Poetry: Why Do We Make This Stuff? Multiple Roots and Forking Paths.

Poetry:Why Do We Make This Stuff?

Multiple Roots and Forking Paths

One way of “coming at” poetry is to consider the several distinct types of poets that have evolved over millennia. These types are not always mutually exclusive (one poet may write in several modes and be both a “moaner” and a “mad seer,” for instance), but it’s useful to break them down this way in order to understand the many distinct impulses which give rise to poetry.

The Moaner

The Maker

The Community Bard

The Mad Seer

Poetic categories are broken down in different ways and with different terminology, depending on what handbook or scholarly tradition you consult. The above terms represent some of the most important types of poets and are convenient terms we will use for the sake of this course.

One of the “Community Bard”

Sub-Traditions:

Spoken-Word Poetry

Spoken Word PoetryThe Oral Tradition

This stuff is really old…Hey, Daddy-o

• Homer 800 BC

• Old English poetry 400 AD

• Native American 8000 BC to present

• The Beats 1950s

• Slam Poetry 1980s to present

The Beats (1950s,60s)

• Getting poetry out of the classroom

• Poetry read to jazz accompaniment

Ferlinghetti:

http://www.ndsu.edu/instruct/cinichol/CreativeWriting/323/MiscPoemsFerlinghetti.htm

Ginsberg:

http://www.ndsu.edu/instruct/cinichol/CreativeWriting/323/MiscpoemsGinsbergHowl.htm

Rap and Hip Hop• Came of age alongside the poetry slam phenom.

• Hyperbolic, gymnastic, inventive

• Heavily end-rhyme based; rhymes often funny, clever, silly

• Distinct prosody

The Poetry Slamand Open-Mike Coffee House Reading

• Harks back to the Beats• Again, desire to get poetry out of the classroom

• Emphasis on anyone can write poetry

• Tends to be political• Theatrical, sometimes mixed-media

How do slams work?

check these out!

www.nuyorican.org/

www.poetryslam.com/

AND

Listen to Spoken Word selections, plus Beat poems with jazz accompaniment

• Blurring the line between poetry and theater; performances are like one-person, one-act plays.

• Aggressive, clever, sometimes funny rhyme, not in any strict pattern (triple rhymes, internal rhymes, slant rhymes, repeated words, etc. In video, “Lazarus, Lazie, Lazy”).

• Projection! Loud broadcast.

• Number of unstressed syllables don’t matter, maybe. Success depends on how cleverly you get the four stresses in (rap).

• Getting into a groove.

• Memorizing the material adds interest.

• Mixing genres: insert singing, use accompanying sound, etc.

• Ritual presence of performer.