Image to Word an Abecedarian List of Games and Experiments

Image to Word An Abecedarian List of Games and Experiments JOANNA FUHRMAN ast year, I was asked to be part of a voices stirring within. Alphabet Photography by Andrew Butters. Andrew by Photography Alphabet pedagogy panel on teaching students So, in the spirit of Bernadette Mayer’s “List of to write poetry in response to visual Experiments” and as a response to the awp invitation, art at the Association of Writers and I created my own list of favorite image-based writing Writing Programs (awp) writing con- activities. I have structured my piece as an abecedar- ference. For years I have been asking ian, a list from A to Z, because I wanted the form of Lstudents to respond to images, so it was useful for me my writing to mirror the idea of chance and random to have an excuse to think about my own methodology. constraint. I came to realize that the use of images in my writing These ideas were developed in the private work- and teaching practice is part of a larger approach that shops I teach for “advanced” writers at my apartment employs “chance” as a way to spur creativity. My goal in Brooklyn, as well as in my classes at Rutgers and is to create the experience of surprise for my students, Sarah Lawrence Writer’s Village, and in workshops I and for myself, so that we can be pushed into the parts have given for teenagers and younger students at pub- of ourselves that are the most strange and irreducible. lic schools and libraries. Most of these ideas are mine, As Hans ( Jean) Arp wrote, “The law of chance, which but a few are variations on old Teachers & Writers embraces all other laws and is as unfathomable to favorites. Many of the ideas can be adapted for differ- us as the depths from which all life arises, can only ent ages. Usually I try to do the exercises along with be comprehended by complete surrender to the my students and share my work with them at the end. Unconscious.” In other words, the surprise of the unknown forces us to access part of our imagination Abstract Metaphor that would otherwise remain dormant. To pick an im- I start by telling everyone to write age to write about “at random” forces one to be open three abstract or emotion words on to the possibilities of the world, to say “yes” not only A index cards. (One per index card.) For to the image at hand, but also to all the conflicting example, “mystery” or “hate.” The students put them face down and hold on to them. Then I give each stu- Joanna Fuhrman is the author of four books of poetry, most recently dent a separate image to look at. I set the timer for Pageant (Alice James Books). Her new book, The Year of Yellow Butterflies (Hanging Loose Press), is due out in spring 2015. She ninety seconds and ask everyone to write as many de- teaches creative writing at Rutgers University and in private workshops scriptions of the image as possible. At the end of the for adults. She is part of the Teachers & Writers Metropolitan Museum leadership team. For more, visit www.joannafuhrman.com. time, the students pass the image left and repeat the 9 Summer 2014 Joanna Fuhrman procedure twice. Next, I show the students examples of poems that Color Study start with metaphors that connect abstract concepts My students pick a color, and then walk to concrete descriptions. For example, Eileen Myles’ around a museum or look through an poem “Perfect Night” begins, “Youth / itself /is a little C art book and write down images with / baby animal / we’re petting / his honey fur / as night that color. Usually I’ll have them make a list of twenty cars pass / in Missoula.” Victor Hernández Cruz’s images, focusing on nouns and verbs, not adjectives. poem “Energy” starts with, “Energy is red beans and After they finish taking notes, I ask them to use the rice,” and Natalie Diaz’s “Why I Hate Raisins” begins, images in a poem, and tell them that they may not “Love is a pound of sticky raisins / packed tight in even want to “name” their color in their final poem. black and white / government boxes the day we had Sometimes before they write their poems, we read no groceries.” a few model poems out loud to get us in the mood, I ask the students to pass their list of abstract maybe Rilke’s “Blue Hydrangea” or Hans ( Jean) Arp’s words to the right. Now each student should have “White.” the descriptions they wrote, and three abstract words from the student next to him or her. I ask them to Dreams connect their descriptions of the images to the ab- My students make a list of three stract words as the poets did in the lines I just shared anxiety dreams, and then we read the with them; in other words, start a sentence that begins D Polish poet Wislawa Szymborska’s with the abstract word, then the word “is,” then a sen- poem “Two Monkeys by Brueghel,” where she con- tence from the description. This should give everyone nects her speaker’s dream to the Dutch master’s three slightly odd metaphors. Pick one, I tell them, painting. and use it for a first line, then free-write for five or six After reading the poem, the students look at an minutes. Sometimes they want to use more than one. image chosen at random from a stack. I ask them to My approach is always to tell my students to go for it. write a poem starting with one or two lines about their dreams and then something about the picture. Black and White The images can be connected or not. There’s no need I ask my students to look at black-and- even to tell the reader that one is writing about a white “art” photographs, either at a dream. B museum or in reproductions I’ve pro- vided, and tell them to describe the colors they don’t Exquisite Corpse literally see. I remind them to make the descriptions I share images of exquisite corpse draw- active, using verbs. For example, if they see the hat as ings (by André Breton, Yves Tanguy, red, they might ask, “What is the red hat doing?” I E and others) and then have the students talk about how some poets are able to use synesthesia play the “Exquisite Corpse drawing game,” where one and see sound and movement as possessing a color, person draws the head, another person draws the tor- and give them a translation of Kurt Schwitters’ poem so, and a third person draws the legs, without looking “Anna Bloome” as an example: “Blue is the color of at one another’s work. Then we read Bob Kauffman’s your yellow hair. / Red is the cooing of your green poem “Will You Wear My Eyes,” which makes col- bird.” I talk about how color words can express an orful, extended metaphors for different parts of the emotion as well as a visual reality, and ask them not to body, and includes the lines: think too much about it. I want to allow them to play with the possibilities the images suggest. My face is covered with maps of dead nations; 10 Teachers & Writers Magazine Image to Word My hair is lettered with frying ragweed. place with objects and sounds within it. Bitter raisins drip haphazardly from my nostrils For teenagers and adults, I use C.D. Wright’s While schools of glowing minnows swim from my poem “Utopia.” The second stanza begins: mouth. Inside of me Next, the students exchange drawings, so they are there is a period of mud, looking at one they did not contribute to. I ask them flies and midges come with the mud to “pretend you are the person in the drawing and followed by a time of intense sun; write a poem describing the different parts of your with the sun comes a cool room body using detailed, extended metaphors.” furnished by a rotating fan, a typing machine. Fable-esque I ask the students to use Wright’s poem as a starting We read a few prose poems in transla- point and to look at the Baargeld drawing for ideas. tion from Max Jacob’s The Dice Cup, We then write a poem as a class that starts with the F and I ask my students to notice how line “Inside of me.” Whenever they get stuck, I ask the poems often start with a general statement and them to look back at the drawing and describe what then later move to a specific detail. For example, they see. I also ask them to imagine what it would “Kaleidoscope” begins, “Everything seemed to be in sound like, smell like, and feel like in that space. I mosaic. The animals were walking with their paws try to get them to add verbs to their impressions, so toward the sky, except for the donkey that is, whose that their images are more active. After they write belly was covered with written words that changed the group poem, I ask them to return to their own constantly.” I then give my students postcards of sur- pictures and describe what they see, hear, smell, and real paintings or drawings, perhaps by Max Ernst or feel inside of their own “minds.” Leonora Carrington. I ask them to look at the image and write a prose poem that imitates the Jacob-esque Haiku movement from broad to specific.

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