More poetry 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.

Rita Dove Poetry Prompts

Rita Dove Poetry Prompts

https://poetsfieldblog.wordpress.com/2017/07/18/in-my-mothers-kitchen-a-poetry-prompt/

“Write a poem about your mother’s kitchen. Put the oven in it, and also something green, and something dead. You are not in this poem, but some female relation–aunt, sister, close friend–must walk into the kitchen during the course of the poem.”

Poetry Portfolios/REVISION

AGENDA:

Your portfolio should have 10 poems.  At least 2 of those poems should have revisions (not edits), but revision.

Revision:
Read article:
https://www.writersdigest.com/whats-new/5-ways-to-revise-poems

CONTESTS:
Last call for Hollins and Bennington

Poetry Collaboration Rubrics/Poetry Portfolio/CONTESTS

AGENDA:

Fill out poetry collaboration rubric and give feedback.

Work on poetry portfolio.  Revise and edit poems.

Contests: Bennington and Hollins

school #--585-242-7682

marcy.gamzon@rcsdk12.org


Other forms:
https://www.poetrysoup.com/poems/types/g

Sestina

SESTINAS

/www.poets.org/viewmedia.php/prmMID/5792

Check out the Ashbery Sestina!
https://www.poets.org/poetsorg/text/sestina-poetic-form

Here's another famous one

Elizabeth Bishop's Sestina 
www.poemhunter.com/poem/sestina/   

And there's also a tritina!
Go to:
http://www.writersdigest.com/editor-blogs/poetic-asides/wd-poetic-form-challenge-tritina

1 KNOW THE PATTERN. A sestina consists of six sestets (6-line stanzas) and one tercet (3-line stanzas). Each sestet contains the same 6 end-words, but in different a order for each stanza. The final stanza, the tercet, contains 2 "end-words" per line. Following is the pattern for the sestina ==> stanza 1: 1,2,3,4,5,6; stanza 2: 6,1,5,2,4,3; stanza 3: 3,6,4,1,2,5; stanza 4: 5,3,2,6,1,4; stanza 5: 4,5,1,3,6,2; stanza 6: 2,4,6,5,3,1; final stanza: 1&2,3&4,5&6.

2

CHOOSE YOUR 6 WORDS. When deciding on your 6 words, focus on versatility in terms of parts of speech, meaning, and usage. For example, the word "hand" can be a verb or a noun (as in the sentences "Hand me the towel" and "We shook hands," respectively.) "Hand" can be used in idioms (e.g. give me a hand, on the other hand). And finally, "hand" just has a plethora of definitions (e.g. a poker player's cards, a worker).

3

REVIEW & REVISE YOUR 6 WORDS. Are all of your words nouns? Are they all verbs? Do they seem to point to one specific subject matter you're planning to write about? If so, I'd suggest diversifying. Throw some adjectives in there; open a magazine or book, put your finger on the page, and write whatever word it lands on; or add a word that seems completely unrelated to the others.

4

ORGANIZE. Although it might seem tedious to organize ahead of time, it will save you from the grief that comes when realizing you've finally perfected your sestina, but you accidentally messed up the pattern in the third stanza, making the patterns in stanzas 4, 5, 6, and 7, also incorrect. So, on a piece of paper, make 3 columns. The first column is for the number pattern, the second is for the end-words, and the third is for your lines of poetry. If you are staring at a blank computer screen, make a table with 3 columns and 7 rows. Go to your TABLE panel or dropdown, click "Insert Table," and enter the number or columns and rows. (READ STEP 5 before writing the end-words down.)

5

WRITE. There are many ways to start a sestina, so experiment and find what is right for you. As for me, I like starting the first stanza without a particular order in mind for my 6 words. I just make sure one of the 6 words is at the end of each line. Only after writing that first stanza do I fill in my end-word column.

6

USE OTHER DEVICES. Don't let the end-words fool you; they are not necessarily the most important part of the sestina. Don't be afraid to repeat other words, too. This can actually draw some attention away from the end-words, adding a different type of rhythm and also warding off the dreaded monotony that can result from a sestina gone wrong. Enjambment can also create this effect.

7

BE FLEXIBLE. If you are accustomed to writing free verse, the sestina's constraints may seem to take away from what you want to say or what you're trying to do in your poem. However, I suggest that instead of not quite writing the poem you wanted to write, allow yourself to write a different poem than what you'd imagined when you began. There are many surprises to be found when writing in forms.

