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Guest Prompts #3 & #4

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Renee Stevens

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Happy Friday, y'all. Don't know how you all plan to spend your weekend, but if you plan on writing, maybe today's prompts can be a source of inspiration. Let's take a look at who gave us a couple of guest prompts for this week.

 

Prompt 3 - Creative    Brought to you by @aditus

The elevator takes ages. When the doors finally open, a woman wearing a pink pant suit twirls a glittery stick in her right hand that looks suspiciously like a wand and smirks.

A Witch ? The fairy godmother? The neighbor from across the hall?

 

Prompt 4 - Word List   Brought to you by @Carlos Hazday

Use the following words in a story.

winter - snow - vacation - summer - sand

 

Hopefully today's prompts help motivate you to write. Make sure you link your prompts in the Prompt Forum. 

As Wayne always says, 'Until next time remember to read, write, comment, and like. Stay safe and well.'

Lastly, if you want to get in on the fun, make sure you send a PM to @Renee Stevens or @wildone to share with us your prompt ideas!

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Ron

Posted (edited)

With a response to Guest Prompt #2 from last week this puts me on the map as well. It's been too long since I have made a story contribution and so I've resurrected a years-long-unused platform with the idea of kicking myself in the derriere.

For your consideration, a short - short story:

No I But Me

Edit: With regrets, I've had to change 'year-long-unused' to years-. That's plural ... so sad.

 

Edited by Ron
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    • By AC Benus
      .
      Poetry Prompt 6 – Elegy
       
      Let's Write a Tennyson-style Elegy!
      We have studied how verse form relates to certain patterns, like line length, using end-of-line rhymes for emphasis and memorability, and stanza patterns like the Tanka, Haiku, and Couplet.
      We can build on that by practicing with the four-line structure of the Elegy, which is like a pair of couplets split up to be a-b-b-a in its rhymes.        
      The Elegy belongs to a group of lyric poetry including the Pastoral and the Eclogue. This form is ancient, and city-bound Hellenistic Greeks used to dream of getting back to nature through such popular pieces. While the other two forms promoted bucolic bliss, the Elegy spoke of loss – more often than not, of one handsome shepherd being taken by someone rich and powerful to 'the city,' and his equally handsome and lonely shepherd mate having to deal with the separation.[1] In this sense Shakespeare's poem Venus and Adonis is an Elegy, as the goddess has to suffer the rather comic rebuff of the beautiful boy before ultimately losing him altogether.
       
      With this, he breaketh from the sweet embrace
      Of those fair arms which bound him to her breast,
      And homeward through the dark laund[2] runs apace;
      Leaves Love upon her back deeply distrest.
      Look, how a bright star shooteth from the sky,
      So glides he in night from Venus' eye.
       
      Later, continuing to run from the goddesses' lust-driven pursuit, the beautiful teen boy is gored and killed by a boar. So in this we come to how the Elegy has been most often used in English: a lament for a departed loved one. Even though it is usually thought of as a death song, good Elegies still retain the element of nature as a sub-theme.
      For our purposes of studying how to write one, I will stick with examples from arguably one the greatest same-sex love poems ever written (and one sadly few bother to read today); Tenneyson's In Memoriam contains the lines:
       
      'Tis better to have loved and lost
      Than never to have loved at all.
       
      And the man he loved, Arthur Hallam, must have been a remarkable soul, for the expanse of In Memoriam is as passionate and sweeping as its near contemporary poem, The Leaves of Grass. Tennyson deals with his loss by questioning everything – Christian hypocrisy against same-sex love, faith versus reason, love being stronger than doubt and hate, even Creationism versus Evolution. And ever in the background is nature and how it brings the poet back to the presence of his beloved. Take for example these strophes from 95:
       
      By night we lingered on the lawn,
      For underfoot the herb was dry;
      And genial warmth; and o'er the sky
      The silvery haze of summer drawn;
       
      And calm that let the tapers burn
      Unwavering: not a cricket chirped:
      The brook alone far-off was heard,
      And on the board a fluttering urn: 
       
      But when those others, one by one,
      Withdrew themselves from me and night,
      And in the house light after light
      Went out, and I was all alone,
       
      Then strangely on the silence broke
      The silent-speaking words, and strange
      Was love's dumb cry defying change
      To test his worth; and strangely spoke.
       
