General
Guidelines
Your
response paper will be very short. Do not write an introduction. Do not
repeat
yourself. Do not insert passages from the poem. Your goal is to be
specific and
to say as much as possible in a few paragraphs.
500-600 words / typed / double-spaced / header
/ word
count / stapled
If
you
wish, you may attach a copy of the poem(s) with marginal notes. Often
this is
an efficient way to convey your observations about sound and structure.
For
example, if your marginal notes marked a rhyme scheme, you could refer
to the
rhyme scheme in your paper without having to describe it.
Choose
a
very specific topic. You may want to argue an idea about the poem(s),
or you
may want to explore something that puzzles and interests you. In either
case, you need a specific thesis or hypothesis. Do not merely
paraphrase the poem or write generally about "what it means."
Choose
one
or two poems to write on. You must ground what you say in evidence from
the
poems, not in general, unsupported assertions.
Each week, I will post prompts for
writing about the book we are addressing. Please respond to one of
these prompts. If you want to write on something else, e-mail
your idea. Be sure to phrase it as a specific thesis.
You don’t
need a title, though you may use one if you wish. At the top of the
page, type a header that looks like
this:
Your Name
Poet’s Name
Title
or first line of the poem(s) discussed / page
number(s)
# of the prompt you are responding to
Word
count
Begin
with a thesis for your response.
For example:
“Rhyme is one way Niedecker makes us pay
attention to ordinary speech.” Or, “Niedecker uses rhyme to make
ordinary
speech sound wise and pithy, even poetic.” These are good beginnings
because
they cut to the chase. They let us know immediately what you found
when you
looked at the relationship between rhyme and phrases of what sounds
like
“ordinary speech.”
If you start with a sentence like “I’m going to look
at the relationship between rhyme and spoken language,” or “Rhyme is
important
in Niedecker’s poems,” you’re starting your paper too early in your
thought
process – before you have made your discoveries. You may need to write
the
paper before you can write a good thesis sentence, because you don’t
know at
the outset what you are going to find.
"This poem could have several meanings" is an even more
general
beginning, located even further back at the dawn of thought about the
poem.
Launch
immediately into the meat of what you want to show me. Assume that I
already
know what poem you are talking about (it’s in your header) and that I
can read
the poem on my own.
500-600
words / typed / double-spaced / header / word count / stapled
Prompts for Martha Collins' Blue Front
1. Collins’ use of sentence fragments and conflicted or
incomplete syntax make the reader work to get the story (to paraphrase
one
reviewer). Some have said this method of composition emulates the
testimony of
those who have survived or witnessed a traumatic event. Others say it
emulates
Collins’ own experience as she researched, learned, and tried to
comprehend.
What do you think? Choose a passage of the book (1-3
pages) and discuss the relationship between the fragmented text and
either a
sense of testimony or a sense of discovery.
2. Several aspects of the book might remind
you of the concept of an unreliable narrator--evidence and suppositions
about past events can be contradictory, syntax can be contradictory and
conflicted, information can be changed or expanded on later pages.
Find two or three
passages to discuss together in these terms. Is language itself an
unreliable narrator? Is the poet (or her stand-in, the book's
ostensible narrator) unreliable? If you answer No to both those
questions, just who or what is "unreliable" in the narration?
3. One device Collins uses frequently is the list or
catalog. Some, like the one on page 28, condense history into a series
of
events, each delivered in a single phrase. Others, like the one on page
25,
focus on one specific moment and expand it, almost in the manner of a
camera
zooming in on the details in a scene.
Choose two lists and compare
them. You might consider questions such as: Do they condense or
expand? Are they primarily descriptive (such a list of businesses on
the
street) or do they also advance the narrative? Are they constructed in
phrases
that are grammatically parallel, and, if so, what affect does this
have?
4. One way Collins
followed her line of “wondering” was to
approach what she was learning at the level of language. She took
individual
words that were key to the story of what was done to Will James and
began to
list and explore their possible meanings. The eight poems that
resulted, each
one titled by a single italicized word, are, in some ways, lists of
possible
meanings—or, more accurately, they have such lists imbedded in them.
The eight poems are on pages 6,
18, 24, 38, 47, 54, 58, and 73.
First look at the eight poems and think about their titles. What are
the eight
words, and what do they mean in relation to the book as a whole? Then,
choose
one poem and unpack its meanings and its language. List the definitions
and
idiomatic phrases imbedded in it (a dictionary will help at this
stage). Now,
briefly discuss how those meanings are used in the poem to create “the
meaning
of the poem” in a larger sense.
5a.
If you are familiar with sonnets and their structure
you can also think about those eight poems in this way. They are not
exactly
sonnets, but each has fourteen lines of uniform length, which creates
an indisputable
allusion to the form and tradition of the sonnet. What’s up with that?
Why
frame those particular poems in the tradition of the sonnet?
Choose one poem to
discuss. Can you find any further shadow of sonnet in it? A sonnet-like
rhetorical structure, perhaps? A turn, as in a Petrarchan sonnet? A
two-line
conclusion, like the couplet of a Shakespearean sonnet? (We will come
back to
this question later in the semester, when we talk about sonnets.)
6. Choose one page or section that is primarily narrative and one page
or section that is primarily lyrical and discuss how they work
together. The passages need not be consecutive.
