Elmaz Abinader, Instructor Office: 313
Mills Hall
office hours: Tuesday 1-2 and by
appointment
Karina Muniz, TA
Class Schedule
With an intro meeting on Jan 20 at 11:00am in
Mills Hall Living Room
Saturday Feb 18
10 AM-5PM
Sunday Feb 19 11AM-4PM
Saturday March
11 10AM-5PM
Sunday March 12
11AM-4PM
Saturday April
15 10AM-5PM
Sunday April 16 11AM-4
We study the various movements, inspirations,
legacies, styles, themes and thrusts of poets of color from the Harlem
Renaissance, through the Black Arts Movement, the Native, Latinx, Middle
Eastern, Asian, and other writers in the diaspora and colonized peoples.
Reading, writing, discussions, viewing of films, attending readings, group work
and individual writings are all essential elements of this class. A weekly blog
(reader response), participation, group work, in-class writing and final
project or paper are required.
Required Books
•
Cannibal by Safiya Sinclair
•
Look: Poems by Solmaz Sharif
•
When My Brother Was an Aztec by Natalie Diaz
•
Language for a New Century:
Contemporary Poetry from the Middle East, Asia, and Beyond by Tina Chang, et.al
•
Of Poetry and Protest: From Emmett
Till to Trayvon Martin
by Phil Cushway
•
The BreakBeat Poets: New American
Poetry in the Age of Hip-Hop by Kevin Coval
•
Mucha Muchacha, Too Much Girl, by Leticia Hernandez-Linares
(Author)
•
Suck on the Marrow by Camille Dungy
·
The Coiled Serpent: Poets Arising
from the Cultural Quakes and Shifts of Los Angeles by Daniel A. Olivas (Author),
Neelanjana Banerjee (Author), Ruben J. Rodriguez
WHAT WE’RE
DOING HERE
We are studying American poetry and how writers of color write in
response, resistance and protest. Truth is, poetry movements go on in the U.S.
that are not studied, recognized, or even referred to in some scholarship
and/or English departments. Certain poets are relegated to ethnic studies
departments, women’s studies or not mentioned at all. One of the reasons this
happens is the work is not a descendant of the literature that is studied
English Departments, and therefore, doesn’t have a place in the “canon,” as it
stands (in some places). So, we’re here to examine poetry movements that are
relegated to the checkbox, to the sidelines, away at the margins. These populations
are writers-of-color who have a tradition of poetry that comes from many
places: from countries or origin, from historical and cultural histories, from
song and language, from political movements and activism, from education and
relationships, as well as, from personal creativity.
This class is by no means comprehensive. It’s crazy-making to
think that the wealth of work written by writers-of-color in the last century
can be even tasted in one semester. Nor did I select the few chosen to
represent the larger population. I picked out anthologies and collections to
provide us with a starting point: how do editors collect these works? In what
ways are they categorized? Who are the major authors? Where is the development
in terms of the “field?” “how do we develop a language of our own to discuss
these works? What are the works of the individual authors in terms of the
larger cannon and cultural orientation? Some movements will be discussed as
they are named: Black Arts Movement, Last Poets, Spoken Word, etc. The writers
are discussed in light of the literature from which they come. There is no
point in ”comparing” writers across the canons as the references points,
sensitivities, musicalities, contexts, frames, impulses, philosophies,
references bear only minor similarities. We honor these writers by allowing
their works to guide us in the reading; and their words to assist us in the
discussions.
These don’t mean we’re not going to use cool words like resonance
and irony, but we also create a vocabulary of inclusiveness with: beat,
electricity, mimicry, etc. We also discover ways the writing can be grouped
(but not categorized) by: history, tribute, politics, naming, responding,
music-based, language active, manifesto and so on. It’s important not to fight
with the writers.
In addition, this is about close
reading, really digging into the many layers of the work in as many possible
ways as we can. Bring your toolbox.
