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Eavan Boland, a prize-winning poet born in Dublin, Ireland, wrote this poem using the myth of
Atlantis – a fictional island, the sinking of which Plato wrote about to critique the hubris of
nations. Boland uses the myth to reflect on nostalgia (the longing for a lost time or place). Note
how she moves between reflecting on the grand-historical and the personal and intimate, and
how the two add layers of meaning to each other:
Boland follows this with vivid descriptions of a remembered city, addressing a ‘you’ that is
presumably a lover, given the intimacy of the description:
The poem’s ending conveys the pathos of the loss of a loved place/person while also suggesting
the function of storytelling or making narratives as something that helps us cope with any
inescapable sadness:
Here are some takeaways from reading Boland’s poem to think about when writing long-form
fiction:
How does the personal fit in with the larger myths – the bigger narratives – of society?
How can a backdrop of specific historical or mythical events contribute to conveying the
mood and emotion you want to evoke?
In writing about romance, how can place and setting be used to evoke intimacy? Does
your characters’ environment change over the course of your novel and will this change
their relationship?
As you can see, reading the best poems from the 21st Century (those included here are only some
suggestions out of countless others) will help inspire you to think about important elements of
novel-writing such as character and setting.
Billy Collins, who served as American Poet Laureate between 2001 and 2003, wrote this
romantic and humourous parody poem. It moves between clichéd and fresh imagery to create a
tribute that gently pokes fun at a grandiose passage by the Belgian poet Jacques Crickillon: ‘You
are the bread and the knife,/The crystal goblet and the wine’.
Collins introduces humour and a sense of surprise by departing from this repetitive structure and
using the negative, ‘you are not’:
The colloquial (casual) tone (‘there is just no way’) and the change in construction from ‘you
are’ to ‘you are not’ creates a sense of surprise. Surprise and repetition are two
common ingredients of comedy.
Collins ends the poem with the speaker reassuring the addressee that despite all the lovely things
he is (‘I also happen to be the shooting star… and the basket of chestnuts on the kitchen table’)
the loved one is still the most important, ‘the bread and the knife’:
But don’t worry, I’m not the bread and the knife.
You are still the bread and the knife.
Here are some takeaways from Collins’ poem that may be particularly useful if you are
wondering how to write a book using comedic or romantic elements without lapsing into cliché:
Unexpected changes between the highbrow and the colloquial can create interest, as well
as humour where such changes border on the absurd.
It’s fine to borrow from other writers, but expand on what they have said in your own
voice and enter into dialogue with their ideas. This is what distinguishes drawing on
influences from plagiarism.
Just as much as another writer’s work can inspire your novel, you can also find
inspiration for a novel in your frustration with the grandiosity or other traits of other
writers and their works.
In writing romance, don’t just stick to accepted flowery descriptions and metaphors –
think of scenes and sights that convey intimacy. Collins’ reference to ‘the boots in the
corner’ is one such image of intimacy, suggesting cosy cohabitation.
Ann Gray is a poet and editor and this poem was one of the recipients of the Forward Prize for
best single poem, 2015. The Forward Prize is one of the most prestigious annual prizes for poetry
by UK and Irish writers. Her winning poem shows how even potentially clichéd images (such as
the heart as the seat of emotion) can work when supported by more striking imagery. It also
shows how parallel construction (sentences having the same, repetitive structure) can work in
some instances:
Gray collects a discrete array of beautiful images that increase the poem’s tenderness and pathos.
The poem ends by introducing an unexpected ‘you’ which seems to suggest that the hen’s lost
love is only a metaphorical projection for the speaker’s own:
There are several elements of Gray’s poem that might help you in the process of learning how to
write a book:
Gray’s sentence construction (‘I tell… I tell…’) creates a continuous, suspended time,
and prolongs a sense of the intimacy of the act of giving comfort. Language and structure
can be used in this way to great emotional effect.
Gray tells it slant: the poet leaves in ambiguities. Who is the ‘you’ she refers to?
The poem is full of striking ideas and imagery (‘there are things even the sea can’t do’, ‘a
dog can be a lighthouse’, ‘stealing through rough grass’).
If you’re ready to start your novel and create a blueprint that will help you finish, start the Now
Novel process here.