Can the villanelle come round again? Poet Richard Pierce responds to Dylan Thomas’s famous villanelle with a powerful one of his own.
If it’s about anything, The Great Gatsby is about dreams and longing. But does Jay Gatsby cherish the dream of Daisy more than Daisy herself?
Sometimes a poem can start as free verse and as things go, the poem is asking to be written in form. Barbara Crooker’s acrostic shows the way.
Find out how Jack Kerouac brought Jim Kacian to haiku at the perfect time in his life. He would go on to be the founder of The Haiku Foundation.
How can a mashup lead to a sonnet like Tom C. Hunley’s? See the cool exercise that can make it happen.
Elise Paschen shows us how it’s all about teleutons if you want your mysterious possibility in your sestina.
When your ode is also a sonnet. Ron Wallace shows how a golden form poem decided to play with expectations (and intentions).
Chapters 3 and 4 of The Great Gatsby are full of mystery, contradictions and linguistic switch-ups as the books themes begin to take shape.
When you begin a poem, do you ever feel like a particular form is calling? Isaac Willis shares why he chose the sonnet for this architect love poem…
What if you want to match a physical sensation to a poetic form? Maureen E. Doallas shows you how, in this pantoum from ‘How to Write a Form Poem.’
How can you discover your poetic habits and create new ones that change your poetic music? Poet David Wright’s cello-based sonnet shows the way.
What happens when you begin to erase parts of a text? Can poetry rise to the surface? Katie Manning made it so, with the book of Ecclesiastes.
What is your region inspiring you to write? For poet Chip Livingston, the shores of Uruguay simply begged to speak through a pantoum.
In the first installment of our book club, Tania Runyan introduces The Great Gatsby characters—human and otherwise—and invites readers to a Gatsby sestina.
What if you have no words for a layered, mysterious experience? The ghazal might be just your form. It was for Dheepa Maturi, who speaks through dance.
What can the villanelle offer a poet? Ashley M. Jones has a suggestion—and a container for obsession or sorrow.
Why write a pantoum? Poet Marjorie Maddox shares her reasons, on the wings of poetry and song.
Why write a sestina? Direct from Florida, poet Celia Lisset Alvarez gives you a few fabulous reasons.
How best to write tragedy? Poet David K. Wheeler suggests the soft sorrow of the pantoum.
This National Poetry Month, join Tania Runyan to take a poetic twist on Fitzgerald’s The Great Gatsby in our in our new book club.