5 week Portfolio DUE

AGENDA:

5 week portfolio DUE!

New poems:
Abecedarian
Villanelle
Prose poem

Old poems:
Ode
Meaning of a word
3 prompts

Abecedarian

Hummingbird Abecedarian   Aimee Nezhukumatathil

Arriving with throats like nipped roses, like a tiny bloom fastened to each neck, nothing else cuts the air quite like this thrum to make the small dog at my feet whine and yelp. So we wait—no excitement pinned to the sky so needled and our days open full of rain for weeks. Nothing yet from the ground speaks green except weeds. But soon you see a familiar shadow hovering where the glass feeders you brought inside used to hang because the ice might shatter the pollen junk and leaf bits collected after this windiest, wildest of winters. Kin across the ocean surely felt this little jump of blood, this little heartbeat, perhaps brushed across my grandmother’s mostly grey braid snaked down her brown neck and back across the Indian and the widest part of the Pacific ocean, across the Mississippi, and back underneath my patio. I’ve lost track of the times I’ve been silent in my lungs, quiet as a salamander. Those times I wanted to decipher the mutter rolled off a stranger’s full and beautiful lips. I only knew they spoke in Malayalam—my father’s language—and how terrific it’d sound if I could make my own slow mouth ululate like that in utter sorrow or joy. I’m certain I’d be voracious with each light and peppered syllable winged back to me in the form of this sort of faith, a gift like xenia offered to me. And now I must give it back to this tiny bird, its yield far greener and greater than I could ever repay—a light like zirconia—hoping for something so simple and sweet to sip.

Gannon Poetry /Sokol rochester Library

http://www.gannon.edu/Academic-Offerings/Humanities-Education-and-Social-Sciences/Undergraduate/English/Poetry-Contest/

https://ffrpl.libraryweb.org/programs/sokol-awards/

Villanelle

The Villanelle

AGENDA:

Continue to work on Gannon and Sokol enbtries

Another form:  The Villanelle

Villanelles

The form, according to Turco:

A1  (refrain)

b

A2 (refrain)

a

b

A1 (refrain)

a

b

A2 (refrain)

a

b

A1 (refrain)

a

b

A2 (refrain)

a

b

A1

A2 (refrain)

«

EXAMPLES:

Mad Girl's Love Song

I shut my eyes and all the world drops dead;

I lift my lids and all is born again.

(I think I made you up inside my head.)

The stars go waltzing out in blue and red,

And arbitrary darkness gallops in:

I shut my eyes and all the world drops dead.

I dreamed that you bewitched me into bed

And sung me moon-struck, kissed me quite insane.

(I think I made you up inside my head.)

God topples from the sky, hell's fires fade:

Exit seraphim and Satan's men:

I shut my eyes and all the world drops dead.

I fancied you'd return the way you said.

But I grow old and I forget your name.

(I think I made you up inside my head.)

I should have loved a thunderbird instead;

At least when spring comes they roar back again.

I shut my eyes and all the world drops dead.

(I think I made you up inside my head.)

--Sylvia Plath

«

The Waking

I wake to sleep and take my waking slow.

I feel my fate in what I cannot fear.

I learn by going where I have to go.

We think by feeling. What is there to know?

I hear my being dance from ear to ear.

I wake to sleep and take my waking slow.

Of those so close beside me, which are you?

God bless the Ground! I shall walk softly there,

And learn by going where I have to go.

Light takes the Tree; but who can tell us how?

The lowly worm climbs up a winding stair;

I wake to sleep and take my waking slow.

Great Nature has another thing to do

To you and me; so take the lively air,

And, lovely, learn by going where to go.

This shaking keeps me steady. I should know.

What falls away is always. And is near.

I wake to sleep, and take my waking slow.

I learn by going where I have to go.

--Theodore Roethke

«

One Art

The art of losing isn't hard to master;

so many things seem filled with the intent

to be lost that their loss is no disaster.

Lose something everyday. Accept the fluster

of lost door keys, the hour badly spent.

The art of losing isn't hard to master.

Then practice losing further, losing faster:

places and names, and where it was you meant

to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or

next-to-last, of three loved houses went.

The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,

some realms I owned, two rivers, a continent.

I miss them, but it wasn't a disaster.

--Even losing you (the joking voice, a gesture

I love) I shan't have lied. It's evident

the art of losing's not too hard to master

though it may look like (Write it!) like disaster.

--Elizabeth Bishop

«

Villanelle for D.G.B.

Every day our bodies separate,

exploded torn and dazed.

Not understanding what we celebrate

we grope through languages and hesitate

and touch each other, speechless and amazed;

and every day our bodies separate

us farther from our planned, deliberate

ironic lives. I am afraid, disphased,

not understanding what we celebrate

when our fused limbs and lips communicate

the unlettered power we have raised.

