POETRY CLASS 3: Acoustic Ecology of Sound in Poems.
What other sound relations are available?
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."
1. Inger Christensen Alphabet (an excerpt)
2. See Nikki Sheppy, Rows and Columns
3. Seamus Heaney: The Barn (see blog)
Lorine Niedecker, Poems
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. Write a poem with nonsense words: Write a poem with "nonsense" words or near-words (what are they?) or words used on the limits of intelliglibabblility.
(cf. "Jabberwocky" on blog)
(cf. Nikki Sheppy: (from poppycock) https://jacket2.org/commentary/nikki-sheppy-three-new-poems
use alliteration, rhyme if wanted-use a kind you haven’t used.
-be aware of the sounds of the words
2. Write lines in-between these lines/stanzas. (See Nikki Sheppy: Rows and Columns
2b. Write a poem infused with (or entirely with): One syllable words
- words of a certain letter from The Phrontistery.
- B-words. Or three letter words.
3. 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
with anaphora and attention to sounds.
(note internal sound relations in her poem, though it doesn't rhyme and this is “free verse”
4. More writing in between
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;