2017 WORKSHOPS AT BOWERY POETRY
Bowery Poetry offers poetry and writing workshops, taught by some of the most exciting poets, artists, and educators
New York City has to offer. Scroll towards the bottom to view an archive of past workshops.
While enrolled in a workshop, you are invited to come to any Bowery produced event for free. Scroll down to see all workshops offered through December, as well as past workshops.
POETRY OF WITNESS 5-week poetry workshop w/ Michael CollinsDATES:
This workshop will meet the following Sundays: February 11, February 18, February 25, March 4, March 18TIME/LOCATION:
12 PM – 2 PM at Bowery Poetry located at 308 BoweryINSTRUCTOR: Michael CollinsRegister Here
The goal of this class will be to explore the craft of poetry, specifically in one of its many essential roles, bearing witness -- either by recording direct experience or through acts of compassionate imagination. I don't think I need to explain to anyone why this particular approach to poetic craft is important in our current social and political situations. In times such as these, we need more empathy for those who are "different" -- apparently, anyway -- in one way or another, from "us." We need more poets for this movement! Therefore, this class will aim to welcome newer poets with accessible lessons, invite those who have gotten out of the practice of writing to return to a writing community, and help all participants who value diverse perspectives to hone their visions into poems. Sessions will include discussion of model poems and related generative writing and guided exercises, and workshop.
’ poems have received Pushcart Prize nominations
and appeared in more than 70 journals and magazines. He is also the
author of the chapbooks How to Sing when People Cut off your Head and
Leave it Floating in the Water and Harbor Mandala, as well as the full-length
collections Psalmandala and Appearances. He teaches creative and
expository writing at New York University and the Hudson Valley Writers’
Center and is the Director of Studies at Why There Are Words Press and
curator of the New York City branch of the national Why There Are Words
TEXTASY! 5-week poetry workshop w/ Adeena KarasickDATES:
This workshop will meet the following Sundays: March 25, April 1, April 8, April 15, April 22TIME/LOCATION:
12 PM – 2 PM at Bowery Poetry located at 308 BoweryINSTRUCTOR:
Adeena KarasickRegister Here
Taking as its jumping off point the
relationship between text and ecstasy (from the gk ex-stasis), this workshop will investigate the pleasure and play
within all aspects of language construction. From sound poetry, concrete poetry,
renegade, neo-formalist ‘pataphysical, language-based visual art, it will track
through the relationship between language, eros, meaning and being, exploring
ways artists, philosophers, poets have subverting colonialist structures of
language towards an ever widening scope of potential meaning. To this end, we will try on a range of poetic
forms which highlight aspects of translation
and subversion -- such as 13th C. Kabbalistic alphabetic
incantatory techniques, homophonic translations, emojilations, oulippean
improvisation, erasure and vispo, exploring
ways poems can be both a site of transgression and revolution. And, foregrounding the poem as an intermediatic,
textatic space, celebrating language’s inherent viscerality, at the end of the
5 weeks, we will create chapbooks, highlighting how form is always-already an
extension of content and how the book itself, a site of desire.
Adeena Karasick is
a New York
based poet, performer, cultural theorist and media artist and the author of
seven books of poetry and poetics. Most recent is Salomé: Woman of
Valor (University of Padova
2017), and The Medium is the Muse: Channeling Marshall McLuhan (NeoPoiesis
Press, 2014). She teaches Literature and Critical Theory for the Humanities and
Media Studies Dept. at Pratt Institute, is co-founding Artistic Director of the
KlezKanada Poetry Festival and Retreat, 2016 Andrew W. Mellon Foundation Award
recipient and winner of the 2016 Voce Donna Italia award for her
contributions to feminist thinking. The “Adeena Karasick Archive” has just been
established at Special Collections, Simon
SENSE, VISION, INSIGHT, FORM 3-week poetry workshop w/ Andrew SingerDATES:
This workshop will meet the following Sundays: April 29, May 6, May 13TIME/LOCATION:
12 PM – 2 PM at Bowery Poetry located at 308 BoweryINSTRUCTOR:
Andrew SingerRegister Here
This workshop helps participants unlock and better realize their full poetic potential. In four carefully-detailed stages, a unique and elegant set of tools, techniques, examples and poetic understandings are presented and practiced. Group and at-home exercises further facilitate quickly reaching a new level of poetic connection and achievement. No prior experience or preparation is needed for this workshop.
