One usually hears about point of view as a craft technique in the context of prose. Students of poetry tend to focus on the speaker – “the eye of the poem,” as Frances Mayes puts it. But the two are linked. The mode of narration (first person, second person, third person limited or third person omniscient) informs the kind of “I” from which the poem unfurls. All poems have a speaker; it may be a strong presence that affects the whole tone of the poem, or it may be unobtrusive, a hidden narrator presenting facts without editorializing.
- Imbolc means “in milk,” or “in the belly.”
- The Wheel of the Year turns to Imbolc on February 2.
- If it is warm and sunny on this day, it will be cold for six more weeks. If it is cold and cloudy on this day, it will be cold for six more weeks.
- Lambing season starts in February.
- A shepherd’s hut is a tiny house on wheels.
- At Imbolc, the shepherd is the trusted servant of the sheep. The lamb lies in the belly of the Great Mother. It emerges into darkness.
- Shepherds wait in their tiny houses, they shiver and they stoke the fire.
- They keep vigil with the ewes. They usher the lamb out into the cold.
- Many cultures kill and eat a lamb in the spring. Easter happens near Ostara, when the sun shines merciless over the thawing ground.
- Imbolc happens in darkness.
- At the monastery, we would sing “Lamb of God, you take away the sins of the world. Have mercy on us.”
One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;
And have been cold a long time
To behold the junipers shagged with ice
— Wallace Stevens, “The Snow Man“
Bring your mind of frozen junipers, of frozen ponds, of melting snow, of snowdrops and crocuses–bring whatever mind you have to a poetry reading. All minds are welcome.
Friday, February 3, 7 pm
First Friday Youth Open Mic (music and poetry)
First Baptist Church
Centre Street and Green Street
Friday, February 3, 7:30 pm
Chapter and Verse
Susan Donnelly, Jeffrey Harrison, Jennifer Jean
12 South Street (across from the Monument)
An issue I’ve struggled with time and again is how to incorporate multiple scenes in a single poem while still maintaining unity and clarity. Dividing a poem into separate sections with roman numerals or asterisks may work, but not all poems are long enough to justify multiple parts, nor does this method evoke the seamless way a particular sense perception or situation can trigger associations with another time and place.
Proust and his madeleine are a famous example: the taste of a cookie kicks off the epic, multi-volume novel Recherche du Temps Perdu (Remembrance of Things Past). Few modern poets have the luxury of such sprawl. But regardless of the length of the poem, one must still learn how to deal with nonlinear time in a way that mitigates the possibility of a confused reader. We experience time in a single dimension (past to present), but the way we think about time is multi-dimensional. It includes past, present, future, and possible divergences from a single outcome.
I set out in search of poems that dealt with the issue of multiple moments (past, present, future, and possible). Continue reading “Craft Essay: Nonlinear Time and Poetic Structure”
All readings are located in Massachusetts unless otherwise noted. Thanks as always to Daniel Bouchard for compiling many of the items listed below. For additional readings and events, check out the Mass Poetry statewide calendar.
(NOTE: New dates added Feb. 1)
Sunday, January 22, 2 pm
“River Weep” Poets Speak
Sammy Greenspan, Deborah Schwartz and Lee Sharkey
Boston Sculptors Gallery
486 Harrison Avenue
Sunday, January 22, 2 pm
Kathleen Ossip and Geraldine Zetzel
Brookline Poetry Series
Brookline Public Library Main Branch in Brookline Village
361 Washington St.
Continue reading “UPDATED: Boston Area Poetry Readings for Late January and All of February 2017”
Poet Wendy Mnookin and I travel in similar orbits in the Boston poetry scene, but our paths have never intersected in person. I was happy to be able to speak with her via email about her most recent book Dinner with Emerson. A veteran poet with five books to her name, Mnookin has taught poetry at Emerson College, Boston College, Grub Street, and at workshops around the country. Her honors include an NEA Fellowship, a book prize from the New England Poetry Club, and several Pushcart Prize nominations. Her work has been featured on Garrison Keillor’s Writer’s Almanac and Poetry Daily. We spoke about the difference between tone and voice, the choices she made while compiling each of her manuscripts, and the relationship between her teaching and her writing practice.
What first brought you to poetry?
