BTAN35104
North American Department, IEAS, University of Debrecen, Fall 2008
Studies in North American Poetry
AMERICAN POETRY FROM 1945 TO THE PRESENT
Fall 2008
TH 10:00-11:40
Rm.: main bldg. 121
Zoltán Abádi-Nagy, office: main bldg., 120/2
Phone: (52) 512-900/22507 (no voice mail)
E-mail:<abnagyzo@yahoo.com>
Office hours: TH 12:00-13:00, F 14:00-15:00,
and by appointment.
Make-up classes, when needed:
Prospectus
This course is designed to be a close study of major figures and works marking significant
movements in mid- and late 2Oth century American poetry, including traditionalism, avanteand arrière-garde poetry, late modernism, postmodernism, the Black Mountain School, the
Beat Generation, the New York School, ethnic/multicultural/new identity poetry, women’s
poetry, confessionalism, deep imagism, and language poetry. Besides emphasizing major poets
from 1945 to the present, some poetic theory and criticism will also be incorporated as well as
relevant sociopolitical, cultural, and intellectual developments examined.
Class Format: discussion combined with brief lecture sections and debates
Credit: 2 credit hours.
General Course Requirements
Considering that this is a poetry seminar, reading assignments are reasonable. Students will be
expected to attend class faithfully, to keep up with the readings, and to come to class prepared
with questions and comments for discussion. The classes will be conducted in an atmosphere in
which the instructor and the students take the time to discuss readings and share their insights.
We can set aside part of any class meeting for informal discussion of our work if needed.
Specific Requirements
2
Reader's journal; informed attendance; participation in class discussion; presentation; writing
workshop; in-class essay; out-of-class essay; final test.
Presentation
One ten-minute presentation (or fifteen minutes if two students team up to do one): an
exposition and critique of a PRINTED critical essay related to some major aspect of postWWII American poetry or a school of that poetry or a poet in general or to a poem in
particular. The presenter’s aim is to generate a good debate by using the interrogative
(question-and-answer) method. Sign-up deadline for presentations: September 18. (Maximum
two presentations per class session.)

Writing Assignments
JOURNAL—Each student will keep a reader's journal in a separate notebook, making
an entry of at least one page per assigned reading, raising at least one pertinent issue for
classroom discussion. You are free to choose your own topics. (More about this in
class.) The journal entries may be hand-written or typed, as you prefer. Journals will be
collected at least twice during the term, beginning the fourth week of class.
PAPERS—1) The in-class essay topics will be based on the poets discussed up to that
point (topic assigned). 2) The out-of-class essay (eight double-spaced, word-processed
pages) will be both theoretically guided and a topic of your own designing. (This will be
elaborated in class.) It is a research essay with at least two printed sources. You can sign
up for individual conference sessions in my office hours if you have difficulty in
designing a topic. The take-home essay will be discussed in a peer workshop before it is
submitted. The writing workshop is fundamental to the course. Students who do not
participate in it, because they are absent without good cause or do not have a fully
drafted version of their paper, will lose 5 points on the grade of the paper once it is
handed in. You must give me and your fellow students copies in the class preceding the
project session week. For due date see "Schedule" below. Assignments 1 and 2 will be
discussed in detail in class. 3) The final test will be cumulative, a combination of
various kinds of identification questions. It will be described more fully in class near the
end of the semester.
N.B.
3
1. Documentation, format—When you consult or quote a source, document it according to the
usual academic principles. In all matters of form, use the MLA format. If you have questions
about how to do so, ask me, or ask a librarian for the 4th or 5th edition of the MLA
Handbook.
2. Editing—Take pride in your work, edit it carefully, root out mechanical errors. Expect your
out-of-class paper and final exam essay to lose one point per five errors.
3. Font, margins—Out-of-class papers must be typed in an ordinary font. Those with
abnormally wide margins or typeface, will be returned unmarked, and must be resubmitted
as directed.
4. Late paper policy—No late paper policy. The presentation and essay deadlines are not
negotiable.
5. Academic misconduct—Plagiarism will not be tolerated. You can be assigned a grade of F
for it. The Institute of English and American Studies expects its students to adhere to the
university’s code of student conduct, especially as it pertains to academic misconduct.
