Poets have used food as a jump-off to plumb childhood memories, love and all its complications, social class and even politics. With its beauty and endless associations, food can be a metaphor for anything.
The “love poem” is usually a term we want to make the gag sign for; who wants to read a love poem anymore? Immediately thoughts plume of sentimental fluff, high-fructose stuff of lofty 19th century-poems. In this workshop I propose to address the changing nature of the concept “love poem” and offer prompts sparking poems addressing love of the self, the family, the lost, and of the external world in various forms as well as talk about writing poems addressing lack of, or the end of love.
Poetry Barn will be hosting an off-site reading during AWP! The venue is steps from the convention center - a beautiful and open space with 30-ft high ceilings and a grand central staircase that leads to a mezzanine level (the "Loft") - where our reading will take place with a private bar.
Poetry of omission does not seek to create a riddle where the reader must present some key to understand our writing, but instead seeks to create meaning in the whitespace and provide the reader an active and immersive poetry experience. What is being said by what is left out?
Flex those writing muscles and test your poetic voice through the special space the prose poem allows, and join us for a month-long exploration of this rich and varied form. We will probe the porous, shifting boundary between poetry and prose: how to walk that tenuous tightrope without falling off!
One legitimate complaint levied against metrical poetry in the twenty-first century concerns a lack of diversity. Despite the wealth of meters ripe for revisitation, iambic meter remains the most common rhythm in English and, in the minds of many, represents all metrical poetry.
To construct the Ashokan Reservoir, which the Poetry Barn borders, four hamlets were demolished and eight moved, some 2,000 people were forced out to flood the valley, and some 2,000 graves disinterred. Residents thus experienced the loss of their homes as well as their communities and the cornerstones of their society: churches, schools, shops, and railroad stations. We'll learn more about its history, reading and writing poems of place, landscape, the water crisis, ruins, and ghosts.
In this workshop, we'll transform the lushness of the Hudson River School paintings into the "black ink" of haiku. We'll close-read well-known haiku masters and feast our eyes on some of the great Hudson River School paintings. After writing our haiku, we'll literally "paint them in black ink" on a large sheet of paper to take home.
We’ll provide the tools: punch, awl, needles, twine, bone folders, paper. You provide the creativity. You’ll learn two simple methods of creating and binding a book, hands-on, which you can then take home with you. The techniques we will use are the Japanese four-hole stab bookbinding technique and pamphlet-stitching.
From planting to harvest, cooking to eating, food has inspired poets as one of life's most sensual pleasures, and because poetry about food is often just as much about something else: body image, love, yearning, addiction. The Catskills' edible bounty is a feast for the senses. We’ll pair exemplary food poems with delectable local fare, observing the unique characteristics of each food type, and drawing upon all of our senses to write the food poem that could only issue from your throat.
At this event, we’ll pay homage to the Barn's cultural heritage by reading and writing poems about wings, flight, and transformation. Participates will be provided with templates to construct paper airplanes from their poems to keep as objets d’art or to launch on a flight to be found someday by someone who needs to read it at that very moment in time.