“My Tribe” Interview with Sheila Squillante

Beautiful-Nerve-CoverSheila Squillante’s first full-length collection of poetry, Beautiful Nerve, was published by Tiny Hardcore Press in 2015. She is also the author of three chapbooks and the coauthor of a craft book, Writing the Personal: Getting Your Stories Onto the Page, with Sandra L. Faulkner. Her poetry and essays have been published in Brevity, The Rumpus, Prairie Schooner, Quarterly West, and many others.

Squillante is the Associate Director of the MFA programs in creative writing at Chatham University, where she also serves as editor-in-chief of The Fourth River.

I first read Sheila Squillante’s work in Sweet: A Literary Confection, during the “My Tribe” workshop that inspired this interview series. When our leader, Jennifer Richter, asked us to bring one or two poems from a poet in our tribe (emerging women writers) to our next class, I chose to bring the poems I’d recently found by Sheila Squillante to share and discuss (hear one of them below). I was particularly drawn to her rhythm and the way the images create motion. I still connect strongly to these and other poems by Sheila, and I’m so glad to have had the opportunity to do this interview.

What were some of your struggles with Beautiful Nerve and how did you overcome those issues?

My biggest struggle was with finding a publisher for the manuscript, which I had been actively sending around in one form or another for close to a decade. Before anyone panics (ten years!?), what I mean is that I had what I thought was my “first book” when I graduated with my MFA in 2002, and like many new graduates, spit-shined and immediately began sending it out. So confident! So hopeful! A handful of the poems in Beautiful Nerve—fewer than ten, I think—were part of that original manuscript, which after several years of submitting to the contest circuit, ultimately became two separate chapbooks that each took a few years to land as well. While that process was happening, I was still writing the poems that would become the whole of Beautiful Nerve (which went through three or four other not very good titles) and writing checks for contest fees and open reading periods. Check after check after check. In one three-year period, it was rejected by 35 separate presses, and honestly, that’s not even that much. Many poets I know hit that many each year. I felt an enormous amount of frustration and a fair bit of skepticism about the process and was seriously considering retiring the manuscript and taking a step back from publishing for a while. It was at that point that a poet-friend of mine, without my knowing about it, contacted an editor we both knew at a small press and said, “Hey, how about you take a look at Sheila’s manuscript? It’s good.”

So after all that time, effort and money, a personal connection is what finally got it in front of the right editor, ten years after I graduated. I tell this story realizing that one word to describe this could be “cronyism,” (I knew someone who knew someone) but the other—the one I vastly prefer and stand by—could be “community.” This sort of thing does not happen unless you are intentionally, actively building relationships and creating good will. During those years of submitting, I spent a lot of time doing just that. I went to AWP and smaller regional conferences. I met people and bought their books. I reviewed books and I shared work I loved—mine and theirs—on social media.

None of this ever felt like work to me. It’s not like I was thinking, “I have to do this because I want my book to be published.” If it had ever started to feel slimy or born of self-interest, I hope I would have stepped back to reflect and reexamine my motivations.

It seems like poets, in particular, need to be really proactive in promoting their books, especially first books. Can you tell me about some of the outreach you’ve participated in since the release of Beautiful Nerve and how you think you benefited from these activities?

Tiny Hardcore is what you’d call a “micro-press.” There can be wonderful perks to taking this path that might include more authorial control, closer contact with attentive editors and publishers, and in some cases, more interesting (to me) aesthetic possibilities. (Look at my cover, for instance. Amazing, right? That’s Alban Fisher, who does stunning work for the small press community. Let’s give him all our money.)

The downside is that small presses often don’t have any marketing budget, nor do they have dedicated staff to help authors get exposure for their work. The work they do is truly a labor of love and gritty resolve. Some things I did to help BN along include asking for a pdf copy of the book so I could seek reviewers myself, posting about it on my website (I could be doing more there), doing interviews and sharing (but not over-sharing!) updates about the book and my work on social media. I sent one big e-mail blast to pretty much everyone I knew when the book was finally available. I made up postcards with the cover image on one side and a sample poem and ordering info on the other to take to readings and leave in bookstores before my author copies arrived. I felt that was a worthwhile expense. I did an author signing with the book at AWP.

