Greetings, Dear Poetry Friends!
Talk about inspiration overload lately. Today I'm back in Atlanta for our Illustrator Day and Springmingle conference this weekend. Last weekend, I was in a different Atlanta hotel with another creative tribe for the quarterly Haiku Society of America national conference/meeting.
March has been good to my creative soul.
I thought I might offer a peek into "workshopping" a haiku poem from that meeting. (Curtis Dunlap and I facilitated an informal process much like this at our Southeast regional conference back in October.)
Every workshop last weekend was stellar, thanks to conference planners HSA President David G. Lanoue, Terri L. French, and Tom Painting. Our second session was a haiku-writing workshop called "The New Traditional Haiku" led by Lee Gurga, award-winning poet and former HSA president. He is currently editor of Modern Haiku Press.
I'm not going to give away Lee's talk - join HSA and come to a fabulous meeting! - but I'll share a taste. After considering a variety of examples of and approaches to contemporary haiku, we were given handouts with three poems (not haiku) by well-known poets (19th and 20th centuries). We also received blank index cards. Lee invited us to borrow images from these poems, or be inspired by them, and craft some new haiku, keeping our discussion in mind.
While I usually take my time to develop poems and create them from some direct personal experience, it's fun in these settings to just turn loose the Muse and understand that everyone's efforts are first drafts. We each turned in our cards with our anonymous poems, and Lee selected a few for us to take a look at. I was delighted when one of mine came up for discussion. My original scribble on the index card went like so:
her light escape into the dark
(The three words, "her light escape," were from Dickinson and grabbed me. Though referring to Summer in the original poem, I already had a spider image in my mind from another of the handout poems, and I've written a few haiku about spiders. I love playing with opposing forces in a haiku, so "into the dark" just wrote itself.)
Terri was our scribe to pen these haiku on a large pad, and it's interesting that she wrote the second line as, "her light escape into dark" without the "the". (Terri is a sharp, fine poet.) She quickly amended it to reflect what was on the card, but we all agreed the poem certainly didn't need the "the". (I also hear the voice of Lee Bennett Hopkins in my ear when I've let an unnecessary article or other little word slip through, and as soon as I saw the phrase written out, I thought, Did I put that "the" in there?! I hope I would have struck it on a second draft!)
Our workshop talk then turned to lines and construction. Should the poem be set up more traditionally, as:
her light escape
or one line:
spider her light escape into dark
Well, I like either of these options better than what I originally put down.
A suggestion was also made to play with spacing, maybe drawing out the moment:
spider   her light escape   into   dark
or some such.
Looking at all of these suggestions, I might pick the three-line construction as my favorite for this poem, even though it's the most traditional. One, the "spider" and "her light escape" are not jammed awkwardly together if separated by the line space, and, Two, that short pause as the reader goes from the second to the third line gives our little arachnid just enough time to make a surprise exit!
Hopefully this brief romp has offered a hint at the myriad decisions and options available in writing a "one-breath poem." It was an honor and treat to meet some of the genre's best practitioners and advocates, and to get to know a few I've met before a little better!
The Poetry Friday Roundup today is hosted by none other than our wonderful Mary Lee at A Year of Reading. Quick - make your escape over there for lots of great poetry!