Writing Exercise: “In Defense of ‘Moist'”

ENG 326 Writing Poetry: Intermediate
University of North Carolina at Greensboro
Fall 2017

8/15 Writing Exercise: “In Defense of ‘Moist’”

  1. Read the poem “In Defense of ‘Moist’” by Hanif Willis-Abdurraqib and discuss.
  2. Recall your favorite or least favorite word from the Introductions handout. If you selected your favorite word, title your poem “Against ‘[the word]’”; if you selected your least favorite word, title it “In Defense of ‘{the word]’.”
  3. Draft a poem as an argument against your favorite word or for your least favorite word, after Willis-Abdurraqib.
    1. You may write this poem on the back of the Willis-Abdurraqib handout and add it into your writing journal later.
    2. Try not to let your critical, editorial part of your brain enter into the drafting process, as this will only limit you.
    3. Your skill level is irrelevant, as we’re all asked to draft right here, in the moment. We’re all on the same page, in terms of the poem’s parameters, and this ongoing writing and sharing in class will help us all improve, not to mention try something new in our work.
  4. Share with the class and, in doing so, we’ll begin to discover ways we can best provide and receive feedback on poetic works.

Summer, Online Intro to CW Writing Exercise: “Code Switch”

Writing Exercise: “Code Switch”

  1. Read a little bit about the linguistic concept of “code-switching.”
  2. Now, let’s apply it to your creative writing. Create a dramatic situation in which a first-person narrator has to switch between two different types of language in her narration and in her dialogue, e.g. her dialogue with her best friend is informal but, in telling the story to a wider audience, she uses proper grammar and more meditative language.
  3. For an added challenge, you can add in a third act of code-switching, i.e. your narrator might talk one way in her narration, one way to her best friend on the phone, and one way with her mother while they are out to lunch.

 

Note: Please take care to avoid cultural appropriation with this exercise in code-switching. To do so, you might try taking on acts of code-switching that are familiar to you and your discourses.

Summer Online Intro to CW Writing Exercise: “Nothing Amiss, Nothing Missed”

Writing Exercise: “Nothing Amiss, Nothing Missed”

Your first writing exercise asks you to draw upon the concepts of concrete language, significant details, and mood-inducing setting from Chapters 2: Image and 5: Setting. The exercise is multi-part, so make sure not to miss a step.

  1. Take a pen and paper (or laptop, if you’re more comfortable typing) into a space in which other people (preferably strangers) are interacting with one another or objects. Grocery store, coffee shop, doctor’s office, cemetery, public park—wherever you like. Feel free to do this exercise on a regular errand, if you can squeeze it in. Once you are in the space, I would like for you to set a timer on your phone or watch for a set time between 10–15 minutes. Without pausing to consider or edit, write down in a paragraph or list every detail from this space that you possibly can. This is called automatic writing, and it should allow you to efficiently take in your surroundings as quickly as possibly.
  2. Please select one mood from the a list and one genre from the b list in which you’d like to rewrite your setting:
    • overjoyed, despondent, apathetic, devious, hopeful, grief-stricken, afraid, or something else
    • fiction or nonfiction
  3. As we learned from Burroway, a concrete, significant detail means that the specific image appeals to at least one of the five senses and suggests an abstraction, generalization, or judgment. In other words, that detail reveals something more than just that object’s there-ness. It comments on something within the story or reveals something about the point-of-view character. We may also find that what a character selects to tell us about a setting is very revealing of their personality or mental state. Burroway writes: “Our relation to place, time, and weather, like our relation to clothes and other objects, is charged with emotion more or less subtle, more or less profound. It is filled with judgment, mellow or harsh. And it alters according to what happens to us.” As a very simplistic example, imagine that character A and character B walk into the seasonal section at the grocery store. A’s excited about the sale on the industrial-sized, Banana Boat suntan lotion that smells like pina colada, whereas B’s gravitate to the adult-sized arm floaties. These two things, although related and present in the same setting, reveal very different things about the needs, wants, and personalities of the two characters. We might concur that A’s interested in spending a lot of time in the sun and getting a tan, meaning that they are concerned about their looks, how they are seen. B, however, cannot swim (or swim well) and may even be afraid of the water. In this way, each of these objects are significant because they reveal something about the character. With all of this in mind, you will:
    • rewrite your description of the setting through the twin lenses of the character’s mood and the genre, being sure to only select those details that seem to reveal the character and the mood you want to cast over this place while leaving out incongruous information, but be sure not to tell us what mood you’re trying to portray
    • and then read your peers’ attempts at the exercise and guess what kind of mood they were trying to portray through the details they chose.

