Workshops

Tuesday
October 24

Topic to be announced

Ian Martin

Ian Martin’s digital chapbooks are available online at the Ian Martin Memorial Library
Tuesday
November 14

(Multi)lingual Poetry

How does language work into poetry? Do you write only in English, or do you weave in your first language, practice your second language, or even those three phrases you learned on holiday?

In this workshop we'll talk about incorporating different languages into English poetry. We'll read work from poets who use full phrases to those who use words, those who include translations, and those who don't.

For the workshop, you only need to bring pens, paper and your imagination. There will be (multilingual) prompts for you to work with, and you can see where your relationship with language lies.

Manahil Bandukwala

Manahil Bandukwala is a writer and artist and an editor for In/Words Magazine
Tuesday
November 28

A Light and Breezy Workshop

Are you in the middle of compiling your collection? In the midst of submitting to competitions? Is your writing starting to feel a little too serious? A little like hard work? Perhaps it's time to reawaken your inner child with some fun and creative exercises that will lighten your mood and breathe fresh air into your writing. Join Susan J. Atkinson for an entertaining evening of writing prompts that may lead you to surprising results.

Susan Atkinson

Susan's poems have appeared in The Antigonish Review, Bywords, The Dalhousie Review, Whetstone, The White Wall Review and Room.
Tuesday
December 12

"One Law for the Lion and Ox is Oppression": Ways of Thinking about Constraint

Workshop Description: We often use form as the binary opposite of free when discussing poetry, but free verse poems have form even if those forms aren't conventional or traditional. A better binary is constraint, but even then many poems that seem free have, at some level, evolved in response to a constraint.

Constraints are rules we choose to abide by when composing a poem. Some are a question of convention—the rhyme scheme of a sonnet, for example—and some are arbitrary like using only one vowel per chapter. Don Coles, in an interview for Where the Words Come From, described the value of a constraint in terms of the demand it makes on your imagination: when it takes away the option to follow your initial instinct, it forces deeper thought about other options, whether that means other word choices, other syntax, or even other nuances in the content of the poem.

For the purposes of this workshop, we'll consider constraints that contribute to the process but are ultimately catalysts that don't show in the final product, and those that remain a clear and contributing part of the final product. Participants are asked to bring, in addition to a poem or poems, up to three ideas for a constraint that a poet might use in crafting a poem. We'll then apply some of the ideas to participants poems and discuss their possible value to both process and product.

Chris Jennings

Chris Jennings is the author of Occupations (Nightwood Editions, 2012)

about Tree Seed Workshops

 

A sort of open university to nurture younger in the craft poets, increase the depth and breadth of anyone's knowledge base. It aims to help poets form a community of peers as well as inform their poetics as faciliators act as catalyst for a particular aspect of poetry which lights their fires. They are a mix of presentation, exercise and discussion. Bring a pen and paper. 

 

The events are free to anyone who wishes to attend. They are held in the usual Tree venue between 6:45 and 7:45 on regular Tree evenings.

 

PAST foci & Facilitators

 

Anita Dolman on Gender and Sexuality, and poetry as a storytelling device from from Sexton, to Suknaski to Clarke to You,  Jean Van Loon on writing historical figures, Rhonda Douglas on getting a book from manuscript to publication,  Robert Stacey on Experiments in Translation,  Jennifer Baker's from Experimental Lyric to Cognitive Poetics,  D.S. Stymeist on lyric confessional and the sonnet, Barbara Myers on prompts to get to the volta,  elizabeth burns out of the comfort zone: gut Symmetries like a Jeannette Winterson Novel, Susan McMaster  on hard editing,   joseph ianni on the intersection of visual and performance poetry, and Jennifer Pederson on how to use different kinds of mics and your voice.

 

Sanita Fejzic on Hybrid Texts: Anne Carson's Autobiography of RedJessica Bebenek on knowing your audience, projection and voice, reading with intention and making a well-balanced set, Willow-Marie Power on  the neuroscience of writers block,  Colin Morton on animating inner life, Claudia Coutu Radmore on haibun, Avonlea Fotheringham on publishing 101, Susan Gillis  on fostering tension and release in our poetry,  Marilyn Irwin on prompts and on breaking the line, Kayleigh Watts on poetry and song composition, LM Rochefort on cut-ups,  Murray Citron on  translations  of Hebrew,  German , Italian Polish poetry that resulted from the Shoah experience, and Brecken Hancock on memoir and confessional.

