The idea of the long black bag being dragged behind every one of us is very interesting to me. Connecting that kind of imagery to the idea of having baggage in the back of our minds gives us the physical form of those dark/looming thoughts we have. The acknowledgement that each person has one of these bags as soon as they become conscious of the society and world they live in is very important. We all go through struggles from very different circumstances no matter where we grew up or who we grew up with. But the realization that we are only a fraction of what we could be is very interesting to read. I also thought it was helpful to understand that poems can be good but lack a sense of depth if an author does not wish to dive into the true emotions of life. However, poets who are able to stare life in the face and write feverishly about the complexities of human happiness and human suffering are the ones who truly move their audience. Whether in a happy, sad, comforting, angry, or uncomfortable way, the audience was moved. Just like in Corrine Hales “Sunday Morning” on page 60, we are drawn in by the “normalness” of a busy household with little kids, cats, and a working mother. We keep reading and reading until all of a sudden, we are chained down watching the mother snap and throw the kitten against the wall. We are uncomfortable but feel we need to keep reading. Then and there, we identify with the child walking out of the room, we don’t want to believe what we just witnessed, we just want to walk away. But diving into real life in this way is important to show how quickly something can change. It shows the buildup of emotion, and the release. It was truly an awe-inspiring read given how vivid it was in so few words.
While reading “The Shadow” in our book, the first page immediately caught my eye. I fully believe that we all have a dark and a light side and that the world contains both good and evil. One of my favorite verses in the bible is how everyone does bad and never always does good (Ecclesiastes 7:20). On page 57, it mentions that “it’s important not to censor yourself” and I think that is true if you really want to reflect on who you are as a whole and when trying to write deep poetry. Sometimes it is not going to be happy and it is going to be raw but that is what makes it beautiful. I think it is helpful to integrate our shadow side because as the reading says, it is training ourselves to truly see. It is true that we must be willing to feel the emotions that come from facing the world and really grasping onto the truth as not only a poet, but a person. There are happy things of course, even the chapter mentions happy poems, but it’s the darker poems that people avoid reading or writing because it is so true and so raw, it scares us because like it said in the beginning of the chapter, we deny our shadow. This chapter really speaks to me in general because as someone who enjoys poetry and writing, I always write on darker topics, even if I am just free writing it usually turns into some sad truth of the world. I come off as a happy person to everyone, I do try my best to do good by everyone and be kind, but where I think my shadow comes in, is the way I think people can treat me and the way I think of myself. Honesty is a beautiful thing and I think that is why such deep poetry means a lot to me.
This chapter explained well how psychology and writing mix and are important to each other. It is helpful to put names to these parts of ourselves and society, the ego and the shadow, in order to identify where we are acting, thinking, or writing from. I found it intriguing how the authors explained Robert Bly’s term “bagstuffing”, specifically that we bag up not only negative traits, but also undeveloped talents and gifts. I think creativity is in everyone and a lot of times people bag this up, due to various reasons within our society that is so fast paced and work focused; we forget to slow down, create, and appreciate art. I feel as if creativity is a part of me that I stuffed in a bag, and am only now trying to find again. It makes me curious about what would happen if everyone dug up these undeveloped talents and gifts within themselves.
I was also intrigued when the authors explained that you should allow yourself to go wherever the writing takes you. When I first started trying to write I had a hard time, kind of like “writer’s block”, but it suddenly became easier when I allowed myself to surrender to the flow, and go in any direction. When you let your subconscious mind speak, then you are able to access deeper parts of yourself, what Carl Jung calls the Shadow. I also found it helpful when the authors noted that a poet needs to let themselves see. I think this is similar to surrendering to the flow of writing because you have to let yourself slow down and your eyes wander, rather than staying in a place of control from the ego or staying stuck in our fast paced society.
The poem by Corrine Hales was definitely uncomfortable and a bit shocking to read, but it is a great example of poetry making us face the ugly truths of humanity. I absolutely love the term duende by Federico Garcia Lorca and the quote by Goethe, “A mysterious power that all may feel and no philosophy can explain.” I view this as the energy that exists within writing from deep truths.