Villanelle

Villanelle

AGENDA:

Write a villanelle

Villanelle

A villanelle (also known as villanesque) is a nineteen-line poetic form consisting of five tercets followed by a quatrain. There are two refrains and two repeating rhymes, with the first and third line of the first tercet repeated alternately until the last stanza, which includes both repeated lines. The villanelle is an example of a fixed verse form.

http://poetry.about.com/od/poeticforms/g/villanelle.htm

A1
b
A2

a
b
A1(refrain)

a
b
A2(refrain)

a
b
A1(refrain)

a
b
A2(refrain)

a
b
A1(refrain)
A2(refrain)

The House on the Hill

Edwin Arlington Robinson (1894)

They are all gone away,     The House is shut and still, There is nothing more to say. Through broken walls and gray     The winds blow bleak and shrill: They are all gone away. Nor is there one to-day     To speak them good or ill: There is nothing more to say. Why is it then we stray     Around the sunken sill? They are all gone away, And our poor fancy-play     For them is wasted skill: There is nothing more to say. There is ruin and decay     In the House on the Hill: They are all gone away, There is nothing more to say.

Thirteen Ways of Looking at a Blackbird

AGENDA:

13 ways of looking at a Blackbird

AGENDA:

http://www.writing.upenn.edu/~afilreis/88/stevens-13ways.html

Thirteen Ways of Looking at a Poem
https://reflectionandchoice.org/2013/11/22/thirteen-ways-of-looking-at-a-poem/

https://www.poetrycenter.org/13-ways-of-looking/

https://study.com/academy/lesson/wallace-stevenss-thirteen-ways-of-looking-at-a-blackbird-summary-analysis.html

http://writingfix.com/poetry_prompts/13Ways3.htm

“Six Ways of Listening to Silence”

I.
The lake water stilled
with the quieting wind.

II.
The density of the silence
diffused
for the entry of a thunderclap.

III.
The wind between the trees sounded
as a symphony
of undulating silences.

IV.
Always there is
a certain silence contained within a din of motion
and a subtle roar pervading the implicit din of stillness;
And I wonder if the world was conceived
from quietude or sonancy.

V.
I thought I heard contained
in the mob’s collective chant
the same singular silence felt upon a midnight lake.

VI.
I saw the face of the midnight moon
reflected in the quiet stillness of the lake.

Dance/Poem Schedule

Here’s how I hope the day will go:

12:14-12:19= change into costumes, meet in black box

12:19-12:25= attendance, instructions, announcements

12:25-12:40= warm up- full class

12:40-12:55= run through/collaborations

12:55-1:35= PERFORMANCE

1:35-1:39= talk back/share out

1:39-1:44= dancers leave to change clothes- poets fill out collaboration forms.

Dance Performances in Black Box

AGENDA:

Poetry/Dance performances today!

Poetry Portfolio

AGENDA:


Bellwork:
Vocabulary.com
PSAT practice---https://www.varsitytutors.com/psat-practice-tests


VIDEO: coursera/Revision

READING: Billy Collins/


WRITING:  Continue to work on poetry portfolio

Writing contests

WRITING CONTESTS

4.  REGISTER WITH SCHOLASTIC.  Look at Bennington:

https://www.bennington.edu/events/young-writers-awards

https://www.weareteachers.com/student-writing-contests/

https://blog.prepscholar.com/writing-contests-for-high-school-students


HOLLINS (Nancy Thorpe poetry):
https://www.hollins.edu/academics/majors-minors/english-creative-writing-major/nancy-thorp-poetry-contest/

Poetry/Collaboration

AGENDA:

Period 7--Work on poems for portfolio and contests.  Conference with Ms. Gamzon about contest entries.

Period 8--Go to Dance Studio.  Work on collaboration with dancers.  If audio needs to be rerecorded, go to computer lab as indicated by Ms. Phillips or Ms. Gamzon

Poetry Prompts/Dance Poems

AGENDA:

Go to Google Classroom to see videos of dancers' work in progress.  Provide feedback:

 If so, they should view and give written feedback- what works, what is hard to understand, what they’d like to see more of… I’d like to get the students together once more before the final showing. I am working 6^th period to draft a few guiding questions for the collaborators. They can get together to discuss these concerns. Also, to practice the poem live, re-record with adjustments to pitch, pace/tempo, tone etc.

VIDEO:  Billy Collins and Marie Howe: Writing Poetry

Continue to work on your poems.

Charles Bukowski/Ars Poetica

AGENDA:

BELL WORK: Vocabulary.com   poetry terms

READING: Go to library for Billy Collins poetry

Ars Poetica

A poem that explains the “art of poetry,” or a meditation on poetry using the form and techniques of a poem. Horace’s Ars Poetica is an early example, and the foundation for the tradition. While Horace writes of the importance of delighting and instructing audiences, modernist ars poetica poets argue that poems should be written for their own sake, as art for the sake of art. Archibald MacLeish’s famous “Ars Poetica” sums up the argument: “A poem should not mean / But be.” See also Alexander Pope’s “An Essay on Criticism,” William Wordsworth’s Prelude, and Wallace Stevens’s “Of Modern Poetry.”

so you want to be a writer?

