The idea presented at the start of the “Toxic Language Dump” is amusing. It is reminiscent of the phrase “kill your darlings,” but it is distinct. It’s almost like a cousin. “Archaeology” resonates, in specific the line about holding a bundle of shards and wondering if the time was wasted. The phrasing of “give me back my years” is powerful. The ability to look back at time spent creating poetry and embrace the process itself is one that I aspire to reach.
This chapter focuses on the importance of similes and metaphors in poetry. Using similes and metaphors can provide imagery for the reader in unique ways by comparing things that aren’t typically compared. As said in the chapter, “they stimulate imagination.” They challenge readers to open up their minds. They can also create connections. A good poet has the ability to point to a picture so memorable that it will linger in their minds for quite some time after reading it. The author reinforces the idea that it’s good to add a simile or metaphor when writing a poem as it helps provide imagery.
I liked how the chapter started by asking us to imagine a world without similes or metaphors. A world where falling blossoms never reminded us of snow, where a cloud never looked like a horse, where a lover never moved like a dancer. That image of a “severely impoverished world” has stayed with me, because it feels so true. Without metaphor, everything would just be flat, literal, and lifeless. To me, Addonizio, and Laux, a metaphor is how we connect things that aren’t supposed to be connected and discover they belong together after all. The “Toxic Language Dump” was one of my favorite ideas in this section, because of how tempting it is to lean on tired images simply because they’re familiar and easy. The challenge, and maybe the joy, is digging past them; finding a stranger, truer way of saying something. Like Norman Dubie’s unsettling simile: “The cancer ate her / like horse piss eats deep snow.” I also liked how the book discusses the new language that comes with a metaphor, and how it can be used to “intensify the themes and concerns of your work”. If hope is spring soil, you get “roots,” “green shoots,” “tilled earth.” If it’s a lantern, you get “glow,” “fire,” “flicker in the dark.” It’s like opening a door and finding an entire room of words you didn’t know you had access to. And I loved that Addonizio and Laux practice what they preach. Even explaining metaphor, they slip into metaphor: “cast a different angle of light,” “keep digging.” It proves their point that we live inside figurative language already, woven into the way we talk, think, and even notice things. It’s not that figurative language is rare or reserved for poets; it’s that we’ve gotten so used to it we forget it’s there.
This chapter focused on the importance of metaphor and similes when writing poetry. More specifically, the author impresses the importance of using metaphor and similes in ways that are thoughtful, novel, and not creatively exhausted. By creatively exhausted what I mean is that there is an entire bank of metaphors in the English language which have been written to death, and in the spirit of the metaphor, figuratively beating the dead horse well beyond its expiration. To compare a rose garden to being in love or to use wings as a metaphor for freedom, the author argues, will not stimulate modern readers who have already been exposed to these sorts of comparisons until they have become utterly tired. Phrased differently, the novelty of these metaphors is gone, and so instead we should seek to use language which finds other novel comparisons that make us look at a particular object, feeling, or whatever else some such through a new and different lens.
Out of all the poems included in this chapter, my favorite remained Olds’s poem “Feared Drowned”. I would absolutely grant that in large part however the reason that this poem appeals to me so much is because of my own personal aesthetic tastes. Nautical poems, and writing which pertains to the oceans in general, tend to be my absolute favorite. This is especially case when the nature of the poem is either glum, melancholic, foreboding, or eerie. I would say that this particularly poem falls into the first two categories of these, and mixed with the nautical imagery and mood, lends itself to be an incredibly strong poem.
The chapter Simile and Metaphor introduces us to the imagination of a literal world. In this world everything is taken literally and not one thing would remind you of another. A world where we are so comfortable without seeking deeper meaning. The opposite of that is considered poetry. Similes and metaphors make connections that deepen and expand our imagination. There are many phrases that are overused in this type of language and that is considered The Toxic Language Dump. When writing poetry you do not want to use any of these phrases. However, you can change those words into something else that will grab your reader and your words will resonate with them, creating a memorable image. Another thing that stuck out to me was tying a simile or metaphor to the poem. When using these figures of speech you want to relate them to the topic of the poem. If you do not do this then they will not resonate with the reader as much as you intend them to.
In this chapter, I found the concept of a Toxic Language Dump interesting. It’s for expressions that don’t add to the poetry. If you’re going to speak in metaphor, make it make sense! I see figurative language across all kinds of writing, and in poetry, it plays a key role. I think there is skill in making a good metaphor. The book talks about creating a memorable image, maybe something that the reader can relate to or, if not, something that sparks the imagination. In class, we talk about how a good poem can engage all senses and utilize metaphors and similes can either enhance that or take away from the focus. I also found the Archeology poem interesting, as it teaches that metaphors don’t have to have a sole focus but can cover a whole piece. The title in this poem refers to the process of ‘digging’, which in itself is compared to each layer of this writing. I’d like to see how other poems use a whole idea to quietly break down the actual poem. I like this idea, but I would find it hard to find that initial focus, then generalness within the depth of my writing.
