Introduction to Open Poetry Openform poetry rejects the

Introduction to Open Poetry

�Open-form poetry rejects the organization and structure found in traditional poetry such as sonnets and haiku. Open poetry — including chance poetry, Surrealism, and free verse — use experimental techniques that blast open the possibilities of words on the printed page. �The open form is a form. When you use the open form, you start to impose on your poem — and yourself — all sorts of rules. You won't know what they are until you get there, however, because each poem is its own form. Overview

�Think of open-form poetry as a way of thinking — an especially intense awareness of every single aspect of the poem, from subject and tone to music and rhythm, from the physical shape of the poem to the length (in space and in time) of the lines, from the grammar you use to the parts of speech. �When you write an open-form poem, try to be very conscious. Everything in the poem, every feature, every aspect, must have a reason for being there. Overview

� Economy. Cram as much energy as possible into each word. Cut everything that doesn't absolutely need to be there. � Grammar and syntax. Are you always using complete sentences? Well, that's fine — but you could also do it another way. Decide whether you have a reason to write in complete sentences for this poem. If you can come up with a reason, fine. If not, consider alternatives — bursts of words, single words, word fragments. And who says you have to use "proper" grammar? Or punctuation? Try breaking a few rules, if that improves the poem. Be conscious of…

�Parts of speech. Some teachers say you shouldn't use adjectives or adverbs; they prefer nouns and verbs instead. That's an excellent starting point: Use only the words you need. If all you're doing is prettifying something, forget it. Use adjectives only when they're surprising ("your green voice"), contradictory ("aggressive modesty"), or give information the reader simply can't get elsewhere ("It was a Welsh ferret" — how else would we know a ferret was Welsh? ). Be conscious of…

� Rhythms. Look at the rhythms in your lines. Does the rhythm of the line contribute to its meaning? Anything sing-songy? If so, is it good that it's singsongy? � Often, open-form verse falls into iambs (a group of syllables consisting of an unstressed syllable followed by a stressed syllable, as in "alas!") and dactyls (one stressed syllable followed by two unstressed, as in "penetrate"). Don't let this happen unless there is a reason for it. � The physical lengths (the number syllables and the actual length) of the lines you use. Avoid falling into exactly the same lengths. Every length should have a reason behind it. Be conscious of…

� The length (in time) it takes to read each line aloud. If each line takes about the same number of seconds, figure out whethere's a reason for it. If there isn't, consider other shapes and lengths. � Line endings. Poets realize that line endings carry a certain emphasis or pressure. Your lines should end where they end for some reason. The way a line ends — where, and after what word or punctuation mark — should be the best way to end. Do you want a pause there? What's going to happen when your readers go to the next line? Something unexpected? Some surprise? � Read a lot of open-form verse, and you'll notice that poets use a great deal of enjambment, winding the words around the ends of lines in gorgeous and meaningful ways. � Be conscious of. .

�Found poems take existing texts and refashion them, reorder them, and present them as poems. The literary equivalent of a collage, found poetry is often made from newspaper articles, street signs, graffiti, speeches, letters, or even other poems. �A pure found poem consists exclusively of outside texts: the words of the poem remain as they were found, with few additions or omissions. Decisions of form, such as where to break a line, are left to the poet. Found Poetry

� Many poets have also chosen to incorporate snippets of found texts into larger poems, most significantly Ezra Pound. His Cantos includes letters written by presidents and popes, as well as an array of official documents from governments and banks. The Waste Land, by T. S. Eliot, uses many different texts, including Wagnerian opera, Shakespearian theater, and Greek mythology. � The found poem achieved prominence in the twentiethcentury, sharing many traits with Pop Art, such as Andy Warhol’s soup cans or Marcel Duchamp’s bicycle wheels and urinals. The writer Annie Dillard has said that turning a text into a poem doubles that poem’s context. “The original meaning remains intact, " she writes, “but now it swings between two poles. ” Found Poem

�Create a Top Ten list of something – possible ideas: Band Names, Song Titles, Novel Titles, Breakfast foods, Quotes from Famous People, TV Shows, etc. �Create a poem from – if you use your own, please underline your list within your poem �Free verse or rhyme – your choice �Minimum of 15 lines � 10 lines must have an item from your list �Must make sense Found Poem Requirements

�The term extended metaphor refers to a comparison between two unlike things that continues throughout a series of sentences in a paragraph or lines in a poem. It is often comprised of more than one sentence and sometimes consists of a full paragraph. �The goal is to create a pattern of words that connect to your metaphor. Extended Metaphor Poem

�Extended Metaphor Poem Requirements ◦ Pick a noun –person, place or thing – to be the subject of your poem. ◦ Pick another noun to which to compare it. ◦ List out five adjectives – words that describe – the noun you chose. ◦ List five verbs –action words – that are associated with your noun. ◦ Images associated with your noun and its comparison. �Create a 15 -20 line poem that using these elements �See handout for details Extended Metaphor Requirement

