Envelope poems

Yeah been weeks. And nothing now much to say of my own. Goes that way. But saw this on my friend Barbara Nickel’s blog and wanted to share. She’s been perusing Bervin & Werner’s compilation of Dickinson’s envelope poems, and a lovely blog post’s the fruit borne –

The Yarrow Graces – magnolia, forsythia, peach, even the bleeding heart – have been serviced lately. Town abloom on the first day of Poetry Month; thank you Emily Dickinson for getting it right – spring always seems – at least in this part of the world, not on the prairies where I grew up – somehow too gorgeous, masking the inevitable sting; the other day a violist died.

Read the all of it here, with vis poem, rejection slip made projective,

Barb's arrow

and regrets into egress.


Not much to say, except, don’t eat foraged morels and drink wine, or not much anyway. Lost a coupla days there. Viz. Probably should have sautéed them longer, too. But hells they was tasty.

 

Exercise: Punctuation poem

Next week we turn to the gorgeous Gorgeous Nothings, a collaboration across oceans and generations by Emily Dickinson, Jen Bervin, and Marta Werner. My students’ first exercise will be:

Compose a poem made entirely of punctuation. Then write a short paragraph describing what the poem “means.” Treat the paragraph as a creative extension of the piece — as playful creative nonfiction, not straight-faced literary analysis. Be ready to present both the poem and your explanation to the class.

The examples they’ll have “read” are retrieved from Rasula & McCaffery’s Imagining Language — up next.