Wednesday, March 11, 2020

Due Wednesday, March 18th - Close Reading Essay on "Wit" by Margaret Edson


Overview and Directions: Please compose an essay using the prompt and text below. This is a close textural analysis from Margret Edson's Wit. When you finish, please post the essay to Turnitin.com. Also, share one of your body paragraphs in this blog space, so we can see your analysis. I look forward to your responses!

"Just a Comma"

Essay Prompt:  The following dialogue is an excerpt from Wit a play by Margaret Edson, produced in 1999. Read the passage carefully. Then write a well-organized essay in which you analyze how Edson reveals her values about the importance between literary analysis and real life experiences through characterization and other literary devices.

VIVIAN. (Hesitantly) I should have asked more questions, because I knew there was going to be a test. I have cancer. Insidious cancer, with pernicious side effects – No, the treatment has pernicious side effects. I have stage four metastatic ovarian cancer. There is no stage five. And I have to be very tough. It appears to be a matter, as the saying goes...of life and death. I know all about life and death. I am, after all, a professor of seventeenth century poetry...specializing in the Holy Sonnets of John Donne...which explore mortality in greater depth...than any body of work in the English language. And I know for a fact that I am tough. A demanding professor. Uncompromising. Never one to turn from a challenge. That is why I chose to study John Donne...while a student of the great E.M. Ashford. (Professor E.M. Ashford, fifty-two, enters, seated at the same desk as Dr. Kelekian was. The scene is twenty-eight years ago. Vivian suddenly turns twenty-two, eager and intimidated.)

Professor Ashford?

E.M. Do it again.

VIVIAN. (To the audience) It was something of a shock. I had to sit down. (She plops down).

E.M. Please sit down. Your essay on Holy Sonnet VI, Miss Bearing, is a melodrama with a veneer of scholarship unworthy of you...to say nothing of Donne. Do it again.

VIVIAN. I, ah…

E.M. Begin with the text, Miss Bearing, not with a feeling.

“Death be not proud, though some have called thee
Mighty and dreadfull, for thou art not soe.”

You've entirely missed the point of the poem, because you've used an edition of the text that is inauthentically punctuated. In the Gardner edition –

VIVIAN. That edition was checked out of the library –

E.M. Miss Bearing!

VIVIAN. Sorry.

E.M. You take this too lightly, Miss Bearing. This is metaphysical poetry, not the modern novel. The standards of scholarship and critical reading...which one would apply to any other text are simply insufficient. The effort must be total for the results to be meaningful. Do you think that the punctuation of the last line of this sonnet is merely an insignificant detail?

The sonnet begins with a valiant struggle with death calling on all the forces of intellect and drama to vanquish the

enemy. But it is ultimately about overcoming the seemingly insuperable barriers separating life, death and eternal life. In the edition you chose, this profoundly simple meaning is sacrificed to hysterical punctuation.

And Death – capital D – shall be no more - semi-colon! Death – capital D – comma – thou shalt die – exclamation point!

If you go in for this sort of thing I suggest you take up Shakespeare. Gardner's edition of the Holy Sonnets returns to the Westmoreland manuscript source of 1610 – not for sentimental reasons, I assure you, but because Helen Gardner is a scholar. It reads:

And death shall be no more, comma, Death thou shalt die.
(As she recites this line, she makes a little gesture with a comma.)

Nothing but a breath, a comma separates life from life everlasting. Very simple, really. With the original punctuation restored, death is no longer something...to act out on a stage with exclamation marks. It is a comma. A pause.

This way, the uncompromising way...one learns something from the poem, wouldn't you say? Life, death, soul, God...past, present. Not insuperable barriers. Not semicolons. Just a comma.

VIVIAN. Life, death, I see! (standing) It's a metaphysical conceit, it's wit! I'll go back to the library and re-write the paper –

E.M. (Standing, emphatically) It is not wit, Miss Bearing, it is truth. The paper's not the point.

VIVIAN. Isn't it?

E.M. (Tenderly) Vivian, you're a bright young woman. Use your intelligence. Don't go back to the library, go out. Enjoy yourself with friends. Hmmm. (Vivian walks away. E.M. slides off.)

VIVIAN. I, ah, went outside. It was a warm day. There were students on the lawn, talking about, nothing, laughing. The insuperable barrier between one thing and another is…just a comma? Simple human truth. Uncompromising scholarly standards. They're connected. I just couldn't...

I went back to the library.




Monday, March 9, 2020

Due Thursday, February 12th - Introduction Material for "Wit" by Margaret Edson


Cynthia Nixon as Vivian Bearing from Wit by Margaret Edson

Overview: In this unit we will explore the paradoxical presence of complexity and simplicity in our lives.  Cancer is a disease that unfortunalty touches everyone in our society, today.  In her play Wit, Edson explores our need for human kindness.  Today, more than ever, kindness and empathy are values we need to exemplify.

Reading and Study: As a means of introduction, I would like you read, view, and study the following materials.  First, read the background on the play and view the trailer.  Next, read the background and poems by John Donne.  This sonnet is in the play.  Next, read a selection from Beatrix Potter, which again, is in the play.  These two drastically different works balance each other out with simplicity and complexity.  Finally, read the beautifully movie story behind Margaret Edson, who won the highest literary honor the Pulitzer Prize, but decided to continue her life as a Kindergarten teacher in Atlanta.

Written Blog Response: When we completed our introductory study I would like you to compose a 300-500 word blog response covering what you learned about the Margaret Edson, Wit, Holy Sonnet VI and Beatrix Potter. Please include direct evidence from this post. You may also include questions and insights you would like to discuss in class. I look forward to your responses.


About the Play, Wit by Margaret Edson


Wit's main character, Vivian Bearing, is a fifty-year-old renowned literary scholar of John Donne's seventeenth-century metaphysical poetry. The play concerns Bearing's attempts to put her life together as it comes to an end.

By combining concepts of metaphysical poetry and human mortality within the complex mind of a dying scholar, Edson creates an extraordinary character of fortitude and wit. Edson's use of wit, referring to intelligence and wisdom, develops this multilayered work into a play about grace and redemption. An uncompromising look at cancer, the play shows how language has the power both to complicate and to ameliorate understanding. "The play is not about doctors or even cancer. It's about kindness, but it shows arrogance. It's about compassion, but it shows insensitivity," Edson explains. By showing the opposite of kindness, Edson's play effectively leaves the audience "yearning for kindness."  Edson was awarded the Pulitzer Prize for Drama in 1999. 

