The Art of Poetry - Gabriel

I have always had a passion for art. The fact that I could create something that would be completely representative of the person and still mean dozens of different things to my audience was something I believed to be unique about art. However, I never really held the same passion for poetry; in fact, quite the opposite. I used to hate the idea of poetry; I found it boring and pretentious. And to be fair, after only being exposed to the world of Shakespeare, I think I had every right to feel that way.



During the past few months I have been exposed to hundreds of poems and dozens of styles and techniques. What is fair to say about each one is that it reflects the writer better than anything else could and this is due to the process of creation. One of my favorite things that I have found in my research is Tristan Tzara’s ‘Recipe for A chance Poem’. The idea behind this is that you could pick random words out of a hat and form them into a poem through this sequence and ‘The poem will resemble you’. Through this lens every poem holds the writer’s purpose because it has gone through the process of creation.



What is interesting about art and poetry is how the audience adapts them. Looking at a piece of art, I can choose to see the things that I want and believe them to depict any emotion or belief that I feel. The beauty of art is that it is completely personal. Recently I found this to be true of reading poetry too; the ways I see poetry is completely conditional of how it is read.



Our class spent time reading poetry aloud and each time, I saw the poem as meaning something else. Whether it was a subtle flick of sarcasm at the final line that created an omnibus conclusion, or the emphasis on the alliteration that gave the poem, or even the change of voices to give objects personification, each person demonstrated their own personality through there reading of the poetry. Just like Tzara’s ‘Recipe’, no matter what you do, ‘’the poem will represent you’’.



So I feel that there are very little ways for a poet to create purpose in his poetry. When writing a poem, one cannot avoid it resembling their own personality and when reading a poem, one cannot help but make it relatable to themselves and their personality.



Poetry is the cohesion between the writer and the audience. Just as in art, we take from poetry what we want. There is no correct way to read poetry, as the subliminal creating of poetry allows the reader to explore ideas that poet did not even intend to be written.

Poetry is Personal - Rachel

Reading poetry is something that can easily be taken for granted. Throughout our primary education we deal with it. We learn how to read it, how to understand it, how to take it apart and put it back together, and then eventually how to write it. In some cases this turns some of us students off of poetry. We say that forcing us to look at every word and dissect it makes us annoyed with poetry. For me it was always the very opposite, I always thought it was amazing how every word was more than just a word, how when taken apart I found so many more meanings than I had thought were originally there. But I understand the feeling many students get when they say this type of analysis heavy focus on poetry sucks the joy right out of it. Because joy is what poetry is really there for. Yes, it has literary merit and deserves to be studied and understood, but it is primarily meant to be enjoyed. It is there to enrich our senses and make us feel, it is there to connect us for one split second with someone else, to allow us to empathize, to share consciousness with another person, if only for a moment. It is there to play with our feelings, to make us laugh or cry, or to just be in awe of the world. It is there to point out our flaws and our accomplishments, to remind us that there is a world out there beyond what we know. So I understand when some students say, “I never enjoyed poetry, we just analyzed it, I never understood what the teacher was saying.” But poetry is not there to make you feel dumb. Once in an English class for an exam we were told to analyze “Anyone Lived in a Pretty How Town” by E. E. Cummings. I loved the poem and wrote this incredibly long detailed analysis for it, partially because I just thought it had so many meanings and was not entirely sure what my teacher wanted. After the test everyone was discussing how easy the analysis was because Cummings’ had just substituted “anyone” and “no one” as names for the two main characters in the poem, something I had completely missed in my long analysis. But does that mean that what I thought about the poem was wrong? Of course not. Because poetry is a personal experience. Whatever we take from a poem is not wrong. Even if the author decides to write about the poem and say, “This is what I meant” and it is entirely against what you thought it meant, are you wrong then? No. When you read the poem, you felt a certain way about it, you were not wrong. How could the way you feel be wrong? That is why I love reading poetry and think it is so important. You take away from it as much as you put in to the poem. No poem is the same for two people; you may have similar ideas, but the way you feel and think about it is a personal experience just for you to cherish.

Creating Purpose and Shaping Arguments - Casey

When writing, authors and poets must take many things into account. This ranges from what type of piece they hope to write, who they want to write to, and how they are going to go about accomplishing both of these things. However there exists two major facets of writing which determine the success of a piece. First, the ability of the author or poet to create a purpose with their writing and secondly, the effectiveness of their arguments as it pertains to their audience. Authors and poets must strive to create both purpose and an argument, which targets their audience.

These two concepts of writing are often linked. The purpose of a piece stems from the argument. The purpose, defined by the writer may vary. One could hope to instill some sort of change with their writing. They could be trying to expose an issue and bring awareness to a problem, or the purpose of the piece could be plain entertainment. Different poets express these purposes within their writing. For example, both Patricia Smith in “Blood Dazzler” and Joseph Ross in his poems on Darfur strive to bring awareness to worldwide issues including natural disasters and genocide. Other poets such as children’s poet Shel Silverstein instead follow the purpose of entertainment within their writing. Purposes in writing vary from piece to piece and often reflect the poet’s own beliefs and personalities.

Although, the purpose and argument of a piece must reflect the audiences beliefs as well, expressing a knowledge of the audience. Therefore, the writer’s perspective on their audience shapes their purpose and argument. Audience must be taken into account when creating an argument. If the argument proves to be too radical for the proposed audience, it loses its purpose and place in the discourse community. If an argument does not target an audience effectively, it loses its credibility and purpose in the discussion upon the issue. Thus, an audience plays a major role in the creation of pieces. The author must shape the argument of the piece to satisfy the needs of the audience. This does not mean they have to completely conform to the thought process of the audience, but they should be sure to challenge it in an appropriate, non-aggressive manner.

This shaping of argument relates directly back to the purpose created in the writing. The argument helps demonstrate the purpose of the piece. If no argument exists, such as seen in the children’s poems by Shell Silverstein, then the purpose of the piece falls under entertainment. However, if an argument does exist and if it addresses the audience form an informative viewpoint, as characterized in both Patricia Smith’s and Joseph Ross’ poetry, then the purpose of the writing is to bring awareness to an issue. Overall, audience proves vital to the creation of effective pieces. It not only shapes one’s argument, it also defines the purpose of the piece. If a piece fails to recognize it’s audience, it fails in the communication of its argument and it ultimately loses its purpose within the discourse community.

Creating Purpose in Poetry - Alex

Creating Purpose in Poetry



To a person that has not immersed himself or herself into the world of poetry, it may seem that the poetry they read already has a pretty clear meaning, a meaning that the author is trying to portray. However, to those people that have been to poetry readings or who have discussed poetry with those around them, it is very apparent that a simple change in tone can change the entire meaning of a poem.



Even in our writing class, when two different people read a poem the meaning and underlying tone of that poem changed completely. It could go from being sad to empowering, happy to judgmental, all because of a simple change in inflection. I believe that this is one of the reasons that going to poetry readings are important. By experiencing the environment and the emotion of one such poem, you can feel the passion of the writers, or of the readers that are performing these poems.



Personally, I much prefer poetry readings then reading a poem inside my head. I went to Busboys for an open mike night, and the enthusiasm and excitement that was portrayed by each poet really made you feel something, anything, about their poem. Creating purpose in poetry is not necessarily making people feel the emotion that the writer wanted; it is simply making people feel anything about the poem. This brings up the second part of creating purpose, which is allowing for different experiences to all relate to the same poem.



As a poet, the writers job is to make sure that people can relate to the poem, that it can invoke some type of feeling, and part of that is making sure that others’ experiences can somehow affect how they read the poem and interpret what is it that the poem is saying. This can be connected to the idea of war poetry in that depending on if you know anyone in the war or if you have been in the war yourself, you have a completely different view than anybody that isn’t directly connected. By writing a poem that allows all of these different groups of people to relate, but in a different way, is really a talent and makes a poem that much more relevant to society as we know it today. By reading a poem in a different manner, you allow it to relate to different groups of society by using the different emotions that can be portrayed.



