About a week ago, I interned at West Chester University’s 24th Annual Poetry Conference, which ran from June 5th to the 8th. The conference, which began in 1994, focuses on formal modes of poetry (a first for any writing conference). Since 1994 the conference has grown into the nation’s only premier conference dedicated to formal verse. This year brought together about 75 attendees, ranging from well-known poets like Rhina Espaillat and David Yezzi to newcomers like me. Over the years, the conference has developed into a family reunion of sorts as returning poets reconnect each year over panels and workshops. At first, I was very nervous and intimidated by the success and skill of the other participants but my nervousness was soon forgotten; everyone was so kind and welcoming.
As an intern, I had the opportunity to attend the workshops and panels. One panel I particularly enjoyed was called “Poetic Structure and the Shape of Content.” This panel discussed how certain structures can be better suited for certain content as well as the idea that the form can also contribute meaning to a poem. Poems by Shakespeare, Frost and Auden were used as examples. This panel was very interesting and made me look at the ordering of lines and stanzas differently. I also had a lot of fun at a workshop called “Stealing from Other Poets.” In this workshop, we went over the legality of altering or taking lines from already published poems (turns out it is very legal) and we practiced a few exercises on how to create something new out of other people’s poems. From the exercises I learned a couple new forms that lend particularly well to alluding to other poetry. The cento, for example, is made up of complete lines taken from various poems. One of the exercises we did involved making a cento out of the poems we were analyzing. Though it may sound easy to pick and choose lines already written, I found it very difficult to communicate a specific idea with lines already formed. Nevertheless, the workshop was very fun and educational in terms of learning new forms and styles. Another workshop I attended was “Songwriting for Poets,” a three-day workshop. The class covered every aspect of songwriting including time grid, density, rhythm, syllables, tempo, forms, narrative, tone and mood. We looked at songs such as “1952 Vincent Black Lightning,” “The Long Black Veil,” “Pharaoh” and “Moon River” which originally was “I’m Holly.” I have always loved music and poetry and thought this workshop would be a great way to try and combine the two passions. The workshop was far from boring as it involved a lot of singing and testing out lines we wrote.
These workshops were just two of quite a few that ran over the conference days and I wish I was able to attend all of them since each taught something new in terms of form, style and experimentation. As a student, the conference was a fantastic way to meet poets as well as expand my knowledge of formal verse. Though there was only a few students in attendance at this year’s conference, I have high hopes that in future years more students will hear about the conference and recognize the value in attending this outstanding and enjoyable program. I do hope to return to the conference next year and reconnect with some of the remarkable and kind people I had the pleasure of meeting at this past conference.
Wishing you a poem to enjoy,
Maria
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