A small bonus from work allowed me to pick up a few books which have been on my want list for some time. Yeah, I have eclectic reading tastes. From top to bottom, they are: New Kind of Rebellion, by Rachel Gleason; The Black Tides of Heaven and The Red Threads of Fortune by JY Yang; Ambiguity Machines by Vandana Singh; Afrofuturism by Ytasha L. Womack; New Poets of Native Nations, edited by Heid E. Erdrich; and The Rise and Fall of D.O.D.O. by Neal Stephenson and Nicole Galland.
(These are my lightly edited notes for a panel I participated in at the ConFusion Fantasy and Science Fiction Convention in January of 2018)
THE PANEL: Poetry in Novels (21 January 2018, 10:00)
PANELISTS: Amal El-Mohtar, Clif Flynt, Jeff Pryor, John Winkelman, Mari Ness
DESCRIPTION: “Carroll’s Alice in Wonderland and Through The Looking Glass include lengthy poems, placing them in a long tradition of long-form fiction that incorporates poetry into the work. How does writing poems for prose fiction differ from writing poems that stand alone? What distinct techniques does it require? Where do poems within stories exist in the landscape of genre poetry today?”
- Poetry in novels
- Intrinsic to plot
- Books in verse
- Book-length poems
- See Also
- Book of poems
- Book length poem
- Novel in verse
- Epic Poetry
- Poetry can be time-shifted in relation to the story in which it appears
- In situ, as a bard or skald composes a poem based on events as they are happening
- Used to imply history/world-building for the setting. An epic poem is written between the time of the events which it recounts and the time in which it is read.
- The poem itself can be placed in a specific place in history based on written style or language or word usage.
- Poetry can be used for world-building, either experienced by the characters or as related by the narrator.
Boy, did I over-think this one–in part because I love poetry, and in part because Amal El-Mohtar was also on the panel and I wanted to bring my “A” game.