Ever since reading Ai’s poem “Respect, 1967,” I’ve started to take poems written initially in a voice close to my own and write them a second time from a completely different perspective. The act of assuming another voice forces me away from the comfortable or triggering subject that allowed for my initial draft. Usually I write in a young, masculine voice, so when applicable, I rewrite drafts from an older and feminine perspective. I actually tried this in the poem “Beastiality,” one of my free responses for this week. I use this practice so that I don’t convince myself that my initial draft is amazing. Whenever I use this tactic, the second draft is almost always more provocative and more specific. Sometimes I blend the two drafts to give myself more language to work with, but I often just work with the new draft. In my poem “Black Paintings,” also written this week, I tried to combine the perspective of a father and son/fetus. I think both works are stronger because of this blend.
Kathy Fagan’s strategy in dealing with clichés follows the strategy we are often taught, to inject fresh language into and around the cliché in order to personalize the phrase. Fagan does this every couple of poems, even developing an entire poem off the phrase “a monkey on her back” (2) in "Womb To Tomb Pantoum." This use of clichés makes the diction of Fagan’s poetry very casual and familiar, but the personalization of the clichés makes the specific language pop out with originality. Fagan takes the phrase “’pretty on the inside’” (19)in reference to girls that aren’t stereotypically beautiful and lets it reference specifically “the ones” (19)in "'69." Moments like this make Fagan’s poetry comfortable to an American audience, yet intriguing. If for no other reason, I continue to read Fagan’s work just to absorb how she twists clichés and trite phrases. When you catch one in her work, you expect her to twist the language into something that feels familiar, yet ...
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