All tagged musico-poetics

Q&A: Matthew Yeager

Many years ago, I was looking at the first poem I ever published just after it was published. I walked to my kitchen, opened the trashcan, and pushed the journal through the trash all the way in the bottom; there, I thought. Now there's one less chance anybody ever sees that. Then it ended up in Best American Poetry '05.

Q&A: Sasha Fletcher

Visually, I don’t want my poem to look weird. I want it to look totally normal on the page. I want it to appear normal and accessible, so that when weird things start happening people have less of a reason to question things.

Q&A: Wendy Chin-Tanner

If I open my inner ear to a particular frequency and tune in often and carefully enough, I can hear the music of the words. Poems come to me as sound first and foremost. The visual element comes second, possibly even third. As the words come to me, I whisper them aloud. I mutter to myself. I write down those quiet mutterings in a continuous longhand scrawl. I say to myself, don’t judge, don’t judge, don’t judge.

How to Read a Poem Aloud by Donald Dunbar

Now that you’re drunk, read the poem as if you were lecturing the president. Add an arpeggiator. What the fuck does that sound like? Read it as if you don’t know half the words. Deeply, then falsetto. Try to fit the poem into Gucci Mane’s flow. Stop listening to hip-hop if you start thinking too much about earnestness and self-parody, minstrel shows.

Q&A: Ross Robbins

I would be most inclined to compare my poetry to some really self-consciously horny gay indie rock. I don’t intend it to come across that way, but it seems like I talk about my genitals a lot more than most poets.

Language Play by Leah Umansky

What I’m drawn to is not only the beauty of rhythmic language, but the pacing itself. In my own work, I’m always stealing from the work of other writers, from their diaries, from newspapers, and from bits of conversation that I overhear. Most of what I’m stealing relates to sound: rhythm, rhyme, tone and word choice.

Driftsaid by Peter Milne Greiner

My other friend, Andrew, says that the dictionary does not define words, our sensibilities as poets do. Which is sort of why I think it’s important to mispronounce quay and forte because if you don’t, well, confusion will ensue. But what’s wrong with that. Do with meaning what you do with sound. Alter it slightly.

Q&A: Lauren Hunter

I haven’t really had to rail against traditional/popular styles, but as a listener, I certainly rail against it. Your poem will, yes, speak for itself on the page. It should. But if I’m watching you read, you better be speaking for your poems. It’s your job to bring me inside of them. It’s your job to make me care.

Q&A: Lisa Marie Basile

I suppose there is a certain music in my poetry in that it functions as a story, with high points and low, choruses and verses both predictable and organic—and not. I think my ‘style’ allows me to tell a whole tale, and build a world based not only on linguistics but definitive story, like a lot of music does.

Q&A: Julia Clare Tillinghast

I didn’t want to censor myself or be polite, etc. I wanted to resist the WASP-y Midwestern culture I grew up in. This made a louder more long-winded style. I want desperately to communicate with the people who are listening to me read, so I perform, I put feeling into it, I acknowledge the rhythm and meter and music and diction by modulating my voice.