Develop two (2) poems that apply the concepts of effective poetry discussed in Poet’s Companion and model the style of the selected poems from the homew
Develop two (2) poems (150-300 words each) that apply the concepts of effective poetry discussed in Poet’s Companion and model the style of the selected poems from the homework:
I have provided four (4) selected poems to choose from in the word document. Two (2) of the poems you can use as models when developing the two (2) 150-300 word poems, however you must use all four (4) poems when answering the reflection questions.
I have also provided feedback from my professor and another writing professor that you will need to reference in the last part reflection.
Due 10pm tonight!
NO AI!
MWP 1. POETRY 1
MAJOR WRITING PROJECT 1
POETRY (50 POINTS OR 2X 25 POINTS EACH)
INSTRUCTIONS
Develop two (2) poems (150-300 words each) that apply the concepts of effective poetry discussed in Poet’s
Companion and model the style of at least one of the selected poems from the homework:
Each poem must be modeled after the style of one of the poems from the reading
packets (e.g. the diction, syntax, imagery, or formatting of the lines/stanzas).
Though you should be learning and finding inspiration from the imagery, language,
style, and formatting of all the selected poems, you will need to choose one
specific poem to model for your first poem and a second selected poem for your
second poem).
Note that modeling your poem after a selected poem does not mean that you are
writing line by line about the same subject, using the same words, etc.; it simply
means that you should be using a few elements of the style of the poem to develop
your own poem.
The main elements of style you should be trying to model are a). the types of images
the author uses and the word choice they use to describe them; b). the way the way
the author constructs their lines, punctuates their lines, enjambs their lines; c).
the way the author constructs their stanzas and organizes them from the first to the
last.
However, if you are struggling with this concept of modeling, please email the
drevlow to discuss how to develop the best poem you can while also demonstrating
that you are applying the concepts illustrated in the models.
NOTES ON EVALUATION
Your poetry project will not be evaluated on how “publishable” your poem is, but rather how effectively you
have applied the concepts that we have discussed in class to develop poems that are driven by specific details,
vivid imagery, concise language, white space, lyricism (e.g. alliteration, assonance, repetition, etc.).
– Please note that the following guidelines are not “rules for good poetry” (as there
are no rules for “good poetry”).
– These guidelines are here to help you focus your efforts on showing off how much you
have worked on the foundational building blocks of poetry and creative writing that
you will inevitably experiment with as you read more, write more, and get more
confident in your own voice, style, and lizard brain.
– Keep in mind that the objective of this project is to demonstrate how effective you
are at applying the concepts we discuss to demonstrate learning (i.e. if you aren’t
willing to try to learn and experiment with different elements of poetry, then you
will not be successful in this class no matter how “good” or “bad” a writer you
might think you are.
MWP 1. POETRY 2
You will be evaluated on your ability to slowly reveal a subtle and nuanced point of view/perspective from
the first line of your poem to the last:
– Your poem should display a compelling progression of imagery and observations from
start to finish that reveals a subtle new perspective on an theme/conflict/question.
– The poem should demonstrate at least two or three subtle turns/shifts (i.e. little
moments where something new is revealed and/or there is a change in delivery/rhythm/
line/stanza/imagery/tone/topic).
– The objective or your poem should not be to develop a riddle or story problem for
the reader to solve (we are not trying to trick the reader or get the reader to
guess the true meaning; we are trying to explore an idea and recreate a shared
experience–a shared understanding–through imagery and observation).
You will be evaluated on your ability to develop language (i.e. diction and syntax) that is clear, concise,
concrete, and compelling throughout the poem:
– As much as possible we should try to show off how much meaning we can pack into a
poem without any “fluff” or “piling on.”
– As much as possible we should be confident in our subconscious & lizard brain’s
ability to make meaning & emotional resonance that stand on their own in mysterious
ways (i.e. if the image/detail/experience is compelling enough for you to remember,
then let the image/detail/ experience speak for itself; especially in poetry our
subconscious is quite often much better editor than that nagging little voice in our
head telling us our eyes, ears, nose, tongue, and skin are not good enough).
– As much as possible we should try to create a “shared experience” with the reader
(i.e. develop a series of vivid imagery/observations that allow the reader to
experience these things with you, instead of explaining to the reader how you feel
about these things).
– As much as possible we should write with vivid/specific nouns and verbs (including
people doing “vivid things” in “vivid places/scenarios”).
– As much as possible we should limit the use of adjectives and adverbs that do not
add specific imagery to the portrait (especially intensifiers such as very, little,
really, etc.).
– As much as possible we should avoid abstract and subjective modifiers such as
beautiful, ugly, boring, annoying, comfortable, good, bad, horrible, awesome,
magnificent, etc.
– As much as possible we should avoid abstract and subjective descriptions of emotions
happy, sad, angry, annoyed, confused, depressed, heartbroken, traumatized, etc.
