Limitations Be Gone!

Art does imitate life, it has to come from somewhere. To put boundaries and limitations on it doesn't make a lot of sense to me. ~ Christian Slater

Brrrr...

Single digit temperatures and -0 wind chill, this was my view leaving work yesterday. Each day we seem to be redefining cold here in the Midwest. Tonight is supposed to be a new low. Given how things look, this weekend should/could be a great weekend for writing.

I've drug out my copy of The Artist's Way again and decided it's time to re-examine what I'm doing for the sake of creativity.  Especially since I feel like I'm in a somewhat conflicted state at the moment. I'm trying to look at it positive and a growing place but frustration isn't affording me any particular comfort. Basically I'm trying to project a different style of writing but I'm less satisfied with the results (more often then not) and it wants to pull me back to a more abstract approach. I'm thinking what I really needs is to be someplace between the two. I'm feeling as I move away from the abstract my voice becomes bland. There are other poets I admire who can do this well- I know it can be done.

Project Poetry

Stephen Burt of the Poetry Foundation writes that “Project Runway," a popular cable TV show, holds lessons for poetry critics. Burt is not alone. Ron Silliman who has been writing on poetry for years thinks the show does a better job of showing creative people “being creative” than any television show ever. While such a view is subjective, there are few people who follow the creative cultural influences around us more closely than Silliman. Read his blog for a few months and you will see he isn’t missing much that goes on.

So on a morning drive into the city, my wife and daughter in tow, the subject turns to the idea of a poetry version of the popular show. I’m doing my best impersonation of Tim Gunn, the advisor who periodically checks in with the designers to offer kudos or a bit of cautionary advice as the case may be. “Ah, what have we got going on here, a Sestina; nice job. The envoi really works!” Shannon is not exactly feeling the excitement. “What, we are going to watch, segments of people hunched over paper with a pen?” Cathy joins in the discussion, “What would they be working towards, a chap-book?” I counter, “No, it has to be better than that, a book contract with someone like Faber & Faber or Farrar Straus & Giroux. I explain the cameras can follow the poets out into the world on outings… a gallery, a music performance, a scenic stroll or urban bustle and the poet would be talking about what they are seeing and feeling – then back to their journals and laptops for rewrite after rewrite. I think they are starting to see this and Cathy says, “Oh the best part would be the emotional drama when one poet is cut from the show.” Shannon counters, “No, no… the enormous joy and relief of the family getting rid of… err, I mean seeing the poet off to compete!” I quietly think, they are so not getting this.”

No Clowning Around

So Saturday has arrived. Big sigh. Even though is was a short work week for me it seemed long.

Since I've been back, I've received a rejection letter. I've completed a journal and started yet another. I'm filling them up at a rate of about 1 every three months. I've received my copy of Mortal from Ivy, which I have enjoyed and will have more to say about in a later blog post. And this morning I've been sending out more work.

I'm trying to decide if I want to the the Annual Poetry Month broad side I've done for the past two years. I've got a couple poems in mind and I've had positive response from people the past two years, but these are different economic conditions and I'm awaiting a price figure from a different printer. If I'm going to do it, I really need to decide in the next 48 hours.

The picture above is to top of a beaded vase my wife did with a bouquet of clown noses in it. It was pretty cute.Below is another view if the lower part of the vase.

  It's not the sharpest picture (from camera phone with poor lighting) but you get the idea. Just thinking of the concept was creatively genius much less the execution of the idea itself. I'm not sure how she can do these things with no pattern to guide her.

Anyway, I'll tie this into my post today by saying that this year there will be no clowning around. I submissions last year were down from the previous year. I'm writing more, I just need to work harder on rewriting material and keep sending the stuff out that is publishable but has come back. Some of it just needs to find the right home.

Technorati Tags: C.J. Wells bead art,life as a poet,Mortal by Ivy Alvarez,Poetry Month

Kick Starting the New Year

 Besides getting up this morning and writing, I went this afternoon to the Writers Place for the 4th Annual Writers Place - New Years Day Celebration Reading. It's a 12 hour Poetry Reading Marathon that Sharon Eiker organized based on the annual Bowery Poetry Club event in New York.  So from a creativity standpoint I feel like the year has gotten off to a good start.