Every day our bodies' separate

routines are harder to perpetuate.

In wordless darkness we learn wordless praise,

not understanding what we celebrate;

wake to ourselves, exhausted, in the late

morning as the wind tears off the haze,

not understanding how we celebrate

our bodies. Every day we separate.

--Marilyn Hacker

An excellent example of the form is Dylan Thomas’s “Do not go gentle into that good night”:

     Do not go gentle into that good night,
     Old age should burn and rave at close of day;
     Rage, rage against the dying of the light.

     Though wise men at their end know dark is right,
     Because their words had forked no lightning they
     Do not go gentle into that good night.

     Good men, the last wave by, crying how bright
     Their frail deeds might have danced in a green bay,
     Rage, rage against the dying of the light.

     Wild men who caught and sang the sun in flight,
     And learn, too late, they grieved it on its way,
     Do not go gentle into that good night.

     Grave men, near death, who see with blinding sight
     Blind eyes could blaze like meteors and be gay,
     Rage, rage against the dying of the light.

     And you, my father, there on the sad height,
     Curse, bless, me now with your fierce tears, I pray.
     Do not go gentle into that good night.
     Rage, rage against the dying of the light.

Poetry Review/5 week poems x 5

AGENDA:

Poetry reviews...

Workshop?

Clip your five new 5-week poems together in your portfolio!

Work on prose poem--see previous post

Prose Poetry

In the Light of One Lamp   Sean Thomas Dougherty

I crawled into bed and closed my eyes and not long after heard the small hooves of the horses, the tiny ones that gallop in our dreams, or are they the dreams of our children, galloping through the black ruins. Everything we do is against the crippling light. To hear them cry at night is to know they are alive. When they are scared they come galloping down the long hall calling your name. Tonight, it is our oldest daughter, the red mare with her fiery mane, she snuggles in between us and falls back to sleep in your arms, to that secret place inside her, she barely moves, crossing over the river, through a grove of alders, through the black ruins, she is the one who once whispered, the grass it knows everything.

What's a Prose Poem?

The prose poem is a type of poetry characterized by its lack of line breaks. Although the prose poem resembles a short piece of prose, its allegiance to poetry can be seen in the use of rhythms, figures of speech, rhyme, internal rhyme, assonance (repetition of similar vowel sounds), consonance (repetition of similar consonant sounds), and images. Early poetry (such as the Iliad and the Odyssey, both written by Homerapproximately 2,800 years ago) lacked conventional line breaks for the simple fact that these works were not written down for hundreds of years, instead being passed along (and presumably embellished) in the oral tradition. However, once poetry began to be written down, poets began to consider line breaks as another important element to the art. With the exception of slight pauses and inherent rhyme schemes, it is very hard for a listener of poetry to tell where a line actually breaks.
The length of prose poems vary, but usually range from half of a page to three or four pages (those much longer are often considered experimental prose or poetic prose). Aloysius Bertrand, who first published Gaspard de la nuit in 1842, is considered by many scholars as the father of the prose poem as a deliberate form. Despite the recognition given to Bertrand, as well as Maurice de Guerin, who wrote around 1835, the first deliberate prose poems appeared in France during the 18th Century as writers turned to prose in reaction to the strict rules of versification by the Academy.
Although dozens of French writers experimented with the prose poem in the 1700s, it was not until Baudelaire's work appeared in 1855 that the prose poem gained wide recognition. However, it was Rimbaud's book of prose poetry Illuminations, published in 1886, that would stand as his greatest work, and among the best examples of the prose poem. Additional practitioners of the prose poem (or a close relative) include Edgar Allen Poe, Max Jacob, James Joyce, Oscar Wilde, Amy Lowell, Gertrude Stein,and T.S. Eliot. Among contemporary practitioners of the prose poem are: Russell Edson, Robert Bly, Charles Simic, and Rosmarie Waldrop.


Poets of Interest: Charles Baudelaire
Russell Edson
N. Scott Momaday
Arthur Rimbaud
Charles Simic
Gertrude Stein
Rosmarie Waldrop
Michael Benedikt - Highly Recommended Site! 

