Showing posts with label modpo. Show all posts
Showing posts with label modpo. Show all posts

Tuesday, November 20, 2012

ModPo Live Ending, or: on creating a shared narrative



i thought the Modpo class was over - but the first mail of the new week announced a final video session, right on Monday: “Our session will consist of "final words" - summary comments, last words about the course, observations on what you learned, etc. ... And in a day or two, I will send you a link to a survey that will enable you to evaluate and comment on your ModPo experience. Please look for it!”

this final session was moving, a roundup of the course with a lot of personal impressions and notes, and everyone from the team was asked from Al Filreis for an ending statement.

there also were a lot of visitors and incoming phone calls. what they really managed in that course is to make a huge online class feel personal, and at the same time opening up doors for everyone, turning it into a poetic journey with co-travellers.

the session is now up on youtube: Modpo Live Webcast - Ending Session

a good sequence to watch is at 43.20, with a note that reaches back to the start of planning the course. and for the IT-side experience of, try 29.09 (and the minutes before for a beautiful way to be done)

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and a quote that made me think of the modpo energy which developed during those 10 weeks:

"It's a human need to create shared narratives - they make us a culture."


Friday, November 16, 2012

70 days of poetry, the end



"70 Days of Poetry 
Some days ago, the literary course "Modern & Contemporary American Poetry (ModPo)" by Al Filreis started. The official introduction to it says: "This course is a fast-paced introduction to modern and contemporary U.S. poetry, from Dickinson and Whitman to the present. Participants (who need no prior experience with poetry) will learn how to read poems that are supposedly "difficult." - Almost 30.000 people enrolled so far, .. and i look forward to it, and am curious how a poetry class of that size might work..."

that's what i wrote on 16th September, after the first week of the poetry class. so glad i arrived at the course when it started, and can only say: it was a great, inspiring, and moving experience.

the end of (Mod)poetry
this week was the final week, and today, while listening to the final video discussion, i layed out all the syllabus and note and poetry pages that i printed out during those 10 weeks, starting at the very first poem from weeek 1: Emily Dickinson's "I dwell in Possiblity", moving to Walt Whitman "Song of Myself", William Carlos Williams "Smell!", Allen Ginsberg "A Supermarket in California"...,

... to the week that was dedicated to Imagism, and the week of Gertrude Stein,

... to the week of Antimodernist Doubts and Formalism,

... and of course to the Beat week with Ginsberg, Kerouac, Creeley and Waldman

... to the New York School, John Ashbery, Frank O'Hara,

... and finally to the trends in recent poetry again, with the Language Poets, the week of Chance, and with the ending point: Conceptualism.

what a poetic journey.

it leaves me with a bit of a post-journey blues, the classes, the poetry, the readings, and Al Filreis and the whole discussion group, the structured and guided pathway they carved for all to explore, the Kelly Writers House itself, that all has turned into a part of these last 70 days. now that time ends.

goodbye and thank you, Modpo :)

i will miss you.

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and some extra links, for poetic visits and revisits:

Monday, November 5, 2012

Little World, Left Hand of Darkness & My Life (in 37*37 sentences), or: what are you reading?



Big Backpack, Little World (a chance encounter)
So many places in this world, and so many books - the eternal question probably is: from the million of possibilities, how to figure out the journeys to take, and the books to read? Just try it, is one option. That's how I came across the travel memoir "Big Backpack, Little World", which happened to be free for the day just when I checked the e-book travel listing. So glad I ordered it:

"Big Backpack, Little World" is a fine read - a travel memoir by Donna Morang, who lived in Montana and Alaska. After retirement, she decides that she is ready to try something new again, and starts backpacking and teaching English abroad. She has a wonderful humour and a perspective of someone who has seen a lot already, and at the same time is open and excited about life, and keeps learning herself. It's a joy to follow her trails to Mexico, Spain and Cambodia, and made me also think of my own days of solo traveling in other countries. As starting point, I'd recommend her blog updates from Mexico, which have the same warm touch as her book: ESL Donna

The Left Hand of Darkness (a modern classic)
A modern classic, and the second book ever that won both the prestigious Hugo Award and the Nebula Award: that's "The Left Hand of Darkness" by Ursula K. Le Guin. It's labeled science fiction, but in the introduction Le Guin suggests to read it rather as a thought-experiment: not as a future prediction, but as a story that describes reality, the present world, "a truth - wrapped in fiction". The story itself has the form a of journal or a travel report. It starts with the words: "I'll make my report as if I told a story, for I was taught as a child on my homeworld that Truth is a matter of the imagination..."    

