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    kim boykin*

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    isabel briggs myers

    henri nouwen

    fiona robyn

    douglas v. steere

*with exclusive inerview

 
blogging and writers' support groups

[freshmen]

Donald Hall and I have been sending poems back and forth twice a week for forty years. At one time, we had a 48-hour rule: the other had to answer within 48 hours. My generation did a lot with letters. Galway Kinnell and Louis Simpson and Don and I and James Wright would often send five- and six-page typed letters commenting on and arguing with each others' poems. I'm amazed we had the time for that. Tranströmer and I exchanged hundreds of letters. The gist of it is that no one writes alone: One needs a community.

- Robert Bly

 

I will be sad when the National Writing Project’s summer institute ends in two weeks.  Strong – and, I hope, lasting – friendships have developed among the twenty-four teachers who are teaching one another some of their best classroom writing practices.  The institute fosters these friendships by making a once-a-week happy hour part of the curriculum and by having us meet five hours a week in writing support groups.

The project insists on writing support groups because it believes that only good writers make good writing instructors, and it finds that the groups help members write better.  (Good writers may also make bad writing instructors, so most of our time goes to researching, developing and teaching material for classroom writing instruction.)  I had never been part of a writing support group, and the chance to be in one was the selfish and central reason I applied for this fellowship.

Our writing support groups work like this.  We stay in the same groups for the entire institute. Each of us is required to bring current personal writing of any genre to his group. We meet twice a week.  Each time we meet, we look for suitable space around campus – outside if it isn’t too hot.  The first member passes out a copy of her piece to each group member.  She then reads her piece out loud as the rest of us read along.  She may preface her reading with particular things she would like to hear the group address during the discussion.  In the silence following the reading, we all read over the piece.  We maintain silence until everyone has had a chance to absorb the piece to his satisfaction and to write whatever notes he wishes on his copy of the piece. 

The member who wrote the piece then runs the discussion of her piece.  She asks each member to comment in turn.  People may make comments out of turn as the discussion goes on, and that seems to work well.  At the end of the discussion of that piece, the writer collects the copies and the comments the other members have written on them.

Peter Elbow has a chapter on writing support groups in his excellent writing manual Writing with Power.  One of the things he recommends is that the comments stay only positive for the first few meetings.  None of us was in the mood for such niceness, and I’m glad we ignored his advice.  The group shot down one of my poems entirely during our second session (“Diorama,” which I’ve posted here), and I’m glad they did.  They also gave me some strong critical advice that made “Shenandoah Fourth” a better poem than it was.  Very little of the original poem remains in the version I posted.

We have a diverse group.  One of us, about half my age, is a strong poet.  I can tell from her presentation that she is also effective teaching poetry to her students.  Her advice is worth paying for.  The other members of my group are also good writers.  I have found that everyone’s feedback, both positive and negative, is helpful.  Even if a member has no suggestions on occasion, her description of what she experienced when hearing and reading my piece are helpful.

Three of us live close by each other, but the other two live far away in different directions.  I doubt our group will stay together once late August and school come.  The looming end of our group makes me wonder more than ever: is there a way to experience something like a writing support group over the Internet?

Blogs give writers an authentic audience, and authentic audiences help people improve their writing.  “Authentic audience” is big among instructors of writing instructors, and for a good reason.  Most academic writing (think five-paragraph essay) mangles student voice and kills student motivation. I have blogged for over three years. I have used blogs in the classroom, and I hope to use them even more this year.  Kids generally like them.

But I have sometimes wondered in posts here how blogging might do a better job of making better writers. I like comments – indeed, I am a better commenter than I am a poster, I think – but comments are rarely critical, even in that word’s positive sense.  Also, most comments never venture an opinion – a specific opinion – about the way in which the post is written.  This is true even when the post is a poem or “poem-like thing,” as a blogging friend of mine describes it.

Writing groups have it over blogs in a few ways.  One is that written feedback alone tends to be harsher than the same feedback given orally.  No facial expressions, body language, and conversational context are there to make written feedback palatable.  One thing that I’ve learned this summer is that written feedback on student writing without meeting with the student about the writing is ineffective in part because it is perceived as being negative.

Another advantage of writing groups is the experience of reading one’s piece to a live audience.  This makes a piece sound different sometimes than it did in private.

A third advantage of writing groups is the interaction of the same group of listeners around writing by the same writers.  The group dynamics can be quite helpful, and they seem to get better as the meetings accumulate. Agreements and disagreements have force.  Getting to know the source better permits members to consider the source of the feedback.  A sort of healthy and informal accountability begins to emerge.