The following statement must be typed on the title page of your essay and signed in
hand: “This paper has been prepared in full awareness of the international norms of
academic conduct.”
Grading
Participation in discussion (inclusive of occasional quizzes—unannounced, and
evaluated on an S/F basis, F meaning a loss of one point in each case—designed to check if you
have actually read the day’s reading) will count 10%,
journal: 10%,
presentation 10%,
in-class essay 10%,
take-home essay 30%,
final test 30%.
A/5=91-100; B/4=81-90; C/3=71-80; D/2=61-70; F/1 is 60% or below.
N.B.
1. Course requirements—The out-of-class essay and the final test are course requirements
in that without satisfying these, you cannot pass the course.
2. Incompletes—Incomplete grades will be possible only if you must miss classes or the final
test because of verified illness or for scheduled activities of official university student
organizations—if (this applies to the latter case) I am notified in advance of your absence.
3. Absence policy—Grades can be lowered for more than three unexcused absences. If
circumstances exist that cause you to be absent more than twice in the semester, make an
appointment to speak to me about your progress in the course. However, more than three
unexcused absences will automatically fail the course. It is possible to fail the course by
absences alone.
4. Tardy policy—Tardiness and early departures are not allowable. They are offensive to your
fellow students and to the instructor because they disrupt class work. If you have a
4
5.
6.
7.
8.
compelling reason for arriving late or leaving early, speak with me about the problem. If you
regularly cut the beginning and/or the end of class sessions, it can add up to unexcused fullclass-time absences.
Extra credit—No extra credit policy.
Borderline grades—If your grade is borderline, it depends on attendance and the general
pattern of your work (performance improvements) if you can get a break.
Discussing grades—If you have questions about how I evaluated your work, please stop by
to see me. It is my policy to discuss grades in person only, and not over the telephone.
Disabilities policy—Students who need course adaptations or accommodations because of
certified disability or who have emergency medical information to share, should speak to me
after the first class meeting.
SCHEDULE
Month
Day
Assignments
September
11
Orientation
18
I. LATE MODERNISM, ARRIÈRE-GARDE, POETIC FORMALISM
Theodore Roethke’s “Open House,” “My Papa’s Waltz,” “The
Waking,” “I Knew a Woman,” “In a Dark Time”;
Elizabeth Bishop’s “The Fish,” “Sestina,” “In the
Waiting Room,” “One Art.”
25
Robert Penn Warren’s “History among the Rocks,” “Founding
Fathers”;
(signup
Randall Jarrell’s “The Death of the Ball Turret Gunner,” “Eighth
dead- Air Force,” “A Girl in a Library,” “The Player Piano”;
line
for
Howard Nemerov’s “The Goose Fish”;
pres.)
Richard Wilbur’s “Year’s End.”
Month
Day
Assignments
5
October
2
II. POSTMODERNISM: THE BLACK MOUNTAIN SCHOOL
Charles Olson’s “Projective Verse,” “Maximus, to himself,” “Song
3” (from The Songs of Maximus);
Robert Creeley’s “Words,” “The Dishonest Mailmen,” “The
World”;
Robert Duncan’s “An African Elegy,” “The Ballad of Mrs. Noah,”
“Poetry, a Natural Thing.”
9
III. POSTMODERNISM: THE BEAT GENERATION
Allen Ginsberg’s “A Supermarket in California,” “Howl,”
“America,” “A Vow,” “Sunflower Sutra”;
Gregory Corso’s “Poets Hitchhiking on the Highway”; “God?
She’s Black?” “The Bomb”; Gary Snyder’s “Ax Handles”;
Lawrence Ferlinghetti’s “I Am Waiting,” “In Golden Gate Park
That Day.”
      
Start conferences as needed
16
IV. POSTMODERNISM: THE NEW YORK SCHOOL
Frank O`Hara’s “Why I Am Not a Painter,” “Ave Maria,” “A True
account of Talking to the Sun at Fire Island”;
John Ashberry’s “The One Thing That Can Save America,” “What
Is Poetry,” “Paradoxes and Oxymorons.”