As I was reading this chapter, I couldn’t help but feel enamored by Corrine Hales’ use of personification in her poem Sunday Morning. When She says how children gathered around the “glowing open mouth of the electric oven” I reread it a few times, struck deeply by the realism in such a short stanza that fits so well to the story you could be there. Poems are hard enough to write, adding a story that’s so hectic is truly inspiring. But apart from the poems referenced throughout this chapter, it was the almost random insertion of Carl Jung that made me surprised. I wasn’t expecting to hear of a psychologist in a book about poetry, but his ideals have captivated me. The idea of a shadow, something that many seemingly run from their whole lives, is quite fascinating in my opinion. According to Jung, this “shadow” is formed young, which makes me assume that environment comes into play. I’d like to think that my own has always been out there, or will be some day when I write a memoir/autobiography. While the self is both dark and light, people tend to hide the darker parts of them within it. Society has constantly been trying to fit themselves into boxes that aren’t the shape of their soul, and Jung using this ideal to say that one tries to fit themself and all they are, good and bad parts mostly hidden, into a bag reminds me of the poem by Mary Lambert:
But there is something that happens
When you are told you are too much
You begin to ask everyone,
How small would you like me?
From her book “You are the Wrong Person.” I liked that this chapter surrounds the idea that writing can be a form of relief if one wishes it to be, since that’s what my relationship with writing has gifted me. It’s interesting to see how many people, as this chapter suggests, deny that they even have a shadow; and as I’m writing this, perhaps I’ve realized I am one of them. I feel that there is a certain aura that poets emit, a sad sort of energy that is sprawled out in ink when pen hits paper- or for most people these days, hidden away in the notes app late at night.
I found this chapter comforting due to the fact that it shows how hard it is to write poetry. It explains how in order to write poetry, one must tap into the shadowy part of their brain where they can interact with complex emotions. I found that when I was starting my first poem for this class that I had a really tough time trying to get into that head space and being able to articulate exactly what I wanted to say. This chapter points out though that it will become easier over time, and that it just takes practice. I wouldn’t be surprised if this is a chapter I revisit if I ever need a little bit of positive reinforcement when it comes to writing poetry.
The two examples of poems that were given both gave me chills. They were deep, engaging, and insightful. It was slightly intimidating, but it also made me really excited to learn how to write poetry.
This chapter delves into some of the challenges we as writers encounter when learning how to become comfortable with poetry – especially centering around this idea the chapter introduces, the shadow. The shadow refers to the hidden and rejected part of our identity, the ego, and how we all understand the aspects of good and evil in society and the lightness and darkness within us, yet human nature might pull us toward denying the darkness and only showcasing the light. Part of this shadow is that it isn’t inherently negative and that taking actions such as writing poetry can actually help us navigate this less-than-perfect side of ourselves with creativity and imagination that can achieve something, whether that be solace, insight, or even beauty. I loved the quote by Colette saying, “Look hard at what pleases you and harder at what doesn’t”(57). This brings up so much of what I tend to think about when writing for myself, whether that is just journaling or random scattered thoughts. Writing out grievances or critiques or whatever negative feelings emerge, they usually organically generate some inner reflection or connections I never knew would come up. I also found the point made regarding training yourself to see these kinds of things and looking closely at details we may find when exercising this type of poetry interesting. Like in the two poem examples in the chapter, the uncomfortable and the unspoken all have so many descriptive, thought-provoking possibilities that are so personal to every reader. Practicing ourselves, I think, can be a beautiful way to connect as human beings who all have unsaid aspects of ourselves and shadows dragging behind us.
You know I think the idea of the shadow or our shadow self is an interesting concept as we don’t really realize how many faces we can possess throughout our lives. Fight Club did it best as we always imagined a different version of ourselves solving our own problems that we are not ready to face but our shadow selves could handle the situation effortlessly. That is just a psychological concept that can be dangerous depending on the person’s ego/mindest. Another point I found interesting was the idea of where poetry comes from. A lot of times it comes from famous poets were struggled with alcohol and drug abuse which is reflected in their depressive writings. But poetry does not have to be personal or romantic, there are no guidelines just ideas to follow as you choose. However, the ideas of relatable poetry or deep poetry have been more of a recent occurrence as they could be seen as more digestible. That’s one of the many great reasons for poetry, anyone can write it and learn it. It’s a lot easier than following the guidelines of an academic essay or learning a new skill. Sometimes poetry just happens. However, I am curious how childhood influences like Shel Silverstein or Dr. Seus can influence one’s writing style today.
