English 111 / Comp Lit 115
Experimental Writing Seminar: Constraints & Collaborations
Mondays at 2
syllabus under construction. this is a syllabus from a previous offering of the seminar. IGNORE DATES. New syllabus will be poster in Dec.
Spring 2014 Class visits by Bruce Andrews and Pierre Joris.
Required Book at Penn Book Center:
Raymond Queneau, Exercises in Style
Beginning of syllabus
Pierre Joirs -- Poasis on-line market
Bruce Andrews -- web selection
1. Introduction / Substitution
This is an introductory assignment to be done
before the first class and submitted by the weekend before our first meeting: DUE FRIDAY, Jan. 20.. Note that because the Marting Luther King holiday, our first meeting starts a bit later in the semester. The first half of the seminar will be introductions, but we will do on to the assignment in the second half.
Reading: Lee Ann Brown, "Pledge," Michael
Magee, "Pledge" from Morning Constitutional (go to p.37 of pdf of book)
Kenneth Goldsmith, "Head
Bernadette Mayer, "Before
Jennifer Scappatone/H.D "Sea Poppies"/"Vase Poppies"
§Substitution (1): "Mad libs." Take a poem (or other source text) and put blanks in place of three or four words in each line, noting the part of speech under each blank. Fill
in the blanks being sure not to recall the original context.
§ Substitution (2): "7 up or down." Take
a poem or other, possibly well-known, text and substitute another
word for every noun, adjective, adverb, and verb; determine the
substitute word by looking up the index word in the dictionary
and going 7 up or down, or one more, until you get a syntactically
suitable replacement. N+7 web engine.
§ Substitution (3): Find and replace. Systematically
replace one word in a source text with another word or string
of words. Perform this operation serially with the same
source text, increasing
the number of words in the replace string.
2. Exercises in Style
Reading: Exercises in Style by Raymond Queneau
In 1947, Raymond Queneau, a founding member of OuLiPo
(Ouvroir de Littérature Potentielle, or "Workshop
of Potential Literature") published Exercises de Style,
99 variations on the "same" story. Each of these 99 approaches
could take a place of honor in this list but best to turn to
that work for the enumeration and explanation. For present purposes
(if purposes doesn't strike an overly teleological chord),
suffice it to say that an initial incident, mood, core proposition,
description, idea, or indeed, story, might be run through the
present list of experiments, though to what end only the Shadow
knows, and maybe not even the Shadow.
Extentions (optional): Caroline Bergvall's poem setting of mutliple translations of the opening of Dante's Divine Comedy, from PennSound.
§ Homolinguistic translation: Take
a poem (someone else's or your own) and translate/rewrite/revise
it by substituting word for word, phrase for phrase, line for
line, or "free" translation as response to each phrase
or sentence. Or do several versions of the "same" poem.
Or: translate the poem into another, or several other, literary
§ We will also do this
as a chain: via
the list ... The "translation" will
go from person to another until you get back to the first author.
As a general rule, each new version must change at least one-third
of the words or the equivalent. Do not to hold onto the chain
for more than a few hours. After the first person is designated to start, each person will tag another person on the list. This can all be done in the comments field. To be sure the person is aware of this, also email her or him.
(1): Write a poem and cut it somewhere in the middle, then recombine
with the beginning part following the ending part.
§ Recombination (2) -- Doubling: Starting
with one sentence, write a series of paragraphs each doubling
the number of sentences in the previous paragraph and including
all the words used previously.
Further reading: Queneau's One
Hundred Thousand Billion Poems
•••provide a commentary on your work: what was the experience of doing the exercise?, what do you like best about the results?, do you like the original or your derivative product "better"? what does "better" mean to you?
3. Homophonic & Dialect
Homophonic reading: Louis
and Celia Zukofsky's Catullus & two
examples of mine: from
Basque and from
reading/listening: Steve McCaffery's translation of the Communist
Manifesto into West Riding of Yorkshire dialect: audio, text
Foin Lass" [resricted to Penn only!] [you can find Zukofksy -- and me too -- reading this on the Zukofsky PennSound page).
Here are two more complex translation experiments with Chinese: Robert Majzels et al's 85s & Jonathan's Stalling's Yinglishi
translation: Take a poem in a foreign language that you can pronounce
but not necessarily understand and translate the sound of the
poem into English (i.e., French "blanc" to blank or "toute" to
§Try a variant of these translation exercises
using the "Babelfish" and Google Translatate engines or the "Telephone" engine –– or other web-based
translations engines, such as Translation.com and Logopoeia's
Shortwave Radio Engine.You can use Google tr. in telephone fashion: tr. from one lanague to another to another and back to original language
§Translate or compose a poem or other work into a different dialect, your own or other. Dialect can include subculture lingo, slang, text messaging shothand, etc.
