Welcome back, everyone, for the seventeenth day of Na/GloPoWriMo.

Today’s featured participant is Words with Ruth, where the soundtrack-inspired poem for Day Sixteen uses repetition, along with simple and conversational language, to convincingly recreate a moment in space and time.

Our resource today is Oxford’s Ashmolean Museum, where you can find a smug ceramic pelican, a samurai’s ceremonial suit of armor, and a photograph of the French impressionist painter Camille Pissarro dressed as a Venezuelan herdsman.

And now for our daily optional prompt. The surrealist painters Remedios Varo and Leonora Carrington moved to Mexico during the height of World War II, where they began a life-long friendship. Today, we’d like to challenge you to write a poem themed around friendship, with imagery or other ideas taken from a painting by Carrington, and a painting by Varo.

Happy writing!

Happy Wednesday, all. We hope you’re having a fine beginning to the second half of April.

Our featured participant today is A Rhyme a Day, where the MC5/Jane Kenyon-inspired poem for Day Fifteen packs a lot of punch into six short lines.

Today’s resource is the Museum of Photographic Art, which is part of the San Diego Museum of Art. Through the museum’s online collection, you can explore a number of current and past exhibitions, including a series of portraits by Bern Schwartz (I rather like the one of Ralph Ellison) and a group of very painterly compositions by Lynn G. Fayman.

And now for our optional prompt! The Kay-Ryan-inspired prompt for Day Fourteen asked you to take inspiration from the sounds of the natural world. Today’s prompt twists that idea around a bit. Start by taking a look at this poem by James Schuyler.

FAURÉ’S SECOND PIANO QUARTET

On a day like this the rain comes
down in fat and random drops among
the ailanthus leaves—“the tree
of Heaven”—the leaves that on moon-
lit nights shimmer black and blade-
shaped at this third-floor window.
And there are bunches of small green
knobs, buds, crowded together. The
rapid music fills in the spaces of
the leaves. And the piano comes in,
like an extra heartbeat, dangerous
and lovely. Slower now, less like
the leaves, more like the rain which
almost isn’t rain, more like thawed-
out hail. All this beauty in the
mess of this small apartment on
West Twentieth in Chelsea, New York.
Slowly the notes pour out, slowly,
more slowly still, fat rain falls.

Like Kay Ryan’s poem, this one invites us to imagine music in the context of a place, but more along the lines of a soundtrack laid on top of the location, rather than just natural sounds. Today, try writing a poem that similarly imposes a particular song on a place. Describe the interaction between the place and the music using references to a plant and, if possible, incorporate a quotation – bonus points for using a piece of everyday, overheard language.

Happy writing!

Today is the halfway point of National/Global Poetry Writing Month! Hooray for poems!

Our featured participant today is The Cynical Optimist, where the place-sounds poem for Day Fourteen lets each creature in a particular park have its own solo.

Today’s resource is the online gallery of the National Museum of New Zealand. It’s pretty fun to just search for random words in their search bar, and see what kind of objects and art pop up. For example, I searched the word “butter,” and was presented with this photograph of a bracelet made up of butter and cheese exhibition medals, this stamp celebrating the wonders of butter production,  and a teeny saucepan made for a dollhouse.

And now for our (optional) daily prompt. The MC5 was a 1960s rock band. If you’ve heard anything by them–and you likely have–it’s their 1969 song Kick Out the Jams.

Jesse Crawford, otherwise known as Brother J.C. Crawford, was the band’s stage MC and warm-up man. Below are the words with which he opened a concert in Japan in 1969 (you can find the recording on Spotify/Apple Music as part of the Kick Out the James [Live] [Japan Remastered] album, on the track titled Intro/Ramblin’ Rose).

Brothers and sisters
I wanna see a sea of hands out there
Let me see a sea of hands
I want everybody to kick up some noise
I wanna hear some revolution out there, brothers
I wanna hear a little revolution
[big pause]
Brothers and sisters
The time has come for each and everyone of you to decide
Whether you are gonna be the problem
Or whether you are gonna be the solution (that’s right)
You must choose, brothers, you must choose
It takes five seconds, five seconds of decision
Five seconds to realize your purpose here on the planet
It takes five seconds to realize that it’s time to move
It’s time to get down with it
Brothers, it’s time to testify and I want to know
Are you ready to testify?!
Are you ready?!
I give you a testimonial
The MC5

And now here’s a short little poem by Jane Kenyon:

The Shirt

The shirt touches his neck
and smooths over his back.
It slides down his sides.
It even goes down below his belt—
down into his pants.
Lucky shirt.

And now for your prompt! While Brother J.C.’s warm-up and Kenyon’s poem might seem very different at first, they’re both informed by repetition, simple language, and they express enthusiasm. They have a sermon/prayer-like quality, and then end with a bang. Your challenge is to write a six-line poem that has these same qualities.

