The Time Is Now

“One day Juan Felipe Herrera said to me, ‘Abandon the left margin.’ It was a new liberation to my practice and process,” says Anthony Cody in the January/February issue of Poets & Writers Magazine about his debut collection, Borderland Apocrypha (Omnidawn, 2020). Consider breaking away from the traditional mold of a poem and write one that feels free from expectations. Try using center-alignment or footnotes, or redacting a text the way Cody does in his poem “In the Redaction of the Fake 45th.”

In the introduction to an issue of Ploughshares edited by the late poet Jean Valentine, who died in December, she says: “My dreams were very important to me right in the beginning. I had a teacher in college who said ‘You could write from your dreams’ and that was like being given a bag full of gold.” Inspired by Valentine and her award-winning first collection, Dream Barker, write a poem that begins with an image from one of your dreams. Allow the internal logic of dreams to guide your lines.

Amy Key’s essay “A Bleed of Blue,” published this month in Granta, begins with a white lie: “I wasn’t in LA because of Joni Mitchell, but that was what I had told my Lyft driver and it felt good to have a story.” The essay meditates on Mitchell’s iconic 1971 album Blue, and reflects on Key’s memories listening to it as a teenager with her friend who had just begun experiencing menstruation: “In my memory of that night, the lava lamp was like the pain my friend was experiencing, the hot red pulse of it.” Song by song, Key recounts her memories of Los Angeles and her emotional connection to Mitchell’s songwriting. Choose a music album that’s meant a lot to you, then write an essay that reflects on how the experience of listening to each song transformed you.

“They listened to the news in the front room, their bodies as still as the mounted deer on the wall behind them.” In Idra Novey’s short story “Husband and Wife During the Nightly News,” a married couple go through their routine of watching the news, the husband commentating while expecting the wife to murmur in agreement, a sequence they stick to “as if the very beams of their house depended on it.” The setting of the living room adds meaning onto the ritual of their marriage, and still objects begin to take life, ending with the wife feeling as if she had “ripped off the doe’s furred skin with her teeth.” Write a story that features a character whose living area directly reflects the conflicts being faced. How can inanimate objects be used to express emotions?

“Mars Being Red” by the late poet Marvin Bell lyrically explores the color red as a state of being, likening it to a list of images that both physically resemble the color and provide memories, such as that of youth. In this compact, twelve-line poem, Bell begins what seems to be a portrait of the planet Mars and then delves into a series of digressions that find resolve in a meditation on the possibility of change: “You will not be this quick-to-redden / forever. You will be green again, again and again.” Inspired by Bell, write a poem that serves as a portrait of a color. Use physical descriptions to begin and then personal memories to develop a transformation in this study of hue.