The idea of a shadow aspect of ourselves is not a new concept to me, though I had never thought of it being a place where creativity can come from as the first page suggests. However, upon reflection, it makes perfect sense. Many of us, myself included, enjoy stories that contain dark elements or themes, often actively seeking out music or television shows that possess those qualities. We see that darkness in our favorite characters, or in the words of others, and we don’t feel as guilty, or shameful of that shadow, allowing ourselves to dabble in a side of ourselves often repressed due to an understandable fear of corruption or becoming ‘bad.’ Many people associate poetry with a melancholy feeling for that same reason— that shadow is often reflected in its lines as well. And just as the chapter reminds us, light is important too, as we can’t simply let anger, resentment, fear, and despair overtake us, or we wouldn’t be able to live or tell a satisfying story. I found this reminder helpful, as it is often easy to forget that we are not only allowed to tap into this shadow for inspiration, but also that other people will find meaning in whatever comes out of said shadow.
I am curious how I will end up using this concept of a shadow in both my poetry and my personal work. The idea that writing can, and in some cases, should (especially if writing about dark thematic topics or genres like horror) make the reader uncomfortable intrigues me, as it goes against the familiar instinct of trying to please everyone, to write for an audience rather than for yourself.
I really enjoy the idea that poetry has the capacity to be very visceral and blunt. There is sometimes a stigma that it consists of flowery language and pastel emotions, but some of the best poetry is dark— or an ironic mockery of lighter poems. Plus, as morbid as it is, I love the raw emotion that can be displayed through poetry. It can be more scathing, biting, and cutting than any prose or story directed at anyone.
Another thing I found interesting was the attention drawn to the requirement of a poet’s attention to detail. Poetry can help to inspire awe, shock, and admiration, but in order for a poet to convey these emotions, they have to be able to experience them themselves. Not only this, the requirement for a poet to have empathy is very prevalent. In order to see and experience, one needs to put themselves in the shoes of someone else. For example, the hypothetical homeless man/woman in the chapter. To “look closely” at the world is to experience it from a variety of perspectives. The woman in the story may not have been able to conjure up the image of a homeless man/woman, but I have no doubt the man would’ve been able to describe an English student, or a college student in general, in perfect detail.
This ties into the final aspects of the article: the theme of “duende”. Without that sense of awe or vividness, a poem is just pretty words strung together. Poets need to be able to call forth emotion in their writing to evoke it in a reader, again, similar to the story of the college student who couldn’t describe the homeless man. In comparison, the poem Sunday Morning had a universal feeling for some as the focal point: the annoyance of having to deal with a consistently misbehaving child, and a generally annoying and loud family while trying to work. The work knows that the reader, if in the same situation, would feel the urge to scream, to grab the cat and throw “it, as if it were a housefly” into the wall. Despite this, Corrine Hales, the author, knows that the reader would restrain themselves in this situation. It would be a single frivolous, intrusive thought that lasted for a moment before being brushed aside, which is what makes the poem so much more jarring when the fantasy plays itself out in vivid detail in the writing.
I have come to discover that writing with integrity and moral rightness is something like a yin and yang. There is light and dark in all of life’s experiences. The concept of the human shadow as explained in this chapter isn’t just about one’s darkness, as one might associate a shadow with. It’s also the passions, talents, and love a person rejects and denies themselves access to. “The long bag we drag behind us,” isn’t necessarily full of coal. Accepting the shadow as part of our human completeness brings us closer to integrity, a poet that captures the human experience and reality, what it really means to breathe and bleed. Poets can’t afford to always play nice, because that is not the true human experience. By integrating the shadow of ourselves into honest, vulnerable writing, we unlock a wholeness, even if we feel an emptiness. I think the most important and curious aspect of this chapter was understanding how one begins to answer to their shadow. By getting past the perfectionist in ourselves, the voice that tells us what is and isn’t acceptable, we are able to unleash our full potential. To find the shadow, you have to train yourself to see the world through less than perfect eyes. Once you see it, you have unlimited stories to tell.
This class and its material have been particularly hard for me to grasp. As a communications major, and also a writing minor, I feel confident and comfortable about my writing the majority of the time. It was only when I arrived in this poetry class that those feelings drastically changed. No longer did I feel good about my writing ability. On the bright side, I have relaxed and written my first poem, so I feel just a little bit better than I did before.
