Calisthenics, week 2

The result of random page turning/ quote finding after I revised the first draft:

Our words inherit nothing,
beget nothing.
And then he raises the washbowl
                                    and presses his teeth--biting
                                                             until the enamel crunches over
Our aching bones.
There are two vultures, motionless in the middle of the sky. I am asleep as
Acidic music of thistles and knives loosened itself from the shore and crossed
Over our mortal burden.

Sign inventory, week 2

Sign inventory for "Little Picture Catalogue" by Novica Tadic on p. 206 of Contemporary World Poetry:

• The first and second stanza's cadence is slowed by "o" sounds.
• In stanza one, "dead" breaks the slow "o" sound pattern.
• The "l" sound is prominent in stanza two, creating a lulling effect.
• In stanza three the three lines shorten rapidly down to the word "hen" as the last line of the stanza.
• Stanza four contains the only simile of the poem. It compares two occurences that are related to the same place- a "whorehouse."
• In stanza five there is a brief catalogue of vacant house items, emptiness being emphasized in the words.
• Stanzas two, three, and six make references to spirituality with the words "halo", "holy", "crucified", and "salvation."
• There are no proper nouns in the poem.
• Emptiness and anonymity are present throughout the text in the following words: "dead", "ghostly", "blind", "someone", "a customer", "a woman", "empty", "not one human face", and "unknown."
• All stanzas begin with prepositions except the last one which begins with "unknown."

Imitation Entry, week 2

Imitation of Agnes Nemes Nagy's "Like One Who," in Contemporary World Poetry Anthology.

Like One Who

Like one who brought news from afar
and then forgets his message,
and of all that gritty light only
a handful stuck with him, knotted...

so wanders the amnesiac
in his body's rumpled coat.

Comedian

Like one who claimed to know
the Truth and tries to convey it,
but all that anyone sees
is the rip in his pants, gaping...

so meanders the class clown
in a suit he knows not his.

Response to classmate's journal, week 2

In response to Laura L.'s pedagogy forum, week 2,  must agree that revising poetry must be a difficult task. In fact, I've really yet to try it. Through the readings I am learning the importance of revision and I figure that throughout the process one might actually become more emotionally connected to his poetry. The problem is, I don't know that I've ever felt strongly enough about a poem to revise it in the first place. I kind of want to attempt the process on some old writing just to see what I can stir up. And I guess that's kind of the point. It is a daunting process nonetheless. Especially of prose revision is any comparison.

Free entry, week 2

I have been experimenting with Hugo's "Triggering Town" technique and here's what I have so far:

Counter Case

Shifty gaze, there lies a mistrust
Hands moving mechanically, fishing out change
Head longing for its enclosure
Poking embers of dishevelment taunt the tension
A crass face with incandescent bulbs scrapes at my entitlement
As I grab a pack of gum

Pedagogy Forum, week 2

I am really enjoying The Triggering Town. The first three chapters clarified the early process of writing poetry. I find it refreshing that Hugo makes an art that is abstract and difficult to define, a seemingly attainable craft for anyone to enjoy. He explains how to write by explaining how not to. As poetry is a creative endeavor, it makes sense that to get to truth you have to be trying to find something else. By creating an imaginary town one can always attain a fresh perspective. The trick is, as Hugo explains, to nurture an emotional connection to your creation and let words do the driving.
    Chapter 6 also struck me because it enlightened me in terms of the purpose of poetry. Hugo's story about  his high school classmate confessing his encounter with a whorehouse in the 1940s really spoke to the value of the art. Hugo's teacher applauds the boy for his candidness in a time when most teachers would have kicked him out of school. God knows what that did for the boy's confidence and faith in the expression of himself. Hugo really sums up the value of creative writing in the following quote: "You may ridicule the affectionate way he takes that day through a life drab enough to need it, but please stay the hell away from me" (64). Here, Hugo is discussing the feeling of satisfaction one might take from the creation of a quality piece of writing and how he might cherish it throughout a lifetime. This reflection makes me realize the power we can give to students as teachers.

Junkyard quote 4, week 2

"I would far rather mean what I say than say what I mean." -Richard Hugo, The Triggering Town"

Junkyard Quotes, week 2

"Oooh, that bell said, 'Ding!'" -female student in the school hallway at Chapel Hill High School

"How do you live your life when nobody's watching?" -anonymous, from poster in classroom

"A question mark is a question mark and insecurities connect my parts." -lyric from P.M. Dawn song

Sign Inventory, week 1

This inventory comes from the poem "My Erotic Double" by John Ashbery, in The Vintage Book of Contemporary American Poetry, p. 284.

