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.
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.
- Watch Patricia Smith perform “Skinhead”: https://youtu.be/Klb5TniRGao. Discuss.
- Jot down some notes about a situation in which you found yourself in direct opposition with someone else. Perhaps it’s as extreme as the violent racism in Smith’s poem or as routine as having the same seat number assignment as another person on a flight. The best situation is one in which the conflict was never or not easily resolved. (2–5 min.)
- Describe the diction that person uses and provide some examples. (1–2 min.)
- Now freewrite in the voice of that person as if he or she is addressing you. What would they say? How would they defend themselves against complaints about their actions toward you. (5–7 min.)
- Share your efforts. Did the exercise of writing in their voices change your opinions of your adversaries? What does this reveal about poetry’s ability to engage in empathy? Do your opinions carry into your rendering of their voice?
Class: Introduction to Creative Writing (The College of William & Mary)
Purpose: To explore Burroway’s concept of “Character as Image”; examine potential of non-verbal communication; and situate the reader to receive information along with a character
Readings: Chapters 4 (“Character”) and Gabriel García Márquez’s “The Handsomest Drowned Man in the World” in Janet Burroway’s Imaginative Writing
Two characters come upon one another in the middle of a forest. Something bad—but not melodramatic*—has happened to one character and that character needs help. When the first character tries to tell the second what’s wrong, it’s revealed that the two characters don’t speak the same language. (This could include sign language.)
Write a scene from the point of view of the second character (first person “I”) while the first character tries to communicate the problem using only gestures, drawing, or other non-verbal communication. Additionally:
- the second character cannot know what the problem is before the first character reveals it in this scene;
- the second character should notice details throughout the interaction that reveal more about the first character (i.e. clothing, appearance, possessions, etc.)
- the second character may or may not—or even cannot—help.
*Challenge yourself to come up with a problem that doesn’t involve far-fetched plot lines, flat characters, and easy conclusions. This means it would be best to avoid killers, aliens, and monsters. Think about more ordinary but equally tension-filled situations like a farmer whose lost a bull, a teenager who has a flat tire but doesn’t know how to change it, a hunter who accidentally shot his buddy in the foot, etcetera.