For a week in September, Maia Ipp came into Creative Writing and taught a “Craft and Critique” class in order to prepare us (well, us being CDubs sans seniors, ’cause our three years of sweaty toil has earned us privileges, dammit) for a new department requirement— the literary critique (see Smolly’s Daily Report for reference).
We began by defining the word “critique” and its connotations— for someone to be critical is usually negative, though to look at something with a critical eye is pragmatic and sort of good. Using these definitions as a springboard, we then worked to redefine “critique” and came up with a new operational definition: analysis of the text and its effects with the intention to either better it or to simply point out its success.
(Yes, those are my words, and yes, they are carefully diplomatic, but that’s the jist of it, I think. Y’know, people always say to not shoot the messenger, but what if the messenger screws up?)
(No I change my mind. Please don’t shoot this messenger.)
We also discussed ekphrasis, which is sort of the evolved version of part two of the lit critiques, which are the creative responses. An ekphrastic piece of art is inspired by another piece of art in another medium— the example we looked at was a poem inspired by a painting. The poem stood on its own well enough, but with the painting there was a basis to work from, and there was suddenly a synesthetic duality to its evoked meaning.
On Friday, September 20th, Maia’s class ended on a high note. We visited the de Young museum and the Diebenkorn exhibit (which I will admit I did not see, sadly— it was just so… populated there) to create our own ekphrastic pieces of writing. And it’s kind of hilariously awesome, because Maia was so inspired by all the poems we turned in, that she took lines from all of them and created a group found poem, so it’s something like meta-ekphrasis.
(Though if we really did the math, it’s 1.5 ekphrasis, because while not everything we wrote was poetry— mine certainly wasn’t— words to words still doesn’t count as an entire ekphrasis, I don’t think. Hence the point-five.)
On top of that, Frances (’14) and Lizzie’s (’14) poems were chosen for special mention. Here they are below:
After the de Young: a group found poem
The poem that follows is composed of lines taken from the Fold-Up responses. Every Creative Writer is represented, and lines have been only minimally changed where necessary.
Tell me about the life you’ve built
the way it seems to fall apart
in the drifting winds that run through empty houses.
I, too, remained nameless that year.
A stretched film over the skywater above us.
It fractures though, by gravity or worse.
How hard it is to keep it together:
the water that was made in darkness.
The sun is smooth and patient, a pulse of light wavering between leaves and branches.
The ocean offers a flat relief.
I would die in this place,
my body slouched on a blue plastic chair, the door
open for the world to see.
Skin the taut surface of water—
A round, flat eye.
It is dangerous without being alive.
Examine for bloodlessness the bold predawn birth.
I had golden feathers,
but now everything is moonlight
undersea.
Stung, bitter, by our blackened palms.
I found you beached,
your burnt snow gills gleaming.
To do something with these arms—
I nod quietly, stare into wind and snow, letting its sting replace the one I feel in my chest.
I am not to be approached.
The most refined woman is nothing but texture.
You may be full to the core with honey and old water.
So soon, we’ll both be useless things.
Frances Saux, after Richard Diebenkorn, Untitled, 1955
I, too, remained nameless that year—learned in the clench of summer the constituencies of self, somehow—
One night she’d gone and I took three, four tries at a match, but too selfless to start supper I let them die out—
What was moving that year, what was anything?
I needed medicine and thought a spoon of vinegar, a slice of lemon looked all right.
And I thought I’d go on a walk but of course I didn’t. She came home, I stayed seated, she let the water run in the kitchen sink, I thought about the lengths of water, for lengths, the anonymous water.
Lizzie Kroner, response to The Wild Swan by Alexander Pope
It is wild—it is like painted taxidermy. The swan hangs so majestic but still so pathetic in its demise, tied to a door. With its full, faded head it can only exist as a symbol now. It evokes meaning without having a meaning of its own. In its death, as in all deaths, it has lost life, but its corpse, bright and beautiful and sprawled, wings spread, emanates such vivacity you have to question whether it is really dead or not. Of course it is dead, its webbed feet are tied by a string to the hinge of a green door and its gold is only visible when it is directly under the light. But the stillness of its heartbeat means nothing. The painting doesn’t have a heartbeat either, neither do these words, but they mean something.
Creative Writing 