Top Posts Tagged with #mfa programs

Resources

It started with a tweet. I asked:

1 - Poets with MFAs & poetry professors: are there specific books (of poetry, on poetry) that you would recommend for writers who may not have access to formal education in poetry?

2- Poets without MFAs — please feel free to add books that have felt pivotal and educational for you in your process. I mean this primarily as a resource and did not mean to suggest that others may not have valuable texts to offer!

Here are some of the responses (I typed up as many as I could, bolded any that I noticed repeated):

Dorianne Laux and Kim Addonizio’s The Poet’s Companion

Kaveh Akbar’s Divedapper interviews

Mary Oliver’s A Poetry Handbook

Writing Dangerous Poetry by Michael C Smith

Creating Poetry by Drury

The Practice of Poetry by Behn

Feeling as a Foreign Language by Alice Fulton

A Little Book on Form by Robert Hass

Poetry and the Fate of the Senses by Stewart

Of Color: Poets’ Way of Making Anthology (forthcoming)

De-canon

The Volta

The Alabastar Jar (interviews with Li Young-Lee)

Ordinary Genius by Kim Addonzio

On Poetry by Glyn Maxwell

Fictive Certainties by Robert Duncan

The Flexible Lyric by Voigt

Wislawa Symborska’s “Nonrequired Reading”

The Art of series (especially the Art of Description by Mark Doty, especially The Art of Syntax by Ellen Bryant Voigt)

My Poets by Maureen N. McLane

The Princeton Encyclopedia of Poetry and Poetics

The Crafty Poet by Diane Lockward

Wingbeats and Wingbeats II by Scott Wiggerman

Madness, Rack, and Honey by Mary Ruefle

Picking one poet per year, reading their ouvre and letters (an extremely helpful and nourishing assignment from a genius prof)

Sister Outsider by Audre Lorde

Rigorously study the line, study grammar, and study some kind of oracle system (Tarot, I Ching, astrology, etc) and read as widely in poetry as you can

Poetic Rhythm by Derek Attridge

A Poet’s Guide by Mary Kinzie

The Art of the Poetic Line by James Logenbach

John Frederick Nims’ Western Wind

Poetry: A Writer’s Guide by Amorak Huey and Todd Kaneko

The Making of a Poem (Norton)

Art of Recklessness

Modern Life by Matthea Harvey

Dancing in Odessa by Ilya Kaminsky

Please by Jericho Brown

Slow Lightning by Eduardo Corral

Meadowlands by Louise Gluck

Kinky by Denise Duhamel

Names Above Houses by Oliver de la Paz

How To Read A Poem and Fall in Love With Poetry by Edward Hirsch

Carol Rumen’s long-running weekly Guardian column

Poetry 101 by Susan Dalzell

Theory of Prose by V Shklovsky

The Art of Attention by D Revell

Structure and Surprise by M. Theune

Why Poetry by Matthew Zapruder

Poems - Poets - Poetry An Introduction and Anthology by Helen Vendler

Triggering Town by Richard Hugo

The Art of Daring: Risk, Restlessness, Imagination by Carl Phillips

Upstream by Mary Oliver

The Life of Images by Cahrles Simic

Being Human (anthology)

How To be a Poet

Nine Gates by Jane Hirshfield

Gregory Orr book on lyric poetry

WIld Hundreds by Nate Marshall

What the Living Do by Marie Howe

Helium by Rudy Francisco

Wind in a Box (or anything else) by Terrance Hayes

Blud by Rachel McKibbens

Incendiary Art by Patricia Smith

Poetry by Gwendolyn Brooks, Elizabeth Bishop, and William Carlos Williams, Ted Kooser, Pablo Neruda, ee cummings, Charles Simic, Patricia Smith, Dorianne Laux, EB Voigt, Terrance Hayes, John Donne, TS Eliot, Ezra Pound

Read widely. Read more than poetry. Embrace your outsider knowledge.

