Elastic Ekphrastic: Another Way Toward Poetry by Jennifer Bosveld In ekphrasis, or ekphrastic art, there are initially two imaginations at work—that of the original artist, and that of the respondent through his/her medium. For the purpose of this discussion we’ll primarily talk about writing poetry in response to visual art. That writing may define, redefine, or simply react to (in whatever way feels valid to the writer) the original piece of art. Where did the term “Ekphrasis” come from? The word comes from the Greek ek and phrasis, 'out' and 'speak' respectively, verb ekphrazein, to proclaim or call an inanimate object by name. We know that Greek school boys were instructed to write (usually poems) about the architecture and art in museums and grand public places—for public consumption and understanding. Around the 4th and 5th Centuries, ekphrastic poetry was pretty much limited to poems derived from visual art. The poems were often elaborate and descriptive and might have been about the religious architecture or paintings surrounding people or that the citizens had little access to.Greek

What kind of art can be used for ekphrastic poetry? You can write in response to the Springprint Company illustrated barns restaurant placemat at the greasy spoon down the street. It’s up to you. Writing poetry in response to a play, dance, movie, sculpture, oil or any other kind of painting, wood carving, you name it, can be a grand opportunity to respond with an ekphrastic poem. How does one approach the art in hopes of accomplishing an ekphrastic poem in response? Since while writing poetry “it all depends on the questions that you ask,” ask yourself and ask the painting about the movement in the piece. What is going where? Ask about color, light, shape/form, subject/items, geometry/direction/balance, relationship/tension, taste, sound. Is anything here making noise? Is anyone/anything speaking? Can you create dialogue? Monologue? There are different approaches, right? Can you simplify an explanation of that? Choose whether you wish to try the minimalist approach by saying exactly what you see there in as few words as possible or the embellished and flamboyant approach that allows you to have your way with this art without regard for the artist’s possible message. Are there additional techniques that could help me make a successful ekphrastic poem? Tap into the senses that might be in the picture. It is easy to write what you “see” but what about smell and taste? Get all the 5 physical senses into your writing. Try a narrative, writing a story in poetry form about what you see there and beyond, starting long before the action in the painting or long past. Avoid vague language, trite notions, over-used expressions. Use strong action verbs and the finest detail regarding the nouns and even presumed proper nouns in the visual art.

How do you know you’re understanding what the artist intended? You might not get it at all, and I don’t know many artists who would care. Most professional artists I’ve known are at least amused by various interpretations of their art if not flattered or gratified by differing opinions. My recommendation is that the poet should have her way with the art and see what happens. This way you have two different pieces of art, a drawing and a poem, that might meet somewhere on the spread between the two side by side, but that’s for the third pair of eyes to decide, isn’t it? For the poem to have its highest experience, we might remember that ART is always taking things and altering them. Study the picture, deconstruct it, then put it all back together again your way. It will be valid.

Monet’s “Il Viale Del Gardino”

Consider this when revising/editing a poem: 1 ) Grammar: Mark all spelling and grammar errors. If punctuation is needed in certain places, make a note. 2) Title : Is title appropriate? Interesting? dull? Thought-provoking? Provide feedback about the title. 3) Senses: How many senses does this poem involve? Sight, smell, taste, feel, hear. Underline all sensory images. 4) Literary Techniques: Does the author use literary devices? Varied ones? Do they seem forced or incorporated well? Mark the devices you can find and label them. 5) Form/Layout: Is the poem of substantial enough length? Does length of lines/stanzas appear to be thoughtfully considered? Make suggestions about ending of lines and overall layout and design. 6) Content: Is content substantive? Is content too vague? Too general? In one sentence, summarize what you feel the poem is “about.” :