At the Conceptual Crossroads

As I previously established, I have an interest in writing a series of poems that build a narrative and reflect different character voices. However, I have found this a difficult task when trawling over half-finished notes, tattered papers, and frayed patience. When dealing with so many voices that struggle to build a cohesive narrative, it's difficult to know where to take the work and what to write about - none of these notes are finished, or a condition I would consider presentable. So, this leaves me at the conceptual crossroads: which path do I take to best suit my EPQ?

Firstly, I could continue with the different viewpoints and have a small collection of disconnected poems dealing with the subject of grief and losing someone, although this has already been a nightmare to plot and to conceptualize characters for.

Secondly, I could have the narrative told through just one character (perhaps a fictional poet?) whose story is told through the different poetry styles as she comes to terms with his/her grief. This makes it easier to build a protagonist and to 'plot' the poems and how they fit together, but removes the inter-connectivity between different characters.

Finally, I could keep these alternating character perspectives alive through the power of monologues, and could write a short theater piece that aligns with my original idea of having the dichotomy between living and dead. It allows easier communication with an audience, and is easier to ground in terms of plot - a series of reminisces and discussions can build towards a conclusion on grief, but massively disregards my previous work on the project, aside from my observance of memoirs and the like (which I need to record on here).

Overall, I'm currently stuck at the conceptual crossroads which is giving me a massive bout of writers' block, and an unwillingness to continue until I sort this out. Principally, I can imagine I'll use the second idea as it's the closest to my original research, although I still need to consider my options. I will continue with the MOOC and hope that I can cement my ideas.

'Developing Your Research Project' Weeks One and Two

Having just completed the first and second weeks of the MOOC, I feel that I need to have a greater certainty in the theme of my poetry, and to experiment with greater fluency as to whether my previous ideas will be rigid enough to withstand. I understand that my project doesn't conform to the academic nature that many of the other projects adhere to (to which I've felt a slight reluctance to complete the second week's activity).

I hope to do further analysis and commentaries on both my own experiments and the style models I begin to adopt, while deciphering a manner to coherently plot a narrative utilizing such a variety of character voices, all of which need to be individual in their own rights.

Experimentation with Poetry Forms: Shakespearean Sonnet

Before I set out to write my first draft poems (which require the characters to be actualized for me to do so) I feel that experimenting with different forms first allows me to consider whether they'd make a fitting voice. 

The poem is from the perspective of Cassio from Othello, one of the Shakespeare plays we studied in our AS year. I settled on the text itself due to its familiarity to me, while the particular character was chosen due to how he's oftentimes cast aside by the interests of other writers; Iago is certainly one more interesting to decipher.

CASSIO'S SONNET

Must such dark, deathly discourse damn me so?

For the morbid morrow doth mark my mind;

Base, blighted, baneful, charnel-chosen woe

Of follied fools whose fateful judgements art blind.

Reputation! Reputation! ‘Tis lost

To the sentinel’s scorch’d hourglass, whose sands

Hast beguiled his brain with a false accost –

Wherefore devils didst counsel his commands.

O, hark! Wouldst his hapless, reckon’d resolve -

Spurned by Iago’s crude epithets –

Bring his beloved “strumpet’s” mire’d dispatch?

The devil dost dance in their silhouettes.

O, Cyprus is cursed. In her lord's bed,

Lay Dian-divine Desdemona, dead.

I'm quite happy with how the poem's turned out - I believe it adheres to the conventions of Shakespearean sonnets to the most part - although I feel that the iambic pentameter and 'beat' of the poem is slightly wonky compared to how I could've written it.