I have always been a reader, and, in my own way, a writer, mostly scribbling in journals. By the time my third child started kindergarten and I could see blocks of free time appearing in my life, I took a plunge into more dedicated writing and signed up for a poetry course at the Radcliffe Seminars Program. Ruth Whitman was teaching the course and I fell in love–with the reading, the discussion, and most of all, with the regular writing. I took courses there for several years and then attended the low-residency program at Vermont College, where I got my MFA. Although I don’t think courses are necessary for someone starting out in poetry, the structure helped me explore, build confidence, and establish a network of other writers who were serious about their work.
Without further ado I present the latest missive from poet Daniel Bouchard: a listing of most of the poetry happenings in Boston and environs. All towns are in Massachusetts except where noted. Give the gift that keeps on giving, and help a starving poet or two and buy their book. They make great holiday presents and the Muse will love you.
Wednesday, December 7, 6:30 pm
Adam Scheffler and Clint Smith
Cambridge Public Library
Free parking available in garage accessed from Broadway
Today, the first snow of the winter came whispering down. In cold weather, smells don’t carry as well. Winter brings with it a different kind of beauty made of solitude, clarity, and dreams in the dark. Here’s a moment from warmer days to dream of:
After dark in the park
the feathery larch
smells me her secrets
Three small miracles I saw today because I forced myself outside for a walk:
Two tiny finches circling and twittering around one another, one with a bright splash of orange on the top of its head, and another with a bright splash of yellow in the same spot
Three grey tufted titmice, who used to come to my feeder all the time when I lived closer to woods
A whole little flock of birds I don’t know how to identify, but who may be cedar waxwings: the size of a robin, but with a brilliant side patch of orange and an orange beak.
Also, deer tracks.
Some things keep happening in spite of humanity’s foibles. Even in times of great catastrophe, even in times of war and death and turmoil, the sun rises, the spring comes, the leaves fall, the birds migrate.
As so many writers do, I’ve been letting the perfect get in the way of the good when it comes to these dispatches. I thought it would be a simple matter to re-purpose some of the prose that I sent along with my monthly packets, but the work involved in creating the packets (along with all of my less writerly responsibilities) makes even that relatively easy task more difficult than anticipated. I’m sure I’ll share that work at a later point. But for right now, let me discuss a thorny problem I’ve been having when it comes to my own poems — a craft element, as one would call it in the creative-writing MFA world.
The great problem I’m working on this month is the use of nonlinear time in a single poem — how to transition from one scene to another and to another or back to the first while making the poem feel all of a piece. There’s a lot of talk about keeping the reader in the “moment” of the poem, so this feels like an advanced technique to me, and one that I really want to master.
I did a lot of hunting for poems that use this particular technique and finally had to resort to crowdsourcing (thank God/dess for one particular Facebook community of women poets) to find relevant poems. So far, most of my work this packet has been of the thinking, reading, and researching variety, so it’s a relief to have at least half of one craft annotation finished. I’m trying not to think about the relatively short time remaining before the entire thing is due. As Anne Lamott would say, you do it bird by bird.
Here’s a listing of the poems I’ve found so far, with links where appropriate and bibliographical references where not:
- “Shirt,” by Robert Pinksy: https://www.poetryfoundation.org/poems-and-poets/poems/detail/47696
- “Bike Ride with Older Boys,” by Laura Kasischke: http://writersalmanac.publicradio.org/index.php?date=2005%2F10%2F01
- “Song of Napalm,” by Bruce Weigl: https://www.poetryfoundation.org/poems-and-poets/poems/detail/42752
- “Brown Refrigerator,” by Bruce Barot: http://www.versedaily.org/2012/brownrefrigerator.shtml
- “My Mother Turns Ninety,” by Wendy Mnookin. From her newest book, Dinner with Emerson. Tiger Bark Press, 2016.
So far, the key seems to be anchoring the work in one particular image or phrase, especially by beginning and ending with it. While I’ve been aware of Robert Pinksy’s work since I moved to Boston 16 years ago, it wasn’t until I read “Shirt” that I became aware of the depth of his own craft. This poem in particular swings back and forth from the moment of putting on a shirt to all the implications of the object itself — stitched together most appropriate with the poetic technique of cataloging and the metric iambs he uses in his lists.
Do you know of a particular poem that also deals with nonlinear time?