I have considered shutting down my comment fields and including a link at the bottom of many posts to a Google Docs page where the post in question lies on an operating table.  My link would invite readers to comment on specific parts of the post and make suggestions about how it might be improved.  I would look over the suggestions and republish the post on occasion.  The various drafts would appear on Google Docs and would be a wonderful source of writing instruction for my students.  (One of the many reasons writing teachers should be writers is that they can model bad first drafts and good revision.)

There are at least two problems with asking readers to use Google Docs to suggest improvements to my writing, though.  First, readers could accidentally change the original text without meaning to, leaving the next reader with a different version of the document than the one I had posted.  Second, Google Docs, while much simpler than Microsoft Word, is too complicated for the task I wish for it to perform.  In other words, it is not user friendly enough for comments.

I just joined Wild Poetry Forum (wildpoetryforum.com), an online writing support forum that looks promising.  As you might expect, members post poems on forums.  Other members come by and critique the poems.   There are four forums in which members may post poems, depending on the members’ writing experience and their stomach for criticism.  Based on what little I’ve read on the site, the criticism seems to be thoughtful and constructive.

I don’t think even a great online poetry forum would match the interaction and community focus that a writer would get in a face-to-face writing support group, though.

I do have an idea to keep our group going or to start new groups among interested bloggers: disseminate the pieces to group members by email, and then conference by video camera over the Internet or by telephone.  Members would return the pieces edited in Word or in Google Docs.  Members would commit to write and to not miss conferences.  I would love to try that or something similar to it over the school year.

 

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passages

The slow reads digest. A free, once-in-a-while ezine affording slow passages from here to there.

Enter email address and go.

[flower]

everydayandeverynight.com

There's that story in Talmud about planting a carob tree that will only bear fruit in 70 years, long after the planter is gone. What is the motivation for the planter? Someone now deceased had planted trees for him. He's returning the favor.

Planting this linden required less patience, though certainly some. And just like parenting, there are gratifications at every step in the development. My ten-year old son already hangs off its branches. Our Dog Boaz urinates on it. I lean on it and take photos of it.

[Here's the whole post.]


Shadows and Symbols

We see here a personal connection between God and each of his stars. We see him not just having created them (past tense) but leading and ordering them still (present tense). There is a connection of call and response from him to these great balls of fire in the heavens. And he’s keeping score: he knows where each one is at all times.

This is not the God who can easily be boxed into the many categories and thoughts of humankind. And this is definitely not a boring or mass-marketed Supreme Being. This is the one who demonstrates a fireworks of creativity and artistry.

[Here's the whole post.]

[gravestone]

my gorgeous somewhere

From behind cold tables, men back      out
without words. Beat clean and   purple-black,
they relinquish certain prizes:
panties, condom wrappers
and other residual proofs of   conquest.

[Here's the whole poem.]

[trees]

mole

A student reported that he once said to C.S. Lewis, "the amount of really great poetry is very small." At which Lewis snapped, in some irritation, "The amount that can be read with pleasure and profit is enormous."

I agree. I don't have much patience with the idea of "greatness" in the arts, which I think does more harm than good.

[Here's the whole post.]


Florescence

She wears silk dresses in emerald   and
lapis lazuli spun from the peacock’s   tail.
Sometimes I imagine the threads   tugging,
pulling her back and hold on tight.

[Here's the whole poem.]

[tree]

the cassandra pages

The drive west last week, across Vermont and into New York, was one of the most ethereal and beautiful trips I've ever made over that route. I traveled in silence, in the early morning, alone. The clouds still hung low over the Green Mountains, and a hazy fog persisted in the flatter pastures on the border between the two states south of Lake George - it would burn off later in the morning and expose the extreme heat we've had since. But in those early morning hours, the mountains and farmland were dreamy and quiet and empty as the space in which I was traveling.

[Here's the whole post.]


On the Slow Train

What I had learned was folk etymology--what Wikipedia calls "A commonly held misunderstanding of the origin of a particular word, a false etymology." Folk etymologies are usually more interesting than the actual word origin. Sometimes folk etymologies can unfairly cast a bad light on some perfectly innocent words, such as picnic, or phrases such as rule of thumb. But for the most part, folk etymologies can be a lot of fun.

[Here's the whole post.]

[leaf]

Creature of the Shade

But as soon as I asked it I knew she wouldn't be able to answer. I was looking for something like "north" or "west," but she, despite being a transport management professional, just didn't use such words to organize her sense of a city. She used words like "green building" and "flagpole." She could speak of left and right, but these narrative markers don't help you unless you're already on the right course.

[Here's the whole post.]


not native fruit

I've just begun a new book by Susan Griffin, "Wrestling with the Angel of Democracy." So far, it lives up to Griffin's standards for exquisite reasoning and prose. She leads us through the labyrinth of her own inner experience where it meets the outer world of both history and current events. At certain points of connection with current events I remember feeling exactly what she expresses. I take it that the inference of the book's title is that, just as in the Bible story when Jacob wrestles with the angel of the Lord and will not let him go until the angel blesses him, we must now wrestle with the angel of democracy, and not let him go.

