Breaking the Sentence

Write a poem that is simply a list of things.

Here is an example:

 
"Letter to Milwaukee" by Roger Mitchell
The empty stapler, the unsharpened pencil, 
The dry rubberstamp of a dead executive, 
Instructions for the care of lenses, 
The closed pipe case, recipes for soap,  
Unanswered letters from Puerto Rico, 
Back issues still in plain brown wrappers,  
Bookmarks stuck into slanted texts 
Like flags in the sides of whales 
Hunted by other men in another time. 

http://iblog.stjschool.org/poetry/2017/03/22/ode-to-the-yard-sale/

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An Emotional Landscape

1. Listen carefully to a poem as it is read aloud.

Two excellent poems are “A Blessing” by James Wright and “To Go to Lvov” by Adam Zagajewski.

2. Afterward, without looking at the poem, write down all the evocative words you remember, or any words that the poem triggers.

3. Imagine a journey you might take in a real (concrete) landscape, one that is familiar to you. Use the words you have chosen to guide your way into a poem in which you take that journey, literally or figuratively. Let the borrowed language prose ways to break through your familiarity with the landscape, by suggesting details, a mood, the bare bones of a narrative, a kind of diction, or maybe even something specific as the name of the place, or words spoken there.

By adopting the mood and tone the poem evokes through its particular language, you enter an emotional landscape which is crucial in the recovery of memory. That sensibility then determines the location of your poem. The poem might focus on one specific incident or aspect of the journey, it might follow the complete route, or it might end in a place that no longer exists.

After you have the first draft of the poem, you might find it useful to “copy” the poem you heard. Taking the poem line by line, you might model your own poem after the original by progressing similarly from subject to subject, observation, metaphor, tone, etc.

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Believe Me, If All Those Endearing Young Charms

Believe Me, If All Those Endearing Young Charms

Believe me, if all those endearing young charms,
Which I gaze on so fondly to-day,
Were to change by to-morrow, and fleet in my arms,
Live fairy-gifts fading away,
Thou wouldst still be adored, as this moment thou art,
Let thy loveliness fade as it will,
And around the dear ruin each wish of my heart
Would entwine itself verdantly still.

It is not while beauty and youth are thine own,
And thy cheeks unprofaned by a tear,
That the fervor and faith of a soul may be known,
To which time will but make thee more dear!
No, the heart that has truly loved never forgets,
But as truly loves on to the close,
As the sunflower turns on her god when he sets
The same look which she turned when he rose!

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A Journey to Nowhere

Write a poem in which you undertake a journey to an unknown destination.

The poem does not necessarily have to have a formal “plot,” but does have to leave you at the end of the journey, in a wholly unexpected place: either in the midst of a strange landscape (mental and/or physical) or in the throes of a threatening or exciting discovery (self, other, or both).

Begin the poem with a predicament: the speaker of the poem ( the poet, a fictional narrator, or an actual person re-imagined) is lost, or hunting for something (someone), or is being propelled into a quest against her will, or is on a supposedly ordinary journey that turns weird.

Make the poem long enough (25+ lines) to make it hard for you to predict its outcome. Make each line a consistent length or meter. Some regularity of form helps give the sense that the poem is taking the poet on the journey; it works against a too-rational and too-orderly plotting by setting up a crafty, quasi-deliberate momentum.

This journey-poem is useful for its challenge to your customary anxiety for closure, an anxiety that may prohibit the imagination. As you write your way into a world created as you go along, you have the privilege of using “useless” material: images that exist for their own quirky beauty, flotsam and jetsam from actual journeys, revived memories, “superstitious trash” from old legends and stories, dream images and other nonrational arcana.

Enact the journey on several levels so that what you see resonates with what you cannot explain.

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Getting at Metaphor

This exercise comes in three parts:

1. Describe an object or scene that particularly interests you without making any comparisons of one thing to another. Rewrite it, if necessary, until it is as free of comparisons as possible.

2. Take the same object or scene and use it to describe one of your parents. In other words indulge yourself in comparisons.

3. Write a poem which, though it is a description of the object or scene, is really about your parent.

It may be useful to publish and share the first part before moving on. Get feedback from your peers to be certain your initial description does no lapse into comparison.

This exercise helps teach the necessity of indirection. The quickest way from point A to B (from a person to a clarified feeling, say) detours through metaphor. Not to mention through several drafts in the rewriting.

Identity
by Julio Noboa Polanco

Let them be as flowers,
always watered, fed, guarded, admired,
but harnessed to a pot of dirt.

I'd rather be a tall, ugly weed,
clinging on cliffs, like an eagle
wind-wavering above high, jagged rocks.

To have broken through the surface of stone,
to live, to feel exposed to the madness
of the vast, eternal sky.
To be swayed by the breezes of an ancient sea,
carrying my soul, my seed,
beyond the mountains of time or into the abyss of the bizarre.

I'd rather be unseen, and if
then shunned by everyone,
than to be a pleasant-smelling flower,
growing in clusters in the fertile valley,
where they're praised, handled, and plucked
by greedy, human hands.

I'd rather smell of musty, green stench
than of sweet, fragrant lilac.
If I could stand alone, strong and free,
I'd rather be a tall, ugly weed.

