Sign Up for an Upcoming Writing Class with Natalie Eilbert!
Organization: Brooklyn Poets
Sunday, June 30, 9–10:15 a.m.
“Epiphany” comes from the Greek word epiphainein, meaning “to come suddenly into view.” Poems rely on the epiphanic when the poet is entangled, bereft, clouded, or oversaturated—although the reveal may never shine through. When a poem does arrive at this meridian, all the images and statements around this point become significant. Arrival, then, is about the trouble of getting there. In poetry, we celebrate this circuitous geography. In this class, we’ll read poems by Safia Elhillo, Marcelo Hernandez Castillo and Airea Matthews that gear toward the epiphanic through argument, arrangement and insight. We’ll enlist the help of our surroundings to discover our astonishments. We’ll practice a five-minute guided meditation in the middle of our writing session to see what, of our own thoughts, we can fixate upon.
This retreat is sold out :( Chin up, though, there are a couple courses below that are for much longer than a glorious weekend in the Hamptons—although you should follow @brooklynpoets for all upcoming classes, including Hamptons Retreat 2020!
Begins Sunday, July 7, 2019 4:00 PM
Ends Sunday, August 25, 2019 5:00 PM
WHAT IS MEANING-MAKING IN POETRY?
In this course, we will consider what meaning means in poetry. Poetry cannot and should not be read like prose, as it is not meant for information gathering. We read poetry because we cannot shake the ineffable from our faculties; because poetry locates a supreme feeling and reasoning cannot define its bounds; and because such immensity is never linear or straightforward. Multidimensionality siphons into every poem, and so we might see the poem as a snapshot or vignette, compelled not by narrative but felt experience. This is to say, poems offer a complex kaleidoscope of meaning, and they give us permission to wander and to study images of the mind. We will read poems by Alice Notley, Sylvia Plath, francine a. harris, Sara Borjas, torrin a. greathouse, Diana Khoi Nguyen, and many other poets who write with astonishing lyric clarity. We will make use of resources such as the OED and historical texts to make sense of others and our own poems.
Tuesdays, 8:30-10:30 p.m. ET/5:30-7:30 p.m. PT
Aug. 13 - Oct. 1 2019
The etymology of indelible literally means “not able to be destroyed.” It is a word mindful of great pain and joy, that which separates us from our quotidian selves. Memory is a tool as powerful as it is troubling because it risks the same unreliable traits as any narrator, which is made more pronounced when the traumatized speaker arrives at the intersection of memory and proof.
How can literature investigate the perils of the survivor’s journey, from incident to epiphany to the cyclical? In this course, we will pursue the question of whether poetry can reconstruct our humanity in the aftermath of crisis. We will consider the poetics of continuation and evidence through book-length and individual poems from the likes of Tory Dent, Diana Khoi Nguyen, Solmaz Sharif, francine a. harris, Vanessa Angélica Villarreal, Aria Aber, and Tiana Clark, and grant ourselves the permission to write our own indelible pasts in original work.
This class will meet over our video chat platform. You will need to use Google Chrome to join your class meetings.