So back when this was more of a personal blog than a poetry-related one, this is a thing I wrote. Sometimes I like to go back and read my own journals. Is that so wrong?
- Haiku improves with practice.
- Poetry is real work.
- Sometimes work is gentle, easy, and takes hardly any time.
- Sometimes work is hard and grueling and difficult.
- Sometimes I forget to do things I said I was going to do
- Instead of hating on myself or giving up, I can just start doing them again.[read more]
NOTE: Find UPDATED April 2018 listings here.
April is National Poetry Month, so readings abound. March isn’t too shabby either. And don’t forget to plan ahead for the Mass Poetry Festival the first weekend of May. Thanks as always to Daniel Bouchard for compiling these listings.
Of particular note: Charles Coe and Marge Piercy at Porter Square Books (tonight!); Layli Long Soldier in Cambridge and Providence; Stephanie Burt at the MIT Press Bookstore; Mark Doty in Acton; Joan Houlihan in Cambridge, Boston, and Gloucester; Ocean Vuong at Smith; Martha Collins and my own teacher Kevin Prufer at Porter Square Books; Kazim Ali and Stephanie Burt at Harvard; a Latinx Poetry Reading in Cambridge; Anne Waldman in Providence; and my fellow poet educator Wendy Drexler in JP and Gloucester.
Thursday, March 1, 6-8 pm
Jane Brox, Andrea Cohen, and Natalie Shapero
Salamander 25th anniversary celebration and reading
Suffolk University Poetry Center
Mildred F. Sawyer Library, 3rd floor
Thursday, March 1, 7 pm
Charles Coe and Marge Piercy
Porter Square Books
25 White Street
Continue reading “Boston-Area Poetry Readings for March and April 2018”
In The Discovery of Poetry[i], Frances Mayes breaks imagery into three categories: literal imagery (the thing itself), figurative imagery (images used to describe the thing), and symbols (an image or action that stands for more than itself). A symbol differs from a literal or figurative because of the far-reaching semantic ripples that surround it. The red wheelbarrow is an image; the American flag is a symbol.
Rilke’s work returns again and again to the symbol of the rose. What sorts of associations does the symbol of the rose evoke? Love, femininity, openness, vulnerability, romantic and sexual love, impermanence. The rose is a symbol for the Madonna in Catholic tradition, and was a symbol for her predecessor Venus. The medieval French poem, “Le Roman de la Rose,” tells an allegorical story of courtly love. At the heart of Dante’s Paradiso lies a rose. On St. Valentine’s Day, lovers give one another red roses as a symbol of their love for one another. “A rose by any other name would smell as sweet,” says Juliet, exhorting her lover Romeo to give up his family name.
Continue reading “Rainier Maria Rilke’s Use of Imagery”
Here’s the cover letter to the third packet I sent to my teacher Sharon Bryan during the first semester of my Lesley MFA.
It was such a pleasure to meet up with you in person last week. Written correspondence is a thing to treasure but there is no substitute for a face-to-face meeting. And it’s always great to have an excuse to sit and chat at the Algiers.
As I said to you via email, I really enjoyed Heather McHugh’s playful approach to language – especially the way that she plays with the multiple meanings and connotations of a single word. Picking her up reminded me that working for an MFA is something I undertook for the pleasure of the task rather than the obligation of the schoolwork. Here’s one example of her wordplay that I didn’t include in my craft annotation: Continue reading “Dispatches from an MFA: Semester One, Third Packet”
Enjoy the thaw while it lasts and go see some poetry before the snow comes back. Thanks as always to Daniel Bouchard for these listings.
All readings are in Massachusetts unless otherwise noted.