 

JM Francheteau on personae poems, Phil Hall on the constraints of Larry Eigner, Mark Goldstein on homolinguistic transtranslation and nature of translation using an example of Catallus,  Peter Richardson and John Steffler  each roundtabled poems of participants, Sylvia Adams led a workshop on salvaging a problem poem, Stephen Brockwell spoke on French-Canadian poetry including Saint -Denys Barneau, Claude Gauvreau, Gaston Miron, Paul Marie Lapointe, Nicole Brossard and more, and Luminita Suse showed tanka, the form and history, related forms and contemporary practice.

  

Frances Boyle on Open Sesame and Ariadne's Thread/using forms to get to wild mind, Phil Jenkins on readability, Jenna Tenn-Yuk on negotiating the complexities of your identity & on facing fears, Pierre Brault on comparison of lessons & practice in poetry vs. stand-up comedy, and Bruce Taylor on using sound's power of euphony and cacophony looking at close reads from Edith Sitwell to Charles Olsen, Stephen Morrissey to Mary Oliver, Louis Dudek to Derek Walcott, and a look at nonsense and riddle verse.

 

Claudia Radmore on linking and shifting the tone and content in renga, Jenny Sampirisi on hybrid texts that cross genres looking at Beckett, Cixous, Anne Carson and John Cage, John Koengen on stage presence, using your breath, being in your body, Gwynn Scheltema with an intro to OULIPO such as The N + 7 Exercise and homophonic translation, Brandon Wint on imagery and sensuality, Christine McNair on the material of books: how to choose paper and the group doing a few bindings, Stuart Ross on poem techniques after Joe Brainard, Bruce Kauffman on guided stream of consciousness, Cathy MacDonald-Zytveld with 10 writing prompts and exercise with projecting your voice. 

 

Jeff Latosik on switching the POV of classic poems; Alfred Lord Tennyson's "The Lotus Eaters" made contemporary, Lesley Strutt roundtabling a discussion of the challenges of translating poetry, Jay Millar on the long poem with examples of Christopher Dewdney and others in The New Long Poem Anthology,  Brenda Leifso doing how-poems-work in magical realism, Ian Keteku with exercises to extend a metaphor and finding fresh phrasings. 

 

Monty Reid on the connection between place and poetry, mapping and the muse, making a poetry map of Ottawa,  Robin Macdonald on yoga body/mind listening in finding your direction as a poet, Roland Prevost round tabling our motivations for writing, LM Rochefort on the bilingual poem, Imagistes, cut up poetry, collage poetry and techniques for projecting your voice, Guy Simser on tanka's developments overseas and in North America, Barbara Myers on pov; alienated insiders or as outsiders wanting in, and close reads of poems to consider syntax work for you, Ikenna Onyegbula teaching strucure and memory techniques in spoken word, Terry Ann Carter on glosas of women writers, Akiko Yosano, beat poets including Gary Snyder, and using found text.

 

Cameron Anstee looking at the personal poem and the list poem with examples from Frank O'Hara, Ted Berrigan and Jim Smith, Mike Buckthought on ancient Greek epigrams, Glenn Kletke on stanza types and effects of line breaks and stanza breaks on sense, Phil Hall on triptychs and roundtabling poems, Sandra Ridley on linear vs. oblique and risk vs. silence, rob mclennan on writing from language and from other writers from PENN sound, Claudia Coutu Radmore on the beauty of juxtaposition and a look at senryu, and Ronnie R Brown on using line and stanza breaks to enhance your poetry, and on finding an effective title and Pearl Pirie on frames of poetic values, sestinas, combining the material of disparate poems, use of space & punctuation, and rhythm.

 

GOALS

 

Since 2009, Tree has been offering a series of one-hour poetry workshops to take a closer look into poetry, techniques, forms and close reads of particular poems.  The sessions provide a time and space for people  to talk about poetic practice and techniques, a close read of how poems can work, why poetry works and how to present ideas.

 

The time can deepen each participant's foundations and widen the explorations of our poetry community to become better readers, writers and editors.

 

Developing organically, each facilitator acts as a unique catalyst, bringing a special angle and passion on craft and practice in poetry. Most provide examples and/or exercises for the focus subject, technique, poet or poetry school. Some are hands-on. Some sessions are presenter-presentations. Some session are time for getting more eyes on a piece brought in to share or made in the time (with safe group feedback).  If you have someone you would like to hear or something you would like to hear about, contact Chris Johnson thru info@treereadingseries.ca 

 

HOW ARE WE DOING?

 

We're looking for feedback on how we've been doing. As someone who has attended a Tree Seed Workshop would you like to fill in the 10-question survey?
It should take no more than 5 minutes.

http://www.surveymonkey.com/s/H5CCFL8