Last Wednesday we held a Reading to mark the Launch of the Connect Dudley Exhibition. It was a pleasure to have some workshop participants with us in the audience and to hear their reactions to the poems. Before the exhibition all the participants received copies of their own poems but hadn’t heard the others. Our source material was deeply personal and it was a true honour to work with the letters produced over 8 weeks of workshops during Lockdown 1.
It also served as a reminder to all about how challenging that time was. Such restriction imposed on our lives (and with good reason), a global narrative, the ins and outs of everyone as they experienced living diminished lives and loss and all the time an undercurrent of gratitude for still being here. For community. For the rallying of strangers.
The UK is currently in the 3rd Lockdown with the hope of gradual reopening over the next few months.
This project began in 2020 with Rick Sanders, it was his idea to bring the community together through writing. The bid was successful and Creative Black Country commissioned the work. A series of online workshops with a Lockdown related prompt were facilitated by Rick. The participants wrote letters to their future selves. The idea was to keep them and open them a year later. In the light of the fact we are still in Lockdown, those envelopes may remain sealed for a little longer! The letters created during this project also work as a social record of that time.
Rick wanted to connect people with an Artform too, so the 8 letters were used to compose bespoke poems as a gift for each participant. The original exhibition idea was to be held in real life. The project has been cleverly adapted to make it feasible during this 3rd lockdown. And as a result has reached over 300 people!
Rick and I were interviewed by CoLab last summer about the process and the outcomes. CoLab also interviewed the participants and lots of their feedback appears in the reported evaluation of the project and on the Launch video and exhibition posters. I was so glad to have this opportunity to work within such a rich community project. It has been a pleasure from start to finish.
I enjoyed the Q&A last Wednesday night, it was great to hear Rick Sanders talk about the other elements of the project. A video is available from Creative Black Country channel where you can find out more about the fantastic work they do.
If you are local to Dudley there is more to come so keep your eyes peeled and in the meantime, take a socially distanced /correctly protected walk to the High Street and have a read or a listen (QR codes – thanks to Overhear) for yourselves. There are 10 poems, so this display will change at some point over the next month or so.
In lockdown #1, Connect Dudley held a creative writing programme over 8 weeks, connecting people through the arts across the West Midlands. As well as writing for themselves, the group had two professional poets respond to their writing with poems.
This was a fantastic Community Project in the 1st Lockdown, back in Spring/Summer 2020. It was an honour to read the letters generated by the workshop group Rick Sanders facilitated and then to collate the ideas and emotions into personalised poetry for the attendees.
These poems along with QR codes to scan for audio versions, are currently exhibited by CoLab Dudley at 201a High Street and here is your invite to take a virtual look at the first exhibition being held in this space.
On February 24th from 7:30pm, Nina Lewis and Rick Sanders will be sharing the Connect Dudley poems with you, together with a preview of the exhibition and details of how CoLab Dudley is working to shape the High Street of the future.
I have always read American poetry. When I came back to writing in 2013 I read many American poets. Editing A Tale of Two Cities project 3 years ago, I grew to appreciate the differences between English and American poetry. During this pandemic, the borders (were there ever any?) of our digital world have diminished and many events are global. I haven’t done the statistics but I probably have an equal UK to International dip in events over our Lockdowns.
At one of the many online festivals I have attended I discovered Carolyn Forché and immediately connected to the spirit of her work. I went on to watch several readings and read a selection of her poetry. As you know, the past couple of years have been difficult and financially I am unable to spend, so the things I really loved in 2020 went onto Birthday and Christmas Lists. Carolyn’s book In the Lateness of the World was one of my Christmas orders. I want to dip in and out, but fear I may devour it! You can hear Museum of Stones and Boatmanhere.
When I saw the Hudson Valley Writers Center had lunchtime readings and Carolyn was reading on the 7th February, I was very excited. There’s a lot in the diary, all carefully colour coded and occasionally I find myself counting down to an event, this was one of those. Equally I love discovering new to me poets and not knowing Lori Soderlind’s work, I looked forward to hearing somebody new. This afternoon (or evening for us in the UK) was too good not to share.