The Prose Poem

ABOUT THE FORM
Excerpt from poets.org:
Though the name of the form may appear to be a contradiction, the prose poem essentially appears as prose, but reads like poetry. In the first issue of The Prose Poem: An International Journal, editor Peter Johnson explained, "Just as black humor straddles the fine line between comedy and tragedy, so the prose poem plants one foot in prose, the other in poetry, both heels resting precariously on banana peels."
While it lacks the line breaks associated with poetry, the prose poem maintains a poetic quality, often utilizing techniques common to poetry, such as fragmentation, compression, repetition, and rhyme. The prose poem can range in length from a few lines to several pages long, and it may explore a limitless array of styles and subjects.
The form quickly spread to innovative literary circles in other coutries: Rainer Maria Rilke and Franz Kafka in Germany; Jorge Luis Borges, Pablo Neruda, and Octavio Paz in Latin America; and William Carlos Williams and Gertrude Stein in the United States. Each group of writers adapted the form and developed their own rules and restrictions, ultimately expanding the definitions of the prose poem.
Among contemporary American writers, the form is widely popular and can be found in work by poets from a diverse range of movements and styles, including James Wright, Russell Edson, and Charles Simic. Campbell McGrath’s winding and descriptive "The Prose Poem" is a recent example of the form; it begins:

On the map it is precise and rectilinear as a chessboard, though driving past you would hardly notice it, this boundary line or ragged margin, a shallow swale that cups a simple trickle of water, less rill than rivulet, more gully than dell, a tangled ditch grown up throughout with a fearsome assortment of wildflowers and bracken. There is no fence, though here and there a weathered post asserts a former claim, strands of fallen wire taken by the dust. To the left a cornfield carries into the distance, dips and rises to the blue sky, a rolling plain of green and healthy plants aligned in close order, row upon row upon row.

There are several anthologies devoted to the prose poem, including Traffic: New and Selected Prose Poems and Great American Prose Poems: From Poe to the Present, as well as the study of the form in The American Prose Poem: Poetic Form and the Boundries of Genre.

http://www.poets.org/viewmedia.php/prmMID/16310

http://www.poets.org/viewmedia.php/prmMID/20957 

http://www.poets.org/viewmedia.php/prmMID/19111

Poetry Reviews and workshops

AGENDA:

Continue w/ poetry reviews and workshops

Poetry Reviews

AGENDA:

Continue with poetry book reviews

Be sure to complete poetry assignments for 4 week portfolio and workshop

Gannon Poetry contest!

Poetry Book Review

AGENDA:

Present Poetry Book Reviews.

Final day for Scholastic entries.

Poetry Book review and oral presentation/Scholastic/Workshop poems

AGENDA:

Continue to work on these 3 assignments for Monday.

Post copies of new poems on Google Classroom to workshop during next week.

PREPARE a 4 minute oral presentation about your poet and his/her book for Tuesday.  Use highlights from your review, read a poem, prepare a Prezi or slide show (if you want to).

Poetry Book Review/Scholastic

AGENDA:

1. Work on Scholastic entries--go to artandwriting.org

SENIOR PORTFOLIO--8 entries
POETRY--1-5 collection or a single entry--200 lines max (list every individual poem in title)
SHORT STORY
FLASH FICTION, etc.
Read examples and guidelines!
Do not put your name on submission--only the title!



2. Work on Poetry assignments and Poetry Book Review:

Assignments:  Ode, Meaning of a Word poem, 3 poems from prompt list (5 new poems!)

Read assigned book of poems--see previous post for writing review--DUE Monday, 12/3

Workshop in small groups if you would like and conference with Ms. Gamzon

W. S. Merwin Thanks

Thanks W. S. Merwin

Listen with the night falling we are saying thank you we are stopping on the bridges to bow from the railings we are running out of the glass rooms with our mouths full of food to look at the sky and say thank you we are standing by the water thanking it standing by the windows looking out in our directions back from a series of hospitals back from a mugging after funerals we are saying thank you after the news of the dead whether or not we knew them we are saying thank you over telephones we are saying thank you in doorways and in the backs of cars and in elevators remembering wars and the police at the door and the beatings on stairs we are saying thank you in the banks we are saying thank you in the faces of the officials and the rich and of all who will never change we go on saying thank you thank you with the animals dying around us our lost feelings we are saying thank you with the forests falling faster than the minutes of our lives we are saying thank you with the words going out like cells of a brain with the cities growing over us we are saying thank you faster and faster with nobody listening we are saying thank you we are saying thank you and waving dark though it is

Workshop Tuesday 11/20

AGENDA:

Write, write, write and stay warm!

Workshop next Tuesday, 11/20---Thanksgiving workshop, cider, cookies

Post a poem for workshop TODAY on Google Classroom (an ode, a meaning of a word poem, or one of the 3 prompts from the previous post)!

Enter contests for extra credit--Princeton, Scholastic, Gannon!

