(not poetry) I've hit a wall
Suzanne Fortin
I think I've hit a wall with my poetry, and I would like to take it to a
higher. I feel like I've "been there, done that." I want to try something
new. I was wondering if anyone knows of good books I could read so I could
push my poetry further. I'd take a workshop, but there are none where I
live (at least in English).
Suzanne Fortin Quebec, PQ, Canada *DO NOT SEND ME COMMERCIAL E-MAIL*
******************************************************************************
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Tout le monde doit payer sa juste part. We must all pay our fair share.
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Zita Maria Evensen
I found excellent poetry books at the McGill University bookstore. Maybe
you can check it out next time you are in Montreal.
Sometimes, a good novel will help as well. Have you read Alice Munro?
Also suggest Laura Esquivel 'Like Water for Chocolate' and Louise Erdrich's
Love Medicine.
Hope this helps.
/z.
--------
Robert St. James
Suzanne Fortin wrote:
>
> I think I've hit a wall with my poetry, and I would like to take it to a
> higher. I feel like I've "been there, done that." I want to try something
> new. I was wondering if anyone knows of good books I could read so I could
> push my poetry further. I'd take a workshop, but there are none where I
> live (at least in English).
Read Lorca's "La casa de Bernarda Alba". That will tell you want you
want
to know.
--
Robert St. James
(Slacker Novelist by Day, Divine Poet by Night)
http://ares.csd.net/~rsieg/st_james/st_james.htm (writings)
http://ares.csd.net/~rsieg/st_james/st_james.gif (picture)
http://ares.csd.net/~rsieg/a_vye/a_vye.htm (music)
ar...@greek.poets
Suzanne Fortin <aaa...@agora.ulaval.ca> writes:
>
>
> I think I've hit a wall with my poetry, and I would like to take it to a
> higher. I feel like I've "been there, done that." I want to try something
> new. I was wondering if anyone knows of good books I could read so I could
> push my poetry further. I'd take a workshop, but there are none where I
> live (at least in English).
>
>
> Suzanne Fortin Quebec, PQ, Canada *DO NOT SEND ME COMMERCIAL E-MAIL*
>
******************************************************************************
> Joignez-vous a notre equipe! Get involved!
> La campagne pour l'equite fiscale Fall Campaign for Fair Taxation
> des Jeunes neo-democrates du Canada New Democratic Youth of Canada
> 1-888-995-6392 1-888-995-6392
>
> Tout le monde doit payer sa juste part. We must all pay our fair share.
>
> Site web: http://fed.ndp.ca/fndp/fr Website: http://fed.ndp.ca/fndp
>
>
The books that go against everything you believe in usually
give you the greatest inspiration. I can recommend a few
for starters, Robot's Rebellion (David Icke), Gods of Eden
(William Bramley), The Physics of Immortality (Frank
Tipler), Fingerprints of the Gods (Graham Hancock) and
any book by any Chinese philosopher eg. Tao Te Ching (Lao
Tzu), the writings of Confuscious etc. Carl Sagan's
A demon haunted world could be interesting if you're
prepared to waffle through a load of boredom.
I would add the Bible but it carries the distinct
warning that no part in it may be reproduced or altered in
any way (and I happen to be superstitious).
Avec toutes mes Amities
Arion
Greg Jungheim
Suzanne Fortin wrote:
>
> I think I've hit a wall with my poetry, and I would like to take it to a
> higher. I feel like I've "been there, done that." I want to try something
> new. I was wondering if anyone knows of good books I could read so I could
> push my poetry further. I'd take a workshop, but there are none where I
> live (at least in English).
>
> Suzanne Fortin Quebec, PQ, Canada *DO NOT SEND ME COMMERCIAL E-MAIL*
> ******************************************************************************
> Joignez-vous a notre equipe! Get involved!