Failed Ideas Rise Again!

I’m compiling a document called “Ignoratio Elenchi” (“missing the point”) with fragments of interesting things that framed failed poems. My hope is that this daisy-chain of failed, poetic dramatic situations will come together as something new, maybe a lyric essay on and demonstrating failure. This project must be something like a grappa, that liquor made from the unwanted skins, seeds, and stems of grapes that would foul wine. Let me go ahead and propose this form: a Grappa, a lyric-prose hybrid that trellises together failed lines, ideas, and dramatic situations. Most of the time my failed poems fail because I have too much of a set idea or firm situation—a boa muscled by truths, intentions. In a new form perhaps, by their prismatic triangulation, they will be elevated beyond their specificity, re-rendered to bewilder.

Text & Context: A Poetry Workshop at the Philadelphia Museum of Art

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Text & Context participants sharing their new poem drafts in the Resnick Rotunda. Philadelphia Museum of Art.

Last night I taught Text & Context, a poetry workshop sponsored by the Philadelphia Poetry Collaboration, at the Philadelphia Museum of Art‘s Final Fridays: Rebel, Rebel night. I prepared a handout with four poetry exercises inspired by pieces in the modern art wing of the museum for registered and drop-in participants. We had a total of twenty-seven participants, with the youngest participant at 7 years old. Although the exercises were meant for adults, they were easily adapted to younger participants, especially the acrostic and self-portrait poems.

I have included the writing exercises below, with photos of the motivating artworks. Because we only had two hours for the workshop, we were unable to get to the fourth and final writing exercise, inspired by Marcel Duchamp, called “Readymades.”

Writing Exercise 1: “Acrostic to What”
Artwork(s): “According to What” (1964) by Jasper Johns
Room: 177
Time: 20+ Minutes

Jasper Johns (1930– ) introduces words into this work by painting them on the canvas and allowing their ghosts to haunt the backdrop. In this writing exercise, I’d like for you to select one word from this piece and free-write an acrostic poem. In A Poet’s Glossary, Edward Hirsch contextualizes and defines acrostic poetry as “From the Greek: ‘at the tip of the verse.’ A poem in which the initial letters of each line have a meaning when read vertically. The acrostic reads down as well as across.” Here is a very quick (and unpolished example):

Just this: the gift-hibiscus
Anguished by the cold context of
Soil in a slow thaw, spring’s unguent tongue.
Poignant is a word that implies the poisoned well
Emotion, only it needs a human eye—
Raw and farsighted, mirrored to the about-face of desire.

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“According to What” by Jasper Johns, 1964. Philadelphia Museum of Art.

Writing Exercise 2: “Memory Piece (My Heart)”
Artworks(s): “Memory Piece (Frank O’Hara)” (1970) by Jasper Johns
Room: 177
Time: 20+ Minutes

In 1967, Jasper Johns met Frank O’Hara, a poet of the New York School, art critic, and assistant curator at MOMA. Let’s read O’Hara’s poem “My Heart” and locate some visually associative connections between the poem’s images and Johns’s sculpture, “Memory Piece (Frank O’Hara).”

This poem is part self-celebration, part anti-apology, with a finalizing dash of ars poetica, that is, a poem about writing poetry. Ultimately, however, it is a self-portrait, one that fills in the speaker’s personality by degrees. Could we, however, think about Johns’s sculpture as a kind of figurative portrait of O’Hara? If so, what does the artwork imply about its subject?

Free-write a poem titled “Memory Piece (My Heart)” and use the epigraph, “After O’Hara and Johns.” In this poem, I’d like for you to create a self-portrait that is literal, as in O’Hara’s “I wear workshirts to the opera,” but also figurative, as this sculpture of Johns. What images describe you without describing you? Try to move back and forth between literal and figurative statements. Here’s a model of these two alternating moves:

All of my clothes have
at least one missing
button. Lately I’ve been a zipper
broken off its track. I drink
coffee on an empty stomach and peel
a rind on a clementine to find
rind upon rind underneath.
I am bad at self-portraits
because I have trouble looking
the stranger the mirror makes
me in the eye.

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Poetry Workshop: Text & Context participants writing in gallery 177. Philadelphia Museum of Art.
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“Memory Piece (Frank O’Hara)” by Jasper Johns, 1970. Philadelphia Museum of Art.

Writing Exercise 3: “Impress Me”
Artworks(s): “Sunflowers” (1888 or 1889) by Vincent Van Gogh
Room: 161, Resnick Rotunda
Time: 20+ Minutes

Think of something beautiful, startling, or grotesque you’ve recently seen from which you couldn’t turn away. It could be a flock of white birds rising from a snowy field or a deer skull on the side of the road, a clear vase on a basement shelf in which a spider has built a web or an evening shadow that crossed over a beloved’s face. Take five minutes to jot down every concrete detail you remember from that scene, no matter how small or insignificant.

