WestEustonPurplePoets
poetic techniques
analysis by Kim Morrissey
drafts of poem by Patsy Futatsugi
REWRITING A POEM
SAINT GEORGE OR THE DRAGON (written
06.04.2006)
AFTER THE WAR (written 22.07.2006)
Poetry is a craft as well as a gift and a
passion. Like Poet Laureates, Time Bank poets are expected to write for specific
events. This can be very difficult at times (read almost any poem to the
Queen or the Queen Mother's birthday to see how even highly-acclaimed poets
get things badly wrong).
The drafts of each poem were completed in one afternoon session. This series
of rewrites shows one way to add complexity and poetic depth to a set task.
I have included Patsy's final version of 'After The War' and all her drafts
of the poem "Saint George or the Dragon" so you can see how she has developed
her ideas and poetic images.
Kim Morrissey, Bloomsbury, July, 2006 |
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Saint George
or the Dragon,
St. George's Day, 2006
by Patsy Futatsugi
06.04.2006
It was a task and of course I was scared.
I was the demon slayer
I lie awake at night feeling the hot flames
hearing the cries: Fire; Fire; Fire
This old fable has always been easy.
Handsome George
On a beautiful horse
Killing something ugly
Keeping the world safe.
No one wonders what I will do
When there are no more
Monsters left to slay.
Always hoping this will be the last,
I go on killing;
Killing; killing
Breathing fire.
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drafts of Saint George or the Dragon, 2006
6th draft
(Rewriting)
5th draft
(Finding the structure)
4th draft
(Finding the focus)
3d draft
(Finding the image)
2nd draft
(Finding the speaker)
first draft
(Finding the story)
FIRST DRAFT
St. George Day poem
by Patsy Futatsugi
Dragons living in a cave
Breathing fire from
His nostrils
Was always a scare
And the cry went up
Fire; Fire; Fire;
So up came St. George
In all his armour
And slayed the wicked
Dragon to the death. |
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FINDING THE STORY. Although she is
retelling the story, this was an unsatisfactory start to the poem for Patsy.
The story is told in clichéd images ('wicked dragon') and there seems
to be no point-of-view or focus. Patsy has written the story in the third
person and it seems too detached to engage the reader.
There are some interesting things in this draft; Patsy's punctuation of the
calls of 'Fire' is intriguing. Instead of choosing italics for the words
or exclamation marks, her use of semi-colons make the calls seem almost without
emotion.
Our Poetry Group discussed various points of view and various personas (the
villagers, the dragon, the maiden, the maiden's father, the maiden's mother).
We also discussed who tells stories and how other people's points-of-view
are forgotten if they are not relevent to the 'official' story (history is
written by the victors).
Kathy told us that Saint George had never lived in England. This raised other
questions. Why did the English make him their patron saint? What need did
the story satisfy? Is it still relevent today? |
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SECOND DRAFT
St. George Day Poem
By Patsy Futatsugi
It was a task and of course I was scared
I was the dragon slayer and that was
what people wanted of me.
I lay awake at night feeling the hot
Flames and monsterous look of
These creatures
I got up the very next day
And went about my task
killing killing and hope this was
the last time. |
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FINDING THE SPEAKER. This was a
much more interesting approach, because Patsy is creating a speaker and a
specific voice. It also introduces the human emotion of anxiety, which invites
the reader to have a human
response to George. |
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THIRD DRAFT
St. George Day Poem
By Patsy Futatsugi
This old fable has always been easy
And to be seen
Handsome George
On a beautiful horse
Killing something ugly
So we will be aware that
Getting rid of demons
is not that easy
And to this day we are still
At it.
Like getting rid of embers
Which don't seem ever
To go away
And burn eternally
Waiting for St. George
To come along and
Put the world at rest |
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FINDINGTHE IMAGE. Patsy starts to
break her thoughts into stanzas with this draft. This version explores some
interesting ideas, including the subtext behind artistic images. With her
second stanza, Patsy is trying to work out the idea of a fire linked to the
sense of a real fire (dragons may be easy to slay in fairy tales, but actual
fires are very difficult to extinguish).