      So word by word, and line by line,
      The dead man touched from the past,
      And all at once it seemed at last
      His living soul was flashed on mine,
       
      And mine in his was wound and whirled[3]
      About empyreal heights of thought,
      And came on that which is, and caught
      The deep pulsations of the world.
       
      So, sucked from out the distant gloom
      A breeze began to tremble o'er
      The large leaves of the sycamore,
      And fluctuate all the still perfume.  
         
                      
      Here we can see what I mean when I say the rhyme pattern is like a pair of Couplets split up, and note that Tennyson chose to stick with a lyrical 8-syllable line length throughout. There is a grandeur to these lines, but I chose to show them first for how beautifully he weaves in the presence of both nature and the memory of the departed. But that does not always have to so blatant. Easier to follow are the four stanzas of 73:
       
      So many worlds, so much to do,
      So little done, such things to be,
      How know I what had need of thee,
      For thou wert strong as thou wert true?
       
      The fame is quenched that I foresaw,
      The head hath missed an earthly wreath:
      I curse not nature, no, nor death;
      For nothing is that errs from law.
       
      We pass; the path that each man trod
      Is dim, or will be dim, with weeds:
      What frame is left for human deeds
      In endless age? It rests with God.
       
      O hollow wraith of drying fame,
      Fade wholly, while the soul exults,
      And self-infolds the large results
      Of force that would have forged a name.
       
      So here, I hope you noticed right away, Tennyson used the exact form and line pattern, but achieved something markedly different from 95. His anxiety almost beats with a heartbeat as we read his words, and 'nature' becomes thought of human nature and of how natural it is for two people to love one another.
       
      The prompt: write your own set of four-lined Elegy stanzas. The theme is 'Remember,' and I encourage all of you to submit your work to Irri for the spring anthology. Keep the rhyme pattern a-b-b-a, use as many stanzas as you like, but maintain a consistent 8-syllable line. Play with it; your poem does not have to be about death or loss, just remembrance.       
       
       
       
       
      --------------------------------------------------
        [1] The two young shepherds who were household names in ancient and Renaissance times were Corydon and Alexis. They were as well known a couple as Romeo and Juliet is to us and the story of how their pure love and passionate devotion to one another was tested by the glitz and fakeness of hypocrisy was written about time and time again. Marlowe's famous lines of "Come live with me and be my love, and we will all the pleasures prove" is Corydon speaking to Alexis. (See Chapter 3 of Bruce R. Smith's 1991 literary survey of same-sex love in Shakespeare's England)       
      [2] Laund = a grassy meadow
      [3] The 'his' of this line and the line above are the originals. Tennyson's son later systematically went through the poem and edited parts he felt were too 'gay.' Thus in this line he craftily added a 't' to make a nonsensical 'this': "And mine in this was wound". Unfortunately this was one of his favorite ways to deface the manuscript. Sometimes, as in the case of "His living soul was flashed on mine," he was forced to cross out his father's words and simply write something obscuring above it; here he altered it to read: "The living soul was flashed on mine," which again makes no sense to a reader. (See In Memoriam, edited by Robert H. Ross, 1973 New York)
      Walt Whitman's editor for the Leaves of Grass insisted he add qualifiers like "him and her," and "he and she" in his erotic poetry where he only wrote "him" and "he." Later on his dutiful students defaced his manuscripts after the master's death to reflect the edited print versions of the poem. (See Love Stories, by Jonathan Ned Katz, 2001 Chicago)
      Emily Dickinson likewise had her manuscripts rather brutally altered by her editor and niece, Martha Dickinson Bianchi. As Keith Stern writes: "Though we know little about Dickinson's sexual life, we can be certain about the passions of her sexual orientation. In 1852 she wrote a love letter to her friend Susan Gilbert that read in part, 'Susie, forgive me darling, for every word I say – my heart is full of you, none other than you in my thoughts.' Her love for Gilbert inspired many of her poems. In addition to altering Dickinson's rhymes and punctuation, early editors replaced Gilbert's name in many of the love poems that were written to her. Scissors and erasers were taken both to poems and correspondence, turning 'her' to 'him,' and erasing the 's' in front of 'she.'" (ps. 139-140, Queers in History, 2009 Dallas)
      It is a shame that LGBTQ youth are still systematically kept from knowing the extent of Gay arts and letters that exists all around them. Editing Gay people out of their own history should end.
       