• The point of view shifts from 3rd to 1st to 2nd to 1st to 2nd to 1st to 2nd. This makes the poem more intimate as it progresses.
• The word "Erotic" in the title indicates a possible sexual nature words in the phrase "Another go-round?"
• The use of "go over" and "go-around" in regards to feelings gives a sterility to them as if they were objects of little concern.
• The narrator seems to be detached from feeling when interacting with his double when he emphasizes the intesity of "wordplay." Wordplay seems to fill the void of feeling.
• There is a loving nature between the two characters in the words "charming" and "rescue me." This indicates a security felt through interaction.
• The "dream" simile gives an unconscious nature to the relationship.
• There is a contradiction between the narrator and his double when he says, "You said it," followed immediately by, "I said it but I can hide it." This also indicates a dishonesty within himself.
• The character regains autonomy by exhibiting his ability to "choose" in the last stanza.
• The two characters converse amiacably at the end of the poem, which portrays a regaining of trust and an ultimately positive relationship.
• The placement of "The wordplay" is different than any of the other words, thus emphasizing its importance.

Calisthenics, week 1

Pass along poem activity

This was the end result as I made the last revision to a poem begun by another classmate and edited by another:

The Year I Escaped

Wind whipping
Grinding the taut face
Squinting eyes, knuckles white
Jarring bones constant
No heat, cold, worry
No thoughts, no stress.
Only dependency on
Me.
My pain, injury,
Miscalculation
Leading to loss
Left with
Me.

Imitation Entry, Week 1

The Vow

When the lover
goes, the vow though
broken remains, that
trace of eternity love
brings down among us
stays, to give
dignity to the suffering
and to intensify it.

-Galway Kinnel (Contemporary American Poetry, p. 302)

The Spirit

When a person
dies, the spirit though
porous remains, that
hint of incessant humanity
moves around and within us
here, to perpetuate
happiness to those longing
and to remind them of what was lost.

-Darren Delfosse

Pedagogy forum post, week 1

During the first day of class, I came to appreciate poetry a little more. The calisthenic exercises were intriguing and I really enjoyed recreating each others poetry. I would've liked to take mine home with me, so that I could have analyzed the changes that others had made. However, it was interesting to have another person's piece become my own.

Another big break through for me and the world of poetry was the realization that as readers the goal shouldn't necessarily be "to figure it out." The idea that poems can have multiple interpretations is intriguing and the fact that we are going to "blow up" poems in the sense that we are going to explore multiple perspectives is exciting. At the same time, I have always been taught to make an attempt at interpretation in terms of author's intent. It is hard to break from that mode of thought. In addition, I struggle with finding meaning in the process of writing it. I sometimes feel that in analyzing/ writing poetry there seems to be a fine line between creativity and b.s. I want to learn to appreciate the process of creating and analyzing without feeling that my attempts are meaningless.

Response to Jonette's Calisthenics Entry, Week 1

Your use of alliteration gives the poem a "ritualistic" feel. "Cup of coffee" and "fog and fountain" complement Pete's seemingly routine days at his barber shop. Similarly, your use of assonance also contributes to this effect. "Fountain drowns" and "swigging the bitter" give the poem a bit of rhythm. The contrast of a drab fountain clouded in fog versus its "phoenix"-like "ascendance" really draws attention to the fountain. It's as if this phenomenon inspires Peter to work. The shaves are closer in the morning, however, true to his consistent nature and "Marine" preciseness, "Pete cuts them all close." This is again testament to Peter’s routine.

Junkyard Quotes, Week 1

"I think, therefore I am." -Rene DesCartes

"You may say I'm a dreamer, but I'm not." -Barry from Dinner for Schmucks/ John Lennon

"A mind is a terrible thing." -Barry from Dinner for Schmucks/ United Negro College Fund

"I like tuwtles." -kid in zombie costume for Youtube video.

Free Entry, Week 1

Feeling anxious today. This is symptomatic of the hangovers. An interesting term, "hangover." Is it because I feel like I'm  hanging on the edge of a cliff, trying to escape abysmal depths?  Is it that something is hanging over my head, doom impending? Is it that the effects of last night hang over into the morning and eventually cease, leaving a void of anxiety? I often have worst case scenario thoughts on these days. My anxiety keeps my nerves on end so that I don't like to drive or do anything where I need to be in control. I know my senses are dulled and feel that my brain is sluggish. My dreams will be wild tonight, and I won't sleep very well. I hate the edginess of the hangover.