[stylist] Another question for all
loristay at aol.com
loristay at aol.com
Sun Jun 26 21:00:19 UTC 2011
Jacqueline,
I love your poem. Unrhymed poetry is popular just now, but I suspect there is an underground interest in rhymed poetry. We may have to wait for the official interest to return, but until then, many people like their poems to rhyme. If you can't break into the NEW YORKER--and who can?--consider putting your poetry into a chapbook and marketing it yourself.
Lori Stayer
-----Original Message-----
From: Jacqueline Williams <jackieleepoet at cox.net>
To: newmanrl at cox.net; 'Writer's Division Mailing List' <stylist at nfbnet.org>
Sent: Sat, Jun 25, 2011 3:41 pm
Subject: Re: [stylist] Another question for all
Robert,
Since I could not hear the telephone gathering on this question, I will ask
you to cut and paste this into an e-mail to Margot.
Dear Margot,
I write about fifty-fifty rhymed and unrhymed poetry. About that same ratio
of the rhymed is published in the state and national poetry contests I
enter. However, it seems not to be published in the sought after magazines,
The New Yorker, The Atlantic Monthly, etc. Nor is it represented in Contest
Winner books such as the Walt Whitman Award, The James Laughlin Award, and
most others. Most of them are won by MFA graduates and teachers at colleges
and universities. Does this indicate that rhymed poetry is no longer the
venue of contemporary poets. I love it, and find it an organizing method for
a blind person to write and remember poetry. The many forms also do the same
thing.
Can you give me a strategy for continuing using it with a hope of getting a
manuscript published using my fifty-fifty approach?
Is there a special website that would be helpful in understanding basic
guidelines for contemporary poetry, or even the new formalists.
What is your own experience with rhymed poetry.
It seems unfair unless I include a rhymed poem. Here is one that just won an
Honorable Mention in the NFSPS 2011 Contest. My cut and pastes in word do
not always keep the same format. Let's hope.
Thank you so much for any help you can give me to avoid being terribly
out-dated.
35. Massachusetts State Poetry Society Award Jacqueline Williams
1431 W. 7th Place
Mesa, AZ 85201
AZ State poetry
Society
Last Thoughts-Embellished
Because I could not stop for Death-
He kindly stopped for me-
The Carriage held but just Ourselves-
And Immortality.
Emily Dickenson
Because I could not stop for Death-
My public filled with glee-
I forced a labored breath and tried
To write my poetry-
And keep my life tied to my side-
Because I could not stop for Death.
He kindly stopped for me-
In spite of my turned shoulder-cold
To all his gracious charm-
I've never met one quite so bold-
Who seemed to mean no harm-
He kindly stopped for me.
The Carriage held but just Ourselves-
There was no repartee-
Down deep into my soul he peered-
I felt an abductee.
I must not let him see I feared-
The Carriage held but just Ourselves-
And immortality.
With souls that travel through all time-
I shape my life-alone.
I'll write last poems-to friends-in rhyme-
Awaiting death (life force now flown)
And Immortality.
Jacqueline Williams
jackieleepoet at cox.net
-----Original Message-----
From: stylist-bounces at nfbnet.org [mailto:stylist-bounces at nfbnet.org] On
Behalf Of Robert Leslie Newman
Sent: Monday, June 13, 2011 1:04 PM
To: 'Writer's Division Mailing List'
Subject: Re: [stylist] Another question for all
Jackie
I've not seen anyone answer your question (like me, they were probably
waiting for the next guy to do so). Anyway, pardon me for taking so long.
And what I suggest is, that you take a listen to that recorded meeting. (I'm
not sure that question was answered --- but I'm not certain it wasn't). Here
is the info for you to listen to that recording via your telephone:
Tel#- 1-218-339-4300
ID#- 568839 "then the pound key"
Reference#- 14
**One other option to get your answer- I will send Margo your question. And
so if you choose to go this route, write the best question you can and I'll
cut and paste it into a message.
-----Original Message-----
From: stylist-bounces at nfbnet.org [mailto:stylist-bounces at nfbnet.org] On
Behalf Of Jacqueline Williams
Sent: Saturday, June 11, 2011 1:21 PM
To: newmanrl at cox.net; 'Writer's Division Mailing List'
Subject: [stylist] Another question for all
I am sad that I missed the phone session. There is a question that
interested me very much. If any of you have notes from the conversation I
would very much like to have you share them with me. Here is the question.
1. What is the place of rhyming or other "form" poetry in today's publishing
world? I think I stand about half and half so far, leaning toward the
rhymed. Forms and rhyming seem to give me a huge shot in the arm when I
cannot see what I am writing. Or at least it helps with the memory of lines
and refrains I can send samples if there is interest in this subject.
Thanks, poets.
Jackie.
-----Original Message-----
From: stylist-bounces at nfbnet.org [mailto:stylist-bounces at nfbnet.org] On
Behalf Of Robert Leslie Newman
Sent: Thursday, June 09, 2011 12:02 PM
To: 'Writer's Division Mailing List'
Subject: Re: [stylist] Interesting article on Haibun
I love all you guys too!
