2011 Workshops!

When I retired I adopted and adapted what my father said when he stepped down from coaching: “When you stop coaching, don’t go back to the gym.”

Also when I retired I heard over and over, “Aren’t you going to miss your students?” I would reply, “I always miss my students. They were forever leaving.”

I’ve made a concerted effort not to “go back to the gym.” And I have had the remarkable good fortune to find a whole new group of people to be with as we gather around poems. Unlike college students whose experience lies mostly ahead of them, this is a group of people who have had years of experiences to draw from for their reflections and their writing. How did this happen? Because of Colette DeNooyer who wandered into my life with an offer to conduct poetry workshops at her stunningly located home along Lake Michigan. Colette has, with her good grace and huge heart, run everything for me: registration, set-up, email contacts, great coffee, lunches, snacks, even overnight accommodations for those from some distance who want to attend. I simply show up.

At first I thought, “This will be nice, a workshop maybe once every couple years.” Well, what to my wondering eyes should appear but a group of warm-hearted, intelligent, sensitive, imaginative, culturally varied, curious souls who have returned time and again for the good times that they have created for one another. What I thought might be a one time or two-time occasion has now developed into its third year and includes a variety of workshops. I’ll list the ones for the coming year, and if you are interested, all you need to do is email Colette at cvdenooyer@gmail.com

Here’s the 2011 season:

1. “Landscapes of Poetry”: This workshop which focuses on poems written by members of the group, is already full, but there is a waiting list that you could sign up for. It meets five times: June 23, July 21,
August 18, September 29, and October 20 and usually holds a “reunion,” often in February.

2. “Learning from Some Masters”:  In this session we look at 6-8 poets’ works and learn from each. The participants try out adapting what they’ve learned from each poet to a poem or poems of their own. It’s a good workshop for those who want to discover some contemporary poets, learn about how they create their poems, and want to enrich their own poems.
It meets all day on Saturday, March 5.  Lunch is provided!

3. “Everything You Wanted to Know about Poetry But Were Afraid to Ask”: The workshop painlessly enables the participants to learn about and work with the various elements that go into creating a poem, such things as line, image, sound, line break, structure, rhythm, tone, voice, openings, closings, titles, and some of the ways used to lead one into the process of composing itself. It’s fun. Some have even taken it more than once. It is designed for those who have already been writing and for those who have been wanting to write.
This one is offered two times a year, each time on a Saturday, all day. The dates are January 22 and October 8. Lunch is provided!

4. Re-Visioning as Re-Vision: This workshop focuses on how to go back to what you have written to see what you might also do with the material. It is not about polishing or editing. It emphasizes the process one plays with, and play is the operative word here, before applying any editing or polishing. We take something we’ve already drafted and play with a variety of options, alternative ways to apply line, structure, image, openings, closings, titles, tones, you name it. We see what happens when!!!! It’s maddening fun. This workshop is offered on Saturday April 30. Lunch is provided!

I would love to get to be with you at one or more of these!!! Feel free to contact me with any questions. It’d be great to lure you to this beautiful setting with great good people.

Degrading the Grade

I wrote this essay for an anthology about teaching being prepared by my pal, Jeanine Dell’Olio, at Hope College. My students already know about my approach to grading, of course. Julie thought this would be a good place to keep this essay, with hopes these ideas can continue to stir up trouble.

……………………………

Degrading the Grade

Jack Ridl

I have spent my classroom life teaching in the arts, specifically poetry writing. Among the questions I am most asked is “How do you grade a poem? Isn’t it completely subjective? Isn’t it impossible to grade any art?”

Well, of course you can grade a work of art. You can decide to award an A for accomplishing effective use of various artistic elements or a grade based on improvement. You can grade based on a determination of quality. You can determine the criteria. I had a writing teacher whose grading system was A if you wrote as well as Shakespeare, B if  you wrote as well as Hemingway, C for “most of you, likely.” Another teacher offered this system: “C if your work makes me think. B if it makes me feel. A if it makes me laugh.” So, yes, you can grade an artwork.