Conference with Ms. Gamzon

GANNON POETRY CONTEST

http://www.gannon.edu/Academic-Offerings/Humanities-Education-and-Social-Sciences/Undergraduate/English/Poetry-Contest/

Submit one or two poems

NEW PROMPTS/POETRY REVIEW

Agenda: New prompts/Scholastic portfolios

http://www.artandwriting.org/

http://www.artandwriting.org/what-we-do/the-awards/categories/#WritingPortfolio

 

Sign out book for Poetry Review:  

https://www.tweetspeakpoetry.com/2015/07/21/how-to-write-a-poetry-review/
https://ericagoss.com/2018/03/07/how-i-review-a-poetry-collection/
https://kencraftpoetry.wordpress.com/2017/05/13/how-to-review-a-poetry-collection/

And for those of you wanting new challenges:

Many, many new prompts

Poetry Writing Exercises from The Poetry Resource Page www.poetryresourcepage.com/teach/pex.html

WRITING EXERCISES: POETRY

Alliteration Exercise Make a list of twenty phrases that use alliteration, such as the sun settled on the south hill with sudden color. Pick two or three of these phrases and try to build images around them. Use at least one of these images in a poem. Body Exercise Make a list of fifteen physical experiences that you’ve had, such as falling out of a tree, riding a roller coaster, or jumping on a trampoline. Choose one from your list and use images to create a lyric poem about the experience. (by Jay Klokker, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Body Part Exercise Write a poem addressed to a particular body part. Make sure you maintain a consistent tone and focus. Childhood Exercise Try to remember everything you can about a particular event that occurred when you were a child. In can be any type of experience, no matter how insignificant. Make a list of all the details you can remember. Once you’ve finished your list, build a narrative poem around it. Keep in mind that you don’t have to be faithful to the past. You can change details, descriptions, or actions if the change will make the poem work better. Circular Poem Write a short poem that begins and ends with the same line. The reader should feel differently about the line the second time around because of what has happened in the poem. Confession Exercise Write a poem in which you confess to a crime you didn’t commit. You can create the circumstances – perhaps you’re talking to a priest, or you’re being interrogated by police. Turn your confession into a narrative poem in which you describe the events leading up to your crime. Construction Exercise Write a poem in which you literally build or take apart something for the reader. Describe each step of the process for the reader, incorporating technical terms and descriptions of materials. Create a lyric or narrative poem that “shows” the reader how it’s done. (by Deborah Digges, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Crime Exercise Write a “confession” poem detailing an emotional crime and how you committed it. or write a poem in the voice of a murderer. Make the reader sympathetic to the murderer. Death Exercise Freewrite about the first experience with death you can remember, whether it involved a person or an animal. Then freewrite about your most recent experience with death. Combine the details, memories, and images from the two into a lyric or narrative poem. Dream Exercise Many people have recurring dreams – of flying, of being chased, of being in a particular location or situation. Write a poem about such a dream that uses repetition to capture its obsessive nature. Try to repeat fragments rather than simply initial words or complete sentences; let the repetition interrupt the flow of the dream-story. Dying Exercise Write a poem in which you speak after your own death. In it, describe what death looks and feels like. Describe how it feels to be conscious at the time of death, what your emotions are. Give advice to the living about how they should face death. Elegy Exercise Using the third person, write an elegy poem for yourself, imaging that you’ve just died at the age of ninety. Include a description of yourself, and things that you would like to be remembered for/by. You may want to include places you’ve been, inventions you’ve created, famous people you’ve met, your talent for singing or dancing or cooking, your favorite book or movie or color, where you had your first kiss, what you did for a living, how many times you were married, how many children you had, all the states or countries you’ve lived in, etc. Endless Exercise Write a poem of about thirty lines that consists of a single sentence. Experiment with clauses and phrases and parallel structure. Try to keep the sentence moving forward, enjambing it across lines in different ways, while making sure it is grammatically correct. This type of exercise will help you develop flexibility as a writer, teaching you new ways to phrase things and new ways to play with the syntax of a line. (by Richard Jackson, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Erotic Exercise Brainstorm a list of everyday activities, such as washing the dishes, chopping vegetables, mowing the lawn, going grocery shopping, etc. Choose one and describe it in precise detail, focusing on every action it requires, all the little sensory moments involved. Take all of these details and images and use them to write a lyric poem in which you make some everyday experience sound erotic. OR Choose a landscape to describe. It can be any kind of landscape, but try something nontraditional – a junkyard or an empty parking lot. Use your descriptions and images to write a lyric poem in which you make the landscape seem erotic. Good and Evil Exercise The traditional imagery for good and evil is light and dark, white and black. Brainstorm a list of images called up by the two opposites. Then write a poem that reverses traditional expectations. In other words, write a poem about what is beautiful or inspiring about the dark, or a poem about what is awful or terrifying about the daylight. Fairy Tale Exercise Write a lyric poem in which you adopt the persona of a character from a fairy tale. For example, you could describe the way Snow White feels while she sleeps inside her coffin, or how the Prince feels as he holds Cinderella’s glass slipper in his hand. False Memory Exercise Write a poem in which you “remember” something that never happened. Use strong sensory images to convince the reader it really happened. Family Exercise Write a poem in which you adopt the persona of a parent or grandparent. Write the poem in the form of a letter addressed to your significant other. Describe your feelings for this person, the way they look and smell, memories that you have of them, where or how you met, etc. Fear Exercise Think of something you were afraid of as a child. Write a poem in which you describe what it was and how it made you feel. You can write from the point of view of an older person looking back on it, or you can write from the point of view of the child you once were. Field Guide Exercise Read the descriptions in a book of natural history or a field guide, such as a guide to birds, mushrooms, or wildflowers. Write a poem about a plant, bird, rock, animal, or fish from the book. Incorporate information from the book in the poem to help the reader identify your subject. First Line Exercise Take one line