MFA Seminar: How Poets Learn from Translation, English 750
Fall 2014
Class Days: Mondays
Class Times: 3.30-6.10
Course Overview
Professor: Ilya Kaminsky
Contact Information: ilya_kaminsky@yahoo.com
Office Hours Days: Mondays 7-8pm by appointment
Office Hours Location: AL 211
Through 1960s, the great Italian author Italo Calvino was obsessed with translation of Les
Fleurs bleues by Raymond Queneau. This intense work of translation, critics and scholars agree, led to a revolution in Calvino's own literary language and style. By changing his style, Calvino also greatly influenced the 20th Century literature.
How can we learn from Calvino's experience, and take translation as a tool for transforming the way we (and others) see our English language?
Since the times of Chaucer, all through the 17th century and Modernism, translation has played an important role in the development of our literature. In this class, we will consider how the process of translation teaches us about the new possibilities and joys of our very own English language. What can we learn about English by translating from another poet of a very different culture and tongue? How can we extend the boundaries of our speech and make them feel beautiful? What new poems can arise from that process?
What are the metaphysics of translation?
Knowledge of foreign language is helpful, but certainly not required. (During the workshop portion of the class you will have the choice whether to submit your own work or translations.) There will be many opportunities to connect with other practicing writers from around the world.
SDSU Description of the class:
Advanced seminar in poetry writing. May include readings in contemporary poetry and theory. Students in poetry focus must take course six times, generating new work each time with various instructors. Maximum credit 18 units applicable to a master's degree.
Student Learning Outcomes: Completing the class will help you to—
1) gain more in-depth knowledge about poetry, translation, translation theory, and poetics from around the globe,
2) gain more in-depth knowledge about the specific tools of poetic craft, various literary traditions
3) demonstrate the ability to implement these complex tools of poetic craft in your own writing.
Enrollment Information

Course is only open to MFA Students. Others may enroll only with the permission of instructor.
Course Materials
Required Books for our Class Discussion:
1) Ecco Anthology of International Poetry (Harper Collins Publishers)
2) A list of 20 books will be assigned individually to each student. Weekly journals based on these individual readings assignments will be crucial for completing the course.
Individual Reading Assignments
Extensive individual reading assignments will be made, based on your writing. The idea here is to provide you with individualized attention, and to expand your craft.
Online Podcasts
This class will give you an in depth over-view of poetics from around the world. In addition to your conversations with me, and your Q and A with visiting poets, I highly encourage you to listen to Poetry
Foundation’s Free Online podcasts. Many poets who are interviewed for their International Poets in
Conversation series will be the authors we will discuss in this class (eg Mort, Zagajewski, Murray, etc.).
So, this particular series is something you may want to check out in your spare time. Here is the link: http://www.poetryfoundation.org/foundation/internationalconversation
Course Structure and Conduct
Structure
The course will consist of three elements: lecture/discussion/presentations, individual mentorship, and creative writing workshop, which will not be treated separately, but rather as integral components of a course in poetry and poetics.
During our lecture/discussion we will concentrate on our study of various poems from around the world: litanies, narratives, lyrics, meditations, spirituals, protests, love songs, etc. On line-by-line basis, we will discuss the process, the forms, and possibilities of music, image, and tone in the short piece. We will try to find guidance in individual poems from various traditions from around the world.
Because this class, in many ways, will be about creating your own connections to a larger tradition, I will expect to spend a great deal of time working with each of you on the individual mentorship basis: you will be assigned a hefty individual reading list which will be based on your own poetry (which I will read prior to assigning those books). You will submit weekly reading journals based on your readings, and we will discuss how these journals can improve/expand your own writing.

Because this is not a small, intimate-setting workshop course, we will consider different ways of holding our workshop sessions to benefit you best. More information on this is forthcoming. But please know that while workshop is not the main component of this class, we will use it to expand your own idea of writing, revision and learning of poetic craft.
Course Assessment and Grading
Grading
Class Participation (10% of your final grade) – When discussing literature, make salient points illustrated by quotations from the text.
Weekly Reading Journals (40% of your final grade) – You will be assigned a heavy individual reading list. In addition to our main text for the course (Ecco Anthology of International Poetry) and at least 20 additional books will be individually. I encourage you all to use library or inter-library loans for these books. The weekly journal will consist of your favorite passages and creative responses on the books you are reading. At least 10 pages a week of favorite passages and 2 pages of creative responses will be expected.
Memorized poems (10%) You will be expected to memorize at least two poems of minimum 15 lines.
One of those poems should be by another author. Second poem may be by another author or yourself.
Mid-Term Project (20%) Final project will be a group translation project. Your group will work with a published poet from another country. You will be expected to complete a group-based portfolio and present it to class..
Final Project (20%) You will conduct an in-depth individual research into the work of another poet OR movement OR tradition. You will present that work to class. Presentation must show us how we, as practicing writers, can learn from that poet, or movement or tradition. Merely theoretical or explanatory presentation will be insufficient. We will expect to come out of your presentation with clear understanding how it has influenced your own work (ex: what new tools of craft did you learn? How did you implement them in your writing?) and how it can help us to grow our own craft.
Portfolio of your own poems (required for passing the class) : please submit a portfolio of all the work that you have revised after our workshop discussion. You may submit it by e-mail.
Absence Policy
I have zero tolerance towards unexplained absences. If you miss a class without explanation, your grade will be reduced by 10%. Be on time. If you are tardy twice, it counts as one absence. I do allow a maximum of two documented (e.g. doctor’s, school official’s, military official’s or work administrator’s note) absence.
REMINDER OF DEADLINES
 Weekly Journals: due every class. If you do not want to print them out, you may submit them by

email at: poetryjournals@yahoo.com
 Group Project: Second Monday in March
 Recitation & Final Presentations: last Monday in April
 Portfolios: due by email, last class