[Cwgrad-announcements] FW: Please pass this along to your students

[Amanda J Labagnara]

RUSKIN ART CLUB'S WORKSHOPS

The best intensive workshops available!
For more details: Elena Karina Byrne Literary Programs Director
Ekduende at aol.com /310-669-2369
ALL DAY WORKSHOPSÂ * Special Poets Appearances from out of town!

Saturday, March 10 9;30-4
Lyric Inspiration in Contemporary Poetry: Cinematic Fragmentation and Erasure
with David St John
$85
Saturday, March 24 9:30-4
Eight Ball in the Left Pocket: The Aesthetic Statement
Teresa Carmody & Vanessa Place (Les Figues Press)
$75
* Saturday,March 31 9:30-4
POP! and Poetry: Pop Culture, Music and Poetry
with Joshua Clover

*Thursday, April 26 6-10pm DINNER WORKSHOP
with Poet, Tupelo Press Publisher Jeffrey Levine
Poetry, Prophecy, Revision, & The Publisher's Eye
$75 Dinner Included

* Saturday, May 19, 9:30-4
Writing by Ear: Poetry as a Foreign Language
with Angie Estes and Kathy Fagan
$75
Saturday, June 2: 9:30-4
Narrative and Dis-Narrative
with David St John
$85

>>Pay to the Ruskin Art Club/ Non-refundable Deposits $35/ Pay in full 1 week prior
Morning only audits $45 The Ruskin Art Club 800 S Plymouth Blvd LA CA 90005<<
Lunch and morning food included Checks made out to The Ruskin Art Club
Mail checks to  Elena K Byrne PO Box 3761 Palos Verdes Peninsula CA 90274


ALL DAY WORKSHOP WITH JOSHUA CLOVER
POP! and Poetry: Saturday, March 31, 2007


"...but you, motion picture industry, it's you I love!
In times of crisis we must all decide again and again whom we love.
And give credit where it's due..."
-- Frank O'Hara

Pop culture often seems irreconcilable with poetry in its levels of authentic passion and complexity, its marketplace dreams; at the same time, many of us have a telenovela or radio song that we love shamelessly. In this workshop, via reading, talk and writing, we'll consider how our poetry might forge a relationship with such things, might let them into the poem in a way that loves both poetry and pop as distinct and powerful ways that the world talks to itself. Participants are encouraged to bring a copy of their favorite contemporary song.

Joshua Clover's first book of poetry, Madonna anno domini, won the Walt Whitman Award from the Academy of American Poets; his most recent, The Totality for Kids, has been featured in the Boston Review and Entertainment Weekly. He is a longtime arts critic for the Village Voice, SPIN magazine, and GQ; he currently contributes to The New York Times. His book on The Matrix was published by British Film Institute.



ALL DAY WORKSHOP WITH VANESSA PLACE & Teresa Carmody of Les Figues Press

8 BALL IN THE LEFT POCKET: THE AESTHETIC STATEMENT

"Either move or be moved." E. Pound

Any gallery exhibit is typically heralded by an artist’s statement. This statement typically gives content and context for the art within, inviting the audience to see whether the shot, as called, has been made. Nowadays writers typically do not write artist’s statements, tossing their work unframed to a largely uncaring world, hoping the content speaks for itself. But larger minds from Coleridge to Stein, O’Connor to Eliot, and Rilke to Gass, took the bolder track. A writer’s aesthetic statement clarifies not just a particular piece of poetry or prose but the impulses and drives of the writer’s larger project. The Work of the Work. After surveying some great aesthetic statements, we’ll spelunk the work of your work, finding what themes, forms and questions move your writing, and how those may be pressed firmer and farther by their direct articulation. Participants are encouraged to bring a representative piece of their own writing and a reproduction of some piece of visual art for which they feel an uncanny affinity.

Vanessa Place is the author of a 50,000-word, one-sentence novel, Dies: A Sentence (2005), and a co-founder of Les Figues Press, publisher of the TrenchArt series of experimental literature. Other work has appeared in Northwest Review, Northridge Review, Film Comment, Contemporary Literary Criticism, 4th Street: A Poetry Bimonthly, LA Weekly Literary Supplement, Five Fingers Review, Greetings #10/11 and The nOulipian Analects. Her nonfiction book about sex-offenders and the morality of guilt will be published by Other Press, and a chapbook, Figure from The Gates of Paradise, is forthcoming from Woodland Editions/Five Fingers Review.
Teresa Carmody is the author of Requiem, a micro-collection of short stories, which American Book Review calls “a celebratory lament” and poet Carol Muske Dukes calls “a Midwest scriptural mist: frank, fierce and fidgety, and most emphatically her own.”  Other work has appeared in PoetsWest, Stolen Purse, Roar: Women’s Studies Journal, For Here or To Go, and 4th Street. She is cofounder and editor of Les Figues Press, publisher of the TrenchArt series of experimental literature, and co-curator of the Smell Last Sunday Reading series in downtown Los Angeles.