On first glance, a very different book than "Little World", but both books are about getting in touch with the previous unknown, and sharing knowledge with people that live in a different place, in a different kind of society, and who speak another language (and then with the reader). The traveling in Le Guin's book has a much larger dimension, though - it's to another world, a world named Winter, as messenger. Here's a quote that gives an idea of the concept, which was informed by Le Guin's family, too: both her parents were anthropologists, and the theme of cultural encounters runs through her book:

"Alone, I cannot change your world. But I can be changed by it. Alone, I must listen, as well as speak. Alone, the relationship I finally make, if I make one, is not impersonal: it is individual. Not We and They, not I and It, but I and Thou." 

Beyond the book: Wired Interview and a literary course
Le Guin is over 80 now, and still giving fascinating interviews - WIRED spoke with her last year, they have the talk up on their page both as transcript with images and as podcast: Still Battling the Powers That Be

And here's a short interview that is moving - Le Guin about life, age, books in time, and being an author:



For some background information of the book, you can check out the online literary class of Eric Rabkin at Michigan University, several video lectures are dedicated to Le Guin's book (here's the course link: English literature: Fantasy and Science Fiction, The Human Mind, Our Modern World.


"My Life" by Lyn Hejinian, and "My Emily Dickinson" by Susan Howe 
I am still following the "ModPo" Modern Poetry Class, and it's like a guided tour through modern poetry with a lot of reading samples. Interesting also how the themes of this week connect: from the traditional travel memoir of Small World, to "My Life" by Lyn Hejinian, who created an experimental biography, written at age 37 in 37 segments of 37 sentences each, and later, at age 45, revised into 45 segments of 45 segments each - by format itself already a reflection on the nature of life and memory. Here are 4 sentences from one of the childhood segments: 

"A pause, a rose, something on paper. Solitude was the essential companion. The branches of the redwood trees hung in a fog whose moisture they absorbed. Lasting, "what might be," its present a future, like the life of a child."

And - Susan Howe, and her writing that is sparked by Emily Dickinson, especially by her poem #754. Reading it is a reminder again of the power of words that still stand on a page, that remain, that are an open side of a dialogue waiting for a reader, long after the writer has gone.
The starting lines of said poem #754, one of those that still echo from the reading:

"My Life had stood - a Loaded Gun - 
In Corners - till a Day.."

For more, try this google link. It leads to 1.750.000 pages loaded with words - quotes, notes and responses to a poet unforgotten.

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It's Monday! What are you reading? This blog post is inspired by the blog series "It's Monday! What are you reading?" which is hosted by Sheila at Book Journey. participating blogs are listed in this Linky Book List

Previous reading blog entries are collected here: bookshelf + monday reads. there also is a visual bookshelf, just click it to get there:



Some lines about me: I'm into roads, stories, places, crossings, and all the things they lead and connect to. I edit BluePrintReview and the blueprint book + lit blog. Apart from being an editor and blogger, I am also an author myself. My new book Worlds Apart launched some weeks ago:

Worlds Apart: the true story of 2 friends, 2 journeys, and 10 life lessons  
In the global world, a traveler from Europe and a teacher from Asia meet in the web, share their journeys, and the joys, longings, and life lessons that wait along the road. Captured in letters and photos that reach from China and India to Germany and the Mediterranean Sea, a dialogue across continents and cultures unfolds: Worl(d)s Apart

Monday, October 15, 2012

Words, Wars, Books, Peace Prizes, Time, Beats, etc. (or: what are you reading?)