HOW WE’RE GOING TO
DO IT --The work is due weekly, not just on the weekend
 |
View Course Goals
|
· Read,
read read read read readread
· Discuss
discuss discuss
· Blog
blog blog http://poetryandprotestatmills.blogspot.com/
· Critical
examinations
· Creative
examinations
· Group
presentations
· Extraordinary
final project
·
reading
The
Breakdown
Read: We
are going to read poetry with a broad context—referencing what we know about
poetry from the euro-british-american canon and what we can understand from
other inspirations—poets of color, story telling, singing, music, sports,
politics, biology, neighborhoods, hip hop and spoken word. From our reading, we
develop a set of recognizable descriptions and theories about poetry
inclusivity and exclusivity—the way the literary world sees it and how it’s
view from the margins. The reading is not one way—it’s a dialogue with the
work. Be ready to speak to it. YOU MUST HAVE YOUR READING DONE ON THE DAY IT’S
ASSIGNED ON THE SYLLABUS AND THE BLOG ENTERED by TUESDAY EVENING
Discuss: The
center of the class. We describe what we read, we ask questions, we volley
ideas, we swap innuendoes, we feint and demur, we tangle and crush. We make
space. We don’t dominate; we don’t disappear. We demonstrate our finesse with
language and our knowledge of the work and of reading and studying in general.
We fearlessly propose theories and conclusions and we don’t get bent when we’re
challenged. We wait patiently and listen.
Your obvious and lively participation in reading and discussion
are 20 % of the grade
Reading
responses are written in the blog—EVERY WEEK-- I attached
a link to reader responses from a previous semester.
(http://poetsofcoloratmills.blogspot.com/) What is hoped for is a demonstration
of what your experience with the reading is: what you read, how it hit you,
what was in it, some techniques that were used and which jazzed you; how it
manifested as a piece of writing, how it informed or perplexed, how it
connected, less whether you liked it or not
You Must Complete Your Blog by TUESDAY
Evening & Comment on Two Others’ Blogs by THURSDAY Evening Morning.
Blog are 25% of
the grade
Critical examinations & Creative
Examinations: In-class writing several times during the weekend. Some of it asks
you to examine a piece with your intellect, to vet out the magnificence and the
power. Others solicit a creative response—a poem or other creative piece in
dialogue with the writing.
In
class writings are 15 % of the grade
Group Presentations: You’re in a group of lovely others with whom you do group
questions in class, study stuff, and put
together a group presentation. This is an opportunity to present to the
class some works we’re not getting around to. Some burgeoning trends or some
focus on…kind of presentations. For instance, current Hmong poets, pidgin
poetry, etc. the presentation should be 30-40 minutes. More specific guidelines
on page 6.
Your
group presentation is 20% of the grade
Extraordinary Final Project If you’re registered for 152, it’s a fifteen-page paper. If you’re
registered for 152, it’s a 20-page paper. Or a project. More specific
guidelines on page 6
Your
final project is 20% of the grade
YOUR PROJECT IS DUE FRIDAY, APRIL 28, CLASS TO BE ANNOUNCED
The College and I do not encourage taking
incompletes. In order to qualify for one, you need to have 2/3 of the course
work done. Also if you absolutely must have one, this must be filed two weeks
before the final.
SOME REALLY IMPORTANT INFORMATION –Procedures and Practices
· the computer may be used for in-class writing and then POW, close
it. Cell phones off, no texting.
- practically, please be on time, attend
class, be present
- breaks are short and prompt.
- our experiences as poets or our status
in the universe or our cultural origins or alliances are not our talent;
our talent comes from negotiating ideas and sharing them. No privileges
- our classroom discussion can feel off course
and we’ll try to keep it focused, but please be aware that real writing
can touch your fire—please give space for flare-ups and generosity for
listening.