> La campagne pour l'equite fiscale Fall Campaign for Fair Taxation
> des Jeunes neo-democrates du Canada New Democratic Youth of Canada
> 1-888-995-6392 1-888-995-6392
>
> Tout le monde doit payer sa juste part. We must all pay our fair share.
>
> Site web: http://fed.ndp.ca/fndp/fr Website: http://fed.ndp.ca/fndp
Hi Susanne,
I think you would find "Indirections for those who want to
write"* be Sidney Cox a wise and inspiring guide to getting
over that wall.
*Nonpareil Books
306 Dartmouth Street
Boston, MA 02116
I'd bet your nearest library has it or could get it,
it's a classic.
Greg Jungheim
smolens
On Thu, 10 Oct 1996, Suzanne Fortin wrote:
>
> I think I've hit a wall with my poetry, and I would like to take it to a
> higher. I feel like I've "been there, done that." I want to try something
> new. I was wondering if anyone knows of good books I could read so I could
> push my poetry further. I'd take a workshop, but there are none where I
> live (at least in English).
good books may only be a comfort, not a solution. they may only show
you what others have done in times of desperation. what others do will
not always be translatable-- because of certain nuances that, fortunately,
as humans, we all have. workshops are for bored housewives, networkers,
and community seekers. the majority of them are products of the american
hippie mentality, which of borrows from blake, emerson, communism, eastern
philosophies and the beatniks-- a manifesto of confusion and failed politics,
leading you to develop poems that will reflect the group style and a certain
amount of disrespect or distrust of self-discipline.
being a poet is like constantly playing slinky; you start at the top of the
stairs and let it go; it won't always go to the bottom smoothly, sometimes
you're going to have to push it yourself to get it going again. the key is
to remember that poetry is a child's toy. if, for some reason, this key
should become bent, it will be very difficult-- no matter how strong
you are-- to straighten the key without snapping the key into two pieces.
broken keys open broken hearts, and sometimes it's best just leave a bent
key bent; the key may still work on a perfectly beating heart.
but in a time where you feel the slinky has stopped slinking down the
stairs, go back to some old works; see what you liked about them, see if
you can replicate only the stuff you liked, the stuff that moved the
slinky down the stairs. perhaps the shag carpet needs to go, or there's
a nail that has failed to remain on it knees, which is really where
you should be, hammering out a prayer for strength.
the ability to edit yourself is the most exhilirating and excruciating
aspects of writing-- the number one source of insecurity. all slinkies
aside, what you really have to do, is treat your stagnation like a bad
trip, a chemically induced source of fear that can send you running from
you own skull. bad trips don't last forever; though in the midst of one,
death may seem the most vulcan solution, since everytime you close your
eyes there's an evil knight riding a blood-red horse breathing fire, like
for perry in "the fisher king." what you need is a second head-- one that's
going to tell your other head, the tripping head, that you are fine no matter
what you have swallowed. you are fine, no matter what happens; you are
fine, no matter what you see; you are fine, no matter what you do.
you're still alive, and life is good enough.
to continue evolving as a writer, you must have some kind of separation
between the words and yourself, the self that doesn't write, the self that
merely plays, actively or imaginatively. play is the best way to avoid
a terrible stillness that poses a threat to your life.
but as far as good books go, take the bible. somewhere, covert killer of
christians that he is, paul-- or was it jesus himself?-- relates that you
should always possess a love for the place where you are, no matter how
low and disgusting; that despite your ambition to leave the low and
disgusting spot, you should never replace your love for that spot with
your lust for a new place, that the body, mostly water, is capable of
floating enough love and lust for an entire life without ever feeling
the wake from one vessel or another.
it is a superstition of mine that corrigible people who don't have
connections and wealth must believe what the bible says about loving
circumstances, if they wish to succeed in making themselves available
to transformations-- from basic lusts to complex loves.
jrs.
Peter Stewart Richards
Some people stop. Rimbaud stopped some time in his twenties.
Shakespeare didn't write poetry as such after some similar age. Dylan
Thomas upped and died. Not that you and I are about to be compared with
those kiddies.
