"Brain, shake out thy water, dog-like." -- Ron Padgett

Thursday, October 3, 2013

Class 3: The Acoustic Ecology of Sound


POETRY CLASS 3: Acoustic Ecology of Sound in Poems.


Why rhyme?

What other sound relations are available?


assonance
alliteration
internal rhymes
half rhymes


What do sound relations bring?
Weight, characterization, tone, music

Read Eunoia (on blog): you can really hear the difference in sound.
What’s the difference between the Chapter E and U excerpts?



Don Coles, on rhyme: "If that search for the rhyming sound to end your line with, that clink that locks the rhyme in, isn't a true search, i.e. if it doesn't send the shaft down to the deepest level this poem you're working on can live at, deeper than you could have without this self-imposed rhyme-search, then you stopped digging too soon, you accepted a word merely because it rhymed, it simply slid into place without making anything new happen; and if this occurs even twice, no, even once, your poem's probably already dead in the water, it's already, flottaison blême et ravie, [entranced in pallid flotsam] lost to human sight."

Read/look at:

1. Inger Christensen Alphabet (an excerpt)
2. Seamus Heaney: The Barn (see blog)
3. Gwendolyn MacEwan: Dark Pines (see blog)


Poetry title exchange. Use these titles for the titles of the poems to be written below.
Or....ekphrastic. Inspiration from the visual.

1. See Gwendolyn Brooks' "We Real Cool." (on blog)

Write a "we real cool" poem.
rhyme AA BB CC etc.
but also alliteration each line
repetitive line: anaphora

2. Write a poem with nonsense words: (cf. "Jabberwocky" on blog)
use alliteration, rhyme if wanted-use a kind you haven’t used.
-be aware of the sounds of the words

2b. Write a poem infused with words of a certain letter from The Phrontistery.
B-words. Or three letter words.

3.  Lisa Jarnot list poem (see "They Loved Paperclips" on blog)
with anaphora and attention to sounds.
(note internal sound relations in her poem, though it doesn't rhyme and this is “free verse”

4. Write lines in-between these lines.
Keep the whole shebang, or else erase these lines.


for skies of couple-colour as a brinded cow

rose-moles all in stipple upon trout that swim

fresh-firecoal chestnut-falls; finches' wings;
 
landscape plotted and pieced--fold, fallow, and plough;

swift, slow; sweet, sour; adazzle, dim;


Break.

Workshop Poems.

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