en g a g I n g Ho n o r s st u d e n t s t H r o u g H ne W s P a P e r bL a c k o u t Po e t r y
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Ho n o r s In Pr a c t I c e
stories to sports pages. The technique is like a wood carving where the excess
wood is removed to reveal the object hidden inside. A wood carver I knew
claimed, “You have to throw away what doesn’t belong to it. And then you have
the bird” (Ladenheim 19). Kleon describes the process likewise with newspaper
blackout poems:
What’s exciting about the poems is that by destroying writing you
can create new writing. You can take a stranger’s random words
and pick and choose from them to express your own personal
vision. (xv)
At its most basic, newspaper blackout poetry involves crossing out the words
you do not want. Any newspaper article will work as, in fact, will any piece
of writing. The point is that you have only the words, letters, punctuation, and
spaces in the chosen piece to work with.
With the selected newspaper article, a permanent marker, and a charge to
create a poem on love, with no particular kind of love specied, students went
to work. The results were a range of poems with a range of quality. More impor-
tantly, though, what emerged from the exercise was a pattern in the words chosen
by the students: a kind of language of love that was not necessarily Sappho’s lan-
guage of violets, honey, and apples but nonetheless patterned evocations of the
same experiences she struggled to articulate. Students understood that the words
they had chosen embodied and reected the feelings they were trying to capture
in their poems, and they consequently became more attentive to Sappho’s use of
language in hers. They also became conscious of what the poems looked like on
the page and to the spaces between the words and phrases, both the black ones
in their poems (see Figure 1) and the blank ones in Sappho’s, seeing them less
as absence and more as potential. Rather than continuing to castigate Carson’s
efforts to privilege all the words Sappho spoke (as she repeatedly gives a single
word or two its own page) as a waste of paper, students began to wonder what
might have been there before time and fear ravaged the texts.
To say that the exercise made poets out of all the students would be an exag-
geration, but I can claim, based on both their poems and their reections on the
experience, that it provided them a novel way of thinking about Sappho’s work
as well as their own. The exercise was challenging, but students also described
it as “intriguing”; it allowed them entry into the poet’s struggle to capture the
transcendent in the mundane of language. While they still did not know much
of Sappho’s biography—was she married? a mother? a lesbian?—they did come
to know Sappho better as a poet. One student, herself a poet, reected both on
her experience creating the newspaper blackout poem and on Sappho: “It made
me appreciate that my poetry is not decayed or burnt largely out of existence,
and it made me wonder whether Sappho would have welcomed new interpreta-
tions of her work as a result of fragmenting, or if she would experience the same
frustration I do.” Another student commented, “Although writing the blackout