– As much as possible we should strive to omit unnecessary words (e.g. replace “ran
quickly” with “sprinted” or replace “I was so sad I started to cry” with “I started
to cry” or simply “I cried”).
MWP 1. POETRY 3
– As much as possible, we should strive to make our own unique images their own
metaphors (i.e. instead of explicitly comparing your “love” to a “summer’s day,”
write about a summer day in which you are doing the things you love or observing the
person(s) you love).
–
You will be evaluated on your ability to use effective elements of contemporary poetic style and voice (i.e.
in free verse without formal rhyme scheme nor end rhymes)
– While your “poem” should read fluidly and sound compelling when read out loud, the
focus should be on concise natural language patterns that everyday language at its
most poetic.
– Keep in mind that most compelling “natural language” also includes specific details,
vivid imagery, lyricism, repetition, alliterations, assonance, parallelism, etc.
– Try to use the length of lines, stanzas, etc. to add to the reading experience
without becoming overwhelming or distracting to the reader (i.e. to slow the reader
down or speed them up, to break up big chunks of text, etc.)
– Though you may use spaces or indents to change the look of your lines, your
formatting should be left justified (not centered).
– When in doubt, look at the selected poems.
– When in doubt, email the drevlow and set up an appointment.
,
MWP 1. POETRY 1
MAJOR WRITING PROJECT 1.2: REFLECTION QUESTIONS (25 POINTS: 5x 5 PTS)
POETRY
OBJECTIVE
Complete the following based on your writing process for the two poems you completed for your poetry project:
Note that you are required to use the following models as inspiration for your two pieces, so if you did not do this already, you will not get credit for the following questions.
Note that you are allowed to use examples or reflections from your homework as material to answer the following questions (as long as it is not simply copied and pasted).
Note that you can use one poem as a model to answer multiple questions but you use at least four (4) different model poems total.
1. MODEL TEXTS: NOUNS & VERBS (5 POINTS)
Choose the two pieces from the selected poetry packets (not the textbook by Addonizio & Laux) that you used as a
model/inspiration for developing specific and unique nouns and verbs in your first poem:
“[TITLE OF YOUR FIRST POEM]”
1a. “[Title of First Model Poem]” by [Author’s Name]
1b. MODEL DICTION: “[Insert the six (6) most specific/unique nouns & verbs from the model poem]”
1c. YOUR DICTION: “[Insert the six (6) most specific/unique nouns & verbs from your first poem]”
1d. EXPLANATION: [Insert explanation: why did you choose the nouns and verbs from this model poem to use as inspiration for your own poem: 25-50 words].
“[TITLE OF YOUR SECOND POEM]”
1e. “[Title of Second Model Poem]” by [Author’s Name]
1f. MODEL DICTION: “[Insert the six (6) most specific/unique nouns & verbs from the model poem]”
1g. YOUR DICTION: “[Insert the six (6) most specific/unique nouns & verbs from your first poem]”
1h. EXPLANATION: [Insert explanation of why you chose the nouns and verbs from this model poem to use as inspiration for your own poem: 25- 50 words].
2. MODEL TEXTS: LYRICISM (5 POINTS)
Choose the two pieces from the selected poetry packets (not the textbook by Addonizio & Laux) that you used as a
model/inspiration for developing lyricism in your own poetry (e.g. repetition, alliteration, assonance, parallelism, etc…
but not end-rhymes):
“[TITLE OF YOUR FIRST POEM]”
2a. “[Title of First Model Poem]” by [Author’s Name]
MWP 1. POETRY 2
2b. MODEL LYRICISM: “[Insert four (4) examples of repetition, alliteration, assonance, or parallelism from the model poem].”
2c. YOUR LYRICISM: “[Insert four (4) examples of repetition, alliteration, assonance, or parallelism from the your own poem].”
2d. EXPLANATION: [Insert explanation of why you chose the repetition, alliteration, assonance, or parallelism from this model poem to use as inspiration for your own poem: 25-50 words].
“[TITLE OF YOUR SECOND POEM]”
2e. “[Title of Second Model Poem]” by [Author’s Name]
2f. MODEL LYRICISM: “[Insert four (4) examples of repetition, alliteration, assonance, or parallelism from the model poem].”
2g. YOUR LYRICISM: “[Insert four (4) examples of repetition, alliteration, assonance, or parallelism from the your poem].”
2h. EXPLANATION: [Insert explanation of why you chose the repetition, alliteration, assonance, or parallelism from this model poem to use as inspiration for your own poem: 25-50 words].