But how to grade was not the issue for me. Why grade, and what are the consequences of grading, and does the grade help a student develop? These were the questions that would not leave my mind alone when I took a walk. Then one day came the epiphany. It was rather simple as epiphanies go: Grading was preventing my students from being artists, poets.

Grading interfered with the value of constructive critique. The grade was not an assessment, not even a reward or a punishment. It was a consequence. As soon as I would suggest to students that they could do something else with an ending or a line break or change the tone, all they heard was a grade plummeting. Defenses rose. They refused to see any alternative to the way they had composed the work, and stood firmly for the A grade they deserved. The result was stifled growth, inauthentic work, begrudging changes that took little if any effect, a hostile relationship between what should be a coach/mentor and a growing writer.

So I eliminated grading. I eliminated it in order to suggest, respond, criticize. And what happened? The students–ALL of the students–began to welcome suggestions and options and alternatives and even challenges. They were not unlike anyone learning to play the piano or to swim or to build a campfire. They wanted to create an effective work. They had always wanted to, but understandably because of school and its achievement evaluation based on measurement, they had to make their grade not their first priority but their first concern. Eliminating grading of their work enabled them to connect their priority with their concern.

And the reward became, dare I say, spiritual and communal rather than a “seal of approval.” They discovered the real reasons for creating. What became important was not confined to the “product.” Importance and value expanded into the process, not because it led to a product, but because the process itself brought valuable experiences, insights, revelations. The students began offering to one another both their poems and the value embodied in them and stories of what happened in the process, both of which enriched the entire class and created a deepening of community. One time I was challenged in a faculty meeting about what I was doing: “Why will your students do any of the work if it’s not going to be graded? What makes them do the work?”  My response was simply “The right reasons.” That sounds glib. It isn’t.

Something that surprised and liberated the students was that they began to discover real value in everything written, successful or not. We had complex and provocative conversations about the importance of the material. We decided together whether it resulted in an effective poem or not. Any image, moment, insight, any line break, the implications of the impact of the rhythm of lines could lead to conversation and worthwhile realizations. The poem did not need to be successful for us to find remarkable and worthwhile content and artistic attributes, ones well worth discussing. I realized that it was my job not to demand that they write successful poems, but to teach them what it took to write poems. They have the rest of their lives to write successful poems

Emily Dickinson didn’t sit down to write a poem for a grade. David didn’t write the 23rd Psalm and say to himself, “That’ll get me an A.” There were very important reasons for composing poetry. The students deserved to have access to that discovery.

But I was worried. Won’t some students blow this whole thing off? Won’t my reputation go down the tubes? Won’t I become a laughing stock, an “easy grader?” And won’t the students create mostly mediocre work?

That’s when another surprise arrived. Instead of mediocre work, the work improved. Not one student blew off a single assignment. And while many students never became full-fledged poets, more than in the past did. In 15 years since my epiphany, more than 60 students have gone on to the best MFA programs in the country and are publishing. No, there is no data.  But what I do know for sure is that every single one of the students had poetry restored to their lives, and have kept it as an important part of their lives since their graduation.

And as for me? I put away being a tough grader and became a “tough responder.” All that means is that I was no longer hesitant to make suggestions and corrections for fear I might “stifle” a sensitive soul. I no longer had to tell them the lie that they needed to develop a tough hide in order to take criticism. They could maintain their vision and voice and sensitivity. They could welcome critical response because it was in their behalf and their poem’s behalf. Critical response did not lead to a grade which had led them to play it safe and learn little. Critical response led to growth and the intrinsic joy that comes when beginning artists realize what can be done instead of hiding within what they can already do.

Workshops Updated!!

We’ve been lax on updating the Workshops page. But it is all shiny and new and updated and correct. As always, more detailed descriptions of all of these workshops, along with pricing and registration deadlines are available by writing to Colette at comewritewithme@gmail.com.