All appreciation to Dawn Potter for this prompt!

Happy writing!

Today we are two full weeks into National/Global Poetry Writing Month. Hopefully you’ll all have fourteen poems under your belts by the end of the day and, if not – no worries! You can always catch up (or just cut yourself some slack).

Today’s featured participant is Glenn Mitchell, who really hit it out of the park with his take on Day Thirteen’s Donald Justic-inspired prompt!

Our featured resource for the day is the online gallery of the Rijksmuseum, where you may particularly enjoy their series on 100 masterpieces within the museum’ s collection. And here’s a little anecdote about how browsing an online collection of this kind can lead you to new and startling discoveries. While taking a peek at the museum’s exhibit regarding Meissen porcelain, I came across this slide show about a particular porcelain macaw, which in turn led me down the rabbit hole of learning about saxon elector and Polish king Augustus the Strong, who “died at the honorable age of sixty-two, his kingdom a financial ruin, with nine children from six different women, and a collection of thirty-five thousand seven hundred and ninety-eight pieces of porcelain.” I feel much less sheepish about my comparatively modest trove of knick-knacks and doo-dads after reading that.

And with that silliness out of the way, today’s (optional) prompt is inspired by a poem that’s an old favorite of mine, by Kay Ryan.

Crustacean Island

There could be an island paradise
where crustaceans prevail.
Click, click, go the lobsters
with their china mitts and
articulated tails.
It would not be sad like whales
with their immense and patient sieving
and the sobering modesty
of their general way of living.
It would be an island blessed
with only cold-blooded residents
and no human angle.
It would echo with a thousand castanets
and no flamencos.

Ryan’s poem invites us to imagine the “music” of a place without people in it. So today, try writing a poem that describes a place, particularly in terms of the animals, plants or other natural phenomena there. Sink into the sound of your location, and use a conversational tone. Incorporate slant rhymes (near or off-rhymes, like “angle” and “flamenco”) into your poem. And for an extra challenge – don’t reference birds or birdsong!

Happy writing! 

Happy Sunday, all – I hope you have an enjoyable thirteenth day of Na/GloPoWriMo.

Our featured participant today is Chronicles of Miss Miseria, where the response to Day Twelve’s symphonic, Stevens-inspired prompt fires on all cylinders.

Our daily resource is the online collection of the Museu de Arte de São Paulo, founded in 1947 by Brazilian businessman Assis Chateaubriand. Here, you’ll find everything from old masters to mysterious photographs.

Finally, here’s our prompt for the day (optional, as always). Donald Justice’s poem, “There is a gold light in certain old paintings,” plays with both art and music, and uses an interesting and (as far as I know) self-invented form. His six-line stanzas use lines of twelve syllables, and while they don’t use rhyme, they repeat end words. Specifically, the second and fourth line of each stanza repeat an end-word or syllable; he fifth and sixth lines also repeat their end-word or syllable. Today, we challenge you to write a poem that uses Justice’s invented form.

Happy writing!

Welcome back, all you poets, for Day Twelve of Na/GloPoWriMo.

Our featured participant today is Christine Smart, whose lyrically-inspired villanelle for Day Eleven may make you . . . not want to read the news.

Our daily resource is the collection of the American Visionary Art Museum. Focused on outsider art – which is sort of like folk art’s more bonkers cousin – the museum describes itself as “one small speck in a Bling Universe where art reflects life, both literally and figurately.” I’m not exactly sure what a “Bling Universe” is, but it appears to include automatons featuring bathtubs filled with spaghetti, video tutorials for making sock monkeys, and kinetic sculpture races. Good times!

And after all those shenanigans we, we bring you a very serious (or is it?) optional prompt. Today, we’d like to challenge you to write a poem inspired by Wallace Stevens’ poem, “Peter Quince at the Clavier.” It’s a complex poem that not only heavily features the idea of music, but is structured like a symphony. Its four sections, like symphonic movements, play with and expand on an overall theme, using the story of Susannah and the Elders as a backdrop.

Try writing a poem that makes reference to one or more myths, legends, or other well-known stories, that features wordplay (including rhyme), mixes formal and informal language, and contains multiple sections that play with a theme. Try also to incorporate at least one abstract concept – for example, desire or sorrow or pride or whimsy.

Happy writing!

Happy Friday, everyone, and happy eleventh day of National/Global Poetry Writing Month.

Our featured daily participant is aetherianessence, where the wordplay prompt for Day Nine imagines two of English’s most easily-mixed-up words jousting like knights.

Our resource for the day is the online collection of the Victoria & Albert Museum, where you can find everything from a pair of bamboo-framed sunglasses to a very silly parody advertisement for talking toilet paper to a rococo coffee pot with a spout in the form of a rather gobsmacked sea-serpent.