It also helped, I think, that I am basically a mid-career writer at this point. I’ve been doing this for a long time. I have a big network that grew up organically over many years of publishing in journals, teaching and doing all the above community-building stuff.

Put another way, there are benefits to being old. 😉

Still, I expect the process would have been better and easier if I felt I had more support and direction from the very busy folks on the press side. (Though it should be said that I know writers whose books came out with major publishing houses or university presses who had the same experience of being required to shoulder marketing efforts and floundering around a bit. It’s just where we are in publishing right now.) They did send out a few blurb requests, and that brought me a nice endorsement from a poet I admire. I probably should have pursued more on my own but this stuff takes a kind of endurance I don’t always have.

I’m actually about to get another go at PR stuff because Tiny Hardcore (which was affiliated with PANK magazine), is going through a transition. My book and the rest of the catalog are being taken on by another press in 2016. Unfortunately, until then Beautiful Nerve is unavailable, but I’m trying to remind people it’s still out there by doing interviews (like this!) and readings and such in the interim.

Does working at Chatham University and on The Fourth River feed or influence your writing?

Absolutely. As part of my teaching contract, I am now expected to write and publish. A paycheck is a very motivating thing!

No, the real answer is that working with people (faculty and students alike) who care about writing as much as I do is wonderfully affirming and motivating. They keep me grounded and active in my craft. Last year, for instance, my colleague and I sat at my dining room table on a Sunday afternoon putting together our NEA applications. Misery loves company.

Editing The Fourth River reminds me that the publishing world is dynamic and thriving in many ways. It’s pretty exhilarating, if also daunting, to see all that work waiting in our Submittable queue at the start of each semester. I love being in the position to show MFA students around that world. I want them to form healthy habits and attitudes around writing and publishing which means I am always trying to model that for them. I hope I do.

I’ve also become much more familiar with nature writing as a genre (we are a journal of nature and place-based writing), and with the many excellent writers whose work we are fortunate to publish. Those influences are certainly working their way into my thoughts as well as my writing.

What sort of writing support system do you have? For example, are you part of a writing group?

I do most of my writing alone, now. It’s nice to be at a place in my career where I mostly trust my own instincts. I do have a couple of close friends—not all of them writers—who will read drafts for me if I ask them to. My husband is especially helpful with this. So my biggest support comes from people I get to see once or twice a year at conferences. These are the same people I see and read every day on Facebook, where I spend too much time despite how positive and nurturing it has been for my writing self. (True!)

I do want to shout out one group who I certainly think of as a support system: Barrelhouse Magazine. I’ve been kind of a hanger-on with them for several years through the Conversations and Connections conference they run, but as of January 1, I am officially joining the team as blog editor. I’m excited. They are fun and weird and smart and really, really terrific writers. Nicest people in publishing.

Your job sounds amazing! Can you tell me a little about how you came to be a leader at an MFA program, teacher, and editor-in-chief at a nationally respected journal?

My job is indeed amazing, thank you! How I got it was by being stubborn and persistent for many years, and then, by being on Facebook too much.

After I graduated with my MFA, I stayed on to teach as an adjunct at my university for what I thought was going to be a year or two at most. Two things happened that extended my stay: I was offered the position of associate director of that program, and I met my husband who was in the middle of his PhD. So I learned a lot about arts administration while continuing to hone my teaching and my writing. I kept sending work out to journals and the manuscripts out to contests. I also started applying for tenure-track positions. This is the stubborn part, because the truth was that I really wasn’t qualified to do so without a published book, and maybe especially, without a PhD of my own. The professor for whom I began working as associate director had said plainly to me that those skills would give me a huge advantage on the job market later. I believed her, so I kept applying, PhD be damned.