Carolyn Forché is an award winning author of poetry and prose. She is the author of the 2019 memoir What You Have Heard Is True (Penguin Random House), a devastating, lyrical, and visionary book about a young woman’s brave choice to engage with horror in order to help others. What You Have Heard Is True was a finalist for the 2019 National Book Award.
Claire Messud writes, “In this searing, vital memoir, Carolyn Forché at last reveals the dark stories behind her famous early poems: she brings alive the brutality, complexity and idealism of El Salvador in the late 1970s, a time of revolution that echoes all too painfully in the present. What You Have Heard Is True, a riveting and essential account of a young woman’s political and human awakening, is as beautiful as it is painful to read.” And Claudia Rankine notes: “What You Have Heard Is True is as much an enthralling account of a life marked by an encounter as it is a document of a time and place. Carolyn Forche’s urgent and compelling memoir narrates her role as witness in an especially explosive and precarious period in El Salvador’s history. This incredible book shapes chaos into accountability. It marries the attentive sensibility of a master poet with the unflinching eyes of a human rights activist.”
Renowned as a “poet of witness,” Carolyn Forché is the author of five books of poetry. Her first poetry collection, Gathering The Tribes (Yale University Press, 1976), won the Yale Series of Younger Poets Award. In 1977, she traveled to Spain to translate the work of Salvadoran-exiled poet Claribel Alegría, and upon her return, received a John Simon Guggenheim Foundation Fellowship, which enabled her to travel to El Salvador, where she worked as a human rights advocate. Her second book, The Country Between Us (Harper and Row, 1982), received the Poetry Society of America’s Alice Fay di Castagnola Award, and was also the Lamont Selection of the Academy of American Poets. Her third book of poetry, The Angel of History (HarperCollins, 1994), was chosen for The Los Angeles Times Book Award. Blue Hour is her fourth collection of poems (HarperCollins, 2003).
Her most recent collection, In the Lateness of the World (Penguin Press, 2020), is a tenebrous book of crossings, of migrations across oceans and borders but also between the present and the past, life and death. Forché’s anthology, Against Forgetting: Twentieth Century Poetry of Witness, was published by W.W. Norton & Co. in 1993. In 2014, her new anthology, The Poetry of Witness: The Tradition in English, 1500-2001, was published. Her translation of Claribel Alegria’s work, Flowers From The Volcano, was published by the University Pittsburgh Press in 1983. In 2000, Curbstone Press published a new book of her translations of Alegría, entitled Sorrow.
Lori Soderlind is author of two memoirs: The Change (My Great-American, Postindustrial, Midlife Crisis Tour) and Chasing Montana (A Love Story). She is director of the MFA Creative Writing Program at Manhattanville College. Her writing has appeared in anthologies and journals; her essay “66 Signs” is included in the Norton Anthology of Best Creative Nonfiction. She has reviewed books for the New York Times and elsewhere. Lori began her career in print journalism, working as a reporter, editor, and freelancer for newspapers and magazines across New Jersey and New York. After earning an MFA in nonfiction writing from Columbia University, she worked as a city editor at the Times Union newspaper in Albany, NY, and taught writing at SUNY’s Albany campus. She was also an adjunct professor at Columbia University and Western Connecticut State University and a professor of journalism at Norwalk Community College in Norwalk, CT, before taking her position as director of the Manhattanville College MFA program.
Regarding her love of carpentry, Lori was torn between being a writer, a carpenter, or a rock star for much of her early life and finally settled on a career in the area where she felt she might actually have talent. This did not stop her from pursuing her other passions; she has been attempting and sometimes succeeding at renovating houses and barns for much of her adult life and is now practicing scales on her electric bass in earnest, hoping music might regain a place in her creative universe. Lori studied English in college, then followed her father’s footsteps into journalism—a field where she was able to actually earn a living writing about unusual bar mitzvahs, parachuting grandmothers and the weather. She briefly quit the newspaper world to work in a book store and in a wood shop and, when they fired her there (mainly, she thinks, for being a girl), she set off on the western adventure that would become her first book. Her latest book, The Change, was the fruit of a long drive she took with her dog Colby, setting off to find “the most depressing places I could find in the country,” Lori has explained, though she only had time to scratch the surface. Colby died peacefully at home shortly before his sixteenth birthday. Lori now lives in New York City with her Portuguese water dog Graci.
