June 6, 2020

Prompt: Once Upon a Time


I wasn't a big fan of fairy tales as a child and I didn't read many of them to my own children. They can be pretty cruel and violent. 

When I was a college student, a book by Bruno Bettelheim, a 20th-century child psychologist, was very popular in literature and education classes. That book is The Uses of Enchantment: The Meaning and Importance of Fairy Tales, a study of fairy tales and their universal importance in understanding childhood development. His examples include stories like "The Three Little Pigs,” “Hansel and Gretel,” and “The Sleeping Beauty.” Bettelheim admits that the tales are often cruel but that they do help teach lessons about finding meaning for one’s life.

Our prompt for June is a poem that tries one of these four paths through fairy tales:
based on a fairy tale, based on characters appearing in those tales, a new fairy tale, or a poem using the conventions of fairy tales. 

Here are some samples to consider. 

 
...Only a girl like this
can know what's happened to you.
If she were here she would
reach out her arms towards
you now, and touch you
with her absent hands
and you would feel nothing, but you would be
touched all the same.

"Mermaid Song" by Kim Addonizio finds a fairy tale character lying on her sofa.

Damp-haired from the bath, you drape yourself 
upside down across the sofa, reading, 
one hand idly sunk into a bowl
of crackers, goldfish with smiles stamped on... 

Alicia Ostriker's poem "Utopian" is about a new fairy tale world created by a child that the poet then needs to interpret. 

My neighbor’s daughter has created a city
you cannot see
on an island to which you cannot swim
ruled by a noble princess and her athletic consort
all the buildings are glass so that lies are impossible
beneath the city they have buried certain words
which can never be spoken again
chiefly the word divorce which is eaten by maggots...

"From the Country Notebooks" by Geffrey Davis uses some fairy tale conventions - including "once upon a time" and some of that violence, but the tale is very real.
 
Once upon a time, my father was offered a shovel
and ten minutes alone with the prized stallion—Just don’t
kill him.    Once upon a time, I asked about the apple-
knotted scar on my father’s back shoulder, as he dressed
for work: That’s from when Sammy tried to kill me.
Remember?    Once upon a time, my father accepted a shovel
and the problem of answering violence without loosing
too much blood from Sammy’s chestnut body, nervous
in the stable.    Once upon a time...
 
Though we think of fairy tales are meant for children as a way to help them solve problems such as separation anxiety, oedipal conflict, and sibling rivalries, your poem will probably be meant for adults.





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May 31, 2020

Walt Whitman: Leaves of Grass and Self-Promotion

whitman 1854
Whitman at age 35, image used as the frontispiece to Leaves of Grass - a steel engraving by Samuel Hollyer
 from a lost daguerreotype by Gabriel Harrison


The daily Writer's Almanac reminded me that today is the birthday of the poet Walt Whitman. He was born in West Hills, Long Island, New York (1819) and he lived in many places but he lived out the last part of his life in Camden, New Jersey until his death in 1892.

My first memory of Whitman was reading his short poem "When I Heard the Learn’d Astronomer" which was in the high school sophomore anthology we used in English class. 

When I heard the learn’d astronomer, 
When the proofs, the figures, were ranged in columns before me, 
When I was shown the charts and diagrams, to add, divide, and measure them, 
When I sitting heard the astronomer where he lectured with much applause in the lecture-room, 
How soon unaccountable I became tired and sick, 
Till rising and gliding out I wander’d off by myself, 
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars. 

That poem resonated with me. That person in the astronomer's lecture who gets bored and going outside and seeing the stars of that lecture and is much more pleased and in awe, reminded me of me. At first, I identified as a high school student and later as a college student in a classroom bored with theories and wanting practices. I also began to understand that people interpreting poems, literature, songs, art, films, and the natural wonders of Earth and the universe were far less interesting than the things they were interpreting. 

I will admit that I didn't love Whitman's much more famous Leaves of Grass which is often mistakenly thought of as a single poem but is a collection of poems that are loosely connected. It is considered an American classic. 

Walt was really into self-promotion with Leaves of Grass. In 1842, Charles Dickens came to America for a tour and is sometimes credited for started the book tour. He could reasonably have been billed as the most famous writer in the world after Oliver Twist and The Pickwick Papers. Perhaps, Walt had that in mind when he published the first edition of Leaves of Grass in 1855. 

