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Poetry Writing Part 5

By July 25, 2019News, Poetry
the last post    
in my last blog entry I listed a number of ‘modes’ for the composition of a poem the peripatetic, the here-and-now view, the political – the bearing witness mode (was where I got stuck) 

it seems like a hundred years ago I was in Hong Kong, worrying about Hong Kong… though we should still all be worried about Hong Kong 

… and now I’m home – and that is a very distracting way to be (more on that in a minute)… nevertheless I promised  a poem in the annotation mode 

what is it, you ask, a poem in the annotation mode? It is a response drafted on the page to an existing poem, already in print … i.e. it’s scribble in the margins you could type up later to make a poem and that new poem would have some relationship to the original poem from which you were working / to which you are responding 

a lot of people worry that this kind of thing will lead to plagiarism and of course it could if you were careless or that way inclined … my principle with this kind of work is however simply ‘in the presence so a poem comes’ i.e. spend time with good poems in order to make a good poem yourself 

…a lot of what I produce in the way of annotations is only vaguely connected with the original poem… however when I think there’s a chance of an actual response I could call a response, then I put the word ‘after’ at the top of the page I’m working on 

let me give you a quick example almost at random from out of the mighty pile of already annotated books of poems that need attention (need their annotations typed up to see if they can be poems), seeing the word ‘after’ at the top of the page I picked from Shuntaro Tanikawa’s lovely little Vagabond book (thanks Michael Brennan and friend) a little poem called ‘Mere Words’, which starts 

Having turned into mere words, 
the mountain is dimly squatting. 
The port under an overcast sky 
is thinking of something. 

and so now, for you, let’s see if I can conjure up a poem from my annotations responding, more or less, to this idea

 

after the words 

things, happenings
silences more brutal

dinner
lunch
breakfast
back to sleep

came from words to here
but fold in
armed with sweet saying

somewhat less the record shows
like a world spun once too many

breath after breath staged
so much of it has gone on in words
despite
over
and
under

mute truth of themselves
reflected in a page
pale air

there’s nothing proud about the mountain
and it’s all standing still
testament – our admiration

but everything on it’s moving, alive
thinking – where next, where’s home

that’s pretty close to just the notes of the page
but I’ve played with their order a bit
… it’s now a draft to come back to
and I think I can call it a response because it does speculate along the lines Tanikawa was speculating
…
so I think this gives you an idea of how the annotation mode could work for you
… maybe you want to respond to my response?
you see how this is a kind of open-ended conversation?

I guess the thing about the modes is that the best thing is to invent your own
if you can afford to…

people who say that they don’t read other people’s stuff cause they don’t want to be influenced … well, they’re not really poets… to be a poet you have to be constantly studying the craft… the only way to be a poet is to make poems; the only way to make poems is to be constantly learning from everything around you and especially from the poems that are everywhere around you if you care to listen and look …

and be discerning of course… remember there’s more good poetry being written in the world today than ever before (reams of it every day) and as a natural consequence, there’s more bad stuff too… it would be caveat emptor if anyone ever got paid for the stuff

*

anyway with being at home, here’s the thing, I did truly distract myself… for instance
I wrote a recipe poem which I was going to include here, but there wasn’t room…
but that led me to think what a nice anthology that could be … a collection of recipe poems by Australian poets… one thing leads to another… and remember Sterne –‘digression is the sunshine of the text’…
because I kept coming back to the to-do list … very important … that’s how I remembered to do the annotation work for you…
and
here to finish
(and to emphasise the importance and value of distraction
and how often you should just go with it)
are two drafts (from last night and this morning)
which are simply in the here-and-now observation mode
(or observation and action, I could say, in the case of the fire poem)

1307
pile burning 
(midwinter thing)

little sun we make
to chase around
and backs to
can revolve

could chase a fire like that all day

better to start with dusk
clocks gone home

hard to know what to let
no hard edges here
but that the day runs out

watch
stand smoke aside
and mainly just be watchful
breeze attentive
have a bucket for the symbol

you don’t want this in summer
don’t want the fuel around

the pile gets going
you think
what can we add?
what has to go?

stars fall
and stars spin up
(other poems are full of them ­–
throw old poems on)

it falls in on itself
needs feeding

we find a leant-up
decaying door

I suspect original
the 1948 door
through which cows must have come
generations

a little ragged round the edges
damp
but the fire was hot
we threw it on

that door was a way in
we burnt it
now it’s gone 

adventure in feathers

and overcast, no matter

well into the morning
when this swamp hen
takes to the roof
one is tempted to think
because it is there

what use a roof to almost flightless?
 pond traipser –
the white-arsed swampy Jesus of birds

one wonders if the tribe will follow
but no, a solo show

they haven’t much of a tune
but you could always hear them
issues of territory, love quarrels

now a clatter too

at least this one is
who holds the roof
for decoration

and from there
gets up in the touching tree
half flutter
could say climbing

precarious to perch
its moment swaying

then
nothing like a thunderbolt
it glides
to pond

spectacular
at least to me

*

now, if after all of this you want more of me, you can go to my website
it’s kitkelen.com
or find me on facebook
or on the 366 blog
https://project365plus.blogspot.com/
where you can find draft stuff I and others put up every day
or howsabout you buy a book of mine
like for instance my latest
Poor Man’s Coat – Hardanger Poems 
https://uwap.uwa.edu.au/products/poor-mans-coat-hardanger-poems
or
if you’re interested in taking the complete course in poetry writing
you could grab yourself a copy of my workbook
Throwing Words Together – 101 Poetry Making Exercises
(rare as hen’s teeth)

at a pinch you can message or e-mail me
at KitKelen@emeritus.umac.mo

don’t’ you hate the way poets promote themselves so shamelessly?
but really what’s a bear to do?
bump bump bump on the back of the head
coming down the stairs
there must be another way
but now he’s introduced to you

think back
Pooh says ‘I do remember, and then when I try to remember, I forget’
Draft of poem - part of the process - by Kit Kelen
Bonfire from distance
Flames from bonfire
an image of Fire
picture of poet Christopher Kit Kelen