Listening to Lori’s reading sparked so many thoughts in my mind. It was a joy to listen in. Carolyn read many poems I have heard/read before which always gives an opportunity to listen deeper. The Q&A was generous. I loved seeing how touched Lori was to read with Carolyn and hearing the stories behind her work. Both look at troubles and divides (that’s putting it lightly). The whole event filled my heart. And you missed it, right? Well no fear… have a watch for yourselves. The UK person Lori mentions at the beginning is not me.
Annie is a much-loved member of the Cheltenham Poetry Festival team and her Book Launch was hosted by them. Presented by Howard Timms. Annie’s collection has been described by Ankh Spice as ‘a clarion call to find the edges we have forgotten’, and by Ben Ray as ‘a haunting love letter to the natural world’.
It was a pleasure listening to all the poems, a delight to watch her excitement as Guest Readers shared some of their own poetry and read poems picked from her first collection. It is always exciting to hear your words coming from the mouth of another. Something magical about that process. I was touched when several readers shared poems written especially for Annie or inspired by poems in this collection. Annie’s Special Guests were Ben Ray, Anna Saunders, Zoe Brooks and Ankh Spice. In addition to these four powerful poets, Annie had asked other members of the poetry community to read a poem from the collection.
It was an honour to be there, to listen, to watch, to see. The witness and kinship. Annie’s poems bring nature in until it becomes us (as it should be, as it is). We are, after all part of it, we are it, it is us. As more people (through Lockdown Nature) are realising and we’re all bearing witness to the proof of our ecological impact.
About the Book
Nature at a Cost is a collection of poems essentially focusing on the interaction between humans and the environment. Poet Annie Ellis explores the impact that our way of life is having on other species that share our planet, offering a unique perspective on the disturbing situation we are currently creating. Her words send a powerful message to all of us to protect rather than exploit the natural world, to bring harmony and balance for a better future.
Extracts from the testimonials for Nature at a Cost A collection of vivid and beautifully observed poems by a writer who loves nature in all its manifestations – from the jack-of-all-trades to the king of the pack, all the creatures in this charming collection are depicted with awe and delight. Anna Saunders, CEO of the Cheltenham Poetry Festival and poet
A raw, real and honest update on the Romantics’ odes to the natural world, Nature at a Cost is an engrossing and challenging collection which flows from the page as naturally as the rivers and forests it describes – a haunting love letter to the natural world, which stays with the reader long after the final stanza. Sometimes unsettling and uncomfortable in its questioning of our self-centred perception of the world, Ellis is not afraid to explore the nature’s raw and often violent mechanics: seals twist in water to escape ‘a cave of daggers’, millions of ladybirds bury a small town, and the seasons turn unstoppably in ‘pompoms of autumn fizz’. Ellis is disarmingly honest and open about her own position in this wildness, which she finds reflected inside herself: ‘I feel the pain of solitude, / with the twist of time coming round.’ Yet throughout this collection, Ellis’ writing consistently holds a deep love and respect for nature and its inhabitants. This is twinned with a keen and subtle eye for observation: goats ‘wander like lost pebbles’, whilst ducks swim in an ‘army of ripples’. As the collection’s title suggests, there is an underlying tension between the human and wild here: but Ellis masterfully negotiates this distance, using poetry as the bridge to carry us from the familiar into the wilderness. In the final poem, a tree speaks of this innate connection: ‘find me in the pencil / you are holding.’ If you are looking for this entry point into the wilds, look no further than Nature at a Cost. Ben Ray
‘Nature at a Cost’ beckons you to step beyond your comfortable human skin and allow your boundaries to be repainted in a wilder shape. Ellis’s poetic gift is for suspending time on the wing, on the hoof, the claw, or the branch – she offers vivid moment after moment as a series of natural Attenborough-esque observations, still moving as we watch – or better still as we step in with the poet to channel our consciousness into her global family of flora and fauna, weather and wile. In this time of disconnection from the deep and intimate living our own animal experience could, and should, offer us, this collection is a clarion call to find the edges we have forgotten, and to redefine what we notice and protect as valuable. ‘Because of you I want to keep living’ realises Ellis in ‘Wolf’, and it is truly that simple. We are in the quietly clamouring presence of every reason to persist in symbiosis, not at odds, and every beast captured by this poet’s keen and tender lens shows us how – from revelling ladybug to nursing doe to goats on the edge. This collection is, in every sense, a vital one. Ankh Spice, Co-Editor of Ice Floe Press.