from a poem of your own that is unfinished or a poem by another poet. It does not matter where the line occurs in the poem, but you want to select the best line from the poem. Use this line as the first line of a new poem. Try to maintain the same quality of sound, language and thought that the first line presents. (by Stephen Dunn, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Foreign Objects Exercise Many poems arise out of everyday life – something you may have walked or driven by a hundred times and suddenly noticed for the first time. Part of learning to write poetry is learning to look around and observe both the ordinary and the unusual. Exercise: Spend half an hour walking around outside (on campus or in a parking lot, for example). Pay attention to the objects you see. Make a list of five “foreign objects” (such as a Band-aid stuck to a stop sign or a scarf hanging from a tree). Once you’ve made your list, try to imagine the story behind the object – how it ended up where you found it. Build a narrative poem around the object. ORDescribe the scene in great detail – the landscape surrounding the object, then the object itself. Build a lyric poem around the object. Function Exercise Choose one object in your room and make a list of all of the ways you could use it, or all of the things you could do with it. For example, a glass can be used to drink from, to pour from, to collect rain water, to turn upside town and catch a fly under, etc. Turn your list of functions into a lyric poem, using the object as the title. (by Jack Myers, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Gesture Exercise Spend twenty minutes observing people in a public place. Make a list of the gestures that people make, no matter how subtle. For example, the way a child twirls her hair around a finger, or the way a woman tucks loose strands of hair behind one ear. Choose one gesture and describe its motions in great detail. Build a poem around this moment and what you think it tells you about the person. God Exercise Write a poem to God. Make it a tirade, a complaint, a request. ORWrite a poem as God. Let God explain, refute, deny, defend. ORWrite a poem in which God is a traffic cop, a new anchor, a porn star, a grocery clerk. Hands-on Exercise Choose half a dozen small objects from around the house (like a fork, a toothbrush, or a stapler). Close your eyes and run your hands over each object. Write a description of what the object feels like, and how you think it looks. Use metaphor and simile to compare the feel or shape of the object to something else. When you have written descriptions for each of the objects, choose one to write a poem about. Describe the poem in such a way that a blind person could tell what it looks like. History Exercise The poet James Merrill wrote “we understand history through the family around the table.” Think about ways your own family’s story overlaps with the story of others – a historical event, an ethnic group, a social issue. Write a poem about someone in your family and how his or her story is related to history. (based on an exercise by David Wojahn, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Home Exercise Think about your childhood home, recalling the inside (hallways, rooms, closets, etc.) and the outside (the front yard, back yard, trees, swing sets, etc.). Focus on a place inside or out that was special to you. Describe the time you spent there, the things you did, the discoveries you made, the emotions you felt, why you went there, etc. Imitation Exercise Find a contemporary poem that you admire. Write a poem in which you imitate the style, tone, theme, sentence structure, etc. of the original poem. You may want to borrow the poem’s first line and use it to write a poem of your own. You may want to write on a similar topic – a childhood memory, describing an everyday object, providing a narrative for a photograph, etc. Inanimate Object Exercise Choose one inanimate object in your room. Describe what it looks like, and describe the room around it. When you’ve finished your descriptions, write a poem in which you adopt the persona of the inanimate object: what does it think, what does it feel, what does it look out at day after day after day, etc. Interior Monologue Exercise Write a poem in which you adopt the persona of someone famous (they can be dead or alive). Imagine this person sitting alone, looking out over the Grand Canyon at sunrise, reflecting on his or her life. Write a poem in which you convey this person’s character through his or her internal thoughts. Isolation Exercise Write a description pf one particular element of a set. For example, you can describe one book on a shelf, one face in a crowd, one bird on a telephone line, etc. Try to describe both the characteristics of the group/set, and to distinguish what makes the one member you’re focusing on different from the others. Turn your description into a lyric poem. (by Michael Pettit, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Landscape Exercise Go somewhere scenic – to a park or a lake, for example. Describe the landscape that surrounds you using sight, sound, smell, and tactile images. Build a lyric poem out of these images. ORGo somewhere urban – downtown Chicago or St. Louis, for example. Describe the landscape of the city using sight, sound, smell, and tactile images. Build a lyric poem out of these images. Letter Exercise Write a poem in the form of a letter to someone who is dead. In it, make a confession about something you did to them when they were still alive. ORWrite a poem in the form of a letter imagining that you are dead. In it, tell them something you meant to tell them while you were still alive. (based on an exercise by Robin Behn, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Life or Death Exercise Write a lyric poem in which you describe yourself being born. Describe what it feels like inside the birth canal, what it feels like as you push your way out, what you see, smell, hear or taste, etc. ORWrite a lyric poem in which you describe the moment of your death. Describe how you feel as you take your last breath. Describe the last thing you see, hear, touch, taste, smell or feel. Describe who is with you, where you’re at, etc. Metaphor Exercise Take something negative about yourself – an abstract concept, like fear, depression, hatred, loneliness, or cruelty – and find a concrete image for what it feels like. Maybe it feels like a weight pressing down on your, like walking down a dark street at night, or waking up in an abandoned house. Once you decide on a topic and an image, draw out the image in a lyric poem with the topic as your title. Newspaper Exercise Read the newspaper. Pick one story from the paper, and write a poem in which you take on the persona of someone involved in the story. Write a narrative poem in which you tell the story from that person’s point of view. (based on an exercise by Mary Swander, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Opening Lines Exercise Below are the opening lines from some short stories and novels. Pick one that interests you and see what kind of poem it generates: Come into my cell. Make yourself at home. Night fell. The darkness was thin, like some sleazy dress that has been worn and