The word “experimental” attracts me. I am interested in deviation (and I enjoy the sense of science [and thus procedure] that can come with the word). I would say that I am interested in reading (and writing) the experimental. But as with “beauty,” “experimental” can be primarily subjective. I wish to advocate use of the […]
When titles have an “or”
May 31, 2014 by
Oftentimes when a sentence features an “or,” the sentence is listing alternatives (typically exclusive of each other). In the case of a title, however, the “or” seems to be functioning in a different way. To help demonstrate what I mean, consider the title of an Eliza Haywood novel, “Love in Excess; or, the Fatal Enquiry.” […]
Comparison and Transformation (A Lesson Plan)
May 31, 2014 by
Overall objective: move from comparing nouns (as done by simile and metaphor) to transforming nouns by use of a well-chosen verb that seems to augment the usual abilities of that noun. Level 1: The Simile (approximate time: 5 minutes) Explain definition (relating a noun to another noun through the use of “like” or “as”). Show […]
In which I wonder about dedications
March 18, 2014 by
“for ________.” What does that mean? Not to be callous or myopic. But I wonder about the word choice—“for”—and the implications of such an often-used format. Perhaps I am over-thinking this. I realize this gesture is probably a way to acknowledge that person’s/people’s patience as the writer worked on the manuscript and during the work […]
Why I do not tend to favor one-word titles
March 18, 2014 by
At times, I do use one-word titles for poems. I do. But I am a bit hesitant to do so, for a few reasons. For one, one-word titles for poems are plentiful, and some words are used plentifully. “Nocturne” would be an example of this. (Which, I admit, I titled a poem some years ago.) […]
Thoughts on titles
March 18, 2014 by
The titles of poems can have a variety of purposes (or possibly purposelessness). Sometimes they are the last thing written. Sometimes they are the first thing. Sometimes they will be an “untitled.” A title can be brief. A title can be one word, a phrase, a sentence—a title could push the boundaries of normative forms […]
Why making constraint-based erasures can be good for children
February 5, 2014 by
In a previous post, I discussed my procedure in introducing some upper elementary children to constraint-based erasure poetry. I think that, besides the benefits of creating poetry lateral to the self, this type of engagement with books may be doubly beneficial for children (or any learner). A constraint-based erasure can be done with any text; […]
The first time I led a Poetry Workshop
February 5, 2014 by
Last month, I led my first poetry workshop. The focus was neither revision nor editing. The focus was on beginning and writing a poem, specifically the genesis of a poem with the use of a source text—a generation I managed to explore with a group of children. I was welcomed to engage with the upper […]
The term “Constraint-based Erasure”
February 5, 2014 by
In recent posts and upcoming posts, I have or will use the term “constraint-based erasure.” I wish to offer a definition for this term. To do so, I must first explain “erasure” and “constraint-based.” An erasure involves removing (or covering) portions of an original. The medium may be visual or textual—or both. For a fine […]
On writing and reading sequences
January 27, 2014 by
In previous posts, I have been thinking about series and sequences and how they differ. I have said that while “both the series and the sequence involve a journey, the series is even more journey oriented: the journey must be completed.” In the case of the sequence, the reader need not complete reading the whole […]