As you were reminded yesterday, Lockdown 2020 saw many notebooks being filled. By Lockdown 2, I was back in the scary world of work and Lockdown 3 is a mixture of both (after 3 hours on phone calls yesterday afternoon)!
Some of my notebooks were filled with words from the Lockdown Writers’ Club, organised and facilitated by Mab Jones, a poet I have had the pleasure of knowing for quite some years. The daily prompts offered a lot of material across a range of genres and (like all good starting points), were springboards which encouraged the sparks of ideas to fly. Both Mab’s course and Cath Drake’s workshops, inspired me for sometime after they finished.
2021 has not started the way, in the depth of the summer, we hoped it would. Lockdown offers new and established writers time to write. We all want/need more than the 4 walls of our room and CO19 in our brains.
This rerun is an email only course, so is perfect for people who have restricted access to other platforms.
Lockdown Writers’ Club is an online / email course for writers of any experience. ✅Receive 30 prompts in 30 days. ✅Respond in poetry or prose. ✅Learn, be inspired, have fun! Just £25 Contact @mabjones for details: mabjonescreativeATgmailDOTcom
Mab JonesCardiff Wetlands Writer in Residence Biography Mab Jones is a “unique talent” (The Times) who has read her work all over the UK, in the US, France, Ireland and Japan. She is winner of the John Tripp Spoken Poetry Audience Award, the Word Factory Neil Gaiman Short Story competition, a Royal Society of Literature ‘Literature Matters’ award, the Aurora Poetry competition, the Rabbit Heart Poetry Film Festival Grand Jury Prize, and the Geoff Stevens Memorial Poetry Prize, amongst others.
Her most recent pamphlet is ‘111 Haiku for Lockdown’ (Infinity Books UK). She is the author of two other pamphlets, and two collections: ‘take your experience and peel it‘ (Indigo Dreams) and ‘Poor Queen’ (Burning Eye Books). Her work has been read or shown (as poetry film) at many festivals, at the Southbank Centre, and at various venues and a variety of platforms.
Mab teaches creative writing at Cardiff University, has written for the New York Times, and has presented three recent poetry programmes on BBC Radio 4. She previously coordinated International Dylan Thomas Day, and now runs the social media for world famous writer Wilbur Smith. She promotes adventure writing through his Foundation, in addition, and offers mentoring, critique and feedback for writers, most notably through the Poetry Society.
For some reason I attempted Yoga again this month, Lockdown has made us all a little crazy, I think I did a fusion of Yoga and Pilates, basically the warm up and then filled in most of the class with exercise my back could manage.
I saw my first human being other than my mum and Mr G. since the beginning of Lockdown. It was my eldest nephew’s birthday. I stood in the garden, he stayed inside. It was the hardest not-hug to give/not give. Delighted I saw him. He couldn’t believe he was only the 3rd person I had seen since the end of March! By the end of the month I shared garden coffee with a few friends.
