2.4: Naming the Unnameable - An Approach to Poetry for New Generations (Evory)
- Page ID
- 323089
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Informed by a writing philosophy that values both spontaneity and discipline, Michelle Bonczek Evory's Naming the Unnameable: An Approach to Poetry for New Generations offers practical advice and strategies for developing a writing process that is centered on play and supported by an understanding of America's rich literary traditions. With consideration to the psychology of invention, Bonczek Evory provides students with exercises aimed to make writing in its early stages a form of play that gives way to more enriching insights through revision, embracing the writing of poetry as both a love of language and a tool that enables us to explore ourselves and better understand the world. The volume includes resources for students seeking to publish and build a writing-centered lifestyle or career. Poets featured range in age, subject, and style, and many are connected to colleges in the State University of New York system. Naming the Unnameable promotes an understanding of poetry as a living art of which students are a part, and provides ways for students to involve themselves in the growing contemporary poetry community that thrives in America today.
- 2.4.1: Introduction - Our Natural Right to Play
- This page emphasizes the importance of nurturing creativity in writing, urging individuals to embrace a playful mindset free of judgment and self-criticism. Stafford and Mackaye highlight that artistic potential exists in everyone, but societal pressures often stifle it. Essential tools for this process include a designated writing space, materials, and a willingness to explore without fear of failure.
- 2.4.2: Getting Started - The Nine Muses
- This page emphasizes the effectiveness of digital tools alongside traditional methods for capturing inspiration in creative writing. It encourages journaling, freewriting, and reading diverse materials to develop a writer's voice and stimulate imagination. Routines and rituals enhance creativity, while walking and physical awareness aid idea generation. The connection between dreams and creativity is highlighted, with REM sleep fostering imaginative thought as seen in surrealism.
- 2.4.3: Welcome, Reader- Reading Poetry
- This page emphasizes the significance of emotional engagement in poetry through various analyses. Chapter Two highlights the necessity of a total emotional response and effective listening to appreciate a poem's depth. It focuses on Stephen Dunn's "The Insistence of Beauty," discussing the intricate relationship between beauty and tragedy, and the subjective nature of beauty amid destruction.
- 2.4.4: Images
- This page emphasizes the significance of vivid imagery and sensory engagement in poetry, contrasting it with pragmatic writing forms. It highlights the use of concrete details to evoke emotions and create immersive experiences for readers, advocating for a "show don’t tell" approach. The importance of figurative language, fresh metaphors, and avoiding clichés is discussed, promoting originality and deeper connections.
- 2.4.5: Voice
- This page explores the role of voice, emotion, and perspective in poetry. It highlights the importance of authenticity and concrete imagery in avoiding sentimentality and clichés, urging poets to engage readers by fostering trust through relatable speakers. Examples from poems illustrate themes of loss and memory. The text also discusses the use of personas and varying points of view to deepen connections, suggesting exercises for writers to enhance their craft.
- 2.4.6: Architecture
- This page examines the architecture of poetry, focusing on its primary components: words, lines, and stanzas. It emphasizes the significance of line breaks, including enjambment and end-stopped lines, in shaping rhythm and meaning. The role of stanzas is discussed as they create structure, influence tone, and facilitate narrative shifts.
- 2.4.7: Acoustics
- This page examines the significance of acoustics in poetry, including sound patterns and scansion, emphasizing the roles of rhyme, alliteration, and assonance. It discusses poetic techniques such as line length and breaks, illustrated by examples from poets like Mary Ruefle and Denise Duhamel. Duhamel's poem "Lines" demonstrates varied line lengths and spacing to enhance theme and tone.
- 2.4.8: Experimenting with Forms
- This page introduces various poetic forms for experimentation in writing, including the Abecedarian, Aubade, Ballad, Blank Verse, Ghazal, Haiku, and many others, detailing their structures and characteristics. It encourages creative exploration through examples from established poets and playful writing activities. Alongside this, a narrative captures chaotic emotions during a flight, longing for an absent father through the lens of poetic forms.
- 2.4.9: Revision
- This page highlights the significance of revision in poetry, emphasizing the need for time and reevaluation to enhance clarity, language, and overall impact. It explores personal experiences and broader societal themes, showcasing how multiple drafts shape the narrative. The author reflects on the emotional challenges of revising and the influence of sound and aesthetics on choices made during the process.
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