Showing posts with label Robert Wallace. Show all posts
Showing posts with label Robert Wallace. Show all posts

Friday, September 4, 2015

Is Writing Poetry Intuitive?


Poetry begins in the head. The day had gone gray and I’d pretty much given up on fetching new stuff to celebrate the occasion. I was just settling into the fact that all I was going to do that day was set up a customized blog header when the line, ‘I wish you knew the man I called father’ blew in on the breath of inspiration. Details of the poem, dedicated to the memory of my father who passed on some twenty odd years ago, sorted itself out with the introduction of the phrase above.

Writing a poem can be either exciting or pretty much like cutting rock with an ax. It all depends on the angle of approach. Wordsworth took his cue from this when he said poetry “takes its origin from emotions recollected in tranquility; the emotion is contemplated till, by a species of reaction, the tranquility gradually disappears, and an emotion kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In this mood successful composition gradually begins.” Underneath every good poem a carpet of refined emotions sustains the poem’s resonance, molding and loading it with deep meaning heavier than the metaphors presenting them.

Wordsworth composed the entirety of his poem, “Tintern Abbey” about 159 lines in all, in his head while taking a rather long stroll. “Not a line of it was altered,” he said. “And not any part of it written down till I reached Bristol.” How a poem begins and takes form in the mind; how the poet recognizes it for what it is and starts rubbing words together to kindle the flame; trying for consistency says a lot about the role intuition plays in its creation. When a poet tries to force a poem it often than not produces a composition which, comes off raucous to the ears like the sound broken glass makes trampled under heavy boots.

Poetry works best when it comes as a result of a free association of words in the mind, when it springs from an idea and develops through emotion that has been refined in the heat of tranquility. When I wrote the poem about my father, I’d had years to mourn his passing—the emotions within had blossomed from pure grief and outright bitterness to one of clear perception. And when the muses whispered those lines to my heart, the tranquility had traded places for recollected emotion. I knew what I was writing about like I knew my own heart.

Magic plays a prominent role in the writing of a poem. It is impossible to create one without help from the muses. Ask anyone in the know and they will tell you that, “Poets who have written successfully have done so largely through intuition. Poets often do this without being able to explain how, just as readers may respond to such rhythms without knowing technically, why.” A quote from Robert Wallace’s ‘Writing Poems’ which still rings true to this very day.

Keep your pens bleeding.

Akpan



Tuesday, March 17, 2015

7 Myths About Random Writing


A lot of stuff has been said about random writing (or intuitive writing) and not a few borders on the process involved in the form. How is the style of writing done?; why do people use it or why should they?; who needs its seemingly rich resourcefulness?

If you have a desire to delve deeper into this form of writing check here and here. In this post, I'll limit myself to unraveling misconceptions folks have managed to build around the fine art of random writing.

1. Random Writing is Freewriting
Find out more about freewriting here. While a writer may on occasion, practice freewriting to pull himself out of a rut so he can get on with the actual writing project, folks who foray into random writing know what they're up against. This isn't about turning out the trash clogging the flow; it's about turning on the flow in spite of the trash. It is the project.

2. Random Writing is For Writers Who Are Blocked
Of course, it is a surefire cure for the block but legendary writers like Ray Bradbury for example, will tell you that 99.9% of the stuff they churn out is straight from their mind to paper. According to these accomplished writers, this is something you do everyday, every time you scribble. Besides keeping the block in check, plying this route will keep your juice fired up all day.

3. Random Writing is For Poets/Lyricists
Nope. And not just for writers of the short form of fiction, either. Writers like Stephen King have penned 1,000 page tomes by getting lost in their subconscious.
It comes through much practice.

4. Random Writing is Being Lazy
Yes indeed, if your goal is to write an instruction manual. Writers who affect writing randomly understand the physical and emotional involvement it requires. And while it might look like an excuse to fill up time in your study, writing in this fashion demands dredging deep into your psyche and calling out stuff that ain't.
 
5. Random Writing is Wishing For the Moon
Yes it is. But you are wishing because there is a guarantee you are going to get not just any moon but a full moon. Probably, if you have not been doing a whole lot of writing in and out of the zone, it becomes impossible to grasp this level of creativity. And that's why, this is especially true if you're new to this trade, you MUST write everyday. You're training yourself to sync with your deeper self at a snap because that's where the good stuff are.

6. Random Writing is Premeditated Writing
You have to read a lot so you can write a lot. Remember, GIGO? But with random writing, you don't have to study an instruction manual, memorize some vital points before you spill your guts on the page. That ain't writing intuitively which is putting your pen to paper and letting your thoughts, untainted by needless edits, flow directly to the page.

7. Random Writing is Always a PeRfect JOB
If that means you never have to revise your work then you're wrong. Bypassing your mind helps you to contact the real self and leads to honing your writing style. With intuitive writing, you are creating the real stuff. Keep this at the back of your mind at all times. “Much of the stuff you create will be bilge but the rest... it will save your life.”

