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Poetry & Poets

Explore the beauty of poetry – discover the poet within

How To Write A Poetry Research Paper

Introduction

Writing a poetry research paper can be an intimidating task for students. Even for experienced writers, the process of writing a research paper on poetry can be daunting. However, there are a few helpful tips and guidelines that can help make the process easier. Writing a research paper on poetry requires the student to have an analytical understanding of the poet or poet’s work and to utilize multiple sources of evidence in order to make a convincing argument. Before starting the research paper, it is important to properly analyze the poem and to understand the form, structure, and language of the poem.

The process of writing a research paper requires numerous steps, beginning with researching the poet and poem. If a poet is unknown, the research process must be started by learning about their biography, other works, and their impact on society. With online databases, libraries, and archives the research process can move quickly. It is important to carefully document sources for later use when creating bibliographies for the paper. Once the process of researching the poem has been completed, the next step is to analyze the poem itself. It is important for the student to read the poem carefully in order to understand the meaning, as well as its tone, imagery, and metaphors. Furthermore, analyzing other poems by the same poet can help students observe patterns, trends, or elements of a poet’s work.

Outlining and Structure

Outlining the research paper is just as important as analyzing the poem itself. Many students make the mistake of not taking enough time to craft a detailed outline that follows the structure of the paper. An effective outline will make process of writing the research paper more efficient, allowing for ease of transitions between sections of the paper. When writing the paper, it is important to think through the structure of the paper and how to make a strong argument. Support for the argument should be based on concrete evidence, such as literary criticism, literary theory, and close readings of the poem. It is essential to have a clear argument that is consistent throughout the body of the paper.

Citing Sources

When writing a research paper it is also important to cite all sources that are used. The style used for citing sources will depend on the style guide indicated by the professor or the school’s guidelines. Whether using MLA, APA, or Chicago style, it is important to adhere to the style guide indicated in order to have a complete and well-written paper.

Once the research and outlining is complete, the process of drafting a poetry research paper can begin. When constructing the first draft, it is especially useful to re-read the poem and to recall evidence that supports the argument made about the poem. Additionally, it is important to proofread and edit the first draft in order to make the argument more clear and to check for any grammar or spelling errors.

Writing a research paper on poetry does not have to be a difficult task. By taking the time to properly research, analyze, and structure the paper, the process of writing a successful poetry research paper becomes easier. Following these steps— researching the poet, understanding the poem itself, outlining the paper, citing sources, and drafting the paper— will ensure a great and thorough paper is prepared.

Using Imagery and Metaphor

The use of imagery and metaphor is an essential element when writing poetry. Imagery can be used to provide vivid descriptions of scenes and characters, while metaphor can be used to create deeper meanings and analogies. Understanding the use of imagery and metaphor can help to break down the poem and discover hidden meanings. Students researching poetry should pay special attentions to the poetic devices used to further the story or allusions to other works, such as classical mythology. Paying close attention to the language, metaphors, and imagery used by the poet can help to uncover the true meaning of the poem. By breaking down the element of the poem and focusing on individual elements, it is much easier to make valid conclusions about the poem and its author.

Understanding Rhyme and Meter

Rhyme and meter are two of the most important and complex elements of poetry. These two poetic techniques are used to help the poet structure their poem to provide rhythm and flow. Most commonly, rhyme and meter help to provide emphasis to certain words or phrases to give them additional meaning. When analyzing poetry, it is important to pay attention to the written rhyme schemes and meter of the poem. There are various patterns of rhyme, such as couplets, tercets, and quatrains. Meter, usually governed by iambs and trochees, can give the poem an added sense of rhythm to further emphasize certain words, phrases, or thoughts.

Exploring Themes

Themes are the central ideas behind a poem. The themes of a poem can be subtle and can be found in the language and images used. Exploring the poem through a thematic analysis can help to identify the true meaning of the poem and the message that the poet is conveying. When researching a poem, it is important to identify the primary theme of the poem and to look for evidence in the poem that can be used to support the claim. By paying attention to the language of a poem, students can uncover the deeper meanings within the poem and can move past the literal interpretation of the poem.

Analyzing Discourse and Context

In addition to the written aspects of a poem, it is important to consider the historical and social context of the poem. The context of the poem can be used to further understand its deeper meanings and implications. Collingwood’s theory of re-enactment can be used to reconstruct the context of a poem in order to gain a deeper understanding of the poem. When researching a poem, it is important to consider the the time period in which the poem was written, the author’s other works, and the broader literary context of the poem. Examining the discourse used by the poet can help to uncover the true message of the poem and the impact on society at the time.

Finding Inspiration

When researching poetry, it is important for the student to find inspiration in the form of other authors, critics, and theorists. Studying the works of other authors can provide valuable insight into a poem and can inform the student’s own interpretations. In addition to studying critics and theorists, the student should also look to other poets and authors as sources of inspiration. The student can explore the works of similar poets or authors to learn how they use their poetic elements in their work. This can help students to gain insight into the language, imagery, and themes present in the poem being researched.

Minnie Walters

Minnie Walters is a passionate writer and lover of poetry. She has a deep knowledge and appreciation for the work of famous poets such as William Wordsworth, Emily Dickinson, Robert Frost, and many more. She hopes you will also fall in love with poetry!

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EH -- Researching Poems: Strategies for Poetry Research

• Find Articles
• Strategies for Poetry Research

Page Overview

This page addresses the research process -- the things that should be done before the actual writing of the paper -- and strategies for engaging in the process.  Although this LibGuide focuses on researching poems or poetry, this particular page is more general in scope and is applicable to most lower-division college research assignments.

Before You Begin

Before beginning any research process, first be absolutely sure you know the requirements of the assignment.  Things such as  

• the date the completed project is due 
• the due dates of any intermediate assignments, like turning in a working bibliography or notes
• the length requirement (minimum word count), if any 
• the minimum number and types (for example, books or articles from scholarly, peer-reviewed journals) of sources required

These formal requirements are as much a part of the assignment as the paper itself.  They form the box into which you must fit your work.  Do not take them lightly.

When possible, it is helpful to subdivide the overall research process into phases, a tactic which

• makes the idea of research less intimidating because you are dealing with sections at a time rather than the whole process
• makes the process easier to manage
• gives a sense of accomplishment as you move from one phase to the next

Characteristics of a Well-written Paper

Although there are many details that must be given attention in writing a research paper, there are three major criteria which must be met.  A well-written paper is

• Unified:  the paper has only one major idea; or, if it seeks to address multiple points, one point is given priority and the others are subordinated to it.
• Coherent: the body of the paper presents its contents in a logical order easy for readers to follow; use of transitional phrases (in addition, because of this, therefore, etc.) between paragraphs and sentences is important.
• Complete:  the paper delivers on everything it promises and does not leave questions in the mind of the reader; everything mentioned in the introduction is discussed somewhere in the paper; the conclusion does not introduce new ideas or anything not already addressed in the paper.