Hirsch writes that “The poetic image is always delivered to us through words. Poetry engages our capacity to make mental pictures, but it also taps a place in our minds that has little to do with direct physical perceptions.” I would go further and insist that images are those tangible details in a poem that have extra meaning—what we might called “resonance”—than just their thisness, their thereness. They are the glittery surface images on a dark, deep well. That dark deep well contains our memories, the primary source of our meaning-making.

Read “In a Station of the Metro” by Ezra Pound, which emphasizes the image as the crucial and working element of a poem.

Go back through your draft and interrogate each and every detail: which ones are significant? Which are superfluous? Which details imply other details? Cut all those details that are just facts about that scene, and leave all of those details that ascend to the level of images. Remove all explanation, what we would call exposition, out of the poem. Allow the images to stand alone.

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“Sunflowers” by Vincent van Gogh, 1888 or 1889. Philadephia Museum of Art.

 I would like to thank Steven Kleinman and Sarah Blake from the Philadelphia Poetry Collaboration and Jenni Drozdek and Claire Oosterhoudt of the Philadelphia Museum of Art for all their work supporting and organizing this event. Special thanks also to Alexis Apfelbaum of PPC and Justine of the PMA for their on-the-ground assistance, organization, and knowledge.

Poetry Writing Exercise: “Don’t Be Afraid: Self-Elegy or Self-Celebration” for Master Class I Have Been a Pleasure: On the Self-Elegy and Celebration

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Today, before a reading, I will teach a poetry master class at Warren County Community College called I Have Been a Pleasure: On the Self-Elegy and Celebration. With a handout, we will begin by considering and reconsidering the definitions of elegy, praise poems, and ode from Edward Hirsch’s A Poet’s Glossary, making connections between each of these forms and their motivations, and then reading the following poems:

  1. “Song of Myself” by Walt Whitman
  2. “For the Anniversary of My Death” by W.S. Merwin
  3. “On Leaving the Body to Science” by Claudia Emerson
  4. “Mummy of a Lady Named Jemutesonekh” by Thomas James
  5. “Elegy for My Sadness” by Chen Chen
  6. “Beyoncé Prepares a Will” by Morgan Parker
  7. “Someday I’ll Love Roger Reeves” by Roger Reeves
  8. “Someday I’ll Love Ocean Vuong” by Ocean Vuong

 

Writing Exercise: “Don’t Be Afraid: Self-Elegy or Self-Celebration”

  1. Title your poem “For the Anniversary of My Death (After Merwin),” “Elegy for My Sadness (After Chen),” “[Your Name] Prepares a Will (After Parker),” or “Someday I’ll Love [Your Name.”
  2. Free-write a poem borrowing the dramatic situation from one of the poems we have read today, using a similar title in homage to that poet. A couple of considerations:
    1. Will you write to yourself as a you or as an I?
    2. Are you lamenting or celebrating yourself?
    3. Is this a poem of greeting or goodbye?
    4. If you are writing a self-elegy, are you elegizing your whole self or only a part? A time period? A sense of self? A place? Another person?
    5. If you are writing a self-celebration, are you performing the act of Narcissus looking into the pool or is there something more potent beneath the surface at which you’re really looking?
  3. Share.

Erasure and Revision Exercise: “Dear ________”

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Students in my online, 24PearlStreet “Every Phantom // A Story: Erasure and Revision” course explored erasure as a political and social justice act and then completed “Dear       ,” an erasive poetry exercise, last week after reading the following assignments:

  1. “The Near Transitive Properties of the Political and Poetical: Erasure” by Solmaz Sharif.
  2. “Reaching Guantánamo” by Solmaz Sharif.
  3. Look at “The Race Within Erasure,” a Powerpoint presentation by Robin Coste Lewis, with special attention to her erasure, The Pickaninny Wins!
  4. “Will There Be More Than One Questioner?” by Nick Lantz.
  5. “We Redacted Everything That’s Not a Verifiably True Statement from Trump’s Time Interview About Truth” on Jezebel.

 

Writing Exercise: “Dear               ”

  1. Write a letter in the persona of a loved one of someone imprisoned. Say everything this person needs to say in your initial draft.
  2. Print off the poem, and act the part of the censor. With a Sharpie or dark pen, strike out passages that seem to pose pertinent and specific information.
  3. Post the original poem and the censored version, along with a paragraph-long reflection that considers which version is more evocative, more like a poem.