Does one expand on something introduced in the other? Does the later
one in some way explain the earlier? Do images or motifs reappear? How
are the two passages connected?
7. Choose an image or motif (such as laundry or colors, or a particular
phrasal construction) and trace its recurrance throughout the book.
Depending on what you select, you may not be able to include all its
uses, but do select examples from a large span of pages, not just
a few that fall back to back.
What does this motif mean when it is first introduced? How does it
develop in subsequent uses? When it recurs, does it work as a kind of
shorthand, to remind you of a whole set of ideas? By the end of the
book, has its meaning changed? expanded? been explained?
Prompts for C.S. Giscombe's Giscome Road
1. This book abounds with metapors for itself. It's a movie; it's a
map; it's jazz; it's an inverted rewriting of
The Heart of Darkness; it flows
like water; it traces and tracks. Choose one of these metaphors and
discuss a passage of the book (1-3 pages) as an example of how the
metaphor works in the text. What words signal the metaphor? What
concepts does the metaphor carry with it?
2. This book uses collage techniques you may recognize from
Collins--fragments, overlapping or incomplete phrases, bits of
quotation from sources, and so forth. These techniques make you read
actively and work at assembling meaning out of the ingredients. In
contrast to that affect, the diction and phrasing are easily accessible
and the lines move in a relaxed, relatively unemotional rhythm. How
does that combination of qualities affect your reading? What tone is
created? Do you think more, or feel more? If both, how do the lines
lead you to that? Choose a single page and consider these questions in
detail.
3. The pronoun "I" doesn't appear in the book until page 27. Before
that, the narration seems sometimes impersonal, sometimes as if a
speaker is clearly present but effaced. Sometimes you can track his
presence through his absence, as in the incomplete syntax on page 21.
How else does the narrator make himself known to us? What euphemisms or
metaphors does he use for himself? What is the affect of the this
effacement? And what is the affect when "I" suddenly appears on page 27?
4. "The name" is sometimes the narrator,sometimes Robert Giscome, and
sometimes just what it says, "the name" they share. Choose two passages
where "the name" appears and discuss its meanings. OR Consider it this
way: For African Americans, what special meanings attach to the idea of
naming or claiming one's name? Choose one or two passages where "the
name" appears and discuss its meaning(s) in relation to that history.
4. Both Collins and Giscombe use actual text from historical sources to
build their poems. The quotes supply information, a texture of language
and attitude from the past, and sometimes even the start of a lyric
riff--a set of repetitions or some sound play. Choose a passage from
each book, where language from a source is included in the poem, and
compare them. You may choose passages that resemble each other, or
passages where contrast is marked. Some questions to consider: How long
is each quotation? Is it presented autonmously, or woven into the
syntax of a sentence composed by the poet? Does the poet write
variations on the quoted text? Is the quoted language presented
ironically? If not, what is the tone surrounding its use? What is the
affect of using quotations, instead of just working the information
from sources into the poem(s)?
5. Space and time are intensely interrelated in this book, which
sometimes prompts readers to create their own metaphor to explain the
relationships. One student said the different physical locations imply
narrative because the speaker must move through time from place to
place. Another pictured a sphere, with Giscombe's mind at the center
and points of time/space pasted on the surface. In this model, he
visits those points in time and space, then returns to the center where
his thinking takes place. Choose one of these models, or create your
own, and discuss the portrayal of time and spce in a passage from the
poem.
6. In African American history, what is the significance of going
North? How is
Giscome Road positioned
in relation to that history? Choose one or two passages from the book
to support your answer.
7. Maps! They are everywhere in this book, and in many forms. Examine
the maps as they progress through the book (including pages 35 & 37
& the foldout on 58). Discuss briefly the difference among maps and
how their sequence relates to the progress of the text. Then choose one
map and discuss it in more detail. What is represented? What missing?
What is the scale? What appears at the center, or most prominently?
What ideas in the poems are represented here?
Prompts for Myung Mi Kim's Under Flag
Myung Mi Kim says that any reading
is a good reading
for someone encountering work such as hers for the first time. "Just
tell
me what you are thinking," she says, we'll go from there. Here are a
few
possible paths:
1. Choose a dominant and recurring motif or image and trace it through
two or
three poems. Examples might be: voices; speech or language; memory;
belonging
and/or not belonging; here and/or there (with here and there
not
always the same); the body; maps and location; emmigration/immigration;
human
figures in a place (landscape, room, house). What meanings does the
image or
motif pick up as it passes through the book.
2. Choose one poem, or even a passage from a poem, and make notes on
every
association you have with the words and images and phrases you find
there. Go
right out to the edge of common sense or likelihood. Look for double
meanings,
puns, ironies. Look for words that are connected by how they sound and
consider
if they are also linked in meanings.
Develop an idea about what you’ve
found.
You might want to put forth your own interpretation of the poem, or you
might
just want to catalogue the possibilities. Don't feel you have to find a
single
meaning or solve the poem as if it were a puzzle. Meanings can
circulate and
remain multiple. If you want to organize your reading around a central
question, try one of these:
2a. Choose one poem and discuss the
relationship (as you see it) between Kim's
style of writing and the subject(s) of the poem. Good choices might be:
"Under Flag," "Food, Shelter, Clothing," "Into Such
Assembly," "Body As One As History," "Demarcation."
