Reading and Writing Poetry

Dr Rose Lucas

We have practised close reading skills across a range of period and styles (or sub-genres) of poetry:

the anonymous ballad, the sonnet, the lyric, Metaphysical poetry romanticism imagism confessional poetry performance poetry concrete poetry song - from the middle ages to now.

What have we covered in this subject?

Close reading is the method of reading where we pay close attention to the structural ways in which a poem produces its meaning.

Therefore, we have considered how the following structural or formal elements have operated within the genre of poetry:

-imagery- layout- rhyme- rhythm- repetition- assonance/ consonance- enjambment, caesura- formal structure/ free verse- tone

Studying Poetry and Poetics

Any interpretation you make of a poem, will always involve a consideration of the inter-relation of form and content/ideas.

As the critic Terry Eagleton puts it, ‘the language of a poem is constitutive of its ideas.’ (How to read a Poem)

While close reading is absolutely essential in any engagement with poetry, it is also a skill which underpins all forms of literary analysis.

Studying Poetry and Poetics

Thinking about writing poetry yourself◦ Inspiration (another text, a circumstance)◦ The right environment for writing◦ Revision (yourself and others)

Encouraging others to write◦ Poetry as a class activity◦ Enough understanding of the genre to enable you

to use it

Writing Poetry

A conducive space to write Decision re a notebook, a computer – but

not odd pieces of paper An idea or a feeling Another work of art – a poem, a painting etc Perhaps a phrase or an image that has

caught your attention A willingness to pay attention to something,

to be immersed and to look closely

To begin:

A willingness to experiment – with a flow of thought as well as different modes of writing

Don’t get caught in always writing your poems the same way

Initially, aim for a kind of almost automatic or uncensored writing, that might allow some of the deeper currents of your thinking and feeling to emerge

Always be prepared to revise –and revise – and revise -

The process

Keep READING as many other poets/examples of poetry as you can – this opens your eyes to other styles of writing, other ideas for topics

Expose yourself to events/places that might inspire – an art exhibition, a weekend in the country, sitting outside in the sun

Schedule dedicated quiet times for thinking/writing/revising

Immersion

First, think of an image and describe it as clearly as a photograph (don’t worry about ‘making poetry’ at this point).

At her feet, we playedunknowingly in autumn light,faded nowto tattered squares of black and white;

Moving from sink to stove shemurmured quietly,singing us like errant butterfliesaround the table,its glowing red formica heartstill pulsing in my own.

◦ Describe a memory of your childhood kitchen

The writing process

Then think about the light in the image; what is the source of the light? What is its colour? What other ideas/things does the light evoke? What words can you use to describe the light?

What sounds might there be in/around your image -either coming from it, or somehow triggered by it? How would you describe these sounds?

The writing process

Feelings: What does this image make you feel? (Don’t try to isolate this to one feeling; be open to the swirl of feelings)

How can you best write about/describe such feelings?

Think of an image which will help you (eg. ‘the rage of storm,’ ‘the masts of the boats tinkling like tea-cups.’

The Process

Are there questions or uncertainties which remain as you think about/study this image? It’s often these spaces – aporia – which can be the most productive, and help you to really open up your response to something.

Many powerful poems pivot on such aporia.

The writing process

Once you have some writing, or even fragments, about your image/idea, start to think about how a layout on the page might help you to organize them, and to highlight or emphasis certain words or elements.

Remember, punctuation is a tool of communication and expression

Let air and space inhabit your words – don’t be afraid to leave the poem ‘open’

The writing process

1895 Emotions ? Associations? Images?

Edvard Munch, ‘The Scream’

1899 Emotions ? Associations? Images?

Claude Monet ‘Waterlilly Pond’

Jackson Pollock, ‘Convergence’

1990

Peter Dombrovskis, ‘A Place to Think’

Emotions ? Associations? Images?

1945

Robert Doisneau ‘The Kiss,”

Emotions ? Associations? Images?

Your long essay is due this Friday May 23 by 4pm. Please discuss with your tutor where they wold like you to submit it. Those on education placement may need to submit it electronically – with a signed cover sheet.

Work that is late without adequate discussion/documentation will be penalised.

If you would like to receive comments on your essay, please submit it with a stamped, self-addressed envelope and we will return it to you

Long Essay