Thus we see the importance, and the difficulties, of writing poetry. Poets have a way of writing poems for many different groups of people, all dealing with different things and relating the poems in different ways to their lives. And along with all of this, poets also write in a way that allows different people to read poetry and turn it into a different poem, one that reflects who they are and their life experiences. Through this widespread acceptance of all different types of people through one poem, poetry really finds a way to bring people together, even if it isn’t because they all find the same importance in a specific poem. By bringing these people together, allowing this connect, there is a purpose to poetry- bringing different people together in a common acceptance.

Discovering the DC Poetry Community - Kaleigh

With resources such as the Library of Congress, the American Poetry Museum and thirteen university libraries, DC is a central gathering ground for the literarily inclined.1 Every day, poetry is integrated into the lives of thousands of DC residents through a number of readings, workshops, and national poetic events. The community of poetry enthusiasts that is ever-present in the city today adds a vivacious culture to the DC area that can only be described as one-of-a-kind.

Earlier this semester I attended the National Book Festival, hoping to explore the full scope of DC culture. At this annual event, ten nationally acclaimed poets, including Pulitzer Prize and National Book Award winners, presented and signed their works in for over one hundred thousand poetry fanatics. 2 To feel the immense passion that the DC community exudes for the literary arts is a mind-opening experience. Elizabeth Alexander, who performed her poetry in front of President Obama at his inauguration, was one of the speakers I had the pleasure of hearing. Standing under her tent in the sweltering heat, I not only absorbed her powerful message of the importance of poetry, but I also noticed the intent silence that surrounded the crowd. People from across the country had assembled in the masses to recognize the power of words. The immeasurable appreciation for poetry available in Washington, DC, which became apparent to me that day, is a rare and precious occurrence.

The high presence of poetry in Washington dates back to the 1970s, which as nationally recognized poet and DC resident Terence Winch affirms, “[was] a very active time on the avant-garde poetry front in DC.”3 The 70’s were the years of the Beat Generation and artistic non-conformity in the urban areas of the United States, and Washington, DC was no exception. Poetry played a pivotal role in Washingtonian culture during this time, and led to the establishment of weekly performance events such as Mass Transit in Dupont Circle.4 Community members gathered to appreciate the artistic expression of others and share their own personal, social or political messages during.

Many would say that the level of appreciation for poetry as vastly decreased in America over the last few decades; however, in Washington DC, this decline has not been noticeable. Winch states, “I think there's been an amazing degree of continuity between the scene of 25+ years ago and today,” 3 observing the still thriving poetic community we have in DC today. Whether it’s weekly events at Busboys and Poets (at both 5th and K or 14th and V street locations), MotherTongue at the Black Cat, or Wednesday Verses at Bohemian Caverns, there is no shortage of opportunity for poetic appreciation.

As a new member to the DC poetry community and a student of poetry analysis, I have been both welcomed with open arms and encouraged to participate. Through my experiences I have found that there are endless opportunities for poetic expression in this city. Through attending creative writing workshops at a local university, performing at one of the weekly open-mic nights, or simply listening to presentations by the number of nationally recognized poets that visit DC, any member of the community can experience Washington’s vibrant culture of poetic expression.


1 http://www.publiclibraries.com/university_dc.htm
2 http://www.loc.gov/bookfest/authors/?PHPSESSID=a32430798f8d0ed2a4479
131a530225d
3 http://www.dcpoetry.com/history/winch
4 http://www.gelman.gwu.edu/collections/SCRC/current-events/mass-transit-take-a-trip-through-dc2019s-1970s-avant-garde-poetry-scene

Artist Networking - Nick

An important aspect of career development in any field is networking. For any poet to establish themselves into the poetry community, the poet needs to be deemed credible and a worthy contributor. A simple way for a poet to gain access to the community and promote their own work is to reference other poets they have worked with or studied. Referencing other famous poets’ work proves to readers and the community that the poet is invested in their art form. By referencing another famous poet, the poet has researched and studied the great poets’ style of writing, and hopefully from their research, has developed a style that highlights devices used by the famous poets and includes new original forms of expression to the audience.

When this topic was initially discussed in class, my immediate reaction was to compare the networking process used by poets to the networking process of musicians. Both art forms are similar in the sense that it is assumed that by referencing other artists who are successful, the artist who is referencing the successful artist has researched extensively on the successful artist, has learned from the successful artist, and/or has developed a lasting relationship with the artist whether that be personal or professional. A great example a poet who is often referenced is Walt Whitman.

One of the most well renowned American poets, Walt Whitman is frequently referenced for his free structure and poetic style. He championed free verse and dealt with important issues such as the abolishment of slavery and the concept of democracy. As Joseph Ross, an active poet in the Washington DC and online communities, stated in a guest lecture after studying Whitman he concluded, like others who have researched Whitman’s work, “Whitman struggled with the idea of democracy.” Poets like Joseph Ross learned from Whitman’s statements within his work, as well as other poets such as Langston Hughes; who often referenced the work of Whitman and directly addressed some work to Whitman posthumous. Hughes wrote “Old Walt” that addressed the way Walt Whitman often struggled to come to a conclusion of his ideas. This poem could be referencing his struggle with the concept of democracy and how it was applicable to the time. This makes Hughes credible because he shows the audience he has researched Walt Whitman’s work and biography to understand the struggles Whitman addressed. Joseph Ross also has established his credibility amongst the DC poetry community by referencing his research on Whitman. Ross also comments and engages the community within the DC metro area by visiting university classrooms that deal with poetry, as well outside of DC through forms such as the Poetry Foundation online. By engaging the community Ross, is networking and providing name recognition to establish himself as an influential poet in both communities.

Networking is a key element to any line of work; but even more so in the artistic fields such as poetry. Poets rely on the process to connect share work with others and spread the distribution of their work through their peers, as well as spread of their concepts through the development of poetry.

DC Poetry Community - Beth

As a college student from the suburbs of New Jersey, I find myself somewhat sheltered from the pains of the real world. I have emotional and humanitarian ties to the poverty of Newark, one of the poorest cities in the state, but am fairly removed from it in my day-to-day life. The economic crisis ravaged towns in the area but left my Montclair fairly untouched. I know people whose family members are off fighting in the war, but no one that I’m close to has had to make that heroic choice.

In some ways, I, and many other college students like me, are islands with miles and miles of calm, blue oceans to buffer us from the pain and hurt of real society. Because of this, anthologies like D.C. Poets Against The War are my connection to the city, are the only real links between my comfortable life at a university in Foggy Bottom and the cold, hard pavement of Shaw and Columbia Heights. I come from a town where “inflatable Dick Cheneys mingle like Disney characters” (Smith, “At the Haliburton Family Picnic”). I come from a town of blissful ignorance where we give deep sighs of relief and thank God that the issues we see in the news aren’t on our doorsteps that day. But we need, I need, this brutal reality that poetry unforgivingly deals out. I need this D.C. immersion, this slap in the face that the world really is happening, whether I realize it or not. I desperately want to feel Didden’s frustrations at the world; I want her to force me to look into the eyes of “the woman in Iraq / for whom the very sky’s / a menace” (Didden, “Letter From Washington, D.C.”). D.J. Renegade, please make me feel my heart skip the same beat that Gary’s did from “the blown-up photograph held to the fire-box”; all I want to do is to “sniff the carnations [and wonder] how long until they wither” (D.J. Renegade, “Monday Poem”).

With this, I beg of D.C. to take me, shape me, inspire me to change my perceptions of these global issues. Let my college experience move beyond the classroom and the parties and plant within me the desire to care about the world around me. I don’t want the passive culture I came from, I whole-heartedly reject the skin of my prior ignorance. I want my hands in this city’s past, present and future. Cornelius Eady, I believe your dream will come true; this anthology will be “proof against silence” (foreword of the anthology). This poetry has sparked me, moved me; with the past blindness gone, I want this city to be a part of me.