Charles Bukowski - 1920-1994

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if it doesn't come bursting out of you
in spite of everything,
don't do it.
unless it comes unasked out of your
heart and your mind and your mouth
and your gut,
don't do it.
if you have to sit for hours
staring at your computer screen
or hunched over your
typewriter
searching for words,
don't do it.
if you're doing it for money or
fame,
don't do it.
if you're doing it because you want
women in your bed,
don't do it.
if you have to sit there and
rewrite it again and again,
don't do it.
if it's hard work just thinking about doing it,
don't do it.
if you're trying to write like somebody
else,
forget about it.

if you have to wait for it to roar out of
you,
then wait patiently.
if it never does roar out of you,
do something else.

if you first have to read it to your wife
or your girlfriend or your boyfriend
or your parents or to anybody at all,
you're not ready.

don't be like so many writers,
don't be like so many thousands of
people who call themselves writers,
don't be dull and boring and
pretentious, don't be consumed with self-
love.
the libraries of the world have
yawned themselves to
sleep
over your kind.
don't add to that.
don't do it.
unless it comes out of
your soul like a rocket,
unless being still would
drive you to madness or
suicide or murder,
don't do it.
unless the sun inside you is
burning your gut,
don't do it.

when it is truly time,
and if you have been chosen,
it will do it by
itself and it will keep on doing it
until you die or it dies in you.

there is no other way.

and there never was.

From sifting through the madness for the Word, the line, the way by Charles Bukowski. Copyright © 2003 by the Estate of Charles Bukowski. Reprinted by permission of HarperCollins. All rights reserved.

Gamzon poems

AGENDA

VIEW:  Billy Collins: Writing Process
SHOW: Journal

WRITING:  work on poems

Intrusion

        for William Stafford

Traveling through the dark along the Seaway Trail,
we sense a family of deer, frozen at the edge
of the highway, staring back
at the headlights of our jeep--
their eyes wakeful, wary.

And so I must think of your poem,
of how the road we travel narrows and ends,
and why I, too, must question the swerving.

Later that evening back at home,
phantom deer appear.  Dreamlike,
they lurk at the very edge of consciousness,
silently watching a procession of ghostly vehicles
hurtle through the vanishing wilderness.

They wait and watch, bewildered
by these hardened shells
encasing our fragile hearts.

For Jennie, Dressed In Green Today

You are dressed in green today—

a light shade of green to match your eyes

still downcast as you mumble

a quick and timid thank you

returning my compliment.

Look up, Jennie.  Rein in your fears.

You see yourself within a still life painting—

you, a solitary misshapen pear juxtaposed

against a bowl of perfect fruit. 

The others are glistening red apples,

vibrant oranges, deep purple grapes—

all sons and daughters of perfect parents

so unlike your own.

And you-- you say are green, such an ugly green,

a green that must be pared away

to reveal soft sweeter flesh.

If only you knew how to dissipate when it hurts,

imagining yourself fog lifting from a deep lake

on sunlit mornings after a rain.

Wait patiently, Jennie.Still dress in green.

A time will come when the scars

you etch upon your arms will fade.

For it begins with green, a lovely green,

the certain steady greening of your world,

the deepening green of moss, lichen and fern--

this ever growing, deepening forest

in which you will walk without fear.

The Dust Lady

               --for Marcy Borders

1.      1. Victim 9/11/2001

Her mouth agape, lungs choking with ash, 

she remains in Stan Honda’s iconic photo

dust-caked and frozen in time--

a Munch image, silent schrie

echoing from the chaos,

from the 81^st floor 

of the  South tower

down the stairwell, 

a dazed witness

to unthinkable horror—

the dead, the dying,

souls falling from buildings

or rising into air.

A ghostly ashen figure,

her haunted eyes stare

 into the camera lens.

She reaches out a hand, a gesture.

       Perhaps she is asking, Why?

2.      2. Survivor  8/26/2015

Fourteen years later she succumbs

to the stomach cancer growing inside her.

She is remembered, even honored, the iconic “Dust Lady”--

her photo haunting a city and nation for years.

She kept the black fitted top, the cream fitted skirt,

the high boots she wore that day, unwashed,

covered with ash, grime and dust,

A lucky talisman or curse? she wondered

       

       in the years following, still battling her fears,

       crack hunger and craving.  She would not look

       at the famous photo, not wanting to be a victim anymore,

       or so she said. Perhaps, again, in the last days,

     

       she asked, hand outstretched, Why?

Resurgence

The roof needs repair.
Cracked tiles litter the yard;
moss clings to the eaves.
The spring rains fall unimpeded
through the rusted gutters.

Still, in the garden
the pink dicentra thrives,
each bleeding heart bursting into fullness
upon delicate arching stems,

and here and there
a single green fern curls
upward, reaching through a bed
of wet withered leaves
like a gangly adolescent
tentatively raising a hand
in class.