“Similes and Metaphors” for me is a chapter about the idea of literacy and figures of speech in poetry. It also seems to criticize the usage of similes and metaphors, in the sense that they are overused and the non-sensical ones should be sent to the Toxic Language Dump. Something that stuck out at me when reading was the idea that understanding the Toxic Language Dump is what separates a good poet from a not-so-good poet, as a good poet will understand what language they’ve written deserves to be dumped and removed, and a not-so-good poet does not recognize this and leaves the language in the poem. A good poet uses this language to paint the picture of the scene, to tell a visual story to the reader and describe what is happening. Sharon Olds’s poem that we read in class is used as an example of this type of language, as her simile “Your suit black as seaweed” is not only a haunting depiction of fear of death, but also ties itself to the theme and central idea of the poem, which is the fear and anxiety one faces when they believe their loved one has drowned/passed away. You can’t just put in similes like you need to meet a quota, you should be able to use them to televise your poem, paint that canvas. A couple squiggly lines is not art, it is just the start. It is up to you to fill in that canvas with the tools you have.
This chapter was very interesting to me. One of the main things I remember learning about regarding poetry growing up was metaphors and similes. Something that stood out to me was the first poem in the chapter titled “Fear Drowned Two”. I thought this poem was really good and thought provoking. It managed to make me think about and feel the panic the author of the poem was feeling when they couldn’t find who they were looking for. I thought the way that the author described the suit their partner was wearing multiple times but described it differently each time was really cool. Overall, that whole poem was just really good and definitely one of my favorites that we have read so far. I also really liked the term “Toxic Language Dump”. I feel like that is a really good way of dealing with overused metaphors and similes, while also communicating that you can do something similar, but just make it fresh. This chapter was a lot of fun to read and feel like I have better ideas for metaphors and similes now.
A lot of things stood out to me in this chapter. I thought it was interesting how these ways of writing are not just fancy, but a different way of deeper thinking. The chapter points out how metaphors make sense of the world in our everyday lives, even if we do not realize it. This is due to everyone comparing themselves and things to one another, which I can admit I do often. This really struck me because I always thought of similes and metaphors as ways to make your poem look nicer and more complex. This chapter is more of a reminder that we already live in a world of metaphors, but poetry is able to describe it more clearly. I also like how this chapter does not just simply define similes and metaphors but how each one has its own special place in a poem. A simile connects things with like and as but also leaves distance, while a metaphor closes that distance and describes something as another thing. This sounded really confusing to me at first, and I actually had a lot of trouble understanding what that meant. However, when I thought more about it, I now understand what makes a metaphor so intense. At the same time, I also liked how similes have their own value even though they are not as powerful as a metaphor. They are able to explain to the reader to see the similarities but also notice the separation between the two things being compared. Something that left me curious was when this chapter explained how easy it is to cling onto comparisons, but that writing only becomes stronger when you push yourself out of your comfort zone. I know that is definitely something I do, I will usually use the first comparison that comes to mind, leaving it sounding flat and out of place. I liked how the chapter reminded me that poetry works way better when you are able to see ordinary things in new ways. I also liked the idea that through metaphors, I can step into another person’s shoes and find my own connections that were not so clear before.
“The Toxic Language Dump” is something I’m familiar with, although I never knew it had that title. There’s so many moments when writing poetry where you look at a line you’ve just written and sort of cringe. Not every expression can immediately be something profound and new, something that you’re firmly proud of. This chapter showed me the importance of figurative language through the poem examples. The figurative language in the poem “Michiko Dead” was so perfect and brilliant. Even though Gilbert of course is not literally carrying a box, the images he creates in the poem emulate exactly how his grief feels. The quote, “In developing your own figurative images, don’t worry if your language is clumsy or confusing at first. Just have patience, and keep digging.” was encouraging because writing poetry can be overwhelming, frustrating, and discouraging at times. Sometimes it’s hard to find that phrase or comparison that truly reflects the scene and feelings you’re trying to convey, you just need to play around with it and let the lines flow to you freely.
I found this chapter interesting because it really brought out how powerful similes and metaphors are in everyday life and how they make things more exciting in a way. I never really think about relating things to uncommon things because I can’t ever get the feeling I want out of the piece when I try. But this chapter showed me that it is normal to feel that way and to just keep writing till something clicks with it.
I found this chapter very interesting. I’ve never heard of The Toxic Language Dump before, but the concept is familiar to me. When writing not every line is going to be good and that is something you have to get used to. This chapter talks about how to know when to dump a line, which I found really helpful. I sometimes hold onto lines that aren’t that good and that can really make or break a poem.