Peace Poetry - Ali

What is peace? Can it only be defined in relation to war or is it more than that? People can look at peace in many different ways. It could be a time without war, freedom from disturbance or more simply a quietness or tranquility. I could go on forever describing peace and each individual has a different peace whether it be yoga, religion, sports, etc. When Philip Metres writes, poetry is “great & unobtrusive, a thing which enters into one’s soul”, I feel this is a true definition of peace poetry. Considering everything that could be incorporated into peace, I do not think there can only be only a shelf to show what peace is. What does a measly shelf say about our country? That we are aggressive, violent, dominant, and do not really seem to know what peace is...To me there seems to be no balance.

I think we need to keep this broad definition because if peace was only a magic instance between wars, no one would know what peace is. As the author said, countries like the United States are either in a war or preparing for one. When is it time to stop and really see the beauty of all people being together in harmony? It could be said our country is never in a time of peace, therefore we have to rely on ourselves to define peace; find peace within ourselves. Is this not one of the main reasons of writing poetry? Can a computer room or a t.v. area not be a sanctuary for people to write? Do they not release emotions and thought so they can achieve this inner peace? Each poem an author writes can give an author peace. I feel that Audre Lorde especially did this in her poem entitled Power. As a reader, I feel she is purging all these thoughts and emotions about society so she can get a clear head, a quietness. This poem is a wrath of emotion that may have given her peace, but for me it was quite disturbing and upsetting. It left me wanting more, more of an answer, more justice, more morals. How can something this upsetting be considered peace poetry? I think poetry like Power is almost acting as a piece of activism. It causes the reader these feelings so they can take the lesson in this poem with them and spread its message so our country can come closer to peace. This is a reason why I also think that Monday Morning could be a peace poem instead of a war poem. The underlying message in this poem is there is no beauty in unnecessary death. The persona is showing the destructiveness of violence through a boys death which brings up an uneasiness in the reader as did Power. Going back to the poetry shelves, how can there even be a poetry shelve when an intangible concept like peace is defined on such an individual level? I believe there cannot only be a shelve but a whole store of peace poetry. Therefore, I think anyone can go into any discourse community and relate it to peace.

Peace Poetry - Joe

For quite a while now our class has been discussing the idea of discourse communities. What are they, who composes them, how to enter them, and their subject matter. Concurrently, we have been discussing the subject of peace poetry, so it was only natural we talked about the discourse community of the peace poetry.

Generally speaking, a discourse community is any group of people engaged in some literary work. More specifically it is automatically the author and any other referenced professionals the author uses to solidify research for their work. People who read the texts are automatically a part of the community for the sole reason that they have critical analysis. As soon as they read the work they naturally have an opinion and criticism, they have become connected to the piece by learning of its contents. People who engage in critical response back towards the author and in topic analysis with each other are yet more people who belong in the community.

Metres has delved into anti-war, pro-peace poetry. He and his colleagues have established a set of appropriate poems that scream out against the idea of war and protest the very roots of violence. They bring to life the very real horrors of war, able to be publicized through the literary art form. He looked for a way to engage the world in a new community, one that promotes the right values of life and denounces all the rest. I feel as if Metres does this less for the sake of the continuance of poetry but rather for the sake of the human cause. Metres looks at the Peace Shelves as a deterrent from the natural American tendency to side with the contemporary view that war is always on the horizon. He ponders how peace could come about, how best to instill into the target American audiences how a change in nature could come about. He focuses principally on learning. We have had the experiences in history that have shown us the violence of war. We should take the experience, understand it’s what is evil, and work to make different outcomes in the future. Here, in this essay, Metres calls to his audience to involve them, reaching out to the discourse community to utilize their goal and make it one for social change.

Metres himself compiled a list of poetry he deemed effective for his purpose. Just by doing this is his discourse community is taking one more step towards his goal. He is actively taking information around him and making it known through the piece of his own. Going even further, in the coda, Metres leaves an opportunity for readers and members of the discourse community to engage themselves in poetry directed towards large corporations against the drive for precious resources in Africa. This one step Metres takes further gives the readers a chance to participate more actively in the community. Joining a community requires nothing but research and thought, but what you do after, the active participation, is what makes a difference.

Peace Poetry - Emily

Philip Metres’ essay “Poems for Peace” addresses the issue of peace poetry, the peace movement, and the responsibilities of poets in regards to this movement. He is not alone in pursuing these topics, bringing in views and works by other influential poets to support his exploration. One poet whose opinions he calls on is Denise Levertov. Levertov’s views on peace poetry confront the idea that we know nothing of what peace beside the time between wars. She speaks out for poetry that paves the way for peace. She calls for “poetry of preparation for peace, a poetry of protest, of lament, of praise for the living earth; a poetry that demands justice, renounces violence, reveres mystery.”

It is this concept of peace poetry that Metres explores throughout the essay. He calls upon poets of renown, who exemplify these aspects of peace in their work. A thorough examination of the many kinds of poetry that compose the genre of peace poetry is made, in order to better understand what is being done in the poets’ call for peace. A common theme is that which Levertov calls for- peace, but not just a peace defined by the absence of war. Because this concept is so foreign to us as to be unimaginable, we must rely upon the preparations to which Levertov refers.
In Levertov’s poem “Making Peace” she responds to the address that it is the responsibility of poets to imagine peace. Throughout this poem, references to process of peace are compared directly to the creation of a poem. Both processes have little idea what the finished product will be. It is the creation that provides us with the knowledge of what has been made.

The process of peace, like the process of poetry, is formed through the discourse of the community. As people contribute to the ever evolving ideas and concepts that come to create the notion of peace poetry, a community is formed. By speaking out on these topics, writing essays such as Metres’ and being well read in a wide variety of relevant poetry, an academic atmosphere is created, where those with similar passions can work for a cause. Metres’ essay on peace poetry gives a snapshot of the community as it stands and calls out to others interested in the subject.

Only through diligent work and attention can the idea of peace become realized as no longer merely a concept speculated upon through poetry. A community of poets and intellects working together can bring the concept to those outside merely the realm of literature and show the world the potential of peace movements. It takes all kinds of people, just as peace poetry incorporates all kinds of poems, to transform awareness into action and movements for peace into peace itself. Through the work of peace poetry and through the efforts of poets themselves can peace be realized. It is the academic community that gives these efforts strength and provide a starting point for efforts. If peace can be talked about, or written about, it can be realized. That is the power of peace poetry.

Poetry of Peace- Entering a Discourse Community - Adam

A discourse community, in broad terms is a group of people who share a common interest in certain topics and share a body of knowledge of those topics with one another. More specifically, in poetry a discourse community is community of scholars and researchers in the field of poetry who respond to and communicate to each other through published articles along with other credible means of discussion. These communities help people develop more knowledge in any topic they are interested in.

At this point you already belong to a discourse community due to the fact of your interests, religion, family and activities. If you are a student by attending university you have entered a discourse community as well as many smaller ones within the institution such as classes and clubs. It is simple to enter a discourse community even if you do not attend a university. All it takes is a little research so you are credible in the field and your interests will take you to where you want to be. It is not difficult to enter discourse communities and they can be very influential in helping you expand your knowledge the topic of your choice.

In Philip Metre’s “Poems for Peace” the discourse community can be looked at in several different ways. In my opinion, the discourse community in general is a The Poetry Foundation, “an independent literary organization committed to a vigorous presence for poetry in our culture” (Poetry Foundation). This site allows users to read and comment on poems, collections, and essays. More specifically, I believe the poets Metre’s mentions throughout his collection are part of the discourse community. They all come from different background and universities, which makes the discourse community diverse. This makes the topic more interesting because the reader sees the view from many different scholars that possess their own differing values. Furthermore, one may consider my classroom and peers a discourse community within Metre’s “Poems for Peace” through our discussions about this work. Discourse communities can be defined loosely or strictly either way they can be very influential. The concept of these communities can effectively and immediately enhance your writing or educate you further in anything that interests you.

