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“It is December and we must be brave,” writes Natalie Diaz in “Manhattan is a Lenape Word,” a poem from her Pulitzer Prize–winning collection, Postcolonial Love Poem (Graywolf Press, 2020). Diaz sets the scene by describing the sounds and colors of New York City: “The ambulance’s rose of light / blooming against the window.” Then she moves from the exterior to the interior: “I’m the only Native American / on the 8th floor of this hotel or any...” Inspired by Diaz, and the onset of winter, write a poem that starts with the line: “It is December and we must be brave.” Let this first line carry you into sensuous descriptions about the world outside, as well as inside.
“The first was that I was very busy. // The second—I was different from you: whatever happened to you could not happen to me, not like that.” In this 2018 video for Bloodaxe Books, Marie Howe reads “Magdalene—The Seven Devils” and other poems from her fourth poetry collection, Magdalene (Norton, 2017).
“A life is not / this supple, // it is not meant / to fold, to be / drawn through // a narrow ring,” reads Monica Youn from her poem “Portrait of a Hanged Woman” in this 2018 reading and conversation with Robert Pinsky for the Twenty Summers arts center in Provincetown, Massachusetts.
“The Greeks / had it wrong: / catastrophe // is not a downturn, / not a fall / from grace,” writes Monica Youn in her poem “Portrait of a Hanged Woman” from her third collection, Blackacre (Graywolf Press, 2016). The poem begins with a reference to the etymology of the word “catastrophe,” which comes from two Greek words meaning “down” and “turning.” Youn uses this starting point to depict the emotional turmoil behind a time when one’s life unravels. This week, write a poem that begins by breaking down the etymological root of a word. Is there a contrast between what the word means to you and its origins? For further inspiration, watch a video of Youn reading this poem in a conversation with Robert Pinsky.
