Tuesday, March 25, 2014

POEM #8--APHORISMS

APHORISM ASSIGNMENT (cliches, axioms and spin-ner-esque language also welcome)


Sonnet

  by Bill Knott

The way the world is not
Astonished at you
It doesn't blink a leaf
When we step from the house
Leads me to think
That beauty is natural, unremarkable
And not to be spoken of
Except in the course of things
The course of singing and worksharing
The course of squeezes and neighbors
The course of you tying back your raving hair to go out
And the course of course of me
Astonished at you
The way the world is not

A Book Of Music

  by Jack Spicer

Coming at an end, the lovers
Are exhausted like two swimmers.  Where
Did it end?  There is no telling.  No love is
Like an ocean with the dizzy procession of the waves' boundaries
From which two can emerge exhausted, nor long goodbye
Like death.
Coming at an end.  Rather, I would say, like a length
Of coiled rope
Which does not disguise in the final twists of its lengths
Its endings.
But, you will say, we loved
And some parts of us loved
And the rest of us will remain
Two persons.  Yes,
Poetry ends like a rope.

Improvisations On A Sentence By Poe

 
by Jack Spicer

"Indefiniteness is an element of the true music."
The grand concord of what
Does not stoop to definition.  The seagull
Alone on the pier cawing its head off
Over no fish, no other seagull,
No ocean.  As absolutely devoid of meaning
As a French horn.
It is not even an orchestra.  Concord
Alone on a pier.  The grand concord of what
Does not stoop to definition.  No fish
No other seagull, no ocean—the true
Music.

Aphorisms

  by Antonio Porchia
translated by W. S. Merwin 
Whatever I take, I take too much or too little; I do not take 
the exact amount. The exact amount is no use to me.

                      *

When one does not love the impossible, one does not love anything.

                      *

Every time I wake I understand how easy it is to be nothing.

                      *

Now you do not know what to do, not even when you go back to being 
a child. And it is sad to see a child who does not know what to do.

                      *

Only a few arrive at nothing, because the way is long.


Measurement Fable

 
    by Rusty Morrison

like water in water —George Bataille

Eggs, transparent and sometimes red-veined as insect wings, might be hidden
in bark crevices 

or a scatter of tawny leaves.

The distance between one gestation and the next, a pleat of the dress I wear 
carelessly, 

as if I could sew myself another.

Practiced, my tendon-reflex where the tunnel narrows its halo
into a noose. I trust 

dexterity as a kind of nourishment, as I believe my own 
mother couldn’t.

To own, beauty is the first lie of it, and brief 
as incident

is gray 
thistles turning silver in sunrise as if for my eyes alone.

I see you surround me, mother, measuring what my exoskeleton 
withstands. Embellishment

is thin. When the eye inside blinks, its bone-house splinters. No eye inside sky 
but an insect 

drone can cause the entire horizon, seasonal
as hindsight 

which follows rain. No death 

will stop measurement
spiraling out, a long ribbon of salt I must choose repeatedly to cross.

No world is intact

 
by Alice Notley

No world is intact
and no one cares about you.

I leaned down over
don’t care about, I care about
 you
I leaned down over the 

world in portrayal
of carefulness, answering

something you couldn’t say.
walking or fallen and you
 were supposed
to give therapy to me—

me leaning down
brushing with painted feathers
to the left chance your operatic,
 broken

book.


The best way to explain what an aphorism is to offer examples, and as I am becoming lazy and have company this week, I'll offer a few off of the Wikipedia entry:

"Usually an aphorism is a very concise statement expressing a general truth or wise observation often in a clever way. Sometimes aphorisms rhyme, sometimes they have repeated words or phrases, and sometimes they have two parts that are of the same grammatical structure. Some examples include:

    * Science is organized knowledge. — Herbert Spencer
    * Lost time is never found again. — Benjamin Franklin
    * Greed is a permanent slavery. — Ali
    * Nothing great was ever achieved without enthusiasm. — Ralph Waldo Emerson
    * Death with dignity is better than life with humiliation. — Husayn ibn Ali
    * That which does not destroy us makes us stronger. — Nietzsche
    * If you see the teeth of the lion, do not think that the lion is smiling to you. — Al-Mutanabbi
    * When your legs get weaker time starts running faster. — Mikhail Turovsky
    * Many of those who tried to enlighten were hanged from the lampposts. — Stanislaw Jerzy Lec
    * The psychology of committees is a special case of the psychology of mobs. — Celia Green

    * Believe nothing you hear, and only half of what you see. — Mark Twain
    * It is better to be hated for what one is, than loved for what one is not. — André Gide
    * A lie told often enough becomes the truth. — Vladimir Lenin
    * Don't waste your time on jealousy. Sometimes you're ahead, sometimes you're behind. The race is long. And in the end, it's only with yourself. — Mary Schmich
    * Like a road in Autumn: Hardly is it swept clean before it is covered again with dead leaves. — Franz Kafka
    * Hate the Sin; Love the Sinner. — Mahatma Gandhi"

Many famous quotes are aphorisms, and many philosophical conclusions as well.


This week's assignment is to gather (or create) several of them, and then mix and match them to create/distort your own wisdoms.  The work that you read this week is filled with aphoristic statements (sentences that FEEL like aphorisms).  Feel free to follow the above poets as stylistic models.  I would like you to start from familiar-seeming statements, but you should rework them into your own brilliance.