[Here's the whole post.]

[picture]

Everydayandeverynight.com

I'm launching my journal again for 5768/2008.

In this omer journal, I take a Jewish-mythic point-of-view which presumes that I, personally, together with all Jews past, present and future, left Egypt and stood at Mt. Sinai together. This perspective challenges each Jew to join the Jewish experience and not be limited by the actual historical time period in which one lives. This perspective places human imagination at the center of religious engagement.

Our leaving Egypt is only the beginning of our path to liberation. Free from the bonds of Pharaoh, we seek a better, more human life. We begin this journey by the shores of the Nile. We look back in awe at a sea now appearing normal after having miraculously parted. But what now?

[Here's the whole post.]


via negativa

It was my birthday, and I had been given a live shrew in a box — not for a pet, but simply to admire and to photograph. I was a little disappointed at first that I didn’t get any real presents, but the shrew was an admirably fierce little creature who attacked anything thrust in its direction, and I soon appreciated the wisdom of the gesture: loaning me a fully wild creature, something that can never be owned or controlled. The idea that anyone can own anything — it’s such a delusion, isn’t it? But that’s what drives this mania of consumption imperiling the earth.

[Here's the whole post.]

[picture]

Mole

Darling,
The rain you sent was mixed with snow.
I could not tell which between
The snowflakes and the apple blossom
On the black sidewalk; I woke and you were

[Here's the whole poem.]

[Picture]

The Middlewesterner

You see what you see. Don't beat yourself up too badly about it. Tomorrow the sky will be something different, a blue sheerness of petticoat, a shiny muslin, a white gauze.

Metaphor takes you away; it doesn't bring you back. You come back on your own if you get here at all.

[Here's the whole post.]

[Picture]

Lekshe's Mistake

Place
is not substance, not
a point in space,
more a point in time
when the conjunction of mind
and matter create
an experience
that
makes us believe there is a spot
to which we can return.

[Here's the whole poem.]


Marcia Bonta

Dragoo, affectionately referred to as “Skunk Man,” has little or no sense of smell, so as a mephitologist he can easily study and live with skunks. When he wants one for his research, he chases it down, picks it up by its tail, and is liberally sprayed, because, as skunk expert Richard G. Van Gelder discovered back in the 1960s, you can only grab a skunk by the tail and escape being sprayed if you surprise the animal. Otherwise, it is able to evert its anus and expose the nipples from its huge and squishy scent sacs, which are then ready to fire even if you do pick it up by its tail.

[Here's the whole post.]

[child walking]

Dick Jones' Patteran Pages

Your soft clock
scatters seconds like
peas on a drum.

A feather pulse
stutters in your
neck.

[Here's the whole poem.]

[duck photo]

Slow Reader

Aubrey is the guru of the Shelf Monkeys, a secret ‘book club’ to which Thomas gets invited. “Some books are simply a waste of paper, a waste of effort both to write and to read.” The flaming cover of this novel is sufficient clue to the book burnings that ensue, inspired by Fahrenheit 451. Books burnings, by the literate?! Only for books deemed not worthy by the members’ code. “We meet, we debate, we burn. It’s therapy, really.” Things escalate quickly and darkly, Lord of the Flies style, and Thomas is compelled to choose between his loyalties to his friends, literature, ethics, and his sanity.

[Here's the whole post.]


blogroll

Blaugustine
Box Elder
The Cassandra Pages
Crack Skull Bob
Creature of the Shade
Daintee
Dialogues with Silence
Dick Jones's Patteran Pages
Durable Pigments
Empreintes
Everydayandeverynight.com
Feathers of Hope
Florescence
Fragments from Floyd
Frizzy Logic
Heraclitean Fire
Hoarded Ordinaries
In a Dark Time
Irishmutt
Iron Monkey
Ivy Is Here
Lekshe's Mistake
Listening After Dark
Marcia Bonta
Mariachristina
The Middlewesterner
Mole
My Gorgeous Somewhere
9 to 5 Poet
Not Native Fruit
On the Slow Train
Outside the Lines
Paula's House of Toast
Qarrtsiluni
The Rain in My Purse
Sage Said So
Scenes from a Slow-Moving Train
Shadow Cabinet
Shadows and symbols
Simply Wait
Slow Reading
Spoil
Stony Moss
Tasting Rhubarb
3rd House Party
Tumblewords
Two Dishes but to One Table
Under the Fire Star
Velveteen Rabbi
Verbal Privilege
Via Negativa