Note: My MFA students are discussing “On the Line” by Kazim Ali and “Line and Syntax” by James Longenbach in today’s class. Between this discussion and their workshop of Poem 1, they will do this short exercise that gives them an opportunity to think about the line as a unit that has expressive and impressionistic powers. You can download a PDF version of this exercise, with attached scans of Sappho’s fragments, by clicking on the link above.
Writing Exercise: One Line
On pg. 36 of “On the Line” Kazim Ali writes:
The poetic line ought not be buckled to conventional syntax, it ought to demonstrate the actual powers of poetry to move the mind beyond the mundane, as in Jorie Graham’s truncated Wyatt quote that opens The Errancy— “Since in a net I seek to hold the wind.”
The poetic line ought not be buckled to conventional syntax, it ought to demonstrate the actual powers of poetry to move the mind beyond the mundane, as in Jorie Graham’s truncated Wyatt quote that opens The Errancy—”Since in a net I seek to hold the wind.”
It [the poetic line] ought to be able to do more, be more, transcend the pedantic definition of language as a carrier of discursive meaning and by its motion enable the mind to follow and have an understanding that is past intellectual and enters conceptual.
Ali later quotes a few of Anne Shaw’s one-line poems posted to Twitter:
“help to winter me a small belief”
“you bereft believer say you will return”
“begin again in whether”
We might also be reminded of some of the fragments of Sappho, which are attached here. Let’s read them together and discuss what holds these “poems” together, how our brains react when “meaning” is more diffuse and phrasing/musicality/impression are more apparent.
In this exercise, you will write a single-line poem.
In order to do so, you will reject traditional syntax, maybe even working only in fragments. Write the single-line poem several times, with several different syntactical orders.
How many ways can you write this line and it still make sense?
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.
Tomorrow, I’m teaching a one-day course called “Walk the Line: The Tension Between Line & Syntax” at the Hudson Valley Writers’ Center in Sleepy Hollow, New York. We will consider the relationship between poetry’s vehicles of meaning: the line and the sentence. In doing so, we’ll investigate the ways in which these structures support, nuance, and deny one another to achieve resonance, depth, and subtext within a poem. This course will be generative, with exercises that rely on close reading and formal manipulation of texts, as well as the drafting of new pieces. Whether you want to learn more about what your favorite poets are doing with their poems or discover how to break lines in your own, this course will insist that poetry is a craft, honed by exercises and study.
Genre: Poetry Purpose:To push the boundaries of the line, sentence, and punctuation to add subtext and texture to poems Readings: Lynda Hull, Claudia Emerson, Ocean Vuong, Tarfia Faizullah, Jamaal May, Ross Gay
*This prompt was given to Mary Szybist’s workshop at the 2015 Kenyon Review Writers’ Workshop
In this prompt, I’d like for you to explore the ways in which you can complicate your poems with subtext and refine them with dramatic, imagistic, and rhythmic textures through the relationship between the line/form and the sentence.
Write a heavily enjambed poem about deceit, doublespeak, a fallible memory, or letting someone down easy. Each line of this poem must make its own kind of sense separate from the sentence(s) to which it belongs. Each line may support, nuance, or buck against its parent syntactical meaning(s). Take a look at Lynda Hull’s “Rivers Into Seas.” In order to examine this phenomenon, it might be helpful to read the poem for its sentences initially, and then reread it line-by-line with an exaggerated pause at each break. What lines assert themselves as a complete thought, sentence, or image? How does that relate to the syntax?
Write a poem that takes the first prompt further by including little or no punctuation. Choose whether or not you’d like to introduce alternatives to traditional punctuation, through in-line white space (also called visual caesuras) as found in Claudia Emerson’s “Midwife”; line breaks, like those in Ocean Vuong’s “Ode to Masturbation”; capitalization at the start of sentences; or some combination. (Keep in mind that in-line white space also can be used as a means to emphasize certain images or phrases; to modulate the reader’s pace; or to imitate an action taking place in the poem.)
I taught a class titled “No River, No Bridge: Writing Poetry, Writing Nonfiction” at Appomattox Regional Governor’s School’s Writers’ Fest yesterday. We discussed hybridity of poetry and nonfiction, as well as the ways in which poetry can take on and explore “truth” using essayistic strategies without the requirement of “fact.” Several students came up afterward to show me their exercises, and one told me that she felt like it was one of the best things she’s written. The class ranged from high school students to adults.
In this course we will examine works of poetry and creative nonfiction in order to open up these genres to hybrid works. We will discuss features that are shared by the genres, how to bend the rules, and look at some examples before doing an exercise.
With over forty students in a one-hour class, we had these objectives:
Examine definitions of genre and the elements therein.
Think about the function and aims of each genre.
Read excerpts of texts that bridge the gap between poetry and nonfiction.
Write some assays—yes, some attempts—that use both poetry and essay strategies.