worn. There is an evil moment on awakening when all things seem to pause. It was a pleasure to burn. It was a special pleasure to see things eaten, to see things blackened and changed. “Notice the sensuous curve of the breast.” God help me. She lay in the dark and cried. The big house was still, almost empty. (from Writing Poems , Robert Wallace and Michelle Boisseau, eds.) Personals Exercise Write a persona poem in which you take on the personality of an older, single adult of the opposite gender. Write a poem in the form of a personals ad in which you describe yourself and your interests, and then describe the type of man or woman you would be interested in dating. Personification Exercise Look around your bedroom, kitchen, living room, or bathroom. Make a list of objects that seem to have moods or personalities. Choose five of them and create a description of each one’s personality or mood. Pick one of your descriptions and build a poem around it. Pet Exercise Write a persona poem from the point-of-view of your pet. Describe your environment, your day-to-day activities, the food you eat, where you sleep, where you use the restroom, the toys you play with, what you think about, the way your owner behaves, etc. Photograph Exercise Look through an old family album. Find a picture that you’re not in and write a lyric poem that describes the person and/or scene. ORLook through a book of historical photographs. Write a lyric or narrative poem based on the person and/or scene. Picturing Exercise Think of someone in your family, imagining them doing something they typically do – like, your mother gardening or your brother sketching pictures under a tree. Freeze them there in your mind in an “imaginary” photograph. Describe the photograph as if it were real, using the details to reveal something about this person’s character. Piece by Piece Exercise Write a poem in which you describe an object – not in its entirety – but piece by piece. Do not say what the object is. Let the individual parts explain the whole. Language Play Exercise Make a list of twenty phrases in which you use words as different parts of speech, such as he turned to me with a shadowing stare or her kisses purpled his flesh. Once you’ve made your list, choose one phrase to build a lyric or narrative poem around. Reflection Exercise Look at yourself in a mirror for as long as you can stand it. Describe yourself in as much detail as possible. Build a poem around your own reflection: the way your body changes over time, the small details of your face that no one notices, the reality of “facing” yourself, etc. Repulsion Exercise Make a list of things you find repulsive – the smell of garbage, fast food employees, people who never shut up, etc. Choose one and write a poem in which you describe that person, place or thing in such a way that it becomes beautiful. Sandwich Exercise Find a short lyric poem you really like and type it on your computer, leaving three blank lines between each line of the poem. Print it out. In the spaces between each line, fill in a new line of your own that seems like it would sound right following the line original line before it. Once you have filled in all the spaces with lines of your own, cross out all the typed lines from the original poem. Revise the poem using only the lines that you have written. (by J. D. McClatchy, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Scene Exercise Sit in one place for fifteen minutes and write down everything you observe about the place: sights, sounds, smells, feelings, colors, temperature, lighting, etc. Once you have a complete description, create a poem that develops a scene through a series of images. Scissors Exercise Take a poem that you’ve been working on but have been unable to get “to work.” Type it up, double-spaced, and print it out. Cut it into pieces – cutting so that phrases and chunks of sound or sense stay together. Throw away any extra parts, then take all of the “pieces” and try rearranging them in different orders. Add whatever you need, and keep moving things around until it “works.” (by Chase Twichell, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Secondhand Memory Exercise Talk with your parents or someone else who would know about your childhood. Try to find out something you didn’t know about yourself and then write about it as if you remembered it. Sexual Metaphor Exercise THE GROUNDFALL PEAR Jane Hirshfield It is the one he chooses, yellow, plump, a little bruised on one side from falling. That place he takes first. Using Hirshfield’s poem as a model, write a short (4-5 line) lyric poem that is a metaphor for sex, desire, or love. Shame Exercise Write a poem about an experience that caused you to feel a sense of shame. Shape Exercise Sit in one room and make a list of descriptions of various objects and their shapes. Try to be as exact as possible, and to make the description of the different shapes distinct. Meditate on the shape and form of objects. Try to build a poem around one or the objects, a particular shape, or the idea of form. Suspense Exercise Write a poem in which you withhold the subject and verb for as long as possible; begin with a preposition or adverb, then pile up the phrases and clauses. Syllabic Exercise Write a poem that is composed of only one-syllable words, or a poem that alternates between one and two-syllable words. Voice Exercise Write a poem in which you take on the voice of one of the following: A used napkin A scalpel A turtle turned upside down by a group of children A washing machine A framed photograph A ceiling fan An unopened letter A remote control Widow Exercise Write a poem in the voice of a widow whose husband has drowned. Invent any story you like about how this happened – he was a fisherman who was washed overboard in a storm or he was in a boat that capsized. Imagine that the widow, who now hates water, is forced to confront it due to circumstances beyond her control. Perhaps she goes to visit a friend who lives by a lake, or she must jump in a pool to save a child who has fallen in. Write a poem in which you adopt the persona of the widow. In her voice, describe what you see and feel as you look out at the water. (by Maura Stanton, from The Practice of Poetry, Robin Behn and Chase Twichell, eds.) Window Exercise Write a poem describing a scene outside your window. Do this even if your window faces a brick wall or a boring landscape; use your imagination to make it interesting. Word List Exercise Writing poetry teaches you to experience language in new ways, and the most important thing that you can do as a writer is to develop a relationship with words – to look at them individually, to learn how to see and hear and taste and feel the different textures of each word, and then to learn ways to weave words together into poems. Exercise: Make a list of twenty-five of the most beautiful/sensual/or poetic words you can think of. (For example, some of my favorite words are: obsidian, wisp, hollow, trickle, iridescent, and flicker.) If you can’t think of any off the top of your head, flip through the dictionary. Once you have your list of words, pick one to try to build a poem around. The word can be the title of your poem, part of an image, central to a narrative, or just a word in a line.