"Andrew's poetry workshop was a master-class in immediacy.
It introduced us to a way of observing / writing that pushed us beyond
preconceptions and habitual responses into the living essence of the
moment". ~ Kathy Tiernan, Author
"I felt inspired by being asked not only to describe a
subject strictly faithfully, but wait till it 'speaks' and tells us about
itself. Singer's unique method of poetry teaching fits so well with both Ben
Okri's vision of the academies of the future in his 'Plato's Dream',
and with neuroscientist Ian McGilchrist's emphasis of the incomparable
importance of the right hemisphere in his groundbreaking book, 'The
Master and his Emissary'. I look forward to the next… masterclass with
Andrew"! ~ Narda Azaria Dalgleish, Experimental filmmaker, Poet
The instructor, Andrew Singer, has an MA in Creative Writing (Poetry) from Boston University, where his thesis supervisors were Nobel Laureate poet Derek Walcott, and twice Poet Laureate of the United States Robert Pinsky. Mr. Singer served as a first reader for poetry for the former Partisan Review, and is founding director and editor-in-chief of Trafika Europe, showcasing some of the best new literature from the 47 Council of Europe countries in English translation. He currently also teaches workshops and courses in creative writing, literary translation, and European literatures at Penn State University. A former cultural radio and television producer and host, he has given hundreds of talks, workshops, and hosted presentations in more than a half-dozen European countries, including extensive university teaching in poetry and literary translation for graduate students in Central Europe. He is widely published as a poet and literary critic and believes all things begin and end in wonder.
EMOTIONAL HISTORIANS 5-week poetry workshop w/ Jon SandsDATES:
This workshop will meet the following Sundays: January 7, January 14, January 21, January 28, February 4TIME/LOCATION:
12 PM – 2 PM at Bowery Poetry located at 308 BoweryINSTRUCTOR: Jon Sands
In the world of people, celebration is often laced with melancholy, joy is a border that surrounds sorrow, and fear is usually one doorbell away from bravery. So, how the fork
can we construct poems that acknowledge a complicated and dynamic world? How do we avoid writing that transforms us into caricatures? How do we convey what it feels like to be us, alive in 2018? If the job of an artist is that of an emotional historian, then we must create poems that are as multi-dimensional and layered as the people who write them. In this five-week generative workshop, we’ll explore and produce poems that strike many notes at once. Bring a notebook, pen, and a sense of adventure, as we take our writing to the edge of the world, and bring back proof that we’ve been there.
is the author of The New Clean
(2011, Write Bloody Publishing), as well as the co-host of The Poetry Gods Podcast. His work has been published widely, and anthologized in The Best American Poetry. He's a Youth Mentor with Urban Word-NYC, an adjunct lecturer at Brooklyn College, and he teaches creative writing for adults at Bailey House in East Harlem (an HIV/AIDS service center). He's a recent MFA Graduate in Fiction from Brooklyn College, where his work won the Himan Brown Award for short stories. He's represented New York City multiple times at the National Poetry Slam, and he lives in Brooklyn.
ENROLLMENT – Workshops
fill up on a first-come, first serve basis. For this reason, we
encourage you to sign up early. You're officially enrolled in the
workshop when we've received your full payment.
REFUNDS – You
are entitled to a full refund before the workshop begins. This refund
does not include the credit card processing fee from Brown Paper
Tickets. After the workshop begins, no refunds are available.
