Sunwinks! August 17, 2014: Listing to Port

SunWinksLogoDear SunWinkers!

I would sure love to see some of you so-called non-poets, especially my fellow editors, take a crack at a list poem before we leave the topic. If you can make out a grocery list, you can write a list poem. It’s fun! You’ll be the envy of your friends! You can add “Poet” to your business card!

Review the examples in last week’s column. You can see the possibilities are endless, and there’s no way to “get it wrong.” Bottom line: if you say it’s a poem, it’s a poem. If there’s a list involved, it’s a list poem!

  • The list doesn’t have to be the whole poem
  • The list items don’t have to be single words
  • The list items don’t have to be all in the same form
  • And if that weren’t enough,
  • The list items can be interrupted with parenthetical phrases

So I expect to see lots of list poems next week. There’s just no excuse!

Continue reading

SunWinks! August 10, 2014: Check It Twice

SunWinksLogoDear SunWinkers:

Reflexive Pronoun Error of the Week:

Illinois man ‘showing off’ shotgun to friends fatally shoots self in head to prove it is empty.

 

Now on to this week’s column:

 

You make them to take to the grocery store…

You make them to do your Christmas shopping…

You make them to keep tabs on your money…

What are we talking about?

Duct Tape Wallets, of course!

 

I’m kidding. We’re talking about…

 

Lists

There’s a form of poetry called list poetry, also known as the catalogue poem, that goes back many centuries. The ancient list poems served as mnemonic devices: Polynesian list poems, for example, helped the islanders remember the names of all the different Polynesian islands. What amounts to list poetry can be found in Whitman’s Leaves of Grass, Homer’s Iliad, and it would not be stretching the point too much to include the genealogy in Matthew 1. Continue reading

SunWinks! August 3, 2014: Renaming the World

Dear SunWinkers:

The other day, Carol found a lump under her armpit the size of a small lime. We thought perhaps it was a swollen lymph node from her recent bout with the flu. Her ob-gyn brought her in post haste for a mammogram. They discovered a lump in her breast, brought her back the next day for a biopsy. Two days later, the result was in. It’s cancer. It’s very early, will probably not require a mastectomy, and will certainly not kill her. She got on Medicare in April, which is the best possible news, insurance-wise. We are also grateful for the state of cancer treatment today. She will go to a sophisticated cancer treatment center literally right around the corner. Finally, we are particularly grateful to that lymph node, and I plan to write a big check to its favorite charity very soon.

Naturally, I wrote a poem. As I’ve mentioned recently, poetry isn’t just a creative outlet; it is a way to work things out, to put words to inchoate thoughts and emotions, to shed light on the unfathomable, to make connections as an anodyne to the randomness of reality.

Poets are also in the business of turning things upside down. Poet Adrienne Rich says: “If the imagination is to transcend and transform experience it has to question, to challenge, to conceive of alternatives, perhaps to the very life you are living at that moment. You have to be free to play around with the notion that day might be night, love might be hate; nothing can be too sacred for the imagination to turn into its opposite or to call experimentally by another name. For writing is renaming.”

In his book Why Poetry Matters [New Haven, Ct: Yale Univ. Press, 2008], Jay Parini states, “Poetry, therefore, assists readers subjected to violent realities by opening their minds to fresh ways of thinking. Most famously, [Wallace] Stevens defines poetry as ‘a violence from within that protects us from a violence without. It is the imagination pressing back against the pressure of reality. It seems, in the last analysis, to have something to do with our self-preservation; and that, no doubt, is why the expression of it, the sound of its words, helps us to live our lives.’”

“Lumps” is a straightforward piece, easy to see how it is the imagination “pushing back against reality,” and to that end, an attempt to turn the idea of beauty upside down from the ideal of Hollywood and Madison Avenue with which the culture is so saturated.

Poem: Lumps

 The Prompt

Write a poem about something you don’t understand, can’t get your head around. Try to find some images (think small), or begin by writing down random words that come to mind on the subject. From those notes, perhaps something will emerge that promises to give you some sort of handle or angle on a small piece of the puzzle. Begin to write about that, and don’t try to cover too much ground. If a poem results, fine, otherwise, just tell us about the process and whether it gave you any new insights.

Alternate Prompt

Write a love poem. Begin by writing down a number of interesting things about the object of your love, things that would not ordinarily go into a conventional love poem. Then go from there. Write it in the second person, like an ode, addressing the object of love, as I’ve done in “Lumps.”