-----Original Message-----
From: stylist-bounces at nfbnet.org [mailto:stylist-bounces at nfbnet.org] On
Behalf Of Jacqueline Williams
Sent: Thursday, June 09, 2011 1:29 PM
To: 'Writer's Division Mailing List'
Subject: Re: [stylist] Interesting article on Haibun
Donna, Myrna, all,
I am learning so much from all of you. Donna, thank you for your insight on
posting a piece in the works on this site, and how it differs from
publishing on-line.
Myrna, I loved your Haibun. This surprised me because we had studied the
form in my last poetry class before summer break. I am not good at nature
poems so I did not save the handout to scan. Your piece was a wonderful
melding of human-interest, pertinent to understanding of the blind, yet
connected strongly to nature. So I am saving your included article, Donna,
on the form.
Shawn, I have studied your 40 word poems, and think they are great.
Jacqueline Williams
-----Original Message-----
From: stylist-bounces at nfbnet.org [mailto:stylist-bounces at nfbnet.org] On
Behalf Of Donna Hill
Sent: Wednesday, June 08, 2011 2:32 PM
To: Writer's Division Mailing List
Subject: [stylist] Interesting article on Haibun
Hi Friends,
Spurred on by Myrna's excellent piece, I Googled Haibun and thought you
might enjoy reading this. I'll list the URL and then copy the article below
that.
Enjoy,
Donna
From:
http://raysweb.net/haibun_Ray/pages/haibundefinition.html
Block quote
Haibun Definitions
Contemporary haibun is a combination of prose and haiku poetry, sometimes
described as 'a narrative of epiphany'. Like English haiku, English haibun
is
evolving as it becomes more widely practiced in the English speaking world.
In 1690, Basho Matsuo is said to have initiated the travel or diary haibun
genre in a letter to a friend (Genjuan no ki, The Hut of the Phantom
Dwelling)
that concluded with a haiku. The letter referred to the period when Basho
lived for several months on a hill on the southern shore of Lake Biwa east
of
Kyoto.
Bruce Ross in an essay entitled "North American Versions of Haiku", in
Modern Haiku, Winter-Spring 1997, states that haibun has "syntax that is
dominated
by images" and cites Makoto Ueda's four characteristics of haibun:
1) a brevity and conciseness of haiku
2) a deliberately ambiguous use of certain particles and verb forms in
places where the conjunction 'and' would be used in English
3) a dependence on imagery
4) the writer's detachment
Ken Jones, in a book review posted in Blythe Spirit suggested the following:
A haiku collection can be reviewed within a broad consensus of discourse.
But in the more eclectic haibun tradition there are no such recognized
markers.
Reviewers and editors therefore need to set out some criteria so that their
readers are aware of the standards to which they are working. Here I have
used
four sets of criteria. They are based on Basho's view of haibun as haikai no
bunsho - 'writing in the style of haiku'.
First, I would expect direct, concrete, economical imagery, infused with
life and energy and eschewing abstraction and intellection. The editors
refer to
'sensibility and revelation rather than narrative and disclosure'.
Second, I would expect haibun prose to be light handed, elusive, open-ended,
playful and even ironic, 'in the style of haiku'. And at a deeper,
existential,
level should we not expect something of that ambiguity and mystery found in
the best haiku? Presumably this is the 'narrative of an epiphany' which the
present editors claim to have sought.
Third, just as haiku are literature in miniature, with their own internal
and external disciplines, so should we expect haibun also to have the
complexity,
subtlety and unfolding of literary artifacts. Corresponding to the feeling
of the 'haiku moment' is the emotional experience which itself appears to
write,
energize and organize the haibun for its writer.
Finally, at least as a bonus, we might hope to find something of Haruo
Shirane's 'vertical axis' of myth, literature, history - and life in the
postmodern
...
From: Ken Jones, A Review of Up Against the Window: American Haibun and
Haiga, Volume 1, ed Jim Kacian and Bruce Ross, Blythe Spirit, v11 No 2, June
2001
Paul Conneally, Haibun Director of the World Haiku Club, defines current
English haibun as: "Prose that has many of the characteristics associated
with
haiku-present tense (and shifts of tense though predominant voice
'present'), imagistic, shortened or interesting syntax, joining words such
as 'and' limited
maybe, a sense of 'being there', descriptions of places people met and above
all 'brevity'. The haiku ... should link to the prose but is not a direct
carry on from the prose telling some of what has already been said - no - it
should lead us on - let our mind want for more, start traveling."
The Haiku Society of America [HSA] has posted the following definition of
haibun: "A haibun is a terse, relatively short prose poem in the haikai
style,
usually including both lightly humorous and more serious elements. A haibun
usually ends with a haiku. Most haibun range from well under 100 words to
200
or 300. Some longer haibun may contain a few haiku interspersed between
sections of prose. In haibun the connections between the prose and any
included
haiku may not be immediately obvious, or the haiku may deepen the tone, or
take the work in a new direction, recasting the meaning of the foregoing
prose,
much as a stanza in a linked-verse poem revises the meaning of the previous
verse. Japanese haibun apparently developed from brief prefatory notes
occasionally
written to introduce individual haiku, but soon grew into a distinct genre.
The word "haibun" is sometimes applied to longer works, such as the memoirs,
diaries, or travel writings of haiku poets, though technically they are
parts of the separate and much older genres of journal and travel
literature. [From
the HSA Definitions Web site]
Block quote end
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