�Personification Poem �Can be on any topic �Can take on the persona of the object – can use “I, he, she, it” as pronoun references �Must weave a motif associated with its action �Must incorporate dialogue or onomatopoeia �Can be free verse or can rhyme �Must be 15 -20 lines in length Personification Poem

�We will be going to C 101 to type up the following poems: personification, found, extended metaphor and either the list or imitation piece (the last is your choice); it is a total of FOUR poems that you will be submit to Turnitin by Sunday at midnight. �We will peer critique the poems on Monday �The revised FINAL poetry packet will be due to Turnitin on Wednesday Poetry Packet #1

�Review what your peers said about your poetry �Consider revising diction (word choice), syntax (sentence structure) and/or punctuation. �Be certain all poems meet the requirements and that each has a title �Submit to Turnitin. com Poetry Packet #1

�The form is up to you – it can rhyme or can be free verse �Must be focused on a piece of famous artwork – painting, sculpture, photograph, etc. �Must include artist and title of piece �Can be descriptive OR can take on the persona of one in the art (or viewing the art) �Must be one full page – 25 lines for poetry �Must have a title Art Meditation Poem

�Free verse is a literary device that can be defined as poetry that is free from limitations of regular meter or rhythm and does not rhyme with fixed forms. Such poems are without rhythms and rhyme schemes; do not follow regular rhyme scheme rules and still provide artistic expression. Free Verse Poem

�Any subject �No rhyme �Must have some type of figurative language (simile, metaphor, personification, etc. ) �Must have imagery (think sensory) �Title it � 20 -25 lines Free Verse Requirements

�Irregular Form �Exalted language used to praise a common object �Three movements: Foreplay, Climax, the Cuddle � 30 lines – with a rise and fall of emotion and intensity �Line lengths and punctuation reflect emotional intensity Ode

�Music Interpretation �Can be poetry or prose; If poetry the form is up to you �Must be focused around a musical piece, preferably one listened to during Tune Time �Must include artist and title of song plus original title �Must be at least 20 lines of poetry or in a specific poetic form if shorter; or if prose, a full page (250 -300 words) Music Interpretation

�Any subject �Written in quatrains (4 line stanzas) �No rhyme �Follows the pattern – use book as a guide � 16 lines minimum Pantoum

�Includes art meditation (with art included), ode, pantoum, and free verse �Each piece must meets its form requirements �Each piece must have a title �Each piece must have punctuation �Submit to Turnitin by 7: 30 am tomorrow so we can complete a peer review on Friday Poetry Packet #2

�Now that you are aware of what the portfolio assignment entails, we will spend the period looking through former students’ samples. �Complete two portfolio critique sheets to receive credit for today. �Feel free to read more but you must review two Portfolio Review

�Extended Metaphor �Found Poem �Ode �Pantoum �Free Verse �Personification Publish the above poetry and submit to Turnitin

�Working toward Portfolio Requirements �Schedule: ◦ Revise and Edit poetry packet #2 - Today ◦ Peer Review - Thursday ◦ Final Publishable Packet #2 – Due Monday at 7: 30 to Turnitin. com ◦ Next week – Conclusion to Poetry ◦ Week of May 25 th - Design and Lay out of Portfolio Updates

�Villanelle �Art Meditation �Sestina �Narrative Poem Publish the above poetry and submit to Turnitin. com

�Synesthia – Mixing of the Senses �Alliterative or Slam Poem �Music Interpretation Piece �Revised Writing Sample Publish the above pieces – I will be checking these at the END of the period!!!

�Revised Writing Sample and all work typed and revised – Monday and Tuesday 6/1 -2 �Cover Design – PRINTED, Table of Contents and Dedication Page 6/3 Portfolio Layout and Design Deadlines

� Smash Palace” is an interactive, cooperative learning game that challenges students to search for the highly connotative words in a poem and then alter them to skew the author’s intended meaning. Their job is to “smash” (deconstruct) a poem (“the palace”) to create an alternate meaning. Therefore, students must be able to correctly identify the tone and theme of the poem in order to change it. The team that is able to manipulate the LEAST amount of words while transforming theme of the poem wins. All teams vote, but cannot vote for themselves. This is a fabulous way to engage teens who do not like or are afraid of poetry to play with words and their power. A class favorite to begin with is Roethke’s “My Papa’s Waltz”. Smash Palace

�Can be poetry or prose; if poetry, the form is up to you �Must be focused around a musical piece, preferably one listened to during Tune Time �Must include artist and title of song plus original title �Must be at least 20 lines of poetry or in a specific poetic form if shorter; or if prose, a full page (250 -300 words) �Type it up on the chromebook and show me when you are done. Music Interpretation