An advanced online course demonstrating the value of omission, redaction, aphorism and minimalism, and broadening your ideas of what is and isn’t a poem.
Roland Barthes listed these modes of writing as examples of literary fragments: ‘haiku, maxim, pensée [and] journal entry’. Fragmentary approaches to poetry, popular with the Modernists and again with the Postmodernists, is having a revival due, in part, to the influences of the internet and social media. In this genre-bending course, we will look at poets, fiction writers, philosophers and psychoanalysts who think and write in fragments, use techniques of interruption, or whose work survives in fragment form. Fortnightly reading and writing assignments will demonstrate the value of omission, redaction, aphorism and minimalism, and will broaden your ideas of what is and isn’t a poem. The course will include texts by Nuar Alsadir, Lorine Niedecker, Sarah Manguso, Anne Carson, Vahni Capildeo, Mary Ruefle, Sam Riviere, Claudia Rankine, Gertrude Stein, Kimiko Hahn, Wallace Stevens, Ezra Pound, Sappho and others. For advanced students only. (This is a revised expansion of a course that has run previously – please email us for more information)
Masterclasses are a new course format, an expanded version of our Interactive and International courses, with a much deeper consideration of technical craft and critical theory. These 12 week courses (maximum 10 places) are for advanced students only, and fluency with poetic language and ideas will be assumed. There are no live chats and they are suitable for UK and International students.
About Kathryn Maris View Profile
Kathryn Maris is originally from New York and has lived in London since 1999. Her previous collections are The Book of Jobs (Four Way Books, 2006), God Loves You (Seren, 2013), and a pamphlet 2008 (If a Leaf Falls, 2016). Her poetry has been published widely, including in Granta, The Nation, The New Statesman, Poetry, The Best British Poetry (2012 and 2015), The Pushcart Prize Anthology, and The Forward Book of Poetry 2017. A selection of her poetry appears alongside the work of Frederick Seidel and Sam Riviere in Penguin Modern Poets 5 (July 2017), and her third collection, The House With Only An Attic And A Basement, will be published by Penguin in 2018.
‘It’s difficult to explain how the classes have affected me, but I think I have learned to trust myself and my poetic “voice” more and learned not to compare myself to other “real” poets. Being more of a visual artist, I was apprehensive about formal poetry but the environment of acceptance and the embracing and studying of different poetic styles in Kathryn’s class was for me, life changing. I know that sounds a bit overreaching but that is how it feels!’