      _             
    • By AC Benus
      Poetry Prompt  2 – Haiku
       
       
      Let's Write a Basho-style Haiku!
       
       
      It's arguable that Haiku is now the most popular set form of verse in the English language. Today more Haiku are written around the world than Sonnets and all the other forms put together.
       
      Haiku, or Hokku, arose out of Tanka and a variation on that form. The natural way in which the five lines of Tanka can be broken into strophes of three and two lines, in either combination, was known as Renga, or linked verses. These witty poems, which often took the form of question and answer, were light and popular entertainment.
       
      That all changed with a Gay genius. Basho Mastsuo (1644-1694) spent his life sequestered with the men he loved, first with the teenager with whom he was raised almost as a brother within a samurai family, and then later as a lay Buddhist monk with several men who formed his acolytes and partners.     
       
      In the summer of 1684 (when he was forty years old,) he set out with his partner Chiri (who was thirty-six,) to see the country. These adventures resulted in the flowering of his poetry and the widespread dispersal of his brand of Haiku. Later, his most influential travel collection of verse was finalized the year he died as Oku no Hosomichi, or A Narrow Path through Open Country. Its posthumous publication in 1702 ensured his poetic immortality.    
       
      So, Basho's form was a serious attempt to redact out the subjective view of the poet, and in this regard he was influenced by Zen thought that the "I" is an illusion. Within a very limited form he tried to capture the corporal impressions of an event, and trusted that the reader would insert his or her own emotions into what they were shown. By corporal I mean the bodily senses: sight, smell, touch, taste, and hearing. His most famous Haiku is this:
       
      Which translates literally as:
       
      There is a particular anthology of one hundred English language versions of those eight simple Japanese words, and all of them are different, and all of them are in proper Haiku form.
       
      The Haiku is based on a three-lined structure, and has the following syllables: 5,7,5. Like all Japanese poetry and traditional lyrics, a seasonal word is essential. In the frog poem, the frog is a symbol of summer. Another summer poem that illustrates his totally subjective style is this one from Oku no Hosomichi:
       
      The prompt: write two Haiku. One inspired by a sight you witnessed outdoors, in a secluded patch of nature (either in your yard, a city park, or the great untamed wilderness). And a second one inspired by an urban sight (something that catches your eye on the street), or that happens indoors. You must be true to the form and include a seasonal word within both poems, but remember, words like 'surfboard' and 'bug spray' speak of summer just as much as 'frog' and 'cicada' do. Think outside the box and just use a sight that speaks to the season in the part of the world you are right now. 
       
      To be a true Haiku, do not use words or concepts like "I," "my," "mine," etc. Stick to plain scene painting, for if the sight moved you, it has the potential to move others too. 
       
       
      _  
       
       
       
    • By FormerMember4
      Still getting used to new poetry layout. I was looking for the Prompts... Finally found in Discussions. Wouldn’t it make more sense under resources?
    • By AC Benus
      Poetry Prompt 11 – Haiku #2
       
       
      Let's Write an Issa-style Haiku!
       
      We have studied Tanka, and Basho-style Haiku, so now we can move onto the other great master of Japanese Haiku, Issa Kobayashi.[1]
       
      While in Tanka the poet can have free range to explore the subjective with words like "I" and "me," Basho's Haiku strives to be totally objective and simply paint a scene with words. His Haiku assume the reader will feel the same emotions the poet did from simply reading the scene.
       
      Issa approached it from a different perspective. His Haiku are almost a perfect blend of detached witness speaking from an "I" POV, while focusing on showing (and not telling) the reader about an event.
       
      Here's an example:
       
      The dog's kindness shows
      as he moves aside for me
      on this path of snow.
       