Wednesday, March 19, 2014

PORTFOLIO - DUE ON THE LAST DAY OF CLASS - MAY 1, 2014

PORTFOLIO                                                                                                 

Consider this a presentation of your writing process (not necessarily product).  I want you to choose pieces that are going to reflect the most spectacular (think spectacle) attempts you made at writing this semester.  It should be a record of both victories and failures—and most especially, writing still in the midst of becoming itself.  Your revisions should be drastic in some cases… tweaking words and taking out single lines is just not enough.  Prove to me that you can take chances not just in the initial composition process, but in the messy white-heat-of-revision stage.

Your portfolio should consist of:

            1. At least two drafts of 5-6 pieces written this semester.  It would be helpful to me if your drafts included some line-edited pages by helpful peers.

            2.  A copy of all the glosses and critiques you provided for your writing partners.

            3.  A 1-2 page (single-spaced) close reading and reflection on a poem -- that we read for class -- that affected you AS A POETRY WRITER this term. A close reading = a gloss + an examination of the strategies and formal elements that help the poem do what it wants to do.  A reflection = your response AS A POET to both the how-ness and the about-ness of the poem. Use all the craft concepts relevant (rhyme, meter, POV, mood, diction, voice, syntax, enjambment, stanza, etc.)

            4.  For each of your 5-6 pieces I need a description of your revision process (either a paragraph, or sticky notes with arrows, or a hyper-text link, or a talking puppet who accompanies your portfolio and tap-dances Morse-encoded explanations).

            5.  A three-to-four page introduction to your portfolio that tells me who you are/were/are becoming as a writer and/or as a human being in relation to poetry and the work of this class (reading, writing, thinking, sharing, critiquing, and developing as a citizen and a non-passive participant of the world of this classroom and beyond).  Please include in this text some details about your writing partners’ contributions to your work (do not judge them completely by what they “got” or didn’t “get,” but by sincerity and effort as well).


Please make the portfolio pleasant to behold, handle, etc. Your writing exists as both process and object.  Personalize the object (with your other talents if you like) while attempting to objectify the process in such a way that frees you to substantially revise.



Cheers.

Poem #7 : Mood

If thought is crucial to tone, then emotion is crucial to mood.  However, mood is not simply a crayola construction.  There is more to mood than happy and sad, angry and confused.  What about a pious mood?  
A contemplative one?  A mood of foreboding?  Mood also involves history, religion, thought, physiology, the planets, you name it.  It isn’t less complex than tone or voice, but it can be less highly articulated… arising as 
it does from one sensibility, rather than from the communication between different characters.  A scene may involve several characters and their moods, but the mood of the scene takes everything together as a whole.  Mood is the feeling of shared ground… a sense of place (and the emotion inhabiting that place) in a poem.

Consider the two different (but linked) moods of the following poems by the same Japanese woman, writing between 974-1034:

            What is the use                                                 In this world
            of cherishing life in spring?                                          love has no color—
            Its flowers                                                        yet how deeply
            only shackle us                                                 my body
            to this world.                                                    is stained by yours.
                                                                                                                        -Izumi Shikibu

How does the following poem create mood?  What is that mood?

            Circle
           
            Each scar on each tree
            without light, without water.
            The day is over.

            Against the floor,
            a chair scrapes hard.

            Into bowls,
            an avalanche of cereal.
            Someone slams the door.

            Abruptly into their cabinets,
            dishes are stacked.
            No one must speak.

            Hearts circle like dogs,
            afraid of air, of what it carries
            from greater distances.

            No one must open windows
            diligently, methodically closed.

                                                            -Dzvinia Orlowsky





Mood Assigment

Two choices. 

Either:

1.                        

Write an object poem—a poem, as Bly says, where the poet’s attention “remains near the object all the way 
through the poem.”  Do not bring yourself or any other character into the poem.  Write only about meditation/observation/rendering space of the object.

Or


2.                        
Write a poem that works almost entirely on the direct presentation of sensory experience.  
Avoid abstract language and explanations to concentrate on details that are clearly seen, 
smelled, touched, tasted, and felt.  Use as many of your senses as possible.  Think of your poem 
as a painting for all the senses; to make this easier, I am asking you to stop time the way a camera 
or a painting does.  At least limit yourself to three to four seconds.  No similes.  No metaphors.  
Clear, grammatical English only. 

Friday, March 14, 2014

Radical Revision #2: Lineation

GEOGRAPHY -by Rae Armantout

1

Touch each chakra
in turn and say,

“Nothing shocks me.”

                2

Watching bombs fall
on Syria,

we feel serious,

occupied,

not preoccupied
as we were

previously.

                3

“Makes me end,
where I begun,”

wrote   John Donne,

turning love
into geometry.



A NIGHT SKY  -by Robert Creeley
All the grass
dies
in front of us.
The fire
again
flares out.
The night
such a large
place. Stars
the points,
but like
places no
depth, I see
a flat—
a plain as if the
desert
were showing smaller
places.



Select a poem that you have written. For the purposes of this assignment, it is best if the poem consists of lines at least ten syllables in length and/or heavily end-stopped lines (meaning that punctuation appears at the end of the line).

After you have selected a poem, arman-trot/creeleyize your poem. In other words, rewrite your poem by breaking your lines at unexpected moments, creating frequent enjambment and short lines.

The purpose of this assignment is to revise the lineation of your poem, exploring ways in which your changes in line breaks and line length open up new meanings and points of emphasis in the poem. It might also suggest possibilities for further revision to imagery and sound.

  • Does the change in lineation help reinforce the rhythm of the poem? Or does it seem distracting?
  • Is the change in lineation appropriate for the meaning of the poem? In other words, does this new form enhance the content of the poem?
  • What words and phrases stand out to you in this revision that did not stand out before? How does this change the poem?
  • What additional ways might you revise the poem to explore other possibilities for making meaning, sound or word play?