§Use the dialect engine
Homer at Eclipse: Men
in Aida -- part
one and part
Ron Silliman on homophonic translation (his own, Melnick's,
and Chris Tysh's)
Kageyam's translation of Pound's "The Return" into pidgin
(Hawaiian Creole English).
§ bpNichol, Translating
as Tugged Vat, Your Love.
Lava (see also Marmoset and Moskau
•••provide a commentary on your work; try several of these done on different days
4. Chance Operation & the Aleatoric
Assassins" from Stanzas for Iris Lezak (string word
is the poem title)
*3d Biblical Poem (1955) and brief account here
*Selection from Representative Works, plus "Word en Ends from Ez"
nd Ends from Ez (string word: Ezra Pound)
Burroughs on cut-ups & Brion
Gysin on cut-ups; pdf of full Third Mind
do one of each
§ Acrostic chance: Pick a book at random
and use title as acrostic key phrase. For each letter of
key phrase go to page number in book that corresponds (a=1, z=26)
and copy as first line of poem from the first word that begins
with that letter to end of line or sentence. Continue through
all key letters, leaving stanza breaks to mark each new key word. Variations
include using author's name as code for reading through her or
his work, using your own or friend's name, picking different
kinds of books for this process, devising alternative acrostic
procedures.Or use the web Mac
Low diastic engine.
§ Tzara's hat: Everyone in a group
writes down a word (alternative: phrase, line) and puts it in
a hat. Poem is made according to the order in which it
is randomly pulled from hat. (Solo: pick a series of words
or lines from books, newspapers, magazines to put in the hat.) "Language
Is a Virus" has an engine that makes poems from your
selected vocabulary list, a cross between "Tzara's Hat" and "Mad
Cf: site tha offer true ranomization: random.org
§ Burroughs's fold-in: Take two
different pages from a newspaper or magazine article, or a book,
and cut the pages in half vertically. Paste the mismatched
pages together. (Cf.: William Burroughs’s The
Third Mind.) Use the computer Lazarus
cut-up engire to perform a similar task automatically; also
engines at "Language
Is a Virus:" Cut
Up Machine, Slice-n-Dice, Exquisite
Cadavulator, & God's
Rude Wireless. And: Ron
Starr's travesty engine (no longer online)
§ General cut-ups: Write a poem composed entirely
of phrases lifted from other sources. Use one source for
a poem and then many; try different types of sources: literary,
historical, magazines, advertisements, manuals, dictionaries,
instructions, travelogues, etc. See cut-up engines listed
•••provide a commentary on your work
5. (Feb.20) Ekphrasis (translating the verbal
Pictures for the seminar visit
We will meet at the Ross Art Gallery in the Fisher Fine Art library (220 South 34th St., between Walnut and Spruce). Visit the gallery the week before Feb. 21 and write poems in response to or to accompany or exist in conjucntion with the work on view at the gallery (or check upcoming link). The show is "In Material: Fiber 2012."
The Gallery will open especially for us on Monday. But you need to go there first during their regular hours: Tuesday through Friday: 10 AM to 5 PM Saturday & Sunday: 12 PM to 5 PM Closed Mondays and some holidays.
Be sure to bring a hard copy of what you write so you can perform it.
You are free to approach this assignment as you like,
but let me make this initial suggestion: Write down everything
you see in the work, a complete description. This can be in prose.
When we meet at the Ross gallery, you will each present your work; this will be a performance situation, where you will find a spot in the gallery to read from; and we will talk about reading in the space and performance in general. It is also possible to involve others from the seminar in the performance. It is also possible to write something for the space rather than a specific work.
Extensions: Write a poem to accompany an image
A good source of on-line images is the PennSlide
library and ArtStor (via library e-resources). Write a poem
to be read in a place.
***the gallery would like to post the poems on their web site for the show; they would also like us to do a "podcase" – so we can talk about that.
•••be sure to post the first "complete descriptions" to the list
•••do two of three poems (on one piece or several)
•••provide a commentary on your work:
27) Without Rules,
(K)not!, or Is Free Writing Free?
Kerouac on spontaneous bop prosody
Desires of Mothers to Please Others in Letters - Excerpt
Weiner, Clairvoyant Journal: text
begins here & read with audio
MP3 (26:48): first couple of pages is fine.
Clark Coolidge, from American
§Write a poem in which you try to transcribe as accurately
as you can your thoughts while you are writing. Don't edit
anything out. Write as fast as you can without planning what
you are going to say. (Try this by handwriting if possible.) For the class: do this three times in the course of one week or do all three experiments listed here.