Did you hit a wall, or did you just step back from the one you're
painting to get a better look?
Here's a couple from me:
It was a perfectly normal room and all
Three white swans flew in through the window
And got plastered against the wall
To whatever is left of the swans that can fly any more
The direction they were taking was towards the door
-
This next one is something I suddenly did while contemplating sending
something to this group for the first time. I think it sort of means;
there is life, and that ain't all bad. :)
There's a poem here I wrote but I'm not sending it it's written on a
piece of pink paper it's a miracle it survived it's sort of smudged with
soot and smells because the house burned down somebody told me I was
away but he said it's all right nobody was hurt there was nowhere to go
up there so I stayed where I was and sold christmas trees until well
anyway I had to go up there and there was some snow around but even so I
mean you know if you take the roof off a house it gets pretty cold al
sorts of cold and smudged with soot from the tar paper in the walls I
suppose and everything was wet because they soaked it of course they do
don't they I went down into the cellar there were some tools the walls
were still standing it was the top floor that burned I had on some
bright orange safety boots and overalls it was cold like it shouldn't be
in a house I saw the child's bedroom I got a shovle and dug into the
heap of charred paper and somehow or another it sits so tight together I
suppose no air gets in there anyway I saved my poems.
We got money from the insurance and built a new house nearly
and lost all the money and got divorced and anyway who needs rhyme
and meter with stuff like that?
7-5-96 Peter Stewart Richards
The writing comes and goes but the reason you do it never stops.
Bon courage !
Peter
Riddler
Suzanne Fortin <aaa...@agora.ulaval.ca> writes:
>
> I think I've hit a wall with my poetry, and I would like to take it to a
> higher. I feel like I've "been there, done that." I want to try something
> new. I was wondering if anyone knows of good books I could read so I could
> push my poetry further. I'd take a workshop, but there are none where I
> live (at least in English).
>
make it new.
ezra pound
cin
In <53nrte$3...@cliff.island.net> Riddler
go work at some job totally different from anything you have ever done.
what island???
'cin
Suzanne Fortin
On Sun, 13 Oct 1996, mjp wrote:
> i have an idea...quit.
> if you're going to get you inspiration from a book, quit and do us all
> a favor. i'd say go out and live for a while, but that seems to piss
> off everyone here, so i won't say it.
> just quit.
> workshops and books? give me a break.
I don't want inspiration. I want to learn more about technical aspects
and literary theory. You don't get that by osmosis. There's more to
poetry than writing cute imagery.
James Irl Waldby
>> if you're going to get you inspiration from a book, quit and do us all
>> workshops and books? give me a break.
>I don't want inspiration. I want to learn more about technical aspects
>and literary theory. You don't get that by osmosis. There's more to
>poetry than writing cute imagery.
You might consider a correspondence course. In 1993 I looked
at descriptions of some and recollect that the poetry
correspondence programs of the following seemed worth
considering. Office of Independent Study, Portland State
University, P.O. Box 1491, Portland, OR 97207; Center for
Credit Programs, 116 International Center, University of Iowa,
Iowa City, IA 52242; Center for Independent Study, University
of Missouri - Columbia, 136 Clark Hall, Columbia, MO 65211;
Division of Extension and Continuing Education, Abernethy
Hall, CB #3420, University of North Carolina, Chapel Hill, NC
27599; Division of Lifelong Learning, University of Southern
Mississippi, Southern Station Box 5056, Hattiesburg, MS 39406;
University Extension, University of Washington, 5001 25th, NE,
GH 23, Seattle, WA 98195.
root
Suzanne Fortin (aaa...@agora.ulaval.ca) wrote:
: I think I've hit a wall with my poetry, and I would like to take it to a
: higher. I feel like I've "been there, done that." I want to try something
: new. I was wondering if anyone knows of good books I could read so I could
: push my poetry further. I'd take a workshop, but there are none where I
: live (at least in English).