Edson's teaching career progressed along with the success of her play. Despite her newfound fame as a playwright, she continued teaching elementary school in Washington, D.C.–English as a second language for five years and first grade for one year—until she moved to Atlanta in 1998 and began teaching kindergarten.

Fully dedicated to teaching elementary school in her adopted town of Atlanta, Edson does not intend to write another play. She lives with her partner, Linda Merrill, and their two sons, Timmy and Pete.

Purcell, Kim. "Margaret Edson (b. 1961)." New Georgia Encyclopedia. 04 September 2013. Web. 29 January 2020.



John Donne and his "Holy Sonnet VI"

John Donne's Holy Sonnets are a group of 19 devotional sonnets that take on questions of Christian faith and salvation. Published in 1633 (nearly a decade after Donne's death), the precise order of the sonnets is debated by editors and Donne scholars. As such, the numerical assignment for each poem tends to vary from publication to publication, with scholars working from a number of circulated manuscripts from the period. Because the order of the Holy Sonnets is fundamentally unknown, it is important to approach them largely as individual poems rather than a coherent sequence, despite the fact that scholars have grouped certain sonnets together in a unanimously-acknowledged cohesive progression.


The Holy Sonnets open on a note of resignation as an unnamed speaker announces that he has resigned himself to God in the name of salvation. Anxious about his impending death, the speaker continues to wonder what kind of fate awaits him at the end of his life. Thrilled by the prospect of his soul ascending to heaven, the speaker agonizes over the sins he has committed on earth and begs forgiveness from God, only to express worry over slipping backward again into Satan's grasp.

The speaker continues to wonder whether God will pardon him in the end, and takes solace in the fact that the son of God, Christ, is merciful toward man. But the speaker also begins to contemplate seriously the process of death and the deterioration of his body, ultimately challenging the primacy of the body and refusing to fear death after all. Toggling back and forth between his own voice and the voice of Christ, the speaker imagines what death will feel like, look like, sound like, and be like in the end while also wondering why this type of promised salvation is only available to humanity.

Once the speaker has resigned himself to God, he continues to struggle with the notion of what, exactly, that means. As such, a number of the Holy Sonnets express complex and somewhat shocking relationships between the speaker and God. Asking to be beaten, ravished, and enthralled, the speaker begins to associate the process of religious cleansing with the experience of erotics and violence. The figure of God comes to represent not only the Christian "father" but also the Petrarchan Beloved whom the speaker must flatter and seduce despite his frustrations with how the affair will end.

As Judgment Day continues to approach, the speaker contemplates the relationship between the individual and the collective, imagining that his body is actually its own little world. Concerned with both his own demise and the apocalypse, the speaker continues to wonder what the end of life will look like and how the experience will feel. Noting that a woman he once loved has already died, the speaker becomes dedicated to acquiring God's mercy so that he will be able to join her in heaven. However, as the sonnets come to a close, the speaker is still unsure whether he is practicing the right form of devotion and whether he will be able to continue his pursuit of mercy while living in constant fear of imminent death.

"Holy Sonnet VI"(from the Gardner Ed.)

Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so,
For those, whom thou think'st thou dost overthrow,
Die not, poor death, nor yet canst thou kill me.
From rest and sleep, which but thy pictures be,
Much pleasure, then from thee much more must flow,
And soonest our best men with thee do go,
Rest of their bones, and soul's deliverie.
Thou'rt slave to fate, chance, kings, and desperate men,
And dost with poyson, war, and sickness dwell,
And poppy, or charms can make us sleep as well,
And better than thy stroke; why swell'st thou then?
One short sleep past, we wake eternally,
And death shall be no more, Death thou shalt die.


Beatrix Potter and The Tale of the Flopsy Bunnies

The Tale of The Flopsy Bunnies is a children's book written and illustrated by Beatrix Potter, and first published in July 1909. After two full-length tales about rabbits, Potter had grown weary of the subject and was reluctant to write another. She realized however that children most enjoyed her rabbit stories and pictures, and so reached back to characters and plot elements from The Tale of Peter Rabbit (1902) and The Tale of Benjamin Bunny (1904) to create The Flopsy Bunnies. A semi-formal garden of archways and flowerbeds in Wales at the home of her uncle and aunt became the background for the illustrations.


From The Tale of the Flopsy Bunnies by Beatrix Potter

It is said that the effect of eating too much lettuce is “soporific.”

I have never felt sleepy after eating lettuces; but then I am not a rabbit.

They certainly had a very soporific effect upon the Flopsy Bunnies!

When Benjamin Bunny grew up, he married his Cousin Flopsy. They had a large family, and they were very improvident and cheerful.

I do not remember the separate names of their children; they were generally called the “Flopsy Bunnies.”

As there was not always quite enough to eat,—Benjamin used to borrow cabbages from Flopsy’s brother, Peter Rabbit, who kept a nursery garden.

Sometimes Peter Rabbit had no cabbages to spare.

When this happened, the Flopsy Bunnies went across the field to a rubbish heap, in the ditch outside Mr. McGregor’s garden.

Mr. McGregor’s rubbish heap was a mixture. There were jam pots and paper bags, and mountains of chopped grass from the mowing machine (which always tasted oily), and some rotten vegetable marrows and an old boot or two. One day—oh joy!—There were a quantity of overgrown lettuces, which had “shot” into flower.

The Flopsy Bunnies simply stuffed themselves with lettuces. By degrees, one after another, they were overcome with slumber, and lay down in the mown grass.

Benjamin was not so much overcome as his children. Before going to sleep he was sufficiently wide awake to put a paper bag over his head to keep off the flies.

The little Flopsy Bunnies slept delightfully in the warm sun. From the lawn beyond the garden came the distant clacketty sound of the mowing machine. The blue-bottles buzzed about the wall, and a little old mouse picked over the rubbish among the jam pots.


About the Author, Margaret Edson


A Teacher's 'Wit' and Wisdom
by Nelson Pressley, February 27, 2000

The paradox about Margaret Edson, widely celebrated playwright, is that she is not really a playwright. Edson herself has been saying so ever since she became a celebrated playwright last season, when her drama, "Wit," written nearly nine years ago, finally took the theater world by storm.

