Word Paletting 2

 


The way I came up with this method for writing poetry was kind of a blur; due to the fact that I could still tell that I was alive and existent, I wasn’t really worried about very much.


Okay, big deal; I had had to have all of my blood replaced several times in the course of a live or die operation, in a foreign country; the fact was, and still remains, that I had yet to graduate my junior year of high school, in the Fall of 1988. World Paletting 2 was several months away, in the future that remained of my near-miss existence.


You see, in 1987, the American hospital that imperiled my existence might actually have indirectly paved the way for my post-stroke/post-brain surgeries /post-infusion of Viral Spinal Meningitis ability to pick up the shattered pieces of my thought processes and figure out a way to melt the pieces down and refashion them into a usable, working contraption: a thought, communication and learning contraption.


01 Decide upon the anchor (correlative)         term. (tale/tail)


02 Produce a list of words and phrases            that each contains a form of the                  anchor term.


03 Create an introduction that segues in          to  encapsulate the anchor term and          the palette term.


04 Then, go about creating the written            communication that fulfills the act of        producing something that is                          communicatively all there; yet,                    cannot be exalted or condemned,              due to the fact that, is your, personal          creation.


What anyone has to say about it does not  make a difference.


(I think you’ll really like this, if you keep reading unto the point at which I vivisect a few English 101 curricula; however, that will come somewhat later, in a subse-quent blog post.)


 

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12 thoughts on “Word Paletting 2

  1. mattramzzz says:

    loose ta(i)l[e]s

    long before the crucifixions beings crossed their fingers, & two sticks, together, as the lash & stretch a skin a’
    cross, to form a kite,
    to which theyd tie a ta(i)l[e]
    &,
    soon enough, the
    acrobatstunt
    -flyer looped twine
    around its thumbs,
    in making it kites dance
    their jig; only,
    dressed to kill, in spats & ta(i)l[e]s,
    a bigtop hat upon their
    head, like aesop, w/ his yarns
    & ta(i)l[e]s of snips & snails;
    or, deadmen & their silence;
    which, is made of gold, will
    never stay, like lizards lose
    their ta(i)l[e]s: unlike cats.
    this, i know; our six-toed cat
    has just half a ta(i)l[e]; he skulks
    along, w/feathers on his mind,
    into the bog w/ cat ta(i)l[e]
    fringe,

    a fence
    swift, w/ its curly- ta(i)l[e], had
    scaled a tree, in ’86, when

    halleys comet passed us by;
    we failed to trap a glimpse of
    it, not even of its ta(i)l[e];

    a planet,
    &, w/o a ta(i)l[e]

    the coat-ta(i)l[e]s of a comet:
    never-minding ta(i)l[e] winds,
    sipping cockta(i)l[e]s, thru

    has not a ta(i)l[e]

    loose ta(i)l[e]s

    long before the crucifixions,
    beings crossed their fingers
    & two sticks, together,
    as theyd lash & stretch a skin
    a cross, to form a kite,
    to which theyd tied a ta(i)l[e];
    &, soon enough, the acrobat
    -stuntflyer looped twine
    around its thumbs,
    in making it kites dance
    their jig; only, dressed
    to kill, in spats & ta(i)l[e]s,
    a bigtop hat upon their
    head, like aesop, w/ his yarns
    & ta(i)l[e]s of snips & snails;
    or, deadmen & their silence;
    which, is made of gold, will
    never stay, like lizards lose
    their ta(i)l[e]s: unlike cats.
    this, i know; our six-toed cat
    has just half a ta(i)l[e]; he skulks
    along, w/feathers on his mind,
    into the bog w/ cat ta(i)l[e]
    fringe, where i recall a fence
    swift, w/ its curly- ta(i)l[e], had
    scaled a tree, in ’86, when
    halleys comet passed us by;
    we failed to trap a glimpse of
    it, not even of its ta(i)l[e];
    yet, we are on a planet,
    &, w/o a ta(i)l[e], we had
    no right; ‘tho, some would
    love to be aboard the coat
    -ta(i)l[e]s of a comet: never
    -minding ta(i)l[e] winds,
    sipping cockta(i)l[e]s, thru
    out time & space, a ways away
    from planet earth, which,
    bytheway, has not a ta(i)l[e]