Random writing or intuitive writing is the purest approach to creating words because it translates your thoughts in its purest form to the page, totally shutting out interference from your mind. No wonder the great writer, Ray Bradbury sketched it with these two words, “DON'T THINK.”

You should try it sometime, you'll never write any other way if you do. I guarantee it.

Keep your pens bleeding.

Akpan



Saturday, May 17, 2014

The Discipline of Feeling (Intuitive Writing)


When was the first time you heard the phrase intuitive writing?
I probably, heard it coined this way from the late legendary writer Ray Bradbury.  Notice I said coined this way because I think Robert Wallace was towing the same line when he wrote up the phrase ‘random writing’ in his book ‘Writing Poems.’

The best way a writer achieves or perfects writing intuitively is through the discipline of his emotions or feeling. This is the state of inventiveness Bradbury refers to as writing from the heart or writing with little or no interference from the mental faculty. This level of creativeness involves transferring raw emotions directly to the page thereby, turning intangible material into meaningful coordinated form of writing.

So, how exactly do you go about this seemingly complicated method of flow? I'm a little bit in the know with stuff like this. I got my gears well oiled from years of practice long before I came across the twin phrases listed above. I tried it with lyrics then poetry. I'll have some tune dropped in my heart and I'll just go with the muse and set the sound to words. I bet a lot of folks reading this didn't know that sort of thing falls under intuitive writing. But it does.

Writing in this way doesn't come easy sometimes; you just have to take the plunge-nothing on your mind, not even the faintest idea where the whole shebang would come out or what exactly it is you are dribbling about. I wrote a lot of poetry straddling that line.

Stephen King calls it writing without an outline, going with the flow, or listening to the muse. And you can master it by consistently striving to dredge up words from that bottomless void-that incitive convolution of nameless emotions inside you. If you look into the deep long enough, you go deep. And that's a given.

Practice. Practice. Practice. Until it becomes a bad habit that hangs around even when you're totally unaware of it.

Scribble one word on paper, any word, then string it up with another then another until it creates a meaning. Is that a picture in your mind? Recreate it on paper with words. If you see this in the realm of the impossible maybe, it's cause you're trying to see the finished product before you start. That's not writing intuitively, at all.

The magic of intuitive writing lies in falling and getting right back up only to start all over again even though, you are aware you might bust your nose walking into a wall the next minute. It is the expectant certainty that eventually, you're going to be alright.

Keep your pens bleeding!

Akpan


Tuesday, March 25, 2014

How Poetry Perfects the Human Emotion


Poetry is feeling, the expression of feeling, and the exploration and discipline of feeling.”
—Robert Wallace

Ray Charles in der Hamburger Musikhalle, Septe...
Ray Charles Courtesy: Wikipedia
I’m trying to see how this quote by Robert Wallace explains Wordsworth’s Criterion for poetry. I’m trying for that and I assume it’s pretty much going to come out highly opinionated. I guess I can live with that, after all.

Poetry is Feeling
Let’s take this feeling and modify it as a verb. Imagine yourself in a dark room where you are deprived of the sense of sight and are made to depend entirely on your alternate senses.
This is important on two levels. First, your other senses because you are blinded, assume heightened consciousness. The senses of touch, smell, taste, of sound are emphasized; you start feeling your way through the shadows. On another hand, there’s the opportunity—let’s imagine you are in familiar setting—to reacquaint yourself with the objects you come in contact with in that darkness. When you come in contact with an object, your fingers register the touch and send a message to your mind which, consequently, builds a resourceful table of vocabularies to describe it or redescribe it. You gain or develop a new understanding of things once known; the upshot stands out like a silhouette. Poetry works that kind of magic. It makes you see stuff—even clichés—in a different light.

Poetry is the Expression of Feeling
Well, this looks easy enough. If you can visualize a processing machine—the kind where you input data or hardware and it coughs out a totally different matter maybe, you have an idea what this is about. Poetry gives voice to your feelings or rather is the voice of your feelings. Let’s say your emotion is the earth without form and verse is the creative force that lends it the beauty of art. Poetry can do that much for feeling when we use it to channel deep-seated passion.
Poetry adds radiance to fogged-up emotion when it untangles and stretches it out into metric quantities. It modifies feeling, in other words.

Poetry is the Exploration of Feeling
The picture of the early explorers appeals fiercely to the imagination. Those old-time pioneer new world discoverers with their seafaring crew on their heels sailing deep into the sea, burrowing far into places—villages, towns, kingdoms and countries—yet unknown to the ancient western world . . . As far as the emotions go, poetry can take the poet and the reader on a journey packed full of equivalent measure of heat and adventure. It can jaunt the soul through little-known passageways within the human heart, regions alien to detection or previously unexplored. Poetry conducts depth rich in meaning into words and in this manner it illustrates the endearing feat only this form of art can quite achieve.