War Poetry - Sam

After reading The Monday Poem, one does not necessarily think of war poetry. The poem starts out by making reference to Wallace Stevens’ Sunday Morning poem and the claim that “Death is the mother of beauty”. DJ Renegade leaves this thought to resonate with the readers as they continue through the poem. The general plot is about the narrator and his friend Gary recalling the death of their friend Ronald. They are walking through the neighborhood as they recall these memories and are interrupted by another old friend, Melvin, who changed drastically after serving time in prison. They proceed to talk about Melvin, cracking a joke about “The Killer”, which implies violence and hatred. They were so distracted that they almost didn’t notice the makeshift memorial set up honoring the death of a kid he had seen coming out of the liquor store just the week before. This event marks a shift in the poem to a much more somber tone as we see how prevalent death is in their lives.

After hearing this brief summary, one would clearly not classify this as war poetry. It doesn’t talk about soldiers or battlefields like the more traditional wars such as WWII or the Vietnam War. However, no one said that war poetry is confined to those strictly traditional wars. Other types of wars exist out there, such as gang wars, drug wars, racial wars, etc. Based on the context clues in The Monday Poem, it seems that the narrator lives in a world of gang warfare, alcohol, and violence. The harsh streets and even their very own front steps are their battlegrounds, as shootings take place right in front of them and lives are forever changed. They even have tributes for their “fallen soldiers”, by setting up makeshift memorials of flowers and pictures where the act of death took place. Of course the traditional wars have their famous memorials located in DC such as the Vietnam and WWII memorials. These kinds of wars are known and regarded on a much wider scale than those of street warfare, attracting more attention from the public. I personally don’t think that this makes the Monday Poem any less of a war poem. I believe that all wars are a man vs. man struggle that ends in some sort of violence, which essentially describes both of the types of warfare that I’ve described. When reading Here, Bullet, it made me realize that war is very much a struggle between man and bullet, or general weaponry, as well as the struggle between men. Whether it’s in the battlefront of Iraq or the less desirable areas of DC, the soldier’s pull of that trigger has immense and sometimes irreversible effects.

DJ Renegade concludes by challenging how Wallace Steven’s can write of war poetry when he has probably never “held a gunshot friend” or had a personal experience with death through acts of violence. Renegade writes of a kind of war that is real and happening every day, a war that is close to his heart.

War Poetry - Betsy

For those of you who are skeptical on what war poetry actually is, I understand. I was in your position not too long ago. What can be the difference between war poetry and poetry that is just violent? How can you classify the difference when clearly, they can be closely related? Well let me ask you one question, what are the first words you think of when you read a poem about war; assault, weapons, maybe even death? Let me clarify, that is violence poetry. War poetry means something much more. When I read a poem about war I don’t think about violence, I think about each and every solider that at one point in their life, wrote a blank check payable to the United States of America for an amount that includes their life. I think of the many lives they have saved, are saving, and will continue to save to keep our country “free”. When I read a poem about war, I don’t think of the negative words that come to mind like many people do, I think of the respect those men deserve for standing in the front line, in the line of fire, to protect strangers that they don’t even know. These soldiers serve our whole country and so do their families. His or her families go through sacrifice in order for everyone else to be free. Soldiers give up their life for this country. That is beyond honor, and there are way too many people in this country who no longer remember that fact.

When reading “Here Bullet” by Brian Turner, my first response was not someone loading a gun, not someone shooting the gun, and not someone being shot by the gun. But in fact I thought of who that person was with the gun. What kind of courage that they must have in order to even be in that position or situation. Sometimes its not the effects of the war that matter, its the people that are fighting for the cause and whether or not they come home safely that matters. In line 6 it states, “Here is the adrenaline rush you crave”. This “adrenaline rush” can come from a numerous amount of things. For me, if I were in that situation, that “rush” would come from just knowing that I am making a difference. People might not know my individual name but they will know that I was part of a cause that made history. So next time you read a poem about war, don’t think of the negative words that will pop into your head because there will always be negative words surrounding a battlefield, think about the difference those soldiers are making every second just so you can say you live in a free country. Everyday should be a day that we pause, reflect upon, and recognize the great service and sacrifice of those who protect and defend our freedom and this country. Everyone should have time to take a moment in your busy lives and realize that because of these brave young people and the grace of God, you are able to be free and make choices about how you live your life.

War Poetry - Zach

‘Here, Bullet’ by Brian Turner is a poem about war and its fatal costs. Turner served in Iraq himself and a lot of his poetry was first hand experiences of him touring as an infantry team leader. His poem doesn’t express anger or hatred like most war poetry when the poets are veterans who are torn up by the events that occurred in Iraq. Instead, Turner took the approach of looking at the war stirring inside every soldier’s minds and hearts instead of the physical war itself. Many argue that war poetry can only be successful if the poet has lived through an era of war and experienced the physical and mental torture. However, I think that war poetry can be effective even if the poet hasn’t actually been in the military or a war situation.

An opposing school of thought on this matter is that poets cannot write about events that they have never personally experienced. Their reasoning behind this is that even with the most detailed research and accounts of different people who did experience the event, the poet cannot convey these emotions unless they felt it themselves.

They believe that poets who write beyond their own experiences cannot connect to the deepest part of their minds where poetry is created. Something that is imagined is different from something that is lived and emotions felt from both these things are different although the ‘scenario’ can be the same. By writing from imagination, they are guessing what the emotions feel like instead of actually experiencing them and they argue that poetry cannot be constructed this way.

However, I believe that the important thing is not what one knows or lived, but their ability to persuade others about what you know or lived. Even if a poet has never been in a war, they can create an emotional and intellectual bond by using imagery and vocabularies of the familiar. If one can fully immerse himself into his own imagination, the same part of their brains would be stimulated if one were actually in that situation.

By using the right words, the poet can truly ‘capture’ the emotion and transfer it to the readers. If they could almost paint a picture with their words, then the readers themselves would be absorbed into this new world that the poet created whether it be a war or something completely fictional. Once the readers are immersed in the poet’s imagination, the emotion caused by the poem is real. This means that even though the poet himself might no have lived through the experience, he could still induce the same result in the readers, which is the ultimate goal of poetry.

In conclusion, I believe that poetry does not necessarily have to be created by those who have lived it. This is because poetry is constructed on language, which is used by both fictional and non-fictional poets. One set of language cannot induce different emotions in the same person. Therefore, poets who write beyond their experiences can still induce the same emotions in the readers and thus making the poem effective.

War Poetry - Chris

When it comes to traditional “war poetry”, the skeptical reader may think that this genre belongs solely to the poets who wrote gory recounts of the World War One battlefield. Poetry involving modern warfare is not even as distinguished without the use of heavy diction and a dark atmosphere. Although the war discussed in “Monday Morning” by DJ Renegade does not include a traditional critique of war, it is nonetheless a war poem. Before arriving at this conclusion however, I believe it is important to understand what a war poem is. We will see that similar themes, diction and figurative language aid us to label “Monday Morning” a war poem.

With no personal authority on war poetry, I turned to Oxford’s dictionaries for a definition. In their mind a war poet is “a poet writing at the time of and on the subject of war, especially one on military service during World War I” (“War Poet, noun”, Oxford). DJ Renegade in his poem makes his references specific in order to illustrate the circumstance in which he is writing. We even get specific streets such as “First St. NW and Florida Ave” (Renegade 3, 20). On a national level, his references to streets and names like “Gary, Ronald and Melvin” mean nothing (1, 5, 10). Therefore we can infer that this is first-hand experience, like most war poems of the World War Two period, Renegade in his poem is trying to personalize violence for the masses.

