Genre: Poetry

Andrei Guruianu and Archetypes in the Unconscious

In May, P&W-supported poet Andrei Guruianu, author of Postmodern Dogma and several other books, taught a workshop sponsored by the Center for Gender, Art and Culture in Binghamton, New York. Participants Lois Westgate and Kit Hartman blog about the experience.

Andrei Guruianu led a group of writers in the process of creating poetry at the Cooperative Gallery 213. The Gallery provides a space for local artists and photographers, and has welcomed writers’ workshops. Andrei has long been an inspiration to fledgling writers in Upstate New York: He taught at Binghamton University and Ithaca College, published a journal of work by writers from his community workshops, founded The Broome Review, and served as Poet Laureate of Broome County.
 
Our Saturday workshop was a small group, which Andrei prefers “…as it promotes intimate conversations and sharing, and allows people to feel more comfortable once the group settles into the work of writing.” He recommended we try to remove our biases and allow the subject of our poetry to live on its own.

Andrei showed scenes from the movie Iris, in which Judi Dench as British writer Iris Murdock says: “Every human soul has seen, perhaps before their birth, pure forms such as justice, temperance, beauty, and all the great moral qualities which we hold in honour.” We contemplated the archetypes of the unconscious, which are sometimes impossible to convey in words.

The movie includes a montage of Iris and her husband swimming, Iris nude in youth, and in a bathing suit in old age. Andrei asked us to identify concepts this scene evoked and capture these through images in our poetry. For our second poem, he asked us to respond to a scene in which Iris, now suffering from Alzheimer’s, places beach stones on rows of blank paper from her journal, then removes the stones. The papers are swept away. 

We read our poems aloud and Andrei pointed out the strongest parts of each. His critiques were honest, but not brutal. An example of one person’s best line inspired by the stones-on-paper scene: “…her fingers remembered the need to create.”

Andrei’s philosophy is this: “I continue to enjoy leading community writing workshops because it helps me stay true to my initial impulse, [which is] to take creative writing out of the classroom. The creative space that opens up when there is no pressure to create or publish is genuine, is as close to the ‘spirit’ of the art as you can get.”

We in Binghamton felt fortunate to have the opportunity to learn from him.

Top photo: Andrei Guruianu. Credit: Kit Hartman. Lower photo: Workshop participants. Credit: Andrei Guruianu.
Support for Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

Skylight Books

Open since 1996, Skylight Books is an independent bookstore in Los Angeles. Skylight Books hosts regular author events and book discussion group meetings, and has a large offering of literary magazines for sale along with new books.

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The Ekphrasis

5.29.12

An ekphrasis is a poem about, describing, or inspired by, a piece of art. Rather than writing a poem based on a piece of art, try writing a poem inspired by an existing ekphrasis.

Spirit of Detroit

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"We walk north, as the spirit of Detroit watches over us," writes Victor "Billione" Walker, whose Detroit Poetry Blog seeks to keep the city's poetry community connected. This video, for Walker's poem "Undercurrent," features photos by Roy Feldman and William Archie.

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Ama Codjoe Is Alone in the Woods

Social justice activist and Cave Canem fellow Ama Codjoe blogs about writing in form and five days in the woods.

In September of 2011, equipped with lessons from the P&W–supported Cave Canem workshop with Marilyn Nelson and with Annie Finch's A Formal Feeling Comes: Poems in Form by Contemporary Women, I drove to a friend's country home in Pine Plains, New York. I spent five days alone in the woods (with deer, wild turkey, trees, and books as worthy companions).

Most writers acknowledge the benefit of retreat. Getting away enabled me to turn off technology and turn any distractions into sustenance: cooking, watching the lake shift and move, or watching a deer watching me. In this way some retreats are a coming towards: towards nature, towards community, towards solitude, towards discipline. I am grateful to have benefited from different kinds of retreats where I have learned about the craft of poetry, the power of community, and the sacredness of solitude.