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One’s Self, En-Masse

One’s-Self I sing, a simple separate person,
Yet utter the word Democratic, the word En-Masse. – Walt Whitman

With the above in mind, write a description of two or three paragraphs, no longer than 220 words, in which you describe one particular member or element of a set:

  • one sparrow in a flock of sparrows
  • one baby in a nursery of babies
  • one marble in a bag of marbles
  • one scream in a stadium of screams
  • one somersault in a series of somersaults
  • one baby goat in a stock trailer of baby goats

The challenge is to perceive the qualities of the group, and to distinguish what makes an individual a member of that group both a part of it and apart from it. Avoid the above examples; instead use sets (groups) that you can observe directly, or observe them from your imagination. Try for clarity and simplicity in your language.

At first, this is a prose exercise – write a couple of descriptive paragraphs. To make a poem, pull lines/phrases from the paragraphs and arrange as you’ve done in other exercises.

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Five Easy Pieces

As in the movie this title refers to, we discover things visually in fragmentary form, and what we think we know or see and what someone else knows or sees and what we communicate between those two positions is scant. This exercise attempts to tell a whole story in a quick scene.

It is to be written in five sentences*, and can be done in a class.

There are two preparation steps.

The first step is to remember a person you know well, or to invent a person.

The second step is to imagine a place where you find the person.

Then you are ready for the five pieces.

  1. Describe the person’s hands.
  2. Describe something s/he is doing with the hands.
  3. Use a metaphor to say something about some exotic place.
  4. Mention what you would want to ask this person in the context of 2 and 3, above.
  5. The person looks up or toward you, notices you there, gives an answer that suggest s/he only gets part of what you asked.

* The more experienced could dedicate an entire stanza or section to each piece but a single sentence or line per piece is recommended for beginners.

Choreography
by M. Andrew Patterson

His hands were smooth
Never having labored over a hot stove in July
The grease burning and searing the skin
The charcoal embedding under your nails.

His pencil twitched a rapid staccato
As his hand moved it smoothly over the page
A ballerina in graphite
Dancing through Elysian fields
A swan over stormy seas.

"What do you think?" I ask it. I dread it
A pause -- A dip
The dancing done.

"Tuesday would be a good time, you think?" 
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Found Poem

Cut with a kitchen knife

Cut with a kitchen knife

Pull several short phrases from a text – especially evocative and vivid phrases from a story or novel (write them on scraps of paper).

Arrange/modify/edit/group the phrases into a “found poem.”

For a “Dadaist” flavour, pull the slips of paper from a bag randomly and use them in the order drawn.

 

Example:

Found Poem from The Truce by Charles G.D. Roberts.

Every now and then a woodsman pays with his life for failing to recognize
that the bear won't always play by rule.
The wilderness loves a master; and the challenge was not accepted.
From that moment he was a veritable demon of vengeance,
his hunger was all forgotten in red rage.

A light of elation came into his eyes,
And he felt himself able to win the contest against whatever odds.
Then, even as he spoke, a strange, terrifying sound ran all about him,
a straining grumble, ominous as the first growl of an earthquake.

He bit off a chew from his plug of "blackjack,"
and with calm eyes surveyed the doom toward which he was rushing.
Now that he and his enemy were involved in a common and appalling doom,
the enmity was forgotten.

He made ready to plunge in and at least die battling,
when fate took yet another whim.
He rose cautiously and crouched,
every sinew tense to renew the battle for life.

His late enemy, alive, strong, splendid, and speeding to a hideous destruction,
was of the keener interest to his wilderness spirit.
There might be the ghost of a chance for him,
but the man saw that there was no chance of his adversary's escape.

In his eagerness, and without any conscious thought of what he was doing,
the man stepped down into the water knee-deep.
For a moment he wondered if he could hold on,
but he soon saw that his caution was unnecessary.

Whoever might be the victor, what remained for him?
The situation was not satisfactory from any point of view.
After a long, sagacious survey of the flood,
he drew his knife and cut himself an alpenstock.

This was the moment for which the man was waiting.
The man picked his way across the slippery, chaotic surface.
He strode up the trail till the great woods closed about him
and the raving thunders gradually died into quiet.

Whoever might be the victor, what remained for him?

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Auction: First Lines

In a post, write a line of poetry that seems to be an opening line. Discuss why your line is a first line rather than a line that might function equally well in a different context. Describe the poem you envision following your line in terms of ideas and form (stanzaic structure, meter, rhyme, length, tone, etc.). Then be prepared to give your line away.

Now in a comment below the post, other students “offer” suggestions – what sort of poem do they see burgeoning from that opening line, and why. These comments form the “bids.” Then the author of the line agrees to give it – no strings attached and forever – to the student whose suggestion, enthusiasm, or oddball approach most pleases him/her.

Each student produces a poem with a “purchased” opening line.

Oddball connection?

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Ten-Minute Spill

Write a ten line poem. The poem must include a proverb, adage, or cliché that you have changed in some way as well as five of the following words:

  • cliff
  • needle
  • voice
  • whir
  • strawberry
  • cloud
  • mother
  • lick

You have ten minutes.

http://examples.yourdictionary.com/examples-of-cliches.html
http://examples.yourdictionary.com/examples-of-proverbs.html
http://examples.yourdictionary.com/examples-of-adage-in-literature.html

http://watchout4snakes.com/wo4snakes/Random/RandomWord

Try this list as a “spill”:

  • northern
  • put
  • upper
  • fast
  • inquiry
  • plastic
  • limited
  • grace

or this:

  • estate
  • measure
  • underneath
  • resemblance
  • mortality
  • theatre
  • herd
  • resurrection

If you don’t freeze immediately in terror – and the ridiculously short time allotment usually allays panic, since you know it is impossible to write a poem in ten minutes, right? – what tends to come out are scary and wild chunks of psychic landscape.

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