Manifestoes of Surrealism by Andre Breton is almost certainly the answer.
I would particularily suggest the seection entitles "The Magical Art of Surrealism" in the
First Manifesto of Surrealism.
Please to be of service.
-SSSSUNNNNNNONTHEBBBUUNNNNNNSSS
Kevin Carlson
I think every creative person reaches just such a plateau from time to
time.
It's said that in physical conditioning, one periodically reaches a plateau
where
there is no apparent improvement taking place; In fact, the changes are
simply
more subtle, less direct than what one has become accustomed to.
Try changing direction. Visit a good art gallery. Start taking
photographs of
things you feel are important to you. Above all, read the works of
successful
poets whom you admire. Try Emily Dickinson, Robert Frost, Carl Sandburg,
Kahlil Gibran.
"A poem should not mean, but be."
- Archibald Macleish
good luck! :)
Suzanne Fortin <aaa...@agora.ulaval.ca> wrote in article
<Pine.SOL.3.91.96101...@hermes.ulaval.ca>...
>
> I think I've hit a wall with my poetry, and I would like to take it to a
> higher. I feel like I've "been there, done that." I want to try
something
> new. I was wondering if anyone knows of good books I could read so I
could
> push my poetry further. I'd take a workshop, but there are none where I
> live (at least in English).
>
>
Bruce Tindall
mjp <michael....@mjptv.com> wrote:
>if you're going to get you inspiration from a book, quit and do us all
Yeah, somebody better tell little Johnny Keats to put down that
goddamned Chapman translation of Homer and get back to work in
the pharmacy. And hey, Bill Shakespeare, quit wasting your time
readin' them Holinshead Chronicles -- don't you have some costumes
to design for that play opening next week? Sheesh.
--
"A fascinating article, even if you're not interested in eels."
-- John Varela, a.f.u 9oct96
Karen Tellefsen
Bruce Tindall <tin...@panix.com> wrote:
: mjp <michael....@mjptv.com> wrote:
: >if you're going to get you inspiration from a book, quit and do us all
: >a favor. i'd say go out and live for a while,
: Yeah, somebody better tell little Johnny Keats to put down that
: goddamned Chapman translation of Homer and get back to work in
: the pharmacy. And hey, Bill Shakespeare, quit wasting your time
: readin' them Holinshead Chronicles -- don't you have some costumes
: to design for that play opening next week? Sheesh.
For Ms Fortin this might be decent advice. Her poetry is solidly
crafted, but it lacks that "something" that Renay or MCN has.
(My poetry lacks that "something" too, but I'm not as
serious about becoming a poet/writer as Suzanne is.)
Taking a few months off to try something different might be
helpful. I think Suzanne knows plenty about craft, now she
needs to find some inspiration, or she'll become a plow-horse
professor in some small college.
--
Karen Tellefsen
k...@interactive.net
Suzanne Fortin
Actually Karen, I did take quite a few months off in the last couple of
years-- hence my interest in getting it together.
I don't think inspiration is really the problem. I'm not looking for
inspiration. And in fact, I don't think a lot of my poetry is that
complex. That's why I feel I've "been there, done that". I'm looking to
make my poetry more rich. I think that's what my poetry lacks as compared
to Renay's.
Any subject can be the topic of a poem, and there are a lot of things I
want to write about. The problem *for me* is how to write about them.
On second thought, you might have a point. Form is part of the content.
The content part is a little thin for me in the sense that I need more
ideas on how to vehicle my 'thoughts' (impressions, ideas, whatever you
want to call them). I feel literary theory will help me find more ways to
say what I want to say, but just don't have the ways of saying it. The
way I convey imagery I find is getting kind of bland.
Ryan Deschamps
Suzanne Fortin (aaa...@agora.ulaval.ca) wrote:
: BOn Wed, 16 Oct 1996, Karen Tellefsen wrote:
: On second thought, you might have a point. Form is part of the content.