- Be present (oops there it is again)
- I listen well, come by
Important Notices
A
big one: Academic Integrity
Plagiarism is a serious breach of academic trust. For purposes of
the Mills College Honor Code, plagiarism is defined as intentionally or
knowingly using someone else’s ideas, with words or thoughts without crediting
the sources. All words or thoughts not cited are presumed to be that of the
writer. So here’s the deal: original work only, credit to ideas, writing or
words from some other place. Any breach of this will alter your success in this
course.
Resources,
we love resources!
ADA Every effort will be provided to make this
class universally accessible. Though “reasonable accommodation” is the legal
right of people with disabilities, this course is designed for students
regardless of disability or other individual categorization. Students with
needs for alternate learning materials or strategies should contact SSD in the
Cowell Building by calling 430-2130 in order for those accommodations and
services to be arranged promptly.
Writing Center—there are great people at the writing
center who can help you write, think, edit, strategize, not just scholarly, but
also creatively: Reinhardt Hall, Rms. 251, 252 P: 510.430.3147 E:
writing_ctr@mills.edu
Who you are: is not defined by records or names or
bureaucracies, so if you prefer a name or pronoun other than the one
listed/suggested, please let us know.
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THE SCHEDULE—DON’T LOSE ME –In Class Dates are Red
Date (due date
for blogs)
|
Reading
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Topic to think
about/blog on
|
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1/24
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Poetry & Protest (p&p) pages 1-62
Essays and poems
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How do the stories contain in the poems
expand beyond their specific reference and makes themselves shed light on
other historical/political and social moment? What are some styles we
encounter?
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1/31
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Read America(s): Patrick Rosal https://www.poetryfoundation.org/poetrymagazine/poems/detail/58473
Farid Matuk http://bostonreview.net/matuk-poet-sampler
And Language for a New Century (Language)
Habib, 400, Youssef, 197, DuÃt, 211, Darwish, 245
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IN this collection, the sense of place has
shifted or taken on life in the eyes of the poet. Talk about the place, the
meaning of it to the speaker, the way the images make it specific
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2/7
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Language: Rin, 78, Gurung 511, Chin 143, Hasan, 298, Dao 418, Ismail 338; Breakbeat
(BB) Saenz, 189, Murillo
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Identifying the natural/ geographic elements
from a colonial/post-colonial perspective OR What is place?
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2/14
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P & P: pps 63-114, Language: Ismael,
163, young, 271, OLivarez, 231
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The color
complex. How does the poets use color, their own and others?
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Reading
for discussion in class on Saturday and Sunday—
2/18
& 2/19
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Suck on the Marrow by Camille Dungy
CLASS
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2/21
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Language: Carbo, 15, Charara, 231, Chin, 143: RA: Farris, 82, Huerta, 96;
CS: Rodriguez 238, Ayon, 34, Bermejo, 39
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Family is a different idea than we know. The
childhood, the place.
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2/28
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CS: Carreno, 55, Lee, 180, Archila, 22; BB: all of Diggs, 55+, Smith, 254+, Kearney 117 +
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How difference is viewed Who are the voices
and what are their instruments
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3/7
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P & P: 114-158: CS: Laningham,
172, Hearle, 138, Ceballos, 262; BB: Ford, 87+, Moore, 70
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Consider who in a broader context
and then look at the work – historically, politically
)
|
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3/11-12 Reading for Saturday & Sunday
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Cannibal by Safiya Sinclair
Look: Poems by Solmaz Sharif
When my Brother Was an Aztec by Natalie Diaz
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Group 1 teaches Cannibal
(3/11)
Group 2 teaches Look (3/12)
Group 3 teaches When my Brother (3/12
|
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3/14
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BB: Carney, 52, Goodwin, 153+ Rodriguez,
98; Tarifa Faizullah https://pen.org/four-poems-by-tarfia-faizullah/
Danez Smith (all the poems) https://www.poetryfoundation.org/poems-and-poets/poets/detail/danez-smith#about
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Writing the violence—fueling the protest
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3/28
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Language: Habib, 400, Maqalih, 425, Thayil, 206; BB Hammad, 91+, Perdomo
23+, Harris, 223; Language: Mahmud,
402,
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Writing about identity and its specific and
general references
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4/4
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Read the rest of Poetry and Protest
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Write about the universal and the
particular, and how they support each other. What are the current moments of
protest and how do they manifest?
