Academic Catalog


Foothill College Course Outline of Record

Foothill College Course Outline of Record
Heading Value
Units: 5
Hours: 5 lecture per week (60 total per quarter)
Advisory: Demonstrated proficiency in English by placement via multiple measures OR through an equivalent placement process OR completion of ESLL 125 & ESLL 249.
Degree & Credit Status: Degree-Applicable Credit Course
Foothill GE: Area I: Humanities
Transferable: CSU/UC
Grade Type: Letter Grade (Request for Pass/No Pass)
Repeatability: Not Repeatable

Student Learning Outcomes

  • Evaluate and compare ways communities have used poetry create space, sustain community, challenge stereotypes, preserve cultural knowledge, and respond to injustice
  • compose poems that emulate elements of poetry used by selected authors of study


Contemporary local poets guest lecture and engage in conversation with students about process, poetics, and approach to publishing. Emphasis on ways poetry has historically created community to honor and maintain cultural knowledge and to complicate single narratives. Special emphasis on integrated reading and writing for literary analysis, including reflective and creative stylistic emulation of poets studied. Focus on sharing new work through organizing community reading and publishing class anthology.

Course Objectives

The student will be able to:
A. define community in various contexts reflected in contemporary literature
B. evaluate and compare ways communities have used poetry create space, sustain community, challenge stereotypes, preserve cultural knowledge, and respond to injustice
C. interpret contemporary poetry within structure of relevant racial, ethnic, gender, class, aesthetic approach, linguistic, and cultural contexts
D. recognize and compare poetic forms and aesthetic features from diverse cultures, and especially, contemporary, local poets
E. analyze and interpret use of poetic elements, such as diction, rhyme, meter, form, figurative language, imagery, assonance, consonance, internal rhyme, etc., and the impact the use of such devices have on the reader
F. compose poems that emulate elements of poetry used by selected authors of study
G. engage in conversation with selected, local poets of study on process and content
H. critique student poetry in workshop setting
I. plan, organize, and execute a community reading of writing done throughout the quarter

Course Content

A. Examples of community in various contexts in contemporary literature, such as:
1. Citizenship and legal status (e.g., undocumented, incarcerated state, refuges status)
2. Ethnicity
3. Religion
4. Gender
5. Sexual orientation
6. Geographical location/place
7. Labor conditions
8. Linguistic
9. Physical limitations
B. Representation of community-building movements through poetry, such as:
1. Harlem Renaissance
2. Nuyorican Cafe
3. Nicaraguan poets
4. Native American Renaissance and contemporary indigenous poetry, including Pacific Island indigenous communities
5. Poetry from prison and internment camps
6. Poetry from social movements (e.g., labor movements, LGBTQ)
7. Poetry and social media platforms
C. Selected contemporary poetry as found in any of the following:
1. Contemporary poetry chap books
2. Contemporary poetry anthologies
3. Contemporary poetry collections
4. Interviews with contemporary poets
D. Multicultural poetic forms, such as:
1. Comparative poetic forms and aesthetic features in contemporary poetry
2. Ghazal
3. Sonnet
4. Haiku, tanka, renga, hokku
5. Blues, jazz poetry, hip hop, spoken word
6. Corridos
7. Classical odes, Latin American ode
8. Dramatic dialogue
9. Visual and experimental poetry
10. Anti-poetry
11. Free-verse
E. Relevant terminologies and analytic techniques, such as:
1. Connotative, denotative meaning and wordplay
2. Structure of ideas, references, images, use of repetition, dialogue
3. Rhythm of lines, meter, and attention to performance of poetry
4. Assonance, consonance, and use of internal rhyme to convey tone or emotion in poetry
5. Image, symbolic and figurative language connected to particular themes
F. Creative emulation of selected poetry
1. Compose poems that emulate form (e.g., ghazal, pantoum, imagist, blues, free verse, etc.)
2. Compose poems that use particular devices specific to selected poetry (e.g., linguistic codes, dialogue, repetition, creative use of titles, experimental punctuation, line breaks, etc.)
3. Compose poems that emulate subject matter or thematic considerations of selected poetry
G. Guest craft talks and lectures with selected, local poets
1. Guest poets discuss poetics, process, and craft with student
H. Critique student poetry in workshop setting
1. Analysis of peer writing
2. Critical feedback
3. Mutual sense of purpose
4. Awareness of process
5. Revision strategies to develop voice
6. Editing and self-editing skills
I. Community reading and class publication of work
1. Outreach and marketing
2. Find a venue, location for reading
3. Design a program
4. Skills for performing poetry in public
5. Outreach to guest poets or featured readers
6. Decision-making about how to anthologize and publish class work (e.g., online journals, blogs, website, zines, chapbooks, etc.)

