Thursday, November 5, 2009

Reading Styles

by Jonterri Gadson

A couple of posts ago, Joshua started a good discussion about how our writing has changed since being in an MFA. Well, I've noticed a significant change in my reading as well. Doing close readings of my classmates work that is extremely different than mine has given me a new appreciation for different types of poems. There are about 3 people in my workshop of 10 people that I would consider to be doing more experimental/innovative type of work. Initially, I was intimidated and didn't think I could offer any useful feedback because I tended to turn the page when I came across those types of pieces in journals because they would make my brain ache (just being honest. Hoping to show some sort of progression here lol). Now, I'm getting it, understanding different ways that a poem can achieve clarity other than through clarity of meaning. I'm wanting to incorporate some of their techniques in my own work, hoping to get away from the totally linear thinking that's been plaguing my work since I got to the program.

How is reading the other writers in your program affecting your work?


  1. I know what you mean. While I struggle with how I'm improving as a writer often, I know for sure that I've improved as a reader! I think being forced to approach and closely read texts that we wouldn't seek out on our own is one of the most valuable aspects of the MFA. Having a professor and classmates who do it with you and can offer smart and varying viewpoints is, as the commercial goes, priceless. :)

  2. i'd have to agree with you 100% on this one as well. being in an MFA program really made me a better reader. i think it is why so many people come out of the programs and also do editorial work.

  3. Hey, cool discussion idea!

    I think I've mostly been fascinated by how people frame their poems. Tried and true prompts like extended metaphors, language games and allegories have a lot more life in them when you don't know exactly where they are coming from. And what's been really cool is work that is experimenting in the way it approaches its content, without being strictly experimental in form: Even when the meaning of the poem is normal, the poet taking/making some weird way of looking at it.

    It's also really nice to stop thinking of myself as a consumer of poetry, and start thinking of myself as someone in dialogue with the people around me, even if they're only in my workshop...

    Much agreed about the generative powers of wide reading, Jonterri--I hope you're able to play around with that non-linear thinking!


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