This chapter was exactly what I needed to hear (or read) at this point in the class. The main takeaway from the chapter for me was allowing your mind to open up, to let the creative ideas and thoughts run, and to not be distracted by outside influences. In other words, peace of mind. Not something that I have found in this area of study yet. In addition to these takeaways, I also enjoyed the shadow metaphor. Things like this, meaning true concepts or ideas that everyone knows about, but not so much consciously, do not often get shared as widespread as they should be. I was grateful that the author of this book talked about this and the benefits of accessing it. Coming to terms with your own personal shadow can dramatically increase the connection an artist has to his/her work. It makes sense. The more in tune you are with yourself, the more clearly you will be able to depict your thoughts and emotions.
Lastly, the author says that great poets are not necessarily great poets because of their sufferings, rather because they became great in spite of their sufferings. This is an important distinction that I feel connects a lot of dots for me. You do not have to have a bottomless pit of a soul to create poetry, you just have to be in touch with a few things and get creative.
I think the concept of “bag stuffing” that is mentioned at the beginning of the chapter is both interesting and important. From the time we are born and through our lives we are conditioned beings. Meaning we are taught by other human beings, typically parens, how to speak, act, and thrive in society. The factors and “way” of conditioning comes from the expectations and stereotypes set by society. An easy example of this would be boys wear blue and play with trucks while girls wear pink and play with Barbies. A sweeping generalization of what each genders attributes are, but it is often the reality.
If an individual chooses to not want to partake in the conformities of society, they are, in most cases, socially exiled. Over time this can create what Jung describes as “bag stuffing.” I believe that everyone in society chooses to hide certain parts of themselves in order to be considered socially adequate or “normal”. There is no one definition of normal, as it is often based on cultural factors over facts. We show these parts of ourselves to those we fnd . For some individuals, those parts are never shown. One way I find bag stuffing can be released is through writing. Although writing is not a replacement for professional help, it can be a therapeutic exercise. The individual is able to express parts of them that are hidden, almost like an alternative persona or true self. Poetry, due to it’s emotionally expressive nature, is both a creative and easy method. If we create art, we can hold onto those bagged parts of ourselves. We do not become the shell or “thin slice.”
The idea of a shadow self is strange to me but the idea definitely resonates with me. I’ve never seen talk about writing vunerably be put in this way but I definitely think it was a good way to put it. I think it can be hard to write in such a vulnerable way while still coming across as genuine to the reader. It can be tricky to talk about experiences without giving off an air of complaining or ranting which may turn readers off. In this way I think it’s very important to mix the shadow side and the lighter side of yourself. I think grey areas are where people do best and readers best connect to work because you’re showing readers both sides of yourself. You’re laying yourself completely bare and not hiding one side of yourself. This way the reader gets to see all parts of you and they’re more likely to connect to you. Everyone is a hypocrite in some way. Highlighting that I think makes people relate to you. To me it also makes your work more meaningful. I don’t like omitting things, I think being as realistic as possible about how I feel creates my best work. Even if it’s a grey area or messy. Especially if it’s a grey area or messy.
This is what I’d like to try and reflect in my work. If I can get comfortable working in my own grey area I think my work will be all the better for it in the end. It will certainly be more real or “raw” for me which I think is what attracts readers. I find the work I’ve created that I like the most is the messy stuff. The things from the grey area that I’ve written about. I’m hoping to tap into that more during this course.
Everyone surrounding us has shadows within that follow them through their lives. Some people may struggle with explaining their feelings, and use poetry or art to creatively get the words out in a way that can make others think more deeply. I personally relate to a lot of the readings and look beyond the text to try to understand where the author is coming from. As we read, it’s meant to paint a picture in our heads and give off more insight of what is really happening, even if it is not shown on the outside. Metaphors and similies are often used to describe the feelings in a different way that really makes the audience think about what they are trying to say. This form of writing is not strict and can be interpreted with many different techniques, styles, and ideas. It can also be used as a coping mechanism or psychological work to get your feelings on paper. However, not every piece has to be about the misery we face with ourselves. Sometimes it’s pleasurable to explain the lighter moments we experience, even if it is rare; it can show true beauty. Inside of each of us, there’s a glimmer in our hearts that will someday shine through and teach us that the bad and uncomfortable parts of our lives add character and personal development. Although I enjoy reading the raw and heavy pieces, coming from deep within our own shadows and faults, I can appreciate the moments where we illustrate the parts of us that make us hold onto hope, even if it’s subtle.