§ Autopilot: Trying as hard as you can not to think
or consider what you are writing, write as much as you can as
fast you can without any editing or concern for syntax, grammar,
narrative, or logic. Try to keep this going for as long as possible:
one hour, two hours, three hours: don't look back don't look
§ Dream work: Write down your dreams as the
first thing you do every morning for 30 days. Apply translation
and aleatoric processes to this material. Double the length
of each dream. Weave them together into one poem, adding or changing
or reordering material. Negate or reverse all statements
("I went down the hill to "I went up the hill," "I
didn't" to "I did"). Borrow a friend's dreams
and apply these techniques to them.
§Write a poem just when you are on the verge of falling
asleep. Write a line a day as you are falling asleep or
•••provide a commentary on your work
MARCH 5 SPRING BREAK
in process: collaborative "Twitter" poem
assignment over this break. Each seminar member will open
a Twitter account using their first name or first and last name
followed by "111". This will be a closed Twitter group just for
class. All the messages will be part of a collaborative poem.
Each participant will produce and post a version of this poem
before March 13.
7. (March 12) The Art of Constraint
Jabborwocky & variations
Bök, Eunoia: Coach House e-edition; recommended:
reading & " e" chapter
in flash from UBU.
Extensions (optional): Kenneth Goldsmith, “Fidget” (see also java version)
Christian Bök's lipogram Eunoia consists of a five sections each with words containing the same vowel (as in "O":
Yoko Ono). This is reminiscent of certain notorious Ouilipian
constrains, such as Perec's novel La Disparition , which
suppresses the letter "e" or the work of Queneau (such as Exercises in Style).
§Write a poem in the manner of Eunoia.
a poem made up entirely of neologisms or nonsense words or fragments
of words. (Cf.: Lewis Carroll's "Jabberwocky",
Inman's, Ocker, Platin and Uneven Devlelpment and
David Melnick's Pcoet: all via Eclipse). Use Neil Hennessy's JABBER:
The Jabberwocky Engine to generate lexicon. Also see The
International Dictionary of Neologisms.
§Write a poem consisting only of prepositions, then of prepositions and one other part of speech; then three parts of speech.
§ Write a series of eight-word lines consisting of one each of each part of speech.
§ Pick 20 words, either a word list you generate yourself or from source texts. Write three different poems using only these words.
§Alphabet poems: make up a poem of 26 words so that each word begins with the next letter of the alphabet. Write
another alphabet poem but scramble the letter order.
§ Alliteration (assonance): Write a
poem in which all the words in each line begin with the same
§ Group sonnet: 14 people each write one ten-word line (or alternate measure) on an index card. Order
§Write a "sound" poem
•••provide a commentary on your work, do as many as possible; perhaps one each day over the week.
8. (March 19) Memory, Novel Forms
Ron Sillman reading at 6:30pm, KWH Arts Cafe. YOU MUST RSVP for this reading >> firstname.lastname@example.org
PennSound: LINEbreak interview
Tom Marhall DLB/Gale intro; Poetry Fdn bio
"Disappearance of the Word, Appearance of the World": read; print (L=A=N=G=U=A=G=E Supp. #3 via Eclipse)
Ketjak: pdf download, web doc (first section of The Age of Huts or buy full book from UC Press or read rest at EPC)
"Sitting Up, Standing, Taking Steps" (Tuumba, 1978)
do as many of these as possible, minimum 5 or 6
§Brainard's Memory: Write a poem all of whose
lines start "I remember ..." (Reading: Joe Brainard's I
Remember & audio
Write a poem in which all the events occur simultaneously.
§ Diachronicity: Write a poem in which all the events
occur in different places and at different times.
§Write an autobiographical poem without using any
§Write a poem about a single object. (Reading: Ponge's Object)
§Write a poem made up entirely of excuses.
§Write a poem in the form of a resume.
§Write a poem in the form of a index (cf., Paul Violi).
a poem in the form a table of contents
§Write a poem in the form an advertisement for an
imaginary or real product. (See Nicolàs
§Write a poem in the form an instruction manual
§Write a poem in the form a travel guide
§Write a poem in the form a quiz or examination,
§Write a poem in the form of a baseball lineup; cf:
Charles North: Wittgenstein lf, Heidegger 2b, Aristotle
1b, Kant rf, Hegel cf, Hume ss, Sartre 3b, Plotinus c, Plato
•••provide a commentary on your work
March 28, 7pm: Humanities Forum: I am in dialog with film maker Ken Jacobs, who presents a screening of his films. International House.