12 thoughts on “JOURNAL # 5”
The idea presented at the start of the “Toxic Language Dump” is amusing. It is reminiscent of the phrase “kill your darlings,” but it is distinct. It’s almost like a cousin. “Archaeology” resonates, in specific the line about holding a bundle of shards and wondering if the time was wasted. The phrasing of “give me back my years” is powerful. The ability to look back at time spent creating poetry and embrace the process itself is one that I aspire to reach.
This chapter focuses on the importance of similes and metaphors in poetry. Using similes and metaphors can provide imagery for the reader in unique ways by comparing things that aren’t typically compared. As said in the chapter, “they stimulate imagination.” They challenge readers to open up their minds. They can also create connections. A good poet has the ability to point to a picture so memorable that it will linger in their minds for quite some time after reading it. The author reinforces the idea that it’s good to add a simile or metaphor when writing a poem as it helps provide imagery.
I liked how the chapter started by asking us to imagine a world without similes or metaphors. A world where falling blossoms never reminded us of snow, where a cloud never looked like a horse, where a lover never moved like a dancer. That image of a “severely impoverished world” has stayed with me, because it feels so true. Without metaphor, everything would just be flat, literal, and lifeless. To me, Addonizio, and Laux, a metaphor is how we connect things that aren’t supposed to be connected and discover they belong together after all. The “Toxic Language Dump” was one of my favorite ideas in this section, because of how tempting it is to lean on tired images simply because they’re familiar and easy. The challenge, and maybe the joy, is digging past them; finding a stranger, truer way of saying something. Like Norman Dubie’s unsettling simile: “The cancer ate her / like horse piss eats deep snow.” I also liked how the book discusses the new language that comes with a metaphor, and how it can be used to “intensify the themes and concerns of your work”. If hope is spring soil, you get “roots,” “green shoots,” “tilled earth.” If it’s a lantern, you get “glow,” “fire,” “flicker in the dark.” It’s like opening a door and finding an entire room of words you didn’t know you had access to. And I loved that Addonizio and Laux practice what they preach. Even explaining metaphor, they slip into metaphor: “cast a different angle of light,” “keep digging.” It proves their point that we live inside figurative language already, woven into the way we talk, think, and even notice things. It’s not that figurative language is rare or reserved for poets; it’s that we’ve gotten so used to it we forget it’s there.
This chapter focused on the importance of metaphor and similes when writing poetry. More specifically, the author impresses the importance of using metaphor and similes in ways that are thoughtful, novel, and not creatively exhausted. By creatively exhausted what I mean is that there is an entire bank of metaphors in the English language which have been written to death, and in the spirit of the metaphor, figuratively beating the dead horse well beyond its expiration. To compare a rose garden to being in love or to use wings as a metaphor for freedom, the author argues, will not stimulate modern readers who have already been exposed to these sorts of comparisons until they have become utterly tired. Phrased differently, the novelty of these metaphors is gone, and so instead we should seek to use language which finds other novel comparisons that make us look at a particular object, feeling, or whatever else some such through a new and different lens.
Out of all the poems included in this chapter, my favorite remained Olds’s poem “Feared Drowned”. I would absolutely grant that in large part however the reason that this poem appeals to me so much is because of my own personal aesthetic tastes. Nautical poems, and writing which pertains to the oceans in general, tend to be my absolute favorite. This is especially case when the nature of the poem is either glum, melancholic, foreboding, or eerie. I would say that this particularly poem falls into the first two categories of these, and mixed with the nautical imagery and mood, lends itself to be an incredibly strong poem.
The chapter Simile and Metaphor introduces us to the imagination of a literal world. In this world everything is taken literally and not one thing would remind you of another. A world where we are so comfortable without seeking deeper meaning. The opposite of that is considered poetry. Similes and metaphors make connections that deepen and expand our imagination. There are many phrases that are overused in this type of language and that is considered The Toxic Language Dump. When writing poetry you do not want to use any of these phrases. However, you can change those words into something else that will grab your reader and your words will resonate with them, creating a memorable image. Another thing that stuck out to me was tying a simile or metaphor to the poem. When using these figures of speech you want to relate them to the topic of the poem. If you do not do this then they will not resonate with the reader as much as you intend them to.
In this chapter, I found the concept of a Toxic Language Dump interesting. It’s for expressions that don’t add to the poetry. If you’re going to speak in metaphor, make it make sense! I see figurative language across all kinds of writing, and in poetry, it plays a key role. I think there is skill in making a good metaphor. The book talks about creating a memorable image, maybe something that the reader can relate to or, if not, something that sparks the imagination. In class, we talk about how a good poem can engage all senses and utilize metaphors and similes can either enhance that or take away from the focus. I also found the Archeology poem interesting, as it teaches that metaphors don’t have to have a sole focus but can cover a whole piece. The title in this poem refers to the process of ‘digging’, which in itself is compared to each layer of this writing. I’d like to see how other poems use a whole idea to quietly break down the actual poem. I like this idea, but I would find it hard to find that initial focus, then generalness within the depth of my writing.