NEW POEMS

AGENDA:

Work on new poems for workshopping:

Meaning of a word
ODE

How to write a 10-line ode

THE ODE

"Ode" comes from the Greek aeidein, meaning to sing or chant, and belongs to the long and varied tradition of lyric poetry. Originally accompanied by music and dance, and later reserved by the Romantic poets to convey their strongest sentiments, the ode can be generalized as a formal address to an event, a person, or a thing not present.
There are three typical types of odes: the Pindaric, Horatian, and Irregular. The Pindaric is named for the ancient Greek poet Pindar, who is credited with inventing the ode. Pindaric odes were performed with a chorus and dancers, and often composed to celebrate athletic victories. They contain a formal opening, or strophe, of complex metrical structure, followed by an antistrophe, which mirrors the opening, and an epode, the final closing section of a different length and composed with a different metrical structure. The William Wordsworth poem "Ode on Intimations of Immortality from Recollections of Early Childhood" is a very good example of an English language Pindaric ode. It begins:

There was a time when meadow, grove, and stream, 
The earth, and every common sight
                 To me did seem
            Apparelled in celestial light,
The glory and the freshness of a dream.
It is not now as it hath been of yore;--
             Turn wheresoe'er I may,
              By night or day,
The things which I have seen I now can see no more.

The Horatian ode, named for the Roman poet Horace, is generally more tranquil and contemplative than the Pindaric ode. Less formal, less ceremonious, and better suited to quiet reading than theatrical production, the Horatian ode typically uses a regular, recurrent stanza pattern. An example is the Allen Tate poem "Ode to the Confederate Dead," excerpted here:

Row after row with strict impunity
The headstones yield their names to the element,
The wind whirrs without recollection;
In the riven troughs the splayed leaves
Pile up, of nature the casual sacrament
To the seasonal eternity of death;
Then driven by the fierce scrutiny
Of heaven to their election in the vast breath,
They sough the rumour of mortality.

The Irregular ode has employed all manner of formal possibilities, while often retaining the tone and thematic elements of the classical ode. For example, "Ode on a Grecian Urn" by John Keats was written based on his experiments with the sonnet. Other well-known odes include Percy Bysshe Shelley's "Ode to the West Wind," Robert Creeley's "America," Bernadette Mayer's "Ode on Periods," and Robert Lowell's "Quaker Graveyard in Nantucket."

How to Write an Ode

Created by Pindar out of the traditional forms of Greek tragedy, the ode is generally defined as a rhymed poem of irregular meter that praises its subject. The English ode consists of an undefined number of 10-line stanzas.