I thought now might be a good time to roll out some resources for those writers looking for good start to the year.

• The Artist's Way.  This is something I just learned of this past week. Julia Cameron has put together a fascinating program that is geared for artists of all types. The program is a 12 week concentrated effort to spark creativity. If interested, check out the web site here.
• Bob Ragland the non-starving artist~ I heard an NPR story about Bob Ragland - He is an upbeat, energetic fellow that has made a living as an artist and tells other what he has learned that makes it work. The NPR story is here.  You can find his web site here. The story mentions a pamphlet of his road to success. It's simple and focused. I'm sure it can be modified to any art venue.  The Stuff You Won't Learn In Art School 
• readwritepoem poetry prompts
• The Writing Site

There's a few things to get you thinking if your having trouble getting the new year started.

Best wishes to everyone in 2009!

Technorati Tags: Wiriters Place,creativity,NPR,Bob Ragland,The Artist's Way,poetry prompts,things you won't learn in art school

 

Our Vision of the Muse

Here we have to the left, Polyhymnia the Muse of lyric poetry pictured. I fully understand the mythological creation of the muse of various entities but I am altogether amused by our common day practice of viewing our muse in perhaps an erotic representation. Almost a pornographic implant in the mind as if this is the necessary level in which one must go to the be creative. An arousal if you will. And maybe arousing that something within is what is necessary to move into a creatively fertile mode. Sure, it's fun on some level to suppose that our muse sits at the edge of our desk, long legs exposed, in some flauntingly evil way to attract our attention and impose upon us some grand element of creative juice that sparks our creative libido.[Insert apologies to my female readers who surely have a different image in mind. Or maybe not.]

Our typical vision of the muse calls upon us to look to an external source. I suppose we've all had examples of persons or even inanimate objects that have provided us with a spark of imagination that was the breakthrough of some piece of art. But I feel like deep down inside each of us, that's where the muse really is.

I know that all around us are beautiful, startling, magnificent, frightening, majestic, myopic, shocking and luminescent things that give us pause and allows us to think beyond the moment. But I suspect it is the inner muse within our own minds and not some mythology that takes those things we see and experience and goes outside the box and makes of them something new and allows us to give birth to that which is uniquely ours in a collaborative conception with our inner muse.

Technorati Tags: Poetry,muse,creativity,Polyhymnia

The Invented Person

The poet Stephen Dunn speaks of the invented person in the notebook he keeps, as sited in The Poet's Notebook. Of course fiction writers invent persons all the time but where do people in poems come from?

Dunn's invented person(s) are made up, "from everything I am, or could be. For many years I was more desire than fact. When I stop becoming, that's when I worry."

I recall talking with someone a while back who said they never liked writing poetry in first person. They did not elaborate on why, but I could think of reasons, though they might not be what caused them to dislike first person.

I know all too well that people tend to see first person poems as all about the poet. To some degree that person could reflect certain attributes or desires of the poet, even if not autobiographical. But I think fiction writers have to get inside the heads of their characters too and there is I believe little difference then between the two trades and the nature of the inventiveness necessary to carry off a good piece of writing.

I take it that Dunn's invented person is always changing. Sometimes I find that aspect of the inventiveness the most difficult to control. It is not uncommon for my "first Person" in one poem to seem very much like one in the next. That is a challenge that requires me much more energy as well as courage to free myself from self imposed limits. You can create this shell of a person, but you have to be willing to step into that shell with the persona that is the right fit. If I'm an axe murderer, it's going to take a lot of tweaking of my personality to imagine what that must be like.

Dunn says these people are "borrowed from the real- abstracted... the person we finally know."

*photo credit - FreeFoto.com

"Mamma Mia, here I go again/ My, my, how can I resist you?"

Okay, I'll admit it. I'm one of those

people addicted to the music of the pop group ABBA. So, when I saw the link on Jilly's blog today... well, I was very interested it what it had to say.

Can science explain why ABBA is so catchy? [ABBA story on Boston.com]

Sarah Rodman writes, "ABBA's songs continue to endure as what scientists have dubbed "earworms" 35 years after the band's first album was released. Like those little bugs, the tunes burrow into our brains and keep hitting the repeat button." I've always maintained that ABBA's female vocalists have one of the sweetest harmonies around. They are just about as perfect as humanly possible. And their harmony may in fact have something to do with this.