3. MODEL TEXTS: SYNTAX & ENJAMBMENT (5 POINTS)
Choose the two pieces from the selected poetry packets (not the textbook by Addonizio & Laux) that you used as a
model/inspiration for the way that you constructed your sentences and lines (including enjambment where one sentence
continues past the end of a line and starts again on the next one):
“[TITLE OF YOUR FIRST POEM]”
3a. “[Title of First Model Poem]” by [Author’s Name]
3b. MODEL LINES: “[Insert three (3) examples of sentence structures, lines, line breaks, or enjambed lines from the model poem].”
3c. YOUR LINES: “[Insert three (3) examples of sentence structures, lines, line breaks, or enjambed lines from your own poem].”
3d. EXPLANATION: [Insert explanation of why you chose the sentence structure, line breaks, and enjambment from this model poem to use as inspiration for your own poem: 25-50 words].
“[TITLE OF YOUR SECOND POEM]”
3e. “[Title of Second Model Poem]” by [Author’s Name]
3f. MODEL LINES: “[Insert three (3) examples of sentence structures, lines, line breaks, or enjambed lines from the model poem].”
3g. YOUR LINES: “[Insert three (3) examples of sentence structures, lines, line breaks, or enjambed lines from your own poem].”
3h. EXPLANATION: [Insert explanation of why you chose the sentence structure, line breaks, and enjambment from this model poem to use as inspiration for your own poem: 25-50 words].
4. MODEL TEXTS: ORGANIZATION & POINT OF VIEW (5 POINTS)
Choose the two pieces from the selected poetry packets (not the textbook by Addonizio & Laux) that you used as a
model/inspiration for the way that you organized your poem to subtly convey a new understanding of the theme your are
exploring (i.e. how you connect each line, stanza, and make jumps/turns/twists to reveal something new at the end):
MWP 1. POETRY 3
“[TITLE OF YOUR FIRST POEM]”
4a. “[Title of First Model Poem]” by [Author’s Name]
4b. MODEL ORG & POV: “[Insert three (3) lines from the poem that show how this author subtly reveals a new understanding of their theme].”
4c. MODEL ORG & POV: “[Insert three (3) lines from the your poem that show how you subtly reveal a new understanding of your theme].”
4d. EXPLANATION: [Insert explanation of why you chose the organization and theme from this model poem to use as inspiration for your own poem: 25-50 words].
“[TITLE OF YOUR SECOND POEM]”
4e. “[Title of Second Model Poem]” by [Author’s Name]
4f. MODEL ORG & POV: “[Insert three (3) lines from the poem that show how this author subtly reveals a new understanding of their theme].”
4g. MODEL ORG & POV: “[Insert three (3) lines from the your poem that show how you subtly reveal a new understanding of your theme].”
4h. EXPLANATION: [Insert explanation of why you chose the organization and theme from this model poem to use as inspiration for your own poem: 25-50 words].
5. REVISION
How did you revise your first poem based on the feedback you received (both from your homework and from additional
readers like the drevlow, et al)?
5a. “[TITLE OF YOUR FIRST POEM]”
5b. REVISIONS (LANGUAGE): How did you revise the nouns, verbs, and imagery of your piece based on your feedback? 50-75 words
5c. REVISIONS (STYLE): How did you revise the syntax, lyricism, line breaks, and stanza breaks based on your feedback? 50-75 words
How did you revise your second poem based on the feedback you received (both from your homework and additional
readers like the drevlow, et al)?
5e. “[TITLE OF YOUR SECOND POEM]”
5f. REVISIONS (LANGUAGE): How did you revise the nouns, verbs, and imagery of your piece based on your feedback? 50-75 words
5g. REVISIONS (STYLE): How did you revise the syntax, lyricism, line breaks, and stanza breaks based on your feedback? 50-75 words
,
Keys to Writing Compelling Poetry
1. Less is more
2. Writing with Nouns and Verbs (not adjective)
3. Let specifically be your friend
4. Let actions speak for themselves
5. Show, don’t tell.
6. Create a shared experience
Selected Poem #1:
And Still it Comes
By Thomas Lux
like a downhill brakes-burned freight train
full of pig iron ingots, full of lead
life-size statues of Richard Nixon,
like an avalanche of smoke and black fog
lashed by bent pins, the broken-off tips
of switchblade knives, the dust of dried offal,
remorseless, it comes, faster when you turn your back,
faster when you turn to face it,
like a fine rain, then colder showers,
then downpour to razor sleet, then egg-size hail,
fist-size, then jagged
laser, shrapnel hail
thudding and tearing like footsteps
of drunk gods or fathers; it comes
polite, loutish, assured, suave,
breathing through its mouth
(which is a hole eaten by a cave),
it comes like an elephant annoyed,
like a black mamba terrified, it slides
down the valley, grease on grease,
like fire eating birds’ nests,
like fire melting the fuzz
off a baby’s skull, still it comes: mute
and gorging, never
to cease, insatiable, gorging
and mute.