: The content part is a little thin for me in the sense that I need more
: ideas on how to vehicle my 'thoughts' (impressions, ideas, whatever you
: want to call them). I feel literary theory will help me find more ways to
: say what I want to say, but just don't have the ways of saying it. The
: way I convey imagery I find is getting kind of bland.
Pick up a copy of Princeton's Dictionary of Poetic Terms. Learn about
the different kinds of rhythm, sound devices (assonance, consonance and
rhyme) and figures of speech and experiment with them.
Practise with new and interesting metaphors. Be outrageous and try to
give logical explanations for your outrageouness. You'll get flamed
here for being so rediculous but you'll get flamed here for just about
anything else as well. :)
Say that "life is a chicken sandwich" and try to justify it. You may
not be able
to do so convincingly, but you will understand the use of allegorical
thought. LIke Joyce has said, the errors of a genius (I would rather
"wise man/woman" but Joyce said genius) are not errors at all because
they are volitional and only stepping stones to the eventually
magnificence of achievement.
Ryan...
Renay
*****wuuuuuh-oh. *BAM* there I am. and me with no lipstick on.
geeeez, y'all are gonna cause me to go all serious and intense
here. and it's such a skeeery thing to be! except on Samhain,
when I get off in ratting my hair and spooking the neighbor's
kids! while I'm delighted (DEEEE-lighted! to be honorably mentioned,
especially by Karen...I love her poems!) I'm no more poet than
my dog is. and trust me, that slobbery bastard is no poet. rather,
I'm more reporter on the macabre, amusing, quirky points of a
peculiar raising and quite lived life. I don't *feel* the poems,
I've never *been* the river. quite honestly, I write what I find
amusing about my oddity quality quantity experience. while I've
seen posts here about poems not being autobiographical, mine have
to be, cuz I can't think beyond the here and now. soooo, Suzanne,
in looking to reach beyond where you are now, don't think fer a
moment yer poems lack anything mine might have. if you gotta do
more than you do, craft 'em, structure 'em, hell, *feel* 'em if you
must. quite honestly, I'm impressed by your honesty and your
committment to growing as a poet. so there, y'all, you know my
deepest shame. (okay, the really steamy shame is a bit better...but
for the present thread, this shame will suffice).
Renay
>
>Any subject can be the topic of a poem, and there are a lot of things I
>want to write about. The problem *for me* is how to write about them.
>
>On second thought, you might have a point. Form is part of the content.
>The content part is a little thin for me in the sense that I need more
>ideas on how to vehicle my 'thoughts' (impressions, ideas, whatever you
>want to call them). I feel literary theory will help me find more ways to
>say what I want to say, but just don't have the ways of saying it. The
>way I convey imagery I find is getting kind of bland.
>
>
Karen Tellefsen
Ryan Deschamps <gre...@chebucto.ns.ca> wrote:
: Suzanne Fortin (aaa...@agora.ulaval.ca) wrote:
: : BOn Wed, 16 Oct 1996, Karen Tellefsen wrote:
: : On second thought, you might have a point. Form is part of the content.
: : The content part is a little thin for me in the sense that I need more
: : ideas on how to vehicle my 'thoughts' (impressions, ideas, whatever you
: : want to call them). I feel literary theory will help me find more ways to
: : say what I want to say, but just don't have the ways of saying it. The
: : way I convey imagery I find is getting kind of bland.
: Pick up a copy of Princeton's Dictionary of Poetic Terms. Learn about
: the different kinds of rhythm, sound devices (assonance, consonance and
: rhyme) and figures of speech and experiment with them.
Somehow I think Suzanne has done that. I don't think she will find
what she wants in a book. Maybe a workshop.
: Practise with new and interesting metaphors. Be outrageous and try to
: give logical explanations for your outrageouness. You'll get flamed
: here for being so rediculous but you'll get flamed here for just about
: anything else as well. :)
: Say that "life is a chicken sandwich" and try to justify it.