Book Fair Days 
It was the week of the books: the International Book Fair in Frankfurt was on, and parallel to it, the Nobel Prize for Literature was awarded. I happened to be on the Fair that very day, and thought i would check the news around 1 pm, but forgot about it with all the events and themes that are on there: national + international halls, new media area, guest land New Zealand, and so many author talks, forum discussions and extra events that the best strategy seems to be: just keep your eyes open while you are walking and go with the flow. More about all the impressions later - now back to the Nobel Prize and the peculiarity it brings for that day:

It was in the hall of the established german book publishers that i remembered about the prize and walked up to the next publisher's counter to ask. The woman smiled and pointed to the shelve: "Mo Yan," she said. "We have one of his books, Ullstein around the corner has the larger program." - i walked up to them, and there it was: an on-the-spot wall for the Nobel Prize Winner. Note the neutral poster for all cases / all optional winners:



Mo Yan - Nobel Prize for Literature
Back home I checked my bookshelf - and indeed, I still had the copy of Mo Yan's book "Red Sorghum" (which is titled "Das Rote Kornfeld" in German). It's one of the books I started, but didn't finish, a book with multiple timelines that reach back to the time when Japan invaded China. The red in the title refers both to the Communist party, and to all the blood that was shed.

Reading into it again made me think of one of the recent Prize Winners, Herta Müller, which i read parallel to Chimamanda Ngozi Adichie's book on Nigeria and the time of civil war there. back then i noted: "2 books, from 2 continents. both are dealing with war, and the hardship it brings on so many levels, the way it disrupts families, regions, futures. the approach of both books: history, seen through personal lives. another parallel: both books are written based on oral memory." The same is true for Mo Yan. It's a hard, painful and complex read, spanning 3 generations, detailed in all aspects: rural life in China, and the hardship and cruelties the family has to go through.

Book Fair Impressions 



A photo series with books, halls, themes and snaphots from the book fair is online in an own post:
International Book Fair Frankfurt - impressions, themes, snaphots

Liao Yiwu - Peace Prize of the German Book Trade
The Nobel Prize wasn't the only literature prize that highlighted the week - in Frankfurt, the most important German book prizest is awarded: the Peace Prize of the German Book Trade (more here). The recipient this year is from China, too, but unlike Mo Yan he had to flee the country to write his book. It's Liao Yiwu, who took part in the demonstrations of the Tiananmen-Square in 1989 and was imprisoned for years afterwards due to joining the demonstration, and also due to poem he wrote and spoke on the evening before. His book  "Testimonials" / "Für ein Lied & 100 Worte" is the collected history of political and other prisoners, and was released in Germany a few weeks ago. I read into it. I don't find the words for it. I don't think I can read it. The excerpt alredy haunted me and let me wake in a dream of being imprisoned with my feet frozen in a block of ice. Here's a sequence from a video interview with Liao Yiwu:



To think of all those young students, engaging for freedom of speech and thought, and finding themselves imprisoned for years, tortured, killed.

It's hard to imagine, but then, it's something that happens in so many places. It could have happened here when the demonstations in East Germany started, and when the border checkpoints opened in the first night of reunion. It was partly luck that it all didn't end in a huge bloodshed here, like it did in Prague, or in China. It's something that is easily forgotten: how violent life in Europe was for a long time. The Nobel Peace Prize for the EU, as surprising as it was to hear the news - i guess like most, i expected a name rather than an organization - it brought back the larger picture of history. Since World War II, there are ongoing (or rather: endless), mostly bureaucratic and unsexy meeting of European politicians who all are working on the long and winding road to more community and less nationalism. They are also working for peace. It's not often put like that, but when you open borders and share your currency and work together in science and economy, when you do school exchange programs and a thousand other small and large reforms and get togethers (including european song contests), you are less likely to return to warfare when it comes to difficulties between states, because you are codependent or at least connected on so many levels already.

This video shows how common war was in Europe, it reaches from 1000 to today, and almost every change in borderlines meant war, lives lost, homes destroyed, refugees, vengeance, the next conflict - a spiral of bloodshed.



