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Naming the Unnameable: an Approach to Poetry for New Generations

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Naming the Unnameable: an Approach to Poetry for New Generations Naming the Unnameable: An Approach to Poetry for New Generations Naming the Unnameable: An Approach to Poetry for New Generations MICHELLE BONCZEK EVORY OPEN SUNY TEXTBOOKS Naming the Unnameable: An Approach to Poetry for New Generations by Michelle Bonczek Evory is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted. ©2018 Michelle Bonczek Evory, except where otherwise noted ISBN: 978-1-942341-49-9 ebook 978-1-942341-50-5 print In some cases, excerpts from poems are included, for which the copyright is held by the poet or publisher. It is believed that the use of small portions of these works to illustrate concepts and educate qualifies as fair use under United States copyright law. If you are the copyright owner of a poem excerpted in this publication and wish to have it removed, contact us at [email protected]. This publication was made possible by a SUNY Innovative Instruction Technology Grant (IITG). IITG is a competitive grants program open to SUNY faculty and support staff across all disciplines. IITG encourages development of innovations that meet the Power of SUNY’s transformative vision. Published by Open SUNY Textbooks, Milne Library (IITG PI) State University of New York at Geneseo, Geneseo, NY 14454 Contents Reviewer's Notes vii Stan Sanvel Rubin Reviewer's Notes ix Bruce Smith Preface for Instructors xi Introduction: Our Natural Right to Play 1 Chapter One: Getting Started: The Nine Muses 7 Chapter Two: Welcome, Reader: Reading Poetry 25 Chapter Three: Images 39 Chapter Four: Voice 69 Chapter Five: Architecture 89 Chapter Six: Acoustics 105 Chapter Seven: Experimenting with Forms 115 Chapter Eight: Revision 131 Chapter Nine: Publication 141 Chapter Ten: Reading Your Poems to an Audience 151 Key Terms 157 Concrete Word List 165 Abstract Word List 167 Recommended Accompanying Resources 169 Works Cited 171 Reviewer's Notes STAN SANVEL RUBIN This may be the most original and comprehensive text I’ve encountered for beginning poets. Naming the Unnameable is distinguished from “how to” books, or books intended to open a “creative path.” It embeds its philosophy in its shrewd pragmatics, offering enthusiasm and encouragement in the guise of real world advice and an abundance of specific ways to think and do and be as a writer. The student is encouraged to learn by doing, but––and this seems crucial––is stimulated to be a more informed and thoughtful reader as well. Naming the Unnameable demystifies the fear of doing and the fear of failing by accepting both as givens and providing multiple tools for getting past them. Rich, accessible connections are made throughout. Encouragement begins at the welcoming Introduction. The chapters on Voice and on Revision are masterful. The final chapters on publication and public reading—top- ics always in student minds but rarely discussed in books—treat their potentially intimidating subject matter as satisfying realities, and give clear, common sense guidance. While attend- ing to craft, the text offers a wealth of practical encouragement and fresh ideas––such as the suggestion to assemble a personal anthology of “bad” (unappealing) poems, or links to rejec- tion letters garnered by ultimately successful writers. The whole is structured to be useful. The range of examples and commentary is shrewdly arranged to display a diversity of possibilities the reader is invited to assess, interact with, and respond to in his or her own way. The diverse poems discussed are held up not as shining models to revere, but as the products of various dedicated practitioners, and the author addresses the student writer as if she/he might be one. An exemplary technique is the way the author pairs accomplished poets of very different aes- thetics and then uses her own voice to create a dialogue, so that the poet cited is not “the” authority. This opens a space for the student’s response. Naming the Unnameable should find an enthusiastic reception by the instructor in the classroom, and certainly by student writers out- side it as a personal resource well suited to the digital and information-saturated 21st century environment. The links alone are invaluable for a poet at any level, undergrad or graduate. vii viii • MICHELLE BONCZEK EVORY The author has done admirably the requisite sifting, focusing and contextualizing that enables the student to go further with a new sense of purpose and possibility. Stan Sanvel Rubin has taught poetry writing to undergraduate and graduate students for more than thirty years. He retired in 2013 as founding Director of the innovative Rainier Writing Workshop Low-Residency MFA program at Pacific Lutheran University and was the long-time Director of the SUNY Brockport Writers Forum and Videotape Library and the Brockport Summer