"Wit," about a stern college professor's battle with cancer, is still running in New York, where it won an armload of awards, including the 1999 Pulitzer Prize for drama. A production opened in Los Angeles last month, with more to come across the country. HBO is planning a film version. And Judith Light is starring in the national touring company, which opens this week at the Kennedy Center's Eisenhower Theater.

Yet despite all this, Edson, who teaches kindergarten at a public school in Atlanta, maintains that it is impossible for her to think of herself as a dramatist.

"I just wrote this one little play," she explains.

This, then, is a story about arguably the most famous kindergarten teacher in America.

On a cold winter night, Edson, 38, stands erect at the front of a conference room in a downtown Washington hotel, charming a few hundred members of the Association of American Colleges and Universities as she lectures on punctuation. The matching of speaker and topic seems sensible: In "Wit," a good deal of philosophy hangs on whether a key phrase in one of John Donne's Holy Sonnets should have a comma or a semicolon. In advertisements, on programs, even on the published play, the spelling of the title includes the semicolon: "W;t."

On Edson's cue, Rosalind Jones, one of her former professors at Smith College, reads from "Wit" with the playwright. Appropriately, Jones plays E.M. Ashford, a former professor of Vivian Bearing, the drama's main character. Edson plays Vivian, a cold, intimidating Donne scholar who has ovarian cancer. Between bouts of what is often brutal (and impersonal, given Vivian's brusque professional methods) medical treatment, Vivian's mind flashes back to scenes like the one Edson and Jones read.

"And death shall be no more, comma," argues Jones as Ashford to a younger Vivian. "Death thou shalt die."

When her role is done, Jones leaves the stage, but Edson keeps reading her own part; she doesn't want the scene to be interrupted by exit applause. This is a lecture, not a theater. What matters now is the lesson.

The next morning Edson, a Washington native, takes the stage of the arts center at Sidwell Friends, where she went to high school in the late 1970s. She talks about Derek Anson Jones, a close friend since their days at Sidwell.

Four days before this, Edson's triumphant return to her alma mater, Jones--who directed the New York and touring versions of "Wit"--died of complications from AIDS. Edson had planned to share the stage with him this morning. Unhappily, she can't, so she stands before the Sidwell crowd and remembers her times with Jones: the way he stole the show from her as Touchstone when she was playing Rosalind in "As You Like It" at Sidwell; the way he optimistically carried the script of the undiscovered "Wit" in his backpack for years as he was building his directing career in New York.

At the end of these sessions (and at the beginnings), Edson gets long, deeply appreciative ovations. Edson, oddly, stands stock still, impervious to the acclaim; she looks as if she's waiting for a bus. This is not what playwrights do. Playwrights bow or smile or wave or blush. Their instinct for dramatic action demands it.

Edson, on the other hand, merely waits--like a teacher--for the room to get quiet.

She'd Rather Teach

Margaret Edson wrote "this one little play" in Washington almost nine years ago. Nothing about her life up till then pointed to dramatic theatrical success.

She grew up across the street from American University; her father, who died in 1977, wrote for newspapers, and her mother continues her career as a social worker. Julia Louis-Dreyfus, later of "Saturday Night Live" and "Seinfeld," lived next door. The two girls would invent dramas with Barbie dolls or act out fantasies of being college girls.

She dabbled in drama at Sidwell, then went to Smith College, majoring in Renaissance history. Not finding herself particularly employable after graduating, she helped a friend move to Indiana, then settled outside Iowa City (where her sister lived) for a summer, selling hot dogs by day and working at night in a bar at the end of a dirt road. Then she went to Rome to live in a French convent for a year.

After Rome, she returned to Washington, landing a job in the cancer ward of a research hospital. Later she worked in publications at the St. Francis Center (now the Wendt Center for Loss and Healing), cranking out grant proposals.

In the summer of 1991, Edson quit her position at St. Francis and got a low-pressure job working in a bike shop near Tenley Circle. In effect, she was taking the summer off so she could write this one little play that had been taking shape in her mind, triggered in part by what she had seen of cancer treatment.

But she would allow herself only the summer to write. She was enrolled at Georgetown University for the fall, ready to pursue a master's in English. She wasn't setting out to become a writer.

"Oh, no," Edson says, horrified by the idea. "That would have been too dangerous for me."

Why does writing seem more dangerous than--

"Than saying, 'Now I'm going to be a waitress?' I don't know. I haven't thought about it." She pauses. "Because if you're a waitress, you're doing something. You're getting up and getting dressed every day and you're part of the world. And if you're a writer, you're just not good for anything. You're not in the mix when you're a writer. It just wouldn't do for me to be a writer."

What she wrote, that one time that she wrote, was rejected from coast to coast. Finally, in January 1995, South Coast Repertory in Costa Mesa, Calif., produced "Wit." Edson says she was surprised at how unsurprising the experience was: "It happened exactly like it was in my mind, as though I was whispering to each person what to do. So instead of being astonished by it, it was . . . correct. That was the most exciting thing--to have it be exactly as I imagined it, to the tiniest detail, and to have strangers bringing that about. It was so proper, so correct, that it was thrilling. I was delirious. And that hasn't gone away."

But she says the production, which won a number of Los Angeles Drama Critics Awards, did not make her think, "Aha, I'm a playwright."

"Because I was a teacher by then," she says. "By the time it was produced, I was in my fourth year. I was really into it."

While she was completing her master's at Georgetown, Edson had begun teaching English as a second language through her church, St. Margaret's Episcopal on Connecticut Avenue.

"I started liking my tutoring more and more," she recalls, "and feeling less and less comfortable in the academy. So at the end of that year, it was clear to me that I wanted to be in the elementary classroom."

She launches into a topic that genuinely excites her: the alternative certification plan started by the D.C. school system eight years ago. She was in the inaugural group of the program, which allows promising people from other professions to begin teaching without first wading through the certification process, which Edson says takes at least a year (full time) to complete. Instead, they start teaching right away, taking certification classes at the same time.