2b. Focus on sound. How does sound organize the poem (or passage)? Does
it keep
disparate things communicating with each other? Does it attract you to
the poem
so you become a bit more patient with its relative lack of control over
reading
and interpretation?
2c. Focus on the political or historical meanings in the poem or
passage. What
do you recognize? What do you discover by reading? How does the way the
poem is
made relate to the experiences it narrates or alludes to?
3. We often talk about whether an "I" in a poem is easily equated
with the poet, or is a created version of the poet's self, a dramatic
character
named "I." Other times, no "I" is present, but we feel the
presence of a sensibility -- the one who does the seeing and the
thinking and
the feeling. In Kim's poem's, a sense of individual self can be very
tenuous --
unless, of course, you take the whole style of the book as a powerful
presence
of her mind. Choose a poem or a passage and discuss what sense of self
you get
from it. Some choices: "Body As One As History," "And Sing
We," "Into Such Assembly."
Prompts for Juliana Spahr's This Connection of Everyone with Lungs
1. In the
Tarpaulin Sky review,
Alexis Smith characterizes the narrator of as speaking from "the
position of remote witness/intimate relation to what happens on the
planet, to our fellow human beings, examining the complicity and
helplessness inherent in this position." How does this compare to the
position of the poet/speaker in Kim's
Under
Flag?
Choose one poem from each book and compare them. You may wish to
consider such questions as: Does the poem have one speaker, or many? Is
the reading experience smooth (making easy transitions) or rough? With
what kind of language does each poet represent suffering? How does each
poet construct a sense of distance, or nearness, to events? What
passages move you most, haunt you, or make you think the most? To what
degree is your reading influenced by what you know about each poet's
biography?
2. Whitman wrote in a period of national expansion and optimism
(especially before the Civil War, when he wrote the early versions of
what we now call "Song of Myself"). Spahr adopts the inclusiveness of
his lists, yet says (in the interview with Michael Boyko) that she
especially likes the list as lament. That interview concerned a
different book than the one we have read, yet her statement does shed
some light on her other work.
Choose a passage of Whitman and a poem or passage of Spahr and compare
the ways they use lists and catalogs. Start by comparing their
contents, but take your thinking farther. Consider such questions as:
Are the lists cumulative or contrastive, or both? Are they ironic? Do
the lists create a large sense of scale, or a kind of zooming-in
examination of detail? How does the poet seem to feel about the scale
of things suggested by the list? Could the lists be reordered to the
same effect? What senses are involved? What is concrete and what
abstract, in the list or in the rest of the poem? How does the poet use
his or her own presence in the poem? How is intimacy with the reader
created?
2a. You may wish, instead, to compare Spahr's uses of lists to
Collins'. Choose one of Spahr's poems and one passage from Collins.
Refer to Prompt #3 for Collins, for ways to analyze her lists.
3. Anaphora is the repetition of a word or phrase at the beginning of
each line (or sentence or stanza), sometimes exactly, sometimes with
slight variations. It is a common device in Hebrew poetry. Thus, in
English poetry, it comes to us from the Bible. Often it is used to
organize lists, but its presence adds other elements. For example, the
repeated phrase can serve as a marker of return or renewal, a reminder
of scale or of forward progression, or as a kind of intensification of
emotion. Choose one poem and discuss how Spahr uses anaphora. You
may
want to compare her use of it to Whitman's, or to that of another poet
with whom you are familiar.
4. British reviews are generally much livelier than American
reviews. In her review of Spahr, Sarah Gridley plays "good cop/bad cop"
with her reactions to this book. Choose one poem from the book, to
which you have mixed reactions, and discuss your thoughts about the
poem in this manner. What does the generous reader say, the one who
wants the best outcome for both poet and reader? What does the cynical
reader say, the one who doesn't believe in best outcomes, or who
doesn't believe in this book?
5. Choose one poem and examine the pronouns. How do they connect or
disconnect poet and world, poet and reader, reader and world?
6. This book is not written in lines, but in verse paragraphs. Choose
one poem and discuss its organization. Do the paragraphs work like
stanzas? Are they organized by logic? by sound? by content of images?
How do the sentences build rhythm? What does the white space do?
Prompts for Harryette Mullen's Muse & Drudge
In my
notes on Mullen I said that
meaning is organized tangentially, that it is layered, relational, and
nonlinear, and that its chains of association are built up in sound as
well as meaning. For any of the prompts below, choose 1-2 pages of
Muse
& Drudge and begin by unpacking as many puns and phrases as
you
can. Just list them, at first. This will give you the raw material to
work with in shaping your paper. For example, in these lines
self-made woman gets
the hang -- it's a stretch
she's overextended weaving
many spindly strands on her hair loom
you could find the phrases “self-made woman” (gender-switch from the
stock phrase self-made man), “get the hang of it,” “it’s a stretch,”
“she’s overextended,” and the word “heirloom,” as well as a possible
allusion to fairy tales in which women weave.
Once you’ve unpacked your entire page (or two), develop a few of the
chains of meaning available in your four (or eight) quatrains. In my
example, one idea that’s immediately suggested is a hanging, or
lynching. The self-made woman + possible fairy tale allusion might also
suggest the long history of controlling independent women by accusing
them of witchcraft or similar crimes.
As you think about the poems, remember that
your task is not to find a secret
narrative, but to find layers of meaning and to get some
practice thinking and writing about ways of making meaning through
sound play, puns, double-entendres, and jokes.
