We wrap up our\u00a0Winter Wheat poetry panel features with these last 5 amazing workshops. Be sure to check them out!<\/p>\n
<\/p>\n
\u201cThat\u2019s Absurd! How to Write Absurdist Poetry,\u201d with Jen Pelto<\/strong><\/p>\n Whether you\u2019re still\u00a0Waiting for Godot<\/em>\u00a0or undergoing a\u00a0Metamorphosis<\/em>, this workshop will discuss the thematic and philosophical elements of absurdism, provide post-postmodern examples from working writers, and give you the space to play with language to write your own absurd poems!<\/p>\n Jen Pelto<\/strong> is a poet and taxidermist who hails from West Michigan, pursuing an MFA in poetry at BGSU. Her work can be found in Prairie Schooner<\/em>, Heavy Feather Review<\/em>, Rock & Sling<\/em>, and elsewhere.<\/p>\n (this workshop will be held on Friday, November 4th<\/sup> from 3:00-4:15pm<\/strong>. If you\u2019re interested in attending this workshop, select A5<\/strong> when you register!)<\/p>\n \u00a0<\/strong><\/p>\n \u201cForcing Found Poetry and Reluctant Collaborative Discovery,\u201d with Jessica Zinz-Cheresnick<\/strong><\/p>\n Do you get annoyed by found poetry and think it lacks the creative pulp of other work? Or is it the only way you can get writing? Do you detest collaborative poetry or poems with multiple writers? Or do you embrace the struggle two people might have in trying to create one piece?<\/p>\n I used to devalue found poetry. I also hated the concept of poetic collaboration and recognizing that two writers wrote one poem. However, after not getting much of my own writing done in the last several years of teaching, found poetry allowed me to get writing again. After being forced to collaborate on a poem in a festival workshop a few years ago, I was rejuvenated by the resulting poem. I want to bring this life to your work too.<\/p>\n In this workshop, we will discuss found poetry, both its concerns and merits. We will also discuss the ethics of collaborative poems, the judgments of them, and the value in them. Then, participants will be guided in writing a collaboratively found poem.<\/p>\n Jessica Zinz-Cheresnick<\/strong> is a faculty member in the General Studies Writing Program at BGSU and holds an MFA in poetry. Her work has appeared in The Rubbertop Review<\/em> and Fjords Review<\/em>, and she also reviews for Mid-American Review<\/em>.<\/p>\n (this workshop will be held on Friday, November 4th<\/sup> from 3:00-4:15pm<\/strong>. If you\u2019re interested in attending this workshop, select A7<\/strong>\u00a0when you register!)<\/p>\n <\/p>\n \u201cThe \u2018Art\u2019 of Poetry: Storytelling through Narrative Collage,\u201d with Kristin LaFollette<\/strong><\/p>\n Narrative collage has its beginnings in the Dadaist and Surrealist movements of the 1910s and 1920s and is a hybrid genre that combines elements of image and text. This workshop will examine works like Heather Cousin\u2019sSomething in the Potato Room<\/em>\u00a0and Claudia Rankine\u2019s\u00a0Don\u2019t Let Me Be Lonely\u00a0<\/em>and will give writers the opportunity to experiment with incorporating visuals into their own original poetry.<\/p>\n *Note: Participants should bring a laptop computer to the workshop.<\/p>\n Kristin LaFollette<\/strong> is a PhD student at BGSU. Her poems have been featured in West Trade Review<\/em>, Poetry Quarterly<\/em>, and Cordite Poetry Review<\/em>, among others. She also has artwork featured in Harbinger Asylum<\/em>, Plath Profiles<\/em>, Pretty Owl Poetry<\/em>, and Spry Literary Journal<\/em>. Her graduate thesis was a work of narrative collage.<\/p>\n (this workshop will be held on Friday, November 4th<\/sup> from 4:30-5:45pm<\/strong>. If you\u2019re interested in attending this workshop, select B5<\/b>\u00a0when you register!)<\/p>\n <\/p>\n \u201cArchitectural Follies: Playing with Experimental Structures in Poetry,\u201d with Erika Schnepp<\/strong><\/p>\n This workshop will examine the often thin line between shaped poems and visual art, playing with the way poems can straddle that line, as well as the sometimes quiet way shape and punctuation can impact how a poem is read and experienced. We explore the challenge of curating Emily Dickinson\u2019s letter poems to prose poetry and more explosively hyper-structured poems, as well as how to use forms and structure without the structure overpowering the poem.<\/p>\n E.B. Schnepp<\/strong> is a poet from rural Mid-Michigan who\u2019s found herself in the flatlands of Ohio with an MFA from BGSU and a bad procrasti-baking habit. She is currently the Director of the Learning Center and Retention Coordinator at OSU Lima. Her work can also be found in Crabs Fat<\/em>, pacificREVIEW<\/em>, and Paper Nautilus<\/em>, among others.<\/p>\n (this workshop will be held on Saturday, November 5th<\/sup> from 11:00-12:15pm<\/strong>. If you\u2019re interested in attending this workshop, select D<\/strong>5<\/b>\u00a0when you register!)<\/p>\n <\/p>\n \u201c\u2018Raid the Other World\u2019: Writing Prose Poems,\u201d with Callista Buchen<\/strong><\/p>\n Marianne Moore suggests that the problems of definition, of \u201ctrying to differentiate poetry from prose,\u201d are the \u201cwart[s] on so much happiness.\u201d In this workshop, we\u2019ll happily blur boundaries and focus on writing prose poems. We\u2019ll look at and try out different kinds of prose poetry, exploring how the prose poem can \u201cborrow\u201d the strategies of non-poems, what Michael Delville calls the prose poem\u2019s \u201cpropensity to transcend traditional distinctions.\u201d As we\u2019ll see, all genres are full of contradictions, and recognizing and exploiting these contradictions will help us create exciting new work.<\/p>\n We\u2019ll write lots of our own pieces, using the prose poem form to challenge boundaries. We\u2019ll think about both the boundaries of form and the perceived boundaries of content, since as Delville argues, \u201cwhat is at stake here is the extent to which poetry, like any other discourse or cultural practice, can have claims to larger concerns in the world outside the text\u201d (x).<\/p>\n Callista Buchen<\/strong> is the author of The Bloody Planet<\/em> (Black Lawrence Press, 2015) and Double-Mouthed<\/em> (dancing girl press, 2016). Her work appears in Harpur Palate<\/em>, Puerto del Sol<\/em>, Fourteen Hills<\/em>, and many other journals, and she is the winner of the Langston Hughes Award and DIAGRAM<\/em>\u2018s essay contest. She is an assistant professor at Franklin College in Indiana.<\/p>\n (this workshop will be held on Saturday, November 5th<\/sup> from 3:00-4:15pm<\/strong>. If you\u2019re interested in attending this workshop, select F1<\/b>\u00a0when you register!)<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" We wrap up our\u00a0Winter Wheat poetry panel features with these last 5 amazing workshops. 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