"In inner-city schools," Edson says, "there's about a 40 percent exit rate in the first three years for teachers. Alternative certification programs have a much higher retention rate because people go into it knowing more about it. They're not 21. We were older and sadder and wiser, and had had some kind of experience in the classroom. So I taught ESL for five years, and I never could have done it without this program. It was really the big break of my life."

Moving On

It was Jones, whose years of study and dues-paying were beginning to yield fruit in and around New York in the mid-1990s, who finally got "Wit" produced on the East Coast. Artistic Director Doug Hughes agreed to let Jones direct it at the Long Wharf Theatre in New Haven, Conn., where it opened in October 1997. The play had been rejected for two years even after its success at South Coast Rep. Edson ticks off the reasons listed in her rejection letters: "cast size, subject, too much talk, too academic, too haughty, too unsure of itself, whether it was funny or sad. . . . Now people are scratching their heads about it. But it was unanimous."

The script was cut by an hour at South Coast by Edson (who hated the cuts at the time), dramaturge Jerry Patch and director Martin Benson. "The effect it has now, especially in Derek's production, is of this very fast-swerving drive," she says. "You're brought very quickly over to laughing and then ripped right back into something harrowing--very shocking, in fact. And it happens so quickly and smoothly in his production that it makes me seem like I really know what I'm doing." She laughs.

There is a thick streak of redemption running through "Wit" (and made abundantly clear in its final image) as Vivian Bearing comes to terms with her tough personality, her illness, her isolation and the implications of Donne's poetry. Edson, a Christian, says it's fair to say that she has written a Christian--though certainly not proselytizing--play, yet it is seldom described that way.

"And that's very interesting to me. To me, it's obvious. Duh."

Edson has said repeatedly--for she is invariably asked--that she will not write again until she feels she has something else to say. "If 'Wit' works, it's 'cause it's the one thing that I had in my heart," she insists. "And I'm not going to go and try to crank that up again."

Of course, the pressure of writing a follow-up to "Wit" would be enough to intimidate even more experienced writers.

"I don't think that's what's keeping her from doing it," says Linda Merrill, Edson's longtime partner, by phone from Atlanta. (Merrill, who wrote a number of scholarly art books while at the Freer Gallery for 13 years, is now curator of American art at Atlanta's High Museum of Art.) "She is very wrapped up in her other life, which is her life as a kindergarten teacher. That occupies so much of her thinking and her energy that she doesn't have a lot left over for anything else. So the rest of this is something that's going on somewhere else."

Edson says, "The job I have now, 'people person' doesn't even begin to describe it. I'm with my students every minute of the day--lunch, everything. So the isolated languor of the writer is just really not part of my world." She laughs again, and you can practically hear the relentlessly inquisitive voices of 5-year-olds buzzing in her ear.

Because she has achieved a degree of fame and fortune--and possibly because of the scholarly tone of her play--it confounds people that Edson continues to teach kindergarten. She got a hero's applause, for instance, from the university crowd when she was introduced as the toast of American theater and a public schoolteacher.

"It's a government job," she says later, rolling her eyes in a neat summation of the drab hassles implied by the phrase. "There's nothing heroic about it."

Still, teaching, given her circumstances, strikes people as a heroic choice.

Edson isn't buying it. "Ms. Rivers in the room next door has made the same choice," she says flatly. "Not out of the same number of options. But all my colleagues are doing the same thing I'm doing. People who know me slightly, or who have maybe read about me or heard about me, find it hard to understand. But to people who know me better, it makes perfect sense. They know the ways that I'm . . . odd."

"She loves to draw, for instance," says Merrill, who has known Edson for 20 years dating back to their days at Smith, "but she's not very good at it. They're funny little pictures, so they're just right for kindergartners. She's an excellent mimic--in fact, she used to take mime classes and she can imitate animals in amazing ways. And that's a skill that you wouldn't think she'd have occasion to use.

"Writing is a lonely profession," Merrill adds, "and it was hard for her to write the play. She likes having the immediate response from her students. And if there's something about it that isn't working, she can change it immediately. Whereas writing a play is a long, drawn-out process, and it's a long time before you know whether you've been effective."

Add to that the fact that Edson--a private school product--appears to be one of public education's evangelicals. To be in a public school is "critical" for her, she says. "Completely. The school where I teach is a Title One, free lunch/free breakfast school. My students are people who would be . . . well-served by good education." Her voice is very soft now; she is deeply serious. "I feel very clear about what I'm doing. I'm perfectly sure of the positive impact of what I'm doing. And I'm the only person I know who can say that. Except for the people down the hall, Ms. Rivers next door."

Yet once upon a time she wrote a play, and it became a very big hit. . . .

Edson comes up with an allegory to explain it.

"A friend of ours, in his garden, decided to build a shed. He'd never built anything, and he just got this idea that he was going to build this shed. And so he got all these books and plans, and he poured a foundation. For somebody who'd never built anything to build such a shed was incredible. He worked for the government, came home from work, and worked on this shed. And this was his . . . shed. And I was working on my play. We had the same spirit: that whatever else happens, I'm makin' my shed.

"So now," Edson concludes, "he has his shed. And I have my play."



Tuesday, March 3, 2020

Tuesday, March 10th - AHS Poetry Night at Cafe Azteca

Overview and Directions:  Please let me know if you will be attending AHS Poetry Night at CafĂ© Azteca in Lawrence on Tuesday, March 10, 2020 at 7:00 PM.  Note:  We will arrive at 6 pm for dinner, and event begins with student poetry readings at 7 pm.  It usually runs until 8:30 pm, and you are welcome to hear poems by members of the Robert Frost Foundation after the student portion of the event.

Let me know if you are coming and if you are reading, or just there to support.  Thank you!


Charlotte Gutterman

Monday, March 2, 2020

Due Monday, March 9th - Your Original Poem & Class Poetry Slam


Overview and Directions:  I would you to compose your own poem.  Please explore different poetic forms, rhyme schemes, use of alliteration, assonance, consonance, and think about scansion and diction.  NOTE:  I want to see your writing process, so drafts are a must.  If you compose your work electronically, please save multiple drafts.  These will count as journal entries, too.  Use that space to explore.  Think about themes or poetic situations.  I will include some writing prompts and a list of forms to help you begin.

Please post your completed poem to Turnitin.com AND on this blog space (share just a stanza, if you like) by Monday, March 9th, Final performances will NOT be mandatory. Extra credit only.

