Towards freedom: from Christina Rossetti to Jean 'Binta' Breeze
The course will look at how some women poets challenged the expectations of their families and the society in which they lived to create highly original poetry which changed people’s views of what poetry could achieve. They had to make their way in a male-dominated publishing world with a restricted view of the poetry suitable for women – we will explore how these poets expanded what women could publish in remarkable ways.
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This in-college literature course begins with Christina Rossetti who disapproved of the sexual behaviour of her Pre-Raphaelite brothers and their painter friends, and volunteered at a home for reclaimed sex workers. We will focus on her Goblin Market which raises complex issues of transgression, sexual desire and solidarity between women. With Emily Dickinson, we will explore the very original features of her poems and her decision not to seek publication so that her poems became chiefly performances for herself alone.
With Edna St Vincent Millay we will consider how her political beliefs and desire for sexual freedom are reflected in her poetry. And we will explore Edith Sitwell’s remarkable early poetry, which led to the surrealist verse-and-music entertainment Façade (1922), as a resilient response to a very unhappy childhood.
What will we cover?
As the 20th century develops we will discuss how Marianne Moore responded to Sitwell’s influence to create poetry of a highly original kind and how her long-term friend and mentee, Elizabeth Bishop, created poems that appear low-key but are intensely memorable. We will consider how far they reflect the discretion that Bishop felt was necessary as a lesbian at that time.
We will then explore what makes the poetry of Sylvia Plath and Ann Sexton so original. We will discuss how far diagnoses of mental illness, and their mentorship by Robert Lowell, gave them permission to write in new ways that were found shocking in their frankness.
We explore how far Stevie Smith’s apparent eccentricity is a mask behind which she was able to develop the dark, often mordant humour of her poems, many of them illustrated with child-like drawings. We end withJean Binta Breeze, a Jamaican who refused to accept that dub poetry could be created only by men who often wrote in an aggressive and sometimes misogynistic way. We will look at how she used a diagnosis of schizophrenia as a source of strength and inspiration, establishing herself as the first woman dub poet and a major influence for younger Black women poets in Britain as well as the Caribbean.
What will I achieve? By the end of this course you should be able to...
Understand why some women poets have written in highly original ways.
Appreciate how their originality reflects the family and other social pressures they experienced.
Enjoy reading and discussing many fine poems.
What level is the course and do I need any particular skills?
You should be interested in exploring how feelings are expressed, often in a new way, in the work of several major women poets through reading and discussing representative selections of their work. No particular knowledge or skills are needed.
How will I be taught, and will there be any work outside the class?
The sessions are run in a seminar style with all students invited to read poems if they wish and take part in discussions led by the tutor. You will receive the materials beforehand so you can read them and be ready to discuss them.
Are there any other costs? Is there anything I need to bring?
No. Electronic files and paper photocopies of the materials will be provided. A pen for making notes may be helpful.
When I've finished, what course can I do next?
Look for other Poetry courses in the Literature programme under History, Culture and Humanities/Literature/Poetry at www.citylit.ac.uk.
