Shelley Widhalm

Work and Poetry (a reading)

In Giving a Poetry Reading, Poetry Readings, Reading Poetry, Writing Poetry on September 16, 2018 at 5:00 pm

GeeseSummer8 2016

The ducks at the local lagoon, no matter the season, is one of my favorite topics to write about when I engage in poetry.

Poems about autumn and work go together with the autumnal equinox and Labor Day falling in the same month.

The Community Poets will host a poetry reading, “Good Work!—A Post-Labor Day Celebration,” on Sept. 23 at the Loveland Museum in Loveland, Colo., and I’ve been invited to be one of the 10 readers. The Community Poets, a group of local poets and organizations that organizes poetry readings and workshops in Loveland, gives seasonal readings, but this one will have a twist by bringing in that thing we all have to do.

Work.

“Work has so many meanings,” said Lorrie Wolfe, a member of the Community Poets president of the Northern Colorado Chapter of the Columbine Poets of Colorado. “It’s how we build our lives, spend our days and fulfill our dreams. We will reflect on the shortening days, the autumnal equinox and heading back to school.”

The Poetry Reading

To prepare for the reading, I scoured through my poems over the last year—I started the Poem-A-Day Challenge on Sept, 1, 2017, that encourages the writing of a poem a day—and found dozens of poems about work, making it hard to select two or three.

My topics include working at a grocery store, doing dishes, taking out the trash and getting pink slips, but nothing about writing articles for newspapers—my main career, maybe because I’d be writing about writing. I also found several poems about fall, which is helpful for the reading’s secondary theme of autumn. Among my fall poems were a few about ducks at a nearby lagoon but observed all year round, probably because I run by there every day as part of my daily run.

The benefit of daily poetry is generating enough poems about topics for a variety of readings and to have enough for a book or two. In my own work, I saw half a dozen common themes for chapbooks, just within a year.

For those who want to try a poem, there are no hard rules except for the forms, because free verse allows for a looser structure. Poems, at the most basic level, have rhythm and pacing without excess words, such as “and,” “the,” adverbs and filler descriptions. They are shaped by lines, spaces and word breaks.

Writing Poetry

To begin writing poetry, and this may sound repetitive, just write. To wait for inspiration to cull a poem is unreliable.

Do not expect all poems to be good—I have plenty of bad and OK poems in my daily collection, but each one has a line or two or even a rhythm that makes me think, “Oh, I have something here.”

To write a poem, here a few tricks I use.

  • Use the senses—seeing, hearing, smelling, touching and tasting—to capture thoughts, ideas, feelings and observations.
  • Play around with words and descriptions, or simply put words on the page and rearrange them.
  • Avoid using clichés, generalities and vague concepts, like love or war.
  • Avoid overusing trite words, such as hearts and tears, opting for comparisons and concrete language instead.
  • Be specific in descriptions.

Once the poem is written, give it a title that fits but also is intriguing and draws in the reader. And then read it out loud, possibly before an audience.

That’s the aim of the Community Poets, to give poets voice. The group includes the Northern Colorado Chapter of the Columbine Poets of Colorado; the Friends of the Loveland Public Library; The Writing Lab; the DazBogian Poets; and several community sponsors.

The poetry readings are held every season, and the workshops are held twice a year in April and August.

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Prepping for Poetry’s Arrival

In Poetry, Poetry Workshops, Writing Inspiration, Writing Poetry on August 19, 2018 at 5:00 pm

ButterflyMuseum 04-2014

Waiting for the poem to arrive is like waiting for a butterfly to land and stay still.

Writing poetry is all about form and discipline, or is there more to it, such as invitation, invocation and imagination?

After attending Loveland poet Bhanu Kapil’s workshop earlier this month on “Writing the Poem Before It Arrives” at the Loveland Public Library, I realized I’d been leaving out an important aspect of my poetry practice.

I write a poem a day. I write poems when I feel inspired. And I write poems to practice form from short haikus to odes and the occasional sonnet.

But I never thought about prewriting poetry, engaging in exercises of the imagination to set the stage for a poem’s arrival.

“You’re receiving whatever comes. This is your writing. This is for the poem,” said Kapil, who decided to become a poet in 2003 and now works as a part-time instructor at the Naropa University and Goodard College’s low-residency MFA program. She is the author of several full-length poetry/prose collections, including “The Vertical Interrogation of Strangers,” “Schizophrene” and “Ban en Banlieue.”

Poetry Meditation

Kapil began the 2 ½-hour workshop with a meditation and exercise. She asked that the lights be turned out in the library’s community room and the 30 or so poets close their eyes and imagine that it’s nighttime in the middle of the daytime.

“We’re in a space with other poets who have a desire to write, a feeling to write before (the poem) arrives,” Kapil said. “Make contact with your imagination. Shift time with your body. Make contact with the notebook life.”

Kapil asked the poets to imagine changing their time and location to that of a sea cave, while still keeping their eyes closed. To get there, she had them visualize being somewhere in the plains and grabbing the desire to write and tucking it somewhere, while also noticing the sounds, feel and shape of things and the birds, vegetation and flowers in the environment. She mentally took the poets into a sea cave, and then had them open their eyes, draw a circle with what they thought about placed inside the circle, and then write a poem. The result is what has arrived, she said.