At this point, preparing for the next draft of the poem, Patsy could see
that all three starts to her poem were linked and that she could form a narrative
with the second and third stanzas to develop her ideas about Saint George
as a human and as a patron saint. |
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FOURTH
DRAFT
St. George in Iraq
By Patsy Futatsugi
It was a task and of course I was scared
I was the dragon slayer
I lay awake at night feeling the hot
Flames and the girls' screaming
Dragon creatures
I get up
And go about my task
killing killing and hope this is
the last
This old fable has always been easy.
Handsome George
On a beautiful horse
Killing something ugly
Now what will I do
when there are no more dragons
left to slay. |
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| FINDING THE FOCUS. By finding a specific
title for her poem, Patsy has provided a focus for herself and the reader.
Her title puts the Patron Saint of England into a contemporary political
context. She continues creating a specific speaking voice, but she has started
to consider the importance to the story of a cartoon-like Evil Adversary
as well as a Liberator to the psyche of the people. |
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FIFTH
DRAFT
Saint George And the Dragon, 2006
by Patsy Futatsugi
06.04.2006
It was a task and of course I was scared
I was the demon slayer
I lay awake at night feeling the hot flames
hearing the cries: Fire! Fire! Fire!
This old fable has always been easy
Handsome George
on a beautiful horse
Killing something ugly.
I never wondered what I will do
When there are no more
Monsters left to slay.
I get up and go on killing
Always hoping this
Will be the last
Killing; killing
Breathing fire. |
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FINDING THE STRUCTURE. In this
version, Patsy has broken the poem into stanzas and regulated the lines of
the stanzas and made her title more enigmatic (so that it will apply to all
political conflicts, not just the Iraq War).
She has re-introduced the cries of 'Fire' from her first draft, and used
conventional exclamation marks and added the dramatic but ambiguous 'breathing
fire' ending (a phrase also used in her first draft).
She's increased the ambiguity of whether it is St. George or the Dragon speaking
by changing specific terms such as 'dragon slayer' to 'demon slayer' and
'dragons' to 'monsters.' This allows the possibility that the Dragon thinks
of itself as a Saint. Is it Saint George or the Dragon breathing fire - or
have they become one? |
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SIXTH DRAFT
George and the Dragon, 2006
by Patsy Futatsugi
06.04.2006
It was a task and of course I was scared.
I was the demon slayer
I lie awake at night feeling the hot flames
hearing the cries: Fire; Fire; Fire
This old fable has always been easy.
Handsome George
On a beautiful horse
Killing something ugly
Keeping the world safe.
No one wonders what I will do
When there are no more
Monsters left to slay.
Always hoping this will be the last,
I go on killing;
Killing; killing
Breathing fire. |
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REWRITING UNTIL YOU FEEL IT IS
RIGHT.
It is important to read for sound as well as sense when you are rewriting
and to make your poem accessible to others. At this point, Patsy read her
poem out loud to the group several times, and as a consequence, she has reworked
some of her awkward lines ('I never wondered what I will do') and discarded
other rhetorical choices ('I get up and go').
She has decided to go back to the first draft's punctuation of 'Fire' and
balanced it with the same punctutation for 'killing' which creates quite
a chilling detachment on the part of the speaker.
Although she has abandoned the word 'Iraq' in the title, by dating the poem
2006, and introducing the phrase 'keeping the world safe' and dropping the
word 'Saint' she allows the reader to make their own assumptions about 'George'
(leaving it to the reader to decide whether she is talking about Saint George
or George Bush). Note the way she balances 'fire; fire; fire' with 'killing;
killing; killing' and explores the concept of hero as monster.
Patsy has also decided to centre the lines of the poems, rather than align
them to the left, so that the poem takes a different shape on the page.
Final version provides a final tweaking (change of title,
epigram) |
After The
War
By Patsy Futatsugi
22.07.2006
My mother worked in a sweet shop
And every Friday she brought me
My special treat. Fuller's Chocolates.