Though self-publishing your writing once had a bad name (still does, sometimes) Whitman did so with the collection. He even did most of the typesetting for the book himself. He wanted the book to be small enough to fit in a pocket. He paid for the publication of 795 copies. He was 37. 

It might surprise a 2020 reader that some of those poems were criticized for being openly erotic. Reviewers at the time said it was “a mass of stupid filth” that promoted “that horrible sin [homosexuality] not to be mentioned among Christians" and that it was “full of indecent passages” and that Whitman himself was a “very bad man” and a “free lover.” 

Henry Thoreau, not a fan, wrote, “It is as if the beasts spoke” but his friend and mentor Ralph Waldo Emerson said the collection was “the most extraordinary piece of wit and wisdom America has yet contributed.” 

Whitman was always revising. He added 146 poems to his third edition. He spent those New Jersey years revising and expanding the collection until the 1891 eighth and final edition. 

Walt had no social media for self-promotion but he had a journalism background. In 1855, he got at least three anonymous positive self-reviews of the first edition of Leaves of Grass in the United States Review, the American Phrenological Journal, and the Brooklyn Daily Eagle. The one gain with an overly confident statement that we have  "An American bard at last!"

What Walt did is no secret. He was discovered early on. In 1856 Leaves, a reviewer in the New York Times identified Walt as the author of the three anonymous reviews. Whitman reprinted the "exposé" with the original self-reviews in a publicity pack along with the 1860 edition.

modernized Walt
A slightly updated image of Walt by Courtney Nicholas
 
Whitman was open about those reviews and his self-promotion and viewed it as he did the initial self-publication - a necessary way to get his work out to the public.

I think if Walt had been writing in the 21st century, he would be on Twitter, Instagram and Facebook, posting videos on YouTube and offering his book's first edition as an Amazon Original. Walt would have loved the self-promotion of social media. And today he might be an openly gay author but when he was asked about his sexuality even at the end of his life, he declined to answer. At the end of his life he said that sex was “the thing in my work which has been most misunderstood — that has excited the roundest opposition, the sharpest venom, the unintermitted slander, of the people who regard themselves as the custodians of the morals of the world.”

He was unorthodox in his life, his writing and his way of creating the image of the "The Gray Poet" not unlike a modern-day Bob Dylan or any celebrity artist who has created a persona that mixes reality and fiction. 

In the film Dead Poets Society, Mr. Keating (Robin Williams) alludes to Whitman's poem "O Captain! My Captain!" and other passages from Leaves of Grass. When Keating is fired from the school because his unorthodox teaching, his students use the poem to salute him.


I rediscovered some of the Whitman poems individually through other sources. "I Sing the Body Electric" came back to me through Ray Bradbury using it as the title of a short story and the title of his story collection. Earlier it had been the title of a Bradbury episode written for The Twilight Zone in 1962. Of course, I went back to the poem and though it had not changed, I had and so did my appreciation of the poem. 

That poem is a good example of the versions of the poems in the collection. Originally, like the other poems in Leaves of Grass, it did not have a title and it didn't have the line "I sing the body electric" until the 1867 edition because "electric" was not a commonly used term in 1855. 

Last summer was the 200th birthday of Whitman. I went to an exhibit at The Morgan Library and Museum in New York, "Walt Whitman: Bard of Democracy," much of which was about Leaves of Grass.

   

About 20 years ago, I visited Whitman's New Jersey home in Camden which is now maintained by the state. Touring the modest home wasn't inspiring. Unlike some other author's homes I have visited, I didn't feel Walt's energy there. 

I'm reading poet Mark Doty's new book, What Is the Grass: Walt Whitman in My Life, which begins with Mark's visit to the home. It's about the connections he has made personally with the poet and Leaves of Grass. His visit also seemed to be less inspiring than expected, but he works his way through the poems and Walt's life and looks for how it has influenced his own life and work. It's an interesting journey.

