On Wednesday, November 16, I gave the lecture “It’s Alive: Why Poetry Still Matters” at Rutherford Hall in Allamuchy, New Jersey. Here are the materials for that talk:
This talk also transformed into my November 2016 blog post for Ploughshares, “Truth & Dread: Why Poetry Still Matters & The Risk of (Too Much) Empathy”:
Can the act of empathy, learned from literature and poetry, become an act of appropriation when we take it to our lived lives? This is a question I haven’t been able to answer. Each of us is not a sun around which others revolve; we cannot, like black holes, pull everything into us without risking erasure, of others, of ourselves. Perhaps more than the practice of empathy, poetry offers us the opportunity to listen, and not just in the way that it appeals to the same areas of the brain music stimulates, and not just in the way that we can hear the cadence and rhythm and sounds of poetry. Perhaps poetry offers us the opportunity to hear its many speakers, to not so much as internalize each of their voices and experiences as to confirm them, to say, you are you, you are a voice, I hear you.
The handout for “Walk the Line: The Tension Between Line and Syntax,” tomorrow’s course at the Hudson Valley Writers’ Center, is now available on my Google Drive.
“Grandpa Glenn just chillin’ on his goat cart. Photo taken around 1916. Globe, Arizona” from freeparking.
Class: Writing Poetry (Virginia Commonwealth University)
Purpose: To talk about not relying simply on the drama inherent to subject matter or narrative
Readings: “Song” by Brigit Pegeen Kelly and student poems
Before beginning workshop today, I read aloud Brigit Pegeen Kelly’s poem “Song” to the class as a way to open up the conversation about their own use of inherently compelling or dramatic subject matter. Of course, Kelly’s goat, whose head has been severed from its body and hung in a tree by a group of boys, is interesting; but it’s only a good poem for the ways in which Kelly works with sound, imagery, and lines. As this isn’t a close reading of the poem, I won’t go in depth about our discussion, but we did consider how poems with interesting dramatic situations, narratives, or images might fool us into thinking they are “good” poems simply because we remember the content. I urged my students to consider Kelly and her artfulness in presenting compelling subject matter when they write their own poems; to not simply rely on something that seems “meaningful”; to make it meaningful through their presentation.