"This work is unlike any other, in its range of rich, conjuring imagery and its dexterity, its smart voice. Carroll-Hackett doesn’t spare us—but doesn’t save us—she draws a blueprint of power and class with her unflinching pivot: matter-of-fact and tender." —Jan Beatty
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I imbibe words and consume past minds. As a result, I often awake next to strange sentences and forgotten meanings.
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