My actual travel/ life may have diminished to something which resembled 2019 (without the pain) but my screen life was exploding. I stretched my Zoom poetry wings further into Australia, out to New Zealand, Canada, Singapore, America and Coventry – if you have ever driven the route from here you will understand why I include that UK destination in amongst my international travel. Other local events found the wonders of Zoom and FB and moved events online. Library services also extended online content.
Poetry and writing has gone Global this year, writing is also (like baking, making sourdough, planting, painting and photography) one of the hobbies/ escapes people turned to. Even people who never appeared online have probably scribbled journals or feelings down at some points in this Lockdown. There have been wonderful local/ national/ international community projects popping up all over the place. Letter writing has become fashionable again, or at least it did before people realised the dangers of post. The world has creatively adapted. We have held each other (metaphorically) up in a year that made us all feel like we no longer had bones!
The other thing which began to take seed was the funding artists had applied for through the Arts Council. With this emergency funding came a flurry of projects and workshops. Funding was also received from other revenue sources.
PPP – (Poets, Prattlers, and Pandemonialists) celebrated the Black Country/ Lockdown and isolation with Stay Up Your Own End– which offered people both a microscopic and magnified view of their locales as seen through the eyes of people with pens. It encouraged people who had never written before or never openly written before to pick up a pen and write. It was set up as a round of competitions, prizes included a video film produced & £25.
The judges/prompt writers for each round were local favourites of the Black Country poetry scene Richard Archer, Rick Sanders, Roy McFarlane, Kuli Kohli, and Heather Wastie.
PPP were commissioned by Creative Black Country to run a series of online poetry activities across the region.
I did workshops with Anna Saunders, Adam Horovitz, Liam Brown, Zena Edwards and joined Malika Speaks and Poets In Motion. I went to Book launches including The Estate Agent’s Daughter – Rhian Edwards (Seren), Wild Persistence – Katrina Naomi (Seren), Pack of Lies – Roz Levens (Black Pear Press)
More Festivals and Events: ART IS… Festival, Trim (Ireland), Own It! Online Festival, Wirral Poetry Festival, Cheltenham Poetry Festival, Kit De Waal Creative Writing Wonder Women, Ledbury Poetry Salon with Philip Gross & Lesley Saunders. Sarah L. Dixon moved The Quiet Compere online and created a series of reunion shows. I made video poems for Wordcraft, PASTA, performed at Fire & Dust, 42, That Poetry Zoom, Perth Poetry Club, Poets’ Cafe and watched Dear Listener. Oooh Beehive, Run Your Tongue, Yes We Cant and others. Room 204 continued to support us with opportunities.
Personal highlights for the month (other than braving the company of friends) were:
A reading for the end of Writing to Buoy Us – Reading to Buoy Us with Cath Drake. The courses drew both established and new poets in from across the world.
It was an uplifting event which featured both class groups and Australian poet Mark Tredinnick as the Guest Reader.
Writing and creativity are how most of us are continuing to process this pandemic 6 months later, the connectivity shared at this time was invaluable. It was special.
Poetry Film Live Relaunched their website and featured one of my animated Poetry Renewed Films ‘Tailspin’ to Launch it. Like every business Elephant’s Footprint have adapted during this pandemic and shifted their courses online.
Exciting talks started with the committee about moving WLF online, we were holding off in the hope the postponed annual festival (mid-June) could be pushed back to early Autumn, by this time it became apparent that Covid was going to be with us for some time.
I took part in my first online SLAM (I don’t really do the SLAM poet thing but this was in Australia and I couldn’t resist). My poems appeared in the keepsake gift book the Art Is Festival released.
I wrote down submission opportunities and promptly missed the deadlines. Seems like I have the horse ready but a little unsure of getting back on!
It has been a long while since I was on top of blog updates. I have a lot of news to share. I am finally (as much of any of us are able to this year) back in the flow.
I read some of the 2019/20 posts I managed last night and was reminded of my Annus horribilis, but the truth is we all have them and for those lucky enough to escape them, this year we had a pandemic that shook the whole world.