    1. mattramzzz says:

      The method that was used to write this poem was not difficult. Forthcoming, I will show, step-by-step, exactly how it was arrived at. Using this method for Word Palleting allows a writer to acquire the ability to merge outside information into that which he or she is writing; if you ask me, it works a little better than the conventionally-accepted method for causing students to acquire synthetic writing skills (meaning: merging written information with other written information to produce a synthesis).

      01 loose ta(i)l[e]s

      02 long before the crucifixions,
      03 beings crossed their fingers
      04 & two sticks, together,
      05 as theyd lash & stretch a skin
      06 a cross, to form a kite,
      07 to which theyd tied a ta(i)l[e];
      08 &, soon enough, the acrobat
      09 -stuntflyer looped twine
      10 around its thumbs,
      11 in making it kites dance
      12 their jig; only, dressed
      13 to kill, in spats & ta(i)l[e]s,
      14 a bigtop hat upon their
      15 head, like aesop, w/ his yarns
      16 & ta(i)l[e]s of snips & snails;
      17 or, deadmen & their silence;
      18 which, is made of gold, will
      19 never stay, like lizards lose
      20 their ta(i)l[e]s: unlike cats.
      21 this, i know; our six-toed cat
      22 has just half a ta(i)l[e]; he skulks
      23 along, w/feathers on his mind,
      24 into the bog w/ cat ta(i)l[e]
      25 fringe, where i recall a fence
      26 swift, w/ its curly- ta(i)l[e], had
      27 scaled a tree, in ’86, when
      28 halleys comet passed us by;
      29 we failed to trap a glimpse of
      30 it, not even of its ta(i)l[e];
      31 yet, we are on a planet,
      32 &, w/o a ta(i)l[e], we had
      33 no right; ‘tho, some would
      34 love to be aboard the coat
      35 –ta(i)l[e]s of a comet: never
      36 -minding ta(i)l[e] winds,
      37 sipping cockta(i)l[e]s, thru
      38 out time & space, a ways away
      39 from planet earth, which,
      40 bytheway, has not a ta(i)l[e]

      01. First, decide upon the word or word pair that your poem will use as its fulcrum, in this case: TAIL; by virtue of the alternative spelling of “tail”, “tale”, your palette can be expanded.

      01 loose ta(i)l[e]s
      02
      03 tied a ta(i)l[e] (to a kite)
      04 spats & ta(i)l[e]s (personification)
      05 aesop, w/his yarns & ta(i)l[e]s (yarns & tales) (allusion)
      06 (of snips & snails) (snips & snails & puppy dog tails)(allusion)
      07 (deadmen & their silence) (deadmen tell no tales)(allusion)
      08 lizards lose their ta(i)l[e]s (regenearation/pun)
      09 half a ta(i)l[e]s (amputation/pun)
      10 cat ta(i)l[e] (cat tail)
      11 fence swift, w/ its curly- ta(i)l[e] (lizard tail)
      12 not even of its ta(i)l[e]; (halley’s comet tail, factual refernce)
      13 on a planet,
      14 &, w/o a ta(i)l[e] (w/o a tail)
      15 aboard the coat
      16 -ta(i)l[e]s of a comet (coat tails of a comet/absurdity)
      17 never-minding ta(i)l[e] winds, (tailwinds/factual refernce)
      18 sipping cockta(i)l[e]s, (cocktails/situational)
      19 bytheway, has not a ta(i)l[e] (earth has no tail or does it have a tale?)

      1. mattramzzz says:

        As you can see, each term or phrase that I used contains the word, “tail” or “tale”. When I was trying to re-emerge as a writer in my early post-massive stroke/brain surgery days, I had a very hard time being able to hold a thought in my head very long; I am not kidding when I say that I could not, in general, remember things after a number of minutes (sometimes this was less than 1 min.) By virtue of this fact, life became extremely difficult.