DAVID ST JOHN____________________________________
LYRIC INSCRIPTION IN CONTEMPORARY AMERICAN POETRY:
CINEMA, FRAGMENTION AND ERASURE

Our traditional conceptions of poetic “lyric” need to be reconsidered in
an age which defines the business of poetry as multiplicity,
polyvocality, and simultaneity. In the contemporary “lyric” poem, how
have the pressures of temporality, unity and the construction of
identity been newly figured? How has cinema exerted such a profound
influence (and what is that influence) in the work of many of the most
essential contemporary American poets? Look at some of the work of (a
few possibilities): John Ashbery, Jorie Graham, Frank O’Hara, Brenda
Hillman, Norman Dubie, Lynn Emanuel, Larry Levis, Frederick Seidel and
anyone else you feel is appropriate and choose one poem to bring in (25
copies) to discuss in the morning session. Rent and watch at least one
film by one of these directors: Kieslowski (I suggest Blue or The Double
Life of Veronique), Godard (Contempt), Antonioni (The Passenger),
Mikhalkov, Bertolucci (The Conformist), or Tarkovsky. For the afternoon,
choose one of your own poems (25 copies) that you feel is somehow
related to the cinematic nature of poetry.


Ok, for the June course:

NARRATIVE AND DIS-NARRATIVE, DRAMAMTIC MONOLOGUE AND DRAMATIC LYRIC. For
the morning session we will be looking at work by poets Norman Dubie
(The Mercy Seat) and Lynn Emanuel (Then, Suddenly) and discussing the
various ways to "enact" the self in poetry.  For the afternoon session,
bring a new poem written in a voice that is not you "usual" voice for a
poem.

ALL DAY WORKSHOP WITH JEFFREY LEVINE
PROPHESY, REVISION, AND THE PUBLISHER’S EYE

 

What is it about a poem that appeals to a publisher’s ear? Why do publishers listen to some poems and not others? What are the seven most valuable secrets to making a poem, and an entire collection, transcendent? In this workshop, via reading, talk and writing, you are invited behind the closed doors to consider how publishers and editors of literary journals and literary presses actually listen to poems. We’ll explore how to revise toward poems – and books - that signify to publishers. Along thee way, we’ll get behind the scenes of the publishing world, and explore what that means for your own writing. Working with your own poems, we’ll pay particular attention to entrances and exits, and the nuances of style. Finally, we’ll explore which journals are most likely to be appropriate for your own work. Participants are encouraged to bring 20 copies of five poems that are representative of your work.

Jeffrey Levine’s first book of poetry, Mortal Everlasting, won the Transcontinental Poetry Prize from Pavement Saw Press; his second, Rumor of Cortez, was nominated for the 2006 LA Times book award in poetry. He is Publisher and Editor-in-Chief of Tupelo Press, and independent literary press.

 
Writing by Ear: Poetry as a Foreign Language
Workshop with Angie Estes and Kathy Fagan

Stanley Kunitz has written that “Even before it is ready to change into language, a poem may begin to assert its varied life in the mind with wordless surges of rhythm and counter rhythm.” In this workshop we will discuss and explore strategies the poet can use to rein in these sonic and imagistic surges and ride them into poetry. Specifically, we will practice the art of translitic and ekphrastic poems as we develop ways to move beyond the semantic components of language and enable the unconscious to emerge into poetry. As Walter Benjamin has remarked in his discussion of translation, language can exhibit either memory or amnesia; our goal in this workshop will be to lessen the amnesia of language and gain access to language’s deep memory.


Kathy Fagan is the author of the National Poetry Series selection The
Raft (Dutton, 1985), the Vassar Miller Prize winner MOVING & ST RAGE
(Univ of North Texas, 1999), and The Charm (Zoo, 2002). Her work has
appeared in The Paris Review, The Kenyon Review, Slate, Field,
Ploughshares, and The Missouri Review, among other literary
magazines, and is anthologized in Under 35 (Doubleday, 1989),
Extraordinary Tide: New Poetry by American Women (Columbia, 2001),
American Diaspora (Iowa, 2001), The Breath of Parted Lips: Poems from
the Robert Frost Place (CavanKerry, 2001), and, most recently, Poet’s
Choice (Harcourt, 2006), edited by Edward Hirsch. Fagan is the
recipient of fellowships from the Ingram Merrill Foundation, the
National Endowment for the Arts, and the Ohio Arts Council. Formerly
the Director of Creative Writing at The Ohio State University, she is
currently Professor of English and Editor of The Journal.


Angie Estes’ most recent book, Chez Nous, was published by Oberlin College Press in spring of 2005. Voice-Over (Oberlin College Press, 2002), won the 2001 FIELD Poetry Prize and was also awarded the 2001 Alice Fay di Castagnola Prize from the Poetry Society of America. Her first book, The Uses of Passion (1995), was the winner of the Peregrine Smith Poetry Prize. Recent poems have appeared in TriQuarterly, The Paris Review, Ploughshares, FIELD, Boston Review, Shenandoah, Ninth Letter, Pleiades, Slate, Green Mountains Review, and Chelsea, and in the anthologies The Extraordinary Tide: New Poetry by American Women (Columbia University Press, 2001), The Geography of Home: California and the Poetry of Place (Heyday Press, 1999), and Queer Dog (Cleis Press, 1997). She has received fellowships from the National Endowment for the Humanities, the Woodrow Wilson Foundation, the California Arts Council, the MacDowell Colony, and two Individual Artist Grants from the Ohio Arts Council. She also received a 2005 Pushcart Prize. Estes received her Ph.D. and M.A. in English from the University of Oregon and was for several years Professor of American Literature and Creative Writing at Cal Poly, San Luis Obispo. She currently teaches at The Ohio State University in Columbus.

Maurya Simon

Professor 
Department of Creative Writing
University of California Riverside
900 University Avenue
Riverside, CA 92521-0318

TEL. (951) 827-2006 (office)

FAX: (951) 827-3619 

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