The prose poem essentially appears as prose, but reads like poetry. This poem is constructed in sentences and paragraphs, as opposed to lines and stanzas. It does maintain a poetic quality and utilizes poetic techniques. Rhythm and pace is intentional.
There isn’t a distinct definition of how you write a prose poem. There are some traits that are common to most prose poetry:
Experimentations in syntax and sentence structure.
A charting of the unconscious mind.
The use of poetic and sonic devices, from metaphors and symbols to assonance and consonance.
You can find additional definition of the term prose poem in A Poet’s Glossary by Edward Hirsch.
Write a love poem for someone who needs it, even if it is you. Think of the poem as a letter written to the person who needs it. Give it a title that speaks to the intention for the letter.
The sonnet is a fourteen-line poem written utilizing one of several rhyme schemes, and adhering to a tightly structured thematic organization. The Petrarchan and the Shakespearean are the two most well known sonnet types.
The American sonnet is a looser, more musical and inventive variation than its traditional counterpart. Having no required rhyme scheme or specific meter, the poet has freedom to innovate their own constraints within 14 lines. Some do contain a volta like the Petrarchan sonnet. The volta is a turn in the poem and usually occurs between the eighth and ninth lines of the poem.
Terrace Hayes American Sonnet for My Past and Future Assassin is a critically acclaimed example of the American Sonnet is the work of Terrace Hayes. The 2018 poetry collection was a National Book Award finalist. You can read a couple of the poems here.
Prompt:
Write an American Sonnet that ends in a new world. Consider how to build to the reveal of this new world. Set the stage for why the new world is necessary in the first few lines of the poem. Then close with what this new world is, means, and will provide.
As we start our travels, things they will unravel “Que sera sera”, for this unit is like gravel Won’t be gone for long, listen to the song If you can’t pull it, all ya gotta do is
Push it along, push it along, yeah
Tribe Called Quest “Push It Along”
Ah, rejection. It’s one of those things you have to navigate as a poet. Publishing rejections, fellowship rejections, grant rejections… it can be overwhelming. I remember this one time when I had just got back from the festival and there was a letter waiting for me that said that I wasn’t selected to receive an arts fellowship I applied for here in NC. It hit me hard. I didn’t have anything against the folks who won. I didn’t have anything against the judges. What broke me down is that it immediately made me second guess the way that I work and what I do with my art. It brought back the question of whether or not a writer like myself doing the kind of work that I do could stand in formal arts or literary spaces. Especially when I know I consciously decided to dance in and out of traditional models for navigating a writing career. It hit me hard and I had to learn to lean into the moment and make it through it.
I seek to be a bridge between the institutional and aesthetic, between the halls and the corner. To do that I have to be prepared to be told no. I can’t let it weigh down on me. I have to see it as a reason to go back to my art. I have to see it as a reason to tighten, study, improve, grow, and push. I don’t have time to wonder if those in decision-making positions see my merit. I don’t have time to allow the thought of slights or dismissals. My mindset has always been simple…”If I didn’t get it then I got work to do.” I can’t tell people that the outcome is often not as valuable as the process if I ain’t living it.
It still stings. It can still hurt. It is supposed to. Our work matters to all of us. So these moments matter too. Still, my response is to continue to do this work I am committed to. To show that where the art is placed and how it is placed is also of merit. That writing isn’t just pen to page or keys to the keyboard.
On days like that day I stood in my living room reading that rejection letter, I don’t feel like the compliments I receive. Thing is, the next morning I got up and immediately shifted to work mode because it was time to make the donuts. I chose this path I walk. I chose to make my mark this way. So I am prepared for everything that comes with it.
I’m here. We are here. Our work is necessary. Some things will go our way, some won’t. We will think we have it figured out and then we will see that we don’t. A kick in the ass is a beautiful thing. It’s not a call to flail against the establishment. It isn’t a judgment of our value. It is a reminder that the best way to get past worrying if they see you is to make sure the vision is HD clear.
Keep those pens moving and keep pressing on those keys. These poems have to get written. The work gotta keep being done!
I saw this program from Urban Word NYC and Hi_ARTS and I was excited about the possibilities. It is a paid 12-week intensive program where participants will work collaboratively with professional theater artists to refine their writing and devise a professional theatrical production.
To be able to have this access to theatre and to have support in developing work for that space is so amazing.
The theatre is a wonderful place that is sometimes seen as inaccessible and a luxury that’s unaffordable to others.
There are artists in the community that have never thought of the theatre as a place for them or their work. There are communities who see going to the theatre as an activity reserved for certain occasions and certain demographics.
How do we address that? How do we provide theatre that is accessible, relatable, and reflects the communities we serve? How do we create a platform for artists that garners them new audiences and opportunities?