Real Sofistikashun: Essays on Poetry and Craft by Toby Hoagland

The Sounds of Poetry: A Brief Guide by Robert Pinsky

A Field Guide to Poetry

Ten Windows by Jane Hirshfield

The Ode Less Travelled by Stephen Fry

The Book of Luminous Things (anthology) ed. by Milosz

Dictee by Theresa Hak Kyung Cha

Poets.org and Poetry Foundation websites

Beautiful and Pointless by David Orr

Find or start a writing group!

Best Words, Best Order by Stephen Dobyns

American Sonnets by Terrance Hayes

The Lichtenberg Figures by Ben Lerner

Poetry Notebook by Clive James

Don Paterson’s 22-page intro to “101 sonnets”

Essays by Barbara Guest

Poetry is Not a Project by Dorothea Lasky

After Lorca by Jack Spicer

The New American Poetry 1945-1960

Helen Vendler’s criticism (The Ocean, The Bird and the Scholar)

Oxford Book of Twentieth Century English Verse ed. By Philip Larkin

The Discovery of Poetry by Frances Mayes

French symbolists

The Outlaw Bible of American Poetry

The Poets Laureate Anthology

Poet’s House, 92Y Poetry

Singing School by Robert Pinsky

The Poetry Home Repair Manual: Practical Advice for Beginning Poets by Ted Kooser

Glitter in the Blood by Mindy Nettifee

Poetry: A Survivor’s Guide by Mark Yakich

All the Fun’s In How You Say A Thing by Timothy Steele

The Collected Poems(1856-1987) by John Ashberry

Viper Rum by Mary Karr

The Making of a Poem by Mark Strand and Eavan Boland

Rules of the Dance by Mary Oliver

Letters to a Young Poet by Rainer Maria Rilke

Jorie Graham lecture On Description (youtube)

Poetry in Theory

How to be a Poet by Jo Bell and Jane Commane (& special guests)

dVerse Poets

Reading Poetry: An Introduction by Furniss and Bath

Poetry: The Basics by Jeffrey Wainwright

The Poetry Handbook by John Lennard

Broken English: Poetry and Partiality by Heather McHugh

The Poem’s Heartbeat by Alfred Corn

Orr’s Primer for Poets and Reads of Poetry

Penguin’s 20th Century Anthology

The United States of Poetry

Staying Alive: real poems for Unreal Times ed. By Neil Astley

Hollander’s Rhyme’s Reason

52 Ways to Read A Poem by Ruth Padel

A Western Wind: An Introduction to Poetry by David Mason and John Frederick Nims

Projective Verse by Charles Olson

Retrospect/A Few Don’t by an Imagiste - Ezra Pound

Against Interpretation - Susan Sontag

Commonplace Podcast

Headwaters by EB Voigt

Olio by Tyehimba Jess

The Orchard by Brigit Pegeen Kelly

The Living and the Dead by Sharon Olds

Sonnets by Bernadette Mayer

The Sin Eater by Deborah Randall

The Art of Poetry Writing by William Packard

The Poet’s Dictionary by William Packard

Freedom Hill by LS Asekoff

Theory of the Lyric by Jonathan Culler

Close Listening ed. By Charles Bernstein

Poetics of Relation by Edouard Glissant

The Poet’s Manual and Rhyming Dictionary by Frances Stillman

The Hatred of Poetry by Ben Lerner

The Way to Write Poetry by Michael Baldwin

Fussell’s Poetic Meter and Poetic Form

Lofty Dogmas: Poets of Poetics

Close Calls with Nonsense: Reading New Poetics by Stephanie Burt

Poetry in the Making by Ted Hughes

A poet needs: grounding in verse and rhyme from nursery lines, a grounding in adult poetic diction by the classic poets (of antiquity, late antiquity, then the mediaeval, early modern and modern periods), and their own poetic vision

