In our recent podcast with experimental poet Christian Bök, we mentioned his 10 rules for writing lyric poetry, and hinted that we might be able to return to this topic at a later date. In this additional podcast, Christian talks us through his ten rules. This guide, highly useful for new and aspiring poets, also reminds more mature poets of the fundamental elements of good writing, including ways to monitor poems and make sure they remain sharp and suggestive. I hope you find the podcast as useful as I have.
our recent podcast with experimental poet Christian Bök, I spoke with a poet who
has a truly scientific approach to poetry, who ‘conducts experiments through
language.’ He accepts that some experiments won’t work, but is committed to
seeing them through, even if they represent decades of work through complex
processes. His poetry can be termed ‘process poetry’: work where the act of
creating becomes part of the content.
delighted to be able to bring you our second podcast, with experimental poet Christian
Bök. Christian’s approach to poetry is scientific. He uses experiments in
poetry to test ideas and capacities, unsure of outcomes. He has dedicated
himself to ‘formalistic innovations’ and ‘exploratory procedures,’ which means
that his work is intimately bound up with process.
How does one become a poet? This
perennial and intriguing question is in part answered by recent research in
Australia. Interviewing 76 poets, Jen Webb, Paul Magee, Kevin Brophy and
Michael Biggs isolated key factors which help to foster excellence in poetry.
Although my research here emphasises process rather than end results, this
group’s study has implications for process more broadly: it’s about the making
of the poet rather than the making of the poems and can tell us much about what
behaviour contributes to good writing.
Sometimes I’m amazed and delighted by other forms of art and want to respond in poetry. I want to go further than simply responding through the content of my work. I want the dynamics of the other art form to effect the structures of my poetry, to help invigorate and update my poetry, in what I call a radical ekphrasis. In a recent article, published in Axon, I address the popular topic of ekphrasis – writing in response to other forms of art, and show that the close association the word has with visual arts is an entirely modern one, and that the ancient understanding of ekphrasis was one of the general ability to make a scene vivid.
Have you read the Poetry in Process blogpost about Lisa Samuels and multiplicity yet? Don’t forget we’d love to hear any comments about what resonated with you. Today I am excited to bring you one of Lisa’s poems that experiments with sound as meaning and was featured in the Poetry New Zealand Yearbook. This is a revised version included in her latest collection Foreign Native (Black Radish Books, 2018). Hope you enjoy it!
People talk about the vanguard takes a turn its conscript energy acts on macro-particles as though you choose or Resolute you’re given mesh back to the deal your limbs eye dim harmonics rise for tiny ones Crash at you crash at me “give us a family look”
need to be able to inhabit the place of unknowing, in order to bring new
realisations, techniques, forms and processes into the known world. In an article
recently published in TEXT, ‘A New Suite: The Process of Knowing through Poetry’,
I highlight the fact that the noun ‘knowledge’ is unnecessarily
privileged in western writing, compared with the verb ‘knowing’, and emphasise
that knowing how to do something is the most important aspect of knowledge.
That knowing how to do something is what matters most is an idea found in
various forms in writers as diverse as Aristotle (the knowledge of how to make
things); William Carlos Williams (knowledge as ‘a living current’); Mark
Johnson (knowing as a process of inquiry); and Jen Webb (poets offering ‘new ways
of knowing and doing’). These are all descriptions of active states
characterised by the verb ‘to know’. But we don’t always know how to do
something until we’re doing it and working it out in process.
In an interview with transnational poet Lisa Samuels, she suggests that at the heart of her poetry and her process is a multiplicity of reference and background. When asked by interviewer Jack Ross, in the first issue of the revamped Poetry New Zealand Yearbook, which writers inspire her she answers in terms of categories, and says that she is as likely to be inspired by, “patterns, sounds, place histories, images, philosophy, statistics for a country’s fabric imports, dictionaries, encyclopedias, poetry, experimental drama, strange comics, physics hypotheses, theory, and manifestos,” as writers (41).
In this exploration of poetic process, I’ve been gathering what can be gleaned from existing interviews when the subject of process bubbles up. Jamaican-born US poet Claudia Rankine responds to a question from interviewer Katy Lederer about the differences between her first two collections Nothing in Nature is Private and The End of the Alphabet by saying that, from her point of view, part of the problem with her first book was that, “the subject did not determine the form” (in Henry & Zawacki 2005, 147). This, she says, led to a situation where the point of view of the book started to “typecast itself” into a pre-conceived portrait of blackness and immigration which meant that her own consciousness seemed to become lost (147).
I come across a great poem that shows originality of form or content, I often
wonder how it was made. The process of making a poem is often not fully
articulated and in my interviews with poets I will aim to be as specific as
possible about the writing process to elucidate how they work. I’m also on the
lookout for existing interviews or essays which may tell us something about the
writing process. I want to create a resource that other poets may use to
invigorate and stimulate their writing and that readers will find illuminating.