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URL
https://moodle.umass.edu/mod/url/view.php?id=2176636
The Lively Arts
Poetry Project prompt
Preparation: Before beginning to work on this project, re-read
Mary Oliver’s “Sound.” You will also need to work closely with
the poetry handout posted on Moodle.
Assignment: The Poetry Project consists of TWO PARTS. Here
are the basics, with more specific instructions following:
1. You will pick one of the three news articles posted on
Moodle, and read it
2. You will rewrite the article as a poem, using one of the
specific styles of poetry you learned about in section (the
handout of the style choices is on Moodle)
More Specific Details:
1) Pick one of the articles posted on Moodle. Read all of them

before you pick—which one will make the most interesting
poem? Once you’ve picked, carefully read the article, and make
a list of its most salient, interesting, funny, or absurd elements,
or any compelling or evocative words it uses, etc.—basically,
make a list of all the points, images, or words you plan to use in
your poem.
2) Decide which style of poetry you will use to write your
poem. You must choose one of the styles from the handout.
Make sure you know the basic “rules” for your chosen style of
poetry; google your chosen style and refresh yourself on how it
works or to find more examples of it; etc.
3) Using your chosen style, re-write your news article as a
poem. Your poem can be as long or as short as you like, so long
as it
- bears some resemblance to the news article (by its nature,
poetry is less explicit than prose, so this resemblance can be
fairly abstract!)
- follows the rules of the poetic style you’ve chosen
4) Write a short essay (minimum one page, 12 pt. font, double
spaced) in which you explain the poetry style you chose and
describing the specific ways your poem reflects the news
article. Please discuss anything you learned from this project—
did you notice anything about language, words, information,
that you find interesting? Did writing the poem change your
first impression of the news story? In what ways do these two
modes of expression (poetry and news reporting) differ?
Reading Guide: Poetry
Okay for starters I want to comment on all the forum posts
about Yoko Ono. You guys did amazing work with this weird

stuff! I loved hearing about the different ways you found of
performing some of them (Jana Latayan, your map piece blew
my mind!!!!). It was interesting how many of your responses
spoke to isolation, either directly or indirectly. It gave me an
eerie feeling, to think of all of you pondering these pieces at the
same time, alone in your separate rooms all over the world,
perhaps screaming against the wall—what if some of you
happened to do this at exactly the same moment, without
realizing it? There is something very beautiful and very sad
about such a thought. Some of you pointed out the weirdness of
doing these pieces at this particular historical moment—it
seems like many of Ono’s instruction pieces ask us to think
about the boundary between self/other, and this is the very
question that has suddenly leapt to the forefront of our minds in
recent weeks.
Anna Boyle’s comment about realizing they’ve already been
performing Ono’s Piece for Soprano without intending to (i.e.
screaming in frustration/to release tension) really struck me,
particularly Anna’s following thought about wondering what the
neighbors must think, wondering whether it makes the
neighbors laugh, because the neighbors, too, are themselves
trapped in this weird and awkward situation. Similarly, Samuel
Sinclair ponders the eerie resonances between some of Ono’s
“universal” instructions (everyone in the world thinking the
same thing at the same time) and the universal quality of
isolation/social distancing rules. I love this! The way isolation
is so highly individual (me alone in my house) and yet the
whole point of it is this gesture toward the universal, the
collective (protecting everyone). So heavy.
I also just want to say I was glad to see that some of you felt the
humor and whimsy of some of these pieces (as Enya Truong put
it, they are “playful”—what a lovely word, especially poignant
to meditate on right now). Students in different sections
commented on this but I liked Julia Laurencio’s observation that

what’s specifically funny about the band-aid piece is imagining
what people would be thinking, if you performed it—I agree,
that’s what’s funny about it. Imagining their confusion as they
attempt to continue having a normal interaction with you when
you are behaving so weirdly. I laughed out loud at Michael
Souza, who actually performed this piece via Snapchat, posting
a fake picture of themselves with their arm in a sling and then
reaching out to people to force them to talk about it. I’m
laughing right now just typing that. Brilliant!
Okay, Poetry Thoughts:
Some of my general thoughts about Encountering Poetry For
The First Time: think about all the different kinds of texts there
are, all the different ways of writing things down that exist.
There are novels, short stories, account ledgers, grocery lists,
letters to friends, text messages, memes, legal contracts,
seminar papers, diaries, calendars, t-shirts with words on them,
etc. etc. etc. There are a million ways to “write stuff down.”
Each of these different ways serves a different purpose, allows
different kinds of thoughts and feelings to happen, helps our
brain work in different ways. You wouldn’t write a novel to
help you remember what to get at the grocery store; by the same
token, a grocery list doesn’t tell an intricate long-form story the
way a novel does (even though a grocery list might SUGGEST a
narrative—the items on it might be suggestive of someone’s
situation and who they are etc.). So, poems are one way that
“writing-down” has taken shape over the millennia. Start there.
What makes a poem a poem? There are so many drastically
different texts out there that are all “poems.” There’s a poem
like Beowulf, which is hundreds of pages long and written in
Middle English; and then there’s a poem like Margaret
Atwood’s “Fishhook,” the entirety of which is simply:
You fit into me
Like a hook into an eye