There has to be concerted effort to address this issue. Programs developed to help dispel these notions and reshape thinking. We need more poets to look to the theatre as a destination for their work. We need more collaborations between artists that lead to theatrical productions. We need theaters and arts organizations to be active in incubating new works.
It is critical to bringing new voices to the stage and show new patrons the power and breadth or our art form.
I’ve been coordinating and curating events for a long time. Planning or coordinating an event is not easy. There are moving parts to manage and logistics to stay on top of. I take great care in how I layout the events I am working on. I want anyone who comes to leave feeling like they went to a quality event. Even in collaboration, I want to create the best experience possible. That means making sure my collaborators understand the assignment.
Seeking to meet that standard makes the task harder. It can also make the day of the event stressful. There are phone calls and emails that are filled with questions, changes, or fires to be put out. There are emails to answer last minute. Folks are waiting to grab your attention as soon as you show up. You never know what could happen. It doesn’t matter. You make adjustments and stick to your goal of making the event worthwhile. There is faith in this thing. A faith that it will all work out if you do what you know should be done.
How I handle the weight of it all is to play a few favorite tunes and dance. It helps me keep my blood pressure down. It helps me not to cuss people out. It helps me not to worry about the event. It helps me visualize the excitement people will have and the fun they will experience. It helps me loosen up.
It will be a roller coaster ride. Not everyone will play nice on your watch and they don’t have to, not artists, not vendors, and not venues. Not everyone sees it the way you do. Not everyone will embrace the moment. It doesn’t mean folks aren’t engaged and committed to the success of the event. It just means that you will have a few things to work through. This wild dance is yours to manage and that includes all the idiosyncrasies that come with it.
So to all my folks looking to create that beautiful moment for the art lovers around you… Dance.
“While I dance I cannot judge, I cannot hate, I cannot separate myself from life. I can only be joyful and whole. That is why I dance.” – Hans Bos
“Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time.” —John Dewey
The art we create can be a catalyst, a tipping point, or even a spark to a flame inside of those in our community. The community just needs to experience our art. That is why I think it is important for artists to collaborate with each other. It is why I think that it is important for artists to collaborate with folks and organizations doing community-minded work. We can’t wait for the call from them for a commissioned piece or an invitation to share at an event. We know the impact art can have. We should seek them out for partnership. To envision something larger than an accent on a moment. To build something deeper.
There are people in the community doing great work on the ground. Hunt for them. Reach out. Go check out something on their calendar. See if they are a fit for you. If not, then check for the next group, organizer, or organization. If you can’t find anything, mine your network. See if anyone knows of folks. Even if they are in a neighboring area, they can often tell you who is working in your city. They can sometimes give you insight into the history of that work in your community and why there isn’t anyone doing that work now. A lot of times someone was doing it and something happened. That can be helpful to know. If any of those folks are still in town, then you might want to meet them and see what is possible. There is a story there.
Sometimes we feel like we have a sense of what is going on, but many of these folks don’t have huge marketing budgets. Many work under the radar. They may not be known but they have an impact. The work they do matters to who they serve and they are committed day in and day out. They could benefit from working with us, having art at their disposal. We could benefit from working with them and placing our art with folks who need it. The community will benefit from seeing the issue in a new way and hearing new stories. There is so much potential there.
The anger, frustration, hurt, and bitterness that folks face in these times are real. There are those moments we scream out for a collective “we,” and I get it. It’s a rallying cry. It’s a disruption to the bubble we can get caught in navigating our own lives. It is one of the reasons that demonstrations still have a place in our society. It is a gathering place for folks who feel the same heaviness. I say that art activities and events are also gathering places. A place for those who feel the same heaviness. Not only that, but it is also a place to gather and remember joy, resilience, and overcoming. It is a place for dreams and affirmations, celebration, and remembrance. It can be an inspiration or a call to action.
Partners are waiting to work with you. They just don’t know how to make it happen. We don’t have to wait until they figure it out. We can reach out. We can let them know we are willing to sit at the table and figure out it together. You have a gift, they have an understanding, and you both have a purpose. You see and feel what the people around you are going through. It is in the art you create. They see and work in the midst of what the people around them are going through. It is in their hearts to affect change.
They can use your help. So find the folks you want to work with. Dig in. Remember self-care. Remember balance. Remember that you are deserved of saying “yes” and “no.”
A lot of times we see a need and a possibility and either try to put something together ourselves. Sometimes we are paralyzed by the fact that we aren’t in a position to do the thing. You don’t have to be the one to pull it all together. You can take your thoughts to folks and build collaboration. You are going to find folks who can see what you envision, place it in the right context, and help execute it effectively.
That’s a way to build the collective “we” that we need to make a difference. It doesn’t have to be all at once. It doesn’t have to be at our expense of ourselves. It doesn’t have to be grand and expansive. It just has to happen. Every step is part of a march toward the tomorrow we want to see.
I see it. We can do it. Let’s take this art out and help shape the world.
Piedmont Laureate 