Poetry is the Discipline of Feeling
In other words, it keeps a tight rein over your emotions. Here’s a practical example of how this works from the life of a legend, Ray Charles.
                “She’d say, (referring to his mother) ‘Now look, I want you to learn how to get around by yourself without seeing. And the way we are going to do this is, I’m going to place some chairs in certain areas of this room. And I want you to learn how to navigate these chairs. I want you to learn how, when you go into a place, to observe what it’s like.’
“No dog and no cane. You know I’m going to walk into things, but it taught me to remember where things were.”
—Ray Charles,
Jazz Superstar

Poetry helps you master your emotions, but I think coordinate is a more appropriate phrase. Somebody might wonder, do I need to know these much about how poetry relates with the human emotion before I can write poetry? Well, not really. But it’s good to know there is more than one way poetry deals with our true selves and that’s exactly what I’ve tried to illustrate.

Keep your pens bleeding!

Akpan


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Saturday, August 17, 2013

Reading Poems: Fodder For Poetry


Read scores of poetry = Write scores of poetry. Reading poems discharges a creative brand of influence that fosters the seed of the craft inside of you. A well-written verse is catching especially, when you read one that warms into your private spot.

Pick up a poetry collection, the type that appeals fiercely to your taste, crawl in between a complex web work of metaphors and put thoughts of you out of your mind for a minute. Live in the moment. You’ll experience the crush of inspiration pushing up through your blood vessels, the deeper you dig beneath the flesh for the bones, the greater the pressure that engulfs you.
Courtesy: poetryfoundation.org

“None of us ever wants to write a poem in the first place unless we have read a poem that truly takes us.” — Robert Wallace.

Our appreciation of poetry—admiration for poetic vernacular—is sharpened by the poems we read. By the by, it is the magic pumped into our souls by these poems we take a crack at reinventing at what time we recollect personal emotions in tranquility. The metric flow we conjure up are modeled after the poems we read and the multiverse created by those poets boil over into our own craft generating a rich and textured commonwealth of the imaginative variety.

Ultimately, “the undisguised admiration ‘I can do that’ is the seed from which every poet sprouts and grows. — Robert Wallace.

Most great poems are made up of honey-sweet and simple vocabulary that surprises phrases like, “Why didn’t I think of that?” out of us. And the answer is just as simple, we haven’t been doing too much reading.
                Immerse yourself in poems. There is no other approach to navigate an ocean of words with the skill of a master.


Akpan


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Sunday, September 16, 2012

Random Writing: Beyond Freewriting


Okay, it’s payback time. Promised I was gonna speak a little more on this writing device in my last post. I stumbled on stuff in my journal worth blogging. Here it is.
Sometimes, influenced by a strong current of inspiration, a poet or writer puts words down without deliberation or careful planning which produces craft and often without a clear direction where the writing is going to come out.

Robert Wallace in his book, Writing Poems quotes William Stafford:

“Random writing – free associating, just putting anything down, however nonsequential or silly, like talking on paper.”

Often our mind grapples with a word, a phrase, an idea or an image-however minute or infinitesimal but usually, (and this is the blessing random writing offers) when we stalk our desks our mind (the part we are prone to manipulate) is a white sheet – a blank. Random writing can occur when a sudden gust of inspiration overwhelms a writer and we spill words on the page without deliberate control over the choice of words. They seem to appear completely out of thin air.
Photo credit: 123rf.com
However, the uniqueness of random writing plays itself out when we’re stuck in uncharacteristic dry spells.

Repeating the same sentence as we always do when we freewrite is not permitted. Pick a word, a phrase or a complete sentence. Take your time. Then, back the first words up with another. Don’t worry about making too much sense just yet. The words will figure themselves out, eventually.

There is absolutely no need to set a time limit during random writing.

This is not about getting the junk on your mind on paper so you can finally create a new piece. This is about getting the job done with or without the junk clogging the flow of your juice. The quality of what you set down on the page doesn’t matter at the time. You judge it later.

Freewriting is ambiguous words dumped on the page and forgotten. Good riddance to bad rubbish! Random writing is like a net making a good catch and a bad catch. The editing process will be about deleting the junk just like the fisher dealing with the bad catch later.

Random writing is simple: start with one word chase it with another and another and so on. If the next word or phrase don’t look right on the same line with the first, create a new paragraph.

Random writing is not about how fast you can get words on paper but how you can keep writing meaningful stuff without worrying too much about style, theme or title. The imagery is of a raffle draw, you dip your hands in the box pick the first words that pop at you and so on and so forth. Each time you dip you get a different phrase. And everyone of ‘em, as you’ll find out all in good time is a winner!