Basic Research Strategy

• How to Research From Pellissippi State Community College Libraries: discusses the principal components of a simple search strategy.
• Basic Research Strategies From Nassau Community College: a start-up guide for college level research that supplements the information in the preceding link. Tabs two, three, and four plus the Web Evaluation tab are the most useful for JSU students. As with any LibGuide originating from another campus, care must be taken to recognize the information which is applicable generally from that which applies solely to the Guide's home campus. .
• Information Literacy Tutorial From Nassau Community College: an elaboration on the material covered in the preceding link (also from NCC) which discusses that material in greater depth. The quizzes and surveys may be ignored.

Things to Keep in Mind

Although a research assignment can be daunting, there are things which can make the process less stressful, more manageable, and yield a better result.  And they are generally applicable across all types and levels of research.

1.  Be aware of the parameters of the assignment: topic selection options, due date, length requirement, source requirements.  These form the box into which you must fit your work.  

2. Treat the assignment as a series of components or stages rather than one undivided whole.

• devise a schedule for each task in the process: topic selection and refinement (background/overview information), source material from books (JaxCat), source material from journals (databases/Discovery), other sources (internet, interviews, non-print materials); the note-taking, drafting, and editing processes.
• stick to your timetable.  Time can be on your side as a researcher, but only if you keep to your schedule and do not delay or put everything off until just before the assignment deadline. 

3.  Leave enough time between your final draft and the submission date of your work that you can do one final proofread after the paper is no longer "fresh" to you.  You may find passages that need additional work because you see that what is on the page and what you meant to write are quite different.  Even better, have a friend or classmate read your final draft before you submit it.  A fresh pair of eyes sometimes has clearer vision. 

4.  If at any point in the process you encounter difficulties, consult a librarian.  Hunters use guides; fishermen use guides.  Explorers use guides.  When you are doing research, you are an explorer in the realm of ideas; your librarian is your guide. 

A Note on Sources

Research requires engagement with various types of sources.

• Primary sources: the thing itself, such as letters, diaries, documents, a painting, a sculpture; in lower-division literary research, usually a play, poem, or short story.
• Secondary sources: information about the primary source, such as books, essays, journal articles, although images and other media also might be included.  Companions, dictionaries, and encyclopedias are secondary sources.
• Tertiary sources: things such as bibliographies, indexes, or electronic databases (minus the full text) which serve as guides to point researchers toward secondary sources.  A full text database would be a combination of a secondary and tertiary source; some books have a bibliography of additional sources in the back.

Accessing sources requires going through various "information portals," each designed to principally support a certain type of content.  Houston Cole Library provides four principal information portals:

• JaxCat online catalog: books, although other items such as journals, newspapers, DVDs, and musical scores also may be searched for.
• Electronic databases: journal articles, newspaper stories, interviews, reviews (and a few books; JaxCat still should be the "go-to" portal for books).  JaxCat indexes records for the complete item: the book, journal, newspaper, CD but has no records for parts of the complete item: the article in the journal, the editorial in the newspaper, the song off the CD.  Databases contain records for these things.
• Discovery Search: mostly journal articles, but also (some) books and (some) random internet pages.  Discovery combines elements of the other three information portals and is especially useful for searches where one is researching a new or obscure topic about which little is likely to be written, or does not know where the desired information may be concentrated.  Discovery is the only portal which permits simul-searching across databases provided by multiple vendors.
• Internet (Bing, Dogpile, DuckDuckGo, Google, etc.): primarily webpages, especially for businesses (.com), government divisions at all levels (.gov), or organizations (.org). as well as pages for primary source-type documents such as lesson plans and public-domain books.  While book content (Google Books) and journal articles (Google Scholar) are accessible, these are not the strengths of the internet and more successful searches for this type of content can be performed through JaxCat and the databases.  

NOTE: There is no predetermined hierarchy among these information portals as regards which one should be used most or gone to first.  These considerations depend on the task at hand and will vary from assignment o assignment.

The link below provides further information on the different source types.

• Research Methods From Truckee Meadows Community College: a guide to basic research. The tab "What Type of Source?" presents an overview of the various types of information sources, identifying the advantages and disadvantages of each.
• << Previous: Find Books
• Last Updated: Nov 8, 2023 1:49 PM
• URL: https://libguides.jsu.edu/litresearchpoems

Thoughts that breathe, and words that burn: poetic inquiry within health professions education

• A Qualitative Space
• Open access
• Published: 01 September 2021
• Volume 10 , pages 257–264, ( 2021 )

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• Megan E. L. Brown   ORCID: orcid.org/0000-0002-9334-0922 1 , 2 ,
• Martina Kelly   ORCID: orcid.org/0000-0002-8763-7092 3 &
• Gabrielle M. Finn   ORCID: orcid.org/0000-0002-0419-694X 1 , 4  

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Qualitative inquiry is increasingly popular in health professions education, and there has been a move to solidify processes of analysis to demystify the practice and increase rigour. Whilst important, being bound too heavily by methodological processes potentially represses the imaginative creativity of qualitative expression and interpretation—traditional cornerstones of the approach. Rigid adherence to analytic steps risks leaving no time or space for moments of ‘wonder’ or emotional responses which facilitate rich engagement. Poetic inquiry, defined as research which uses poetry ‘as, in, [or] for inquiry’, offers ways to encourage creativity and deep engagement with qualitative data within health professions education. Poetic inquiry attends carefully to participant language, can deepen researcher reflexivity, may increase the emotive impact of research, and promotes an efficiency of qualitative expression through the use of ‘razor sharp’ language. This A Qualitative Space paper introduces the approach by outlining how it may be applied to inquiry within health professions education. Approaches to engaging with poetic inquiry are discussed and illustrated using examples from the field’s scholarship. Finally, recommendations for interested researchers on how to engage with poetic inquiry are made, including suggestions as to how to poetize existing qualitative research practices.

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A Qualitative Space highlights research approaches that push readers and scholars deeper into qualitative methods and methodologies. Contributors to A Qualitative Space may: advance new ideas about qualitative methodologies, methods, and/or techniques; debate current and historical trends in qualitative research; craft and share nuanced reflections on how data collection methods should be revised or modified; reflect on the epistemological bases of qualitative research; or argue that some qualitative practices should end. Share your thoughts on Twitter using the hashtag: #aqualspace.

