ENG 326 Writing Poetry: Intermediate University of North Carolina at Greensboro
8/17 Writing Exercise: “Ain’t There One Damn Song That Can Make Me Break Down and Cry?”
Re-examine the lyrics of the favorite song you brought into class, and respond to the following questions in your writing journal:
What genre is the song? What are the requirements (instrumentation, performance, subject matter, etc.) of a song in this genre?
Do you recognize in this song any of the key poetic concepts/terms we went over earlier today in class? This might include figurative language, concrete language, cliche, etc. Try to identify at least two.
Beginning in class and continuing over the weekend, write at least one verse and chorus as an imitation of your favorite song.
An imitation borrows one or more features of a work, including but not limited to structure and subject matter.
In writing these lyrics, you must include at least two passages that exemplify the key poetic concepts/terms we went over in class today.
Share these in class next Tuesday. You can read them aloud or, if you’re feeling it, you (or a designated performer) can sing or rap your lyrics.
On Tuesday, we will discuss how listeners of music are often more equipped to read and write poetry than we initially realize, and then we’ll explore the ways in which we can develop these skills so that they are more conducive to the expectations of poetry readers.
Select a single line or image from one of Jenny Johnson’s poems in In Full Velvet.
Free write a poem that begins with this line or image co-opted from Johnson. This can be phrased exactly the same way that she phrases it, or you can change it up to best suit your own poem. Remember that this is a starting point, and you should feel free to move away from this inciting image.
With a subscription to Poetry magazine as one of the required texts for my Poetry Workshop class, students will have read “Violins” by Rowan Ricardo Phillips prior to completing this exercise, “Of Violins and Violence,” based around the tension between similar sounding words.
I’m giving these exercises on the first day of class in order to get a better sense of where the students are in terms of their poetry knowledge and reading ability. Additionally, I wanted to introduce them to some terminology (e.g. line breaks, tone, concrete details, etc.) that will make it easier for them to talk about poetry throughout the course.
Ask that the students bring in one of their favorite poems. (My students brought in “Meditation at Lagunitas” by Robert Hass, “Fever 103°” by Sylvia Plath, and “[Carrion Comfort]” by Gerard Manley Hopkins.) Have each student read the selection to the class and lead a discussion on the poem’s features, movement, and form.
Consider some of the ways one can write imitations:
Imitate all or many of the strategies of that specific poem.
Imitate general features of the poet’s style.
Write a poem in the persona of the poet. (His/her general voice, not just the voice on the page.)
Do a loose imitation using one element of the original poem. This could even include response poems, poems with lines of that poet, etcetera.
Then have them do the following exercise:
Write an imitation of the poem you brought in. (15 min.)
Write an imitation of one of the other poems. (15 min.)
Discuss. What imitation strategy did you choose? Why? Did you find yourself more able to imitate your selection or another’s? Why? Which imitation was hardest? Can you more easily discern some of your own fundamental orientation to language, ticks, go-to strategies, etcetera through the imitation process?