Laurie Smith has taught poetry writing and literature courses at the City Lit for some years, focussing on modernism and writers' radicalism. He researches and lectures at King's College London, helped to found Magma poetry magazine which he sometimes edits and has been a Trustee of the Poetry Society.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
product
https://www.citylit.ac.uk/towards-freedom-from-christina-rossetti-to-jean-binta-breeze2744915Towards freedom: from Christina Rossetti to Jean 'Binta' Breezehttps://www.citylit.ac.uk/media/catalog/category/get-together-and-read-hlt137-1080.jpg259259GBPInStock/Courses/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Literature/Courses/Culture, history & humanities/Literature/Poetry/Courses/International Women's Day at City Lit228511771187119020031228511771187<p>The course will look at how some women poets challenged the expectations of their families and the society in which they lived to create highly original poetry which changed people’s views of what poetry could achieve. They had to make their way in a male-dominated publishing world with a restricted view of the poetry suitable for women – we will explore how these poets expanded what women could publish in remarkable ways. </p>002744837Towards freedom: from Christina Rossetti to Jean 'Binta' Breeze259259https://www.citylit.ac.uk/media/catalog/category/get-together-and-read-hlt137-1080.jpgInStockDaytimeMonKeeley StreetAvailable courses5-10 weeksWeekday2026-05-11T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allMay 2026Culture, history & humanitiesHLT39259259Towards freedom: from Christina Rossetti to Jean 'Binta' Breeze207168259Laurie Smithtowards-freedom-from-christina-rossetti-to-jean-binta-breeze/hlt39-2526<p>The course will look at how some women poets challenged the expectations of their families and the society in which they lived to create highly original poetry which changed people’s views of what poetry could achieve. They had to make their way in a male-dominated publishing world with a restricted view of the poetry suitable for women – we will explore how these poets expanded what women could publish in remarkable ways. </p>0000-Available|2026-05-11 00:00:00<p>This in-college literature course begins with Christina Rossetti who disapproved of the sexual behaviour of her Pre-Raphaelite brothers and their painter friends, and volunteered at a home for reclaimed sex workers. We will focus on her <em>Goblin Market</em> which raises complex issues of transgression, sexual desire and solidarity between women. With Emily Dickinson, we will explore the very original features of her poems and her decision not to seek publication so that her poems became chiefly performances for herself alone. </p><p>With Edna St Vincent Millay we will consider how her political beliefs and desire for sexual freedom are reflected in her poetry. And we will explore Edith Sitwell’s remarkable early poetry, which led to the surrealist verse-and-music entertainment <em>Façade</em> (1922), as a resilient response to a very unhappy childhood.</p><p>The course will look at how some women poets challenged the expectations of their families and the society in which they lived to create highly original poetry which changed people’s views of what poetry could achieve. They had to make their way in a male-dominated publishing world with a restricted view of the poetry suitable for women – we will explore how these poets expanded what women could publish in remarkable ways. </p><p>As the 20th century develops we will discuss how Marianne Moore responded to Sitwell’s influence to create poetry of a highly original kind and how her long-term friend and mentee, Elizabeth Bishop, created poems that appear low-key but are intensely memorable. We will consider how far they reflect the discretion that Bishop felt was necessary as a lesbian at that time.</p><p>We will then explore what makes the poetry of Sylvia Plath and Ann Sexton so original. We will discuss how far diagnoses of mental illness, and their mentorship by Robert Lowell, gave them permission to write in new ways that were found shocking in their frankness. </p><p>We explore how far Stevie Smith’s apparent eccentricity is a mask behind which she was able to develop the dark, often mordant humour of her poems, many of them illustrated with child-like drawings. We end with<strong> </strong>Jean Binta Breeze, a Jamaican who refused to accept that dub poetry could be created only by men who often wrote in an aggressive and sometimes misogynistic way. We will look at how she used a diagnosis of schizophrenia as a source of strength and inspiration, establishing herself as the first woman dub poet and a major influence for younger Black women poets in Britain as well as the Caribbean.</p><ul><li>Understand why some women poets have written in highly original ways.</li><li>Appreciate how their originality reflects the family and other social pressures they experienced.</li><li>Enjoy reading and discussing many fine poems.</li></ul><p>You should be interested in exploring how feelings are expressed, often in a new way, in the work of several major women poets through reading and discussing representative selections of their work. No particular knowledge or skills are needed.