Introduction

“Poetry is thoughts that breathe, and words that burn” Thomas Gray

Poetry is a vehicle for human meaning making. It is part of everyday life which, if you look, you’ll find in advertisements, music, even sports cheers. It is not a modern fascination—indeed, poetry likely predates written text [ 1 ]. Before humans documented their experiences in a written format, poetry was an integral part of communities’ oral cultures, used to pass knowledge, history, and stories between generations [ 2 ]. Poems condense human experience, and when this experience speaks to you in some way, poetry feels meaningful and important [ 3 ]. Given the innate resonance of poetry to the human condition, poems feature within higher education, too. Within health professions education (HPE), poems have been most typically integrated into curricula within medical humanities modules as a way of centering patient narratives, engendering empathy amongst trainees, and facilitating reflective practice [ 4 , 5 , 6 ]. Several medical and medical humanities journals publish authors’ poems as arts contributions, demonstrating an appetite for poetry as a creative outlet in HPE. Yet, despite the pertinence of poetry to human experience, poetry as a form of research has not been a central topic of HPE conversation. In this article we introduce readers to poetic inquiry and its potential to expand qualitative research within HPE. We start by offering a broad definition of poetic inquiry, consider why it is both necessary and well suited to the field, and situate our exploration within phenomenology. We then progress to outline some approaches to engaging with poetic inquiry and illustrate these approaches using examples from HPE scholarship. Finally, we invite interested readers to consider ways in which they could engage with poetic inquiry, or to consider ways in which they could poetize their existing qualitative research practices.

What is poetic inquiry?

Poetic inquiry is an arts-based research methodology which treats poetry as a ‘vital way to express and learn’ by incorporating original poetry into academic research [ 7 , 8 ]. Though there is no consensus definition, ‘the key feature of poetic inquiry is the use of poetry as, in , [or] for inquiry’ [ 9 ], with poetic inquiry employed in diverse ways by researchers to collect data, collect field notes, and represent and reinterpret data [ 7 ]. The approach is gaining traction in many social science disciplines, including sociology, psychology, anthropology, and education [ 10 ]. Reasons for the use of poetic inquiry include preservation of participant voice [ 7 ], to explore the relationship between language and meaning [ 11 , 12 ], to deepen researcher reflexivity [ 13 ], and to increase the emotive impact and accessibility of academic research [ 14 ] as poetic inquiry can help both researchers and audiences engage more deeply with participant accounts [ 15 ]. Additionally, through its attention to language, poetic inquiry is a rigorous approach—it allows ‘thoughts [to] breathe’—whilst also promoting an emotive efficiency of qualitative expression which helps ‘words [to] burn’. Yet, despite the benefits poetic inquiry can offer qualitative research, it has not received the same degree of focus or enthusiasm within HPE.

Why do we need poetic inquiry?

Creative deviation from specific analytic qualitative processes is not the norm within HPE. Though approaches such as phenomenology, which seeks to represent the rich and complex nature of participants’ lived experiences [ 16 ], are becoming increasingly important within HPE, there has been a move to solidify processes of analysis to demystify the practice, and so increase rigor [ 17 ]. Whilst an important consideration, we believe the pendulum of data analysis is in danger of swinging too far—from openness to fixity—and qualitative research is at risk of stagnating. Several scholars have noted that qualitative inquiry often tends towards the descriptive, with deep thought regarding the connections between data, and the meaning of these connections wanting [ 17 , 18 ]. Such deep thought is necessary for approaches which seek to represent the complexity of experiences, such as within interpretative phenomenology [ 19 ]. Others have argued that servile adherence to one’s data through a rigid set of analytic steps leaves no time or space for moments of ‘wonder’, surprise, or the emotional responses of the researcher that facilitate rich engagement and interpretation [ 20 , 21 , 22 ]. Being bound too heavily by methodological processes represses the imaginative creativity of qualitative expression and interpretation that has traditionally been a cornerstone of the approach [ 23 , 24 ]. As we amass increasing levels of knowledge regarding topics such as professional identity formation within HPE, rich, creative qualitative exploration is necessary to advance scholarship in the field and expand understanding regarding the nuances of the process. New ways of scrutinizing old problems may also help further knowledge [ 25 ]. We propose that poetry through the medium of poetic inquiry may offer one way in which to restore creativity and deep engagement with qualitative data to qualitative inquiry within medical education.

Poetic inquiry as part of phenomenological inquiry

As an approach, poetic inquiry is broad and diverse. Scholars have situated their engagement with poetic inquiry within a variety of different qualitative traditions such as phenomenology [ 26 ], participatory action research [ 27 ], ethnography [ 28 ], narrative inquiry [ 29 ] and performative inquiry [ 30 ]. We suggest that, within HPE research, poetic inquiry finds a natural home as part approach of phenomenology.

Indeed, poetry is essential to phenomenological thought [ 31 ]. For Heidegger, thinking is something which only occurs in the company of, or with poetry [ 32 ], Van Manen refers to phenomenology itself as a ‘poetizing project’ [ 26 ], whilst Bachelard used poetry to consider the meaning and impact of physical spaces [ 33 ]. As researchers immerse themselves in the construction of poetry from data, they open themselves to ‘what is said, or more accurately to what is unsaid’ [ 32 ], a necessary condition to unconcealing phenomena which, for interpretative phenomenologists like Heidegger, is synonymous with truth [ 34 , 35 ]. As Galvin and Todres surmise, ‘poetic language emphasizes ‘wholeness’, in that, through rhythm, repetition, and imagery, a wholeness is pointed to that is more than what is there’ [ 36 ]. In this way, poetic inquiry facilitates an openness to ‘the otherness of language’ [ 32 ], and acts as a way of thinking about one’s data in a way that engenders moments of wonder, and stimulates deep, analytical thought. Whilst at the heart of phenomenology is a commitment to represent experience ‘well’, all too often this is taken by medical educationalists as a mandate to retell events as they are reported by participants, instead of utilizing phenomenological inquiry to open a  space of understanding . Phenomenological accounts are not always factual—they can, and often do, draw upon fictional accounts to create ‘anecdotes of experience’, which convey meaning that is hard to communicate using a language of facts [ 37 ]. Creating poems as part of phenomenological inquiry can be seen as a way of creating these ‘anecdotes of experience’. For Van Manen, the key requirement of an ‘anecdote of experience’ is that the experiential account—in the case of poetic inquiry, the poem—is plausible in its truth-value [ 37 ]. Good phenomenological writing means that the reader recognizes the plausibility of the experience, even if they have never personally experienced that moment or kind of event. This is referred to by Van Manen as ‘the phenomenological nod’, where the reader of an account nods in agreement as they read about the lived experience of others [ 38 ].

Poetic inquiry may also help combat the oversimplification of findings within phenomenological research, which Sass comments is a key danger of phenomenological study [ 39 ]. Phenomenologists must constantly strive against reductionist portrayal of their findings—as Kelly et al. posit ‘phenomenology seeks to represent human experience in all its complexity, rather than seeking to reduce, parse or operationalize it’ [ 40 ]; this can cause issues when scholars are faced with journal-mandated word counts for their qualitative research. Portraying one’s data as poetry is an efficient way of displaying results within a qualitative paper’s results section, without (if done carefully, as we will discuss below) succumbing to reductionism. The necessity of ‘razor sharp’ language in short poems can powerfully capture the human experience in fewer words than with traditional qualitative quote display [ 41 ]. As Tse suggests, poetic inquiry ‘works with rather than against the complexities of experience, which researchers are always mining for understanding that is not easily extrapolated’[ 42 ]; simply put, poetic inquiry efficiently communicates a study’s findings whilst conserving their complexity. Poetic inquiry may, therefore, go some way to countering the temptation of reductionism in regard to phenomenological research.