Special note: The poetry workshop for absolute newbies is running October 8, and word has it a few seats are opened up there, so grab them while they are hot.

Two new workshops: One a get-away day for writers who never find the time. Just a day on the beach, writing your heart out. You will be offered writing prompts, if you want them, food, sustenance, and lots of lovely seats to choose from.  The other is a day-long book-making workshop for writers. Learn to make three book forms you can use to give to your favorite writer, or to hold your own writing.

Look on this page, and then contact Colette to learn more and grab your seat!

April 27 Workshops in Traverse City with Anne-Marie Oomen and Keith Taylor

Flyer Repost!

Wayne State University Press and the National Writers Series Present Writing classes with Keith Taylor, Anne-Marie Oomen and Jack Ridl:

Wednesday, April 27, 2011, 7 PM

Northwestern Michigan College University Center

Buy tickets at treatickets.com.

The National Writers Series is excited to collaborate with Wayne Sate University Press to highlight authors in the award-winning Made in Michigan Writers Series. These Master Classes offer a unique opportunity for writers and readers alike to come together in an intimate gathering to learn from some of the best. The ticket price of $20 includes a copy of the presenter’s book.

Following registration (please allow 1-2 days for processing), you may pick up your book at Horizon Books in downtown Traverse City before the start of the class.

Jack Ridl “Learning from Some Masters”

This class will take a close look at some contemporary poets, noticing what in particular distinguishes their work and applying what we notice to our own poems. This class should help writers to discover how their voices, techniques, and visions can enrich and expand our writing, our reading, and our days. Bring some of your own poems and/or drafts along with something to write on and write with. Laptop computers are welcomed, too. Some of the poets that will be examined are Mary Ruefle, Jeff Gundy, William Stafford, Li-Young Lee, Linda Pastan, Lucille Clifton, Nancy Willard, Russell Edson, and Naomi Shihab Nye.

Keith Taylor “13 Lines or Less”

This is a workshop on the short poem, 13 lines or less. Taylor will give examples, and try to discover with the attendees how these poems work. Some will be image based, like Japanese haiku, but others will contain little narratives. Still others will work more obliquely, by a process of association. This class will also be a great opportunity for the attendees to have their own poetry looked at. (Poems should be sent ahead of class date, although not a requirement. Contact information will be provided upon signing up for the class).

Anne-Marie Oomen “Travel/Place/Spirit: An Exploration of the Travel Essay”

Using some models from An American Map (and others), Anne-Marie will explore the essay of travel as a way of entering land-scapes of both place and spirit. She will provide exercises that explore the “strange land” but also explore the “stranger” in that land. The focus will be to discover meaning for the found place by also exploring the interior landscape of the traveler.

The National Writers Series is a year-round book festival in Traverse City that brings together some of the brightest celebrities of the literary world to Northern Michigan.

Quick Update

Sorry for the short notice. The secretary has scattered her brains. Let’s blame it on living under the relentless glow of the poetic presence. It fries synapses, people. Couple of readings coming up. Provided we can bank down Ridl’s fever enough to prop him behind a podium…

February 23, 2011 DePaul University, 6 pm, Rosati Room, 300 John T. Richardson Library.

March 3, French Laundry, Fenton, Michigan, 6:30 to 9pm, Jack and David James in the Mid-Winter Poetry Duel. Reservations required, $35 per person.

 

A Community is Born

This past June The Fetzer Institute hosted a group to spend the week writing, reflecting, being alone, talking with one another, and having daily group conversations about some of the subjects that those at Fetzer are devoted to exploring. We spent the time focusing our conversations, led gently and profoundly by Mark Nepo and Shirley Showalter, on suffering, love, compassion, forgiveness, creativity, and the artist’s responsibility in working with these conditions, each one certainly an integral part of each life.