Turn in these notes
along with your paper. It is a required first step for all the prompts
below.
1. Misrecognition and cultural slippage are important in these poems,
in several ways. White culture misreads Black culture, and vice versa.
Familiar words and phrases are misquoted or misspoken. Men and women
speak at cross-purposes. Anger and satire go disguised as fun. Choose a
page or two of
Muse & Drudge in
which "mistakes" in speaking and hearing are prominent,
and discuss its ways of making meaning.
2. Answer the last question, but focus especially on sound. How do puns
and sound play serve as crossover points from one meaning or set of
meanings to another? (pages 24, 40, 47, 48, 49, 51, 55, 63, 64 are a
few to consider)
3. Mullen has said that "a people is many individuals," and that the
"I" in this book is never an autobiographical or confessional self, but
always the collective "I" of tradition. One place we find such a
"collective 'I'" is in the tradition of the blues. Choose 1-2 pages of
Muse & Drudge and
discuss them in relation to the blues. If your knowledge of the blues
is vague, do a little online reading (and be sure to cite your sources).
4. Critics have a number of ways of describing the passages of intense
sound-play in
Muse & Drudge.
Mullen herself has called it "scat
singing." Scat is a kind of wordless, improvised jazz
singing, sometimes described as a way to imitate instrumental solos.
Some people think it developed from the music of West Africa, using
voice to replace complex drum rhythms. Do a little reading on line, and
listen to a few examples, then discuss a
page or two of the book in that context. Don't forget to cite your
sources.
You can start here, with Ella Fitzgerald scat singing in 1969.
http://www.youtube.com/watch?v=PbL9vr4Q2LU
5. Being female is just as important in this book as being Black.
Choose a page or two of
Muse &
Drudge and discuss it as either an expression of female
identity or an analysis of female/male relations. (pages 21, 24, 34,
35, 39, 47, 51, 62, 63. 73, 74, 77, 78, 79 are just a few that suggest
themselves)
6. Read Barbara Henning's interview with Mullen (on the page linked
above). Choose 2-4 pages of
Muse
& Drudge and discuss them in
relation to quilting, in the terms Mullen proposes.
7. In the Hogue interview, Mullen says that in
Trimmings she was
working with language as clothing and clothing as language. Choose a
poem from
Trimmings and
discuss it in those terms. Before you form
a thesis or begin your essay, follow the same process of "unpacking"
the passage that I outlined, above, for reading
Muse & Drudge.
8. If you read
S*PeRM**K*T
and would like to write on it, here's an
option. This book has been described as a race-conscious critique of
the perfect American family. Mullen has said that each paragraph puts
at least two disparate things together. Choose a page from the book and
analyze it in terms of those two statements.
Prompts for Jen Bervin's Nets
Be sure to read my notes on fragments and cancelled text. You
will need those notes to understand
these
prompts.
1. In my notes I asked: "Why not just write your own short fragmentary
poems and leave Shakespeare out of it?" Answer that question by
concentrating on a single page of the book. Follow these steps, and
make a few
notes at each step, before going on to the next.
First, look at the page
and consider my questions (in paragraph 1) about
the visual affect of having both poems visible at the same time. Next, read
the Bevin poem; read the sonnet; reread the Bevin poem; reread the
sonnet.
Consider how each poem changes when read in conjunction with the other.
Third, articulate
a thesis about how the two poems interact. Be sure to cite specific
evidence from the text(s) in your argument.
2. In my notes, reread the paragraphs
numbered 1, 2, & 3, regarding
appearance, close reading, and sound. Perform a detailed close reading
of one
of Bevin's poems, according to the methods suggested.
3. In paragraph 7 I asked: "What about the sonnet form?" Reread that
paragraph and then choose one page of the book to read in the context
of the
questions I posed. Follow a method similar to that outlined in prompt
#1 to
articulate a thesis. Be sure to cite specific evidence from the text(s)
in your
argument.
4. Another way to read this book is to look at Bevin's poems as a
sequence on
their own. Follow my advice in paragraph 4 and read the whole book
out loud,
from start to finish. Then, choose a series of pages (not the
whole book)
and develop a thesis about how they work together. Two groupings I find
meaningful are #129-137 and #138-150, but you may find others. Be sure
to cite
specific evidence from the text(s) in your argument.
Prompts for Ed Allen's 67 Mixed Messages
In all these
questions, I ask you to consider how the form makes the poem what it
is. Here are some questions to consider.
Does the meter feel close to natural
speech, or more self-conscious? Is the diction ordinary, or drawing
attention to itself? What are the rhyme words? In each pair, consider
which word comes last--is it the most ordinary? the funniest? one that
feels "natural"? one that feels contrived? What about the acrostic
words, the first words of each line?
Considier, too, the poem's syntax,
and whether the lines are end-stopped or enjambed. Where are the
strongest caesurae (pauses within the line), and how do they work in
conjunction with form and meaning? Do syntax and line conspire to place
emphasis on key words? or to de-emphasize key words? Do you read the
poem quickly or slowly? Does the poem end with a resounding
"click" of closure? or trail away? or drift?
How does the poem use the sonnet structure? What distinguishes the
octave (first eight lines) from the sesten (last six lines)? What
happens at the volta (the turn) between the two? Within the octave,
what distinguishes the first quatrain (4 lines) from the second
quatrain?
