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TJMF Publishing - Open Mike Cafe Editor's Desk Staff Editor Patty Zion |
Pieces of a Poem, Part Five
The Reader
By Patty Zion
The series Pieces of a Poem concludes with the most frequently forgotten part of a poem - the reader.
Just like the old saw, "Love isn't love till you give it away," a poem is not a poem till it's read by someone. Of course there are exceptions. Sometimes we write simply to get the emotions out, as a sort of catharsis. But most of the time, we desire the satisfaction of knowing that someone hears our poetic ramblings and understands a good part of what we have to say.
To ensure that this process works smoothly, the poet needs to remember the reader at each step of the writing process. When we choose a gift, we carefully consider the recipient's viewpoint and tastes. Likewise, when we construct a poem, we should have a particular type of reader in mind.
The theatrical term for this is the audience. The business term is market. Whatever you call it, we need to keep it in mind during every moment of writing.
Converse first. The biggest challenge in relating to the reader is to make the meaning clear. One of the worst comments a poem can receive is "I don't know what it means, but it's beautiful." The question is, what is so beautiful about a piece of writing that is incomprehensible? Yes, as poets, we are artists and dancers and musicians, but most importantly, we are writers. Writers write in order to communicate something, and communication involves two parties - the giver and the receiver. If the receiver does not comprehend the gift, it's a poor piece of communication..
Craft the sound, create the sense. Lawrence Perrine speaks of the sound and sense of poetry. We need to strike a balance between these two important aspects of poetry. The reader wants both - a poem that sounds interesting and a message that makes sense. Construct a chain of logic within the work. Each statement or image should connect to the next, as you develop a direct line for the reader to follow. Any gap will only confound your partner - the recipient of the communication.
Be on a first-name basis. Different readers enjoy different styles of writing, so it is vital to know your reader. As you create each poem, think of the person holding a book or magazine, reading your words. What is his or her purpose in reading? What educational level has she achieved? How long is his attention span? What words are within his or her vocabulary? To whom will he or she read the poem?
The answers will vary depending on the poem and the poet, but they must come together logically in the writing of the work. Sometimes it is a good exercise to give the reader a name. When we think of her as Alice, or him as Thomas, we suddenly see the person on the other side of our writing. This enables the poet to step out of the limits of self, seeing the gestalt - the totality of expression combined with understanding. Give your reader a name, and you give your poem a reason to exist.
Respect the reader. Poets sometimes forget that the reader has intelligence and sophistication. Readers who love poetry are even sharper than the typical reader, so it is important to realize when we have said enough. Over telling, explaining, preaching, plodding - all of these didactic measures only serve to alienate our potential fans. Part of the fun is in figuring it out, and by belaboring a point, we deprive the reader of this simple pleasure.
To avoid the overtelling trap, look through your poem for the tastiest bits - the meat - and delete everything else if it is not needed for meaning. Generally, the fattest gravy lingers at the start and end of a poem, so pay close attention to these sections. Do not be afraid to use the delete key.
Provide road signs. In using language, we show respect for each other by giving small signals. Just as we use a turn signal when driving, we need to use punctuation and grammar in ways that help the reader find his way through the poem. When trimming excess words, it may be tempting to get rid of the small words such as a, an, the, and, so. But in the real world, these minor sounds assist the reader in negotiating the poem. Take out too many, and you risk losing the reader. Of course, we do not want a poem filled with articles, adjectives, and other modifiers. But each word must be carefully considered. If it helps to make the poem more comfortable, leave it in.
In a similar way, think seriously about the consequences before publishing a poem with little or no punctuation. It can be done, and in some instances, it works well. But more often, commas and periods will serve as vital hints for the reader's understanding.
Exercise:
Read one of your favorite poems, and define what the poet has done to accommodate you as a reader. Locate the following, underlining the exact words where appropriate:
Subtle clues as to the poem's theme and meaning. Objects, concepts, or characters of importance to the clarity of this particular piece of writing.
Methods that bring sound and sense together, melding them into a coherent work.
The type of reader the poet is speaking to.
The point where the poet stops speaking and allows the reader to figure out the poem.
Simple road signs of language. A, an, the, and, etc. How many are used, and why?
Apply these techniques to your next poem, and then present it to the intended recipient - a reader. You might even ask him or her to read it aloud. This can be a humbling experience, but will give you clues as to the readability of your work.
Once you have considered all the aspects of your work, all the five pieces of a poem, relax. You have a silent partner in your poetry - the reader.
Staff Editor Patty Zion welcomes your editing questions and comments. You may reach her by e-mail at