New this week:
Anne Waldman in Cambridge (2/15)
Paula Bonnell, Tom Lyons, and Michael Todd Steffen in Somerville (2/20)
Elizabeth S. Wolf in Amesbury (2/27)
Philip Nikolayev and John Hennessey in Cambridge (3/3)
Jonathan Aibel, Ben Berman, and Wendy Drexler in Jamaica Plain (3/9)
Martha Collins and Joan Houlihan in Newton (4/3)
James Whitley and Maria Termini in Roslindale (4/24)
Barbara Siegel Carlson in Roslindale (4/26)
Matvei Yankelevich, Lisa Fishman, and Laynie Browne in Cambridge (5/5)
Continue reading “Boston Area Poetry Readings for February and March 2018”
The poet Robert Hass says “the metrical poem begins with an assumption of human life which takes place in a pattern of orderly recurrence with which the poet must come to terms, the free verse poem with an assumption of openness or chaos in which an order must be discovered.” This fundamental shift in the craft of poetry coincides with – and some would say arises out of – fundamental upheavals in Western civilization, most notably the erosion of traditional, rigid class systems that followed the World Wars.
If a poet abandons both rhyme and meter, how does she give a poem shape or music? What elements of craft remain, and what new tools must we create? Without meter, poetic line becomes one of the primary means of affecting a poem’s trajectory.
Continue reading “Craft Annotation: Poetic Line in the Work of William Carlos Williams”
Below is the cover letter for the second packet of my first semester at the Lesley MFA program. I was fortunate enough to work with Sharon Bryan that term.
Receiving your feedback on the first packet was inspiring. It managed to set just the right balance between encouragement and challenge. I agree with you that I should focus on free verse line for the rest of the semester. I did want to try my hand at some forms I’d seen in Plath’s and Bishop’s writing – especially the aba / bcb tercets with long-short-long alternations in addition to the rhymes. They were forms I hadn’t worked with before, especially with the use of off-rhymes. It’s so easy to want to emulate the style and voice of the poet one is reading rather than applying some of their craft to one’s own voice.
Continue reading “Dispatches from an MFA: Semester One, Second Packet”
This website first came about in 1996, when the World Wide Web (yes, we called it that) was as wide-open and empty as the American West. Fresh out of Vassar with a degree in English and a middling aptitude for computers, I stumbled on a job for a website that forced me to learn HTML. Back then, all you needed to create a website was a text editor, some server space, and FTP software. If you were feeling really fancy, you got Photoshop and threw up some images too. I’d grown discouraged trying to break into more traditional print publishing, so posting my own writing on my own website seemed a great way to circumvent the endless cycle of applications and rejections.
Like most 20-somethings, I had no idea what I was doing. There were a bunch of other 20-somethings out there stealing sharpies and Xeroxes to make ‘zines, but I felt like I belonged to a small, elite group of people with the mix of technical, editorial, and design skills required to make a website.
Being able to say things like “I was doing that before it was cool” might be fun for a little while, but in the long run it doesn’t mean very much. What we now call blogs we used to call online diaries. No matter what you called them, they were homegrown, barbaric yawps in the wilderness. Major Media still wasn’t sure that this blogging thing was going to take off (that’s a direct quote from a VP of Public Affairs circa 2008). Continue reading “The Not-So Glamorous Life of a Working Grad Student”
In her book The Discovery of Poetry, Frances Mayes discusses rhyme within the context of repetition. This element of craft goes far beyond the end-stopped pure rhymes (mop/top) most people associate with poetry. Rhyme can be any kind of repetition of sound: slant rhymes (month/up); internal rhymes (the loud cloud growled); alliteration, consonance, and assonance (“tremendous fish,” “speckled with barnacles,” “coarse white flesh”); repetition of words, or repetition of entire lines.
Elizabeth Bishop uses all these techniques. Rhyme runs through her poetry like a subtle thread: always there, but not often when or how it’s expected. Even her prose poems (“Rainy Season: Sub-Tropics”) contain internal rhyme, alliteration, consonance, and assonance: “My sides move in rhythmic waves, just off the ground, from front to back, the wake of a ship, a wax-white water, or a slowly melting floe.” One can also interpret the overlap of events in these prose poems as a kind of rhyme. In each piece, the titular animal speaks but portrays the same encounters from a different perspective: “Beware, you frivolous crab,” says the toad. “And I want nothing to do with you either, sulking toad,” says the crab. “Cheer up, O grievous snail. I tap your shell, encouragingly,” says the crab. “What’s that tapping on my shell?” asks the snail.
Continue reading “Craft Annotation: Elizabeth Bishop’s Use of Rhyme”