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Michael R.Collings

The Art and Craft of Poetry

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  • Menna Abu Zahrahas quoted4 years ago
    He has published multiple volumes of poetry, novels, short fiction, and scholarly studies of such contemporary writers as Stephen King, Dean R. Koontz, and Orson Scott Card. He is now retired and lives in his native state of Idaho.
  • Menna Abu Zahrahas quoted4 years ago
    Michael R. Collings is an Emeritus Professor of English at Seaver College, Pepperdine University, where he directed the Creative Writing Program for over two decades.
  • Menna Abu Zahrahas quoted4 years ago
    Alliteration
    Assonance
    Consonance
    Full Rhyme
    Slant-, Skewed-, Half-Rhyme
    Others
    In general, I am
    Satisfied with the directions and expertise my poems demonstrate
    Satisfied, but am eager to expand into new modes and explore new means of creating art
    Frequently unsatisfied with the level of my poetry, especially in terms of
    My use of language
    My understanding of structure
    The limits I impose—consciously or unconsciously—on my Imagination
    The limits I impose—consciously or unconsciously—on my Ideas
    My technical and mechanical Proficiency
    Other
    Deeply dissatisfied with the level of my poetry
    About to give up on writing poetry at all
  • Menna Abu Zahrahas quoted4 years ago
    I frequently and consciously use the following in my poetry:
    Simple sense imagery, usually visual
    More complex imagery that attempts to elicit several sensory responses simultaneously
    Similes, primarily to convey sense impressions
    Similes, primarily to convey more complex responses than simple sense impressions
    Metaphors, in which the poem spells out the relationship between both the tenor (the abstract thing or idea I wish to talk about) and the vehicle (the concrete thing or idea to which I compare the abstraction)
    Metaphors, in which the tenor is implicit or assumed, while the poem appears to focus exclusively on the vehicle
    Symbols within my poems
    More complex symbols, in which the principle theme or ideas of the poem—considering individual poem as an integral whole—is communicated indirectly, through the mediation of the poems
    I frequently and consciously use the following sound devices in creating the music of my poetry:
  • Menna Abu Zahrahas quoted4 years ago
    count
    Relatively regular line-lengths
    Sonnets
    Quatrains and/or Triplets
    Ballads
    Other
    Syllabic poet, i.e., I frequently use forms based primarily on syllable count, including
    Stanzaic syllabics
    ‘Nonce’ syllabics
    Haiku
    Tanka
    Cinquain
    Other
    Open-Form Poet, i.e., I consider myself primarily a ‘free verse’ poem, creating my own fundamental forms but using such structures and devices as
    Controlled but varying line length
    Repeated syntactical structures, such as anaphors (repetition of an initial word or phrase over several lines)
    Breath units as a primary means of determining line length
    Non-metrical stresses as a primary means of line length
  • Menna Abu Zahrahas quoted4 years ago
    consider myself a
    Formalist, i.e., I frequently use traditional forms and structures, including
    Rhyme as a primary musical device
    Meter as a primary rhythmic device
    Stanzas of pre-determined line
  • Menna Abu Zahrahas quoted4 years ago
    heaters froze in engines; sewer lines burst;
  • Menna Abu Zahrahas quoted4 years ago
    thought incapable of peace or panic
  • Menna Abu Zahrahas quoted4 years ago
    This poem has undergone several transformations, both in form and in content. Which of the three works most effectively to communicate subject, tone/atmosphere, image, and theme:
  • Menna Abu Zahrahas quoted4 years ago
    sighs and dies into black nothingness, when
    [“the executioner’s sword descending with languid grace”*]
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