USC English Professor Conducts Poetry Workshop at Sierra Madre Public Library

Concluding a series of poetry-related events presented by the in conjunction with National Poetry Month, Jim Kincaid, Professor of English at the University of Southern California, led a workshop last Friday featuring music, discussion, and practical instruction on creating poetry. 

The event marks the latest in a line of contributions by Kincaid to the literary life of Sierra Madre, his home for the past 24 years.  “Jim has been instrumental in promoting poetry and literature in Sierra Madre,” said Catriona Shafer, Associate Librarian.  “He was an active proponent of One Book One City and has brought major writers to Sierra Madre. He’s a brilliant speaker and teacher, and tonight is an incredible opportunity for us.”

Kincaid opened the evening’s activities by citing the relationship between poetry and music: “Poetry has always been closely tied to music, with troubadours and bards travelling from village to village sharing their songs.” 

Kincaid’s view on poetry and music struck a chord with Library Technician Sophia Duran, who organized the event: “Many people don’t think of lyrics as poetry.  Discussing songs sounded like a great way to engage those who love music but aren’t familiar with poetry.” 

Playing music from the Great Depression through the 1950s, Kincaid challenged audience members to listen for “that one great phrase that moves us and stirs the heart.”  In more familiar numbers such as Smoke Gets in Your Eyes and Big Rock Candy Mountain, a spontaneous sing-along broke out, which Kincaid welcomed and joined.  As he elucidated the key poetic devices of each song’s text, the large audience of all ages attended with the concentration and participation Kincaid might receive in his classes at USC. 

Kincaid’s analyses often straddled the border between studying poetry and the art of composing it.  In the Irish folk song I Can Almost See Ireland From Here, the word “almost” connotes an “agonizing closeness that doesn’t quite make contact,” Kincaid suggested.  “That one small word can do a great deal of work for you in your poetry.” 

Following the many such tips on writing poetry imbedded in his look at song, the evening moved into a more active phase, as each of us completed a simile exercise:  “As tall as a … . As reliable as a … .”

The blank was ours to fill, but Kincaid unleashed a surprise on the unsuspecting audience that transformed our similes, brilliant or banal, into something completely different.  We were asked to match the beginning of one simile with the end of another.  Surreal and highly vivid combinations often resulted, such as 19-year old Symphony Duran’s “as mad as chocolate,” which Kincaid repeated with enthusiasm. 

“You can twist your similes like this and build a poem around the result,” he explained.  He noted several other strategies for generating poetic impetus, including “confessing to a crime you haven’t committed, creating a list of details from a childhood experience, and writing a story with extensive sensory specifics.”

Directing the audience to an anthology of 31 poems he distributed at the start of the evening, Kincaid expressed empathy with the varying attitudes towards Shakespearean sonnets: “For some, Shakespeare’s sonnets represent the height of pleasure, while others find them formidable and fearsome.” 

Kincaid sought to allay any trepidation among audience members by clarifying meanings, both overt and hidden, of uncommon words in sonnet number 29, then recited the sonnet with an insightful cadence that brought it to life.

Audience members recited seven additional poems from the anthology, beginning with guest Patt Locher, whose reading of Frost’s The Road Not Taken Kincaid called “very beautiful.”  With each poem, Kincaid demonstrated how a reader might “unpack the language,” emphasizing the value of taking time in reading poetry.  “So much of poetry is visceral and works its way through the nervous system.  If you give a poem some time, the hidden meanings begin to unfold.”

During a reception of light refreshments following the workshop, Kincaid energetically greeted participants and answered questions.  Sid Kannan of Arcadia, 14, requested a critique of his poem Beauty.  “What should I improve upon?” Kannan inquired.

“You have a great future as a poet,” responded Kincaid following a thoughtful reading of the poem. “Don’t think about improving, just experiment with different forms.  When you become really good at something, that’s the time to try something new.”

Kincaid encouraged all those interested to contact him about organizing future workshops “where we will be reading each other’s poetry, somewhat like singing in the shower, rather than limit ourselves to studying anthologized poems.”  With community interest, workshops such as this could become a major vehicle for creative expression in Sierra Madre.