Renegade’s work is certainly poetry, but war is a term yet to be defined. Again referring to Oxford’s dictionaries, war can be defined as “a state of armed conflict within different groups of a nation” (“War” noun, Oxford). Now, in “Monday Morning” there is little diction that would lead us to believe the author participated in any warfare, but in war poetry it is sufficient to speak at the time of war. Renegade uses imagery of “empty wine bottles...carnations” to depict a “cemetery” (Renegade 16, 17, 19). This is referring to someone recently deceased and context will tell us that southeast DC is notorious for gang violence and thus, his friend was probably a victim of this conflict.

Armed with an authority of definitions, Oxford, as well as common themes and figurative language, I ask the skeptical reader: How can “Monday Morning” not be war poetry? Renegade’s retort to “Sunday Morning” by Stevens and humanizing of the war front at home provide more of a protest than traditional war poetry. It is difficult to relate to scenes of machine guns and graphic descriptions of bullets ripping through tissue, but on the news daily we hear about a shooting. In Renegade’s poem we can picture “Ronald’s Nikes [hung] from power lines” and we can relate to his “eyelashes [that] are wet” (26). At the same time however these themes are not farfetched for war poetry. We have tears, death, and reflection. This message of this war is brought to you from right here in the United States.

Responding to Lorde - Gabriel

Language is a very subtle way to attract an audience. As writers, making ourselves relatable to an audience does not solely rest on the topic or argument we are presenting, but on the way we chose to address the audience.

As a female writer, Lorde addresses issues of women in her poetry. ‘’Poetry is not a Luxury’’, describes how women need poetry in order express themselves. One could easily argue that Lorde’s female audience is defined by the topic and argument she presents, to which I strongly agree; however I believe that the reason this is so successful is by the delicate placement of pronouns.

Lorde attracts women to the essay, by addressing the reader in the female category, therefore making herself relatable. The opening line of the second paragraph, ‘‘For each of us women’’, demonstrates the particular readers that Lorde expects of this essay. The use of ‘‘us’’ makes her argument the reader’s problem; and it is the use of subtle pronouns like that, which draw in the female audience.

When reading ‘’Poetry is not a luxury’’, we see that excessiveness of Lorde’s language manipulation; in some cases Lorde does not even use correct tenses. ‘’Women see ourselves’’, does not make sense as a phrase but is the only way Lorde can avoid alienating women (as the correct phrase would be ‘Women see themselves’). I think errors like these are done purposefully in order to force the reader to stop and think about Lorde’s passion to always be associated with Women.

Most of the language Lorde uses, is far subtler than these purposeful errors. Whenever she discusses women, she uses ‘’we’’. The use of this tiny word is deceptively powerful in convincing her female audience of the argument. One the best examples of this is, ‘’Poetry is the way we help give name to nameless so it can be thought’’. The subtle drop of ‘we’, rather than ‘I’, ‘you’, or ‘they’, is crucial in the successfulness of Lordes argument, as it groups together and seperates women from all others.

For us men, the use of these pronouns makes Lorde and her topic alien and un-relatable. However, this essay is not a case of ‘Us and Them’. The usefulness of grouping people together makes them more involved, as it is something that they hold for their own. Although I am not in Lorde’ targeted audience, the effectiveness of the pronouns exemplified in ‘’Poetry is not a luxury’’, should be used by all of us as a template for how to attract and involve an audience.

Poetry Is Not a Luxury- Lorde’s Vocabulary Inspires Inclusiveness, Value, and Hope - Rachel

In Audre Lorde’s essay Poetry is Not a Luxury, she uses specific terms to define her audience and present an appealing and convincing argument. Lorde’s essay, about how important poetry is in the life of women, defines her audience as other women by defining her authority as one of the women; she uses “we” when making claims and statements. This use of “we” gives her voice more authority, the reader automatically assumes that she is not alone in her belief; “we” adds more voices to Lorde’s own, and claims that this is a widely held theory. Lorde also categorizes any that disagree as “they” which automatically separates “them” from the reader. This clear distinguish between the reader, “us,” and everyone else, “they,” draws us in and makes us feel included.

To further shape her theoretical argument, Lorde relies on imagery and metaphors to engage and persuade readers. She describes “poetry as illumination” and calls the “quality of light by which we scrutinize our lives” a deciding factor in we act and think, and in the end relate to poetry. Lorde describes our inner voices as “deep,” “dark,” and “ancient.” Using these words Lorde describes something that is valuable, something that everyone has, something that must be reckoned with and something that must be listened to. Why doesn’t Lorde just say this? Why doesn’t she say that everyone has an inner voice and this voice is very important? Because that would be too simple and that would be undervaluing her claim. By describing our need for poetry in poetic, elemental, and more natural terms, we are able to value Lorde’s claim just as much as she does, which is very highly.

By using words such as “births,” “flourish,” “possibility,” “light,” “dreams,” and “horizons” Lorde chooses to create an environment of hope for readers. She says that poetry “is a vital necessity,” which to some seems daunting, but Lorde over rides this fear by trying to inspire not a fear that we have not listened to our inner voices and are therefore doomed, but that our inner voice of poetry will always be there to be called upon and counted on in times of need. Lorde says “possibility is neither forever nor instant,” that poetry is what allows us to face the hardships of each day and it is what allows us to continue to fight and to survive. In order for Lorde to have created such a hopeful and inspiring message she chose specific words that would set the essay’s tone as one of hopefulness and not as one of despair. By choosing words that are relatable and understandable to the average, mainstream reader, those women readers Lorde is seeking to inspire, she makes her essay appealing to a specific audience and this makes for a successful essay.

Lorde’s last paragraph is a perfect example of all of this; she describes those scenes that women of all kinds are a part of every day. She uses “we” to create a sense of inclusiveness, describes scenes women would be familiar with and would value, and ends with the hope of “new possibilities and strengths.”

Responding to Audre Lorde - Casey

Within writing, especially academic writing, the audience of a piece proves to be a central concern of the writer. The writer must keep in mind whom they strive to write for and what group of the population they hope to convey their message to. One way of effectively communicating to one’s audience is through vocabulary choice. Words chosen must be comprehensible by the reader and target their demographic. If one utilizes vocabulary that does not meet these requirements, they fail to connect with their readers. Audre Lorde demonstrates how well chosen vocabulary can build an audience as seen through her essay “Poetry is Not a Luxury”.

First off, Lorde’s use of vocabulary clearly singles out women as her audience. Referring to “us women” in the paper, Lorde defines her audience. Once her audience has been defined, Lorde continues to use applicable vocabulary, which makes the essay more effective in conveying its message to its audience. Since she writes to women in general, her vocabulary does not always reflect that of academia. Instead she writes to the common reader, using everyday language seen in direct passages such as: “ For there are no new ideas. There are only new ways of making them felt.” The phrase demonstrates the plain nature of the language in the essay. This, paired with the use of first person, allows the piece to flow as a discussion. The reader feels apart of a conversation with Lorde. It is as if Lorde speaks directly to them. Even though plain language can at times be looked down upon by academia, Lorde uses it in a way that helps her connect with her reader. The vocabulary within Lorde’s writing creates a clear audience and communicates effectively with them.

However, this is not the only purpose well chosen vocabulary may serve. Lorde also shows how vocabulary can convey mood and tone within a piece. Word choice allows the reader to feel certain things. It allows different emotions to shine through the writing. Throughout her essay, Lorde repeatedly chooses words, which create a feeling of hope and optimism. By constantly referring to the hopes and dreams of the reader and herself Lorde allows the reader to look ahead in their own lives. The abstract thought of ideas and futures presented in the piece create a sense of looking forward and impending hope. Clearly Lorde intentionally chooses specific words to shape the nature of her pieces, something that takes her writing to the next level.