Given the alignment of poetic inquiry to hermeneutic (interpretative [ 43 ]) phenomenological traditions, and its potential to counteract some of the issues phenomenological researchers may encounter, poetic inquiry has been used within phenomenological inquiry within other branches of the academe [ 13 , 26 ]. Within HPE, poetic inquiry is similarly suited to use within a phenomenological approach.

Types of poetic inquiry

One can engage in poetic inquiry in many ways. Van Luyn et al. draw distinctions between participant-voiced poetry, autobiographical poetry, and research poetry [ 44 ]. These approaches to poetic inquiry are summarized in Tab.  1 . In sum, participant-voiced poetry (sometimes referred to as ‘vox participare [ 10 ]’, ‘found poetry’ [ 11 ] or ‘data poetry’[ 45 ]) is the practice of creating a poem ‘solely from primary sources’ such as interview transcripts or written reflections [ 46 ]. The researcher shapes a participant’s words, ‘re-present[ing]’ them in poetic form [ 47 ]. Autobiographical poetry (sometimes referred to as auto-ethnographic poetry [ 45 ], or ‘vox autobiographica [ 10 ]’) is what one might expect—the construction of autobiographical poems that explore the experience of the researcher, ‘in order to gain insight into a particular research process’ [ 44 , 48 ]. Research poetry (or ‘vox theoria [ 10 ]’), is sometimes classed as a subtype of autobiographical poetry. However, Van Luyn et al. class research poems as a distinct entity, drawing attention to the fact that they are literature-voiced poems, written specifically in response to literature or theory in a field [ 44 ]. Whilst they are created by a researcher, they are ‘not a direct expression of the researcher’s personal experience’ [ 44 ].

How to ‘do’ poetic inquiry

Van Luyn et al.’s review suggests that participant-voiced poetry is the most common form of poetic inquiry [ 44 ]. There can be significant variation within this approach. Whilst we aim to cast some light on possible ways of engaging in participant-voiced poetic inquiry, the approaches we outline are by no means comprehensive or singular and are not intended to act as a prescriptive ‘how-to guide’. We outline two approaches to participant-voiced poetry: 1) Glesne’s method of poetic transcription and 2) Gilligan et al.’s listening guide, drawing on examples from HPE to illustrate their use.

Glesne’s method of poetic transcription

We suggest Glesne’s popular approach to poetic transcription [ 49 ] may act as a springboard for HPE researchers interested in poetic inquiry, by making clear the process of abiding by clear inquiry principles. The first principle Glesne sets is that only the participant’s words may be used within her participant-voiced poems [ 49 ]. Additionally, the syntax (the grammatical structure of words and phrases within a sentence—in essence, the ordering of words) of a participant’s way of speaking should be persevered in the poems that are written. For example, though the phrases ‘the cat ran quickly’, ‘the cat quickly ran’, and ‘quickly, the cat ran’ technically convey the same meaning, their syntax differs, which emphasizes different words within the phrases and alters the voice of the sentence. Though Glesne allowed herself to ‘pull … phrases from anywhere in the transcript and juxtapose them’, they paid attention to the participant’s ‘speaking rhythm … [their] way of saying things’ and echoed this in their poems [ 49 ].

Practically speaking, Glesne’s process first involves coding and sorting, similarly to the start of many qualitative research analyses. Major themes are then generated to group clusters of codes. It is after this point that poetic writing starts—all data under one theme is re-read, and the researcher reflects on the meaning and connections within the theme. Participant words within these data are used to portray meanings and connections. As researchers begin to write, it may become apparent that themes require some re-ordering. As poems are crafted, connections between data may become apparent that previously were hidden. As such, codes may shift categories or require refinement to attend to these new connections. Finally, researchers edit the participant-voiced poems, ensuring they speak to the meaning and complexity of the data.

We offer an example from our own research to demonstrate how transcript data can become a poem. Drawing inspiration from Glesne’s principles of poetic transcription, we used only the participant’s own words, and words from within one transcript, to construct participant-voiced poems for newly qualified doctors who had recently crossed the threshold into clinical practice [ 50 ]. As Glesne recommends, we were attentive to participant syntax—during our re-readings we made detailed notes in the margins of each transcript concerning participant tone, emphasis, use of pauses, rhythm and syntax. We also reviewed each transcript for repeating words, phrases, and expressions. An example of our process is depicted within the Table S1 of the Electronic Supplementary Material, where one participant-voiced poem (‘Friends are everything’) is displayed alongside the section of original transcript from which it is drawn. Words and phrases utilized in the poem are underlined.

Gilligan et al.’s ‘Listening Guide’ method

Gilligan et al. developed the ‘Listening Guide’ method in 2003 as a way of paying particular focus to how participants talk about themselves (using their first person ‘voices’)[ 51 ]. This method involves creation of a type of participant-voiced poetry, which helps researchers consider participant identities and subjectivities [ 52 ]. The method encourages researchers to pay close attention to participant use of the personal pronoun ‘I’ and recommends the creation of ‘I-poems’ in the second phase of the listening method [ 52 ]. The steps of the listening guide method are detailed in Tab.  2 . Typically, I‑poems are utilized only in the data analysis phase of the listening guide method [ 52 ], though some authors have used them to display results [ 53 ]. For examples of I‑poems, we recommend interested authors review the following references [ 51 , 52 , 53 , 54 , 55 ].

It is important to clarify that participant-voiced poetic inquiry is, by nature, an inductive approach to data analysis. If researchers wish to use educational theory to inform their analysis of participant-voiced poems, we suggest they do so in a way which aligns with what Varpio et al. term a ‘subjectivist inductive’ orientation to theory and research, where researchers work ‘from data up to abstract conceptualizations’ [ 56 ]. One subjectivist inductive approach to theory, which Varpio et al. term ‘theory-informing inductive data analysis’ may be of particular use to authors interested in applying theory to the process of poetic inquiry. In this approach, researchers move from data to theory, starting out with the intent to ‘understand or explain a … phenomenon’, and later using theory as ‘an interpretative tool’ to make sense of created participant-voiced poems [ 56 ]. In their study of the experience of women who identify as lesbian, gay, or queer, Lambert uses Butler’s theory of passionate attachments to analyze a poem created from participant interview text, employing theory in such a ‘theory-informing inductive data analysis’ approach [ 57 ].

