NaPoWriMo 2019 Day 26

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Four days to go! You can do this!

As always, click on the day for the full post.

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Day Twenty-Six

Today’s featured participant is Yesterday and Today, where the seasonal/sensual prompt for Day 25 resulted in a summery villanelle.

And now for our video resource! Today, we present this recording of the poet Jericho Brown reading his poem “Duplex (I Begin With Love).” Note how simple the vocabulary of the poem is, and how Brown uses the power of repetition, rewording and building on prior lines and phrases to drive the poem along.

Today’s prompt is centered around repetition. Repetition is at the heart of the rhetorical strategy of “Duplex.” We engage with it daily in the choruses of songs, and it’s long been recognized as one of the ways to keep a listener’s attention and create a sense of satisfaction or closure in spoken or written language, whether that language takes the form of a speech or a poem or even a comedy routine. Many forms of poetry expressly require or rely on repetition – for example, the villanelle or pantoum.Well-handled repetition can give a poem an incantatory effect. Today, I’d like to challenge you to write a poem that uses repetition. You can repeat a word, or phrase. You can even repeat an image, perhaps slightly changing or enlarging it from stanza to stanza, to alter its meaning. There are (perhaps paradoxically) infinite possibilities in repetition. Want to look at some examples? Perhaps you’ll find inspiration in Joanna Klink’s “Some Feel Rain” or John Pluecker’s “So Many.”

Happy writing!

 

NaPo Process Notes

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I happily read today’s prompt in bed this morning, welcoming poetry in with the crack of light between my curtains. It was a pleasant waking.

I started by reading I Smell the Salt in Seaside Breeze by Merril D. Smith. This vivid poem evoked the senses of my favourite season, summer. Merril (like me) is steps ahead of the NaPo prompts, producing a villanelle on Day 25. The repetition worked well here and made me think of the pull of the waves on the ocean. I can see this poem. I think it is universally something we have all lived/felt. It is saved to the Poetry Resources file. Fine work.

I then watched Jericho Brown.

I listened to Duplex a few times. Listening to the poem and then to the form, the repetition.

The duplex is a form I invented. It’s a fusion of the sonnet, the ghazal, and the blues. – Jericho Brown

I know how to write a sonnet and a ghazal and have heard the blues. I am hoping to be able to unpick this form.

I then read the poem on The American Poetry Review, saved it to my resource file knowing I would be unpicking it later.

I then read the example poems, as if it wasn’t enough to discover Jericho Brown this morning, I fell in love with Joanna Klink’s Some Feel Rain. I kept reading it over and over.

Do I imagine there is any place so safe it can’t be
snapped?

WOW. Breath-catching read. Joyfully saved this one to the resource file, which is jam packed for Day 26.

Lastly, (before getting up), I listened to John Pluecker’s So Many, grateful for the audio as I struggle to read a poem which has no punctuation. It was also great to hear it from the voice of the poet. Stunning moments captured in this emotive poem.

Both of these poems were great examples of the use of repetition. They also made me feel ready for writing!

 

On Writing
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Photo by Stokpic on Pexels.com

I have already written one villanelle this NaPo and they are hard work, I often write pantoums but had never come across a duplex (other than an architectural term), so I fancied trying to write one and set about finding out more about this form Jericho Brown invented.

I read this article https://news.emory.edu/features/2019/04/creative-writing/index.html about the work Jericho does as a Professor at Emory University. It offered a little insight to the new form.

…inventing a new poetry form he calls the duplex. The new structure melds the formality of a sonnet, the inline rhyme and repetition of the ghazal, and duality of the American blues, all in nine to eleven syllables per line. It’s also the title of five poems in “The Tradition,” his third collection, published earlier this month.

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I also watched Stand.

I found this article in The Rumpus which goes into the form in more detail. It is a great interview, one you should read!

GUTTING THE SONNET: A CONVERSATION WITH JERICHO BROWN

BY CANDACE WILLIAMS 

The duplex is a new form that renders the musicality and structure of the ghazal, the sonnet, and the blues on a single plane. The poem starts with a couplet of two distinct lines. The second line is repeated and a new line is added, and then repeated until there are seven couplets of nine to eleven syllables each. Although the poem sounds iambic, it retains its relationship to the metrical tradition of the ghazal. The first line is the fourteenth line. The rhyme (via repetition) and the turn are reminiscent of the sonnet. The duplex holds tradition in its embrace while calling that embrace into question. This tension and release are a means for The Tradition’s speaker to interrogate and transcend their condition.

I also wondered why he had called the form Duplex and an article on Poetry Foundation helped me find the answer:

I decided to call the form a duplex because something about its repetition and its couplets made me feel like it was a house with two addresses. It is, indeed, a mutt of a form as so many of us in this nation are only now empowered to live fully in all of our identities.

I also found out more about the form and read more examples of Duplex poems.

Starting at the fourth line, every other line of the poem aims at “incongruous humor that…becomes ironic laughter mixed with tears.” The blues allowed for a poem that we teachers like to describe as “voice-y,” which is to say that the poems begin to take on more personality in those moments.

The end of the article gifted me the gold dust I had searching for. The form. 

Write a ghazal that is also a sonnet that is also a blues poem of 14 lines,

giving each line 9 to 11 syllables.

The first line is echoed in the last line.

The second line of the poem should change our impression of the first line in an unexpected way.

The second line is echoed and becomes the third line.

The fourth line of the poem should change our impression of the third line in an unexpected way.

This continues until the penultimate line becomes the first line of the couplet that leads to the final (and first) line.

For the variations of repeated lines, it is useful to think of the a a’ b scheme of the blues form.

Armed with a little more information I decided to have a go – and if I fail on the form then I have a poem which would not otherwise have existed in a parallel coat. Nothing will be lost. My ego will declare that I have invented a new form, the not-quite-a-duplex-poem. A Du. I am excited to give it a go.

HAPPY DANCE!

I managed to write a Duplex, unfortunately the battery died on the laptop halfway through the composition, so the 2nd half of the write was harder than it could have been, having lost the flow and the construction of the poem during my time offline.

I don’t think I changed the impression hard enough within the couplets. I got there though. Phew. It is an interesting result and is definitely a form I will attempt again.

I called it Remains which has layered meaning in the poem and think that the sense of the poem overall is beautiful. I think that is down to the Duplex/Blues rhythm and repetition. It is a love poem and this is how it ends…

A new tale on your chest tells of us.
Open to love, I’m weightless in my baggage.

 

 

 

 

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