Through both audience and mood, Lorde’s vocabulary strengthens her writing and connects her piece to her reader. In general, vocabulary and the effective use of it can help strengthen writing. It serves multiple purposes including defining audience and creating mood and tone. However well chosen vocabulary can serve other purposes as well. Vocabulary can make arguments more persuasive, reveal biases and establish the level of writing in terms of academic standards. Overall, vocabulary and word choice reveals itself to be pertinent in writing quality pieces as demonstrated by Lorde’s “Poetry is Not a Luxury.”

Neglected: Patricia Smith’s Blood Dazzler - Nick

Tone can be best described as the feeling or mood directed towards the reader. Although there are multiple characters as well as feelings in Smith’s work, the tone of Blood Dazzler to me was neglected. I felt that Luther B was neglected and the people of New Orleans and the surrounding areas shared the same sentiment. Although this is a description of my feeling, I still believe the implicit message from Smith was that the characters were neglected and mistreated.

I chose the word neglected to describe multiple feelings portrayed by Smith. There were elements of anger…fear… resentment…depression but these are all feelings from those described in the poems. The 4th definition of neglect v. from the Oxford English Dictionary is what I believe Smith is portraying to her audience, that those affected by Katrina felt neglected. The definition reads: “To fail to give proper attention or care to; to fail to take due care of; to leave unattended to or uncared for.” The discussion my classroom of our favorite poems all have this common motif. Casey brought up “What to Tweak” as her favorite poem. When I re-read this poem the author is describing how those involved did not get the proper attention or care needed. The email’s version of the scene did not accurately represent the people’s true troubles. Rachel brought up a poem about Luther B, the dog chained to the tree and passed away. Luther was a character neglected, tossed aside given very little attention to his wellbeing. Like the community in New Orleans, it was figured that Luther would survive even with the little amount of care and concern in the beginning. In the end Luther passed away and ascends above the physical state of being.

The poem I felt best conveyed the neglected feeling was “Superdome”. This was my personal poem since I associate this poem with the visual images I saw of the great dome filled with neglected citizens. Citizens who could not return back to their homes in the 9th ward. Citizens who slept cautiously for fear of their safety since they did not have a shelter, for example when the main character pities the women with slammed shut legs and the elders in declining health. Those to me represented a group that I never considered. I knew the Superdome was being used as a place for the victims of Katrina to stay, but when Smith went into detail of what her perspective of a refugee, I wished more attention had been focused on those families. I wished those who were there were not neglected by those who could have helped more. The description of those in the dome was most impactful. Smith effectively uses the main character in the poem to convey the neglected tone.

Even though multiple characters in the poem had feelings that could be stated as tone, the author wants to implicitly communicate that those involved in Hurricane Katrina were neglected. Smith styles her poem in such a manner to show how even though she is explicitly angry over the response to Katrina, she wants to convey the people’s neglected feeling to her audience.

A Tonal Analysis “Getting’ His Twang On” by Patricia Smith - Kaleigh

On August 29th, 2005, Hurricane Katrina struck land in Louisiana. On that day, the levees in New Orleans were destroyed and hundreds gulf of residents were made homeless. On August 30, as this devastation was occurring, Former president George W. Bush was “Getting’ His Twang On”.

As I read this poem, the emotion that exudes from its lines can only be described as hatred. The note under the title states “George Bush plays guitar with country singer Mark Willis; 2 p. m., August 30, 2005” setting both a time and an immediate confusion from the reader as to why the president would be so oblivious to his country’s current disaster. The poem proceeds to describe Bush with “his stance ossifying, his dead eyes fixed on the numb, escaping chord” (line 2-3). Portraying the president as rigid and dead brings him a quality of uselessness during this situation.

The poem continues on to give Bush’s audience an ignorant quality as well. The author puns, “they spur him on with spurious laughter. The cowboy grins through the terrible din…” (line 5-6). Smith’s expanding of the president’s qualities to his audience conveys the message of not only presidential neglect, but also neglect from America as a whole. Her resentment is clear through her use of harsh language as she describes the scene, a vision of “flashing bulbs, the rampant ass kissing” (line 7). The American public is so blindly focused on their president that Katrina’s wrath and Louisiana’s devastation are being ignored.

The author’s resentment is furthered as she escapes this scene and flashes to the “Ninth” Ward of New Orleans, an area which was completely flooded at this time. The stark contrast is used to demonstrate the immense unfairness of the situation. The opening of the poem seems as though it is another story of Bush’s vast unpopularity, but the imagery of “a choking woman wails Look like this country done let us for dead” (lines 8-9) shifts the tone of the poem from anger to sadness and despair. It links the author’s immense hatred for the president, his actions, and his followers into the underlying helplessness of Katrina’s victims.

The ending of the poem closes with the summarizing of this disaster. The phrase “He plucks strings. We sing.” (line 12) finishes the poem with a captivating melancholy that contrasts with the opening. At the start, I read this work as if the poet is yelling, angrily expressing her frustrations about the lack of response from America. At the last stanza, however, the writing has become quiet, like a “shadow in everyone’s throat” (line 12). The reader no longer has to be convinced of the president’s injustice because of its resounding truth, so Smith alters her tone and achieves an intense, emotionally moving response from the reader. As I read this poem over and over, I too was influenced by Smith’s message. I thought, “How do we make people care?”, a question that still goes unanswered.

What is Poetry - Ali

When I first opened Nowak’s “Coal Mountain Elementary” the form nor the the way the words were composed immediately struck me as poetry. My initial thought was how he had a very unique structure for presenting the reader a series of catastrophic events. However after reading the entire book, although it is not a traditional representation of poetry, it is indeed poetry. The way the author weaves in different perspectives of mining incidents with the student activities makes Nowak’s message more clear and poignant. So what makes Nowak’s collaboration of non-poetry, poetry? But first off, what is poetry?

I believe poetry can be any piece of writing in which the author intends to be poetry and also more importantly evokes emotions from the reader.The successful poet uses words to not simply describe what is going on but paints a detailed picture in the readers mind. It can be to the point where what the poet is describing is almost palpable or the emotion the author is describing is transferred to the reader. In Coal Mountain Elementary, the way Nowak fits together the heartfelt flashbacks of the coal miners with greedy, indifferent business men emphasizes the tragic aspect to these stories. It makes the reader sympathetic to the miners and also angry about the way the newspapers and businesses are handling it. The way Nowak also weaves the activity of coal flowers adds another layer of sadness to the story. The happy association of making decorative flowers is juxtaposed against the use of mining incidents to make the flowers. Nowak’s clever addition of coal flowers brings the words to life in the mining towns and makes the words to the reader more real too.

Another important aspect of poetry is tone. Tone connects the reader closer to the persona so its possible for a transfer of emotion between the reader and writer, especially when read aloud. Overall, tone puts more meaning to the words the poet writes. Nowak has a series of voices that contribute to a single over arching tone. The multiple points of views of the coal miners lives all have similar themes of extreme worry, poverty, and death which work with each other and emphasize each other. The business memos and newspapers further highlight the sad tone by downplaying or contradiction what the miners are saying.

Overall, I do not believe poetry can be defined by specific qualities or it structure, etc. So there is no reason why Nowak’s “Coal Mountain Elementary” cannot be called poetry. A poem can take on any quality; I feel what makes a sequence of words poetry is the reaction the reader gets from reading the poem in which author intends to happen. After reading this book, I felt obligated to help the coal miners and their families, which is what Nowak wanted. This book is a form of social activism and to make people aware of what is really going on in these societies.