-- update: and here's an article that sums up a lot about the idea of the EU, by the Israeli ambassodor to France: Peace Price for EU

Howl - Allen Ginsberg
From China to Europe - and now to America: the online course on Modern American Poetry (ModPo) now moves to beat poets. The beat chapter starts with Ginsberg’s Howl – i printed it and listened to the audio while reading. Voice adds so much, especially for this poem, and the desparation it puts into words, which probably goes for many of those who lost their life and future when they found themselves between frontiers: "I saw the best minds of my generation destroyed by madness, starving hysterical naked..  "

*****

It's Monday! What are you reading? This blog post is inspired by the blog series "It's Monday! What are you reading?" which is hosted by Sheila at Book Journey. participating blogs are listed in this Linky Book List

Previous reading blog entries are collected here: bookshelf + monday reads. there also is a visual bookshelf, just click it to get there:



Some lines about me: I'm into roads, stories, places, crossings, and all the things they lead and connect to. I edit BluePrintReview and the blueprint book + lit blog. Apart from being an editor and blogger, I am also an author myself. My new book Worlds Apart just launched:

Worlds Apart: the true story of 2 friends, 2 journeys, and 10 life lessons  
In the global world, a traveler from Europe and a teacher from Asia meet in the web, share their journeys, and the joys, longings, and life lessons that wait along the road. Captured in letters and photos that reach from China and India to Germany and Spain, a dialogue across continents and cultures unfolds: Worl(d)s Apart


Saturday, October 6, 2012

in between moods, colors and timelines

(this post is inspired by photo friday's theme "Mood" and the timelines of seasons and projects that are  crossings these days)

 

today is a summer day in fall, brought along by warm winds from the south. the sunflowers are still flowering, the dahlias built new petals, the roses, too. some trees are still green - while others turned yellow or already skip their leaves. tomorrow the winds will turn, and the northern low will reach us with rain. and with skipping temperatures: from 24°C today to 15°C tomorrow. night frost possible.

meanwhile, the 100 days of summer project of shared daily creativity is are entering their final week. after posting day #93 in blue yesterday, i wrote to a fellow 100-dayer: "i just looked at the image page of my 100 days blog and felt: this could be complete now. but it would be odd to leave just 7 days before the end.



he wrote back, saying: "what you said about your photo stream is true of mine as well, they could end now. ... we have a challenge to bring ourselves to this for one last week." 

when i thought about it, i realized i already have the next day: a small stone picked at the way to the train station. which also might be the answer to: how to continue after the 100 days, if at all? - i think i will focus on smallstones - small moments and moods of the everyday, wrapped in a few words - a practice to move from the feeling of "in between" to right here. because all our days and weeks are in between, if we keep the focus on the larger image, the next milestone. and at the same time, each moment is right here, if we focus on the now.

another timeline: the Modern Poetry Online Class ("ModPo") - the 4th week is complete with Gertrude Stein and Dada-poets. the next = 5th week will mark the halftime milestone of the course, with a focus on Antimodernists and Formalism of the 1950s.  week 6 will add the beat poets. so many good poetry discussions, and beyond that, right now, a thought-provoking discussion that is developing in the forum on the larger scheme of free online classes: "So is the whole Coursera thing just a philanthropic effort or what?" it's up to 68 posts on education / learning / money / globalization / life now, with 1800 views so far. and it's too bad that they don't have an open area for such themes.

now: time to mow the lawn, before the rain arrives.

and: time to say hi to the flowers and their new, now petals.

------

....done. and i just had to take this photo:

Saturday, September 29, 2012

This week: The revolution brought by writing, The purpose of art & The poet's task



"A poem is a machine made of words" - Williams

Week 3 of ModPo, or: a larger image 
Week 3 of the online course ModPo (Modern & Contemporary American Poetry) is coming to conclusion. So glad i joined this courses, which became a daily practice by now - to read the next poem, to listen to the video discussion, to visit the forum.

In the current week, the main theme was the rise of Poetic Modernism, and with it, the course discussed formats as different as Ezra Pounds haiku-like 2-liner "In a Station of a Metro" and the classic modernist poem of William Carlos Williams: "The Red Wheelbarrow" that starts with the words / key: "so much depends / upon"

Also, for the first time the course visited and discussed 2 artworks: Marcel Duchamp's ready-made "Fountain" and his modernist painting "Nude Descending a Staircase"

Such a wide circle of thought - especially with the meta-level of modernism, and the way the poems address the idea of writing, which leads to general discussions of poetry, art, the artist's task.