I didn’t apply every year—I became a mother twice in that time, too—but of the many, many jobs I did apply for, I got exactly one phone interview and one Skype interview, both from universities who were looking to hire someone with teaching and administrative skills.

I don’t say this to be discouraging, but to illustrate just how competitive that job market is and to encourage anyone pursuing an MFA to seek out opportunities beyond teaching that can add to their repertoire and make them more appealing as a candidate. That could be administration or publishing. Grant writers are in big demand, too. And maybe think about getting that PhD after all. This is one of the things I really love about Chatham’s program, actually. We offer students the ability to earn a concentration—basically like a minor—in addition to their MFA. We have concentrations in nature writing, travel writing, food writing, publishing and pedagogy. We want to give our students any possible advantage to help them have a sustainable, fulfilling life after graduation.

There are so many excellent teachers and writers who definitely deserve to be teaching in MFA programs. I hope they keep applying, but I’ll be honest: I was very close to giving up the hope that I’d ever get there. It’s an exhausting process and as I said, I had two small children and a steady adjunct teaching job that afforded all of us benefits if not a huge income. We had lived in our town for fourteen years. I was also over forty years old. I was tired. I told myself I would only apply to jobs if the application felt easy to do. I couldn’t bear expending any more energy.

Then, one day I read an essay which appeared along with one of mine in an online journal and was very moved by it. I went looking for the writer on Facebook, sent her a message to tell her how much I had enjoyed it, and we became friends there. It was literally the next week, I think, that she posted about a job opening at her university. I saw it and thought, “I could do that.” So I applied at the eleventh hour. And I’m so glad that I did! Chatham is a great place. I love my colleagues and adore my students. And the fact that they trusted me to take on The Fourth River in my first semester was the cherry on top. Of course, that wasn’t a completely blind decision as I had been involved with the publishing world in various respects for several years, but it was still a risk for them and I’m grateful they took it. With the launch of our last (truly spectacular) online issue, Queering Nature, I’m pretty sure they’d say it paid off.

What are you working on now?

I am about two thirds of the way into a new book of poems about a character who I’m telling people is “mostly human, most of the time.” I call her Round Baby and though we share some experiences and characteristics, she is decidedly not me. This is the first time I’ve ever written fiction of any kind and I have to say it’s been pretty fun and surprising. The poems follow her from birth up to about age fifteen. She’s my age so that means she gets to spend adolescence sporting unfortunate big hair and listening to Def Leppard on her Walkman. I think she’s awesome.

Learn more about Sheila Squillante


“My Tribe” Interview with Emily Bludworth de Barrios

During the last year of my MFA program, the poetry cohort was made entirely of women. For our final workshop, our leader for the term, Jennifer Richter, gave our course the theme “Our Tribe.” We read only first collections by women, including To See the Queen by Allison Seay, Love, an Index by Rebecca Lindenberg, and Fair Copy by Rebecca Hazelton. I loved supporting these women in early stages of their careers by buying their books and discussing all of the exciting things they were doing in the poems.

Now that I’ve finished my degree at Oregon State, and I’m living and working in a new community, I’ve decided to continue to build my “tribe” by interviewing emerging women writers.

My first interview in the “My Tribe” series is with the poet Emily Bludworth de Barrios, whose first full-length collection, Splendor, was published this year by H_NGM_N Books. She is also the author of a chapbook, Extraordinary Power (Factory Hollow Press). 

splendor+front+coverWhen I started reading Splendor, I was captivated by how the poems circled around bits of personal truth, trying to define the abstract. This goal feels at the heart of Bludworth de Barrios’s collection, in which the narrator attempts, again and again, to explain–with precisely tailored diction–and therefore understand, her past and present, her actions and thoughts, the events out of her control, and what these things reflect on her values and identity.

In the Interview, Bludworth de Barrios explains her process in ordering the poems in Splendor, her struggles in the collection, her writing support systems, what she is working on now, and more.