The Question of the Concept of Poetry in Coal Mountain Elementary - Joe

Coal Mountain Elementary is a gruesome revelation of the coal mining industries of the world. As seen in the United States, specifically Sago, West Virginia, there are cases of frequent disaster within the mines. It would seem, judging by the articles and personal accounts Mark Nowak provides, mining disasters are even more frequent in China. No doubt this is much of the same for the rest of the world as well. Nowak has explained himself to be a staunch advocate of the awareness needed for these incidents. He claims to be shaken most by this type of tragedy and uses his own unique methods to expose others to the same striking stories. However, much is to be pondered when considering typifying Nowak’s work. Does it continue his poetry legacy?

For one, in the argument against it falling in suit with the concept of poetry has to do with content. Most of the included information and dialogue is written in prose form. Not only that, but the material is not original. The pieces are not uniquely imagined forms of reflection. Rather, Nowak compiles personal accounts, articles, and even lab procedures to convey his meaning. All of these supporting documents are cold hard facts. They tell a story, giving general background information. Nowhere in any of the accounts or news stories is there evidence of flowery descriptions or aesthetics or well-picked adjectives coloring the scene.

The description of poetry can be defined informally as a way a person expresses their emotions through an outpouring of text. It is legitimately an art form of writing. The argument for Coal Mountain Elementary being a poem is that it incorporates different text in an unusual way. It is Nowak’s way of sharing his emotions and feelings about a certain topic through his own version of structure. The piecemeal corroboration of text could possibly have meaning. Throughout the book Nowak incorporates lab instructions, images, Sago reports, personal accounts from China, etc. Each of these follows more or less of a cycle. Besides the emotion aspect, the structure may also be an area that could be an argument for poetry. They are aligned in a certain way to either hammer home a certain idea, or provide ironic stark contrast to see the extreme horrors hidden from most. Either way, Nowak uses the structure to his advantage, but in a very unusual method.

Mark Nowak is an established poet, an experienced literary scholar. This could be an argument for why the piece is poetry, as Nowak would tend to write in similar form as he has in the past. However, Nowak has voiced his opinion that he does not know definitively whether this particular item is in fact poetry. This could be an argument against. If someone as experienced as he cannot categorize his work as similar to his past work, then it must surely be different.

Coal Mountain Elementary is not poetry. There are elements that are shared with poetry included, such as emotional outpouring and structural differences. However, any piece of literature may include an emotional basis, and many do not adhere to a strict writing code. The evidence of factual information, prose-reporting writing style, and borrowed texts makes it more of a compilation of information than poetry.

It is true the lines around poetry are blurred. It is a personal decision, one’s own interpretation. Poetry is indeed an art form, one that mixes rhyme or meter for example. However, poetry does not canvas everything that is outside the lines or different in some regards.

Responding to Nowak - Adam

What is poetry? The Oxford English Dictionary defines poetry as a composition in verse or some comparable patterned arrangement of language in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm. After reading Nowak’s Coal Mountain Elementary I was not sure how to categorize it. Poetry expresses a certain state of mind, which in my opinion that the reader is able to capture in Nowak’s book. Coal Mountain Elementary has a distinctive style and rhythm making the reader believe it is poetic. The author must be able to allow his/her knowledge flow freely. This allows the mind to be in a thought provoking state, which aids the author to create the most artistic verses. Nowak demonstrates this in Coal Mountain Elementary by creating his own unique style that lets the reader decide if it is poetry, prose, or a new genre. After looking over the text multiple times I was able to come to a conclusion that Coal Mountain Elementary is a genre of its own, but in a poetic sense. I believe this because there is no other text in the world similar to it although it does evoke feelings and has a distinct style. The concept of poetry is difficult to explain, because most readers have a different idea of what makes a work poetry or prose. For example, I looked back at the journals debating whether or not Coal Mountain Elementary and found that the students were evenly split. This illustrates that poetry as a concept can be interpreted in more ways than one, ultimately leaving it up to the reader to decide what it should be classified as. In my opinion, the reader can categorize a work as poetry or not depending on the circumstances, but if he/she can justify the fact it should not be disputed. Poetry is about freedom and setting the mind free from all distractions. Coal Mountain Elementary is a great book to read, if one wants to contemplate the concept of poetry without influence from others. Although Nowak uses ideas associated with poetry, I personally would still classify Coal Mountain Elementary as a genre of its own.

On Poetry and Nowak - Emily

Coal Mountain Elementary by Mark Nowak not only challenges the idle acceptance of the risks of coal mining by the general, uninformed population, but also challenges the very definitions of poetry and prose. While commended as a work of poetry, it does not follow the conventional forms that we have come to know. The book is not filled with rhyming lines of verse or individual poems. In fact, there is not a single page that can be said to contain a poem. The book as a whole is considered poetry, not it’s individual components.

Poetry is a concept that can take many forms, depending on the individual. Not every person considers the same thing poetry; it doesn’t hold the same concrete definition that one might apply to other types of literature. Coal Mountain Elementary contains many elements of poetry. The themes of death, tragedy, and the price of coal mining are interwoven between the pages of stories, personal accounts, news clippings, and images. The start juxtaposition between these tragedies and the plainly stated, thoughtfully composed lesson plan on coal mining comes off as startlingly provocative. The use of images to compliment the horrors drawn out on the page lends the work a depth it might have otherwise failed to achieve. Coal Mountain Elementary is not purely a book or a novel. It is infused with poetic elements which combine to make it a powerful, moving piece of art.
In “Alarums and Excursions” Waldrop’s tenth thesis states: “The poem will not work through its content, through a message which in any case would speak only to the already converted, but through its form.” This thesis can be related to Nowak’s work. Through its unconventional form, the message of Coal Mountain Elementary works to convert those who are not aware of the price associated with the coal mining industry. Poetry is that which reaches out and grabs the reader, shaking him from his habitual beliefs and inspiring further consideration. Coal Mountain reaches out in just that way, alerting the reader to that which he may have never considered.

Poetry defies strict definition. It is a complex idea, embodied by many forms and formats. It is the expression behind the words, the individual idea that becomes perceptible through the composition of phrases, which is of importance. That is not to say other types of literature are not driven by these same concepts. Emotion, depth, and awareness can be found in some of the best novels of the age. They can be just as moving and just as provocative. Yet these other forms of literature lack a certain essence that necessarily classifies poetry.

It is as much the reception of the reader as the intent to the author which classifies a work. This is especially true in regards to the ever expansive and malleable concept of poetry. Though Nowak may have set out to write a book of poetry- or not- his success or lack thereof is dependent upon the individual reader and the way in which the work is received.

Slam Videos from YouTube

Patricia Smith Performs Skinhead:



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Slam Champion Andrea Gibson Performs at Capturing Fire 2010



Baltimore/DC poet Chris August Opens for Anne Waldman at "Howl" in the City 2010




DC poet (and renowned slam artist)Regie Cabico at the Calgary Poetry Festival 2010

Waldrop Thesis 2 - Chris

There are several components to Waldrop’s thesis two in her essay “Alarums and Excursions.” In this thesis not only does she defend her view on poetry, she speaks on behalf of all poems ever written. Therefore, I believe it is important to first examine her boldest statement, that “poetry has social relevance” (215).

Now, as we explore the idea of “social relevance”, the crux of the entire thesis, we must first define these terms. “Social”, in my opinion, simply means of or relating to society. This holds true in Waldrop’s assertion because as she states “everything we do has some social effect simply because we are members of a society” (215). So when a poet submits a form of poetry (“relevant” or not), they have committed a social act. Where her statement becomes bold is the assertion that poetry is and will always be relevant. Relevant, I believe, means that contextually the event or art in question has meaning.

In this way, upon first examination, Waldrop’s assertion that poetry has social relevance does not hold true when we defined the terms. A poem that has been written by a “moody” poet sadness one day may have no social relevance after the fact. Moreover, one could interpret a poem completely different than the intended meaning. My point is this: who is to say what is relevant? Since there can be no defined meaning (especially in the arts) then there is no way to determine what is relevant and what is not. Yet, Waldrop’s thesis has an answer for this.