This essay originally appeared at Weekends in Paradelle


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May 13, 2020

Poetry Conversations at Home with Billy Collins


While we are all at home quarantining and poets are doing readings online and a few writers are doing their "book tours" virtually. I have been watching the daily videos from Billy Collins. They are very informal conversations and he reads his poems and poems by others. It's a low-tech iPhone production, but then so are some major newscasters and late-night TV guests.

You can check out Billy's videos on Facebook.  

At the end of today's "broadcast" (his term), he gave an "assignment" to read a poem before the Friday session. He said this was the poem he used when asked that impossible question "What is your favorite poem?"


Coleridge in 1795
Coleridge 1795, about the time he wrote the poem
Peter Vandyke - http://www.zeno.org/Literatur/I/coleridg.jpg,
held at the National Portrait Gallery, Public Domain, Link

I was surprised that his choice is "This Lime-tree Bower my Prison" by Samuel Taylor Coleridge. I had never read the poem before, but I can see that it is appropriate to a time when we are separated from friends and perhaps from nature and experiences.


You might want to read the poem and then join the live Facebook broadcast on Friday and add your comments.


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May 9, 2020

Prompt: Haiku Sequence


These past few weeks I have had a hard time focusing on any sustained reading, so I Have returned to an anthology of haiku. Most people are familiar with the form and the 5-7-5 syllable structure. Those three lines of 5 syllables, 7 syllables, and another 5 syllable line are not always maintained.

In Japanese, haiku does use those 17 syllables but instead counts sound. We would count the word “haiku” as two syllables in English, but it is three sounds in Japanese (ha-i-ku). 

This month we are using the haiku form with a strict 5-7-5 syllables. We will also follow several other form "rules." Classic haiku is nature-based and often seasonal. No rhymes. Classical haiku also employs a cutting word (kireji in Japanese) that makes a verbal punctuation mark that separates the typically two juxtaposed images of the poem. In English, we don't have kireji so poets sometimes use a dash to make a pause so that readers can reflect on the connection between the two parts. That a good idea because a haiku can be read and digested too quickly.

Translations of Japanese haiku into English vary greatly. There is a poem by the master Matsuo Basho’s (1644-1694) that reads in Japanese as:

Furuike ya
kawazu tobikomu
mizu no oto

I found many translations of this famous frog poem. The most literal one I found is not 5-7-5.

old pond
frog leaps —
sound of the water

Here are two other translations:

mossy pond;
frog leaping in—
splash!

when the old pond
gets a new frog
it’s a new pond

This is a version described as "translated as a Zen koan”

the bungling frog
leaped for the pond, but landed
in Basho’s brain



Our haiku prompt this month is to write a sequence of 3 or more related poems. I have seen several variations on this kind of sequence. It can be 3 poems on the same thing. I have seen poems connected by using the last word of one as the first word of the next (still possibly connected by theme) and several poems constructed using the same words in new constructions. 

As a model, I chose three spring poems by Basho that are connected by the season but also by blossoms which are very often used in haiku to indicate spring. These are my own translation and I have adhered to the 5-7-5 form. (Note: "ume" means plum)

today they begin 
selling sake and ume  -
I smell the blossoms

all four of my bowls
for noon meal are not perfect - 
cherry blossom rain

the ume blossom
perfume is taken by wind  
into the cold winter


Submission Deadline: May 31, 2020

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May 1, 2020

Poets on YouTube

Our April writing prompt is closed and we're putting together the next issue of "Odes to Common Things" and a new prompt for the merry month of May (at least we hope it might be merrier than April). You probably have been online more than usual and I don't encourage more screen time but there are lots of good poets reading their work on YouTube and the audio alone might be a good spring tonic. Of course, it's always nice to see a poet reading - in-person readings are best but video is an alternative even in non-pandemic times.

The Writer's Almanac (TWA) has started posting videos of poets whose work has been on the radio/podcast show reading poems that were used on the Almanac. (check out the full TWA playlist) It is great because you can see and hear the poet, and for almost all the poems you can find the poem text online at the TWA website. This might be useful for those of you teaching online or doing some homeschooling. Most of the videos are homemade using phones and webcams - which doesn't look so homemade anymore since national correspondents are doing the news from their homes too.

Here are a few examples - and I will also just point you at two of my own poems that are there - one poem is light and one is dark, so choose your mood.
 





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