Pig Notes and Dumb Music by William Heyen

Satan Says by Sharon Olds

My Emily Dickinson by Susan Howe

#poetry #on poetry #poetry school #self education #resources #learning #about poetry #mfa programs #reading #for your own edification #creative writing #studying

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When I talk to MFA students, they always ask me, what should I read? If I read some of their poems, I might say, oh, you would benefit from X,Y, and Z, this poets work. I’ll always ask them this—which poets are being celebrated in your MFA program? Which poets are being pushed by your professors? And I say, Ok, you read those poets, but then you read the poets who are on the opposite spectrum of that aesthetic. Search those poets out. Search poets who are not being talked about in your workshop. Or even better, read the poets who are being dismissed in your workshop by your professors or your classmates. Read those poems. Do not rely on somebody else’s opinions. And I say, Don’t just focus on the contemporary. A lot of MFA students just focus on the contemporary. Read from different historical time periods, read translated work, and read from across the world.

Eduardo C. Corral, BOMB Magazine

#eduardo corral #eduardo c. corral #bomb magazine #yezmin villarreal #mfa #mfa programs #poetry #contemporary poetry

it’s been a while since i actually wrote anything about my life on here. way overdue.

we are back in california now (since june), living with my parents. it’s a huge weight off of us to have 0 rent (still have plenty of other inescapable bills). and all the time we need to focus on getting healthy -- both of us. i have had zero luck with jobs so far -- or rather, i’ve had interviews but only one offer for a part time/low pay job i couldn’t actually afford to accept. i could have said yes and then changed my mind/left when i found something better, but it was a teaching job & i just don’t feel right leaving a classroom in the middle of the school year. it was really terrible pay, etc. and since i am the sole earner at the moment i also feel like i need to be pickier about that. and since we’re in a low stress situation (at least for the short term) i feel i can be picky. i need to find something asap, though, because my parents are moving next year and will be staging & selling this house so we need to move out. my brother bought a new/bigger house where we could potentially stay for a while if we need to, but i’m hoping we can avoid living with family too much longer, idk. it wears on you. i love my family, but distance is good. even just a 15/20 minute drive away.

i am also thinking about grad school again. i looked at programs, made a list of fully funded ones or ones that offer stipends/teaching positions for students that are actually in areas we’d be willing to move. but they would all mean moving again...which is impossible if i don’t have a job/we don’t actually have money to make that work! mikhail is looking at community college, too.

mikhail is doing so much better. still not 100%, and recent tests indicate that they have some co-infections that weren’t really showing up before, and though they are still on the lower end they are positive results & need to be treated before they can really be in remission. so more medication changes over the next few months, probably, and slow rebuilding of immune system. still, we are talking about the future in ways that we were unable to before. school, jobs, babies. i’m cautiously optimistic.

#personal #job stuff #california #home #lyme disease #mfa programs #grad school #family

MFA Programs I’m Looking At:

Full Residency/Full Funding

Louisiana State University

University of Houston

University of Alabama, Tuscaloosa

Virginia Commonwealth University

Johns Hopkins University

Southern Illinois University

University of California, Davis

University of California, San Diego

Hollins University

Arizona State University

Oregon State University

Full Residency/Partial Funding

Western Washington University

Emerson College

Rosemont College

William Paterson University

University of Washington, Bothell

Sarah Lawrence College

Vermont College of Fine Arts

California Institute of the Arts

School of the Art Institute of Chicago

Long Island University

Manhattanville College

Low Residencies

Seton Hill (no funding)

Stonecoast MFA, University of Southern Maine (partial funding)

Goddard College in Washington (offers scholarships)

California Institue of Integral Studies (partial funding)

New England College (financial aid and TA-ships)

Mississippi University for Women (partial funding)

Bennington College (partial funding)

New Hampshire Institute of Art (grad assistantships)

Lesley University (scholarships)

If you’ve done an MFA at one of these schools, please come into my inbox and talk to me about it! Any and all information is appreciated!