Post your response on your blog. If it’s a WordPress blog, tag it WeSun. Or put it in a Note on Facebook or some such functionality, something you can link to.

Then comment to this post with the link to your response.

I reblog this at WritingEssentialGroup.com (you should be following that blog, too) and will list and link to your responses there. I will also comment on all responses.

Love,

Doug

© 2014 Douglas J. Westberg.

 

SunWinks! July 27, 2014: Ars Poetica

Dear SunWinkers:

SunWinksLogoThere are two ways of classifying poems: One is by form: haiku, sonnet, villanelle, quatrain, rubaiyat, cubist, concrete, etc. The other is by purpose: elegy, ode, pastoral, epic, love poem, etc. One of the latter is, I suppose, inevitable: sooner or later, a dedicated poet of any accomplishment will feel the impulse to write about the poetic process, what a poem is, or what it should be. Such a poem is referred to as an ars poetica, which is Latin for “the art of poetry.” Possibly the most famous is Archibald MacLeish’s “Ars Poetica” :

(…)
A poem should be equal to:
Not true.

For all the history of grief
An empty doorway and a maple leaf.

For love
The leaning grasses and two lights above the sea—

 A poem should not mean
But be.

  Continue reading

New Poem: Mikvah (formerly: Epiphany)

For those of you, all three of you, who are following my every post with bated breath, this was my initial attempt to write a modern-style* poem about death in response to my own prompt of Sunday. It wasn’t the poem I was trying to write (I succeeded on the second try). Comments welcome.

*When I say “modern-style,” it sounds a little silly, as though I were saying “new-fangled.” What I mean, precisely, is poetry in English in the period 1940-2000.

Update: I’ve been contemplating this some more and decided to rename it “Mikvah.” Mikvah is the Jewish purification ritual of immersion in water.

Mikvah

New Poem: Coming To Terms

Gentle Reader:

This is my response to my own prompt of yesterday. It took me two tries, interestingly. The first try turned into a different poem. I’ll post it later in the week.

This is what I meant by approaching the topic obliquely (from the side), metaphorically,  and on a small scale, more or less in the manner of William Carlos Williams and the other poets I cited in the column. This is but one approach; there are many others. Irina has taken a rather more sweeping and literal approach to the prompt and written a beautiful poem.

Coming To Terms

 

SunWinks! July 13, 2014: The H.M.S. Metaphor Goes On Extended Holiday

SunWinks! July 13, 2014: The H.M.S. Metaphor Goes On Extended Holiday

Dearest SunWinkers!

SunWinksLogoWe’ve been talking about metaphor in our language (that’s how it’s built) and our poetry (it wouldn’t be very poetic without it). Metaphors—and successful poetry—make us look at things in new ways by making fresh connections among diverse ideas.

An extended metaphor is a comparison that is carried out through an extended part or the entire length of a work. Some writers say it is synonymous with allegory. I think they are two different things, but I don’t have the energy to belabor the point here.

Here is a tiny sample of poems which use extended metaphors. Browse your favorite anthology to find many more. They shouldn’t be too hard to pick out. In fact, it occurs to me this would be a fabulous exercise!

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SunWinks! June 22, 2014: Go Take A Haiku, Part Deux

Go Take A Haiku, Part Deux

Dear SunWinkers!

We’ve been talking about haiku, that ancient Japanese party game. Instead of gathering together to play Twister or Grand Theft Auto, 12th century Japanese poets would get together and write renga, collaborative poems of verses in syllables 5-7-5, 7-7, 5-7-5, 7-7, etc., going around the room, each person contributing another verse, ultimately running to hundreds, even thousands of verses. It was quite an honor to be chosen to contribute the starting verse, called the hokku.Poets would come to renga parties prepared with dozens of hokku, and would inevitably go home with lots of leftover hokku. So they would publish books of hokku, and hokku became an art form unto itself.

About the 16th century, various art forms became the province of the hoi polloi rather than just the royalty; these included Kabuki theatre, woodblock prints, and hokku. The popular hokku degenerated into something very much the equivalent of the bawdy limerick. They called these haikai, which means “unusual fun.” Basho (1644-1694) is credited with raising the art of the hokku/haikai once again to something more sublime. What’s easy to overlook is that Basho and others did not always have their heads in the clouds. They were not above writing personal, droll epigrams and even getting scatological. Continue reading