Examine definitions of genre and the elements therein. We looked at definitions of essays and lyric essays and Edward Hirsch’s definitions of line, lineation, lyric, prose poem, and stanza from A Poet’s Glossary. We looked at these definitions because they seek to define and, therefore, draw boundaries. We needed to know these definitions in order to explode these boundaries. In particular, we looked at Hirsch’s definition of line, in which he quotes Longenbach:
“Poetry is the sound of language organized in lines,” James Longenbach asserts in The Art of the Poetic Line (2008). “More than meter, more than rhyme, more than images or alliteration or figurative language, line is what distinguishes our experience of poetry as poetry, rather than some other kind of writing.”
And compared it to the prose poem definition:
A composition printed as prose that names itself poetry. The prose poem takes advantage of its hybrid nature—it avails itself of the elements of prose (what Dryden called “the other harmony of prose”) while foregrounding the devices of poetry. . . . Baudelaire used prose poems to rebel against the straitjacket of classical French versification. He dreamed of creating “a poetic prose, musical without rhyme or rhythm, supple and jerky enough to adapt to the lyric movements of the soul, to the undulations of reverie, to the somersaults of conscience.” Baudelaire’s prose poems—along with Rimbaud’s Les Illuminations (1886) and Malarmé’s Divagations (1897)—created a mixed musical form (part social, part transcendental) that has been widely and internationally practiced in the twentieth century. “There is no such thing as prose,” Malarmé insisted in 1891. “There is the alphabet, and then there are verses which are more or less closely knit, more or less diffused. So long as there is a straining toward style, there is versification.”
We thought about these paradoxes, discussed why lineation makes a poem a poem, as well as considered some alternative definitions. We then examined Hirsch’s definition of “lyric”—
The lyric poem immerses us in the original waters of consciousness, in the awareness, the aboriginal nature, of being itself. . . . The lyric, which offers us a supposed speaker, a person to whom we often assign the name of the author, shades off into the dramatic utterance
—in juxtaposition with a discussion of point of view in essay. Think about the function and aims of each genre. When I think about the intersections and differences of poetry and nonfiction, it’s helpful for me to illustrate the two genres with metaphors.
Poem as a river. With all of their musical elements, I think of poems as a river—something fluid, flowing, that rushes and eddies, deltas, and empties out to sea. Poems are one of our oldest forms of literature and therefore seem natural to our landscape of language.
Essay as a bridge. The essay, an analytical form, builds upon its subject piece by piece, element by element, fact by fact, experience by experience. We might think about this strategy as similar to building pillars with blocks, hammering planks together, supporting and trussing.
We might use these metaphors to understand hybrid works—nonfiction prose poems, lyric essays—better. Sometimes a poem is a river we want to cross; we see and hear the rushing water, but we want to examine it from a sturdy vantage point where we stay safe and dry. Some music comes into the poem, but we rely on the exposition that essays provide. Adversely, we could be in the water, prone to the rapids, splashed in the face, paddling fiercely. Just trying to stay afloat in the overflow of language, of experience. There are times, however, where we might pass under the shadow of a bridge, have insights into reason, into conquering this flow, bridging one experience to another. Read excerpts of texts that bridge the gap between poetry and nonfiction.
“Say It, Say It Anyway You Can” by Vievee Francis (two versions—the prose poem version from Rattle and the lineated version that appeared in her collection Horse in the Dark). Let’s take a look at this poem, which started off as a prose poem and then became a lineated poem. Discuss the poet’s possible reasoning for lineating the poem. What are the effects of the two forms?
An excerpt from Citizen by Claudia Rankine and an excerpt from Bluets by Maggie Nelson. Talk to me a little bit about what these prose forms borrow from poetry. Are they poetry? (How were they marketed? How were they identified?) Is it enough to say something is poetry? Nonfiction? Are these true hybrids? How would you categorize it? Does it need to be categorized?
Write someassays—yes, some attempts—that use both poetry and essay strategies.
“No River, No Bridge” Exercise
Select an everyday object that’s in your house. Ex. a television, a pair of jeans, a can of kidney beans. (1 min.)
Now describe the object using all of your senses, with only concrete details. Do not use any metaphors or other figurative language. (2 min.)
Imagine how the object was made. Write a step-by-step description of its fabrication. (3 min.)
Imagine the harvesting, mining, or creation of the raw materials that went into making this object. (i.e. the shearing of sheep for your wool sweater or the mining of silicone to make your iPhone). Describe. (2 min.)
Now talk a little bit about how you came to own this object (and talk about not remembering how you got it, if that’s true.) Tell us the backstory. Or, what connotations does the object have? Do you have specific memories associated with it? (2 min.)
Now describe the object using only metaphors. (“My pair of jeans is muddy water reflecting sky, a bird with clipped wings . . . ”) (2 min.)
Share and discuss: How has the object changed in each iteration (concrete description, origin story, deconstruction, entrance, emotional connection, metaphorical naming)? Which form (poetry or essay) better conveys these approaches? Why? How can we combine these strategies?
Class: Writing Poetry (Virginia Commonwealth University) Genre: Poetry 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.