For two days a film crew was at the Institute to record our responses in a formal setting drawn out from us by the unimposing presence of and questions posed by Mark and Shirley. These “interviews” are now available on The Fetzer Institute website right here. I have a hunch that you will find the insights and “takes” of the participants to be interesting, at times provocative, at times supportive, often unusual, always warm-hearted.

Here you will hear from a master of the Kora, novelists, poets, a world authority on the spiritual nature of the labyrinth, potters, a former NPR death row reporter, a leader of women’s empowerment groups, a concert pianist/composer, writers of children’s books, health activists, and, and, and.

In one little week, we became friends. All of us have been astonished at what Mark and Shirley enabled to happen–to us, for us, with us. We have stayed in contact, celebrating one another, cheering one another on in what we are each trying to do. We became that rarest of organic creations, a community.

Jack on the Interwebs

Hi folks, Julie here. Jack’s been enjoying a flurry of interviews lately. A couple are out on the interwebs. A couple on their way in lovely magazines. We’ll keep you posted. Here are two:

This amazing blog, if you don’t know it already, is one you can fall into and wander in for hours, days, weeks. Amazing gift to writers and artists of all kinds:

http://howapoemhappens.blogspot.com/2010/07/jack-ridl.html

And this one, a former student of Jack’s. A lovely guy. A writer who teaches writing, talking to writers. Again, giving us all wonderful stuff to chew on. (His latest interview of dear Li-Young Lee, is a gem. Really captures him.)

http://www.writersonprocess.com/2010/06/interview-with-a-writer-poet-jack-ridl.html

On Naomi Nye and John Calipari

This is going to be a two-part blog. A celebration!

Part One: Naomi Shihab Nye has just published her anthology Time You Let Me In: 25 Poets Under 25. Nine, count ‘em, nine of the poets are Hope grads. NINE! Extraordinary. Here’s a neat back story.

Two years ago, my sister, mother, and I were at the Final Four in San Antonio, guests of Coach John Calipari, then of Memphis. Naomi lives there. I had called her to see if we could all meet up for a bit. She was, of course, busy with about two hundred National Poetry Month events, but set several aside to spend the morning taking my sister and me on a tour of old San Anton and a wander along the River Walk.

I asked if she had any special projects going. She did one of her delightful dead stops and twirls, “I have the best project going. Greenwillow (her publisher) has asked me to compile an anthology of 25 poets under the age of 25.” She talked about how important it is to have this anthology out there. Then she said, “If you know any terrific ones, tell them to submit their work to me.” I said I’d do that.

After getting back, I contacted a bunch of Hope grads and present students and told them to submit their work to Naomi. Several of them did. It was a blind judging by Naomi so she didn’t know whose poems she was looking at.

After a month or so, I got an email from her. I could hear her cheer-filled voice in the message. She said, “I can’t believe this. About every other poet I select, when I look at who she or he is and where they are from, I discover another Hope poet! “

When anyone asks why I never wanted to go anywhere else to teach, my answer is always the same: I can’t imagine any other place having such an extraordinary number of intelligent, talented, good-hearted, willing-to-learn more students. And to think that this anthology is attending only to those under 25. So many more, the “old timers” are out there.

Who are the students in the anthology? Matthew Baker, Brianne Carpenter, Gray Emerson, Lauren Eriks, Emily Hendren, Jonah Ogles, Allison Rivers, Lauren Stacks, and Anna West. Anna is featured in Naomi’s introduction. Matthew is featured on the back cover. And Naomi writes about Hope grad, poet Lauren Jensen in the introduction. Lauren was 26 and so couldn’t be included, but Naomi loved what Lauren wrote about the idea of this book and quoted her. How about locating this book for your shelves. It’s one to make you happy.

Oh, and you get a bonus because there are actually 26 poets in the collection. Naomi isn’t good at arithmetic.

Blog Post Part II:

And while we’re on the subject of John Calipari–We know a wonderful John Calipari, an overwhelmingly generous man whose thoughtful acts usually go unnoticed and un-noted.