If you ain’t careful, you’re apt to find yourself simply swept away, a stranger in a strange land with no clue as to how you got there.

Keep your pen bleeding!

Akpan


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Saturday, November 6, 2010

Materials of Poetry

Robinson Jeffers' Hawk Tower

Timeless art is a silhouette embossed on a backdrop of things that never die.

Immortality takes liberty and lends enchantment to works that are wedged by a theme of permanence. Art with a note of continuity possess characteristics that breach generational chasms with timeless messages. It is the piece of clothing left behind after the author is caught up on "Time's winged chariot".

Robinson Jeffers lists two items as the resource of poetry-the lasting qualities that sustain a resonance of impressions in a reader's mind long after the poem is read and the book closed.

One is Permanent things, the other is similar yet, unique, Things forever renewed.

I believe the twosome is for the most part, self explanatory and presents itself to the mind of the reader. Nevertheless, I will take the liberty to touch on details a little bit.

Robert Wallace in his book of poetry, "Writing Poems", fleshes out Jeffers' quote.

"Permanent things or things forever renewed like the grass and human passions, are the materials of poetry; and whoever speaks across the gap of a thousand years will understand that he has to speak of permanent things, and rather clearly too, or who would hear him?"

The upshot of this is that this is also true of other forms of writing like fiction – stories and novels and so on. Shakespeare's works remain relevant to contemporary taste and a big chunk of the credit, besides artistic merit goes to the universal themes of love, betrayal, revenge and the others which characterize Shakespearean literature.

Homer's Iliad is pregnant with pungent subjects of bravery, of lust for wealth and power, of hubristic, you name it. These are problems the race of man will battle world without end as long as there are men on the face of the earth.

We can create a pattern for our writing from these examples. There are lots and lots of cases, of course. Think back to your childhood years-some may have to think longer and harder than most of us. Remember all the stories that have grown up with you and, you see where I'm coming from.

Keep your pen bleeding!



Akpan


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Wednesday, October 20, 2010

Wordsworth's Criterion

Poetry Workshop by Pooja Nansi 3
Poetry Workshop (Photo credit: Steel Wool)
Okay, let’s talk poetry. I’m not interested in the fundamentals – form, structure, or metric fluidity, right now. I’m more at home with unwinding the spool of mystic which wounds around the craft like a shawl; the touch of poetry on the soul and the spontaneous ignition that accompanies the reaction.

I’ve heard people argue that the human emotion has no business meddling with the heartstrings of poetry. This school of thought points out that far too much research and constructing goes into the making of a poem. And so, they stress, to fling the craft at the mercy of a thousand nameless emotions is, stating it mildly . . .  flimsy. I disagree, though. Well, I’ll give them due fairness and add that these school does not deny entirely the relevance of our feelings to the flow of cadence. Actually, they view them as mere poetical attachés and nothing more. They assert that sensations are fickle and lacking in depth to be a route to the core of poetry.

Well, I don’t know about that one. What I do know is I’m out to understand the essence of poems and I’m taking into consideration the pick-and-choose nature of the craft. The selectiveness of verse, its choice of delicate words differentiates it from prose. I like explaining it to myself like this, if narrating in non-fiction is telling, if in story writing it’s showing, then in poetry above all, it is feeling.

Of course, I speak in defense of poetry; the emotion is an indispensable ingredient in every form of writing created to have a personal edge. Maybe, just maybe news reporting might be excused from what Stephen King calls Wordsworth’s Criterion.

The poet feels his way through each word applied to each line of verse, skillfully selecting, streamlining, and fine-tuning them to sync with the emotive flow of the entire tapestry. Poetic language is attentive to meaning, nuances, and sound patterns of words a poet repairs to in creating his art. This is something readily overlooked in any other form of literature, (Like I stated above, only writing that does not call attention to feelings maybe exempted.) except of course, music which at its finest is characterized by elements of poetics. By the way, writing which appeals to human emotion always always is the offshoot of poetics.

Aristotle said, ‘The greatest thing by far is to be a master of metaphor’.  You would easily agree that without metaphors poetry would be one first class piece of dead meat. The metaphor is the evocative force of poetry which paints mental pictures of sweet delights within a reader.

Robert Frost was thinking the same thing when he remarked, ‘There are many other things I have found myself saying about poetry but the chiefest of these is that it is metaphor . . .’ Poetry is the vehicle of emotion just the same way the emotion is the writer, the driver of poetics.

Robert Wallace puts a ring of finality to it when he says, ‘The metaphors virtually stand for or present the emotion.’  Remember, William Wordsworth’s definition of poetry; Emotion recollected in tranquility?

The metaphors are visible passions which lend their charm to the poem. In other words, they ain’t just the thrust of feelings in the verse but the seen aspect of emotions recollected.

Keep your pen bleeding!


Akpan


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