Read this page by Arnie Sanders, for a quick introduction to
some
of the sonnet's traditional themes and tactics. Others are
elaborate comparisons and hyperbolic declarations. How many do you find
in Ed Allen's sonnets? Do any play a part in the sonnet you want to
discuss?
1. In his statement about the book, Allen expresses an interest in
children's rhymes, stories, and verses, and quotes Robert Frost's
famous dictum that a poem is "a momentary stay against confusion."
Choose one of Allen's sonnets and discuss it in these terms. Be sure to
discuss how the structure of the poem is a stay against confusion, not
just how its content deals with confusion. You might focus on rhyme and
meter, or on the structure of a sonnet, but be sure to include
acrostics, in any case.
2. Acrostics are often considered slightly silly--or suited for minor
poems written to flatter someone or to celebrate an occasion. There is
also a tradition of writing acrostic poems containing one's own name.
How does the acrostic's lack of seriousness take part in the tone of
this book? How does it interact with the more respectable traditions of
sonnet? Choose a poem and discuss how the two (o so different) forms
interact. Depending on the poem you choose, you may also want to
consider Allen's fondness for children's verse as part of this question.
3. Choose one poem from the book and discuss how Allen uses rhyme and
meter and/or the sonnet form to handle the narrator's conflicted
emotions and desires. You might choose his ambiguous sexuality; the
interplay between sexual desire and intimations of his own age and
mortality; the contrast between his desire for Suzie and thoughts of
his ill friend; or some other form of emotional or intellectual
dissonance. Be sure to discuss how the form works in relation to the
content--don't just summarize what the content "says."
4. Which poem do you find funniest? Saddest? Creepiest? Strangest?
Choose one superlative, choose one poem, and discuss how rhyme, meter,
sonnet structure, and acrostics work to make it what it is.
5. A few of Allen's sonnets are overtly tied to Shakespeare's; others
share motifs, without attaching themselves to any one poem. Choose one
sonnet by Allen to discuss in relation to Shakespeare. You can work
with a simple pair, or discuss a motif that you find in several
of Shakespeare's poems. (You may substitute another poet's
sonnets, if you know them.) Be sure to talk about form and structure,
not just content.
6. Reviewers of this book express widely different opinions of its
success, even of its intentions. Those who like it best seem to endorse
its dark humor and literary playfulness, and to read what seem like
"bad rhymes" or flat or contorted syntax as part of the humor, or part
of the play of literary allusions (which go well beyond Shakespeare and
the sonnet tradition). Choose a sonnet you suspect others might judge
"bad" and defend it, OR choose a sonnet you suspect others might judge
"good" and show why it fails. In either case, be sure to include
discussion of form as for any other question on this list. You may also
want to consider whether part of your judgement depends on what role
the sonnet playss in the book's storyline.
Prompts for Mark Nowak's Shut Up Shut Down
To respond to these prompts, choose one section ("$00 / Line / Steel /
Train," "Capitalization," "June 19, 1982," or "Hoyt Lakes / Shut Down")
and then choose one poem from that section. (For convenience, I am
calling each numbered portion of a titled section a "poem." You are
free to argue that only parts of each section qualify as poems.)
Be sure you can answer these questions about the section you are
writing about: What is the meaning of the title? What event/s are the
subject or occasion of the poem? Note that each section has its own
bibliography.
(Due to time constraints, we will not discuss "Francine Michalek Drives
Bread".)
1. In some sections, typography seems to distinguish the words of
Nowak's sources from his own words. In others, the typography seems to
distinguish different sources from each other. Write a paragraph about
the use of typography (bold, italic, normal, bracketed, etc) in one
section of the book, then choose a single numbered poem from that
section and discuss its typography in detail.
Questions to consider: what does each typeface represent? Do the
sources appar to be primary (the words of people directly involved in
events) or secondary (the words of journalists, scholars, or
historians)? Some sections also have other types of material, such as
explications of grammar or histories of the usage of particular words.
Some have words within brackets. How do the different typefaces and
sources interact to provide information, tell a story, or create a
voice (or voices) for the poem? How is the voice or attitude of the
author conveyed? What is the overall affect of mingling these sources
into a single paragraph?
2. Some sections employ both prose paragraphs and lines of verse. Write
a paragraph about the use of or relationship between prose and verse in
one section of the book, then choose a single numbered poem from that
section to discuss in detail. What is the function of the verse (or
fragmented) lines, as distinct from the function of the prose? Is voice
different in the two? Do you respond differently to the two--different
kinds of thinking? different emotional response? What is the overall
effect or affect of experiencing those different modes of response on a
single page? If you are writing about "June 19, 1982," you should also
consider how rhyme and soundplay relate to the book's other methods and
themes.
3a. In "Hoyt Lakes / Shutdown" the poems are paired with photographs.
Write a paragraph about the relationship(s) between text and photos, in
general, then choose one poem/photo pair to discuss in detail. Is the
poem a kind of caption or commentary on the photo? or is the photo
simply another element in the poem's collage? How would the poem be
changed if it were printed without the photo?
3b. To see the photos associated with "$00 / Line / Steel / Train" you
have to look at the web site linked on the syllabus. There you will
find samples from the series Nowak is referencing though, alas, not the
exact photos. One aspect of the photos that Nowak has taken up is the
idea of the frame. By including some things and excluding others, a
frame (whether literal or conceptual) defines what we look at. You
might also wish to read commentary on the photos, and to consider their
status as documentary and/or art.
