Print This PostMusicians, jazz musicians, keep fake books–at least they used to–with all the chord changes as well as written-down alternatives they may want to try. Why don’t poets keep fake books? I know Thomas Lux has his own personal anthology of poems he likes or is interested in. It’s a great idea.
To make a good fake book,
1. Leave plenty of room in the margins to write notes.
2. Leave doodle space.
3. Keep the backs of the paper blank so you can write the poem out in your own hand, or write an answer to it, or a variation on it. When you write someone else’s poem out by hand, you get an entirely different relationship to the language–the line, word choice, etc.
Here’s another strange practice, but one that appeals to me as a sort of loopy scientist: Read a poem once silently. Close the book, take a pen or pencil and jot down the exact lines in your fake book (or what you think are the exact lines you remember). Even if it’s only an image, jot it down. Do this with every poem you encounter. Five months from now, see what it is you remembered: study it by mood, by words, by sound relationships. This is how your neural self stores immediate acts of language. It is a hand print of your own immediate memory. It will also show you how alliteration, repetition, and strong language are all mimetic devices. Look for a pattern to your memory. You will then have some idea what makes language immediately memorable to you, and you can use this knowledge for your work. Keep this in a note book. Don’t revisit the previous memory jottings until the five months are up. Read a poem a day, and do this. See what your mind misremembered or added to the text. I know a girl who remembered a line by Emily Dickinson: “I like a look of agony because I know it’s true.” She mis-remembered it as: “I like a look of agony because I know its you.” I loved it.
Once, in a kingdom called Catholic grammar school, I was made to memorize “The Raven” and The Song of Hiawatha.” I got up there and lost it. This is what I said (I spell Longfellow’s Indian place name wrongly on purpose):
By the shores of gitchee goomy,
Stood the noble Hiawatha
quoting from the other shore:
Only this and nothing more.
I spliced them, diced them, and mangled them. What I remembered flawlessly was the meter which is trochaic tetrameter. I screwed up. The kids laughed. The nun tried not to laugh, and then did. Later, when we were briefly alone, I said:
“Sister… did Poe steal from Longfellow.? They got the same sound.”
“Joseph, I wish your memory and your work ethic were on par with your perception. Poe did indeed imitate some of the effects of trochaic meter found in Longfellow. Mr. Poe could be somewhat of a thief.”
We remember rhythms and sounds because they are the verbal mold sets for imagery and words. Free verse has irregular molds and so it often relies on the imagery for its effects. Modern, written prose uses mimetic devices sparingly, unless it is trying to sell something. You will know when something is being sold because the sisters of repetition, and alliteration, and rhyme, and short sentences, and chiasmus, and rhetorical oration will come into play:
Buy bonds!
Where’s the beef?
If the glove don’t fit, you must acquit.
Play it again, Sam!
The last line was never actually said in the movie. The whole culture misremembered it. We do not remember words or even language. We remember effect, usually rhythmic effects. This is why jingles, sound bytes, slogans, and commercials are so memorable (and so dangerous). By keeping a record of what you remember immediately, or misremember, you are keeping an “effect diary.” I like that. I think I am going to do it myself!
Many poets obsessed with the page turn against a poem the moment they are too aware of its effects. They do not recognize this as snobbery, as a prejudice. They don’t get on Gerard Manley Hopkins for it because they have been trained to think he is a great poet and would not dare to accuse him of overdoing the alliteration.
I always wanted a t shirt that said, “Rose, thou art sick!” I can’t imagine a more jolting, a more provocative start to a poem. It would be nice to advertise Blake.
So in class, I’d like to have a slogan-bot. A little machine that would spit out catch phrases, received ideas, slogans, and cliches, on a fairly constant basis, in the voice of that English lady in cars that have a GPS device–only with no priority of order. I would turn it on for five minutes every day and just let the students listen. It would seem comic. It would train the mind of a student to associate the sounds of sound bytes with incongruity and to be suspicious. Eventually, the student would be conditioned to have a sound byte detector, and to test language that nut shelled things. He or she would be trained to know the effects of slogans–not necessarily the slogans. That would be better. That would be training the ear. This would both teach cliche, and train the student to use effective sounds, but without simplistic thoughts.
PHOTO CREDIT: See .