Though we have outlined two specific approaches to poetic inquiry, we encourage researchers to read widely, and to adapt the method of poetic inquiry they select to suit their context and study, if appropriate. Transparency of one’s methodological approach is key, and adaptors must ensure they adequately detail their process, and justify the steps they have taken. There is an ethical domain to participant-voiced poetry, and it is important that researchers define and hold themselves to a set of principles throughout the process of inquiry [ 58 ].

Poetizing HPE qualitative research

We envision that increasing participant-voiced poetry use within HPE research could add depth to research questions which concern how participants speak about, and perceive, themselves, others, and their experiences. Through inviting researchers to engage deeply with participant accounts, poetic inquiry within HPE is not just a tool, but a  way of being that gives rise to the space for wonder, surprise, emotions and creative expression and interpretation.

Though the benefits of poetry may appeal, researchers may not wish, or have capacity to, dive head-first into the unknown waters of poetic inquiry. If this is the case, there are several ways in which one can engage in ‘methodological borrowing’ [ 59 ] to poetize more traditional qualitative research projects and develop as a poet gradually over time [ 60 ]. Reflexive and analytic journaling is common within qualitative research. Researchers could expand this practice to include poetic journaling, an approach where researchers begin to think poetically about their findings. No two poetic journals will look the same. Researchers may wish to read poetry, taking notes on impactful lines and phrases which make them think. Researchers may also begin to write poems about their data and position as a researcher, experimenting with participant phrases, their own thoughts, and poetic conventions like rhyme and form. Keeping a poetic journal may also help capture what the sociologist Mills terms ‘fringe thoughts’—ideas which are by-products of everyday life, and which we usually dismiss as ‘mental noise’ but can hold intellectual value relevant to data analysis and theorization, as they prompt us to think differently about our research [ 61 ]. Excerpts from poetic journals could also be included within research manuscripts to demonstrate the process of reflexive engagement researchers have undertaken throughout a project. Using Gilligan’s listening guide as part of one’s analysis, but not results representation, may help researchers begin to think poetically about their data, and develop their poetic ear, without fear of their poetic output being subject to wide scrutiny.

Considerations of quality

There is debate within the poetic inquiry community as to what qualifies one to use poetic inquiry, with some concluding that, to engage in poetic inquiry, one should be a published or formally trained poet in their own right [ 58 ]. Respectfully, we disagree. Though proponents may claim their views are to protect the reputation of poetry, and ensure quality inquiry, such views position poetry as an elitist pursuit which prevents the engagement of novice, but keen, would-be poetic researchers. Given the benefits of poetic inquiry, we join with Lahman and Richard in advocating for ‘good enough’ research poetry [ 62 ]. ‘Good enough’ poetry is the space between the belief that ‘any person may write poetry’ (we recognize you need a grounding in poetic inquiry, and an appreciation of the approach), and ‘the scholarly belied that in-depth training is needed’ [ 62 ].

This debate may leave you feeling uneasy. As health professions educators, we enjoy practical guidance. If you are wondering how you will know whether your poems are ‘good enough’, we suggest you turn to Sullivan’s 2009 architectural dimensions of a poem [ 63 ] for reassurance, which Pate has synthesized into a quality checklist [ 26 ] (summarized in Table S2 of the Electronic Supplementary Material). As previously, these are not the only markers of poetic quality, nor do we believe they should be used prescriptively. Sullivan’s dimensions interplay and exist as a complex web or nexus that influence the impact and resonance of a poem. We advise that where researchers wish to use this checklist, they frame it as a broad guide or reflexive tool to consider the steps taken within their own research projects carefully and critically. Additionally, as researchers open up the possibilities of the method, it may be beneficial to learn more about typical poetic conventions such as form, meter and rhyme to advance your craft—but this is no means a prerequisite, at least in our eyes, to the ability to produce ‘good enough’ participant-voiced poetry.

Concluding thoughts

Though qualitative research is increasingly valued, barriers still exist to the progression of qualitative research within HPE. Discussions of the quality of qualitative research have centered methodological rigor, an important concern, but one that has dominated conversation. The threat to qualitative creativity has been much less frequently discussed within HPE. Poetic inquiry has not been a central topic of conversation yet holds the potential to encourage researchers to think deeply and creatively about their findings. Poems emphasize language and may cast new light on areas of HPE where thinking has become narrowed. Poetic inquiry can foster increased researcher attention to reflexivity in a creative and contemplative way. Crucially, poetic inquiry can preserve participant voice within research reports, and may offer one way to represent experience more faithfully. Poetic inquiry has much to offer HPE, and we encourage researchers to take up the poetic mantle to diversify research within the field and cultivate creativity. For, to return to the words of the poet Thomas Grey, who would not wish their thoughts to breathe, and words to burn?

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Acknowledgements

The authors would like to thank Professor Tim Dornan for his encouragement, and for suggesting they connect over their mutual love for poetry and phenomenology.

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Megan E. L. Brown & Gabrielle M. Finn

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Department of Family Medicine, Cumming School of Medicine, University of Calgary, Alberta, Canada

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Supplementary Information

40037_2021_682_moesm1_esm.docx.

Supplementary table 1: Construction of a participant-voiced poem in our own research using Glesne’s method of poetic transcription. Supplementary table 2: Sullivan’s architectural dimensions of a poem, as synthesised into a quality checklist by Pate

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Brown, M.E.L., Kelly, M. & Finn, G.M. Thoughts that breathe, and words that burn: poetic inquiry within health professions education. Perspect Med Educ 10 , 257–264 (2021). https://doi.org/10.1007/s40037-021-00682-9

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A Full Guide to Writing a Perfect Poem Analysis Essay

01 October, 2020

14 minutes read

Author:  Elizabeth Brown

Poem analysis is one of the most complicated essay types. It requires the utmost creativity and dedication. Even those who regularly attend a literary class and have enough experience in poem analysis essay elaboration may face considerable difficulties while dealing with the particular poem. The given article aims to provide the detailed guidelines on how to write a poem analysis, elucidate the main principles of writing the essay of the given type, and share with you the handy tips that will help you get the highest score for your poetry analysis. In addition to developing analysis skills, you would be able to take advantage of the poetry analysis essay example to base your poetry analysis essay on, as well as learn how to find a way out in case you have no motivation and your creative assignment must be presented on time.

What Is a Poetry Analysis Essay?

A poetry analysis essay is a type of creative write-up that implies reviewing a poem from different perspectives by dealing with its structural, artistic, and functional pieces. Since the poetry expresses very complicated feelings that may have different meanings depending on the backgrounds of both author and reader, it would not be enough just to focus on the text of the poem you are going to analyze. Poetry has a lot more complex structure and cannot be considered without its special rhythm, images, as well as implied and obvious sense.

While analyzing the poem, the students need to do in-depth research as to its content, taking into account the effect the poetry has or may have on the readers.

Preparing for the Poetry Analysis Writing

The process of preparation for the poem analysis essay writing is almost as important as writing itself. Without completing these stages, you may be at risk of failing your creative assignment. Learn them carefully to remember once and for good.