Lab Content

Not applicable.

Special Facilities and/or Equipment

A. On-campus sites for possible readings.
B. When taught via Foothill Global Access: ongoing access to computer with email software capabilities; email address; internet browsing software.

Method(s) of Evaluation

A. 4-5 critical analysis responses of 1-2 pages each to assigned published writings
B. Production of written descriptions of process
C. Production of written critiques of student work
D. Engaged discussion with visiting poets
E. Completion 5-7 original poems
F. Participation in writing workshop discussions and activities
G. Revisions of original work based upon workshop and professor feedback
H. In-class performance of poetry to practice reading poetry in a public setting
I. Quality of original work
J. Organization of community reading
K. Personal or communal publication of poems and other written pieces created in response to texts studies

Method(s) of Instruction

A. Lecture presentations and classroom discussion using the language of poetry.
B. Homework readings, plus in-class reading of poetic texts by the instructor and students followed by instructor-guided interpretation and analysis.
C. Group presentations of major projects followed by in-class discussion and evaluation.
D. When taught as a fully online course, the faculty shall employ one or more of the following methods of regular, timely, and effective student/faculty contact:
1. Private messages within the Course Management System
2. Personal email outside of the Course Management System
3. Telephone contact weekly announcements in the Course Management System
4. Chat room within the Course Management System; timely feedback and return of student work (tasks, tests, surveys, and discussions) in Course Management System by methods clarified in the syllabus
5. Discussion forums with appropriate facilitation and/or substantive instructor participation
E. E-Portfolios/Blogs/Wiki for sharing student works in progress; provide feedback from fellow students and faculty in a collaborative manner, and to demonstrate mastery, comprehension, application, and synthesis of a given set of concepts
F. Guest lectures by visiting poets
G. Field trips

Representative Text(s) and Other Materials

Addonizio, Kim, and Dorianne Laux. The Poet's Companion: A Guide to the Pleasures of Writing Poetry. New York: W.W. Norton, 1997. Print.

Chacon, Kenneth. The Cholo Who Said Nothing. Cincinnati, OH: Turning Point Press, 2017. Print.

Chinchilla, Maya. The Cha Cha Files: A Chapina Poetica. San Francisco: Korima, 2014. Print.

Leon, Raina. Boogeyman Dawn. Salmon Press, 2013. Print.

Montoya, Maceo. Letters to the Poet From His Brother. Copilot, 2014. Print.

Muller, Lauren, and June Jordan. Poetry for the People: A Revolutionary Blueprint. New York: Routledge, 1995. Print.

Christensen, Linda, and Dyan Watson. Rhythm and Resistance: Teaching Poetry for Social Justice. Print.

Dauer, Lesley. Carnival: Poems. Mercer University Press, 2016. Print.

Dungy, Camille T. Suck on the Marrow: Poems. Los Angeles, CA: Red Hen, 2010. Print

Hernandez-Linares, Leticia. Mucha muchacha: too much girl. Los Angeles: Tia Chucha Press, 2015.

Huerta, Javier O. American Copia: An Immigrant Epic. Houston: Arte Publico, 2012. Print.

Najarro, Adela. Twice Told Over. Unsolicited Press, 2015.

Reyes, Barbara Jane. To Love as Aswang: Songs, Fragments, and Found Objects. San Francisco: Filipino American Writers and Artists, 2015. Print.

Rich, Adrienne. What Is Found There: Notebooks on Poetry and Politics. New York: W.W. Norton, 1993.

Robles, Tony. Cool Don't Live Here No More. San Francisco: Ithuriel's Spear, 2015. Print.

Santiago, Roberto F. Angel Park. Maple Shade, NJ: Tincture an Imprint of Lethe, 2015. Print.

Sapigao, Janice. microchips for millions. San Francisco, CA: Philippine American Writers and Artists, Inc. 2016. Print.

Suzara, Aimee. Souvenir. Cincinnati, OH: WordTech Edition, 2015. Print.

Wong, Shelley. Rare Birds. Diode Editions Press, 2017. Print.


Types and/or Examples of Required Reading, Writing, and Outside of Class Assignments

A. Reading essays, poetry, prose, and interviews with featured writers

B. Questions for analysis and discussion to prepare for author visits

C. Written analysis of poems

D. Individual and group annotations for poem explication

E. Individual and group presentation of significant historical, social, and/or political events, periods, movements relevant to poems studied

F. Written, original work: poems that emulate poets studied

G. Stylistic imitations of poems studied

H. Participation in public reading of poetry: student-generated poems and poems studied

I. Reflections on writing process and poetics