I love that the poem titles are drawn from Horace Walpole’s The Castle of Otranto. Can you tell me about the role these quotes played in the crafting of the poems? Why did you choose to use that book?

Writing in conjunction with lines from Horace Walpole’s text gave me permission to write in a voice and shape that felt more in line with the contours of my thoughts. I’m not sure why.

What was the process of ordering the poems like?

I first sketched out the order of the poems with Dara Wier, my mentor and friend at UMass, who is really so nurturing of writers and writing, a kind person, generous reader, and rare thinker. We laid the poems out on her dining room table—a long farmer’s table, in a room lined with bright windows. There we looked at how poems spoke to each other (the poem preceding, the poem following), and the larger story the poems told together. It was useful to see the poems laid out across space in that way, and I used that technique again, later, on my own.

I knew that I wanted to open the book with the poem that opens it. It was the first poem I wrote for the book, and it announces the way language is used throughout the book, and its concerns—flaws, disappointments, abstract nouns: “Your failure feels treacherous inside you.” The latter poems offer various ways out of the bleakness of imperfections and uncertainty: narrative (“I am wanting to make death more like a story”), gorgeousness (“Imagining a funereal bier burning on water at night  Glaze of light on water It is an orange and glossy celebration”), self-awareness (“You must needs arrange your priorities”), and love (“Get your skin-to-skin contact while you’re able”).

What were some of your struggles with the collection? How did you maneuver these issues?

Once I had written into the voice and concerns of the book, its particular set of quirks and tendencies, I wanted to write my way out of them. After a time I felt like my writing was too familiar and predictable, some poems too similar to other poems. It was helpful to use the titles from The Castle of Otranto as a unifying element to the book—so that I could vary the range of my poems, but, with the consistent titles, I felt like I was still within the same realm. It was also helpful to allow time to lapse between poems.

Once I was talking to my dear friend Lina Mounzer about self-doubt in writing. She talked about the shame we feel about our literary voices—maybe that we’re not intelligent enough, funny enough, large enough, or whatever. But that the voices we have, at the end of the day, are the only voices we have to tell our stories. So what else is there to do except forge on?

I will say—for whatever use it may be to anyone—that I wrote another book prior to this book, a book which I threw out. That book was a genuine “collection” of poems I’d written over a number of years. It wasn’t conceived of as a book; it was gathered up, cobbled together. It contained many poems I like, and liked writing. But throwing it away was liberating and allowed me to begin in a new place. I don’t even remember what prompted me to do so, now, if anything prompted me at all. I only remember thinking, “I’m throwing this out,” and I did.

What sort of support system did you have while writing the book? Were you in workshops or a writing group?

There is a small circle of people—friends, and my husband—who typically look at my writing. None are poets. Each of these are really kind and generous people who ask good questions (it’s always kind and generous to look at someone’s writing, giving attention, which takes time and focus).

I wrote maybe 40 of the poems from Splendor in my final semester of my MFA program at the University of Massachusetts at Amherst. I wrote the remaining 20 or so poems in Houston, while working full-time, over the course of a year.

That semester when I wrote the bulk of the book, the conditions were important: I was living alone, long-distance from my husband. I had a lot of free time—taking a few classes, teaching one or two classes. Having uninterrupted time to think was an important luxury. It was necessary in the creation of the book.

In addition to having time to write and ruminate, at UMass I was continually motivated by and surprised by my classmates and teachers—by what they were writing, and by the writers they recommended. I was part of an incredibly strong cohort of poets—Emily Hunt, Hannah Brooks-Motl, Wendy Xu, JoAnna Novak, Sadie Dupuis, James Jones, Liana Quill Camper-Barry, and Caroline Crew, among others. I was inspired by the writing and passion of my teachers Dara Wier, James Tate, Peter Gizzi, Noy Holland, and Jedediah Berry, as well as by previous graduates of the program like Rachel B. Glaser, Heather Christle, and Dorothea Lasky. At the non-profit literary organization Flying Object, I worked with poets and artists like Michael Earl Craig, Emily Pettit, Guy Pettit, Margot Douaihy, Bri Hermanson, and Heather Christle on the creation of chapbooks. In short, I was among a group of people with unique perspectives and vibrant styles, which I absorbed both intentionally and unconsciously.