B
That is decent advice. And Suzanne's writing could stand a little
outragousness.
--
Karen Tellefsen
k...@interactive.net
Riddler
Suzanne Fortin <aaa...@agora.ulaval.ca> writes:
>
>
> On second thought, you might have a point. Form is part of the content.
> The content part is a little thin for me in the sense that I need more
> ideas on how to vehicle my 'thoughts' (impressions, ideas, whatever you
> want to call them). I feel literary theory will help me find more ways to
> say what I want to say, but just don't have the ways of saying it. The
> way I convey imagery I find is getting kind of bland.
>
>
get cold, get hot, fall off a cliff change your name
have imaginary children change their colour
believe in nothing believe in everything
buy a t.v. blow up your t.v. give away
your relatives fast feast puke
poets are
the bulimics
of life
just hit da wall, and hit it ...good
seashell
Robert Maughan
In article <54a0l5$i...@cliff.island.net>, Riddler <seas...@mail.port.is
land.net> writes
>just hit da wall, and hit it ...good
>
> seashell
Take a rush at it ..you're bound to slip on some dogshit
and ..splat.
--
RJM aka Greyfriars Bobby.
Ryan Deschamps
Karen Tellefsen (k...@interactive.net) wrote:
: : Pick up a copy of Princeton's Dictionary of Poetic Terms. Learn about
: : the different kinds of rhythm, sound devices (assonance, consonance and
: : rhyme) and figures of speech and experiment with them.
: Somehow I think Suzanne has done that. I don't think she will find
: what she wants in a book. Maybe a workshop.
You never know where you find something. Going to the library is
cheaper than going to a workshop, though. :) When I picked up this
dictionary, it caused me to experiment with choriambic and ionic rhythm
and I think ultimately improved my "voice." (and I think this is what
Suzanne Fortin is searching for.. a poetic "voice")
: : Say that "life is a chicken sandwich" and try to justify it.
: B
: That is decent advice. And Suzanne's writing could stand a little
: outragousness.
I find outrageousness increases the chances for a poetic flop, but it
certainly helps improve a poet's "eye" for things like imagery,
characterization, irony, etc.
Like I said before, I think this is about finding access to one's
personal "voice", and by this I mean the identifying factor where you can
not help but associate the poem with the poet. T.S. Eliot and his air
of condescension, Langston Hughes simple-but-not-so-simple language,
Allen Ginsberg and his dreamy rants of desperation mixed with beauty,
Hardy with his dreary ironic tone about existence and happenstance,
etc.
Really, there is no practical way to achieve a "poetic voice", but the
"trick" I think is the same as with acting or dancing or whatever. You
just got to keep hacking away at the art and use anything that works to
help you get to that next level. If that means you have to listen to
some kind of music that you normally can't stand, then you should do just
that, (I'm using the universal "you" because I don't want to talk about
Suzanne as if she wasn't reading... :) ) but the important thing is not
to stop writing. If you really want the voice, you can't stop writing.
Simple as that. No matter what St. James or mjp says.
Ryan Deschamps
http://www.chebucto.ns.ca/~greebie/cinquain.html
deb
Riddler <seas...@mail.port.island.net> immortalized the moment,
writing:
> get cold, get hot, fall off a cliff change your name
> have imaginary children change their colour
> believe in nothing believe in everything
> buy a t.v. blow up your t.v. give away
> your relatives fast feast puke
> poets are
> the bulimics
> of life
> just hit da wall, and hit it ...good
there has been some cool advice in this thread...this bit of advice
made the most sense to me and i hope to use it in my own way.
i feel that my poetry has become way too *controlled* and am
experimenting by hanging around with different poets, for starters.
the kids here at school aren't as knowledgeable about form and poetic
device and so forth as i am (and i'm not a complete expert, either)
but there are raw emotions in some of their works that impress the
hell out of me. they also show me that i don't have to lean on my
past aches and pains to generate poetry; there is certainly some joy
in the present worth writing about.
i agree with riddler/seashell: fast feast puke.