USING RADICAL FORM IN POETRY AND VERY SHORT FICTION
Getting out of our comfort zones and into a white heat
In this class we will explore unconventional form in poetry in response to weekly exercises. There will be in-class and out of class writing and reading. The classroom will be formulated similarly to a poetry workshop where students read and respond on one another’s work, but we will focus more on production, exploration and imperfection. Our goal will be to push our poetry and (short) fiction into new realms. The forms we’ll explore are: new uses of ekphrastic, erasures, poetry comics, video, pastiche, and others. Students will be encouraged to bring in their interests and personal skills, and collaboration is inevitable.
TOTAL LYRIC: POETRY OF THE PRESENTExploding the lyric's relevance in the contemporary moment
Instructor: ANA BOŽIČEVIĆ
Put simply, a lyric is a poem that expresses deep personal feelings in the same way as song. Audre Lorde says that "our poems formulate the implications of ourselves, what we feel within and dare make real." If the lyric is a poetry of present tense and our presence, how do we sing more deeply now that the personal is made public, commodified, and more ephemeral than ever? And what can our song make real? In this workshop we will consider the history of the lyric: from ancient fragments to tweets, karaoke, and protest chants. Join us in writing, performance, and poetic engagement across the media as we foster the practice of a radical lyric.
Exploring your imagination through the music of poetry
SOUND, SUBJECT, IMAGINATION: EXPLORING THE THREE PILLARS OF POETRY
Instructor: ROWAN RICARDO PHILLIPS
For writers who wish to study how the imagination and sound work together to enhance the subject of their poems. A poem is always about the relationship between its sonic and imaginative parts, this is what convinces the ear that the subject is not only real but important. We will study techniques used by poets across various eras as well as workshop your own poems extensively in search of the keenest balance in your work between these three pillars of the art of poetry.
How to go off on a tangent and never return...
Instructor: LEWIS WARSH
We’ll explore the way daydreams, memories and fantasies are the key to who we are and to the dark and light sides of the stories and poems we write, using sentences and lines that might go on forever. How to go off on a tangent in the middle of a sentence, or in a conversation, or in the middle of a thought, or a poem–-and never return. We’ll explore possible ways of including our ideas about politics, our feelings of empathy or apathy about what’s going on in the world (our rooms, our neighborhoods, our cultures--and everything else). We’ll discuss different levels of openness in the poetry and fiction of Frank O’Hara, Renee Gladman, Ted Berrigan, Akilah Oliver, James Schuyler, Wang Ping and Lydia Davis, among others. As much time as possible will be spent reading and discussing our own work. This workshop is open to both poets and fiction writers.
PHYSICIANS, POETS, PATIENTS: CREATIVE WRITING FOR CLINICIANS + OTHERS
Learn ways to develop voice, narrative, and meaning in a medical memoir
Instructor: DONNA BULSECO
This writing workshop will focus on the techniques of close reading, responsive writing, and the analysis of students' current work during each session. Students will be introduced to memoirs, poetry, creative non-fiction, and graphic narratives by writers such as Elizabeth Bishop, Byers Shaw, Marry Karr, Lillian Ross, Ian Williams, MK Czerwiec, and Atul Gawande. Their texts will serve as examples of the many ways of finding voice, narrative, and meaning when writing about personal experiences. Each week, students will do structured in-class writing to a prompt. The goal of the workshop will be to complete an essay, poem, or graphic narrative to review and send to a literary journal for consideration.
HOW TO SING ON THE PAGE
Instructor: CORNELIUS EADY MEMORY CAN COLLAPSE THE BODYWhat conversations can our memories have with an audience of bodies? How can different forms of poetry contribute to the memories & maintain a solid voice?
Instructor: MAHOGANY L. BROWNE
A generative workshop facilitating discussion, analyzation, performance techniques, and writing prompts that incorporate the body, and memory as language. We will be generating new poems & analyzing the technique and craft of poets like: Aracelis Girmay, Patricia Smith, Jake Adam York, Corneilus Eady, Chris Abani, Rickey Laurentiis, Ocean Vuong, Claudia Rankine and Toi Derricotte.