According to Daniel Levitin, author of "This Is Your Brain on Music: The Science of a Human Obsession," The ABBA model of the multiple voices is closer to "the chemical reactions we have to events in the world, for tens of thousands of years when we as a species heard music we heard groups singing it, not an individual and not an individual standing on a stage." Sorry Frank Sinatra and Miley Cyrus.

Levitin says their upbeat songs like "Money, Money, Money" have simple lyrics that makes them easy to sing along to. That he adds, gives listeners "an even more powerful hit of happy juice in the brain from dopamine."

But what about the sad and more contemplative songs? "The Winner Takes It All," for example.Here, brains produce an opposite but equally enjoyable reaction. "You get the comfort hormone of prolactin when you hear sad music," Levitin explains. That's the same hormone that's released when mothers nurse their babies. It's soothing.

The article points to a number of others individuals with the credential to speak on the subject of musicality and the brain... they all find reason to count the music of ABBA as infectious. A fascinating article and somewhat reassuring that I am not alone.

Now, I can't wait for the premiere of Mamma Mia. ...here I go again... My my, how can I resist you...

Prose vs Poetry

Perhaps one aspect if poetry that rubs present day norms the wrong way is it generally requires us to exercise some degree of imagination. There was a day when that was common place. We listened to radio and thought nothing about it as we exercised our mind to create what we could not see. We’ve become more of a prose society. Like TV we want it all right there spelled out for us in living color.

Exploring the revision before you write anything down

While reading yesterday I discovered an interesting sentence attributed to the poet William Stafford from his journal writings. The entry in question reads: “I must explore the revision that happens before you write anything down.” Disappointingly, there weren't any added lines of his exploration on this subject.

What Stafford is alluding to can be considered in two different categories. One is the process of selecting exactly what you want to say and choosing the best words at that moment (certainly subject to change) before you actually write the complete thought upon a page. But there is another aspect that touches upon something I have blogged upon in the past that continues to confound me. It is what I refer to as “self censorship” and while it can be very controlled and directed by the writer, I wonder about the less obvious possibilities as they might relate to the revision that takes place in the mind before reaching the page.

When driving and approaching an intersection with traffic signal, the mind makes decisions that are split second and we don’t seem to be totally cognizant of the process. We know for example what the color signals of the light mean, but coming upon a yellow light there is something that happens quickly to inform us of our decision ahead of applying the breaks or perhaps more gas. It all happens so quickly there seems not the internal banter going on in the brain that you might experience in writing a first line upon a page, where there may be significant forethought that is very transparent. Afterwards, you may be able to recount to another, “I chose this word over that because…” The process of reaching your decision seems retraceable.

Going through the yellow signal or not is likely tied to some internal understanding if fear. Fear of what might or might not happen. I assume there is an assessment of perceived risk, but it happens so quickly we don’t seem to be aware of the data-in and the data-out that makes up the final decision.

I think all writers have safe zones and danger zones to their writing. It may be subjects or it may be images we don’t feel comfortable putting into words. Staying within our comfort zones is of course very limiting. We may find our subject matter tends to repeat. Our choice of vocabulary could become so common that all our work starts to fall into the same tone.

If we perceive danger and make split second decisions on the road, do we do the same with word or subject choices before we commit those thoughts to the page based upon our own preconceived notions as what is safe to write and what is not safe? Do we self censor without real cognitive choice?

Writing reveals us to readers in ways that become exceedingly personal. There is some degree of risk associated with everything we write. The risk we'll look silly. The rick we'll me misunderstood. The risk that everything we write suggests that we've experienced what we've written or that what we write is how we feel about something. Keep in mind that we are the first readers of our own work. Sometimes we may be startled by our own writing. I have no idea if any of this occurred to William Stafford in pondering the mental revision before we commit to page but it is a discussion I would love to have had with him.

Thoughts on the Making of a Poem

Nick Laird is a young novelist and poet born in Northern Ireland who this past weekend had a piece in the Guardian about the physicality of language. He starts out:

"You should put that in a poem. A thing to say to the people who write
poems; the offering of some strange coincidence or anecdote. Poets if they are
like me, sip their drink and agree, privately certain it won't give rise to
anything at all."