- deb
************
deborah kilgore
college station, tx
Suzanne Fortin
On Thu, 17 Oct 1996, Karen Tellefsen wrote:
> That is decent advice. And Suzanne's writing could stand a little
> outragousness.
You're probably right about my poetry needing more outrageousness. The
problem is I am a very conservative person. If I were a liberal type, I
would be capable of much outrageousness in my day-to-day life because I
have a personality which is suitable to this sort of thing. But I have
purposely chosen a conservative value system. I think poetically this puts
me at a disadvantage. I admire Eliot, who was a conservative, but Eliot
has done Eliot, so there's no need for me to imitate him. It would be very
trite of me, and anyway, artistically, I'm interested in doing what has
been done (although I recognize that I need more work on my originality)
Conservatives have to break ground in their own back yards. I have tried
to explore themes in my conservative background which could be considered
outrageous to this culture, but ideas are so difficult to convey in
imagery. My writing really started improving when I followed Sylvia
Plath's advice to write about plain things and poems will come of
themselves. Unfortunately, these poems, while technically okay, don't lend
themselves to outrageousness, as far as I have seen So I'm trying to look
for another way to build poems, with the help of some sort of poetic
theory or the like so that I can move beyond what I am doing now.
Suzanne
Jennifer Crystal Chien
just my brief 2c on this topic of poetic inspiration, new leads etc., though
i've seen a lot of good advice here already.
besides diversity and keeping fresh with reading new writings,
i find that two things keep up my poetic interest. one is
locating the source of importance and personal fascination. there
are subjects/topics/ideas/themes that each person finds a profound
interest and love about. (the old quote that, "nobody's apathetic,
you just haven't found out what interests him/her.") this leads
to more careful writing than a random topic. finding the source of
passion, not mere academic interest. however, one's passions
need not be typical, ex. dessert, or blades of grass, etc. while others
are obssessed with more theoretical topics, metaphysics, etc.
second is the idea or feeling that you want to be pushing the
boundaries of your comfort. as suggested by others, try doing
something in a new or different way (not necessarily outrageous).
write in a style and/or form you've come across but never tried before,
try inventing a new, unheard of form, and try to get creative
ideas from other fields (art, architecture, physics, etc), as to
ideas of style and form. you'd be surprised how often a type of
structure in another discipline can be applied towards a poem.
finally, as suggested previously, browse a good dictionary,
or better yet, I highly recommend the random house "word menu"
for word lovers. It organizes words by subject and interesting
topics like "personality traits" or "death". sometimes the
beautiful lexicon can inspire a good use for them.
--o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---
jennifer crystal chien | rai...@rahul.net
| http://www.art.net/Poets/Jennifer/
-o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o---o
greyhawk
Ryan Deschamps <gre...@chebucto.ns.ca> wrote in article
<54cbvq$r...@News.Dal.Ca>...
> Karen Tellefsen (k...@interactive.net) wrote:
> : Ryan Deschamps <gre...@chebucto.ns.ca> wrote:
> : : Suzanne Fortin (aaa...@agora.ulaval.ca) wrote:
> : : Pick up a copy of Princeton's Dictionary of Poetic Terms. Learn
about the different kinds of rhythm, sound devices (assonance,
consonance and rhyme) and figures of speech and experiment with them.
>
> : Somehow I think Suzanne has done that. I don't think she will find
> : what she wants in a book. Maybe a workshop.
>
> You never know where you find something. Going to the library is
> cheaper than going to a workshop, though. :) When I picked up
this dictionary, it caused me to experiment with choriambic and ionic
rhythm and I think ultimately improved my "voice." (and I think this
is
what Suzanne Fortin is searching for.. a poetic "voice")
>
> : : Say that "life is a chicken sandwich" and try to justify it.
> : B
>
> : That is decent advice. And Suzanne's writing could stand a little
> : outragousness.