Camp Lawless with AMY LAWLESS
With Amy Lawless, the author of two books of poetry including My Dead (Octopus Books, 2013), and co-author of I Cry: The Desire to Be Rejected (Forthcoming from Pioneer Works Press). At Camp Lawless, your primary goal is to develop new poems: a quantity of your own original writing. And like any Summer Camp, you will emerge as a somewhat unrecognizable but more experienced form of yourself. Our generative format will allow you to develop your voices, write voluminously, journal (yes, you may write home!), and scare yourself. This class will be playful, harness the fun of summer sun and Sundays, but it will also be hard work! We will study non-traditional forms, collaboration, ekphrastic writing, elegy, using the self, hybrid, anti-poems, found, nature, formal, conceptual, dreams, Twitter, and more. Class time will be spent on active writing, workshops, experiencing, listening to, and responding to fabulous visitors, a little editing, and you will also practice performing your new work. We will be visited by three amazing working poets, and read poetry, words, and letters from the past and present. Since it’s SUMMER, we will take a writing excursion to the Metropolitan Museum of Art, as well as to the sidewalks, parks, and even poetry bookstores of our city for inspiration and writing. We will feel the summer heat, eat pizza, eat watermelon, and write hungrily, constantly, responsibly, and recklessly. The summer will end with a capstone project: a chapbook manuscript! If you’re doing it right, you’ll cry tears of joy and tears of wild emotion: either way changed and renewed.
WRITING ON THEME AND IN SERIES w/ BC Edwards
Creating a unified collection of work at first feels like an insurmountable task. One of the simplest ways to tie a your work together is to create a constructive device, a cementing theme, or find source material from which a group of poems can be adapted. Instead of approaching poetry on a piece-by-piece basis, this course examines entire collections as single work and studies sources of inspiration and methodology to write multiple poems centered around one single theme or constructive device. Over the 5-weeks we will will explore many techniques, focusing primarily on constructing a thematically unified series of poems and adapting poems from non-poetic and poetic materials alike, as well as how these two methods can work in tandem with each other. Students will bring several pieces of new work to each class for review and discussion as well in class exercises to generate new work. We will look at a wide variety of poets such as Bidart, Carson, Lawless, Bang, Berrigan, Legault and many others.
LET'S MAKE A LONG POEM, YA? w/Tommy Pico
Hi. I’m not a poetry scholar, so I can’t offer you a comprehensive review and dissemination of the tradition of epic poems in the English language. But I write book-length poems, I believe in and am obsessed with them, and I make zines, so: In this generative workshop we’ll embark on our own creative odyssey toward making a long poem. We’ll discuss how we enter them, how to make the meat, and ultimately how to leave. We’ll read (and experience) longer work with a special emphasis on voices who have traditionally been denied the epic: Robin Coste Lewis, Jeffrey Yang, r. erica doyle, Jennif(f)er Tamayo, Beyoncé, and more. We’ll talk about form, collage, narrative, and other concerns of the long poem. We’ll practice poem-generating exercises, both during and outside of class, and welcome guest instructors Jason Koo and Stacy Szymaszek! The goal is: to make writing a daily practice wherein during the final workshop you’ll come in with enough material to make your own ~20 page, zine-length epic that I will help you construct, reproduce, and distribute punk af.
all lead double lives--internal/external, past/present--so part of
our exploration as poets and fiction writers will be looking at the
ways to articulate the interactions between the two. All the details
of what goes in in our various worlds--memories, fantasies,
observations, dreams, distractions--are the raw material for the
poems and stories (or back stories) we try to tell. We’ll tap into
writers who work with numerous narratives: Marguerite Duras, Renee
Gladman, Ted Berrigan, Bernadette Mayer, W.G. Sebold and Georges
Perec among others. This
workshop is open to both poets and fiction writers. As much time as
possible will be spent reading and discussing our own work.
EKPHRASIS: BEYOND DESCRIPTION w/Jennifer Franklin
In this workshop, we will
write a series of ekphrastic (from the Greek, “to
speak out,” “to tell in full”) poems.