14 thoughts on “JOURNAL # 2”
The idea of the long black bag being dragged behind every one of us is very interesting to me. Connecting that kind of imagery to the idea of having baggage in the back of our minds gives us the physical form of those dark/looming thoughts we have. The acknowledgement that each person has one of these bags as soon as they become conscious of the society and world they live in is very important. We all go through struggles from very different circumstances no matter where we grew up or who we grew up with. But the realization that we are only a fraction of what we could be is very interesting to read. I also thought it was helpful to understand that poems can be good but lack a sense of depth if an author does not wish to dive into the true emotions of life. However, poets who are able to stare life in the face and write feverishly about the complexities of human happiness and human suffering are the ones who truly move their audience. Whether in a happy, sad, comforting, angry, or uncomfortable way, the audience was moved. Just like in Corrine Hales “Sunday Morning” on page 60, we are drawn in by the “normalness” of a busy household with little kids, cats, and a working mother. We keep reading and reading until all of a sudden, we are chained down watching the mother snap and throw the kitten against the wall. We are uncomfortable but feel we need to keep reading. Then and there, we identify with the child walking out of the room, we don’t want to believe what we just witnessed, we just want to walk away. But diving into real life in this way is important to show how quickly something can change. It shows the buildup of emotion, and the release. It was truly an awe-inspiring read given how vivid it was in so few words.
While reading “The Shadow” in our book, the first page immediately caught my eye. I fully believe that we all have a dark and a light side and that the world contains both good and evil. One of my favorite verses in the bible is how everyone does bad and never always does good (Ecclesiastes 7:20). On page 57, it mentions that “it’s important not to censor yourself” and I think that is true if you really want to reflect on who you are as a whole and when trying to write deep poetry. Sometimes it is not going to be happy and it is going to be raw but that is what makes it beautiful. I think it is helpful to integrate our shadow side because as the reading says, it is training ourselves to truly see. It is true that we must be willing to feel the emotions that come from facing the world and really grasping onto the truth as not only a poet, but a person. There are happy things of course, even the chapter mentions happy poems, but it’s the darker poems that people avoid reading or writing because it is so true and so raw, it scares us because like it said in the beginning of the chapter, we deny our shadow. This chapter really speaks to me in general because as someone who enjoys poetry and writing, I always write on darker topics, even if I am just free writing it usually turns into some sad truth of the world. I come off as a happy person to everyone, I do try my best to do good by everyone and be kind, but where I think my shadow comes in, is the way I think people can treat me and the way I think of myself. Honesty is a beautiful thing and I think that is why such deep poetry means a lot to me.
This chapter explained well how psychology and writing mix and are important to each other. It is helpful to put names to these parts of ourselves and society, the ego and the shadow, in order to identify where we are acting, thinking, or writing from. I found it intriguing how the authors explained Robert Bly’s term “bagstuffing”, specifically that we bag up not only negative traits, but also undeveloped talents and gifts. I think creativity is in everyone and a lot of times people bag this up, due to various reasons within our society that is so fast paced and work focused; we forget to slow down, create, and appreciate art. I feel as if creativity is a part of me that I stuffed in a bag, and am only now trying to find again. It makes me curious about what would happen if everyone dug up these undeveloped talents and gifts within themselves.
I was also intrigued when the authors explained that you should allow yourself to go wherever the writing takes you. When I first started trying to write I had a hard time, kind of like “writer’s block”, but it suddenly became easier when I allowed myself to surrender to the flow, and go in any direction. When you let your subconscious mind speak, then you are able to access deeper parts of yourself, what Carl Jung calls the Shadow. I also found it helpful when the authors noted that a poet needs to let themselves see. I think this is similar to surrendering to the flow of writing because you have to let yourself slow down and your eyes wander, rather than staying in a place of control from the ego or staying stuck in our fast paced society.
The poem by Corrine Hales was definitely uncomfortable and a bit shocking to read, but it is a great example of poetry making us face the ugly truths of humanity. I absolutely love the term duende by Federico Garcia Lorca and the quote by Goethe, “A mysterious power that all may feel and no philosophy can explain.” I view this as the energy that exists within writing from deep truths.