Thoroughly read the poem several times

The rereading of the poem assigned for analysis will help to catch its concepts and ideas. You will have a possibility to define the rhythm of the poem, its type, and list the techniques applied by the author.

While identifying the type of the poem, you need to define whether you are dealing with:

• Lyric poem – the one that elucidates feelings, experiences, and the emotional state of the author. It is usually short and doesn’t contain any narration;
• Limerick – consists of 5 lines, the first, second, and fifth of which rhyme with one another;
• Sonnet – a poem consisting of 14 lines characterized by an iambic pentameter. William Shakespeare wrote sonnets which have made him famous;
• Ode – 10-line poem aimed at praising someone or something;
• Haiku – a short 3-line poem originated from Japan. It reflects the deep sense hidden behind the ordinary phenomena and events of the physical world;
• Free-verse – poetry with no rhyme.

The type of the poem usually affects its structure and content, so it is important to be aware of all the recognized kinds to set a proper beginning to your poetry analysis.

Find out more about the poem background

Find as much information as possible about the author of the poem, the cultural background of the period it was written in, preludes to its creation, etc. All these data will help you get a better understanding of the poem’s sense and explain much to you in terms of the concepts the poem contains.

Define a subject matter of the poem

This is one of the most challenging tasks since as a rule, the subject matter of the poem isn’t clearly stated by the poets. They don’t want the readers to know immediately what their piece of writing is about and suggest everyone find something different between the lines.

What is the subject matter? In a nutshell, it is the main idea of the poem. Usually, a poem may have a couple of subjects, that is why it is important to list each of them.

In order to correctly identify the goals of a definite poem, you would need to dive into the in-depth research.

Check the historical background of the poetry. The author might have been inspired to write a poem based on some events that occurred in those times or people he met. The lines you analyze may be generated by his reaction to some epoch events. All this information can be easily found online.

Choose poem theories you will support

In the variety of ideas the poem may convey, it is important to stick to only several most important messages you think the author wanted to share with the readers. Each of the listed ideas must be supported by the corresponding evidence as proof of your opinion.

The poetry analysis essay format allows elaborating on several theses that have the most value and weight. Try to build your writing not only on the pure facts that are obvious from the context but also your emotions and feelings the analyzed lines provoke in you.

How to Choose a Poem to Analyze?

If you are free to choose the piece of writing you will base your poem analysis essay on, it is better to select the one you are already familiar with. This may be your favorite poem or one that you have read and analyzed before. In case you face difficulties choosing the subject area of a particular poem, then the best way will be to focus on the idea you feel most confident about. In such a way, you would be able to elaborate on the topic and describe it more precisely.

Now, when you are familiar with the notion of the poetry analysis essay, it’s high time to proceed to poem analysis essay outline. Follow the steps mentioned below to ensure a brilliant structure to your creative assignment.

Best Poem Analysis Essay Topics

• Mother To Son Poem Analysis
• We Real Cool Poem Analysis
• Invictus Poem Analysis
• Richard Cory Poem Analysis
• Ozymandias Poem Analysis
• Barbie Doll Poem Analysis
• Caged Bird Poem Analysis
• Ulysses Poem Analysis
• Dover Beach Poem Analysis
• Annabelle Lee Poem Analysis
• Daddy Poem Analysis
• The Raven Poem Analysis
• The Second Coming Poem Analysis
• Still I Rise Poem Analysis
• If Poem Analysis
• Fire And Ice Poem Analysis
• My Papa’S Waltz Poem Analysis
• Harlem Poem Analysis
• Kubla Khan Poem Analysis
• I Too Poem Analysis
• The Juggler Poem Analysis
• The Fish Poem Analysis
• Jabberwocky Poem Analysis
• Charge Of The Light Brigade Poem Analysis
• The Road Not Taken Poem Analysis
• Landscape With The Fall Of Icarus Poem Analysis
• The History Teacher Poem Analysis
• One Art Poem Analysis
• The Wanderer Poem Analysis
• We Wear The Mask Poem Analysis
• There Will Come Soft Rains Poem Analysis
• Digging Poem Analysis
• The Highwayman Poem Analysis
• The Tyger Poem Analysis
• London Poem Analysis
• Sympathy Poem Analysis
• I Am Joaquin Poem Analysis
• This Is Just To Say Poem Analysis
• Sex Without Love Poem Analysis
• Strange Fruit Poem Analysis
• Dulce Et Decorum Est Poem Analysis
• Emily Dickinson Poem Analysis
• The Flea Poem Analysis
• The Lamb Poem Analysis
• Do Not Go Gentle Into That Good Night Poem Analysis
• My Last Duchess Poetry Analysis

Poem Analysis Essay Outline

As has already been stated, a poetry analysis essay is considered one of the most challenging tasks for the students. Despite the difficulties you may face while dealing with it, the structure of the given type of essay is quite simple. It consists of the introduction, body paragraphs, and the conclusion. In order to get a better understanding of the poem analysis essay structure, check the brief guidelines below.

Introduction

This will be the first section of your essay. The main purpose of the introductory paragraph is to give a reader an idea of what the essay is about and what theses it conveys. The introduction should start with the title of the essay and end with the thesis statement.

The main goal of the introduction is to make readers feel intrigued about the whole concept of the essay and serve as a hook to grab their attention. Include some interesting information about the author, the historical background of the poem, some poem trivia, etc. There is no need to make the introduction too extensive. On the contrary, it should be brief and logical.

Body Paragraphs

The body section should form the main part of poetry analysis. Make sure you have determined a clear focus for your analysis and are ready to elaborate on the main message and meaning of the poem. Mention the tone of the poetry, its speaker, try to describe the recipient of the poem’s idea. Don’t forget to identify the poetic devices and language the author uses to reach the main goals. Describe the imagery and symbolism of the poem, its sound and rhythm.

Try not to stick to too many ideas in your body section, since it may make your essay difficult to understand and too chaotic to perceive. Generalization, however, is also not welcomed. Try to be specific in the description of your perspective.

Make sure the transitions between your paragraphs are smooth and logical to make your essay flow coherent and easy to catch.

In a nutshell, the essay conclusion is a paraphrased thesis statement. Mention it again but in different words to remind the readers of the main purpose of your essay. Sum up the key claims and stress the most important information. The conclusion cannot contain any new ideas and should be used to create a strong impact on the reader. This is your last chance to share your opinion with the audience and convince them your essay is worth readers’ attention.

Problems with writing Your Poem Analysis Essay? Try our Essay Writer Service!

Poem Analysis Essay Examples 

A good poem analysis essay example may serve as a real magic wand to your creative assignment. You may take a look at the structure the other essay authors have used, follow their tone, and get a great share of inspiration and motivation.