In-class essay
6
Month
Day
October
30
Assignments
V. THE CONFESSIONALISTS
Robert Lowell’s “Mr. Edwards and the Spider,” “For the Union
Dead,” “Skunk Hour,” “Night Sweat,” “Reading Myself”;
John Berryman’s 14, 29, 40, 45, 145, 384 from Dream Songs;
W. D. Snodgrass’s 6 from Heart’s Needle.
November
6
Anne Sexton’s “Ringing the Bells,” “The Truth the Dead Know,”
“The Farmer’s Wife,’” “All My Pretty Ones,” “With Mercy for the
Greedy”;
Sylvia Plath’s “The Applicant,” “Lady Lazarus,” “Ariel,” “Daddy,”
“Mystic.”
13
VI. DEEP IMAGISM AND PERFORMANCE POETICS
Robert Bly’s “Poem in Three Parts,” “The Executive’s Death,”
“Snowbanks North of the House”;
James Wright’s “Autumn Begins in Martins Ferry, Ohio,” “In
Terror of Hospital Bills.”
20
VII. IDENTITY POETRY; WOMEN, ETHNICITY
Adrienne Rich’s “Diving into the Wreck,” “From a Survivor,”
“Translations,” “Snapshots of a Daughter-in-Law,” “Planetarium,”
“When We Dead Awaken”;
Denise Levertov’s “In Mind,” “The Wings,” “Stepping Westward,”
“The Third Dimension,” “The 90th Year.”
7
Month
Day
Assignments
November
27
Writing workshop
Gwendolyn Brooks’s “a song in the front yard,” “The Mother,”
“We Real Cool,” “The Crazy Woman”;
Imamu Amiri Baraka’s (LeRoi Jones) “A Poem Some People
Will Have to Understand,” “I Substitute for the Dead Lecturer,” “An
Agony. As Now.”
Ishmael Reed’s “Flight to Canada.”
December
4
Mari Evans’s “I Am a Black Woman”; Maya Angelou’s “And
Still I Rise”; Rita Dove’s “Dusting,” “Roast Possum”;
Joy Harjo’s “New Orleans,” “Remember,” “The Woman Hanging
from the Thirteenth Floor Window”;
Pedro Pietri’s “Puerto Rican Obituary”;
Gary Soto’s “Mexicans Begin Jogging”;
Cathy Song’s “Picture Bride.”
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VIII. INDEPENDENTS
A.R. Ammons’s “Mountain Talk,” “Reflective,” “The City Limits”;
James Dickey’s “The Lifeguard,” “Cherrylog Road,” “The Shark’s
Parlor.”
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Final test
Out-of-class essays due
IX.Winding up seminar, with a brief introduction (lecture, with
samples of poetry) to PERFORMANCE, ETNOPOETICS, THE
SECOND NEW YORK GENERATION, LANGUAGE POETRY
8
Texts: course packet (poems from various anthologies)
Recommended Theoretical and Critical Reading
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- - - “John Ashbery: Discursive Rhetoric within a Poetics of Thinking.” Self and sensibility in
contemporary American poetry. NY: Cambridge UP, 1984: 132-64.
- - - “Self-reflection as Action: the Recent Work of Adrienne Rich.” Self and sensibility in
contemporary American poetry. NY: Cambridge UP, 1984: 165-90.
Anderson, Linda R. Women and autobiography in the twentieth centur: remembered futures.
London: Prentice Hall, 1997.
Ashton, Jennifer. From Modernism to Postmodernism: American Poetry and Theory in the
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- - - Theodore Roethke. NY: Chelsea House, 1988.
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Dennis, Carl. "Mid-Course Corrections: Some Notes on Genre." Denver Quarterly 29.2
9
(1994): 120-46.
Dickey, James. A chapter on him (“imaginative power and imaginative collapse”) in Robert
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American Verse. Cambridge: Cambridge UP, 1983: 99-133.
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- - - “The Yeatsian Mask: John Berryman.” Postmodern American Poetry. Urbana: U of
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- - - “The Cycles of History: Sylvia Plath.” Postmodern American Poetry. Urbana: U of
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12
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- - - "Two Letters on Sylvia Plath and a Reply." TriQuarterly 82 (1991): 210-17.
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