Thanks to its every year success, our colleagues from Tallin University will celebrate the 10th anniversary of their annual summer couse. From July, 20 to July, 27 (2018) both the appointment and the celebration will take place, this time, along with the British poet Erik Langley
People who never read poetry don’t write poems that are worth reading. … It seems odd to me that anyone who hates reading poetry should want to write it at all. Are there amateur painters who never go to an art gallery?
Wendy Cope, “How to write poetry.”
In these sessions, we will take seriously the suggestion that in order to write well, we need to develop our ability to read well. Each day, we will take our lead from two sources: firstly, a piece of prose-writing about poetry (a manifesto, a piece of criticism, a letter, a commentary, and so on); and secondly from a poem (predominantly twentieth and twenty-first century, ranging from canonical verse to small-press publications).
Through close reading and discussion, we will seek to develop our analytic skills as we engage in the focussed, playful, and seriously attentive practical criticism of a wide range of poems from a variety of poetic schools or groups. We will take our lead from, for example, the provocations of Gertude Stein – ‘poetry is concerned with using and abusing, with losing and wanting, with adoring and replacing the noun’ – from essays by Wallace Stevens, William Carlos Williams, or Ginsberg, as well as the polemic writing of more recent poetic practitioners.
By paying attention to how others write, we will seek to develop a reflexive practice which will enable us to be both inspired and instructed by the techniques and intentions of seminal poets: these lessons will then be employed to provoke, initiate, or even constrain our own writing, which will be the focus of each afternoon’s sessions.
During this week, we will all aim to produce a number of poems, not in imitation of, but hopefully inspired by, our mornings’ reading. The intention of developing our reflexive practice is not to copy, or to produce anachronistic mimicry of period poetic forms; rather the intention is to appreciate the intent and techniques employed by a range of poets, in order to inspire and provoke our own practice.
Indeed, as poet Michael Hofmann suggests, in these seminars there should be ‘no uniform, no team shirt, no battle or plan of battle, no weapons, … no hierarchy, no ranks or badges except for homemade ones that don’t count’, and consequently, we will avoid homage, pastiche, or impersonation. We will be guided by the thoughts and methods of some brilliant poets, and enjoy the realisation that, as Hofmann concludes, ‘there are plenty of fellow travellers’.
This summer course is suitable for all people who are interested in Creative Writing. During the course you will be expected to attend workshops and seminars, submit your work for peer review and create a portfolio of your own writing. The expected English language proficiency is C1 or equivalent (advanced proficiency).
Upon full participation and the completion of the course, the students will be awarded 3 ECTS points.
350 EUR. For students 300 EUR. Accommodation and meals are not included in the the price. NB! Read also about scholarships.
Information about course content: Ms. Kristiine Kikas | firstname.lastname@example.org
Registration, practicalities: email@example.com
About Erik Langley
Eric Langley combines a career in academia, where he teaches Shakespeare at University College London, with writing poetry. His debut collection, Raking Light, was published by Carcanet in 2017 and was shortlisted for the Felix Dennis Award for Best First Collection at that year’s Forward Prizes. His poetry has appeared in PN Review, Blackbox Manifold, 3:AM magazine, and New Poetries VI (Carcanet). He has two academic monographs – Narcissism and Suicide in the Work of Shakespeare (2009), and Ill Communications: Shakespeare’s Contagious Sympathies (2018) – published with OUP, and a pamphlet of co-authored sonnets forthcoming from The Crater Press, written in dialogue with Emily Critchley (These. Insuing. Sonnets.)