Check several poetry analysis essay examples that may be of great assistance:

• https://study.com/academy/lesson/poetry-analysis-essay-example-for-english-literature.html
• https://www.slideshare.net/mariefincher/poetry-analysis-essay

Writing Tips for a Poetry Analysis Essay

If you read carefully all the instructions on how to write a poetry analysis essay provided above, you have probably realized that this is not the easiest assignment on Earth. However, you cannot fail and should try your best to present a brilliant essay to get the highest score. To make your life even easier, check these handy tips on how to analysis poetry with a few little steps.

• In case you have a chance to choose a poem for analysis by yourself, try to focus on one you are familiar with, you are interested in, or your favorite one. The writing process will be smooth and easy in case you are working on the task you truly enjoy.
• Before you proceed to the analysis itself, read the poem out loud to your colleague or just to yourself. It will help you find out some hidden details and senses that may result in new ideas.
• Always check the meaning of words you don’t know. Poetry is quite a tricky phenomenon where a single word or phrase can completely change the meaning of the whole piece. 
• Bother to double check if the conclusion of your essay is based on a single idea and is logically linked to the main body. Such an approach will demonstrate your certain focus and clearly elucidate your views. 
• Read between the lines. Poetry is about senses and emotions – it rarely contains one clearly stated subject matter. Describe the hidden meanings and mention the feelings this has provoked in you. Try to elaborate a full picture that would be based on what is said and what is meant.

Write a Poetry Analysis Essay with HandmadeWriting

You may have hundreds of reasons why you can’t write a brilliant poem analysis essay. In addition to the fact that it is one of the most complicated creative assignments, you can have some personal issues. It can be anything from lots of homework, a part-time job, personal problems, lack of time, or just the absence of motivation. In any case, your main task is not to let all these factors influence your reputation and grades. A perfect way out may be asking the real pros of essay writing for professional help.

There are a lot of benefits why you should refer to the professional writing agencies in case you are not in the mood for elaborating your poetry analysis essay. We will only state the most important ones:

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• You will get an absolutely unique plagiarism-free piece of writing that deserves the highest score.
• All the authors are extremely creative, talented, and simply in love with poetry. Just tell them what poetry you would like to build your analysis on and enjoy a smooth essay with the logical structure and amazing content.
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As you see, there are a lot of advantages to ordering your poetry analysis essay from HandmadeWriting . Having such a perfect essay example now will contribute to your inspiration and professional growth in future.

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Langston Hughes and the Harlem Renaissance Research Paper

Introduction, works cited.

Peter Stuyvesant set up the Harlem village in 1658. The man who was a governor in the Dutch republic named the new establishment after a popular Dutch city known as Nieuw Harlem. The new village took almost 6 miles of Manhattan 96 th Street.

In the first two centuries following its establishment, famous New York residents who had big tracts of land in the area took residence in the establishment. Towards the middle of the 19 th century, the wealthy farmers abandoned the farms since they had lost their productivity. This opened the door for downtown New Yorkers to reside in the land.

This had been made easier by the newly laid railroad network. Within a short period, Harlem was transformed in to one of the trendiest neighborhoods in the whole of New York. There were many religious, learning and artistic establishments, which gave the area a rich cultural background. (Angelfire)

By the turn of the 19 th century, people were so optimistic about an upgrade of the existing transportation network in the area. This gave rise to heightened speculation in the real estate industry something that led to exaggerated market rates and the subsequent disintegration of the sector at the beginning of the 20 th century. Taking full credit of the collapse, an American by the name of Philip Payton entered into contracts that saw him acquiring property owned by whites for renewable leases of five years.

In turn, Philip and his friends rented the property to Black Americans who considered Harlem a better place to reside. Within a short period, Harlem had been transformed in to an establishment for blacks only. This was heightened by the animosity that existed between whites and Negroes in the period that preceded World War 1. (Poets. Org)

By the time the war had ended, blacks from every part of America were moving to Harlem. Among those who were moving to the establishment included black poets, critics, literary anthologists, painters, illustrators, musicians, composers and actors.

Within a short time, Harlem became a sort of an urban artistic center for black Americans. However, the increasing population and high demand soon gave way to skyrocketing rental prices. This left culture as the only prospering thing within Harlem. A few years after World War 1 ended, Harlem became to black artists what Mecca is to Muslims.

The activities that they engaged in are what came to be termed as the Harlem Renaissance. What influenced most of the participants was the style that Europeans and white Americans were using in their literature and music. To most of the artists within the renaissance, the only topic they addressed was the experiences of blacks within an American society that was predominantly white. (Hill 20)

The music and writing style within the Harlem Renaissance carried the same theme of black experience in light of a white society. Within the Harlem, all the club experience carried the same colored theme. This made African Americans to create a self-awareness attitude something that brought a greater rift between blacks and whites.

As a young man, Langston Hughes had settled in Harlem while pursuing his college education. From his early days, Langston had a flair for poetry and he read a wide collection of poems from various authors. By the time he settled in Harlem, he was on his way towards becoming an established poet.

Although Langston’s poems, spoke of the experiences of black Americans in light of a white culture, he took a different route from the rest of his counterparts in the Harlem renaissance. Where his counterparts would focus on only one genre of writing, Langston decided to mix two or more genres in a single work.

A good example is his first book of poetry known as The Weary Blues. In the book, Langston mixed jazz, blues and a light touch of traditional verses. This was a complete new level of writing that other poets in Harlem were not used to. This became a great influence for future works produced within the Harlem Renaissance. (Poets. Org)

Another thing that made Langston Hughes to be of great influence to the Harlem renaissance was the success he acquired as a poet within the movement. This especially came in 1930 after he published his first work of fiction known as Not Without Laughter.

This was achieved with the help of a rich white woman known as Charlotte Mason. The novel was such as success that Langston bought his first car. Considering that he was only 28 years at the time, this was a great inspiration to other writers in the Harlem to work hard.

During this time, most artists in the Harlem Renaissance were not doing very well and Langston’s success must have been a big morale booster. Besides poetry, Langston also wrote novels, short stories, newspaper articles, and drama. This ability to write in almost all genres made him acceptable across the cultural divide. (Solloway, Bacon, & Muscanell)

In his writings, Langston used simple plain language laced with jokes, insight, and intellect to express his thoughts. Instead of complaining about the plight of back Americans in his works, Langston praises the two important aspects of the African culture namely their dark skin and their rich music. Instead of seeking to become equal to whites as most of his black artists sought, Langston appreciated and praised being African.

This can be seen in some of his most famous poems like I, Too, Sing America. This acceptance of his being a black American received criticism from his fellow artists who claimed that he paid attention on living as a low-class black in America. Despite the widespread criticism, Langston Hughes influence was so immense such that upon his death in 1967 the street leading to his house that was formerly known as 127 th Street was renamed Langston Hughes Place in his honor. (World Class Poetry)

After experiencing many upheavals in its history, Harlem has evolved in to a region of Manhattan where Black Americans live in an isolated manner. Although the standards of living were pathetic at the beginning of the 20 th century, a bunch of artists managed to give Harlem a different outlook.

