3 online experimental poetics workshops with Brigid Yuknavitch
These online workshops are designed to help you get into relationship with your personal poetics by presenting ideas and examples, giving exercises or prompts, and a place to then post your work and receive feedback from Brigid and others.
Language is how we make meaning, and poetics are where language and the body meet. There is no right or wrong way to write. These are experiments with the relationship between words and bodies. We are not polishing but pushing into language. Which makes it a perfect place for beginners and prose writers, as well as practicing poets who want to begin again from new places.
WORKSHOP LEADER: Brigid Yuknavitch.
- WHERE & WHEN: Each workshop is 6 weeks, and takes place on a rich and interactive online platform called Wetink. Each week includes a lesson, examples, and an exercise, which you are to complete and post by mid week.
- PARTICIPATION EXPECTATION: You are then expected to give feedback, which we provide a how-to-guide for, to at least two other writer's work every week. This is important and a commitment we ask you to take seriously.
- COST: Each 6-week workshop is $350.
- AND: While they are designed so that you may take them consecutively to complete a process, you’re free to take them as you like.
Playing with Lines
The form of the poem organizes our sensory and felt experience as we read. It supports and disrupts what the language is saying. The line slows the sentence down. The line makes a dance inside the sentence. The line breaks open the sentence. The line registers what the sentence tried to contain. The line takes a walk as Paul Klee described it in painting. And because the line can make these many moves it lets us do more with words than the sentence with its rules of grammar and conventions of speech can do. The repetition of lines in a poem, its form and body and interruption of space and time, allows for many patterns and connections to weave meanings of their own. Every different kind of line has a music and attitude that enters into what you are writing. These are simple experiments with line that will show you what is possible with the poetic line.
Next Run: 5/6/18
Playing with Forms
Early poetic forms created order and pattern in a fearful world. Early court poetry helped create the individual. Romantic forms were vessels for the imagination. The forms we have received from the past are both part of our experience and foreign. Maybe they remind us of parts of ourselves forgotten. As we use received forms its as if we re-enter them as the future they imagined and bring them forward in new ways. We don’t use them by the aesthetic principles they once expressed but they let us see ourselves and the past in new ways. They also teach us about language. Writing poetry always does that because it puts pressure on language. These older forms show us how to say what we mean to say in a poem. They constrain us and then we stumble into discovery. Closed or open, poetic form plays with the structures of language and creative process.
next run: 7/29/18
Playing with Voice
A poem creates a voice. It does this with verb tense, grammar, vocabulary, rhythm, and silence. It may be a quiet or loud voice. A poem makes an unheard voice possible. A poem can create a voice. It may be in a poem that we discover or hear our own voices for the first time. I recognized when I started writing that I was writing in the rhythm of my mother’s voice. The ways voice is created in a poem may help you find your poetic voice and what you want to say. These are radical voice lessons from poetry.