The great thing about the course is that it leads through all those selected poems & poets & angles & artworks & reflections, while providing a string that is easy to follow and that cross-connects all those different works and thus provides the approach to the the larger picture -- the first two weeks formed the base, it feels, with their focus on Whitman and Dickinson, who both challenged the official verse culture, each in their own way, and the step from there to other "challengers": William Carlos Williams and the beat poet Allen Ginsberg.

Two quotes i want to keep from this week: the one at the start, "A poem is a machine made of words."

And this one, on art and the meta-nature of it, from the ModPo discussion on the Fountain:

"The purpose of art is to think about what art is." 

**

The revolution brought by writing
In almost perfect timing, the book i happened to start to read in September, and which by now became a daily habit, too - "A History of the World in 100 Objects" - arrived this week at the theme of, yes: Writing. Or to say it with the object that delivers the theme: "Early Writing Tablet". Made of clay, it its, found in Southern Iraq, and dating back to 3100 B.C.

The chapter starts with the words: "Imagine a world without writing - without any writing at all."

Here's a photo of the page, and below the central quote by John Searle, Professor of Philosophy at the University of California, Berkeley.



"Writig is essential for the creation of what we think of as human civilisation. It has a creative capacity that may not even have been intended. .. I think you don't understand the full import of the revolution brought by writing if you think of it just as preserving information into the future. There are two areas where writing makes an absolutely decisive difference to the whole history of the human species. 
One area is complex thought. There's a limit to what you can do with the spoken word. You cannot really do higher mathematics or even more complex forms of philosophical argument, unless you have some way of writing it down and scanning it.
So it's not adequate to think of writing just as a way of recording, for the future, facts about the past and the present. On the contrary, it is immensely creative. But now a second thing about writing, which I think is just as important as that, and that is when you write down you don't just record what already exists, but there are elements in which you create new entities. You create money, you create corporations, you create governments, you create complex forms of society, and writing is essential for all of that." - 

- Which, of course, also goes for online university courses and histories of the world.

Looking for the quote, i just discovered that all episodes of the book are up as online podcasts and transcripts, here's the one on the Writing Tablet: A History of the World - Transcript of Episode 15

There's more about ModPo & the 100Objects book in a previous post: 70 Days of Poetry with 30.000 Others + a History of the World in 100 Objects


Upcoming: Gertrude Stein and the awareness of the way words work

The next week in ModPo will focus on Gertrude Stein, which feels like the perfect next turn from here: Stein "took ordinary language - the "language of information" - and makes it strange, forcing us to be acutely aware of the way words work." (The Difference in Spreading)

Thinking of it, the definition also connects back to the idea of a poem as a machine made of word.



Next to the 2 quotes, and the reflection on writing, there's a longer text i want to add here, to keep in direct reach - it's a conversation from the ModPo forum, the first i started, inspired by Lorine Niedecker's poem: "Poet's Work"


**

The Poet's Task, or:  
"Poet" in German: "Dichter" = "condenser"




 While reading "Poet's Work", and while watching the video discussion on the poet's task to condense his or her impressions / reflections into the form of a poem, it struck me that the German word for poet actually is: "Dichter" - which is derived from the verb "dichten" - to condense. A single poem is a "Gedicht" - a "condensation".  And the whole field of poetry is: "Dichtung". Which in second meaning is also the word for seals.
- Dorothee

"I was trying to translate the poem in Albanian, and I was stuck ant the word "condense". My friends came up with a lot of words that describe some kind of "making" that requires skill, talent and hard word to give a unique, very personal product. Now that I read your post, it just stuck me again, I can't find the right word in my language, because there isn't one. We use the Greek word for poetry. Thanks for pointing this out, this is the reason why I love languages and I'd like to learn them all if it was possible. I do have to go back to German though, started twice and stopped to go back to the Latin languages..."
- Mirela

