Singing the Literary Songs
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Since then, I have become a poetry fiend. I pen quick
limericks in elevators, wax poetic in blog posts, jot down freestyle verse
during lunch. Heck, during a series of endless meetings last week, I wrote
pages of poetry bemoaning the uncomfortable, molded-plastic, stadium seating
into which the administrators had shoved us poor instructors.
Here’s a haiku I wrote while
shifting every five minutes in order to restore circulation to my legs.
Metal-toothed plastic
Bites my ample derriere.
Classroom seating sucks.
Bites my ample derriere.
Classroom seating sucks.
In addition to actually writing more lately, I’ve also found
myself pondering the musicality of poetry and, by extension, prose. How do I
know when a line or sentence should end? What blend of long and short sounds
feels best? How can words, lines, paragraphs and stanzas shape the structure,
use, and rhythm of the message?
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Writing appeals to me because it so deftly straddles lines
between structure and rules and sheer, off-the-cuff inspiration and artistry. Many
rules exist about, for example, punctuation, capitalization, and object/subject
use, but much of the beauty of writing lies in the spaces in between the rules
where creativity, rhythm, tactility, and improvisation live.
Many of us who write, I’m sure, also draw, paint, bake,
sing, craft, or play a musical instrument. As writers, we are technical geniuses (claim it,
baby!), wielding our vocabularies, knowledge of sentence structure, and
punctuation savvy. As a mere twelve hours of coffee-slurping and keyboard
pounding reminded me, however, we are also magnificent artists that spin,
paint, sing, and dance the music and imagery to life within those technical boundaries.
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