</p><p> </p><p> </p><p>The sessions are run in a seminar style with all students invited to read poems if they wish and take part in discussions led by the tutor. You will receive the materials beforehand so you can read them and be ready to discuss them. </p><p> </p><p>No. Electronic files and paper photocopies of the materials will be provided. A pen for making notes may be helpful.<br/><br/><br/> </p><p>Look for other Poetry courses in the Literature programme under History, Culture and Humanities/Literature/Poetry at www.citylit.ac.uk.</p>LiteraturePoetryvirtual207259168HLT39NONEMon11/05/26 - 20/07/2612:45 - 14:4512:4514:4510 sessions (over 11 weeks)105-10 weeksDaytimeWeekdayKSKeeley StreetLaurie SmithBeginners, Some experience, Advanced, Suitable for allAvailable courses2026-05-11T00:00:00+00:00May 2026Culture, history & humanities259259Towards freedom: from Christina Rossetti to Jean 'Binta' Breezetowards-freedom-from-christina-rossetti-to-jean-binta-breeze/hlt39-2526<p>The course will look at how some women poets challenged the expectations of their families and the society in which they lived to create highly original poetry which changed people’s views of what poetry could achieve. They had to make their way in a male-dominated publishing world with a restricted view of the poetry suitable for women – we will explore how these poets expanded what women could publish in remarkable ways. </p>0000-Available|2026-05-11 00:00:00<p>This in-college literature course begins with Christina Rossetti who disapproved of the sexual behaviour of her Pre-Raphaelite brothers and their painter friends, and volunteered at a home for reclaimed sex workers. We will focus on her <em>Goblin Market</em> which raises complex issues of transgression, sexual desire and solidarity between women. With Emily Dickinson, we will explore the very original features of her poems and her decision not to seek publication so that her poems became chiefly performances for herself alone. </p><p>With Edna St Vincent Millay we will consider how her political beliefs and desire for sexual freedom are reflected in her poetry. And we will explore Edith Sitwell’s remarkable early poetry, which led to the surrealist verse-and-music entertainment <em>Façade</em> (1922), as a resilient response to a very unhappy childhood.</p><p>The course will look at how some women poets challenged the expectations of their families and the society in which they lived to create highly original poetry which changed people’s views of what poetry could achieve. They had to make their way in a male-dominated publishing world with a restricted view of the poetry suitable for women – we will explore how these poets expanded what women could publish in remarkable ways. </p><p>As the 20th century develops we will discuss how Marianne Moore responded to Sitwell’s influence to create poetry of a highly original kind and how her long-term friend and mentee, Elizabeth Bishop, created poems that appear low-key but are intensely memorable. We will consider how far they reflect the discretion that Bishop felt was necessary as a lesbian at that time.</p><p>We will then explore what makes the poetry of Sylvia Plath and Ann Sexton so original. We will discuss how far diagnoses of mental illness, and their mentorship by Robert Lowell, gave them permission to write in new ways that were found shocking in their frankness. </p><p>We explore how far Stevie Smith’s apparent eccentricity is a mask behind which she was able to develop the dark, often mordant humour of her poems, many of them illustrated with child-like drawings. We end with<strong> </strong>Jean Binta Breeze, a Jamaican who refused to accept that dub poetry could be created only by men who often wrote in an aggressive and sometimes misogynistic way. We will look at how she used a diagnosis of schizophrenia as a source of strength and inspiration, establishing herself as the first woman dub poet and a major influence for younger Black women poets in Britain as well as the Caribbean.</p><ul><li>Understand why some women poets have written in highly original ways.</li><li>Appreciate how their originality reflects the family and other social pressures they experienced.</li><li>Enjoy reading and discussing many fine poems.</li></ul><p>You should be interested in exploring how feelings are expressed, often in a new way, in the work of several major women poets through reading and discussing representative selections of their work. No particular knowledge or skills are needed.</p><p> </p><p> </p><p>The sessions are run in a seminar style with all students invited to read poems if they wish and take part in discussions led by the tutor. You will receive the materials beforehand so you can read them and be ready to discuss them. </p><p> </p><p>No. Electronic files and paper photocopies of the materials will be provided. A pen for making notes may be helpful.<br/><br/><br/> </p><p>Look for other Poetry courses in the Literature programme under History, Culture and Humanities/Literature/Poetry at www.citylit.ac.uk.</p>LiteraturePoetryconfigurable
11901187Poetryhttps://www.citylit.ac.uk/courses/humanities/literature/poetry1/2/285/1177/1187/11901/Courses/Culture, history & humanities/Literature/Poetry