If you are pleased with your work, please consider the three poetry reading experiences I shared in the previous blog post.  I would love to read with you.

Poetry Writing & Performance Rubric 
  • Multiple drafts in your journal
  • Overall quality and completeness of the final writing product
  • Development of theme (i.e. clarity and consistency)
  • Appropriate use of literary devises and poetic form
  • Final Poem posted in Turnitin.com AND in this blog space
  • Performance and reading
  • Conduct during writing workshop/SLAM readings

101 Poetry Prompts & Ideas for Writing Poems
from think written

Most of these creative writing ideas are simple and open-ended. This allows you total creative freedom to write from these poetry prompts in your own unique style, tone, and voice.

If one poetry idea doesn’t appeal to you, challenge yourself to find parallels between the prompt and things that you do enjoy writing about.


1.The Untouchable: Something that will always be out of reach

2. 7 Days, 7 Lines: Write a poem where each line/sentence is about each day of last week

3. Grandma’s Kitchen: Focus on a single memory, or describe what you might imagine the typical grandmother’s kitchen to be like

4. Taste the Rainbow: What does your favorite color taste like?

5. Misfits: How it feels when you don’t belong in a group of others.

6. Stranger Conversations: Start the first line of your poem with a word or phrase from a recent passing conversation between you and someone you don’t know.

7. On the Field: Write from the perspective of a sports ball {Baseball, Soccer, American Football, Lacrosse, etc.} – think about what the sports ball might feel, see, hear, think, and experience with this poetry idea!

8. Street Signs: Take note of the words on signs and street names you pass while driving, walking, or riding the bus. Write a poem starting with one of these words you notice.

9. Cold water: What feelings do you associate with cold water? Maybe it’s a refreshing cold glass of water on a hot day, or maybe you imagine the feelings associated with being plunged into the icy river in the winter.

10. Ghostwriter: Imagine an invisible ghost picks up a pen and starts writing to you.

11. Lessons From Math Class: Write about a math concept, such as “you cannot divide by zero” or never-ending irrational numbers.

12. Instagram Wall: Open up either your own Instagram account or one of a friend/celebrity and write poetry based on the first picture you see.

13. Radio: Tune in to a radio station you don’t normally listen to, and write a poem inspired by the the first song or message you hear.

14. How To: Write a poem on how to do something mundane most people take for granted, such as how to tie your shoes, how to turn on a lamp, how to pour a cup of coffee.

15. Under 25 Words: Challenge yourself to write a poem that is no more than 25 words long.

16. Out of Order: Write about your feelings when there is an out of order sign on a vending machine.

17. Home Planet: Imagine you are from another planet, stuck on earth and longing for home.

18. Uncertainty: Think about a time in your life when you couldn’t make a decision, and write based on this.

19. Complete: Be inspired by a project or task be completed – whether it’s crossing something off the never-ending to-do list, or a project you have worked on for a long time.

20. Compare and Contrast Personality: What are some key differences and similarities between two people you know?

21. Goodbyes: Write about a time in your life you said goodbye to someone – this could be as simple as ending a mundane phone conversation, or harder goodbyes to close friends, family members, or former partners.

22. Imagine Weather Indoors: Perhaps a thunderstorm in the attic? A tornado in the kitchen?

23. Would You Rather? Write about something you don’t want to do, and what you would rather do instead.

24. Sound of Silence: Take some inspiration from the classic Simon & Garfunkel song and describe what silence sounds like.

25. Numbness: What’s it like to feel nothing at all?

26. Fabric Textures: Use different fiber textures, such as wool, silk, and cotton as a poetry writing prompt.

27. Anticipation: Write about the feelings you experience or things you notice while waiting for something.

28. Poison: Describe something toxic and its effects on a person.

29. Circus Performers: Write your poetry inspired by a circus performer – a trapeze artist, the clowns, the ringmaster, the animal trainers, etc.

30. Riding on the Bus: Write a poem based on a time you’ve traveled by bus – whether a school bus, around town, or a long distance trip to visit a certain destination.

31. Time Freeze: Imagine wherever you are right now that the clock stops and all the people in the world are frozen in place. What are they doing?

32. The Spice of Life: Choose a spice from your kitchen cabinet, and relate its flavor to an event that has happened recently in your daily life.

33. Parallel Universe: Imagine you, but in a completely different life based on making a different decision that impacted everything else.

34. Mad Scientist: Create a piece based on a science experiment going terribly, terribly wrong.

35. People You Have Known: Make each line about different people you have met but lost contact with over the years. These could be old friends, passed on family, etc.

36. Last Words: Use the last sentence from the nearest book as the inspiration for the first line of your poem.

37. Fix This: Think about something you own that is broken, and write about possible ways to fix it. Duct tape? A hammer and nails? Use this hammer as inspiration for a poetry prompt idea!

38. Suspicion: Pretend you are a detective and you have to narrow down the suspects.

39. Political News: Many famous poets found inspiration from the current politics in their time. Open up a newspaper or news website, and create inspired by the first news article you find.

40. The Letter D: Make a list of 5 words that start with all with the same letter, and then use these items throughout the lines of your verse. {This can be any letter, but for example sake: Daisy, Dishes, Desk, Darkness, Doubt}

41. Quite the Collection: Go to a museum, or look at museum galleries online. Draw your inspiration from collections of objects and artifacts from your favorite display. Examples: Pre-historic days, Egyptians, Art Galleries, etc.

42. Standing in Line: Think of a time you had to stand in line for something. Maybe you were waiting in a check-out line at the store, or you had to stand in line to enter a concert or event.

43. Junk Mail Prose: Take some inspiration from your latest junk mail. Maybe it’s a grocery store flyer announcing a sale on grapes, or an offer for a credit card.

44. Recipe: Write your poem in the form of a recipe. This can be for something tangible, such as a cake, or it can be a more abstract concept such as love or happiness. List ingredients and directions for mixing and tips for cooking up your concept to perfection.

45. Do you like sweaters? Some people love their coziness, others find them scratchy and too hot. Use your feelings about sweaters in a poem.

46. After Party: What is it like after all party guests go home?

47. Overgrown: Use Little Shop of Horrors for inspiration, or let your imagination run wild on what might happen if a plant or flower came to life or started spreading rapidly to take over the world.