“It’s a connection with a near image and something you’ve been carrying with your writing,” Kapil said.

I drew a lopsided circle that ended up looking like a clock with a swing flying from 1 p.m. to 7 p.m. and my flip-flops flying off with ocean waves at the bottom lifting off at 4:30 to 6:30 p.m. At 8:30 a.m. is my sun with my notebook at 10 a.m. and a bird in flight that also looks like a cross at 11:30 a.m.

I wrote a poem that starts off: “Jump onto swings/ lose flip-flops/ ready to go to the sea’s edge/ no time clocks or check in …”

After writing, we traded poems with a writing partner. Mine said that all off my images are off the hour, the way childhood play is. The last lines of my poem are about letting go of the sea cave to fly on my swing, “my feet reaching to that sun.”

Poetry Pilgrimage

Kapil had the poets engage in a second exercise, but I had to go to work, doing the opposite of my fun, childhood play. She called it the “Completely Imaginary Experience in the Library,” the idea of bringing together fragments or pieces of notes and ideas into poetic form.

One way to do so is by taking a pilgrimage in your own environment—Kapil has 12 questions she travels the world with and keeps asking and answering. She asked the poets to find a book in the library and use lines from the book to respond to one of the 12 questions.

“Ask a question and let your hand drift to a book,” Kapil said. “The poem you write is a response to one of the questions. Include one word or fragment from your notes. And also attend to that message from the book you open. You really have to commit, and then integrate it that way. Write toward that line.”

The poem that comes cannot be entirely controlled but comes out of the process, Kapil said.

“It’s something that wants to be written,” she said.

The workshop and a reading the evening before were sponsored by a number of poetry groups known as the Community Poets, including the Columbine Poets of Colorado, Northern Colorado Chapter; the Friends of the Loveland Public Library; The Writing Lab; the DazBogian Poets; and several community sponsors. The workshops are held twice a year in April and August.

“For her, there’s a whole ritual doorway into the place from which we write from,” said Veronica Patterson, Loveland poet and a member of the Community Poets. “She was describing it from the sea cave, where she writes, which I loved. It’s not writing from the surface, but how to get to a deeper place in ourselves.”

How to Train Your Writing (and Your Puppy)

In Writing, Writing Advice, Writing Discipline, Writing Motivation, Writing Tips on August 5, 2018 at 5:00 pm

ZoeyBegs2 09-2014

Zoey the Dachshund demonstrates Up as one of her obedience tricks.

Improving writing skills and training a puppy have some similarities.

I got Zoey, a long-haired miniature dachshund, nine years ago when she was nine weeks old. I started writing when I was eight or nine—short stories and cute poems—becoming serious about it in college.

With both, I had to train my puppy and I had to train my writing. Neither came naturally to me, so I had to become a student to learn the essentials and then become more proficient with practice.

Training Writing, Training a Puppy

I found that to do either well requires research, experience and knowledge—and, of course, patience. I read about a dozen books about dog training, dog behavior and the dachshund breed, and with writing, I read close to 50 books about the writing process and various elements of writing, along with two monthly magazines.

I took Zoey to puppy kindergarten and through intermediate training to provide her with skills in basic obedience. She received a certificate and had her photo taken with a mini-dog graduation cap.

To make sure there isn’t slide, we practice those skills on a daily basis—commands like sit, down, stay, shake and come and walking on a leash. We, however, haven’t got past the treat effect—Zoey expects and requires a treat for each skill she demonstrates. For her shakes, she rapidly waves her paw as she tries to be patient. I touch it and give her what she wants.

We go on walks, and I learned that I shouldn’t pull her on her leash but patiently wait for her to understand what I want through treats and praises. I praise her when she walks and wait her out when she sniffs. I praise her when we return to walking. She gets a treat when we get home.

She especially likes it when people want to stop and give her attention—dogs are social animals and need to have comfort and routine.

How to Improve Writing, Dog Behavior

Here are a few things I learned about maintaining good behavior in a dog (and how it relates to writing):

  • Provide at least 30 minutes of exercise a day to keep the dog healthy and to release energy that when unused can result in poor behaviors (write at least once a week to keep up the routine and practice of writing; more if there is time).
  • Do obedience training to improve the dog’s mental stamina and prowess (do writing prompts, even for five minutes, to stimulate the mind and promote larger pieces of writing).
  • Do obedience training on a consistent basis to turn a dog’s good behaviors into a habit (write on a consistent basis, such as once a week, to turn that practice into a habit).
  • Offer regular playtimes, so the dog can build a relationship with you and also have fun (think of writing as a hobby and something that is for after work or playtime).
  • Pet the dog through belly rubs, head patting and massages to create an emotional bond (think of your writing as a relationship between you and your words).
  • Set the same time every night for bedtime, so that dogs have an expectation of when to settle down (write at the same time and in the same place to create an expectation that now is the time to write, even if the writing may not seem good or out of flow, or at least at first).

These are just a few ways to provide a pattern to let the dog (and your writing self) know what to expect, thereby establishing a good routine to follow. The result is a well-trained dog and a well-trained writer, eager to get to the work and fun of both.