Her second part of the thesis states that poetry’s relevance to society is not just reflective (as in a poem is sad or happy) but “It can make the culture aware of itself” (215). Again, we may define terms. “It” in this part of the thesis is referring to poetry in general. “Culture”, the other important term, can be defined as a belief system or in this case, how emotions are perceived. Almost as difficult to define meaning in a poem or another work of art, is to define what an emotion is or feels like. Going back to my first example of the “moody” poet, one cannot define “sad”, and yet when this word is spoken unanimously people can relate. So this poet who was feeling “sad” and expressed this through their poem has now created something which will forever hold this “social relevance” we have been seeking. In the “culture” that the hypothetical poem was written, they now have something to base “sad” off of.

This hypothetical poem I have been speaking about to aid my exploration and definitions of thesis two can now have clear “social relevance”. “Social”, because the poet is a member of society, “relevant” because it has meaning, it unveils “sad”, “culture” is explored because the “hidden structure” of sadness is perceived. Waldrop is asserting in thesis two that all poetry can create social awareness and therefore contain “social relevance” (215).

Work Cited

Waldrop, Rosmarie. “Alarums and Excrursions”. 1990.

Responding to Waldrop - Sam

I chose to discuss and respond to Rosmarie Waldrop’s Thesis 10, “The poem will not work through its content, through a message which in any case would speak only to the already converted, but through its form”. Is it the form or the content that is more effective at pulling in the reader? This is a question that has caused much debate and controversy in the world of poetry. Form is a technical term that describes the look, shape, sound, and patterns of the language that poets employ. They can deliver their message through the forms of alliteration, rhyme, enjambment, repetition, onomatopoeia, etc. While form refers to the organization of words, content refers to the meaning of the words. Poets very carefully combine words to form phrases that are meant to create multiple layers of meaning. Every word has its literal meaning, the denotation, but often times words also have a connotation. The connotation is the “associated meaning” that hints at the message lying beneath those multiple layers.

Waldrop argues that in many cases the content of the work is the same, and it is the form that sets them apart from one another. Brecht, one of Waldrop’s sources, states that “The presentation has to be unusual to get the reader out of the shelter of his habits”. This concept applies to most things in general. Either an unusual or a well organized presentation is what will attract the people. The actual content of the piece may not be very intriguing, but depending how it’s presented, it can be very pleasurable to read. Forms such as rhyme, rhythm, and alliteration allow the words to flow while capturing and holding the attention of the reader. While I completely agree with Waldrop and her sources that the form is absolutely crucial for the effectiveness of a poem, I disagree with how little value they place on content. The content and its connotations are what form a bond between the reader and the poem. They make the readers think beyond a superficial level, and interpret the meaning of the words, or maybe even apply them to their own lives. The form, on the other hand, does function on a superficial level to pull in the readers and then set them up to explore the deeper meaning of the piece.

However, some poets do prefer to let the form do the work. Another one of Waldrop’s sources, German poet Helmut Heissenbuttel, demonstrates this through his poetry. He omits words such as nouns and lets the “unstated words assume the aura”. His wording is not flowery or over complex, but the form in which it takes on is what leaves the readers thinking about the deeper meaning. The debate of form versus content could go on forever, and while Waldrop make take one side of the argument, I find myself in the middle. I believe that it could be presented in the most unusual and catchy form, but if the content is not engaging or moving, then the reader will lose interest.

Responding to Waldrop - Zach

Each member of my group will be focusing on one thesis and respond to it. I chose thesis 3 which is ‘The Function of poetry is to waste excess energy.’ Her thesis is based on George Bataille’s main tenet of ‘general economy’ that any kind of art form is a glorious way to waste excess energy.

The principle is that living organisms receive more energy than they need to maintain life. This leaves excess energy which can be used for growth (whether this be the growth of the organisms itself or its surroundings). There can be multiple ways of wasting excess energy which include death, wars and unemployment. But wasting energy by creating art form is considered to be the most glorious way.
Waldrop herself has doubts about this social function, as she does not feel like or even consider Bataille’s ideals when she writes. She thinks she’s much too close to the actual event to notice something that is on a grander scale.

I personally agree and disagree with Waldrop’s thesis. I think there are 2 types of poets; one of them uses poetry as an outlet and the other one as a mean to express themselves. The first kind of poets use poetry as a method to waste excess energy and the second type uses it to ‘find themselves’.

Waldrop’s thesis uses Bataille’s generalization that all art form is a glorious way to waste excess energy. By simple deduction, as poetry is a form of art, so it is also a glorious way to waste energy. There are different levels of art form in my opinion, there are physically challenging and mentally challenging. Waldrop gave examples like pyramids and cathedrals as other evidences but these projects are much more strenuous than writing a poem. By generalizing art form as one object, Bataille forgot that poetry only requires one’s mind to be formed.

Some could argue that mentally creating something could be counted as using energy. This is true, however, energy can never fully disappears, it just transforms into another form of energy. In poetry’s case, the excess energy from the poets is now embedded in the poems and would pass on to the readers by changing their emotions.
Waldrop had the correct idea when she proposed both sides of the argument. Poetry is an art form which some would use as an outlet for their excess energy/emotion. However, this is not always true, the word waste seems to imply that the product, which is poetry, has no use or purpose in reality. This takes away from the real function of poetry, which is to transfer the poet’s emotions to the readers through the powerful use of words. In conclusion, Waldrop’s thesis ‘The function of poetry is to waste excess energy” have no certain answers as both sides of the arguments make complete sense.

Waldrop “Alarms and Excursions” - Betsy

Thesis #9:

"A poem is primarily an explosion of language. This view is shared by
linguistics like Roman Jakobson and Paul Valery."

To define a theme can be very challenging, especially in non-fiction work because it can be the writers own personal thoughts on life and who’s to tell them they can’t think in a certain way. One can argue and say that their “theme on life” is better but ultimately, one has to decide for them selves what they want to believe. But in the case of Waldrop in “Alarms and Excursions” Thesis 9, I agree with Waldrop’s theme and excursions. She states that “A poem is primarily and explosion of language” which, in definition, makes sense because if it wasn’t an “explosion” then it would just be classified as just an essay or novel not entirely poetry. The word “explosion” really catches my eye and makes me think. When I think of explosions, I think of big catastrophic events with objects flying everywhere and complete chaos. So when Waldrop refers to poetry as “an explosion of language” I immediately think of chaos on paper or just a jumble of words that somehow connects to the same point or topic. This is an aspect that I have liked in poetry before but not all the time. With poems that I really have to concentrate on to try and find out the meaning, I don’t enjoy because generally after reading it I still don’t know what the poem was suppose to be about. But if it has a predictable name, adjectives filling up the whole poem, and it seems like a jumble, I enjoy because I know what all the adjectives are suppose to relate to. Waldrop’s “explosion of language” also can be defined in “Shitty First Drafts” by Anne Lamott. The theme in that essay is that everybody, no matter who you are, you could be an author or a professional poet but everyone writes shitty first drafts. Lamott goes on to say that, “a first draft is a child’s draft, where you let it all pour out and let it romp all over the place”. This can be compared to an “explosion of language”, where it is just exploded or poured all over the paper and the writer formed verses and stanzas and called it a masterpiece. Waldrop goes on to say in her first excursion, “it also does not mean that there is no reference. It only means reference is secondary not foregrounded”. This is what I was referring to when I said that poems
without a sense of meaning or ones I cannot figure out the meaning to, I don’t enjoy. So what Waldrop is saying is that there is an explosion of language or words on the paper but they all connect to something. There isn’t just a random explosion of nonsense. If the writer is really passionate about he subject he/she is writing about, you should know the meaning of the poem. In conclusion, Waldrop’s “Alarms and
Excursions” Thesis 9 is defined as; poetry is chaos on paper that can all relate and connect to the same topic.