Since Homer described Achilles’ shield in the Iliad, Western
poetry has had a tradition of responding to art. This workshop will examine
ekphrasis on a deeper level than the occasional tool for writer’s block. The
emphasis is your poetry but I will provide examples of how the form is used to
explore personal, political, and social issues. More than honing language of
description, students will learn the nuances writing about art. Photography,
graffiti, outsider art, architecture, sculpture, music, painting, and
literature will be open to mine. Sometimes considered a form dominated by male
poets, we will read work by Griffiths, Fragos, Brock-Broido, and Cruz that will
help shatter that stereotype as we compose a short manuscript over the five
weeks. Bring a poem based on another work of art to the first class. ALTER/ALTAR: MEMORY/MIRROR/MONUMENT/MAP w/Lynne DeSilva-Johnson
this workshop we will shred, table, excise, burn, and deconstruct the
boundaries of poetics, both considering and creating works that
challenge the genre. Can a hybrid documentation — that which invites in /
explores historical and quotidian context, ephemera, detritus, found
language, list making, and letters — alongside and in conversation with
poetics — be a powerful, political, act of radical self-and-community
archive-building? Can it be an act of healing? YES. Here is a small
window into the vast resources of explorations with text coming from
outside an academic / “writing” based relationship with the medium,
rather, approaching text as one of many tools in an arsenal of
exploration, documentation, and challenge. We will engage with work that
resists categorization, exploring these interstices, and create our own
short zine-style hybrid chapbooks.http://www.theoperatingsystem.org/alteralter-memory-mirror-monument-map-workshop-spring-2017/
CAMP LAWLESS w/Amy Lawless
At Camp Lawless, your primary goal is to develop new poems: a quantity of your own original writing. And like any Summer Camp, you will emerge as a somewhat unrecognizable but more experienced form of yourself. Our generative format will allow you to develop your voices, write voluminously, journal (yes, you may write home!), and scare yourself. This class will be playful, harness the fun of summer sun and Sundays, but it will also be hard work! We will study non-traditional forms, collaboration, ekphrastic writing, elegy, using the self, hybrid, anti-poems, found, nature, formal, conceptual, dreams, the internet, and more. Class time will be spent on active writing, workshops, experiencing, listening to and responding to visitors, a little editing, and you will also practice performing your new work! We will be visited by two amazing working poets (TBA), read poetry, words, and letters from the past and present. And since it’s SUMMER, we will take a writing excursion to the Metropolitan Museum of Art, as well as to the sidewalks, parks, and even the New York City Poetry Festival
for inspiration and writing. We will feel the summer heat, eat pizza, eat ice cream and write hungrily, constantly, responsibly, and recklessly. The summer will end with a capstone project: a chapbook manuscript! If you’re doing it right, you’ll cry tears of joy and tears of wild emotion: either way changed and renewed!
IS POETRY THEATER? with reg e gaines
It's no accident the workshops are rooted in the familiarity of other writers' work. Sessions arent about memorization techniques but love and respect for printed text. Focus is placed on emotion as key in lifting words from the page. Well-written text shows, through imagery, what one feels. Once this decision is reached, there become options in dramatic interpretations. This is the basis of a series of sessions which will aid artists in analyzing text, creating new work, revisiting unpolished pieces, and sharpening performance skills. Over a five-week period, participants learn the similarities between poetry, hip-hop inflected spoken word pieces, soliloquies, monologues and poetry/theater. Suggested texts used in preparation for the workshops include poetry/theater by Miguel Pinero, Patricia Smith, Paul Beatty, Suheir Hammad, Lemon Anderson, Dierdre Moses, Danny Hoch, and selections from the anthology Aloud: Voices From The Nuyorican Poets Cafe. This book is a part of almost every public library's poetry collection in the United States and should be easily attainable at no cost.
THIS PROGRAM IS SUPPORTED, IN PART, BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.