>
I hope the ladies do not mind my adding my own two cents, but here it
is:
Awhile back, in what I am sure was intended as a flame, someone
suggested I study photography as a way to vent my need to create
dynamic imagery. (snide chuckle) I took it as a compliment, because
photography has been a hobby of mine for nearly ten years now.
Studying photographic composition, color photography vs. monochrome,
toning, special effects, and the "eye" of the photographer brought
about a dramatic change in my poetry as well. Instead of burying
oneself in more poetic craft, instead of pounding your head against a
wall, maybe you should grab a camera and look at the world through a
50mm lens for awhile. Notice the light falling on autumn leaves, and
notice how different it is when the light comes from behind. Grab a
quick snapshot of a child, and then sit back and watch for the perfect
picture of joy, innocence, and exuberance. Don't like photography
maybe? For less than twenty bucks you can pick up a plastic soprano
recorder and a book of Disney music with instructions on how to play.
No, not for the serious musician surely, but as a way to expand your
artistic reach it's a lot cheaper than a grand piano. Color pencils,
maybe? Get a rock polisher and make a bracelet. There are hundreds of
different possiblities. The best way I've found to get past a wall is
to just go around it.
greyhawk
Bei-Yin
Suzanne Fortin <aaa...@agora.ulaval.ca> wrote:
> [...]I want to try something new. I was wondering if anyone knows of good books I could read so I could
> push my poetry further.
Hi Suzanne,
why you want to write poems? Is it because you need to express yourself?
Is it a real urge? Then just go on living. Try to relate to everything
which comes to you, that means try to be aware of all these accounters,
whatever it might be. Be aware of your feelings when it happens, do not
suppress them, - or be aware that you suppress. Go out and live: be
bussy, fight or whatever and come back, be quiet and look inside.
(Meditation would help.) Then express yourself, just what comes, without
constructing too much. Might come out nonsence, might be genius, no
matter, it will be genuin. Go on!
In the following poem you can change the word 'artist' into 'poet',
maybe it can tell you something?
o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o
I a m a n A r t i s t
I am on the pathless path to 'wholeness':
Life force is nourishing the creative fire within me.
Melting outwards into shape, into form.
Manifesting itself through my self-expression.
I am the channel in my process of transition,
constantly changing with the inner flow.
Symbols of inner energies - coded unconsciousness,
trying to rise into my awareness - visible sighns.
With satisfaction comes stagnation:
I am caught in forms of repeated fantasies.
A dreamer, repeating his dream again and again.
Not understanding the meaning of it and not asking for it.
Not knowing, that dreams are attempts to connect
unknown energies with conscious awareness.
My ambition and urge to express myself constrict the force.
My work of art imprisons me - by my using it to confirm myself.
Confusion and fight result form suppressing and holding.
o-o-o-o
Do I need to struggle through a long path of learning?
Will I have to suffer to let go of the old,
to clear up, - to give up fighting and struggling?
o-o-o-o
Being aware of my motives and myself,
relating to my reactions inside and outside,
responding to echoes triggered by my self-expressions,
and going with the flow more and more -
I am on the pathless path to wholeness.
My creative process becomes a flowing and playful one.
My work of art is losing its importance:
ash from a burning process, - left behind.
Experiencing the flowing gives me joy.
Going beyond the limitation of symbols,
life becomes my creative process.
Art and life are ONE.
A happening in time and space - going beyond time and space.
The impossibility of expressing the 'other dimension' ceases.
I have grown beyond myself. -
I have found myself and so my 'wholeness'.
I am the path, - I am the 'buddha'.
ooooooo
ooooo
ooo
oo
o
Bei-Yin
o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o
If you are in trouble and looking desperately for a solution,
tell me your problem and I will try to give you a hint for
a creative way out of your dilemma. bei...@jet.es
o+o+o+o+o+o+o+o+o+o+o+o+o+o+o+o+o+o+o
= O =