Write a paragraph about the photographs and their general relation to
this section of Nowak's book, then choose a single poem to discuss in
relation to the photos and to the idea of framing. Questions to
consider: What happens when an image (any image) is "framed," literally
and metaphorically, as "art"? What happens when particular human
experiences are reframed according to different categories, like class,
race, and gender? What about "personal experience" vs. "history"?
"personal failure or misfortune" vs. "economic necessity"? "suffering"
vs. "statistics"?
4. Nowak appears most personally present in the first section, "$00 /
Line / Steel / Train." Compare this section to Collins'
Blue Front. How is the poet's
personal connection to the material presented? How is collage used to
mediate between personal and collective experience? You might wish to
consider questions raised in prompts #1 and #2, as part of this
question.
5. Compare "June 19, 1982" to Mullen's
Muse & Drudge. How intense is
this soundplay in comparison to hers? What is the effect of using this
kind of language on the same page as the information, and different
voices, of the prose? How is the reader's thought process different int
the two texts? You might wish to consider questions raised in prompt
#2, as part of this question.
Prompts for Semezdin
Mehmedinovic's Nine Alexandrias
Check out what Wikipedia and other sources have to say about the
Egyptian city Alexandria, particularly its great library. How does the
title poem, "Nine Alexandrias," invoke the original Alexandria? Is it a
metaphor for something in the here-and-now? Or is it the other way
around, is the poet's train journey of metaphor for something else,
suggested by the idea of Alexandria?
1. Metaphors allow us to see double: the “real world” of the narrative
and something else. In many of his poems, Mehmedinovic uses narrative
vignettes or brief descriptions to show us the metaphor as it forms in
front of his/our eyes. Choose a poem that fits this description and
discuss how its metaphor works. Be sure to state a specific thesis
about metaphor in the poem.
2. In Mehmedinovic's poems, everything is emotionally understated, even
the most horrific experiences narrated in his earlier book,
Sarajevo Blues. He is, instead,
interested in a poetry of ideas, and in some poems even his own
emotions are treated as components in the formation of an idea. Choose
one poem and discuss its understatement. Be sure to form a specific
thesis about the poem's ideas and how understatement helps to convey
them.
3. In the Practice interview, Mehmedinovic said:
"Communist and nationalism are two opposite ideologies in the way they
view time. Communist ideology exists only in the future. It preaches
that everything good is waiting for us in the future (a particularly
common phrase, for example, was: a 'bright future"); nationalist
ideology uses the past; data about national importance and glory is
displayed in important events from the national past. Based on my
experience of these two ideologies, I know that all ideologies are
attempting to keep the masses, as far as possible, from the present
moment, that is, away from reality. I think that the real subversion is
to write from the present moment, to be situated in reality."
Choose one poem and discuss it in relation to this statement. Be sure
to cite specifics. Feel free to use additional quotations from the
interview.
4. The interviewer then asks Mehmedinovic about the images in his
poems, to which he replies:
"An image of the outside world that appears in a line of poetry is not
indifferent; it contains within itself a precise feeling that is
integrated into that image. Poetry is more sufficient when it
mediates emotion by way of the image from the outside world, than when
it tries to directly describe emotion as the content of our inner
world. The task of the poet, if I may put it that way, is to name
that emotional condition. The effort to name emotions that were
possibly not named in the language before."
Choose one poem and discuss it in relation to this statement. Be
sure to cite specifics. Feel free to use additional quotations from the
interview. You will notice, for example, that I carved out this quote
in a way that separates it from more explicit statements about the
relations of poetry and politics. You may wish to restore the quote to
that context before you write about it.
5. And yes, once again, we have poems in front of us that bear some
relation, however slight, with the idea of the sonnet and the sonnet
sequence. The poems in the title sequence, "Nine Alexandrias," are,
each of them, fourteen lines. (Those that appear at first glance to
have more than fourteen lines actually just have a few long lines that
exceeded the printer's margins.) Can you make a meaningful argument for
their relationship to sonnets? (NOTE: Students often assume all sonnets
up till now were about love. That is not true, so though a non-love
subject matter may be part of what you discuss, don't make that fact
your main point. Dig deeper.) [NOTE: SEE CREATIVE PROMPT #2 FOR MORE
THOUGHTS ON SONNET-LIKE STRUCTURE IN THESE POEMS]
6. Mehmedinovic has always been influenced by ideas that might be
lumped under the term "internationalism," -- in literature as well as
in politics. In the Practice interview he speaks of receiving his first
influence by American Beat poets via German writers who had been
influenced by them. In the earlier interview quoted in my
notes on Mehmedinovic he paints a positive
picture of New York as a place where writers of diverse origin and
multiple languages cohabit. These ideas are paralleled, perhaps, in his
description of the Bosnian language as an "open" language, one that
freely adopts words from other languages. In keeping with this sense of
a free movement of ideas across national and linguistic borders,
Mehmedinovic's poems are packed with allusions to writers, artists, and
locations from... everywhere.
Choose a poem that includes a reference of this kind -- perhaps one
that was new to you -- and discuss how that "other" person, place, or
artwork takes part in the poem. How does it help make the poem a poem
of ideas? Examples abound, but some choices might be "Fountain,"
"Flag," "Sufism," "Pound," or "Open Dialogue" (be sure to read the
introduction to the book about this one).