        In my mind, the word, “tail”, was objective, based on the fact that it has no syntactic bearing on what the poem, loose ta(i)l[e]s, “means”…it was just a word I used to gather poetic (or communicative) kindling and, as well, it was correlative, due to the fact that many of the poem’s words were connected to or “correlative” to the word, “ta(i)l[e]”, as well.

        In reality, however, T.S. Eliot gleaned the concept of the Objective Correlative from an 18th century painter/writer: Washington Allston. The ironic thing about their concept of objective correlative is the fact that it doesn’t really have to do with what the two words actually mean, together.

        Dumbass, me, I didn’t realize this until I was enrolled in a doctoral level class in which the professor assigned us, on the first day of the semester, the the task of choosing two concepts to guide us, throughout the semester on which to concentrate. I can’t even recall the second concept I focused on, due to all the nearly-twenty year old egg I felt upon my face. The cavern walls of the rabbit hole were tie-dyed…this let me know how long I’d been wrong. (No, the cavern walls, Oh Aristotle, had no rhetorical shadows)

        In fact, from what I was able to determine, upon researching the original “Objective Correlative”, the concept is almost antithetical to what I conceived of as the meaning of Objective Correlative. My take on it was that it was a poetic method that used a list of generated words that were simultaneously OBJECTIVE and CORRELATIVE. Thereby, I just assumed that using a list of words that were co-related to a central term (in this case: TAIL or TALE) and that were, as well not really related or that were objective of one another.

        This sort of, in thinking back, seems slightly appropriate, due to the fact that, it is reported that, for many victims of head trauma, the ability to think “abstractly” is difficulty. If it wasn’t, for me, and I would not have had the incessant urge to write, I might not ever have freaked out, due to the poor grades I was receiving in customary English class, and sought, by all means, to find another means to be creative. Incidentally, I remember that, in my first semesters of Art class, following my return from surgery, I received D’s. It’s lucky for me that I was so oink-headed and that I had never been forced to research the origin of the “Objective Correlative.

        This was how my amazingly hampered brain was working; especially before I underwent my final operation, during which a second ventricular shunt was installed to facilitate release cephalic fluid and pressure. I really wanted to re-join the world I was forced to leave behind; however, due to the failing shunt, and I was forced, like Rudolph, not to join in any reindeer games; however, in the last days of December of 1987, it came down to my general practitioner, once again. I had been under the care of several highly-regarded specialists/neurologists upon my arrival back in the United States; one of these individuals could figure out what was going on.

        For all I know, they all probably figured that I was only going to amount to so much, in the rest of my life; however, a non-specialist: my damned pediatrician!…finally…cracked the code! In the third or fourth week of December of 1987, I entered the University of Maryland Hospital, in Baltimore. Dr. Walker Robinson (who is not my pediatrician, mind you) performed a surgery to replace the first shunt that had been installed, previously, at the Johns Hopkins University hospital.

        You see, the problem was that, in addition to not being sure to leave enough slack in the first shunt they installed, Hopkins allowed my nervous system to be invaded by Spinal Meningitis. This caused my blood temperature to rise to 107°F, very nearly killed me, potentially presented me my short-term memory deficit that I contend with, still, 25 years later. I also have hemiparesis (weakness on one side of my body); this, I think, was, likely, caused by the last stroke.