Round with bits of purple and red
Square nougat, sugared almonds
Walnuts covered in Dark and Milk
Chocolate. They were just there.
Every Friday when she was paid.
One Friday my mother forgot
I remember screaming
Kicking and crying
"Where's my bloody chocolates"
And being put to bed without supper.
The next Friday she came home
With more glossy, shiny,
Gooey chocolates.
Glossy, shiny, creamy,
Milky, syrupy-sweet
Smearing on the hands and face
Of a five year old
Melting in my mouth.
this poem will be read
at the Cumberland Market Fair ,
Cumberland Market, London, England 29.07.2006
on the Main Stage at 1 p.m.
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AFTER THE WAR
In this poem, Patsy followed the same process of rewriting she used to rewrite
her St. George's Day poem.
STEP ONE: WRITING THE 'STORY'
(FINDING THE SENSE)
Once you have decided on the story you want to tell, write it. If you have
time, write it two or three times, and have the group listen to you read
the versions (and ask them to make a note of any comments you make outside
the poem to explain the story).
STEP TWO: MAKING IT SOUND LIKE A POEM
(FINDING THE SOUND)
Rewrite each line until it sounds like poetry, not prose. In this case, Patsy's
original drafts in STEP ONE simply described the chocolate as 'wonderful.
' In STEP TWO she expanded the description of the chocolates to help create
the same sense of wonder and delight in the reader that she felt as a
child.
In all three versions of the original story, Patsy, after reading the poem,
added, "There isn't really a moral, I just wanted to know 'Where's my bloody
chocolates.' "
This phrase (as well as the phrases 'melting in my mouth' and 'they were
just there') seemed to be a consistant part of the oral story, but Patsy
didn't consider the language formal enough to be written as 'Poetry.' Once
she included these phrases as part of the poem, it moved from a prose account
to a poetic re-creation of childhood.
Including 'Where's my bloody chocolates' also gives the reader an alternative
explanation for why the child was sent to bed (for swearing, not for her
temper tantrum). It also creates the voice of an indulged, though not spoiled,
child for the persona.
STEP THREE: EXPLORING THE SUBTEXT
(FINDING THE MEANING)
Explore the back-story.
In this case: Patsy had been evacuated to the countryside at the age of two
while her father served in the army and her mother continued to work in London
at a Munitions Factory. After the War, the family was re-united, and the
mother's job in the Sweet Shop helped the family enormously.
Although it was important exposition for the first draft narrative, this
specific biographical imformation isn't needed in the poem. It is important
to know that the chocolates were brought every Friday, which was the end
of the working week for Patsy's mother.
The five-year-old persona would not consider what might have led to the failure
to bring chocolates, but the poet hints at a back story so that adult readers
can create their own tensions in the half-told story.
STEP FOUR: FINDING THE ENDING. After considering possible ways to end the
poem (is there a moral? Did Patsy change as a result of her punishment? Were
there any repercussions (aside from the immediate being sent to bed without
supper)? As the poem is simply a memory of glorious luxuries enjoyed,
taken away, and then restored, Patsy ended the poem with the experience of
eating her chocolates the next week.
STEP FIVE: MAKING IT LOOK LIKE A POEM
(FINDING THE STRUCTURE)
Patsy moved the phrase 'After the War' in her first draft to make it her
title. This gave the poem a political and cultural context for the reader
(although the reader must decide which War Patsy is talking about).
Finally, Patsy made minor adjustments to line lengths, reconsidered line
breaks and stanza breaks, and revised her list of descriptive words to intensify
the sensuous qualities of eating chocolate. |
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This is an educational site.
© resides with the author. All rights reserved.
West Euston Purple Poets
Writer-in-Residence
Kim Morrissey.
For permission to use any of this material
please contact the West Euston
Time Bank.
London Time Banks
are supported by The Community Fund,
the Association of London Government,
the King's Fund and Bridge House Estates Trust
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