#MFA #mfa programs

Even more than self-expression, [Nabokov’s] fiction could be described as an act of programmatic self-establishment, an elaborately performative “I am.” Using his own preferred idiom of fairy tale and romance, it could be described as a way for a king-in-exile to recover his country and reassert his rule on a linguistic-aesthetic plane. Nabokov’s lifelong attraction— sometimes ironic, sometimes not—to the traditional romance motif of unrecognized royalty is fabulously evident in Pale Fire, where the deranged editor Kinbote has (at least in his own mind) been chased from the throne of the nation of Zembla to his ignominious dwelling at Wordsmith College, U.S.A. As the descendant of Russian nobility cut off from the vast country estate he roamed as a child, and from the language, Russian, in which he first made his name as a novelist, Nabokov had a more plausible biographical claim to a fantasy of royal restoration-in-language than most. But even for him this was essentially metaphorical, a way of imagining a life of uncompromised and exalted individuality. Certainly the fantasy is transposable to the inhabitants of the democratic United States, the immigrant nation where, as it has been well and untruly said, “every man is a king.” And it certainly fits quite snugly into the progressive school’s commitment to enhancing students’ self-esteem. It’s good to be king (or queen); and to recover one’s throne in the enchanted realm of one’s own writing is to bend the arrow of personal experience around until it reattaches to its origin like a golden Möbius band. Instead of testifying to a permanent condition of disadvantage in the face of physical necessity, or to the relentless humiliations exacted by social institutions, or to a perpetual process of wounding at the hands of history, “personal experience” is redeemed in this manner as a proud and vibrantly reflexive textual presence. That anyway is the idea. Of course, in practice, time marches on and nothing really comes full circle. And when we pull back from the therapeutic enchantments of literary experience to a wider angle of vision, we see something slightly less mystical than a golden Möbius band: a world in which the category of “personal experience” has over the course of the twentieth century, and in the postwar period in particular, achieved a functional centrality in the postindustrial economies of the developed world. These economies in turn inhabit what Ulrich Beck, Anthony Giddens, and others have described as a “reflexive modernity.” The utility of this concept for understanding the metafictional impulse in postwar writing leaps off the page, suggesting that literary practices might partake in a larger, multivalent social dynamic of self-observation. This would extend from the self-observation of society as a whole in the social sciences, media, and the arts, to the “reflexive accumulation” of corporations which pay more and more attention to their own management practices and organizational structures, down to the self-monitoring of individuals who understand themselves to be living, not lives simply, but life stories of which they are the protagonists. It would be absurd to deny the large payoff to individuals living in the inherently pluralistic conditions of reflexive modernity, who are vested with a thrilling panoply of choices about how they will live their lives. But it would be equally wrong to deny the degree to which, as Beck puts it, modern people “are condemned to individualization.” To be subject to reflexive modernity is to feel a “compulsion for the manufacture, self-design, and self-staging” of a biography and, indeed, for the obsessive “reading” of that biography even as it is being written. And in this project there are a host of agencies, including schools, waiting to help.

Mark McGurl, The Program Era: Postwar Fiction and the Rise of Creative Writing (2009), pp. 11-12

#mark mcgurl #the program era #mfa programs #postwar us literature #us literature #graduate school #reflexive modernity #autofiction #metafiction #vladimir nabokov #creative writing #personal experience #neoliberalism #reflexive accumulation #the culture industry

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thinking about mfas and applying to writing grad school… tell me your thoughts is this bad, dumb, a good idea???

#writing #writer #mfa programs #mfa questions #mfa #grad school #creative writing #creative writing mfa

Ten Secrets About Mfa Programs That Has Never Been Revealed For The Past 8 Years | mfa programs

MFA programs are often overlooked when it comes to choosing an accounting profession. This is understandable, especially since most people don't consider accounting MFA programs.