“Similes and Metaphors” for me is a chapter about the idea of literacy and figures of speech in poetry. It also seems to criticize the usage of similes and metaphors, in the sense that they are overused and the non-sensical ones should be sent to the Toxic Language Dump. Something that stuck out at me when reading was the idea that understanding the Toxic Language Dump is what separates a good poet from a not-so-good poet, as a good poet will understand what language they’ve written deserves to be dumped and removed, and a not-so-good poet does not recognize this and leaves the language in the poem. A good poet uses this language to paint the picture of the scene, to tell a visual story to the reader and describe what is happening. Sharon Olds’s poem that we read in class is used as an example of this type of language, as her simile “Your suit black as seaweed” is not only a haunting depiction of fear of death, but also ties itself to the theme and central idea of the poem, which is the fear and anxiety one faces when they believe their loved one has drowned/passed away. You can’t just put in similes like you need to meet a quota, you should be able to use them to televise your poem, paint that canvas. A couple squiggly lines is not art, it is just the start. It is up to you to fill in that canvas with the tools you have.
This chapter was very interesting to me. One of the main things I remember learning about regarding poetry growing up was metaphors and similes. Something that stood out to me was the first poem in the chapter titled “Fear Drowned Two”. I thought this poem was really good and thought provoking. It managed to make me think about and feel the panic the author of the poem was feeling when they couldn’t find who they were looking for. I thought the way that the author described the suit their partner was wearing multiple times but described it differently each time was really cool. Overall, that whole poem was just really good and definitely one of my favorites that we have read so far. I also really liked the term “Toxic Language Dump”. I feel like that is a really good way of dealing with overused metaphors and similes, while also communicating that you can do something similar, but just make it fresh. This chapter was a lot of fun to read and feel like I have better ideas for metaphors and similes now.
A lot of things stood out to me in this chapter. I thought it was interesting how these ways of writing are not just fancy, but a different way of deeper thinking. The chapter points out how metaphors make sense of the world in our everyday lives, even if we do not realize it. This is due to everyone comparing themselves and things to one another, which I can admit I do often. This really struck me because I always thought of similes and metaphors as ways to make your poem look nicer and more complex. This chapter is more of a reminder that we already live in a world of metaphors, but poetry is able to describe it more clearly. I also like how this chapter does not just simply define similes and metaphors but how each one has its own special place in a poem. A simile connects things with like and as but also leaves distance, while a metaphor closes that distance and describes something as another thing. This sounded really confusing to me at first, and I actually had a lot of trouble understanding what that meant. However, when I thought more about it, I now understand what makes a metaphor so intense. At the same time, I also liked how similes have their own value even though they are not as powerful as a metaphor. They are able to explain to the reader to see the similarities but also notice the separation between the two things being compared. Something that left me curious was when this chapter explained how easy it is to cling onto comparisons, but that writing only becomes stronger when you push yourself out of your comfort zone. I know that is definitely something I do, I will usually use the first comparison that comes to mind, leaving it sounding flat and out of place. I liked how the chapter reminded me that poetry works way better when you are able to see ordinary things in new ways. I also liked the idea that through metaphors, I can step into another person’s shoes and find my own connections that were not so clear before.
“The Toxic Language Dump” is something I’m familiar with, although I never knew it had that title. There’s so many moments when writing poetry where you look at a line you’ve just written and sort of cringe. Not every expression can immediately be something profound and new, something that you’re firmly proud of. This chapter showed me the importance of figurative language through the poem examples. The figurative language in the poem “Michiko Dead” was so perfect and brilliant. Even though Gilbert of course is not literally carrying a box, the images he creates in the poem emulate exactly how his grief feels. The quote, “In developing your own figurative images, don’t worry if your language is clumsy or confusing at first. Just have patience, and keep digging.” was encouraging because writing poetry can be overwhelming, frustrating, and discouraging at times. Sometimes it’s hard to find that phrase or comparison that truly reflects the scene and feelings you’re trying to convey, you just need to play around with it and let the lines flow to you freely.
I found this chapter interesting because it really brought out how powerful similes and metaphors are in everyday life and how they make things more exciting in a way. I never really think about relating things to uncommon things because I can’t ever get the feeling I want out of the piece when I try. But this chapter showed me that it is normal to feel that way and to just keep writing till something clicks with it.
I found this chapter very interesting. I’ve never heard of The Toxic Language Dump before, but the concept is familiar to me. When writing not every line is going to be good and that is something you have to get used to. This chapter talks about how to know when to dump a line, which I found really helpful. I sometimes hold onto lines that aren’t that good and that can really make or break a poem.