I think it’s in the unpredictable exposure to new ideas, experiences, and approaches that distinctive writing is produced.

For example, in my final semester at UMass I took a fiction class with Noy Holland in which she asked each of us to consider how writing is like another art form. She specifically wanted to avoid a traditional “arc” of a narrative, to think of alternative ways a piece of writing could be structured, maybe informed by these other art forms. I thought about what visual art and architecture accomplish that words cannot. Thinking of a poem as a physical experience, as a thing to stand inside, as a place to have ideas knock up against you—this was valuable to me. I would not have written a poem like “with a mixture of grace and humility” (first published in UCity Review) if I hadn’t been thinking about poetry in that way, as a piece of architecture:



“with a mixture of grace and humility,”

Let us have a brief period of silence







During which time
you will think about nothing
and you will have the qualities of a silver coin

A period of silence
is a column with a hole at the top and a hole underneath

The second period of silence commences now


Was it difficult to start a new project after finishing Splendor?

For six months or a year—yes! I was wanting to not write in the same voice, or the same style. For a while, I wasn’t sure what that would feel like and sound like. If I wrote something that felt like it could have seamlessly belonged in Splendor, I threw it out. I made invisible rules for myself—poems should not be written in the second person, they should not be very short, they should not define abstract nouns, nor use empty intensifiers. I did not want to write so intensely about interiority. Basically I tried very specifically to trim myself of certain thinking habits that had come to feel very natural.

And—we put our house on the market, purchased a new house that had to be extensively remodeled, and I became pregnant—a lot of things were happening all at once. I didn’t write much during the period from when the book was accepted until it was published.

Splendor was published when my son was only a few months old. In a way, that made writing more difficult—it’s a druggy, surreal, difficult time—and it also made writing exciting and vital, since I had just the barest slivers to squeeze it into. It was easy to be efficient and focused. I was (and am) experiencing things that are intense and new.

What are you working on now?

I’ve written many pages of a new book called WOMEN, MONEY, CHILDREN, GHOSTS, an excerpt of which has recently been accepted for publication as a chapbook. Some of the poems from it can be read at The Nervous Breakdown, New Delta Review, Jellyfish, and Sixth Finch.

What are your optimum writing conditions?

Any little bit of time. Privacy is important, I guess. As a woman, wife, teacher, and mother, privacy always feels fiercely important, absolutely selfish. Given natural obligations and demands on my attention, I work with the forms of privacy and time I’m able to extract. (I dream of long, uninterrupted mornings, mornings of books and slanting light and a light breakfast—although I know full well that, given the gift of time in that way, I’d probably find some way to be disappointed in it or otherwise squander it. Or it would, at least, feel less halcyon and more restless than it appears to be from the vantage-point of an obligation-laden life.)

Do you have a favorite literary journal you never miss an issue of?

Too many things are clamoring for my (and everyone’s) attention for me to sit faithfully and fully relish a particular magazine with dependable regularity. But poetry is the one subject—unlike, say, music, art, or comedy—where I will patiently give attention to many things that may not be quite right for me in order to find something transcendent and shockingly good. And what feels transcendent, to me, is of course a matter of taste and mood as much as quality. Here are some of the magazines where I find such writing in higher quantities: Apogee, Prelude, The Divine Magnet, jubilat, Big Lucks, Sixth Finch, The White Review, The American Reader, Tender, The Sink Review, B O D Y, The Buenos Aires Review, and The Offing. I like literary journals that have a strong editorial voice. I love to see how styles flower in various places.