Laird goes on... "You can make fiction and drama from reported stories, from hearsay and incident, but not poetry."

It is my own experience that words rather than a particular story do indeed tend to go much further towards the success of a poem. It's not that I have not tried the other approach, and likely will again (I tend to be stubborn like that), but it is the cohesive junction of a word and an image, or a word and a smell or some other word and sense linkage that is more likely to drive a poem forward than anything else I've found.

Lair also quotes Edward Thomas , the early 20th century English poet on the subject of what poetry is made of, "Anything, however small, may make a poem; nothing however great is certain to." The times I have sit down with pen and paper to specifically forge a poem on some grand storyline have almost always met with failure or disappointment on my own part.

Sometimes, I have found it helpful to lift a very short line from another poem or sentence of some other type of work and use it to start a new poem. I try to let those few words allow some image to direct me forward with what I am putting on the page. Later, the opening line can be dropped, just as any of the the rest of the work can be modified and rewritten any number of times. I find it's just a really good way to jump start a poem into being.

So I tell myself here that I need to resolve that I am going to stop trying to force something into being. I must periodically remind myself of this. I do it here, once again. Sigh.

Pacific Wet Dreams

There is a side of me that I am told is not focused, or perhaps too easily focused on things of lesser significance. This can be hindrance in many ways that I probably don't need to explain. I have also found that it can be harnessed to some degree to let in things that ordinarily might be missed. For example, Saturday morning on our deck I distinctly heard the sound of waves against the rocky shoreline in northern California. Quite a feat for being in Independence, Missouri.

The Surprise Maples in our backyard, along with a chorus of other nearby trees were pounding against the shoreline in the June breeze. I was transported to Monterrey Bay without the $4 a gallon price tag for gas.

I think I've become more aware of my surroundings the last couple of years. Especially to the not so obvious things. Some of this transformation seems to have come naturally. Well, at least somewhat involuntary. Not through any conscious effort on my part. But as I have realized the power of imagination that has come with this, I have more recently tried to harness it and improve on it. I believe there has been some increased benefit from this effort.

I heard something the other day about people losing their creative tendencies as they grow older. The piece may have been on NPR ( I can't recall) but without providing clear answers as to why, it was exploring the prospects that what inhibitions prevent us from our wildest thought explorations as children seem to vanish with age. With so many more experiences to draw upon, this seems to run contrary with what one might expect. Yet it is probably true.

So how do we keep our imaginations young? How do we open the mind to greater creative possibilities?

Distinguishing your poetry from prose

The connection between music and poetry is the topic of a blog post yesterday by Kelli Russell Agodon. It's worth taking a moment to read her explanation as I believe it offers great insight into the sound our writing makes and what it can do to the poem. Check it out here.

Order & Reason

I’ve read many poetry books where I paused at some point and asked myself, “why is this poem here?” The sad thing is, many of these are very good poems, they simply don’t appear to belong where they are or even in the book.

Perhaps the greater art than writing the poems is arraigning their placement within a manuscript. It’s an agonizing task, but an important one none the less. The paint artist gets to work his or her subjects onto the canvas as the picture is coming into being, but the poet must take individual poems and piece them together like working a giant jigsaw puzzle.

I imagine most of the time poems are written without future consideration for a broader manuscript. I realize there are exceptions to this, but even when one is writing with a broader manuscript in mind, it is unlikely that the whole manuscript will be written in a concise order or that all of the poems will end up in the final manuscript.

I heard Katrina Vandenberg read in Kansas City sometime in the past couple of years. She is the author of Atlas, published by Milkweed editions in 2004. This week I read an extraordinary piece in P&W on the subject of ordering you for manuscripts that was written by Katrina.

Putting Your Poetry in Order sounds a bit like planning for one’s death but it’s not. Still, there is something very final about a manuscript. How and what you place in a poetry manuscript may well have a lot to do with how a potential publisher views the work and it certainly can be important to the consumer once the book is published. I know I have read some poetry books that seemed so disjointed that I will likely not give the poet a second try for a subsequent book of poetry.

If you have wondered about creating a reasonable continuity to your manuscript, and don’t have a clue other than thinking you must have a strong opening poem, then I recommend reading Katrina’s thoughtful approach. It may startle you to know that the placement of poem number two is as important as that first one.