1. 
   
   Consider the subject matter that you wish to write about, and remember that beauty can be found in the least expected places. Was watching "American Beauty" the first time you thought a plastic bag caught in the wind was beautiful?
2. Write a 10-line stanza of iambic verse using an ababcdecde rhyme scheme.
3. Proceed to write as many 10-line stanzas as desired. Use the same rhyme scheme pattern in the following stanzas, but with different rhymes. If you do this correctly, the "a" of a stanza will rhyme only with the "a" of that same stanza.
4. Revise as needed.

THE ODE

ODES

AGENDA:

Workshop

Neruda's Odes

Keats Odes

http://keats-poems.com/poems/odes/

Check these out:

 http://www.abuddhistlibrary.com/Buddhism/H%20-%20World%20Religions%20and%20Poetry/Poetry/Pablo%20Neruda/Eight%20Elementary%20Odes/Elementary%20Odes%20Pablo%20Neruda.htm

https://www.poets.org/poetsorg/poem/ode-my-socks

https://www.poetryfoundation.org/poetrymagazine/poems/49322/ode-to-a-large-tuna-in-the-market

https://www.poemhunter.com/poem/ode-to-broken-things/

Tips for Writing Odes

An ode poem is a poem that is about only one specific thing that you think is truly amazing and praiseworthy. This type of poem can be centered upon an object, an idea, or even a person. The trick to writing an ode poem is to write using the same structure throughout, while using different words to communicate the one thing you are writing about. Here are some tips to help you out if you’re interested in writing an ode poem:

1. What really makes you emotional, either in a positive or negative way? Think of an object, person, or idea that you are deeply connected to, and this will be the topic of your ode poem. Remember, an ode poem can only be focused on one thing, so make sure that whatever you pick is something that you feel strongly about, so you have enough to write.
2. When someone brings the “something” you have chosen to write about up in a conversation, how do you react? Write down what you would say in such a situation, and next, think of specific adjectives to describe how you feel about the topic of your ode. Throughout the poem, you will have to use many words that have the same definition or meaning, so you might want to check out a thesaurus if you get stuck with this part.
3. How long do you want your poem to be? Odes are traditionally long poems, because chances are, if you’ve picked a topic you really feel passionately about, you will have a lot to write. Start by splitting up your poem into groups, or stanzas, of ten lines. Most odes have three of these stanzas, but if you want to write more, by all means do!
4. How do you want your poem to rhyme? It’s up to you how you want to format the rhyme scheme of this poem. You can make every two lines rhyme, every other line rhyme (most odes do this), or make up your own pattern- just make sure that whatever pattern you choose, you use the same one for the whole poem.
5. If you have written this ode about someone you know, make sure to read it to them or even give them a copy as a present so they know just how amazing you think they are. Then, post this ode poem to PowerPoetry.org so your fellow poets can learn what you feel passionately about!

ODE TO THE PRESENT

by Pablo Neruda

This

present moment,

smooth

as a wooden slab,

this

immaculate hour,

this day

pure

as a new cup

from the past–

no spider web

exists–

with our fingers,

we caress

the present;we cut it

according to our magnitude

we guide

the unfolding of its blossoms.

It is living,

alive–

it contains

nothing

from the unrepairable past,

from the lost past,

it is our

infant,

growing at

this very moment, adorned with

sand, eating from

our hands.

Grab it.

Don’t let it slip away.

Don’t lose it in dreams

or words.

Clutch it.

Tie it,

and order it

to obey you.

Make it a road,

a bell,

a machine,

a kiss, a book,

a caress.

Take a saw to its delicious

wooden

perfume.

And make a chair;

braid its

back;

test it.

Or then, build

a staircase! Yes, a

staircase.

Climb

into

the present,

step

by step,

press your feet

onto the resinous wood

of this moment,

going up,

going up,

not very high,

just so

you repair

the leaky roof.

Don’t go all the way to heaven.

Reach

for apples,

not the clouds.

Let them

fluff through the sky,

skimming passage,

into the past.You

are

your present,

your own apple.

Pick it from

your tree.

Raise it

in your hand.

It’s gleaming,

rich with stars.

Claim it.

Take a luxurious bite

out of the present,

and whistle along the road

of your destiny.

ABOUT THE AUTHOR: Pablo Neruda (1904-1973) was the pen name of the Chilean poet, diplomat and politician Neftali Ricardo Reyes Basoalto. He chose his pseudonym after Czech poet Jan Neruda. In 1971, Pablo Neruda won the Nobel Prize for Literature. Neruda often wrote in green ink because it was his personal symbol of desire and hope. Colombian novelist Gabriel García Márquez called him “the greatest poet of the 20th century in any language.” (Source: Wikipedia)

THE ODE