Marie Howe

BS, University of Windsor, Canada. MFA, Columbia University. Chancellor to the Academy of American Poets; Poet laureate of New York State; author of Magdalene; author of The Good Thief, selected by Margaret Atwood for the National Poetry Series; editor, with Michael Klein, of In the Company of My Solitude: American Writing from the AIDS Pandemic; author of What the Living Do; recipient of the Peter I. B. Lavan Younger Poet Prize from the Academy of American Poets, the Mary Ingram Bunting fellowship from Radcliffe College, and grants from the National Endowment for the Arts, the Massachusetts Artist Foundation, and the Guggenheim. SLC, 1993–

Undergraduate Courses 2019-2020

Writing

First-Year Studies: Ecopoetry: Poetry in Relation to the Living World

Open , FYS—Year

Poetry is the human song called out: in joy, in love, in fear, in wonder, in prayer, in rebuke, in war, in peace, in story, and in vision. The human poem collects us together, individuates us, and consoles us. We read poems at funerals, at weddings, graduations...they accompany us through the gates of our lives, in public, or in private...shared through a book, a computer, a letter, a song. Now we find ourselves at the brink of an unstoppable ecological disaster. A change of consciousness is necessary. How can poetry accomplish this? For a long time, we have not noticed how our civilizations and technologies have affected the rest of the living world. This course will ask questions: Who do we think we are? Who taught us that? Who are we in relation to the other animals? To trees and plants? To insects? To stars? How have our human myths informed those relationships? How are those myths evident in our human world today? What is poetry? What is ecopoetry? How can poetry instruct? How can poetry document? How can poetry re-vision? Prophesy? Protest? Preserve? Imagine? In our time together, you will read poetry written by published poets. You will write your own poems, one each week, and share them with each other. You will keep observation journals, meet with another person in our class each week in a poetry date, and meet with me in individual and small-group conferences. We will proceed as curious learners and writers. Through our close study, each of you (in conference work and together) will learn about a very specific aspect of the natural world that interests you (an animal, a forest, a coral reef, etc.) and then teach the rest of us in class what you have learned. We will learn how to write poems about these subjects so that the poem itself becomes an experience we have never had before. And we might slowly move away from the human as the center of the poem and welcome the rest of the living world in. We will know more at the end of this class about the other animals and plants and insects and rivers and oceans. If our hearts break with this deepening relationship, we might also discover a great joy and a new responsibility. We will want to share what we have learned and written with the wider community. We will find ways to do that. I can assure you, we will be changed. Students will have an individual conference every other week and a half-group conference on alternating weeks.

Faculty
Related Disciplines

Poetry: What Holds the Unsayable

Open , Seminar—Spring

Poems are not merely feelings, the poet Ranier Maria Rilke has written, but experiences. What is the difference between a feeling and an experience? How can a poem become an experience? How can a poem, originating from the personal, transcend the personal? How can writing the poem transform the writer? Every poem holds the unsayable. How does a poem do that? How can we attempt to do that—using words? If you are interested in these questions, take this course. It is open to experienced writers, as well as to absolute beginners. If you are interested in these questions, you are welcome. This is a reading/writing course. We will spend time every week reading poems that have already been published (by dead poets and living poets) to see how they were made: music, syntax, line, sound, and image. We might spend time generating new work in class through exercises and experiments. And we will spend time looking closely at one another’s work, encouraging each other to take risks and move even closer to the mystery of the poem. Each writer in the class will meet with another class member once a week on a “poetry date.” Each writer will be responsible for reading the assigned work and for bringing to class one written offering each week. We will work hard, learn a great deal about poetry and about our own poems, and have a wonderful time.

Faculty
Related Disciplines

Graduate Courses

Writing 2019-2020

Poetry Workshop: Speaking in Tongues, Wearing the Mask: Speaker, Persona, Impersonation, Ventriloquism, Fragment

Workshop—Fall

When I state myself, as the representative of the verse, it does not mean me, but a supposed person. —Emily Dickinson in a letter to Thomas Wentworth Higginson.

For centuries, poets have spoken in the voices of other people. From the early Greeks to Shakespeare, to Walt Whitman, to Emily Dickinson, to Robert Frost, Sylvia Plath, Robert Hayden, Lucille Clifton, Louise Gluck, Patricia Smith, Nick Flynn, Jorie Graham, Tyehimba Jess, etc. What is made possible when one speaks in the voice of a character in an ancient story or myth? What is made possible when one gives voice to a character that lived in another time? Who dares to speak in the voice of a flower? Of a bee? Of a storm? Of a star? What if one gives voice to the fragments of voices within one‘s consciousness? In this class, we will read poems where the poet has spoken in a different tongue, or worn the mask of someone else, or something else. Each participant will be expected to deeply read assigned collections each week, to meet with another student in a weekly poetry date, and to bring in one new persona poem each week. I hope we will find that outside the limits of the personal story is a cosmos of possibilities for empathy, revision, wonder, instruction, and finding another way in: slant.

Faculty

Previous Courses

Eco-Poetry

Open , Seminar—Year

In this poetry class—a yearlong school of poetry and the Earth—we will consider the great organism Gaia, of which we are a part. We will read the long and rich tradition of poetry addressing itself to this subject, from the early indigenous peoples through the Zen monks and Wordsworth and right up through Gary Snyder and to utterly contemporary poets such as Brenda Hillman and Chase Twitchell. We will also read books and articles that teach us about the physical world. We will wonder how eco-poetry is different from nature poetry. We will practice one and then the other. Each student will research an aspect of the natural world and incorporate that knowledge into documentary poems. Each student will present his/her knowledge and poems to the class community as a conference project each semester. We will read books of poems but also watch films, take field trips, and meet with each other outside of class. By the end of the class, my hope is that each of us will have a greater understanding of the great organism that we call Earth and will create a collection of poems that engage the questions that our class raises: What is time? What is death? What is Eden? Where is the garden now? Who are the other organisms? How have we, as a species, affected the other organisms? How have we affected the oceans, the earth, the air? How can poetry address the ecological crisis? Required for this class: intellectual curiosity, empathy, and a willingness to observe the world—to pay attention and to write poetry that matters—beyond the individual self. This is a class for experienced writers, as well as for those who want to give writing poetry a try. All are welcome.

Faculty
Related Disciplines

Poetry Workshop

Open , Seminar—Spring

This is a reading/writing course. We will spend time every week reading poems that have already been published to see how they were made: music, syntax, line, sound, and image. We might spend time generating new work in class through exercises and experiments. And we will spend time looking closely at one another’s work, encouraging each other to take risks and to move even closer to the sources of our poems. Each writer in the class will meet with another class member once a week on a “poetry date.” Each writer will be responsible for reading the assigned work and for bringing to class one written offering each week. We will work hard, learn a great deal about poetry and about our own poems, and have a wonderful time.

Faculty

Poetry Workshop

Workshop—Fall

This graduate workshop will involve a lot of reading and writing. What are the dominant myths in Western culture? How is your own worldview influenced by them? What is your relationship to the garden? To time? To error? To form? To wholeness? To brokenness? How does the manner (the how) of your poems reflect that worldview? What is your relationship to “the natural world”? If you join this class, you will read The Book of Genesis, The Greek Myths, and many other nonfiction texts, as well as books of poems—approximately a book a week. You will write a poem a week and meet with another member of our class community once a week in a poetry date. You will keep a journal of observations each week. You will meet with me in a conference every other week. And you will collect your poems into a chapbook at the end of the term. I ask for full participation, deep inquiry, and rigor. We will have a wonderful time.

Faculty