Writing is a creative act that one performs alone, but when I began writing sonnets after Julia Alvarez, I was communing with the poems I had read and the poets I had heard. I am not sure that I would have decided to write thirty-three sonnets without my time in the woods. I know that I wouldn't have begun writing a series of sonnets without the P&W–supported regional Cave Canem workshop with Marilyn Nelson in 2009.  We explored the virtues of formal poetry, and it was then that I first dipped my toes into the waters of the sonnet.           

Since September, I have crafted sonnets about mermaids, desire, fishermen, and seascapes. They are the most personal poems I have written. They are poems that benefit from the syllabic, rhythmic, and aural constraints of formal verse. The word sonnet comes from the Italian word sonetto meaning "little song." Through composing and revising sonnets, I am singing to myself, to Alvarez, to Nelson, and to the deer and turkey in Pine Plains too.

Photo: Ama Codjoe. Credit: Matthew Goldberg.

Support for Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

Neil Gaiman

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"When you start out on a career in the arts, you have no idea what you're doing. This is great," says bestselling author Neil Gaiman in his commencement address to the class of 2012 at the University of the Arts in Philadelphia. "People who know what they're doing know the rules and they know what is possible and what is impossible. You do not. And you should not. The rules on what is possible and impossible in the arts were made by people who had not tested the bounds of the possible by going beyond them. And you can."

Keep It Short

5.22.12

Revisit a poem of yours that is longer than one page. Try rewriting the poem by condensing it to ten lines or fewer. Cut and rearrange lines from the original poem, or write a completely new one that gives fresh attention to an evocative image or line from the original. 

Recommended Reading

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A new weekly journal of fiction from the folks who brought you Electric Literature, Recommended Reading will publish one story, chosen by a diffferent author or editor, every week. "In this age of distraction, we'll uncover writing that's worth slowing down and spending some time with," editors Benjamin Samuel and Halimah Marcus say about their latest project. "And in doing so, we'll help give great writers, literary magazines, and independent presses the recognition (and readership) they deserve."

Ama Codjoe's Introduction to Formalism

Social justice activist and Cave Canem fellow Ama Codjoe blogs about participating in a P&W–supported Cave Canem regional workshop with formalist poet Marilyn Nelson in 2009. 

In fall 2009, Poets & Writers supported a Cave Canem regional workshop with Marilyn Nelson. Nelson is a goddess of formal poetics. Before taking a workshop with Marilyn I had little experience with sonnets, sestinas, or ballads. Through a series of lessons on meter, rhyme, and phrasing, I learned the arithmetic of formalism.

Nelson asked us to pay particular attention to the construction of the poetic line. Through a sequence of assignments we experienced how careful and intentional construction could lead to a meaningful, surprising, and exciting composition. Formal verse provides the writer with added parameters. Nelson’s poetry exhibits how such constraints used skillfully can produce poems that are wild, challenging, liberating, and free. Gwendolyn Brooks and Robert Hayden offer examples of how constraint or restraint can be used to describe terror, horror, beauty, and oppression. In these ways formal poetry holds paradox with nimble hands.

To conclude our time together Marilyn asked us to write one sonnet. About two years later, a childhood friend reminded me of a series of poems that we read when we were teenagers. “Don’t you remember?” she asked. “Who touches this poem touches a woman.” I did remember. The last line of Julia Alvarez’s last sonnet was a line that moved my teenage-becoming-a-woman self. Rereading those sonnets from Alvarez’s first book, Homecoming, was a kind of homecoming. I admired the way her sonnets sounded both casual and intimate. The themes she was obsessed with: relationships, God, marriage, and womanhood resonated with the preoccupations of my thirty-something mind and heart.

By experiencing the resonance of a poetic line as a teenager and returning to that line as an adult, I began a process of constructing, revising, and building a sonnet cycle of my own. I am grateful for Nelson’s instruction and for an introduction to formalism that continues to shape and propel my work.

Photo: Ama Codjoe. Credit: Amanda Morgan.


Support for
Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

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