48. Interference: Write a poem that is about someone or something coming in between you and your goals.

49. On Shaky Ground: Use an earthquake reference or metaphor in your poem.

50. Trust Issues: Can you trust someone you have doubted in the past?

51. Locked in a Jar: Imagine you are a tiny person, who has been captured and put into a jar for display or science.

52. Weirder Than Fiction: Think of the most unbelievable moment in your life, and write a poem about the experience.

53. Fast Food: Write a poem about fast food restaurants and experiences. Do you like fast food? Write about a recent fast food experience in a poem – good or bad!

54. Unemployed: Write a poem about quitting or being fired from a job you depended on.

55. Boxes: What kinds of family secrets or stories might be hiding in that untouched box in the attic?

56. No One Understands: Write about what it feels like when no one understands or agrees with your opinion.

57. Criminal Minds: Write a poem from the perspective of a high-profile criminal who is always on the run from law enforcement.

58. Marathon Runner: Write a poem about what training you might be doing to accomplish a difficult challenge in your life.

59. Trapped: Write about an experience that made you feel trapped.

60. Passing the Church: Write a poem about noticing something interesting while passing by a church near your home.

61. Backseat Driver: Write about what it’s like to be doing something in your life and constantly being criticized while trying to move ahead.

62. Luster: Create a descriptive poem about something that has a soft glow or sheen to it.

63. Clipboard: Write a poem about someone who is all business like and set in their ways of following a system.

64. Doctor: Write a poem about receiving advice from a doctor.

65. First Car: Write an ode to your first car

66. Life Didn’t Go As a Planned: Write about a recent or memorable experience when nothing went according to plan.

67. Architect: Imagine you are hired to design a building for a humanitarian cause you are passionate about.

68. The Crazy Cat Hoarder: Write about someone who owns far too many cats.

69. Queen: Write a poem from the perspective of a queen.

70. Movie Character: Think of a recent movie you watched, and create a poem about one character specifically, or an interaction between two characters that was memorable.

71. Potential Energy: Write about an experience where you had a lot of potential for success, but failed.

72. Moonlight: Write about an experience in the moonlight.

73. Perfection: Write about trying to always keep everything perfect.

74. You Are Wrong: Write a poem where you tell someone they are wrong and why.

75. Sarcasm: Write a poem using sarcasm as a form of illustrating your point.

76. Don’t Cry: Write a poem about how not to cry when it’s hard to hold back the tears.

77. Listen Up: Write a poem telling someone they are better than they think they are.

78. Flipside: Find the good in something terrible.

79. Maybe They Had a Reason: Write a poem about someone doing something you don’t understand, and try to explain what reasons they might have had.

80. How to Drive: Write a poem that explains how to drive to a teenager.

81. Up & Down the Steps: Write a poem that includes the motion of going up or down a staircase

82. Basket Case: Has there ever been a time when you thought you might lose your mind? Jot your feelings and thoughts down in verse form.

83. Lucky Guess: Many times in our life we have to make a good guess for what is the best decision. Use this poetry idea to write about feelings related to guessing something right – or wrong.

84. Dear Reader: What audience enjoys reading the type of poetry you like to write? Craft a note to your potential audience that addresses their biggest fears, hopes, and dreams.

85. All or Nothing: Share your thoughts on absolutist thinking: when one’s beliefs are so set in stone there are exceptions.

86. Ladders in the Sky: Imagine there are ladders that take you up to the clouds. What could be up there? What feelings do you have about climbing the ladders, or is their a mystery as to how they got there in the first place?  Where might this ladder to the sky lead? Write about it!

87. Always On My Mind: Compose a poem about what it’s like to always be thinking about someone or something.

88. Paranoia: What would it be like if you felt like someone was watching you but no one believed you?

89. Liar, Liar: How would you react to someone who lied to you?

90. Secret Word: What’s the magic word to unlock someone’s access to something?

91. For What It’s Worth: Use a valuable object in your home as inspiration as a poetry prompt idea.

92. Coming Home to Secrets: Imagine a person who puts on a good act to cover up a secret they deal with at home.

93. Productivity: Talk about your greatest struggles with time management and organization.

94. Defying Gravity: Use words that relate to being weightless and floating.

95. Signs of the Times: How has a place you are familiar with changed over the past 10 years?

96. Sleepless Nights: What ideas and feelings keep you up at night? What’s it like when you have to wake up in the morning on a night you can’t sleep?

97. You Can’t Fire Me, I Quit: Use one of the worst job related memories you can think of as a creative writing prompt.

98. By George: You can choose any name, but think of 3-5 notable figures or celebrities who share a common first name, and combine their personalities and physical characteristics into one piece of poetry. For example: George Washington, George Clooney, George Harrison.

99. Shelter: Write a poem about a time you were thankful for shelter from a storm.

100. Cafeteria: Create a poem inspired by the people who might be eating lunch in a cafeteria at school or at a hospital.

101. Dusty Musical Instruments: Base your poem around the plight of a musician who hasn’t picked up the guitar or touched a piano in years.

There are unlimited possibilities for ways you can use these poem ideas to write poetry. Using a list like this can greatly help you with getting into the habit of writing daily – even when you don’t feel inspired to write. While not every poem you write will be an award-winning masterpiece, using these poem starters as a regular exercise can help you better your craft as a writer.

Wednesday, February 26, 2020

Due Tuesday, March 3rd - Composing & Performing Your Own Poetry


Overview:  It has been many years since I included an assignment such as this into the curriculum.  It is so easy to make English class all abut composing essays and writing blog responses. I did not always like poetry.  Point of fact, I always loved novels, plays, and short fiction the best.  My former boss, Ron Howland, taught a professional development course on poetry that made me fall in love with the genre, and I have been writing and performing ever since.  I actually keep most of my work close to my chest.  I always revisit and edit a collection I titled, i know what happens when you die.  It chronicles my life in three section, the first as a young teacher and newly married, the second as a young father, and the last in middle age thinking about next steps.  Recently, I began work on my next collection based on a concept by Stephen Merrick of The Magnetic Fields (see their website).  They put together an album called 50 Song Memoir, where each song captures a year of his life.  I loved this idea and used it as a catalyst to write new poems.  Further, I developed a definite style over the years, and decided to use this opportunity to explore forms, rhyme, and meter.  I will share my poems with you as we go through this unit (you will find four at the bottom of this post). Also, there are three poetry reading opportunities I would like to share with you, as a goal in your writing experience.