Colette Murphy
Professor Miller
WRT 211
9/6/2023
Journal #2
As I was reading this chapter, I couldn’t help but feel enamored by Corrine Hales’ use of personification in her poem Sunday Morning. When She says how children gathered around the “glowing open mouth of the electric oven” I reread it a few times, struck deeply by the realism in such a short stanza that fits so well to the story you could be there. Poems are hard enough to write, adding a story that’s so hectic is truly inspiring. But apart from the poems referenced throughout this chapter, it was the almost random insertion of Carl Jung that made me surprised. I wasn’t expecting to hear of a psychologist in a book about poetry, but his ideals have captivated me. The idea of a shadow, something that many seemingly run from their whole lives, is quite fascinating in my opinion. According to Jung, this “shadow” is formed young, which makes me assume that environment comes into play. I’d like to think that my own has always been out there, or will be some day when I write a memoir/autobiography. While the self is both dark and light, people tend to hide the darker parts of them within it. Society has constantly been trying to fit themselves into boxes that aren’t the shape of their soul, and Jung using this ideal to say that one tries to fit themself and all they are, good and bad parts mostly hidden, into a bag reminds me of the poem by Mary Lambert:
But there is something that happens
When you are told you are too much
You begin to ask everyone,
How small would you like me?
From her book “You are the Wrong Person.” I liked that this chapter surrounds the idea that writing can be a form of relief if one wishes it to be, since that’s what my relationship with writing has gifted me. It’s interesting to see how many people, as this chapter suggests, deny that they even have a shadow; and as I’m writing this, perhaps I’ve realized I am one of them. I feel that there is a certain aura that poets emit, a sad sort of energy that is sprawled out in ink when pen hits paper- or for most people these days, hidden away in the notes app late at night.
I found this chapter comforting due to the fact that it shows how hard it is to write poetry. It explains how in order to write poetry, one must tap into the shadowy part of their brain where they can interact with complex emotions. I found that when I was starting my first poem for this class that I had a really tough time trying to get into that head space and being able to articulate exactly what I wanted to say. This chapter points out though that it will become easier over time, and that it just takes practice. I wouldn’t be surprised if this is a chapter I revisit if I ever need a little bit of positive reinforcement when it comes to writing poetry.
The two examples of poems that were given both gave me chills. They were deep, engaging, and insightful. It was slightly intimidating, but it also made me really excited to learn how to write poetry.
This chapter delves into some of the challenges we as writers encounter when learning how to become comfortable with poetry – especially centering around this idea the chapter introduces, the shadow. The shadow refers to the hidden and rejected part of our identity, the ego, and how we all understand the aspects of good and evil in society and the lightness and darkness within us, yet human nature might pull us toward denying the darkness and only showcasing the light. Part of this shadow is that it isn’t inherently negative and that taking actions such as writing poetry can actually help us navigate this less-than-perfect side of ourselves with creativity and imagination that can achieve something, whether that be solace, insight, or even beauty. I loved the quote by Colette saying, “Look hard at what pleases you and harder at what doesn’t”(57). This brings up so much of what I tend to think about when writing for myself, whether that is just journaling or random scattered thoughts. Writing out grievances or critiques or whatever negative feelings emerge, they usually organically generate some inner reflection or connections I never knew would come up. I also found the point made regarding training yourself to see these kinds of things and looking closely at details we may find when exercising this type of poetry interesting. Like in the two poem examples in the chapter, the uncomfortable and the unspoken all have so many descriptive, thought-provoking possibilities that are so personal to every reader. Practicing ourselves, I think, can be a beautiful way to connect as human beings who all have unsaid aspects of ourselves and shadows dragging behind us.
You know I think the idea of the shadow or our shadow self is an interesting concept as we don’t really realize how many faces we can possess throughout our lives. Fight Club did it best as we always imagined a different version of ourselves solving our own problems that we are not ready to face but our shadow selves could handle the situation effortlessly. That is just a psychological concept that can be dangerous depending on the person’s ego/mindest. Another point I found interesting was the idea of where poetry comes from. A lot of times it comes from famous poets were struggled with alcohol and drug abuse which is reflected in their depressive writings. But poetry does not have to be personal or romantic, there are no guidelines just ideas to follow as you choose. However, the ideas of relatable poetry or deep poetry have been more of a recent occurrence as they could be seen as more digestible. That’s one of the many great reasons for poetry, anyone can write it and learn it. It’s a lot easier than following the guidelines of an academic essay or learning a new skill. Sometimes poetry just happens. However, I am curious how childhood influences like Shel Silverstein or Dr. Seus can influence one’s writing style today.