Flash fiction piece “Jack and Gustav” published by Tahoma Literary Review

Today I had a short story published in the second issue of Tahoma Literary Review. This was my first fiction publication, and I’m very excited about its release! Anyone interested in reading my story, “Jack and Gustav,” can download the issue for free from the Tahoma Literary Review website. The PDF and Epub versions are available for free, and the Kindle version can be downloaded for $1.

Thank you for your interest, and happy new year!

Imitation Assignment

For their fourth poem assignment, I had my Introductory Poetry Writing students write an imitation. A copy of the assignment prompt is below:

In chapter 1 of The Poetry Home Repair Manual, Ted Kooser argues that “we teach ourselves to write the kind of poems we like to read. The more poems you read, and the more models you learn from and imitate, the better your writing will get” (9). In this poem assignment, you will pick a poem of your choice from Best American Poetry or the supplemental poems on Blackboard and write a poem that is stylistically similar. Your poem must include at least three similar traits, which you will explain in a reflection that will accompany the poem. There is no length requirements for the poem, but the reflection should be about a page long (double-spaced) and explain what you like about the poem you chose and the “writing tools” you utilized in imitating it.

To prepare my students for this assignment, we dedicated one day of class to practicing close reading. We wrote a list on the board of all the literary devices we had studied over the past five weeks, then looked for examples in the poem “Difference” by Mark Doty. I asked students to be specific about how the use of that literary tool contributed to the meaning and the reading experience.

After the discussion, I distributed the assignment sheet you read above. I also showed them a poem of mine that was inspired by a poem by Noelle Kocot. I explained what aspects of Kocot’s poems I imitated and pointed out these literary devices in my poem.

Lastly, I asked them to complete a close reading of the poem they chose to imitate as a take-home assignment. This assignment was simple: print a copy of the poem and turn it in to me with a substantial amount of specific notes in the margins.

I know that imitation assignments are far from new in Creative Writing pedagogy, but the student’s poems were so fantastic, I decided this was worth sharing. I almost enjoyed reading the reflections as much as the actual poems. I was so impressed by how quickly and eloquently they incorporated these words into their vocabularies. I felt like this assignment helped students realize how important reading with an eye for craft is, and how we can find inspiration from the poems we read.

I’ll end on a quote from a student reflection that made me especially happy:

The first time we read “For Jane,” by Stephen Stepanchev, I was very confused. However, the more I read over it, and the more we learned in class about literary tools in poetry, the more the poem began to speak to me.




Teaching Stanza Breaks

Building off of the previous lesson I posted, here is a summary of my lesson on stanza breaks for my Introductory Poetry Writing course:

1. Last class we talked about line breaks. Let’s review what we know about them (paraphrase on board).

  • There are two kinds: end stop & enjambment.
  • Line breaks indicate a pause, similar to punctuation.
  • Enjambment emphasizes the word at the end of the line or the phrase it is cutting in two.
  • End stop draws less attention to itself (allows other aspects to be prominent).

Today we are going to continue on a similar vein and talk about stanza breaks and punctuation, and how all of these tools contribute to a poem’s rhythm.

2. First of all, what are the functions of stanza breaks? They function much like paragraphs do in prose writing: they represent a jump of some kind, often in time, setting, or content. They signal to the reader that one thought or image has been completed.

3. All of the things we said about line breaks also apply to stanza breaks:

  • Stanza breaks utilize either end stop or enjambment.
  • A Stanza break also represents a pause, though a longer one than a line break.
  • Using enjambment at the end of a stanza emphasizes the final word of the stanza.
  • End stop breaks still draws less attention to themselves than enjambment.

4. Let’s look at some poems and talk about how the breaks influence our reading experience.

  • For Jane” by Stephen Stepanchev (ask for a volunteer to read aloud). What type of stanza breaks does this poem utilize? What did the breaks signal, or how did the breaks affect your reading experience? (Example of end stop line breaks).
  • Facing It” by Yusef Komunyakaa (ask for another volunteer). This poem doesn’t have stanza breaks. How did this affected your reading experience?