Directions:  Please peruse the following poetry reading opportunities, below.  Let me know if, at this time, you may have an interest in participating.  Next, please read some of my work below.  I share it with you because I am going to ask you to do the same and I feel it is only fair that I do so.  Also, I would like to show you my process and some of the possibilities that are out there for poets.  In this blog space, please share any thoughts and reflections you have about your relationship with poetry, the prospect of writing and reading poems in class, the possibility of performing in front of a live audience, comments on the upcoming events, and comments on the work I shared with you.

I look forward to your responses,

Mr. P.


11th Annual AHS Poetry Night

Here is the flyer written by founder Harry Durso (on the right):  The Robert Frost Foundation, has invited students and teachers from Andover High School to participate in a special 11th Anniversary Poetry Night at CafĂ© Azteca in Lawrence on Tuesday, March 10, 2020 at 7:00 PM. The event will be hosted by former AHS Teacher Harry J. Durso . The AHS Poetry Night is sponsored by LA VENTURE. Video Production is sponsored by Joe Spanos Productions. English Teacher, Eric Pellerin, will coordinate the event for Andover High School.

We are planning on videotaping this event for a later showing on Andover Public Access TV and local cable access stations in Lawrence and Methuen and on You Tube.

This is a Robert Frost Foundation event that is open to the public and is being held at a full service restaurant that is open for business during the poetry reading.

The student’s best behavior is expected.

Café Azteca is located at 180 Common Street in Lawrence and is easy to get to with off street parking nearby. Instructions and a map are also available on their web site. Although the street area outside the restaurant is supervised, you are asked not to leave valuables in your car.

Parents are welcome and encouraged to attend. Please be aware that the content of some of the poetry performed later in the evening may have adult themes.

If you plan on eating at Café Azteca, please arrive around 6:00 PM so as to be finished before the reading begins. You are welcome to make reservations by calling Café Azteca and mentioning that you will be part of the poetry reading.

Café Azteca is open for business and food and beverages are available during the event, but the participants are responsible for their own expenses.

Students are expected to provide their own transportation due to school rules. Students should call their parents when the reading is over as this will be an undetermined time. This is a Robert Frost Foundation public event.

Other poets from the Merrimack Valley will read after the Andover High School portion of the event is over.



El Taller of Lawrence

From the website:  Fueling the pulse of creativity through literacy, community gatherings, conversation and good food.  El Taller offers an Open Mic from 7:30 - 11 pm every third Thursday. I am hoping to take a group on March 19th!  Visit their website here.







MassLeap Youth Poetry Competition

Overview from MassLeap website:  From 2012 to 2018, The Louder Than A Bomb Massachusetts Youth Poetry Slam Festival succeeded in bringing young people together across geographic, racial, cultural and socio-economic lines. LTAB (a city wide poetry slam model founded in Chicago in 2001) is a friendly competition that emphasizes self-expression and community via poetry, oral story-telling, and hip-hop spoken word. Over the course of 7 years, Mass LEAP served over 1,000 teens and educators through this festival, featuring poetry slam competitions, writing & performance workshops, panels, special partnership opportunities and professional development for coach-educators. The festival went on hiatus in 2019. Mass LEAP hosted several community conversations to help re-name, re-brand and re-envision how a youth poetry festival can better serve the unique needs of our communities. Wicked Loud Festiva will work do further de-emphasize the competition by offering more generative workshops, non-competitive open mics, themed panels and opening pathways for young people to reflect on how their writing can lead to stronger communities.  Visit their website, here.




My Work

Overview:  Who's that guy?  Here are four poems in various styles from my collection.  The first was my first published poem.  The second, "white people cant dance" was my feeble attempt at a spoken word poem, written as a challenge from my SLAM Poetry club members. The last two come from the aforementioned 50 Poem Memoir I am currently working on.  I read "Dam" at an event held by The Robert Frost Foundation of Lawrence, where I was born.  "A New Hope" is an extended metaphor about Star Wars using a variation on the Sestina poetic form. I wanted the stanzas to look like little star destroyers.  Enjoy.

“the prayer of the smoker”

by eric pellerin

(from Merrimack Literary Review ed. by Ron Howland & Greg Waters, 2004)



dear god

it is i
a  subhuman
sneaking outside civilization to smoke a butt
the december wind cuts my face
as do the sharp glances of the passers by
passing judgment with their pretty pink lungs ripe
with self righteous indignation
having visited the oracle who told them

you will live forever

wanna smoke with me lord
i heard you hang with the lepers beggars and whores
wanna slum a bit further down the ladder

take one
lets breathe in together

place the camels to our thirsty lips

no filters
no lights
no ultra lights
low tar
no tar
no way
wusses
right god

quiet now

lets bring the matches to our lips

inhale

hold it now

let tobey and nicky work their magic on our iron lungs

hold it now

breathe it all in

ill breathe in the endless piles of paperwork
you breathe in the 100 years war

hold it now

ill breathe in
the computer glitches
the long rows of cubicles
the pimple on my chin
the copy due by five
the coffee four hours cold
the paper cut on my thumb
the pain in my back
the clinking of my car
the kids screaming in my ear
the wifes disapproving glare
the eyes staring back at my reflection before i go to bed wondering where it all went

hold it now

you breathe in
the gift of freewill
the murders
the rapes
the poverty
the racism
the sexism
the ageism
the thisism
the thatism
the billions who died in your name
the planet you created covered with hot top
the blame you receive for all of the above while others walk away clean
the sad sulks like me who take your list for granted and rant about my own