8. Discuss the sequence "Nine Alexandrias" as an American road trip. Be
sure to form a specific thesis about the sequence's structure or
content in relation to this genre -- perhaps by focusing on one
particular aspect of the poems or of the genre. Don't just rephrase the
prompt ("it's like a road trip") and call that your thesis.
9. The poems in the second section, "This Door Is Not an Exit," are
about survival and the strangeness of exile. Despite their stylistic
differences, the poems have a great deal in common with Myung Mi Kim's
portrayal of immigrant experience in
Under
Flag--including, for example, the feeling of being invisible or
unknowable to those around you, the work of reconciling past and
present (particularly in relation to war experience), a heightened
consciousness of language and communication, and a particular
attachment to concrete images. Choose one poem from "This Door Is Not
an Exit" and compare/contrast it with one poem or passage from
Under Flag.
Prompts for Brian Turner's Here, Bullet
http://www.alicejamesbooks.org/turner_interview.html
http://www.pbs.org/newshour/bb/entertainment/jan-june06/brian_turner.html
Two interviews with Turner.
1. Turner himself has compared his role to that of "embedded"
reporters in this war, saying "I really wanted to just share the events
themselves as much as possible, like an embedded poet." On the blog I
linked off the main syllabus page, he shares some notebook entries
associated with some of his poems, and says that his personal
experience is not as important as the larger events he was part of.
Poems that embody that "embedded" feel most closely are those that seem
to be witnessed (not, for example, based on something he has read, or
on a story told to him) even though the speaker's role in the scene is
either not mentioned or made to seem unimportant. Choose a poem in this
mode of impersonal witnessing and discuss the affect of this
voice. Questions to consider: How is the poet's sensibility made
known to us? Does the poem make you feel as if you are with the
speaker, looking out through his eyes? or as if something is being
described objectively? What clues suggest that the description is
not objective? Do you find this mode more or less affective than poems
in which the speaker plays an active role in events?
2. In the same interview, Turner says he deliberately stayed away from
politics or "preaching." In fact, the book is wholly silent on the
question of "why." Neither the reasons for the war nor the personal
motivations of characters in the poems are considered. War is presented
as a landscape of Hell, into which we humans choose or are forced to
go. Choose a poem that seems to you particularly full of that silence
about "why" and discuss it. What is intensified by not addressing cause
or motive? What is lost? Does this approach seem more or less "honest"
or "responsible" than a poem that takes on motive and cause?
3. On the blog, Turner writes: "I was definitely a participant in the
events taking place (well, many
of them). But the book isn't centered around me. I knew that my own
story wasn't that important in the larger scheme of things. In the
larger scheme, incredibly tragic events were taking place all around
me. I needed a language of witness. Something bare, something brutal.
Something tender, when something tender was needed. I needed a language
that was of the world I was living in and not one that I had honed and
superimposed over the events taking place."
Choose a poem or a pair of poems to demonstrate both the brutal and the
tender in Turner's poems. How is each feeling conveyed? How do they
interact with each other? Do they balance, or does one dominate? What
is the affect of mingling these tones? Which feels more "real"? Pay
attention to details in the poem--imagery, line and line break,
sentence length and structure. How do these elements contribute to the
tone?
4. Many of the poems consider interactions between the living and the
dead. In some cases, death does not even seem like a certain category:
those thought dead might be alive, or vice versa. Ghosts walk the
streets, and the dying experience moments of intense clarity and
vision. What do the living want from the dead? What do the dead want
from the living, or want at the moment of dying? How do the answers to
those questions define what death is? Choose one poem to discuss.
5. Many of Turner's poems dramatize the ways people unknown to each
other come together in death, or at the moment of life/death. Examples
are on pages 15, 17, 26, 27, 30, 42, 55, and elsewhere. Choose one of
these poems and discuss the relationship between the characters. Don't
just retell the story of the poem, but examine its structure and all
the ways Turner creates connection. You may want to look at sentence
structure, imagery, metaphor, cause and effect, rhythm, even grammar.
You might also consider whether the relationship is humanizing or
dehumanizing, frustrating or redemptive.
6. Go
here
and read Turner's postings on the Poetry Foundation's blog site, in
which he stresses the importance of learning about each other's worlds.
In particular, he says his poem "R&R" is an artistic conversation
with Hashim Shafiq's poem "The Mountain." Both poems are erotic, and
both poems are fantasies. What else do they have in common? What is
different between them? Some questions to consider-- What does Turner's
poem "say" to Hashim's? Do you read Turner's poem differently after
reading Hashim's? Why is the poem called R&R? What is the role of
this poem in Turner's book as a whole?
7. Several poems (including the title poem) use metaphor and imagery to
mingle the terms of langauge with the terms of death, weaponry, or
violence. Choose one poem and discuss the relationship between language
and death, language and life.
8. Is something different revealed in the dream poems? Something about
war? life? death? desire? Choose one poem to discuss.
Prompts for Tory Dent's HIV, Mon Amour
In the interview with Grace Cavalieri, Tory Dent said writing "cheered
her up" because in writing she was always learning something, finding
surprise, just as a healthy person does, in a normal life. Bear this in
mind, as you think about the poems.