But if you do have a degree in accounting, you may very well be able to find a career as a financial analyst. In fact, many MFA programs at accredited business schools will offer internships and other opportunities to get your foot into the door for potential employers.

The next thing to consider when choosing an accounting program for your MFA is where the school is located. There are some schools that only offer one or two programs in finance and accounting, which is fine if you are interested in one of these specific fields, but if you hope to pursue more advanced degrees, such as those that prepare you for a higher position in the company you're planning on working for, it may be a good idea to consider attending a school that offers multiple programs in accounting.

It should be noted, however, that not all MBA programs in finance and accounting to offer all of the same degrees or programs. In fact, it's possible to get a degree from one of these programs that doesn't actually prepare you for a career as a finance and accounting specialist, so if you are really committed to a career in this area, you may need to choose your courses carefully.

Some MFA programs also have a program in human resources, so if you intend to enter a career in human resources, you may want to take a course in human resources as well. Human resources is extremely important, and anyone with a degree in human resources can go on to become a top manager of a company.

There are plenty of good schools that offer both an MFA in finance and accounting program and one or even more other types of programs. Choosing the right program will help ensure that you have the best chance of a successful career in finance and accounting.

If you are looking for an MBA in finance and accounting, be sure to look at the programs offered by the school you are interested in. Most of the top schools now offer online programs as well, allowing students to complete the degree in as little time as possible. Also look for programs that are accredited by respected accrediting bodies, such as those from the American Accounting Association and The Organization for Professional Engineers.

The last thing to consider is how the MBA in finance and accounting programs will fit into your career goals. You may be looking to get into the field after you have completed your bachelor's degree, and in that case you'll want to consider a program that offers classes that focus on financial reporting and management, as well as those that teach tax management and business ethics.

If you are looking for a job, you may not want to consider an MBA in finance and accounting as your first choice, since this degree is not required by most employers. If, on the other hand, you are trying to get your foot in the door of the accounting industry, it may be the ideal choice for your career advancement.

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#Graduate Degree #mfa programs #mfa programs canada #mfa programs creative writing #mfa programs full

Decision made.

So. It took a week past the official deadlines, a lot of tears, a failed come-to-Jesus meeting with Columbia’s financial aid department, a gazillion e-mails and too much peanut butter on spoons like the heathen I am, but

I am happy to announce that I am attending Hamline University’s Masters of Fine Arts in Writing for Children and Young Adults. This is a low-residency program operating from Twin Cities, MN (for those who do not know) so this means that my first day of school will be in July 2019 and I will be projecting a 2021 graduation date.

I am thrilled. I am nervous. I am wondering if this is real life. It still hasn’t sunk in for me, nearly two years later, that I made it through college and got my Bachelors degree. So this might just hit me over the head with the realness of it all when I’m walking the stage for my second diploma.

Anyway, once the dust settles and I can talk more coherently about this, I’ll try to structure out a proper “why I chose Hamline” post, but here’s the short of it:

✨ Amazing faculty including the Newbery award winners of 2017 and 2019 (with 2018, Erin Entrada Kelly, being the guest author this upcoming residency)

✨ A strong emphasis on craft and mentorship

✨ Faculty member Laurel Snyder said it best in my phone call with her a couple of months ago so I’ll just quote her: “learning through play” - a lot of encouragement to explore different genres and ways of telling story

✨ A chance to see somewhere different and taste dorm life for the first time ever

✨ I just couldn’t get this program out of my head

On the last point, don’t get me wrong: I still woke up today hyperventilating because I passed up a chance to attend The New School WITH a hefty scholarship and who does that?

Well, this girl does. And it’s going to be good. It’s hard to doubt that it’ll be good when the magic is already showing: faculty members’ gushing responses to my letting them know I’ll see them this summer, kind offers of support and acclimation from current students and alumni who will be around campus alike...it is so validating and I’m really excited to start this next chapter.

#decisions #mfa programs #hamline mfac #first year: pre-residency