hold it now

together

breathe in oblivion

hold it now

exhale

drop it

stamp it out

hold the door

2004
“white people cant dance”
by eric pellerin
watch em try
            though
they cannot
            hear
music
            they
make rhythm n
            white
blues
            merely repeating
motown sounds
            slave songs
drowned out
            through olive presses
until the juice loses richness
            complexity
through years of sitting in oak barrels
            waiting for a chance to see the light of day
to breathe
            it is crushed
no longer resembling grapes
            pinot or sauvignon
it is only water
            now
there is no way
            to get drunk on manilow
or maroon 5
            they say they move like jagger
they do
            just
without the swagger
            of james brown
they prefer elvis
            impersonating
forgetting
            muddy waters
in a bar saloon
            billie holiday singing
for a fix
            ray charles
before pepsi ads
            without a remix
they cannot dance
            they cannot move
forward
            you have to know
how to look
            back
step
            to hear
they do not know how to
            listen
they press on
            sung by their own
they claim it
            as their own
forgetting the pain
            they caused
to create it
            apply it
to their petty problems
            then
give themselves a grammy
            give it to beatles
to buddy holly and his crickets
            to little taylors swiftly
who look like their daughters
            they are not ready
no i dont think they are ready
            for this jelly
they cant handle
            jazz
unless its norah jones
            blasting from ceiling speakers
at starbucks
            sipping coffee with too much cream
drown out the flavor
            with white liquids
whipped
            americans
dream
            without
brown sugar
            cain
un abel
            to open their eyes
they sip
            they can swallow
nyc
            in the key of alicia keys
they choke
            on jay z
they just like the chorus
            ignore the verse
which describe why nyc
            is the place to be
not just the upper east side
            near sex and the city
among charlottes and samanthas
            what about detroit
chicago
            need to channel gladys
aretha
            ella
or go further
            back
to ghana
            make you sweat
so
            get up
move
            sing it in rounds
move your feet
            whitepeople
into someone else shoes
            let someone else
do the stomping
            trace the steps
created from a world
            that only offered pain
by those who cannot
            hear
the music
            songs about you
songs about

            me

2013
“1973:  dam”
by eric pellerin
they set out to create a city on the mill
upon foundations of imperishable blue stone
laying granite foundation
upon a system of canals
leading to bodwell’s falls

there stood a great stone dam
to generate power
unable to hold back the current
of immigrants who would populate the
tall brick mills of abott lawrence’s vision

they were married in 1970
all blue eyeshadow and brown polyester
walking their first born son in a stroller down common street
past corpus christi parish where they religiously attend service
past tripoli’s bakery where they eat pizza
with sweet sauce and sparse mozzarella
to where the neon lights are bright
on route 28 broadway

they will stop to see the damn falls
praying it will help this colicky child stop crying
the sound of water crashing
unfailing waves falling into foam
juxtaposing a scarlet sun setting behind the crumbling bricks of
his story

her italian grandparents sorted laundry here
stripped to their waists handling steaming hot sheets
she took his name which means pilgrim in france
then off to canada to louisiana settling in lawrence
where the name signifies nothing

ultimately all their descendants will make missiles for raytheon
to point at the only people less fortunate than themselves

i could not sleep
from my stroller
i look at the falls
noticing how the water transforms
sounding like my mother’s womb
knowing my place is swimming in a sea
where i am at peace

they tried to return home by turning me around
where all i can see is smoke and brick
rows of three story houses
with three generations of families in each cell block
                                                                                                             
i cried
i made them turn me around
to look at the falls once more
at that time my voice determined where i go
silently seeing falls fall crash and settle

eventually they will need to take me home                                                                                                      
bring me back to a reality
where i will carry on traditions
i will never fit in anywhere
i will always feel poor
i will never be manly enough
i will always be too sensitive
too much
not enough

i will spend the rest of my life holding back
feelings i never know how to express                                                                                                            
who i am
until someone opens a gate
unleashing a barrage of rage
crashing down with nowhere to fall
nowhere to settle
nowhere to call home
2019
“1977: A New Hope”
by Eric Pellerin
A long time ago, in a country far, far, away,
under the sign of Libra, Apollo gifts a baby boy
to a family in Eastern Mass, who are movin’ on up to a place
called Groveland, with a white picket fence, a private yard, fulfilling their destiny,
of escaping drugs, alleyways, low performing schools, and other assorted dead ends, free
to dream beyond their parents’ prospects; this boy on a swing-set soars, feet pumping toward a sky full of hope.

He doesn’t know it yet, but his only hope
to escape his INFJ mind is born in a country far, far, away
gifted to a family in Romania who wait in line for bread, no free-
dom to learn, think, dream, own property, or practice religion.  The only girl
of this family will watch her father escape to Greece, work in a refugee camp, hoping to fulfill his destiny,
immigrating to America, praying his wife and daughter will find him in Eastern Mass, where freedom is commonplace.

The boy deals with the silence of this place
by arranging his action figures from Star Wars: A New Hope
on the coffee table, while mom watches black and white movies.  His destiny,
at this time, is to become a Jedi Knight, unlike his father, a teacher who is often away, 
working several labor jobs. There is a daughter, now. She shares the princess’s name, and plays with the boy
who often remains alone. It’s winter. Snowing. He longs to run through sprinklers, as summer always helps him feel free.

Raised by her grandmother, she was free
to be herself, to play with dolls, animals, and knew this place
would be her home forever.  But it is gone. She is gone. They told the girl
America would be like Dallas, with horses roaming on pastures made of grain, only to find her hopes
buried under concreate sidewalks, discarded trash, dilapidated buildings.  She thought they came to get away
from this?  Where is this land of opportunity?  Where are the starry nights shining above the green pasture of destiny?

His mother never thought this would be her destiny
moving an hour away from her mother, one would think she felt free
to live the life of her choosing. She does not.  Her mother never visits her. Castaway
from her family to this new town, it may as well be on the other side of the world, some place
like France, Spain, Romania.  Her husband works three jobs and she keeps house. She is lonely, yet remains hope-
ful, watching her stories and old films where people like her have big dreams, beyond being a mother to a girl and a boy.

Her mother never wanted to have this girl
her husband wanted children, and her mother helped her fulfil her destiny
by watching this child while she worked.  She had so many friends.  They were full of hope,
dancing, smoking, sharing a laugh, quietly gossiping of the goings on in Romania – so young. Well, free-
dom feels like a different word in this lonely, new country of opportunity, only to be scorned or with no place
to escape. She is no longer herself, just a wife, mother, servant, with no life. What purpose does she serve, anyway?

For now, anyway, he is just a boy and she is just a girl.
In this place, in time, they will begin to find themselves. Their ultimate destiny,
is to will freely choose one another, to fill in the missing pieces. Yes, their chance meeting will be their only hope.

2019