"I love this! Part of the joy of poetry is learning new things as we try figure out what on earth the poet was trying to say. I'll add checking on the origin of words from now on when I run into the use of a word that doesn't seem quite right or maybe too obvious in English.
 The other connection to German here may be the admonition by Grandfather to learn a trade. I live in the Texas Hill Country where there was a significant German immigration and these were successful and prosperous folks, mostly tradesman, craftsman, shopkeepers, who came to America to make their fortune. They are still known as industrious, hardworking, and successful folk here because they came originally with "a trade." LOL
 On the poem itself - I think it is a kind of tongue in cheek retort to perhaps an overbearing grandfather and also a comment on how much "noise" there is out in the world and how a poet will always have a job in trying to clear away the static to make things clearer;)"
- Rose Marie

"That's so cool! Thank you, Dorothee, that's a little tidbit of information I'd never have stumbled upon on my own. - I love etymology; a quick origin study can bring such unexpected depth to words we otherwise wouldn't have given a second thought."
- Christina

"I almost didn't stumble upon it, either :) - i guess it's all the close reading that made me look at the word "Dichter" and see the different, original meaning.
And now i just looked up "Poetry". It's derived from Greek and relates to "making", here's the wiki explanation: "Poetry (from the Greek poiesis — ποίησις — with a broad meaning of a "making", seen also in such terms as "hemopoiesis"; more narrowly, the making of poetry) is a form of literary art which uses the aesthetic qualities of language to evoke meanings in addition to, or in place of, the prosaic ostensible meaning."
- Dorothee

"A very good point. Ezra Pound wrote about those German words in his book "ABC of Reading"...It's all about condensation.. Nice!"
- Olimpia "

"That's so fascinating. I didn't know that and just looked for a quote, found the passage online. So maybe Niedecker's poem could also be relating to the lines of Ezra Pound (copy below)?"
- Dorothee

*
From ABC of Reading by Ezra Pound

Chapter Four

 1 ‘Great literature is simply language charged with meaning to the utmost possible degree.’ Dichten = condensare. I begin with poetry because it is the most concentrated form of verbal expression. Basil Bunting, fumbling about with a German-Italian dictionary, found that this idea of poetry as concentration is as old almost as the German language. ‘Dichten’ is the German verb corresponding to the noun ‘Dichtung’ meaning poetry, and the lexicographer has rendered it by the Italian verb meaning ‘to condense’.
 

*

"If that is correct that is a great observation - it would link in to both: the condenser/condensery comments, and the grandfather if I am correct in my assumption that Niedecker is a germanic name"
- Peter

"Very cool. That makes me wonder if maybe her grandfather spoke German."
- Stephanie

"Peter, Stephanie: I wondered about the same thing - Niedecker is a German family name. I looked for hints in her biography, but the online versions don't really tell much about the roots of the family."
- Dorothee

"I saw in a reliable blog that in the same chapter ("dichten-condensare") Pound mentions a question addressed to a Japanese student -- "what is the difference between prose and poetry" -- to which the student answered “– Poetry consists of gists and piths."
- Olimpia

"Why would poems be considered "condensations?" I wonder. Are they shorter than prose works? Walt Whitman's poem, for example, was immense and sprawling; other poems, such as epic poetry (Beowulf, the Odyssey), can take hundreds of pages. Other poems, however, such as Martial's epigrams, are in fact quite condensed (2 lines!). I guess that poetry was once thought of as shorter and more "pithy," but that definition has greatly changed. It is quite useful in this particular poem, however."
- Sarah

"Hey, Sarah (and everybody) - you brought a quite interesting point of view... And you did chose such good examples But I find myself wondering about the difference between "length" and "condensery"... ...maybe a poem can be immense and, at the same time have every word, every sentence, so precise and full of meaning… Like in the Odyssey, considered by many to be just perfect. If we borrow the Ezra Pound quotation Dorothee mentioned above "Great literature is simply language charged with meaning to the utmost possible degree." I think this sentence applies to the use of language, not to the size of the poem .."
- Olimpia

(link to the original forum post, you have to be enrolled to be able to visit the forums)

Wednesday, September 19, 2012

ModPo Live Webcast + blog review



right now: following the ModPo live webcast at youtube: ModPo Live Webcast - 9-19-2012

this live feeling is exciting - meeting at a both real + virtual place after the first 10 days of this online poetry course.