Yesterday, March 30, just a few days after his disappointing (understatement) loss to West Virginia, he visited my mother in her room in assisted living just outside Pittsburgh. He has been devoted to her and her care for years now.

About 15 years ago, he asked my dad to teach him a defense my father had concocted. They were at The Final Four. My father had cancer. He and John spent every free moment together going over this defense. My dad had been a hero of John’s as he was growing up and heading into coaching. After the final game, my mother and dad headed home.

My father took a turn for the worse, was hospitalized and died shortly thereafter. We are sure his last words to my mom were “Betty, when you get home, call John and tell him that in such and such a situation, the guy should stand at a forty-five degree angle.”

The news of my father’s passing hit John very hard. He wanted to do something, but what? He realized how much my mother loved basketball, how it was her life for all those years. So he contacted her and told her that she was to follow along with him now, and that she would always be his guest at any game she could make it to and that she, my sister, and I would be his guests any time a team of his made it to The Final Four. We’ve been to all three his teams have made.

This year, he invited my sister to be his guest on his post game radio show. Can you imagine–10,000 people at Kentucky wait around after the game to watch the broadcast live. John talked a lot about our father, introduced my sister, Betsy, and had her say a few words. She told the crowd that they were “CRAZY!” and they roared!

And then yesterday there was John, sitting on my mom’s bed leaning in to talk with her for an hour as she sat in her chair and wore her Kentucky T-shirt, staff and other patients peeking in the door. Then on he went back into the limelight.

Spring Readings

Lots of updates on the old Readings & Workshop page, folks. Take a peek when you get the chance. Would love to visit with you at any of these great places.

For Writers & Readers!

It has been my remarkable good fortune to have Colette Volkema DeNooyer organize and host the workshops I’ve been running. She puts in extraordinary time and mentally exhausting effort doing all the maddening detail work that enable our get-togethers to happen. And to be able to be with one another at the DeNooyer home along Lake Michigan is a breathtaking bonus. A big sack of gratitude goes to Colette’s husband, Bob, who so generously sends himself into the basement while we take over the rest of the house. Colette and Bob have a way of making you feel as if you are loved family dropping by. They make you feel instantly at home, as if you grew up there, have a favorite chair, can kick off your shoes and ask, “What’s in the fridge?”

This past Saturday we held another intro to poetry writing workshop and what a magical time it was. I don’t know how the participants did it, but within five minutes everyone was a best friend from back in high school. And what sparkling intelligences and warm hearts filled the time. I noticed how gratitude was wandering through me. I’m always apprehensive about leading a new group, but these souls made ME feel welcome. It wasn’t long before my self-consciousness joined the snow melt of this January thaw. We laughed and discovered and chattered away and wrote and cared in the best of ways about things that mattered. And it all happened with a lightness of being that was anything but unbearable. It wasn’t even bearable. It was palpable and a joy.

And that brings me back to Colette and how she creates a place where one is safe to be, one is safe to discover, to succeed, to fail, to falter, to learn, to be enriched, to be oneself in one’s own world. I would urge everyone to register for her retreats. Talk about a place and a way to find renewal without that being the goal. That’s what’s rare–having a retreat where it doesn’t feel like, well, like a “planned retreat.”  (Not that there’s anything wrong with that.) We’ve added a link to her site, For Writers & Readers, where the workshops are listed. I wholeheartedly urge you to give yourself the gift of Colette!

2010 Poetry Landscapes Workshop Dates

Jack will be partnering with Colette DeNooyer to offer his monthly Poetry Landscapes workshop again in 2010.  So far we have… dates! Registration hasn’t opened yet, but we feel pretty accomplished by arriving at a solid set of class times.

Poetry Landscapes will meet June – October. At the beautiful DeNooyer home on Lake Michigan, during these summer and fall evenings:
June 24
July 22
August 19
Sept. 30
Oct. 21

To join Colette DeNooyer’s mailing list for workshop news and registrations, write to her at cvolkemadenooyer@chartermi.net.