26) Short lines/Short
Poems (Attention I)
Beckett & "Hay(na)Ku"
Extenstions (optional): Robert
Zukofksy, Robert Grenier's Sentences,
Willaim Carlos Williams, Charles
Saroyan's Aram Saroyan
a poem consisting of one-word lines; write a poem consisting
of two-word lines; write a poem consisting of three-word lines.
§Try out Hay(na)ku or Haiku
§Try some variant short-line form.
•••provide a commentary on your work; repeart the experiment at least three separate times over the week
12 (April 16 ) Attention, Talk, Web site
Caroline Bergvall Class Visit. Reading and discussion.
Reading: Bergvall's Meddle English
Note: 7:30pm Andrew Lampert film showing in FBH, sponsored in part by English 111.
Start to work on your individual web page (or pdf/word) final presentations, with table of contents / title page; we link to this page from the class web site. Post links to the list of your propose title page / table of contents. We also need to do this for the oneoneone web site as well. Would any of you like to volunteer to design the title page and TOC for that?
For example, see web site created by Spring 2011 seminar, Spring 2010 seminar and the Spring 2009 seminar
§Talk poem: record yourself talking a poem and transcribe. (See David Antin.)
Write down everything you hear for one hour: it is important to do this for the full time period.
§Write a poem consisting entirely of overheard
conversation. (See Kenneith Goldsmith's Soliloquy.)
•••provide a commentary on your work(((((((((
10. (April 2) Flarf / Conceptual Poetry / Web-Generated Poems / Found Poems
6pm Ray DiPalma reading at KWH Arts Cafe at 6pm: recommneded.
K. Silem Mohammad, Deer
Head Nation. In Deer Head Nation, Mohammad uses
the Google search page result as his basic text, editing from
there: “You punch a keyword or keywords or phrase
into Google and work directly with the result text that gets
thrown up. I paste the text into Word and just start stripping
stuff away until what’s left is interesting to me, then
I start meticulously chipping away at and fussing with that.”
FLARF: A recent extension of this approach, which is developing
independently, is called "flarf." Michael Magree explains,
in this Experiments List exclusive report, "The
Flarf Files." See also: a
negative view of Flarf & Jacket's Flarf
see also: Claudius App splash sheet
[[§ Google Poem: construct a poem using Leevi Lehto's engine (use the patterns feature).].
§ Try also: The
the source for Apostrophe: The Book by Bill Kennedy and
§ Google poem, based on M.
Silem Mohammad's Deer Head Nation : use Google search
results as the source material for a poem: erase as much as you
like, but don't add anything. Many variations possible.
Write a collage made up of full-lines of selected source poems. (Or see Kate Fagin's short form centos.)
§ "Pits": Write the worst possible
poem you can imagine
§Use the "Meaning
Eater" engine to deform the text of a poem.
§Data Mining (variation of some of the above): see
eg ••• do several of these; provide a commentary on your work
9) Digital & Visual
A selection of digital and visual poems from
anthology (see reading list too) (start with Stefan's "Dreamlife," nichols, Chang's Dakota.
Steve McLaughlin & Jim Carpenter, Issue One
§ Pick several images from the internet or a magazine
§ Graphic design 101.1: Take a poem, first another's
then your own, and set it ten differnet ways, using different
fonts and different page sizes. Make a web version of the poem.
§ Take a poem, first another's then your own, and
rearrange the line breaks or visual composition, while keeping
the same word order. Do this five times, some with freely composed
arrangements and some using some form of counting.
§Visual poetry: write poems with strong visual or "concrete" elements — including
a combination of lexical and nonlexical (pictorial) elements. Play
with alphabets and typography, placement of words on the page,
§Try a "digital" poem, or poem in programmable
media, or indeed one using links or HTML as a fundamental dimension,
please go ahead with that -- either for this week or next week..
For those without the technical skills to do this, or the software,
you might try to do a blueprint or sketch of such a digital work,
either entirely new or, perhaps, a hypertext version (or setting)
of a poem you have already written.
•••provide a commentary on your work
13. (April 23) Performance / Class Anthology / Chapbooks / Web site : Last Class
Make a chapbook or some other object to give to everyone in
the class. Also, finish uploading work for the web site. We will fous on
performance. As part of working on your final project, bring
in something to perform, up to five minutes (new work or
older work, though new work always preferred). We will discuss
the performances (to be continued next week).
a chance to focus on your own on-going projects, for those of
you who are working on a manuscript or performance or project.
Optonal: Use the Experiments
list, picking experiments not included in the syllabus, extned
one of the assingments from the class so far.