Their literary works defined Harlem way of life and the general black experience in the context of white tradition. It is widely believed that Langston Hughes gave genuine and loud voice to the black society. Although this is still an opinion that is open to criticism, one thing that is undisputed is that very few artists if any within Harlem could articulate the adversity of and lowliness of black Americans as succinctly and fittingly as Langston did.

Despite their somewhat direct manner, it is important to consciously analyze every single word in his poems since the words he uses are highly effective and often carry a hidden meaning. It is also true that Langston Hughes is a respected icon in Black American literature. It is therefore without doubt that he helped in ushering the Harlem Renaissance and gave the African-American voice a much-needed respect and acceptance.

Angelfire. Kari’s Thoughts on Poets of the Harlem Renaissance , n.d. Web.

Hill, Christine. Langston Hughes: Poet of the Harlem Renaissance . New Jersey: Enslow Publishers, Inc, 1997. 16-21. Print.

Poets. Org. Langston Hughes , 2010. Web.

Solloway, J, Bacon, A, & Muscanell, M. James Langston Hughes (1902-1967). Langston Hughes and the Harlem Renaissance , n.d. Web.

World Class Poetry. Langston Hughes. The Black Poet Laureate, 2008. Web.

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IvyPanda. (2023, December 20). Langston Hughes and the Harlem Renaissance. https://ivypanda.com/essays/langston-hughes-and-the-harlem-renaissance/

"Langston Hughes and the Harlem Renaissance." IvyPanda , 20 Dec. 2023, ivypanda.com/essays/langston-hughes-and-the-harlem-renaissance/.

IvyPanda . (2023) 'Langston Hughes and the Harlem Renaissance'. 20 December.

IvyPanda . 2023. "Langston Hughes and the Harlem Renaissance." December 20, 2023. https://ivypanda.com/essays/langston-hughes-and-the-harlem-renaissance/.

1. IvyPanda . "Langston Hughes and the Harlem Renaissance." December 20, 2023. https://ivypanda.com/essays/langston-hughes-and-the-harlem-renaissance/.

Bibliography

IvyPanda . "Langston Hughes and the Harlem Renaissance." December 20, 2023. https://ivypanda.com/essays/langston-hughes-and-the-harlem-renaissance/.

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Editor's Message

What does it feel like to write a poem.

This is what I think : that one feels nothing while writing a poem and only sort of thinks. It’s a high-wire act. Maybe. And the feelings associated with a poem, long or short, are entities from before and after the writing of the poem—which may well contain them—but one doesn’t, even cannot, experience them while writing. Writing a poem, or lines of a poem, is a pure and rather rapid experience. If you’re writing a long poem over days or months or years, there will take place sessions of this experience. The writing of a poem is almost a blank, an empty place; you might count some syllables or juggle or tinker a little, but you don’t feel. Not in the conventional sense.

But you do feel… what? I sometimes float, and tingle or vibrate. I’m not trying to sound highfalutin. I said to someone last Thursday that it, writing a poem, was like looking into a crystal ball, a remark that contradicts what I just said about the feelings before and after. And some of the writers on this page contradict me. No, it’s true: you look into a crystal ball for the poem, but there’s “work” involved before and after the writing of it. You learn how to write a poem, you meditate and read and observe and dream all day and night. You make charts, you talk to people, you have opinions, and feelings. But when you write it, you write. Afterwards you build it into yourself, though it will always have unexpected aspects. Poems exist in order to have unexpected aspects.

I’m now going to talk about (again) the writing of my poem “Your Dailiness.” I wrote it when I was twenty-seven and living in Wivenhoe, Essex, England with Ted Berrigan and our infant son Anselm. I was very stressed, I had postpartum depression that hadn’t been diagnosed, I was tired, everyone spoke British English, no one much seemed to know I was a poet except for Ted, I was a long, long way from home. I was reading a lot of books, poetry, novels, everything. Many many books. My poems felt too short, and I couldn’t seem to say anything that spoke back to me. One morning I woke up with an entire and rather long (six to seven pages) poem in my head. Every word of it. I saw it all at once, the whole poem, as if written on a giant slab. I saw or ascertained that I knew every word of it— knew , so it couldn’t be forgotten, and I only had to write it down. I proceeded during the day, as I engaged in household and social activities, to retire to my desk from time to time and write some of it down, in longhand, in a notebook. I felt the writing of it like an atmosphere, I was inside a strange, smooth kind of air and I liked that. By the end of the day I had recorded the whole poem. I remember feeling that the lines were not entirely the way they were on the slab in my mind—some sort of tall rock stele. I couldn’t make it look the same way though the words were right. Something about the lines was different. Though they were right . And the typewritten version also did not resemble the very original version, the stele version, which felt like the first draft. I couldn’t do anything about the fact that it was no longer written on a slab, and I comfortably came to terms with the situation. When I told Ted about the poem, he said nothing whatsoever back to me: I supposed he couldn’t think of anything to say. When I showed him the typed poem a few days later, he liked it very much.

I never had the experience again; I forgot for a couple of decades that the poem had happened in this way, though it was one of my favorite poems of mine. But now it seems to me that that experience is a template of what writing a poem is “like”—it was an archetypal experience. The poem is already there. OR there is something or someone or ones there who will tell it to you. Or it feels like it’s yourself telling it to you, as if that part of yourself knows exactly what to say. My sense of this location of the poem inside me, location of words or voices, keeps evolving. When I wrote “Your Dailiness” I had earned a longer work, but it had to tell itself to me. I didn’t know how to sit down and write it. Now I know how to sit down and write one, usually over many successive days, even months, but I still have to be “told it” as I go.

I have not yet said what the exact prompt for this Critics Page is. I wrote to a number of people asking:

Can you describe the most pleasurable, profound, or extreme experience you’ve ever had writing poetry? (“the most” is somewhat relative . . .)

Then I added,

That is, I’m interested in the experience of writing poetry, what that can feel like. Exactly when or pretty close to when the writing takes place… I’m particularly interested in whether anyone has ever been freaked out writing something. Though I realize the freakout might occur just after having written said poem. You don’t always have time to know what you’re feeling while writing.

I’m trying to remember if writing “Your Dailiness” freaked me out; I don’t think it did. It perhaps freaks me out now. Such a displacement is what I meant earlier when I referred to the writing itself as an empty place. You write the poem trying to keep up with the writing that demands to be said within the acrobatics, the performance of writing so that everything that can be said and sounded and given, is. You are giving, in a specific way that demands talent and skill. Afterwards, everything from before and after flows into the poem making meaning, pleasure, perhaps a sort of upset that is offset by the fact of the poetry, which seems in and of itself to soothe and bless the reader. And maybe the poet too.

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