5. In-class exercise: Now we’re going to take the poem “Grief” by Matthew Dickman (a poem we had previously read and which consists of a single stanza), and we’re going to add some breaks where we think it could be appropriate or effective. (Copy and paste the poem into a word document, read it aloud, and add stanza breaks where students suggest them. With each suggested break, ask how that alters our reading experience.)

6. So, in our discussion, we’ve mentioned often how line and stanza breaks affect the speed we read a poem by showing us when to pause. In poetry, we call this rhythm. Rhythm has the same meaning for poetry that is has for music; it is the pattern of speed the poem establishes.

7. Along with line and stanza breaks, another tool that contributes to rhythm is punctuation.

  • “Proverb” by Kenneth Koch. Koch uses punctuation consistently in some parts of the poem and omits it in others. Let’s point to the punctuation in specific sections and talk about how they affect the rhythm.

8. However much punctuation you decide to use, I suggest being consistent. Set rules or patterns that you will follow through out the poem, so that your reader isn’t thrown off. For example, decide you are only going to punctuate at the end of sentences and stick to that rule.

Teaching Line Breaks

This fall, I am teaching Introduction to Poetry Writing at Oregon State University. I excitedly planned my lessons, assignments, and exercises during the summer, many of which I feel proud of and want to share. Here’s the first one.

Summary of my lesson on Line Breaks:

First I introduced the terminology of the different types of breaks:

  • End stop: when the end of a line coincides with the end of a sentence or clause.
  •  Enjambment: when a line ends mid-clause, and the clause continues onto the next line.

Line breaks function somewhat like punctuation in that they indicate a pause for the reader. Therefore, using enjambment brings emphasis to the end of the line. However, if you use enjambment haphazardly, it can become confusing and put off readers. Ted Kooser gives a great example of this in his book The Poetry Home Repair Manual (which is one of the required texts in the course):

Mother and I went down to the shoe

store and she took along her white

purse so she could get a pair of

shoes to match (117).

Kooser explains that line breaks are a huge part of what gives a poem rhythm, and “the closer your writing gets to the pacing of conversational speech, the less it’s likely to call attention to itself” (118). Just like any other decision in a poem, it depends on the poet’s intention.

I added my own thoughts:

It is absolutely fine to not want your line breaks to call attention to themselves, to let other aspects of your poem take the spot light. Likewise, there is nothing wrong with using line breaks to create an interesting, more interactive reading experience. Whatever choice you make, take a step back and look at the poem like a potential reader, approaching the poem for the first time. Do the line breaks seem purposeful?

After looking at a few more example from The Poetry Home Repair Manual, we turned our attention to the poems they were assigned to read from Best of the Best American Poetry, the anthology I chose for the class.

The assigned reading for this lesson was “Dharma” by Billy Collins and “A House is Not a Home” by Terrance Hayes. After ask for volunteers to read each poem aloud, I asked them to look for specific breaks that they found especially effective, and I asked them to articulate how the break affected their reading experience. (I believe this was an effective angle to approach discussion, because participation was excellent.)

After all observations were noted, I added that I often don’t know what line breaks I will use until I try breaking the line at various points to see how the effect varies, then I passed out the in-class assignment, which students worked on until the end of the period (about 15 minutes).

In-class Activity

Finish this block of text by filling in the blanks:

In the dream, I woke up to find myself stuck on a boat with ___________________. It was a tiny boat, barely larger than ________________. Out of nowhere ____________________________, I ______________________________________. That’s when it started raining. Then I saw lightning. Then I saw ________________________. Then I saw a lighthouse. But the lighthouse looked more like a ____________________.  That’s when I realized I was dreaming.

Now take the text and break it into lines. You will do this twice. The first version should utilize primarily end stop line endings. The second version should utilize primarily enjambment.