      2. mattramzzz says:

        01 loose ta(i)l[e]s
        02
        03 tied a ta(i)l[e] (to a kite)
        04 spats & ta(i)l[e]s (personification)
        05 aesop, w/his yarns & ta(i)l[e]s (yarns & tales) (allusion)
        06 (of snips & snails) (snips & snails & puppy dog tails)(allusion)
        07 (deadmen & their silence) (deadmen tell no tales)(allusion)
        08 lizards lose their ta(i)l[e]s (regenearation/pun)
        09 half a ta(i)l[e]s (amputation/pun)
        10 cat ta(i)l[e] (cat tail)
        11 fence swift, w/ its curly- ta(i)l[e] (lizard tail)
        12 not even of its ta(i)l[e]; (halley’s comet tail, factual refernce)
        13 & 14 on a planet, &, w/o a ta(i)l[e] (w/o a tail)
        15 & 16 aboard the coat-ta(i)l[e]s of a comet (coat tails of a comet/absurdity)
        17 never-minding ta(i)l[e] winds, (tailwinds/factual reference)
        18 sipping cockta(i)l[e]s, (cocktails/situational)
        19 bytheway, has not a ta(i)l[e] (earth has no tail or does it have a tale?)

        The way I started this Word Paletted poem was by creating its palette. I used the “correlative term” TAIL and generated a list of compound words and phrases that contained it. Bytheway, this poem’s title was added after the poem was completed.

        -kite/tail
        -spats and tails
        -yarns and tales
        -(deadmen tell no tales)
        -lizards lose their tales
        -planets have no tails / tales
        -aboard the coattails of a comet
        -sipping cocktails
        -earth has no tail

        I just thought of sayings, statements and concepts that include the word tail or tale. As a rule, it seems to me that a writer who has difficulty initiating the act of writing could use this action, whether he or she is learning disabled, of English as a Second Language status or merely stumped for what to write.

        Now, I can truly make the connection between my repeated use of the Word Paletting 2 method, especially during my profoundly cognitively-affected days, and why it’s so easy for me to write, revise and add to text that create. This ease is based on my ability to place the meaning-based and topic-based nature of what I was writing on autopilot and worry more about the effect of what I wrote on a reader’s mind like a piece of music does, rather than the meaning or message.

  2. mattramzzz says:

    Even though my memory was incredibly hampered, I still yearned to thrive and act as a student; however, when you cannot remember things, its extremely difficult to learn. As for me, I could hear, just as well as I could before my stroke/surgeries; my motor coordination was much more inaccurate than it had been, making it extremely difficult to write legibly or as quickly as I had been able to previously. In a lot of ways, I was screwed. To make things worse, I suffered from verbal aphasia, or “tip of the tongue disorder”. This jackass fiasco that I experienced made it so, even after my brain had had a little time to simmer down and reboot itself, thoughts would flood into my consciousness and I would be preparing to just spout them out; only, aphasia thwarted my ability to speak.

    Literally, it was like I, would get the wording from my mind, into my mouth and onto my tongue and, at the end of my tongue, where the key to successful articulation existed, I would be prevented from speaking. I realize, now, that verbal aphasia, in conjunction with the hell of the experience of a profound short-term memory deficit, truly could have been enough to make me give up; I guess I was, luckily, too pigheaded to concede.

  3. mattramzzz says:

    First, a person determines the “anchor” term or the term that correlates to all the other words, in the list. For the poem, loose ta(i)l[e]s, The anchor term is ta(i)l[e] and the rationale for spelling this word the way I have is the fact that it has a homophone (tale) that is pronounced the exact same way as the spelling of the original word, (tail). I suggest the use of an anchor term that as many uses in ordinary conversational language as possible because this will make it easier for a person to make connections to and establish segues from the term.

    The best way, especially as an individual with a short-term memory deficit, to go about successfully using this process, is to repeat it, over and over again, without losing track of the method by which the poem was created. This is accomplished more easily if the writer makes the anchor term part of the poem’s title. In fact, in looking at several of the more than 100-200+ poems I have written in the past 20 or so years, very few of them can necessarily be identified as being formulaic; however, I know the truth. Several of my poems were written, using bizarre processes; this particular word paletting method leaves a fairly prominent breadcrumb trail. The problem is, that the process has several steps. This is the main reason why I have taken so long to document it. It was all in my head/brain and, due to my damaged brain, I was not able to retrieve it, at will.