The idea of a shadow aspect of ourselves is not a new concept to me, though I had never thought of it being a place where creativity can come from as the first page suggests. However, upon reflection, it makes perfect sense. Many of us, myself included, enjoy stories that contain dark elements or themes, often actively seeking out music or television shows that possess those qualities. We see that darkness in our favorite characters, or in the words of others, and we don’t feel as guilty, or shameful of that shadow, allowing ourselves to dabble in a side of ourselves often repressed due to an understandable fear of corruption or becoming ‘bad.’ Many people associate poetry with a melancholy feeling for that same reason— that shadow is often reflected in its lines as well. And just as the chapter reminds us, light is important too, as we can’t simply let anger, resentment, fear, and despair overtake us, or we wouldn’t be able to live or tell a satisfying story. I found this reminder helpful, as it is often easy to forget that we are not only allowed to tap into this shadow for inspiration, but also that other people will find meaning in whatever comes out of said shadow.
I am curious how I will end up using this concept of a shadow in both my poetry and my personal work. The idea that writing can, and in some cases, should (especially if writing about dark thematic topics or genres like horror) make the reader uncomfortable intrigues me, as it goes against the familiar instinct of trying to please everyone, to write for an audience rather than for yourself.
I really enjoy the idea that poetry has the capacity to be very visceral and blunt. There is sometimes a stigma that it consists of flowery language and pastel emotions, but some of the best poetry is dark— or an ironic mockery of lighter poems. Plus, as morbid as it is, I love the raw emotion that can be displayed through poetry. It can be more scathing, biting, and cutting than any prose or story directed at anyone.
Another thing I found interesting was the attention drawn to the requirement of a poet’s attention to detail. Poetry can help to inspire awe, shock, and admiration, but in order for a poet to convey these emotions, they have to be able to experience them themselves. Not only this, the requirement for a poet to have empathy is very prevalent. In order to see and experience, one needs to put themselves in the shoes of someone else. For example, the hypothetical homeless man/woman in the chapter. To “look closely” at the world is to experience it from a variety of perspectives. The woman in the story may not have been able to conjure up the image of a homeless man/woman, but I have no doubt the man would’ve been able to describe an English student, or a college student in general, in perfect detail.
This ties into the final aspects of the article: the theme of “duende”. Without that sense of awe or vividness, a poem is just pretty words strung together. Poets need to be able to call forth emotion in their writing to evoke it in a reader, again, similar to the story of the college student who couldn’t describe the homeless man. In comparison, the poem Sunday Morning had a universal feeling for some as the focal point: the annoyance of having to deal with a consistently misbehaving child, and a generally annoying and loud family while trying to work. The work knows that the reader, if in the same situation, would feel the urge to scream, to grab the cat and throw “it, as if it were a housefly” into the wall. Despite this, Corrine Hales, the author, knows that the reader would restrain themselves in this situation. It would be a single frivolous, intrusive thought that lasted for a moment before being brushed aside, which is what makes the poem so much more jarring when the fantasy plays itself out in vivid detail in the writing.
I have come to discover that writing with integrity and moral rightness is something like a yin and yang. There is light and dark in all of life’s experiences. The concept of the human shadow as explained in this chapter isn’t just about one’s darkness, as one might associate a shadow with. It’s also the passions, talents, and love a person rejects and denies themselves access to. “The long bag we drag behind us,” isn’t necessarily full of coal. Accepting the shadow as part of our human completeness brings us closer to integrity, a poet that captures the human experience and reality, what it really means to breathe and bleed. Poets can’t afford to always play nice, because that is not the true human experience. By integrating the shadow of ourselves into honest, vulnerable writing, we unlock a wholeness, even if we feel an emptiness. I think the most important and curious aspect of this chapter was understanding how one begins to answer to their shadow. By getting past the perfectionist in ourselves, the voice that tells us what is and isn’t acceptable, we are able to unleash our full potential. To find the shadow, you have to train yourself to see the world through less than perfect eyes. Once you see it, you have unlimited stories to tell.
This class and its material have been particularly hard for me to grasp. As a communications major, and also a writing minor, I feel confident and comfortable about my writing the majority of the time. It was only when I arrived in this poetry class that those feelings drastically changed. No longer did I feel good about my writing ability. On the bright side, I have relaxed and written my first poem, so I feel just a little bit better than I did before.