Writing Work- shops. He is a recipient of the SUNY Chancellor’s Award for Excellence in Teaching. Author of four full-length collections of poetry, he writes regular essay reviews of poetry for the national journal, Water-Stone Review. Reviewer's Notes BRUCE SMITH When Emily Dickinson was asked where she thought poetry came from she replied “Philol- ogy and Cherubim.” Michelle Bonczek Evory’s book seems to hold both language and angels in mind with the clear emphasis on the poem being delivered from sources both immediate and accessible. Naming the Unnameable strikes the right tone for students and for instructors in that it enters the “poetry mind” in the act of making. It’s a creative writing text. It’s not interested in inter- pretation but the making of original poems. The text is clear in its goals, and its emphasis is with process and discovery oriented learning rather than, say, historical or critical learning. The preface states that it connects both to the “now” and to “the knowledge of what came before so we feel connected to poetry’s tradition and participate in its lineage.” Clearly the emphasis is on the now, the practitioner’s immersion in the craft and the making of poems from personal experience. The emphasis is on “spontaneity and freewriting.” I’m convinced that Michelle Bonczek Evory knows her stuff and I’m persuaded that she’s in touch with the New of the title’s New Generation. Bruce Smith was born and raised in Philadelphia, Pennsylvania. He is the author of six books of poems, The Common Wages, Silver and Information (National Poetry Series, selected by Hayden Carruth), Mercy Seat, The Other Lover (University of Chicago), which was a finalist for both the National Book Award and the Pulitzer Prize, Songs for Two Voices, and most recently Devotions, a finalist for the National Book Award, the National Book Critics Circle Award, and the LA Times Book Prize. He received the 2012 William Carlos Williams Award. His work has appeared in The New Yorker, The Nation, The New Republic, The Paris Review, The Partisan Review, Poetry, The American Poetry Review, and many others. Essays and reviews of his have appeared in Harvard Review, Boston Review and Newsday. He teaches at Syracuse University. ix Preface for Instructors I have approached the act of writing poetry from a practitioner’s perspective, and as it is first and foremost an act of play, I have provided strategies and detailed practices that nurture and maintain creative states necessary for all stages of writing. First drafts are approached with an emphasis on spontaneity and freewriting. Revision is practiced with an open mind toward possibility. To balance the nature of poetry’s need for spontaneity, I have placed an equal emphasis on the need for discipline and the benefits of reading widely and deeply to under- stand poetry’s roots. In an effort to foster insight into what poetry actually is and what it does, I have included philosophical perspectives, linguistic origins of key terms associated with poetry writing, and the understanding of poetry expressed by a variety of American poets. I believe it is important for students to master both sides of the poetry writing equation—the ability to create and be in the now, and the knowledge of what came before, so that we may feel connected to poetry’s tradition and participate in its lineage. In an effort to foster the skills, patience, and joy that comes from reading poems, I have included a chapter entitled “How to Read a Poem” that opens the book. For how can one write a poem if one cannot read one? Throughout the book there is an emphasis on the five senses and honing our powers of atten- tion and observation, which allow us to be finely attuned with the images and the language of our poems. I have integrated approaches for writing poetry from other genres—not just from poets—as writing poetry benefits from approaches used in writing fiction and nonfiction, as well as in the other arts like acting. In addition, I have detailed approaches for the entire life of a poem—from freewriting a first draft to submitting poetry for publication to reading poems out loud to an audience. I have approached the writing of poetry in the classroom as an act that focuses on the reader, with the intention of making the poem something to be shared with an audience. Included is an appendix with links to digital sources and recommendations for print sources that can enhance and deepen learning. In writing this book I faced the challenge of not being able to include every poem and poet and essay and exercise and resource that I love and know could help students to learn and pro- fessors to teach. It is a project that I could’ve kept expanding and revising for the rest of my life! I have worked the best I could to produce a book that I believe offers effective advice for student poets and provides access to an incredible wealth of poetry that will teach and inspire.
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