  4. mattramzzz says:

    When using word paletting the first one to one hundred, or more times, for some head trauma victims, it could be a good thing for them to limit the number of palette terms they generate, as a way to prevent massive gobs of frustration. Take it from me, as someone who has a half a trillion marbelized notebooks that contain at least a trillion unfinished poems, that completing a poem or anything else, for that matter, is really a good thing. That is why I suggest generating less palette terms. Take, for example,

    the busi-man

    w/manicured
    hands was held
    to the wall, still
    clutching his news

    i wake up each
    newday, the
    radio-news, chirping
    its static

    the news of
    the rain came
    showering
    down

  5. mattramzzz says:

    The ironic thing about this poem is in the fact that I wrote it in Fall of 1987 or Spring of 1988 and, despite the fact that my school’s literary magazine rejected it, an independent journal in San Francisco did publish it. One can think about the poem, the busi-man, as a means for becoming acclimated to the writing process and starting small, while building one’s communicative abilities, gradually. the busi-man contains only three uses of the word, “news”.

    1. mattramzzz says:

      Actually, one can think about the process used for writing “the busi-man” as a means for becoming re-acclimated to the writing process or becoming acclimated differently to the act.

      the busi-man

      w/ mani- cured hands
      was held to the wall
      still clutching his news

      i wake up each new
      -day:the radio-news,
      chirping its static.

      the news of the rain
      came showering down

      This is due to the fact that, prior to beginning to write, the creator establishes his or her correlative element; in the busi-man, I used the word, “news”.

      1. mattramzzz says:

        -clutching his news
        -the radio-news, chirping its static
        -the news of the rain came showering down

        The fact is: “less can be or is more.”

        I’ve been led to believe that many people who might read this poem might get a “dark space” opinion of my mindset when I wrote it; however, to the contrary, I actually was able to recognize, way back, in late ’87 or in ’88, that I had been able to produce something that didn’t holistically stink. My ventricular shunt had stopped working and, even still, I saw the amazing facility of trying, if not succeeding, to create. This is what motivated me.

        The weird thing that occurred after my failing shunt had been replaced was a voluminous out-pour of poems. Many of them, I recognize, were really not good: at least, not good, in the way that I write poems, now. However, as long as a person attempts to write, or speak or think, he or she cannot go wrong, even if he or she is ld, non-ld, shy, browbeaten or none-of-the-aforementioned. There is no right or wrong: there is only WRITE.

        01 loose ta(i)l[e]s

        02 long before the crucifixions,
        03 beings crossed their fingers
        04 & two sticks, together,
        05 as theyd lash & stretch a skin
        06 a cross, to form a kite,
        07 to which theyd tied a ta(i)l[e];
        08 &, soon enough, the acrobat
        09 -stuntflyer looped twine
        10 around its thumbs,
        11 in making it kites dance
        12 their jig; only, dressed
        13 to kill, in spats & ta(i)l[e]s,
        14 a bigtop hat upon their
        15 head, like aesop, w/ his yarns
        16 & ta(i)l[e]s of snips & snails;
        17 or, deadmen & their silence;
        18 which, is made of gold, will
        19 never stay, like lizards lose
        20 their ta(i)l[e]s: unlike cats.
        21 this, i know; our six-toed cat
        22 has just half a ta(i)l[e]; he skulks
        23 along, w/feathers on his mind,
        24 into the bog w/ cat ta(i)l[e]
        25 fringe, where i recall a fence
        26 swift, w/ its curly- ta(i)l[e], had
        27 scaled a tree, in ’86, when
        28 halleys comet passed us by;
        29 we failed to trap a glimpse of
        30 it, not even of its ta(i)l[e];
        31 yet, we are on a planet,
        32 &, w/o a ta(i)l[e], we had
        33 no right; ‘tho, some would
        34 love to be aboard the coat
        35 -ta(i)l[e]s of a comet: never
        36 -minding ta(i)l[e] winds,
        37 sipping cockta(i)l[e]s, thru
        38 out time & space, a ways away
        39 from planet earth, which,
        40 bytheway, has not a ta(i)l[e]

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