And last but not least, today’s (optional) prompt. Take a look at Kyle Dargan’s “Diaspora: A Narcolepsy Hymn.” This poem is a loose villanelle that uses song lyrics as its repeating lines (loose because it doesn’t rhyme).  Your challenge is, like Dargan, to write a poem that incorporates song lyrics – ideally, incorporating them as opposing phrases or refrains. A few lyrics that might work, if you need inspiration:

“Is this the real life? / Is this just fantasy?”

“I read the news today, oh boy…”

“The world is a vampire…”

“At first I was afraid, I was petrified”

“There is a house in New Orleans”

“You shake my nerves and you rattle my brain”

“I went down down down and the flames went higher.”

“The future’s so bright, I gotta wear shades.”

“Nothing ain’t nothing, but it’s free.”

And if you’re interested in learning more about villanelles, you can find some good information at the Poetry Foundation website.

Happy writing!

Wow! Today we are one-third of the way through this year’s challenge.

Our featured participant for the day is Hues n Shades, where the poem in response to Day Nine’s prompt brings us a wonderfully complex sense of rhythm and rhyme.

Today’s featured resource is a virtual visit to the Sistine Chapel. I went there many years ago and marveled at the wonderful paintings (while also getting quite the crick in my neck from craning up to look at the ceiling). But when I went to talk over them later that day with the friend I was traveling with, he admitted that he couldn’t really see anything because he’d forgotten to put in his contacts that morning (!)

Now for our daily prompt (optional, as always). Yesterday, we looked at a poem that used sound in a very particular way, to create a slow and mysterious feeling. Mark Bibbins’ poem, “At the End of the Endless Decade,” uses sound very differently, with less eerieness and more wordplay. Today, we’d like to challenge you to write a poem that, like Bibbins’, uses alliteration and punning. See if you can’t work in references to at least one word you have trouble spelling, and one that you’ve never quite been able to perfectly remember the meaning of.

Happy writing!

Welcome back, everyone, for Day Nine of Na/GloPoWriMo.

Today, our featured participant is jasmine, whose ghazal for Day Eight pushes against, and with, the limits of transalation and English’s habit of stealing/adopting/buying at wholesale words from other languages.

Our featured resource for the day is the online gallery of the Peabody-Essex Museum in Salem, Massachusetts. Although it may be most famous for its witch trials, Salem was a seafaring town whose sailors and shipowners brought back all manner of items from their travels – which became the initial source of the museum’s collection. The museum has a stunning group of “Asian Export” items – goods that were crafted in India, Japan, China, and other locations visited by Salem’s ships (often as part of an overall trade in tea, porcelain, and textiles) – to appeal to an American/European market. That’s how you wind up with things like this French-styled dressing table with elaborate lacquer-work.

And here’s our optional prompt for the day. Like music, poetry offers us a way to play with and experience sound. This can be through meter, rhyme, varying line lengths, assonance, alliteration, and other techniques that call attention not just to the meaning of words, but the way they echo and resonate against each other. For a look at some of these sound devices in action, read Robert Hillyer’s poem, Fog. It uses both rhyme and uneven line lengths to create a slow, off-kilter rhythm that heightens the poem’s overall ominousness. Today we’d like to challenge you to try writing a poem of your own that uses rhyme, but without adhering to specific line lengths. For extra credit, reference a very specific sound, like the buoy in Hillyer’s poem.

Happy (or at least atmospheric) writing!

Best wishes for a happy Tuesday, everyone, and a great eighth day of Na/GloPoWriMo.

Our featured participant today is Lady in Read Writes, where the response to Day Seven’s challenge to write about why you are not a particular piece of art brings me back to my own high school days (I actually had The Raven fully memorized back then, and can still recite large chunks of it. A good way to pass the time if you’re waiting at a bus stop . . . ).

Today’s featured resource is a bit silly: it’s the Museum of Bad Art. Now, bad art – like good – is in the eye of the beholder, and I rather like some of the paintings in the museum’s whimsical collection.

And now here’s today’s totally optional prompt!

The ghazal (pronounced kind of like “huzzle,” with a particularly husky “h” at the beginning) is a form that originates in Arabic poetry, and is often used for love poems. Ghazals commonly consist of five to fifteen couplets that are independent from each other but are nonetheless linked abstractly in their theme; and more concretely by their form. And what is that form? In English ghazals, the usual constraints are that:

• the lines all have to be of around the same length (though formal meter/syllable-counts are not employed); and
• both lines of the first couplet end on the same word or words, which then form a refrain that is echoed at the end of each succeeding couplet.

Another aspect of the traditional ghazal form that has become popular in English is having the poet’s own name (or a reference to the poet – like a nickname) appear in the final couplet.

Want an example? Try Patricia Smith’s “Hip-Hop Ghazal.”

Now try writing your own ghazal that takes the form of a love song – however you want to define that. Observe the conventions of the repeated word, including your own name (or a reference to yourself) and having the stanzas present independent thoughts along a single theme – a meditation, not a story.

Happy writing!