Objectives:  
To write, revise, complete, and submit a small collection of poems. To develop as a reader and editor for other writers and their work. 

Books: 

• The Flying Change, Henry Taylor, LSU Press, 1986.
• Thomas and Beulah, Rita Dove, Carnegie Mellon Press, 1987.

•  I'm hoping this semester will be extraordinary. If it isn't, then we will have wasted a great opportunity. In the past, I have found this class to be a great challenge and a great joy. This document is called a syllabus and it's supposed to tell you all the stuff you need to know in order to complete this course. It's impossible to write a syllabus, actually, because as we move through the semester, we set new goals and guidelines as a group. However, there are some things I’d like to share with you that I think will increase your chances of having a great semester: 

•  Nothing matters as much in this class as the quality, originality, and scope of your poetry. You write continuously during the semester and turn in a portfolio at the end. That portfolio counts for 100% of your grade, so it needs to be clean, professional, interesting, big, exciting, moving, and compelling. If it's not, then you've wasted your time. In that portfolio will be corrected, revised, typed versions of at least eight finished poems. You may start and even finish many more pieces, but through the help of other writers in our workshop, you will focus your energy on completing and submitting no more than two 4-poem batches.

• Among other things, it is expected that you will take part in what we do: class discussions, workshops, and conferences. You are expected to add to the knowledge of the class by being an active, helpful, and constructive member of our group. Obviously, coming to class ill prepared or unwilling to join us will make it impossible for you to do well. This class is about your poetry, but it is not just about your poetry. So, you need to be involved in discussions of other poets’ work as well.

• We read portions of two outside collections during the course of the semester. While Rita Dove and Henry Taylor are important writers, we will be looking at their work in the same manner in which we look at our own. We’ll talk about the “beauties” and the “faults” of their texts, and see what we can learn by the variety of forms they use, and the richness of their content. You won’t be tested over this material at all, but it will give us a common background and experience for our conversations to take place over. Most of this reading happens very early in the semester. I’ve chosen books from earlier in their career, both coincidentally Pulitzer Prize winners, in hopes that you’ll seek out their more current work on your own.

• As a regular feature of this class, we meet as a group to discuss our writing. We have at least one “workshop” day each week. To offer everyone an opportunity, I’ll ask you to sign up in advance of these occasions to be one of our principal writers or respondents for that day. As a writer, you’re expected to bring copies of your work for everyone. As a respondent, you need to obtain copies of the work a day or two ahead of workshop in order to prepare a 5-8 minute introduction to the pieces that are “up” for discussion that class. Conferences - private meetings with me to discuss only your work - are also available to you, and we sometimes replace portions of general class meetings with these 15-20 minute individual sessions. Writers who avail themselves of these two procedures often progress more quickly. The ideas behind workshop theory will be presented early on in our class, but if you’d like more background, I’ve put three articles on reserve in the library (marked “workshop theory” #s 1, 2, & 3) that will address theory background and that will discuss practical tips for making the most of these meetings.

• If you plan to pass the course, your attendance will be regular and punctual. If you miss six or more meetings, you should consider withdrawing from class.

• If you are having difficulty with the course, the person best prepared to help you is me. I will make myself available to you before and after class. I can give assistance if I know you're in trouble, but I am not a mind reader. If you must miss some classes, give me the dates in advance so I can make sure you don't miss any crucial material. Also, I'm often in my office beyond my "office hours," so feel free to stop by. Use my voicemail and email to keep in touch as well. Finally, the course is for you. Whatever I can do to help, let me know.

• Shortly before semester-end, you will submit work to at least two outside journals or magazines. (Submission to Aries is encouraged, but doesn’t count as an outside submission.) We will be exploring writer’s habits during this semester, and submission is one of the keys to the development of any good writer. We will learn techniques and methods that are useful in getting your work in front of editors around the country. I’ve put the most recent edition of Best American Poetry on reserve in the library. In addition to being a terrific collection of poetry, it also contains one of the best - albeit brief - lists of addresses and editors for journals. That’s a good place to begin looking for magazines that publish work that might complement your own. But you also will find in our library the Poet’s Market, a rather large and sometimes unwieldy list of thousands of poetry markets. Beware, obviously, as some markets are more legitimate than others. We’re going to avoid any subsidy or vanity publisher.

• We’ll also spend one week this semester in the computer lab in AMB. The evolving and exciting field of online poetry is changing much of the literary landscape. We’ll review some of the better online journals and do a review of how online poetry differs (size, content, etc.) from more traditional fare.

• I'll ask you to join me at least one Saturday this semester at the Border’s location in North Richland Hills for their weekly poetry reading. Like many public readings, this is free. I’ll get the necessary information together for those of you wanting to try your hand at public reading. (Usually, going about 30 minutes early is the best way. Sign up, have a coffee, get nervous, then read!) We do a lot of our poetry aloud in workshop, and poetry comes from an oral tradition. So, it makes sense that we spend some of our time talking about readings. I’m also investigating getting the funds together to take us all to the very popular “poetry slam” at Club Dada in downtown Dallas. The “slam” phenomenon is quite exciting, and I’ve placed some readings on reserve for you in the library (marked “slams” #s 1 & 2). One of the articles talks about local poet Clebo Rainey, a powerful force in the slam community, and someone who often performs in Dallas.