600 course students from all over the world are following the webcast, there's interaction through the youtube comments and through twitter. the link to the twitter stream is: #modpolive

**

PS: i blogged about the course some days ago here:
70 Days of Poetry with 30.000 Others + a History of the World in 100 Objects

**

PSS: and now i just came across an extended + interesting blog review of the whole ModPo-course, from Rheyden at Stepping Stones:
"With the start of the fall academic calendar, I’ve treated myself to participation in Coursera’s Massively Open Online Course (MOOC), Modern Poetry (#ModPo). This is a gigantic online course, offered on the Coursera platform, by University of Pennsylvania with the professor, Dr. Al Filreis. Filreis is a Kelly Professor of English at the University of Pennsylvania and the Faculty Director of the Kelly Writers House on campus. He is the author of many books and articles, a noted scholar, and a gifted educator. He’s also got a pretty darned impressive digital footprint (with an active Twitter feed and a blog) – his comfort with online participatory media really shows in this course (and, of course, helps to make it work). From Filreis’s blog: ”I do believe that’s the genius of this (the Coursera) model. The wisdom of crowds in a format that permits the wisdom to come through.”

Sunday, September 16, 2012

70 Days of Poetry with 30.000 Others + a History of the World in 100 Objects



70 Days of Poetry
Some days ago, the literary course "Modern & Contemporary American Poetry (ModPo)" by Al Filreis started. The official introduction to it says: "This course is a fast-paced introduction to modern and contemporary U.S. poetry, from Dickinson and Whitman to the present. Participants (who need no prior experience with poetry) will learn how to read poems that are supposedly "difficult." - Almost 30.000 people enrolled so far, and after taking listening to parts of 2 other classes before (more about that here), i really looked forward to this one, and was curious how a poetry class of that size might work. I also put a ModPo blog feature up in the blueprint blog with a preview video, which gives an idea of the classes.

The poem they picked for the start is “I Dwell in Possibility” by Emily Dickinson. The suggested approach to take part is: read the poem, listen to the video discussion, then join the forum discussion. What really is great and different compared to the other classes: it’s not a lecture-styled video, but a round-table talk with different takes. it’s a good concept to show how there are multiple ways to read a poem, not one single, “correct” interpretation, and lively to follow.

There were 7 videos for the first week, which made it easy to figure out a rhythm to join. While listening to the video, i thought: it will be 10 weeks of poetry = 70 days. After 3 poems from Dickinson, Walt Whitman followed, with "Song of Myself", and a 2-part discussion. So inspiring to watch - i really had no idea of how the “closer reading” might work. We never did something like this in school here in Germany. It’s really a pity – back then, they made us learn poems by heart, no matter if we understood the meaning or not. which might explain why some people have a kind of broken relations to poetry. I was reminded of that in the forums, when i read a thread called “I am lost”. it  starting with this note:

I am Lost
“I am lost. I feel just the same as I did in high school. There seems to be some magic skill one has to have to deal with poetry, and it seems that most other people automatically know how to do this.I don't. I thought now that I am older, I may be able to figure it out, but I am still just as lost. How do you know what she (the poet) is trying to say? It seems like magic, like just making something up. It seems like there is some secret way of doing this and nobody is saying what it is or how an outsider can become a member of this secret society. Right now I am frustrated because it seems that poetry is forever beyond my comprehension or ability."

following that, many comments appeared with suggestions and own experience, like this: ”I used to feel the same frustration until I realized that there is no right or wrong intrepretation of a poem, and you also don't need to neccessarily understand a poem to enjoy it. There is no magic skill, just a close study of each word in the poem as they are doing in the video discussion. “

and this: “This isn't magic, although I know that it feels that way at times. The first step is to read the poem. What does it make you feel? What does it make you imagine? What does it make you think of? What does the poem describe? The goal isn't to make a complex cathedral of ideas that are guarded by boiling oil and cannon, but to each describe how we view it and share our ideas. Unless one of us is a medium, we will never know for sure the meaning intended. However, we can enjoy the journey and find what the poems mean to us. - Does that help at all?”

and then, a following post with someone describing his feeling in the course: “71 years old...little background reading poetry, but having great fun! Had no idea what "close reading" was...now I do (have an idea). Brief expose has been enlightening and enjoyable. I begin the course a novice...and will end as such...but, I hope, the better for the experience.” 