A fishhook
An open eye
What makes them both “poems”? What different effects/affects
does each approach manifest? What is the point of writing in
these ways?
So think about this Mary Oliver reading I’ve assigned, and
which I love and think about all the time. Poems are (usually)
made up of words, but poems are also “about” something
beyond mere linguistic meaning. Here Mary Oliver meditates on
the relationship between words on the page, and sounds. Words
are also sounds, when we speak them aloud (words are also
movements, movement of lips, tongue, and throat—or
movements of hands and faces, if the words are being said in
sign language for example—my point is that “words” exist in
many ways apart from ink on a page). She opens with a simple
yet (to me) pretty profound observation—“stone” and “rock” are
basically synonyms, and yet they don’t feel the same. Why is a
“rock” not the same as a “stone?” Why do we pick one word
instead of the other, when we are talking or writing? Sounds are
a huge part of poetry. Poets often choose words thinking more
about sound and shape than about direct concrete meaning. The
“meaning” of a poem lies somewhere in the cracks between
direct communication and instinctive emotional response.
Some general poem questions to ponder upon:
· You could argue that Yoko Ono’s instruction pieces are
poems. Are they? Why/why not.
· Does a poem have to be words written down? Could a poem be
an action instead?
· Some poems (like the ones you’ll be writing for your
assignment) have strict forms, rules that you follow carefully.
Other poems have no form, no rules, they just spring from the
poet’s head and can be anything that particular person wants
them to be. What are some differences between these two

approaches—one strict, rigorous, a set of rules imposed by
others; the other completely free and idiosyncratic? Why might
a poet choose one way vs. the other?
· What ways of thinking, feeling, knowing, might a poem allow,
that might be different from a newspaper article (this is
something you’ll have to think about for your assignment).
The Villanelle
· a 19 line poem: five stanzas with three lines each; and a final
stanza with four lines
· two rhyme sounds that repeat through the whole poem
· two refrains = a repeated line we hear several times
· Form
· The rhyme scheme is ABA
· Line 1 ends on rhyme A
· Line 2 ends on rhyme B
· And this pattern continues throughout the five stanzas
· The 1st line of the 1st stanza serves as the last line of the 2nd
and 4th stanzas (= refrain 1)
· The 3rd line of the 1st stanza serves as the last line of the 3rd
and 5th stanzas (=refrain 2)
· In the final stanza, we hear rhyme A, rhyme B, and then both
refrains
Mad Girl’s Love Song: Sylvia Plath
I shut my eyes and all the world drops dead; (rhyme
A (“-ead”), refrain 1)
I lift my lids and all is born again. (rhyme B (“-
in”))
(I think I made you up inside my head.)
(rhyme A, refrain 2)
The stars go waltzing out in blue and red, (rhyme

A)
And arbitrary blackness gallops in: (rhyme B)
I shut my eyes and all the world drops dead. (refrain
1)
I dreamed that you bewitched me into bed (rhyme
A)
And sung me moon-struck, kissed me quite insane. (rhyme
B)
(refrain 2)
God topples from the sky, hell's fires fade: (rhyme
A)
Exit seraphim and Satan's men:
(rhyme B)
1)
I fancied you'd return the way you said,
(rhyme A)
But I grow old and I forget your name.
(rhyme B)
(refrain 2)
I should have loved a thunderbird instead; (rhyme
A)
At least when spring comes they roar back again. (rhyme
B)
1)
(refrain 2)
The Pantoum

· Pantoums are five stanzas, with four lines each (they can
rhyme; but don’t have to)
· Form: The second and fourth line of each verse is repeated as
the first and third lines of the next
· The final stanza uses lines 1 and 3 from the first stanza as its
lines 2 and 4
· The fun thing about the Pantoum is that the repetition doesn’t
need to be exact! You can rephrase, or rework, the lines when
you repeat them. See below for an example:
Descent of the Composer: Airea D. Matthews
When I mention the ravages of now, I mean to say, then.
1 (new)
I mean to say the rough-hewn edges of time and space,
2 (new)
a continuum that folds back on itself in furtive attempts
3 (new)
to witness what was, what is, and what will be. But what
4 (new)
I actually mean is that time and space have rough-hewn edges.
2
Do I know this for sure? No, I’m no astrophysicist. I have yet
5 (new)
to witness what was, what is, and what will be. But what
4
I do know, I know well: bodies defying spatial constraint.
6 (new)
Do I know this for sure? No, I’m no scientist. I have yet
5
to prove that defiant bodies even exist as a theory; I offer
7 (new)
what I know. I know damn well my body craves the past tense,
6
a planet in chronic retrograde, searching for sun’s shadow.

8 (new)
As proof that defiant bodies exist in theory, I even offer
7
what key evidence I have: my life and Mercury’s swift orbits, or
9 (new)
two planets in chronic retrograde, searching for sun’s shadow.
8
Which is to say, two objects willfully disappearing from present
view. 10 (new)
Perhaps life is nothing more than swift solar orbits, or dual
9
folds along a continuum that collapse the end and the beginning,
3
which implies people can move in reverse, will their own
vanishing; 10
or at least relive the ravages of then—right here, right now.
1
Ballad
· Your ballad must be at least five stanzas, and each stanza has
four lines
· Form: A series of four-line stanzas
· Rhyme scheme: lines 2 and 4 of each verse rhyme / lines 1 and
3 are free
Here are the first 5 stanzas of Rime of the Ancient Mariner:
Coleridge
It is an ancient mariner
And he stoppeth one of three.
“By thy long grey beard and glittering eye,
Now wherefore stoppest thou me?
The bridegroom’s doors are opened wide,
And I am next of kin;

The guests are met, the feast is set:
Mayst hear the merry din.”
He holds him with his skinny hand,
“there was a ship,” quoth he.
“Hold off! Unhand me, grey-beard loon!”
Eftsoons his hand dropped he.
He holds him with his glittering eye—
The Wedding-Guest stood still,
And listens like a three years' child:
The Mariner hath his will.
The Wedding-Guest sat on a stone:
He cannot choose but hear;
And thus spake on that ancient man,
The bright-eyed Mariner.
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