Top 10 Reasons Why “Navigating Emptiness: Benefits and Drawbacks of Teaching the Lyric Essay” Was A Great Panel
March 11, 2014 § 1 Comment
10. Smart Women Panelists
The scheduled mixed-gender panel of four turned out to be three women, three very smart women well-suited to the discussion of the “lyric essay’s delight in gaps, association, and the unknown,” a panel who also presented effective teaching strategies. Panelists included moderator and editor of Rose Metal Press, Kathleen Rooney; Dr. Nicole Walker, Northern Arizona University; and Dr. Julie Paegle, Associate Professor of Poetry at California State University San Bernardino.
9. A Hot Topic
Lyric Essay. This brief form might be voted Most Popular AWP Concept 2014 if you take into account the number of panels devoted to any murky combination of short form considerations. I counted thirteen, though more might have been lurking behind cleverer titles.
8. Best Neologism to Replace Clunky “Cross-Genre-Hybrid-Form-Trans-Blended-Flash-Shorts-Lyric-Essay” Terminology
Thanks to Kathleen Rooney for introducing “Open Form Essay,” and for explaining how she arrived at a term whose definition enacts what it names. She says the term occurred to her after reading Naked Poetry, a 1969 anthology, Stephen Berg, ed.
7. Concrete Tips
See also: #2, Handouts.
6. Sample Assignments
Well-articulated assignments accompanied by either clear instructions or detailed handouts made this panel’s take-away value high. Assignments included “imitation” assignments from readings; working with the Petrarchan sonnet as an generating structure for a piece; and writing secrets, one true and one false that both appear to be true, to be redistributed and serve as a prompt for another student’s essay.
5. Cool Recommended Texts
The texts were chosen to serve in specific themed courses, but having titles listed in the syllabi helped me to better envision the connections each instructor was looking to make. Three books that I felt I would read anyway were A Beautiful Marsupial Afternoon: New (Soma)Tics, by C.A. Conrad; Dreamtigers, by Borges (I’ve read only selections); and The Noisy Egg, poetry by panelist Nicole Walker. The panelists did seem to be teaching the lyric essay in a cross-genre fashion for the most part, and this was reflected in their hybrid booklists.
4. Good Hybrid Form Apologists
I guess we’re always anxious to know the why of everything and this panel revealed a number of reasons why a hybrid approach is a good strategy for teaching grad and undergrad student writers. Panelists variously claimed that this mode was useful for grads to cross-fertilize their “home” genre, that a short form can serve more concisely as a teaching model for how to understand and manipulate a text, that the open form lends itself to manageable self-reflection, and that in certain student populations it can be empowering for students to realize they can use literary strategies to process trauma.
3. A Well-organized Presentation
At 9am on an AWP-Friday morning, clear and useful presentations full of ideas and hewing to time limitations that also allow ample time for Q&A makes you glad you answered the alarm instead of sleeping through it. Like you wanted to. They were a fast-paced, smart, and superbly prepared panel.
2. Helpful Handouts
You might feel like a shopper at a sale table when an AWP panel offers a handout. Mine! These Navigators offered three. I especially appreciated that at least one panelist brought an assistant to insure the sheets were evenly distributed and that there were enough handouts for the entire group. Except for the last handout that proved to be one short. Mine. However, these panelists offered to email material to those who missed (tip to future panelists: we are writers, after all. We will read and likely hoard the stuff). Handouts include complete course syllabi as well as lists of course texts and a couple of assignments.
And the TOP reason “Navigating Emptiness: Benefits and Drawbacks of Teaching the Lyric Essay” was so good:
1. Smart Women Panelists Who Said the Following Memorable Near-quotes
Nicole, in regards to instructing students, stressed that they need to “ground floating thoughts . . . Thoughts need an audience. (I tell them) your thoughts need to be seen as a character. Put yourself in a character on the page.” Kathleen, defending her term “Open Form Essay,” stressed the need to avoid designation that over-determines the writing before it’s written, but instead to “allow form to develop organically. To let content shape the piece.” Julie, in discussing the tension inherent in lyric’s epiphanic transport and narrative’s movement through time, said that the lyric essay can be thought of as “a time machine that renegotiates suspended time.” Besides being intelligent writers, they were friendly, engaged, and generous. Thank you, all.
Sally Ashton is Editor-in-Chief of DMQ Review (www.dmqreview.com), an online journal featuring poetry and art. She is the author of three poetry books, and she has just completed Behaviour of Clocks, a hybrid collection. Ashton teaches at San Jose State University and in Disquiet International Literary Program, Lisbon. http://disquietinternational.org/