Full Prompt Post today. Read on.
Step One: Find a little quote on a page. Honestly, I don’t even read the quotes I choose. I just choose for size.
Step Two: Cut it out.
The return of the Controversy. I’ve said it before, but I’ll say it again: I love boat names. Controversy, Compromise, Amphibi-Con, Riverkeeper. These names beg to be poemized.
Admission: Sometimes I sit down to do a new piece and feel absolutely befuddled.
My most typical response to that feeling is to choose a passage from the boat magazine and stare at it until certain words start to feel right. Today’s experiment began with just such a passage.
The second step here was to choose how to disappear the words.
India Ink won the day in this one, which is for some reason not a medium I’ve used yet in this book, but I can assure you I will be using it again. It is easier than paint, more flexible than marker, and allows the transparency I love so much. Continue reading “The Indirect Passage”
First thing I like about this page: its title. It sounds like Maiden, but is actually referencing the readymades of Marcel Duchamp — one of my favorite artists (there are a lot of favorite artists, but he really is up there) — whose intention was to get away from himself.
Call it a little game between ‘I’ and ‘me’
— from Duchamp: A Biography.
So, for the first poem after the last series, we’ve got a poem that responds physically to the title. Usually, with poetry and other writing, words come first. It is fun and challenging and worthwhile to turn that notion on its head sometimes.
Here, form || the space, the design, the architecture of the image || is the driving force behind the poem. I cut words away I usually would have left, in favor of the lovely zebraesque* pattern created down the lower center of the page. Continue reading “Space ration”
In honor of finishing the 28 (-ish) part poem, “Another Affair with Water,” I’ve finished with a two-page spread.
Usually, when we write in our notebooks, we don’t track our progress according to the weight of our work—ink on a page does not significantly change the weight of a notebook. But look; my little book has gained a little over an ounce!
Perhaps there is a name for the tendency to find the names of colors as appealing as the colors themselves. Some kind of synesthesia-type disorder. I don’t know. I just know that ever since I was a child I have loved the names of colors, in some cases more than the colors themselves. Pink, for instance.
In this week’s collage, colors arrive on the banks. This is, after all, the second to last collage in this particular series, which is super awesome and incredibly surprising, and I think it is time the banks of my sad specter and lonely fish king saw spring. Continue reading “colors arriving on the banks”
Aphrodite, Baby Bootlegger, Alexandria, and Mary. Four boats. Four good boats.
It’s more than a little funny how I’ve come to feel about the little black and white man featured in this gallery. I guess he must be the fish king himself, in his cozy sweater, with his mustache and curly hair. I can’t imagine he is the personification I would have chosen, but there he is nonetheless. Continue reading “The Fourth Book of Good Boats”
It is true, sometimes I start a poem for this book and discard it. The only thing that inspired me about the original draft of #25 was the color I’d mixed on a paint palette.
So, I cut everything but the number and the color and went in a more narrative direction. As it turns out, I am pleased with the final page so I am also fine with the process.
So, here we are at the final five poems in the “Another Affair with Water” series. I’ll be honest. I was not sure I’d make it through 28 connected collage poems. But I did and my little red book has gained a few ounces.
At this point, I started really thinking about how to tie up any loose ends within this series: my dear Fish King, Specter (Spectre), Light, Mistresses, Hearts, and Boats.
The pictures for this page are a little different this week. You’ll be seeing only process pictures, and no final images. Let’s start: Continue reading “Before the Flood”
I am a pretty big fan of poems that allow the reader to make their own choices about how they should be read. So, that is what I’ve gone for here. Hence the title … do your own damn thing.
The full text of this poem reads: “Sing a song in 1989. I sing in June.”
This would be the most direct reading of this poem.
For the less obvious read, follow me.
I Sin Sing
Sin Son Gin
I sin gin in June
We have reached the end of sex stories. For now, at least.
I really enjoyed doing this collage, especially after what felt like a lot of disorder in the previous ones (in this sex series). In contrast, this one is more focused and the black and white arrangement is easy on the eye.
The second story is fairly similar to the way I behave on any plumbing aisle. All those pipes and fittings, with names so dirty, and me whispering / chanting them to myself until overcome with bawdy hysterics.
In all honesty, this was a fun page to make. It feels a little private/intimate, but not so much as to be excluded from a public blog. They are just boat-building supplies, after all. Continue reading “Story of Sex 2 / boatbuilding supplies”
Which once was Essex, but oh, sex is so much better. Ever since I saw this beautiful headline I have been waiting to use it, saving it up, plotting and planning. And yes, it was just as fun and satisfying as I thought it would be.
But I could not limit myself to just one — it is “storys” after all (Story in this case is a surname, hence the odd pluralization).
This past week I’ve been doing a lot of work on my poetry thesis: organizing it into three possible orders and working out themes and sections and all that. Each time I’d figure out one potential way into the manuscript, I’d take a break to finish a collage / poem.
Diversions like experimental writing can be quite useful for the writer–especially the writer who is entrenched in a project. I’d go as far as to say this is the most lovely stage of editing: the diversions. Continue reading “A Riverkeeper”
Today an image heavy post, with a sparse poem to accompany. In this case, I worked on the poem first, and then finished the image. Sometimes, certain words just pop out. In my case, it was “take care.”
Also, never underestimate the incredible power of white paint piled against yellowed pages. Continue reading “The Interrogation of the Ways”
This week is all about the process, because making this page required more effort than any other page so far. I am going to actually give you a step-by-step for this, so you really can follow along if you like. The following is all one big prompt.
I found one nice, neat page in my magazine. This was originally a review of a series of boat building books. This allowed me to have 5 spots for poems. Continue reading “THE REAL MYSTIC’S MUSEUM of the One WATER, Volumes I-V”
Today, a full page image/poem, meant to be a continuation of “bend and break in silence.”
For this poem I used a very simple process. I highlighted all instances of the word “sound” and then whited everything else out. I love using this technique because it lets you choose to leave some words only partly obscured, such as in the title image.
So, this is your creative prompt. Focus today on one word. Preferably a word that means something to you. Silence / Sound / Bend / Break. Continue reading ““what you hear is a map of sound””
(don’t) Bend and Break in Silence
Not justified. And I drove to the grocery store, the store I visit weekly, past the place where the flags and lights and tributes are still set up. Today, cameras. Today, voices. Today, news. But still, no resurrection.
Too many bodies. Too much silence. Too much broken.