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4/11
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BB: Ashgar, 231+, Nafis, 226; Language:
Young, 271, Moe 446, Joseph, 134
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The body—how is the presentation of the
body meet the narrative and complicate the political
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4/15
& 4/16 reading for Saturday & Sunday
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Mucha
Muchacha
Poetry and Protest: Nikky Finny
and Patricia Smith
Language,
Section Parsed into Colors 53-112-
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Group 4 teaches, Mucha Muchacha
Group 5 teaches, Poetry and
Protest: Nikky Finny and Patricia Smith
Group 6 teaches, Language, Section
Parsed into Colors 53-112-
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The breakdown
of the stuff you’ll be doing
- The Blog
this is a
reader’s response submitted electronically. You will submit this by TUESDAY
night and respond to two by THURSDAY night.
- The Group
Presentation: you and a group of peers create a presentation for the
class based on the topic of the week—minimum 60 minutes. You are assigned
a single author book and create an exploration of it in any way that helps
with discussion, addressing the book and deeper reading and understanding.
This may include group work, in-class writing, collaborations, discussion,
performances, any types of activities. etc. The criteria of this will be
the following:
- Preparedness
- Execution—did
it flow, was it centered, was it confident
- Content—did
it use concepts and directions of the class? Did it add to our
information and awareness about the topic? Was the literature well
chosen?
- Collaboration—was
it clear all members of the group participated in the planning and the
presentation?
- Creativity—was
there a sense of design and approach? (please don’t be boring!!)
- in-class
writing:
During the class I put prompts on the board regarding the poems we read
for the week—it can be critical or creative—you have-10-15 minutes to
write. These writings are part of your final portfolio.
- Reading
poems and talking about them are the foundation of the class—it’s clear
that some poems are going to come into you in different ways: emotionally,
intellectually, through many understandings, past many barriers (or all of
the above). Be aware of every poem, even if it’s a struggle to find what’s
there. Your engagement is most important.
- The Final
project or paper- we
discuss what your final project/paper will be but it can range from a
critical look at the work to a compilation of related works, etc. Your
submission for approval will be March 12
Guide for Graduate Students,
English 252
To
receive graduate credit in the class, you need to demonstrate a graduate level
of examination and analysis, research and scholarship, and collaboration and
creativity. This translates to
researching contexts and connections, poets and movements, and developing ideas
and theories around the poet of color works.
This is accomplished by:
·
Providing leadership in the
reading of at least one poet per class (you can rotate according to your own
division of labor here)
·
Researching to a deeper level
about the poet, movement or craft idea of the week
·
Collaborating on the creation of
the poetry glossary that comes from this class
·
Producing the final class event
·
Developing a final project or
paper that is well researched, connects the ideas of our class and is at least
20 pages (10 minutes)
·
Your ability to work together is
going to be essential here, so find a group dynamic that works for you. If that
means a rigid schedule where you take turns presenting, cool; or maybe you
volunteer to present according to your strength.
Some of the topics connected to
the individual readings are: The lineage of African American Poetry,
Renaissance to Hip Hop; The Latino movement via the Nuyorican Café, Asian
uprising of the 90’s, spoken word movement; the invisible native peoples
writers; craft ideas include: musical roots of jazz poetry, effect of pop
culture, historical and political coloring and transcendence, etc. Of course
you can always illuminate with individual biographies and highlighting the
works not read, bring in broadcasts or videos, etc.
We will break it down in the
first meeting which will be planned the first night of class.
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