A Play with Possibility
i loved that. i thought: i want to be like this when 71. open, joyous, a novice, the better for the experience. i also tried to remember the turn that brought me to poetry, the first poem i wrote. strange, i thought it would stand out in memory. it took a bit until the answer surfaced: the first poem i put online, it wasn't a poem on first glance, but a moving flash: Falling. and it was more of a play with possibilities at first, until i arrived at this page, which was the start of my webpage for a while (click to see animated version):



"Falling" was followed by a series of moving images, again with words included. here's one of them, called "Time":



I Remember
The pondering on poetry and memories brought me back to "I Remember, I Remember" by Mary Ruefle, from the current edition of Poetry magazine. it's one moving and beautiful read, starting with the first moment of poetry for Ruefle:

"I remember—I must have been eight or nine—wandering out to the ungrassed backyard of our newly constructed suburban house and seeing that the earth was dry and cracked in irregular squares and other shapes, and I felt I was looking at a map and I was completely overcome by this description, my first experience of making a metaphor, and I felt weird and shaky and went inside and wrote it down: the cracked earth is a map. Although it only takes a little time to tell it, and it is hardly interesting, it filled a big moment at the time, it was an enormous ever-expanding room of a moment, a chunk of time that has expanded ever since and that my whole life keeps fitting into."

here's the whole text: I Remember, I Remember

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A History of the World in 100 Objects
The reason i ordered "A History of the World in 100 Objects" was partly the same one as registering with the poetry class: a curiousity for format and concept. How could anyone tell the history of the world in 100 objects? It seems impossible. Even when the one who takes on the task is the British Museum. After coming across the book for three times, i read an excerpt. The excerpt starts with the very words: "Mission Impossible". And then explains the concept:

"The rules of the game for A History of the World in 100 Objects were set by Mark Damazer, Controller of Radio 4, and they were simple. Colleagues from the Museum and the BBC would choose from the collection of the British Museum 100 objects that had to range in date from the beginning of human history around two million years ago and come right up to the present day. The objects had to cover the whole world, as far as possible equally. They would try to address as many aspects of human experience as proved practicable, and to tell us about whole societies, not just the rich and powerful within them. The objects would therefore necessarily include the humble things of everyday life as well as great works of art." 

The author of the book is Neil McGregor, the director of the British Museum. Reading the rules brought me right back to walking into the halls of the musuem. They have the rosetta stone there. Egyptian mummies, too. African masks. Buddhists statues. Everything, really. Where would they start?

When i read on, i expected more background information, a timeline, a map with continents and places the object relate to, the story of how the book came together. What i didn't expect, though, was the next chapter title. Right on page 4 of the text:

The Necessary Poetry of Things
Thinking about the past or about a distant world through things is always about poetic re-creation. We acknowledge the limit of what we can know with certainty, and must then try to find a different kind of knowing, aware that the objects must have been made by people esseentially like us.  ...  Can we ever really understand others? Perhaps, but only thorugh feats of poetic imagination, combined with knowledge rigorously acquired and ordered.

More about this book, at a later point (or if you want, there is a short excerpt online here, and a longer one available at Amazon). i plan to read it at the pace of 1 object a day. Which also goes well with the 1 poem + poetry video a day. It almost feels a bit like being back at school, or at university. And the season is fitting for it, too: school started here last monday again, after the summer pause.

Looking forward, both to the poetry and the history.

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It's Monday! What are you reading?

this blog post is inspired by the blog series "It's Monday! What are you reading?" which is hosted by Sheila at Book Journey. it's a blog initiative to share ones own reading and to see what others are currently reading. participating blogs are listed in this Linky Book List

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Previous reading blog entries 
are collected here: bookshelf + monday reads
there also is a visual bookshelf, just click it to get there: