NaPoWriMo Day 11 – Unleashing Counter Protest Poetry

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Day 11 – I was super busy and had time to look at the prompts and not write any poetry. So this is the first day of NaPo that I failed to write my poem a day – this happens. It happens to most people embracing the challenge, maybe the poetry that comes today will be stronger having lingered in my head for 24 hours.

Yesterday I spent the morning making an Easter Promotion video for Fragile Houses (better than an egg), reading proof copy, organising festival events and writing blurb for programmes. In the afternoon I went to Swindon with Rick Saunders (Willis the Poet) to watch him Headline at Oooh Beehive, Clive Oseman & Nick Lovell’s Spoken Word Night. Other Headliners were Aaron Samuel (who has been in the game for just 4 short months and is AMAZING) and Bryony Vine – both of whom were spotted by Clive and Nick at Milk Poets. It was a great night!

Totally forgiving myself for not writing poetry.

Let’s step back in time…

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http://www.napowrimo.net/

Our featured participant for the day is Unassorted stories, where the poem for Day 9 is a portrait of a mental makeover.

Today, we’re also featuring a 1962 interview with Sylvia Plath. In popular culture, Plath is known for three things: (1) she wrote angry poems, (2) she killed herself, and (3) teenage girls who feel angry and a little gothy read her to feel angrier and a little gothier. But look a little further, and you’ll find a deeply philosophical poet, a master of unusual similes that set the reader rocking back on their heels, and a refuser of obvious or comfortable ideas, particularly about motherhood, femininity, and the reality of existing in a physical body. There’s a lot to learn from her densely layered, uncompromising verse. Looking for a few examples of her work beyond those poems you might have already seen? Here’s one, and another, and another.

And last but not least, here’s our (optional) prompt for the day: the Bop. The invention of poet Afaa Michael Weaver, the Bop is a kind of combination sonnet + song. Like a Shakespearan sonnet, it introduces, discusses, and then solves (or fails to solve) a problem. Like a song, it relies on refrains and repetition. In the basic Bop poem, a six-line stanza introduces the problem, and is followed by a one-line refrain. The next, eight-line stanza discusses and develops the problem, and is again followed by the one-line refrain. Then, another six-line stanza resolves or concludes the problem, and is again followed by the refrain. Here’s an example of a Bop poem written by Weaver, and here’s another by the poet Ravi Shankar.

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Yesterday I got as far as reading the examples and writing out my frame. Today I sat down to write my first ever Bop. My first attempt worked technically and was something I needed to write out of myself. It stands as a poem, but didn’t say enough. Then I thought back to recent events in Birmingham. The EDL marched on the city and one of my friends was racially abused. I wanted to write about that. Go Back Home

Saffiyah Khan’s photo (smiling at protestors as she stepped in to defend a woman who was surrounded) has gone viral, I watched a video interview with her yesterday and the whole thing needs to be united against. It seems to me the Bop is a perfect form for such a political statement. So I set back to my page again.

Saffiyah Khan Birmingham Mail

I am working on a re-write and depending on whether I bag an open mic slot at HOWL tonight, might share it with the city.

Our multi-cultural city stands united.

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Carrie Etter’s prompt was to describe an image in 2-5 lines and use this as the end of the poem and work back from there.

http://www.independent.co.uk/news/uk/home-news/birmingham-edl-march-photo-picture-woman-mosque-best-of-british-tea-party-muhammad-afzal-a7674726.html

I wrote about the image of Saffiyah Khan

edl The Independent

The Independent © 2017

Fighting against this dark veil

shrouding Centenary Square.

I think it is important for people to know that there were Unity Rallies, Counter Protestors and demonstrations, like the tea party held at the Mosque. 300 attended that, there were 50 EDL members. The protest was originally planned for the East Midlands, but moved to Birmingham after the Westminster attacks.

Saffiyah was not a counter-protestor, she was just in the city and came to this woman’s aid. Stepped in where others looked on.

I was not there – I was in the city in 2014 when the EDL came, I was performing at an event at the Library for Birmingham Literature Festival, an event that one poet pulled out of because her skin was the wrong colour that day. I was afraid and I was inside the library. Saffiyah states she wasn’t being brave, but it takes a lot to stand up like this. Look how straight her back is!


Jo Bell shares Late Fragment by Raymond Carver http://www.jobell.org.uk/


58d3e6b0bba6c-bpfullThe Poetry School gave us Day 11: Old English Day

Old English or Anglo-Saxon verse is fascinating and powerful. To write in a typical Anglo-Saxon way, you need:

·         lines with 4 stresses (though it doesn’t matter how many feet, i.e. your line can be as short as ‘Hold. Stay! Hold, hold!’ or as long as you want providing it only has 4 stresses)
·         an optional central caesura or pause between stress 2 and 3
·         alliteration of 3 of the 4 stress words (this doesn’t have to be on the first syllable if the stress is on a later syllable, e.g. although would alliterate on ‘th’).

It’s all very flexible though. If you want to alliterate 2 of the words, or all 4, or you want to skip your caesura, that’s absolutely fine. Sound complicated? It’s not! You’ll soon get the hang of it and it’s a very natural, flowing way to write.

It’ll all be much easier with an example few lines from Simon Armitage’s translation of ‘Gawain’ (which is actually a Middle English revival of the alliterative style). The stresses are indicated in bold.

as he heaped his hair to the crown of his head,
the nape of his neck now naked and ready.
Gawain grips the axe and heaves it heavenwards,

A longer extract can be found here https://www.theguardian.com/books/2006/dec/16/poetry.simonarmitage


 

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