      Or, here's another wintry one:
       
      Hey, it's in his look,
      that guy right in front of me,
      right down to his chill.
       
      Now for some background: born in 1763, and trained firmly in the Basho tradition of poetry, he wrote more than 20,000 Haiku but only a few hundred Tanka.[2] When he was 52 years old, he decided to start writing a poetic journal whereby he would chronicle a year of his life. He called it Oraga haru, or My Springtime.[3] His wife had borne him a daughter recently, and their child turned two years old as he began this project. He dedicated his newfound joy in living to the fact that she brought hope and a fresh outlook to his existence. It proved tragic, because as he was writing this work, his daughter contracted smallpox and died.
       
      Issa recorded it all – his happiness, his despair, his grief, and finally, his determination that a higher purpose exists. Oraga haru became a landmark when he published, and it's arguably one of the greatest poetic works you'll be able to find. Do check it out in Hamill's translation.
       
      So, intimacy reigns in Issa's Haiku. He does not shy away from being a poet telling his side of things, as long as he keeps it simple, and adheres to the basic requirements of the Haiku as a form. Those are, the inclusion of a seasonal word – like 'snow,' and 'chill' in the examples above – and a structure of three lines arranged in syllables of 5-7-5.
       
      The question is, how does he do his magic? Answer: I do not know. It's just one of those things that works or fails to work, so I can simply give you more examples to see how he balanced the objective with the subjective.
       
      The great lord is now
      from his horse dismounting like
      cherry blossoms fall.
       
      -
       
      You butterfly, fly –
      I see already on me
      too much earth-bound earth.
       
      -
       
      At mid-summer's height,
      my umbrella disappeared;
      hard-core thief, perhaps?
       
      -
       
      There are moonlit flowers,
      forty-nine years' worth of them,
      beneath whom I've walked.
       
      -
       
      Perfect form, oh snail,
      bit by bit, unflagged you climb
      Mount Fuji's great heights.
       
      -
       
      Old dog lying there
      ear on the ground as if to
      hear worm's lullaby.  
       
      -
       
      And his most famous poem, the one for the loss of his daughter:
       
      Tsuyu no yo wa
      tsuyu no yo nagara
      sarinagara
       
      The way of the dew,
      the dew's way of departing,
      brings and takes so much.
       
       
       
      The prompt: write one or more Haiku based on an animal observation. This can be an inspirational moment, like a snail climbing a mountain, or a peaceful moment, like a dog napping on the grass. Just anything you see from the animal kingdom that makes you pause and reflect. Keep a seasonal word, and maintain three lines of 5-7-5 syllables.  
       
       
       
       
      ------------------------------------------------

      [1] In Japan, he's simply known as Issa, which is highly unusual. For in Europe, many important people, like Michelangelo and Galileo, are remembered by their first names; in Japan that's almost unheard of. I would speculate it's the intimacy of his poetry that makes people feel close to him, close enough to simply think of him as "Issa."     
      [2] See: The Spring of My Life by Sam Hamill, Boston 1997. 
      [3] Oftentimes the simplest things are the most difficult to translate. Case in point, the word oraga is a masculine form of 'my,' but it carries a certain, forced crudeness to it. It's a spoken work, the kind you're likely to hear in informal settings, like a bar, and its inclusion in the title of a collection of poems must have shocked early readers. I almost toy with the idea that the accurate rendering in English for this book is My Damn Spring.  
    • By Irritable1
      INTRODUCTION
       
      During my brief time here at GA, I’ve noticed that a number of authors have ventured into writing poetry pieces, which have often been very powerful in terms of emotion and rhythm.  However, I haven’t seen much variation in set form.  In an earlier life, I took some poetry classes.  I enjoyed the chance to play with some of the techniques and structures that are available to poets as frameworks for the thoughts and emotions they wish to express: internal rhyme, broken meter, pantoums, sestinas, sonnets, and so on.  Sometimes the experience was horribly frustrating, other times it was inspiring, sometimes it focused my thoughts, other times it kept pulling out new ideas… but it was always a mental workout and I usually felt afterward as if I were in better control of both my prose and my poetry.  Sometimes I even got a decent poem out of the deal.
       