When I mention in those posts I was off the meds, I was referring to morphine, I am still on daily tablets for both the neuropathy (which is unlikely to improve beyond what it is) and the chronic illnesses. But that’s the difference. They are this way now forever, this is me. From a life of daily medical appointments, physio and 27 tablets to one of 5 daily tablets and quarterly consultations. The pain is less intense and is liveable. Life is precious, 2020 taught everyone that. So like a bad relationship, I have to put it all behind me and move on.
I am starting a string of posts to fill the gaps of 2020. This pandemic has been the worst thing most of us have ever experienced and I still feel guilty writing about the year in a positive way when so many have lost loved ones.
It gave us time to slow down and although I should have been more productive (I have a house to sort out) and could have made up some of the lost income by selling online (I have a lot of never worn/pre-loved clothes, books that I have read but are in perfect condition and size 5 shoes to offload, if anyone is interested) – and that’s on top of bags sorted for charity (but then not dropped off as they were all inundated with donations/ lockdown – shut them/ and now I am not sure they are taking donations yet). I could have worked systematically through my to do list…. could/should… tough thoughts when you think about what we face, just staying okay and not dipping into depression and anxiety is hard enough for us. So forgive yourself right now if (like me), you didn’t bake sourdough, exercise daily, read every book on your shelf, redecorate every room. You hung in there. Gold stars all round!
At the beginning of it all I was very concerned (still am) but learning to live with it and feel less anxious. Not less cautious though, no Christmas bubble going on here! I disappeared into a year which has become my learning year. Which has been incredible, thanks to the generosity of many creatives who gave their time and expertise to provide so many of us with valuable options.
I have not been in a position to buy anything, I am far luckier than many I have some work again, I have a home etc. but I have also not lived this thinly since I was a student. I arrived in 2020 with the debt of not working for a year and then lockdown. But people have been very generous and I am very grateful and I will pay it forward when I can.
I have always been a fan of the pretty notebook, who isn’t? This year I unpacked them all and started using them. I have filled many books (approx. 14) with notes/writing/ideas. I finally started submitting again and managed to complete several projects / commissions and applications (the latter were unsuccessful). And I started to work again after 7 months of lockdown (I stayed self-isolated pretty much), that has been an adjustment!
And today (one year since the launch of my 2nd pamphlet Patience), my new website went live! I started it back in April 2019 – but wasn’t properly back at the desk until late summer so it became a lost project.
Lyrical Ballads, a collection of poems by William Wordsworth and Samuel Taylor Coleridge first published in 1798, changed the course of British poetry. Growing up in the Lake District, Wordsworth set out to use the everyday language he heard around him in his poems in order to make them accessible to a wider audience. Both poets drew inspiration from seeing a return to the original state of nature, in which people led a purer and more innocent existence The word Lyrical linked their poems to ancient rustic bards, while Ballad refers to an oral storytelling tradition. Both poets used rural life and country people as the subject of their poetry which was a marked shift from what had come before.
To mark the 250 anniversary of Wordsworth’s birth, four leading poets Zaffar Kunial, Kim Moore, Helen Mort and Jacob Polley read new lyrical ballads inspired by the ideas in the original collection. Each of the contemporary poets have strong links to Cumbria and the Lake District and their poems give us a glimpse into life in the county now.
Produced by Lorna Newman and Susan Roberts
A BBC North production.
Today’s featured participant is 7eyedwonder, where, from Day 3’s rhymes-and-near-rhymes prompt, a mighty ode to bread has risen (like dough…it’s risen…get it?).
Our poetry resource today is a series of very silly twitter accounts. One thing that poetry is often said to do is make us see the familiar in a new way, and expose us to the magic of everyday life. These twitter accounts do something similar @MagicRealismBot@dreamdeliveryer@GardensBritish@A_single_bear?
Our prompt for the day takes its cue from our gently odd resources, and asks you to write a poem based on an image from a dream. We don’t always remember our dreams, but images or ideas from them often stick with us for a very long time. I definitely have some nightmares I haven’t been able to forget, but I’ve also witnessed very lovely things in dreams (like snow falling on a flood-lit field bordered by fir trees, as seen through a plate glass window in a very warm and inviting kitchen). Need an example of a poem rooted in dream-based imagery? Try this one by Michael Collier.
