Julia Bloch to become director of Creative Writing at Penn

Al Filreis

Gregory Djanikian is retiring at the end of this academic year from full-time work at Penn after many, many successful years as director of the Creative Writing program. Everyone who has worked with Greg will miss his generosity, patience, administrative ingenuity, his fine stewardship of the program, and his consistently superb teaching in poetry workshops. We won't have to miss him too terribly much, however, as he will be back each spring semester to teach a class. Greg's eminence as a writer is amply indicated at his Poetry Foundation profile page — and you can hear recordings of him performing his poems on his PennSound author page . When you next see Greg, please give him your very best wishes as he turns greater attention toward his next books of poems, travel, and family (including a granddaughter).

I'm thrilled to announce that Greg's successor will be Julia Bloch. Julia is the author of Letters to Kelly Clarkson (a finalist for the Lambda Literary Award) and Valley Fever, and is the recipient of the Joseph Henry Jackson Literary Award and the William Carlos Williams Prize for poetry. Along with poetry in numerous journals and anthologies, she has published articles and reviews in Journal of Modern Literature, Tripwire, The Volta, and elsewhere. She spent several years as an editor in the Bay Area before earning an MFA in poetry at Mills College and a PhD in English here at the University of Pennsylvania, and for several years taught literature at the Bard College Master of Arts in Teaching program. Since 2011, she has worked as coeditor of Jacket2, and since 2013 has served as Associate Director of the Kelly Writers House. If you are unfamiliar with Julia's writing, I urge you to have a listen to recordings here.

April 21, 2015

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

Click on the image.

ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

THE (ANTI)MODERN PRESIDENT. After looking at an abstract mural at the U.N. then President-elect Eisenhower said, “To be modern you don't have to be nuts.”

THE END OF THE LECTURE & PLANNING TO STAY. As often as I can, I call for the end of the lecture as we know it. I'm pretty serious about this - not often exaggerating on the point. Click here for one of many forays into the topic. Once you're there, click on the "end of the lecture" tag for still more. My thoughts on institutional politics and the arts were presented in a manifesto called "Planning to Stay" (published as a pamphlet by No Press); the text of that talk is available here.

KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.