Janée J. Baugher - The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction
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The Ekphrastic Writer
McFarland & Company, Inc., Publishers
Jefferson, North Carolina
Library of Congress Cataloguing-in-Publication Data
Names: Baugher, Janee J., author.
Title: The ekphrastic writer : creating art-influenced poetry, fiction and nonfiction / Janee J. Baugher.
Description: Jefferson, North Carolina : McFarland & Company, Inc., Publishers, 2020. | Includes bibliographical references and index.
Identifiers: LCCN 2020020128 | ISBN 9781476679457 (paperback : acid free paper) ISBN 9781476639611 (ebook)
Subjects: LCSH: Ekphrasis. | Description (Rhetoric) | Creation (Literary, artistic, etc.) | Art and literature.
Classification: LCC PN56.E45 B38 2020 | DDC 808dc23
LC record available at https://lccn.loc.gov/2020020128
British Library cataloguing data are available
ISBN (print) 978-1-4766-7945-7
ISBN (ebook) 978-1-4766-3961-1
2020 Jane J. Baugher. All rights reserved
No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.
Front cover: Willem van Haecht, Apelles Painting Campaspe , oil on panel, 41" 58.5", c. 1630 (courtesy of the Mauritshuis, The Hague, Netherlands). Printed in the United States of America
Printed in the United States of America
McFarland & Company, Inc., Publishers
Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com
For Dad & Mom,
I love you
Much gratitude for your tutelage, your secretarial and editorial assistance, your love, and your professional support: Mom (Kris), Dad (Bob), Karen & Brad Brown, Shawn Baugher, Gerard Wozek, Charles Emerson, Rosemary Adang, Judy Skillman, Jason Bourguignon, Peter Elbow, Jonathan Johnson, Jana Harris, Belle Randall, Michael Hickey Michael J. Grodesky, Jonathan Lampel, Meghan McCandless, Tom C. Hunley, North Cascades Institute Residency, Das River House Artist Residency, and Pacific Beach Lighthouse Writers Residency.
Thank you to the writers who said yes when I asked if theyd be willing to write ekphrastically for this project: Kim Addonizio, Vidhu Aggarwal, Rae Armantrout, Kim Barnes, Grace Bauer, Erin Belieu, Robin Chapman, Marilyn Chin, Nicole Cooley, Peter Cooley, Lynn Crawford, Sayantani Dasgupta, Lucille Lang Day, Rebecca Foust, Peter Grandbois, Hedy Habra, Jana Harris, Didi Jackson, Major Jackson, Jonathan Johnson, Alice Jones, Jeffrey Levine, Laura McCullough, Sandra Meek, Michael Mejia, Judith Skillman, Michael Spence, Cole Swensen, Gerard Wozek, and David Wright.
With gratitude to the following visual artists, galleries, and museums: George Rodriguez; Sandy Skoglund; Kristina J. Baugher; Lo Ching; Etsuko Ichikawa; Sally Mann; Kara Walker; Carmen Herrera; Richard Billingham; Yayoi Kusama; Gagosian Gallery (NYC); Sikkema Jenkins & Co.; Lisson Gallery (London); Saatchi Gallery (London); Museum of Fine Arts, Houston; Fairchild Tropical Botanic Garden, Miami, Florida; Mauritshuis, The Hague (Netherlands); National Portrait Gallery, Smithsonian Institution; New Orleans Auction Galleries; Art Resource, NY; Art Institute of Chicago Public Domain collection; Metropolitan Museum of Art Open Access collection (NY); Philadelphia Museum of Art of New York City Public Domain collection; and J. Paul Getty Museum Open Content program.
With appreciation to the editors at the literary magazines and book press wherein the following ekphrastic writing found an earlier home: After Alberto Giacomettis sculptures by JJB reprinted from Art Access Vol. 29 No. 2 by permission of the author; After Allison Collins 2002 painting, Steptoe Butte by JJB reprinted from Art Access Vol. 29 No. 1 by permission of the author; After Francisco de Goyas painting, The Third of May 1808 in Madrid: The Execution at Principe Po by JJB reprinted from Art Access Vol. 28 No. 6 by permission of the author; After Ren Magrittes 1928 painting, The Lovers by JJB reprinted from Art Access Vol. 29 No. 3 by permission of the author; After Sandro Botticellis c. 1475 painting, Spring by JJB reprinted from Art Access Vol. 28 No. 6 by permission of the author; The Anatomy Lesson of Dr. Nicolaes Tulp by Jeffrey Levine from At The Kinnegad Home for the Bewildered, 2019 , by permission of Salmon Poetry publisher and the author; Babies at Paradise Pond by Kim Addonizio reprinted from The American Journal of Poetry Vol. 7 by permission of the author; and Tia Catrina |||| Uncle Sam by Michael Mejia reprinted from DIAGRAM Vol. 19 No. 6 by permission of the author.
The first time I committed ekphrasis was in 1995 at the Guggenheim Museum in New York City. It was a small painting by Georg Baselitz that caused in me the Stendhal Syndromefloating amid concentric circles painted in reds and browns, a dwarfish man with malformed limbs. Crude sketches of serpents and snakes created a vortex around him. Seemingly bewildered, his eyes were fused open and mouth agape. The painting was entitled Der Dichter , German for the poet . Although I had not yet been introduced to the term ekphrasis, navely I called my poem, Poet Describing Painting Describing Poet.
Some might wonder, as an aesthetic pursuit, what currency does ekphrastic writing hold? To the literary canon? To the art world? To the general public? Ekphrastic criticism has been treated ad nauseam. It is about time that we finally have a comprehensive guide for creative writers on the mode of ekphrastic writing. My wish was to create a book that I would have wanted when I was a young ekphrasist and also one that I wish I had when I began teaching ekphrasis across genres twenty years ago.
In seventh grade, on the first day of school, our mathematics teacher held up a can of soup and said she could spend the whole term using that one specific object to teach us all that we needed to know. An entire semesters worth of instruction on a soup can? Did it matter if the contents were clam chowder or alphabet? Minestrone or split pea? That proclamation of hers haunted me for decades. Eureka, I imagine her exclaiming when she was challenged with how to get a gaggle of twelve-year-olds excited about mathematics. How to encapsulate the concepts of radius, circumference, perimeter, area, volume, angles, fractions, and the like in a single, tangible object? Recently, I realized that the spirit of her message was that she had arrived at a portal through which she could teach her passion. Any subject, I now know, can be taught using the visual arts as a starting point.
While product is vital to a majority of writers, this books primary focus is on process . This book was designed to be used in the classroom by instructors who are comfortable giving their students artistic freedom in the ideas and assignments presented, as well as by independent writers. This guide, ultimately, is an invitation to marvel in the deep wonderment of the visual arts and to see how that marveling might ignite your writing.
Art contains multitudes.
First and foremost, I am optimistic that the artwork I have selected for this book will compel you to write ekphrastically. Even if you do not feel tempted by each image, it is a way to develop your ekphrastic skills, and its a doable challenge. Second, the artwork here represents images on which contemporary writers created poems and short prose specifically for this book. The pairing of image and companion text will allow you to appreciate the myriad of ekphrastic responses, as well as to become introduced to current practices in ekphrasis.
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