Selected Poem #2
Why I Skip My High School Reunions
By Craig Arnold
Because the geeks and jocks were set in stone,
I, ground between. Because the girls I ate
lunch with are married now, most out of spite
—because the ones I spurned are still alone.
Because I took up smoking at nineteen, late,
and just now quit—because, since then, I’ve grown
into and out of something they’ve never known.
Because at the play, backstage, on opening night
she conjured out of the vast yards of her dress
an avocado and a razorblade,
slit the one open with the other, flayed
the pebbled skin, and offered me a slice
—because I thought that one day I’d say yes,
and I was wrong, and I am still afraid.
Selected Poem #3
What Do Women Want
By Kim Addonizio
I want a red dress.
I want it flimsy and cheap,
I want it too tight, I want to wear it
until someone tears it off me.
I want it sleeveless and backless,
this dress, so no one has to guess
what's underneath. I want to walk down
the street past Thrifty's and the hardware store
with all those keys glittering in the window,
past Mr. and Mrs. Wong selling day-old
donuts in their café, past the Guerra brothers
slinging pigs from the truck and onto the dolly,
hoisting the slick snouts over their shoulders.
I want to walk like I'm the only
woman on earth and I can have my pick.
I want that red dress bad.
I want it to confirm
your worst fears about me,
to show you how little I care about you
or anything except what
I want. When I find it, I'll pull that garment
from its hanger like I'm choosing a body
to carry me into this world, through
the birth-cries and the love-cries too,
and I'll wear it like bones, like skin,
it'll be the goddamned
dress they bury me in.
Selected Poem #4
My Therapist Wants to Know About My Relationship to Work
By Tiana Clark
I hustle
upstream.
I grasp.
I grind.
I control & panic. Poke
balloons in my chest,
always popping there,
always my thoughts thump,
thump. I snooze—wake & go
boom. All day, like this I short
my breath. I scroll & scroll.
I see what you wrote—I like.
I heart. My thumb, so tired.
My head bent down, but not
in prayer, heavy from the looking.
I see your face, your phone-lit
faces. I tap your food, two times
for more hearts. I retweet.
I email: yes & yes & yes.
Then I cry & need to say: no-no-no.
Why does it take so long to reply?
I FOMO & shout. I read. I never
enough. New book. New post.
New ping. A new tab, then another.
Papers on the floor, scattered & stacked.
So many journals, unbroken white spines,
waiting. Did you hear that new new?
I start to text back. Ellipsis, then I forget.
I balk. I lazy the bed. I wallow when I write.
I truth when I lie. I throw a book
when a poem undoes me. I underline
Clifton: today we are possible. I start
from image. I begin with Phillis Wheatley.
I begin with Phillis Wheatley. I begin
with Phillis Wheatley reaching for coal.
I start with a napkin, receipt, or my hand.
I muscle memory. I stutter the page. I fail.
Hit delete—scratch out one more line. I sonnet,
then break form. I make tea, use two bags.
Rooibos again. I bathe now. Epsom salt.
No books or phone. Just water & the sound
of water filling, glory—be my buoyant body,
bowl of me. Yes, lavender, more bubbles
& bath bomb, of course some candles too.
All alone with Coltrane. My favorite, “Naima,”
for his wife, now for me, inside my own womb.
Again, I child back. I float. I sing. I simple
& humble. Eyes close. I low my voice,
was it a psalm? Don’t know. But I stopped.
Feedback (Use this when completing the last part of the reflection!)
Feedback from my professor, Dr. Drevlow
· You have some really strong descriptions here, but right now we're relying a little too heavily on adjectives and adverbs.
Feedback from Dr. Tremble (former English Professor that has given me feedback on my work)
· To increase the imagery, Dr. Tremble suggested that I use a phrase like “blazing brew” instead of “scorching coffee”. This also brings in alliteration.
· She suggested that I use repetition to enhance the rhyme and action of dancing in the last few lines. For example, she suggested that I replace “To dance like I don’t have a care in the world” with,
“To dance, dance, dance
Like I have not one—
Yes, not one care in the world”.
· She suggested replacing “bed” with the word “mattress” because it is more specific. She suggested replacing the word “pain” with “throbbing discomfort” because it is more vivid to the senses. She suggested replacing the word “phone” with “device” or “electronic lifeline”. Be as specific as possible.
· She suggested replacing “stump” with the word “stub”. She suggested replacing “letting” with the word “allowing”. She suggested replacing the word “spill” with the word “pour” or “slosh” to emphasize the messiness of what happened.
· Instead of saying “I want to drive my shopping buggy into a neat display of Lucky Charm cereal boxes”, she suggested that I break up the lines to emphasize the chaos of the action. For example,
“I want to crash—
My shopping bugging into the neat,
Pyramid of Lucky Charms.”
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