1. In the interview, Dent says the Magnetic Poetry Kit poems are a
metaphor for her situation, because she must write someting interesting
or beautiful out of a limited vocabulary, a limited set of
possibilities--and she never cheats by including other words. They are
also close, in spirit, to other exercises in writing with a
predetermined lexicon, and demonstate the power that can emerge in the
struggle between strong emotion toward a subject and the unyielding
constraints o poetic forms and procedures.
2. When she became ill, Dent was working on a PhD in Art History, so
works of art and ideas about art are part of her vocabulary. Choose a
poem, or passage of a poem, that references one or more artist,
photographer, film, or work of art. Look up the names and works,
reading enough to discover the conceptual link that makes the
allusion(s) work in the poem. Explain that link to us, and show how
works of art and ideas about art contribute to the overall meaning(s)
of the poem.
3. Dent's poems employ extended, sometimes startling comparisons, in
the form of metaphors, similes, and analogies, following in the
tradition of the "metaphysical conceit." This term was invented to
describe the work of 17th c. poets such as John Donne and George
Crashaw--though it was never used by the poets themselves. Choose one
poem, or passage of a poem, in which a metaphor or comparison extends
long enough that you could say it organizes the meaning of the
poem....and discuss it. You should do two things--first, walk us
through the unfolding meanings and metaphoric relationships, and
then say how this
method
relates to the poem's (or the book's) subject. Why this kind of poetry
for this subject?
Use this page <
http://cla.calpoly.edu/~dschwart/engl331/donne.html#metaphysical>as
your introduction to the metaphysical conceit--scroll down to
"Backgrounds II: Metaphysical Poetry" and read that whole (short)
section.
4. Walt Whitman used long lines, catalogs of imagery, and a voice of
embrace and possibility to celebrate mid-19th c. American possibility.
In "Howl" and other poems, Alan Ginsberg used similar techniques to
evoke Whitman's legacy as a critique of mid-20th c. American hypocrisy
and small-mindedness. Dent used some of the same modes, and moods,
though her long lines are differently crafted and the poems are more
narrative than either of those predecessors. Choose a poem, or passage,
and discuss it in relation to either Whitman or Ginsberg. How is the
long line working? How are catalogs and other techniques use to
accumulate images? How does her tone compare? In her narratives of
restriction and diminishment toward death, how does the ghost of
Whitman speak to us?
5. Dent has called "HIV, Mon Amour" "a book of psalms written for an
atheist," and says they may be read in order (1-14) or in any order a
reader chooses. Choose any one poem from the series and discuss it in
relation to psalms. You should look up psalms--their definition and
uses--in addition to using your own ideas about them.
6. In "HIV, Mon Amour" the lines are long and somewhat arbitrary in
where they break--another use of form as a metaphor for the poet's
illness and restricted possibilities. She did not call them "prose
poems," by the way, but considered the line length and regular 15-line
stanza as structural to the poem. Choose one poem and discuss the uses
of line. Consider what happens within single lines, and what happens
across the line breaks. What is combined? What is separated? What
rhythms do you hear? What sound relationships? How does the form work
to shape meaning(s)?
7. "Part I: The Pressure" includes several short lyric poems, that
serve almost as commentaries on the long narratives. Discuss "Voice as
Gym-Body," "Omen," "Palea," or "Clash" in relation to the narratives
presented in one of the longer poems. How does the shorter, more
lyrical poem depend on or develop from the longer poem(s)? What does it
add to the book's overall arc of experience? How does its form relate
to its subject?
Note: "Voice as Gym-Body" is a
pantoum
--also spelled
pantun --
originally a Malaysian form. If you choose that poem, look up the form.
And: If you want to write about "Family Romance", look up the phrase in
its Freudian context.
Prompts for Fiona Templeton's Cells of Release
1. Imagine that you have asked Fiona Templeton: "Why do this on site?
Why not just write about these issues in a normal way?" and she has
replied (as she wrote in "Notes on Making
Cells of Release") : "Art and body
both are matter." Use one or two passages from the book to demonstrate
what she means by this.
2. At the beginning of "Notes on Making
Cells of Release" Templeton alludes
to the difference between "the seeing one" who views
the
work whole and gets it, vs. "the reading visitor" who enters into "the
dance of details." Choose a run of several pages (including at least
one cell, at least one corridor, and at least one photo). First, give
us the "view"--how does the whole thing work? What do you get from the
photo? From imagining the physical act of writing? From placing these
pages in relation to the floor plans at the front of the book? Then,
select one shortish passage and explicate it in detail.
3. At the center of the book, one cell speaks for itself on a blank
page. What leads up to that speaking silence? And what comes after?
Briefly describe the approach (starting from "To Corridor Ceiling,
which begins "I had chosen these cells...") and briefly describe what
comes after Cell 38 (through the long Corridor poem that follows Cell
31). Then, choose one short passage from before, and one from after, to
demonstrate your general points.
4. Choose two passages, one from the first half of the book and one
from the second half, to discuss Templeton's development of one of
these ideas --
-the body imprisoned and the body
writing
-inside/outside as unstable categories
-connection and relationship as defining the human
5. Choose a passage in which Templeton explicitly addresses the ethical
questions that arise when artists represent experiences of extreme
suffering, such as torture and rape. Discuss the passage in detail, and
then place it in relation to the overall project of
Cells of Release.