Nora’s poem on the participant’s site is wonderful – brilliant – inspiring and of this time.
A Pint A Pound, The Whole World ‘Round – I look forward to reading more on her blog.
I think of all the people who are going to follow a few more twitter accounts today – love the magical story that I landed on at the Magic Realism Bot twitter. A murderer falls in love with a silver maple tree.
The Dream Delivery Service gives me – You crack a battery open & a yellow bird flies out.
British Gardens You are in a British garden. Your teeth are melting. There are bumblebees in the haze. The flood is a festival.
A Bear gave me Sometimes it is difficult to decide what to do because there are so many things to do (swim, nap, climb, sleep, run, rest, etc.), and I often end up doing the same thing anyway: thinking about what I want to do… …while napping. I am a bear.
I carried on going through the twitter accounts.
This poem took a few days to bake, I haven’t been sleeping – let alone dreaming! But I have one reoccurring waking thought – so I cheated and used that! Following an experimental start I then played with treating my scribbles (still in the notebook) in different ways – extracting some vocabulary and paring it down. The result is an incredibly dark, foreboding poem.
Featured participant today is Put Out to Pasture, where the place-based prompt for Day 2 breathes life into the memory of a library.
Today’s poetry resource an online rhyming dictionary. This one provides both “pure” rhymes and near rhymes, a way to find “similar sounding” words, and also a thesaurus.
Today’s prompt asks you to make use of our resource for the day. First, make a list of ten words. You can generate this list however you’d like – pull a book off the shelf and find ten words you like, name ten things you can see from where you’re sitting, etc. Now, for each word, use Rhymezone to identify two to four similar-sounding or rhyming words. For example, if my word is “salt,” my similar words might be “belt,” “silt,” “sailed,” and “sell-out.”
Once you’ve assembled your complete list, work on writing a poem using your new “word bank.” You don’t have to use every word, of course, but try to play as much with sound as possible, repeating sounds and echoing back to others using your rhyming and similar words.
I visited the participants site first. I remembered Maxie Jane was featured last year too. Her background is an interesting one and I liked how this poem ‘The Lion, the Witch and the Library’ put me back into memories of my own life from a similar time. I left a message on her blog.
Then I made my list of 10 words – I used items in the room and also a 2nd list from book pages.
I didn’t get as far as writing the poem as I took part in some poetry online and then the sun was shining – flighty – I know! So I got outside for fresh air and sunshine in the garden, marvelled at a butterfly, made some phone calls, enjoyed a coffee and once I made it back inside sent some emails and then organised a few poetry bundles, none for submission, all for cleaning! Few house chores and one bit of Face Time and then it was teatime and I was back online for a Zoom Stanza – so I still have my lists and a poorly neglected Mr. G so I am going to spend time with him and finish my poem and update this post later – and that’s how you get behind in the very first week of NaPoWriMo.
Oh, look! A shiny thing!
3 Days Later
I have been struggling with this one – I rarely use rhyme and always find that no matter how well crafted it doesn’t quite hit the spot. I don’t mind when a NaPo prompt lets me down – a challenge is a good puzzle. But the days/poems were banking up a little.
So I tried to shovel myself out – I identified the first problem was probably me going ‘eurgh, a list of what I can see…’ – whereas the last time I was confronted with doing that in a workshop it was messy and pleasurable.
I went back to my list – gave it a good, hard Paddington Bear stare and said to myself – ‘You DO NOT have to include everything’ – I also knew I could easily substitute some of the rhyming words but I wanted the constraint of the first list.
After 2 more days of pacing – I cracked it by applying form. I also started drafting in a notebook – I often work straight onto the screen nowadays. But physically pushing those letters onto the page helped me cast the spell against the prompt and although there was no big bang or sudden glitter, I do think I may have won!