Category Archives: Class Notes

Class Notes 11/17

The Fourth Wave by Erika T. Wurth “Identity, nature vs. modernity, authenticity, reservation vs. non-reservation culture, sovereignty/land issues, racism/internalized racism, cultural/tradition recovery, history, and language are core issues.” (2) Audience Who gets to codify the culture; white poets “translating” and … Continue reading

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Class Notes 11/15

Who is “I” & who is Laloo? parasitical relationship? What is real & fake? real blood, fake blood p. 6 I am writing this in a fluorescent kitchen, I mean foyer. 25 This Is A Real Body p. 27 “The day … Continue reading

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Class Notes Nov 1

Thinking its Presence Preface Main argument: “All writing is situated in both aesthetic and social realms.” p. xxii “I am not arguing for reading biographically in a simplistic manner, but, rather, for taking into account all the factors and contexts—literary and … Continue reading

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Favorite Lines in Angels of the Americlypse

(transcribed from class on Thursday 10/20) Everyone knew he was CIA Can I Be All Nipples Now or Later There are no paragraph breaks to interrupt the smiling lipstick Factory fresh DO YOU KNOW WHAT IT IS TO WITNESS AN … Continue reading

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Class Notes Thurs 10/13

Poem Profiler Shayla’s response – limitless as restrictive, reductive; “from one side / to be defined”; a list creates expectations “enlist”; “scoring for effectiveness” numbers as absolute; collecting as collaborative “being in the act of taking and giving simultaneously” Dominique’s response – what … Continue reading

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Notes on approaches & questions for reading experimental poetry without reducing the poem or the poet

Context about the author is important, establish their context in relation to you. Very important in stopping the typical power dynamic between poet and reader Every time you find yourself thinking about the author’s positionality, be mindful of when that … Continue reading

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Class Notes 9-23

“Interview with An Empire” “complex and abstract” and performance: expectations of race coded into poetry (white = “complex and abstract” where black = performance/musical) What would a transformative or decontaminating process for English (or any other European language) look like? … Continue reading

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