My wife would laugh at what I am about to write here. It is helpful with poetry to have a reason to what you are doing. I find that if I have a reason for a word, for a line break, for an order to copy, then there is a greater likelihood I am creating something that will work.
Will everyone see “your” reason in the work? Probably not. But some will see it, and when asked by others, you’ll have something better to say than, “It felt right.”

DNA POETRY

I finally felt like I turned a corner yesterday with the stagnate writing. Turned out a draft that has some promise. This of course is helpful to my overall mood. Things otherwise are about the same.


There is something weird that must go on in Edinburgh because it seems to have quite a connection to poetry. I am always seeing it in the news in one way or the other with poetry. The latest is Gillian Ferguson. Gillian who had already authored two poetry books, received a Creative Scotland Award to fund her research into the subject of genetic science and shape her findings into poetry. Her fascination with the subject seems hardly containable. In a Sunday Times Online piece I found the following discourse to support this... “We have 99% genetic similarity with mice, which is fantastical,” she says. “Worms have the same muscle propulsion genes. We could make a tail if the gene wasn't switched off, or wings. Even people, there's a 0.01% difference in the genome of every person on earth.”

The results of her marriage of creative & scientific efforts can be found here: The Human Genome: Poems on the Book of Life

Saturday Night

A little writing today. Read quite a few poems. Sketched something tonight. Yes, as in drawing. I amused myself.

Total Eclipse of the Moon

Watching from home tonight as the moon is nearly blotted from the sky by the shadown of earth. Seen here in the picture to the right by Thom Leigh for CTV.ca.


With the sky darkened - Saturn was visible to the naked eye. Just another bonus of the sky watch tonight.



It seems that historically the moon have gotten a good deal of play by poets. With the level of mysticism often associated with it, and the broad range of metaphorical concepts, it still seems to me that it hold up well against many of the otherwise over used themes. At least that's my humble opinion.

Post Peek

mood: relaxed
listening to: Question 67 and 68 / Chicago


For what it is worth, my one time assessment of my peek biorhythms on the 29th of January was somewhat disappointing. It did seem my productivity in the office was remarkably better, but as for any feeling that it manifested itself in a positive way in terms of quality or quantity of writing, it was unconvincing. I suppose I'll make note of my next optimum period where all the rhythms come together and assess it again.

More rejections yesterday.

Here's an interview with the current U.S. poet laureate: What are you doing to increase the public’s interest in poetry at a time when cultural alarmists insist that reading is on its way out?

Enough blogging - time to write!

Lovingly supporting my vice

mood: cautious
listening to: nothing


One of the great things about my wife (and there are many) is her helpful eye for great poetry words. Keep in mind that Cathy is not particularly enamored by poetry itself, but is highly supportive of my vice. In the morning drive into the city the other day (she’s reading a book while I’m driving- she feels safer that way) she pauses and announces she has a perfectly awesome poetry word for me to work into some future creation. The word was "Kudzu" a fast growing vine indigenous to eastern Asia which evidently has been successfully introduced into the southern U.S. This is not a first occurrence; she has also e-mailed me words during the day.

I am appreciative of this on two levels. First, the words are in fact wonderful discoveries. It’s like she’s panning for gold and comes up with these precious finds. Besides the nature of her selections being top notch, the very fact that she considers their value in a poetic sense against her otherwise minuscule interest in poetry says this is an act of love and support. That says a lot!

On another note, I've added a couple of poems previously published elsewhere to my web site.
You can see them at michaelawells.com . If you visit the site, please take a moment to sign the guest book. Thanks!

Occupying the space in between

Mood: nonchalant
Listening to: Piano Man / Billy Joel

Found myself in the waiting room at the doctors office this afternoon writing about the floor covering and the ceiling. How drab is that?

Since arriving home, I've come upon another idea that feels promising but will take some time to flush out. I'll make some notes tonight that can keep the concept fresh while I let is sort of settle in my mind and see what kind of cream might rise to the top to skim off.

It's late, I'm going to get ready for bed, listen to a podcast and turn in for the night. Snow is falling ( again ) here and I am anticipating the worst in terms of road conditions in the morning. Perhaps I'll be jiggered..