Decided last week to dumpster my course design for Intro to CrW. It’s gotten old and tired. Was real fresh and alive when I started it (as an overhaul like this one it happens) cuz I made it day by day in relation to what I sensed from my students, who they were, what gave them life. And then, over the next few years, I institutionalized it, why, cuz I belong to an institution, and it presses on me, walls, ceiling, floor, in the form of hours demands infighting and discouragement. Well fuck that shit. I can’t ask my students to keep it fresh if I don’t. So I’m pitching the design and going back to the unknowing my own work comes from.
It’s scarier and it burns more brain glucose, which I want to hoard for my own creative work, but I think a mistake we make in the profession is to feel we’re in a zero sum game. In fact if I’m feeling on a live edge teaching, that enlivens my creative activity, too. As I said to a friend at a little fest held this weekend to mark the vertical publication of the first part of SCRO, the visual poetry courses I’ve taught have fed and informed my own work in visual poetry – have made, in a sense, my current work possible.
So here’s the bit of my syllabus where I explain there’s no plan for the class.
(Overheard at Menace as I write: “Are you really worried about rhizomes?”)
There is none. I’ve taught this course many times and it’s grown hidebound. So I’m doing the same thing with my course design as I tell a student to do with a story or poem or essay when they’re bored with it: throw out your structure, your idea of where it should go, and discover from the materials at hand what it’s supposed to be. It’s scary fun and way more real, as a way to write, a way to teach.
We’re going to wing it, figuring out, class by class, what we’ll do during our time together, and what your assignments are for the next class. I’ll be making the decisions at first, but I expect that, as we come together as a crew, you’ll collaborate in the calls we make. Rest assured, we won’t be structureless; we’ll just discover as we go the structure natural to our being-together. And, by the end of our six weeks, you’ll have met and grappled with most or all of these creative writing constructs:
showing and telling
concrete significant details
triggering and generated subjects (Hugo)
diction and etymology
“the writer’s antennae”
using found material
revision and editing
the poetic line
poetry and Poetry
simile and metaphor
making sense less
point of view
story structure (inverted checkmark)
text and subtext (Hemingway’s “iceberg”)
scene and exposition
truth and truthiness
questions of ethics
It’s all just organic form in pedagogy, not so scary.