This is the second part of prompts written by Zanne Langlois based on Devon Moore's Apology Of A Girl Who Is Told She Is Going To Hell.
Part One is here.
Devon Moore: Apology of a Girl Who Is Told She Is Going to Hell Part II For the rest of Devon Moore’s collection, I’m going to base these next prompts on themes and patterns, rather than connecting them to specific poems.
The most fundamental theme in the collection is loss. An alternate title poem for her collection could have been “For the Lost.” Many of the poems are like negative space drawings, in which Moore defines the outline of the space a person leaves. In most, but not all of the poems, the lost person is her father. It is in many ways an elegy, but without the pastel shades and blurred edges of the the filter we often apply to the lives of the recently dead. At various places, she refers to the task of the poems as resurrection, taxidermy, and patricide, revealing the complexity of grief over the loss of a parent, particularly a parent who had been missing from their child’s life in crucial ways even when they were alive. Many of the poems walk the line between grief and regret, and show the ways in which the second amplifies the first.
Prompt: Write a negative space poem. Describe the shape of the hole left when a person close to you either died or left. It doesn’t have to be grief-shaped. It could also show what there is space for now that there wasn’t before. Maybe there’s a new appreciation for something, or something you started together has stayed in your life even after the person is gone (as in “Gardening with Gravity”).
Prompt: Find a small item left by someone who has died and imagine it as a sign of their presence. What is it? How and where do you find it? What do you do with it? What do you do because of it?
Another theme is miscommunication and misinterpretation—what we think we are saying vs. what it heard, and vice versa. Some of the poems explore the way kids misinterpret things because of their naivete, while others focus on the miscommunication between adults, especially those in romantic relationships.
Prompt: write a poem in which every line could be interpreted two ways, and those two ways would cause conflict between the people communicating if one was meant but the other was heard. Perhaps have the gap between the two possible meanings be a harbinger of what is to come. Bonus: use a few homonyms to show the nature of a relationship. “Going to Ocean” uses current and currant. Explore the different things two words that sound exactly the same can mean, and explore miscommunication and mismatch through them.
Here it occurs to me that I’ve been focusing almost entirely on content, as opposed to craft or structure. Most of Moore’s poems are written in free verse, with the exception of one villanelle, which I’d read a number of times before I realized it was a villanelle, which made me like it even more. But for the most part, I can’t really identify a structure in the poems. What does come through is a specific voice. The speaker in Moore’s poems often has a slightly breathless sound, like a child who is telling a story they are excited about—run-on sentences, non-sequitors, illogical or overly logical conclusions. As when a child tells a story, all the details get the same level of importance, even if their significance varies greatly.
Prompt: Describe two or three specific emotionally charged moments from your childhood. Your parents announcing their divorce, the arrival of a new sibling, the loss of a relative or a pet. The first time through, describe the event from a place of adult understanding, to capture the bones of the moment. They go back and translate it into the thought patterns / speech patterns of a child at that age. Maybe 6 year-old you is explaining what happened to 30 year-old you. Maybe they are even trying to comfort 30 year-old you with their explanation.
Prompt: Identify someone in your life who has a very distinctive way of speaking, in terms of cadence, diction, sentence structure. Write a poems in their voice, in which you directly address the reader. Think about what filler words do they use between their ideas, how long their sentences tend to be, where they pause, etc. If possible, write about a topic they care about.
Moore’s poems are full of everyday objects that pin the poems to a particular time period— Okinawan saucer, ruby slippers, Nintendo, mandarin orange scented soap, Bouncing Betty, snowglobe, etc. These objects do a lot of the emotional work in the poem, sometimes as talismans, sometimes as symbols, sometimes as props that identify the setting of the poem.
Prompt: List 20 objects that define the first decade of your life, both personally and culturally. Some brand names, some items specific to your family. Items at your relatives houses that you coveted, items in your house you were not allowed to touch, items you touched every day, items that only came out on holidays. Food items, toys, clothing, furniture, etc. Now use at least 10 in a poem. Here are some places to start: 1) Find the time capsule you buried in yourself as a child. Pull out each item and explore the memories it evokes. In what part of your body is each one stored? Maybe it’s an archaeological dig. 2) Create a museum diorama of your childhood. Maybe a series of them. What do the descriptions on the wall next to each exhibit say? 3) Where are these objects now? What happened to them after they disappeared from your life? What disappeared with them?
An ongoing conversation between writers and the text that they're reading.