      I was talking with AC Benus about this in June, and we agreed that as we are both form nerds, we would love to co-chair a set of prompts based on poetry forms.  Renee has kindly given her consent for us to use this forum.  Every once in a while we’ll toss out a poetry form that one of us knows and likes, sometimes with a required subject, sometimes without.  As forbidding as some of the structures can seem, they don’t have to be.  We’ll treat it like putting a toy on a table, and we hope that other authors and editors at GA will feel like picking up each form and playing with it a bit… and maybe even publishing a poem based on that structure.
       
      So that’s from me, and here is the v. erudite AC Benus to write the very first poetry prompt.  AC, take it away…..
       
      ***
       
      Poetry Prompt  1 – Tanka
       
      Let's Write a Tanka!
       
      A what..? I know, I can hear you asking what a Tanka is. When Irri first suggested combining forces to create poetry prompts with the idea of promoting verse in set form (that is, not 'free-form'), she floated the idea of Haiku. I too thought as much, but I knew that there could be no real understanding of Haiku without first seeing what that shortened form originated from.
       
      Tanka, which is also known as Waka (or Japanese verse), is very ancient. Fujiwara Sadaie edited an anthology in 1235 in which he collected verses and presented them sequentially. The first one dates to approximately the year 660, and the last from the year the anthology was collected. Hyakunin Isshu, or The Issue of a Hundred People, provides one Tanka each from one hundred poets. In the 20th century particularly, many fine Japanese poets have seen the potential in the Tanka's open form, and revived it richly to modern tastes.     
       
      So specifically, Tanka consists of five lines, which are arranged in the following syllables: 5–7–5–7–7. This is like a Haiku, but there are two extra lines at the end, and this makes all the difference. Tanka are emotional poems, where the observer is present and speaking to us directly. In Haiku, the observer (and his or her emotions) is suppressed; a good Haiku is supposed to be untouched by human hands, while the Tanka is all about connection from heart to heart.
       
      Let's look at an example. Here is a translation of No. 3 by Kakinomoto no Hitomaro from the Hyakunin Isshu:
       
      Still on a mountain,
      A mountain bird's tail stays still,
      But it all seems like
      A long, long life is adrift
      For one who yet finds no rest.      
       
      This poem puts you there, with Kakinomoto as he watches a pheasant slowly move. There is an impromptu feeling to the poem, but also one of great and timeless connection to the way things will or have always been. 
       
      Let's look at another one. Here is a translation of No. 70 by Riozen-hoshi:
       
      In sadness complete
      My roof from others is set,
      As if depriving
      The twilight too of the same,
      We watch the autumn evening.
       
      These examples are enough to show you how much 'I' is in Tanka compared to Haiku. They also show another aspect of all Japanese poetry and traditional song, and that is a seasonal reference. Both of these poems mention autumn; Riozen does so directly, and Kakinomoto achieves it by mentioning a pheasant, which is hunted in the fall. For a Japanese-style poem to be true to form, such an allusion must be included. But I wanted to show that they can be subtle and casual. For instance, summer can be brought to your Tanka in the form 'suntan lotion,' 'public pool,' '4th of July,' 'beach blanket' – anything that puts the reader in the hot season. Likewise, for winter, 'robin' (which is associated with Christmas in Britain), 'furnace grate,' 'road salt,' 'heating bill,' 'creaking roof,' 'tire chains,' and on and on and on can serve to put the reader where you are in the time of year. I hope you get the idea and are inspired; anything that says season to you is fair game for a Japanese-style poem.
       
      Now, the challenge: write your own Tanka and set it in the season of year wherever in the world you are right now. The Tanka should use a seasonal allusion that has a powerful effect on you specifically. Although you think the allusion may not be meaningful to anyone else, poetry is meant to touch by random connections, so do not be afraid.
       
      As final inspiration, here's one I wrote, but can you guess the season?
       
      Rain etched on the glass –
      On one side of it, nature,
      On the other, my finger;
      While the drops fall and I try
      To let one feel real to me. 
       
       
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