This chapter was exactly what I needed to hear (or read) at this point in the class. The main takeaway from the chapter for me was allowing your mind to open up, to let the creative ideas and thoughts run, and to not be distracted by outside influences. In other words, peace of mind. Not something that I have found in this area of study yet. In addition to these takeaways, I also enjoyed the shadow metaphor. Things like this, meaning true concepts or ideas that everyone knows about, but not so much consciously, do not often get shared as widespread as they should be. I was grateful that the author of this book talked about this and the benefits of accessing it. Coming to terms with your own personal shadow can dramatically increase the connection an artist has to his/her work. It makes sense. The more in tune you are with yourself, the more clearly you will be able to depict your thoughts and emotions.
Lastly, the author says that great poets are not necessarily great poets because of their sufferings, rather because they became great in spite of their sufferings. This is an important distinction that I feel connects a lot of dots for me. You do not have to have a bottomless pit of a soul to create poetry, you just have to be in touch with a few things and get creative.
I think the concept of “bag stuffing” that is mentioned at the beginning of the chapter is both interesting and important. From the time we are born and through our lives we are conditioned beings. Meaning we are taught by other human beings, typically parens, how to speak, act, and thrive in society. The factors and “way” of conditioning comes from the expectations and stereotypes set by society. An easy example of this would be boys wear blue and play with trucks while girls wear pink and play with Barbies. A sweeping generalization of what each genders attributes are, but it is often the reality.
If an individual chooses to not want to partake in the conformities of society, they are, in most cases, socially exiled. Over time this can create what Jung describes as “bag stuffing.” I believe that everyone in society chooses to hide certain parts of themselves in order to be considered socially adequate or “normal”. There is no one definition of normal, as it is often based on cultural factors over facts. We show these parts of ourselves to those we fnd . For some individuals, those parts are never shown. One way I find bag stuffing can be released is through writing. Although writing is not a replacement for professional help, it can be a therapeutic exercise. The individual is able to express parts of them that are hidden, almost like an alternative persona or true self. Poetry, due to it’s emotionally expressive nature, is both a creative and easy method. If we create art, we can hold onto those bagged parts of ourselves. We do not become the shell or “thin slice.”
The idea of a shadow self is strange to me but the idea definitely resonates with me. I’ve never seen talk about writing vunerably be put in this way but I definitely think it was a good way to put it. I think it can be hard to write in such a vulnerable way while still coming across as genuine to the reader. It can be tricky to talk about experiences without giving off an air of complaining or ranting which may turn readers off. In this way I think it’s very important to mix the shadow side and the lighter side of yourself. I think grey areas are where people do best and readers best connect to work because you’re showing readers both sides of yourself. You’re laying yourself completely bare and not hiding one side of yourself. This way the reader gets to see all parts of you and they’re more likely to connect to you. Everyone is a hypocrite in some way. Highlighting that I think makes people relate to you. To me it also makes your work more meaningful. I don’t like omitting things, I think being as realistic as possible about how I feel creates my best work. Even if it’s a grey area or messy. Especially if it’s a grey area or messy.
This is what I’d like to try and reflect in my work. If I can get comfortable working in my own grey area I think my work will be all the better for it in the end. It will certainly be more real or “raw” for me which I think is what attracts readers. I find the work I’ve created that I like the most is the messy stuff. The things from the grey area that I’ve written about. I’m hoping to tap into that more during this course.
Everyone surrounding us has shadows within that follow them through their lives. Some people may struggle with explaining their feelings, and use poetry or art to creatively get the words out in a way that can make others think more deeply. I personally relate to a lot of the readings and look beyond the text to try to understand where the author is coming from. As we read, it’s meant to paint a picture in our heads and give off more insight of what is really happening, even if it is not shown on the outside. Metaphors and similies are often used to describe the feelings in a different way that really makes the audience think about what they are trying to say. This form of writing is not strict and can be interpreted with many different techniques, styles, and ideas. It can also be used as a coping mechanism or psychological work to get your feelings on paper. However, not every piece has to be about the misery we face with ourselves. Sometimes it’s pleasurable to explain the lighter moments we experience, even if it is rare; it can show true beauty. Inside of each of us, there’s a glimmer in our hearts that will someday shine through and teach us that the bad and uncomfortable parts of our lives add character and personal development. Although I enjoy reading the raw and heavy pieces, coming from deep within our own shadows and faults, I can appreciate the moments where we illustrate the parts of us that make us hold onto hope, even if it’s subtle.