Octave and sestet: my ridiculously precarious Zoom setup for delivering a paper at the Sonnets from the American Symposium, and then my home symposium-delivery system. Presenting on short-lined sonnets in a piece called “Partial Visibility,” I edited my messy desk out of the virtual window, throwing the focus instead on the bookcases behind me–so much more professorial. I thought about our partial visibility to each other all weekend, especially when Diane Seuss, the second-lo-last reader in the final event, talked about using long lines to expand the parts of life that can be included in the sonnet’s “gilded frame.” (Her new book, frank: sonnets, promises to be amazing.)
I loved the symposium, which was thoughtfully and effectively curated, and I learned a lot. Among the highlights: we viewed a video tribute to Wanda Coleman and her American sonnets put together by Terrance Hayes. There were mesmerizing live readings by Rosebud Ben-Oni, Kazim Ali, Tacey Atsitty, Kiki Petrosino, Shane McRae, Patricia Smith, and many others. Carl Phillips gave a particularly good keynote about “disruption built into” the sonnet and its “tendency to sonic dispersion,” making the form especially hospitable to marginalized writers. Fruitful panel discussions swirled around work by Claude McKay, Gwendolyn Brooks, Jericho Brown, Brandi McDougall, Henri Cole, and many more. I heard from friends, put some names and faces together among scholars and poets I knew only by reputation, and even saw fellow bloggers whom I’d never before met (hello, Frank Hudson! I really appreciated your comments and want to hear more about singing sonnets sometime). What I liked best were the recurrent readings of the American sonnet as a dissident form, incorporating multiple voices through its characteristic turns and pivots, treated rebelliously and inventively by North American practitioners. When Phillips called the sonnet “wired for rebellion,” he echoed the symposium’s exhilarating theme–exhilarating for me, anyway, because my education emphasized the sonnet as an exercise in obedience.
This symposium also gave me a million ideas for writing. I gave you a prompt for short-lined sonnets last week as I was prepping my paper. Here are some more, with credit to the presenters who jogged these ideas.
Interpreting the parameters of the form however you like, write a sonnet that:
I hope one of those prompts clicks for you and you start drafting. We can’t doomscroll ALL the time (hey, what would a doomscrolling sonnet look like?). For still more alternatives to watching the political weather, check out this cool cluster of short essays, “#MeToo and Modernism,” just published by Modernism/ modernity; I have a piece in there about teaching Eliot recruited after the editor saw my blog post on that subject–an interesting development that has now happened to me a couple of times. And if you’d be up to listen in on an intimate multipoet reading from 6-7pm ET on Thursday 10/15, please contact me and I’ll send you the link. It’s part of a sweetly inclusive series run by Lucy Bucknell at Hopkins, not fully public, but I’m allowed to invite friends.
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