A very short blurb on abstractions

[Gabe1]

Because of the frequency of complaints of abstractions and warnings against them, I felt compelled to if not describe, at least try to explain some of the reasoning behind these warnings and admonishments. Yeah, I think that's a word.

It is worthwhile to consider the etymology of the word. It comes from the Latin and means "to pull away [from]." This is important to remember, because the effect that abstractions have on poetry is directly related to this meaning. Abstractions pull the reader away from the objects and images in poems. This is a problem because as a writer, one driving goal is to be as clear, concrete, and concise as possible. By drawing the reader away from the meaning, the poem can become blurry and difficult to distinguish.

Now, although I rarely will admit to this when writing a critique, I do believe that abstractions have a place in poems. Let me qualify this before I am dragged from my computer chair and beaten. I believe that abstractions have a place in poetry when they draw away from the poem in order to provide a clearer picture of the whole. Think of it like those panning helicopter shots seen in movies. It is only that this is so very rarely done effectively that I do maintain the stance that abstractions should be avoided. Rest assured that if an abstraction is used in a poem and it works, it will be pointed out. I think that might be the best way I have at present to approach the issue. I hope this helps to explain why critics call out the abstractions when they see them, and at least part of why they should be avoided.

-Gabriel

[This message has been edited by Gabriel (edited 01-23-2001).]

[Ryanne]

gushing:
thankyouthankyouthankyouthankyouthankyou!!!

I really needed that.

If you don't mind, I'm going to add this to my copy of the PFFA beginner's handbook (thank you Neophyte).

Some very helpful stuff here!

Thanks again,
Ryanne

[Gabe1]

Originally posted by Ryanne:
gushing:
thankyouthankyouthankyouthankyouthankyou!!!

I really needed that.

If you don't mind, I'm going to add this to my copy of the PFFA beginner's handbook (thank you Neophyte).

Some very helpful stuff here!

Thanks again,
Ryanne

*Thank you, I'm glad you found it helpful. I was concerned I wasn't clear enough. Oh well, I can always add to it I suppose.

[kaydee]

I guess it's hard for me to see when something is an abstraction. When my poems are critiqued, I can immediately see the cliche or the wandering from topic, etc., when it is pointed out to me. But when someone says, "This is an abstraction," I always end up confused. Maybe I think in abstractions and so can't recognize them as such? Anyhow, I see this as my biggest problem and would love to see this subject explored at length.
kd

[Rachel Lindley]

An easy way to identify an abstraction is to ask yourself this question: "Can I see it, smell it, taste it, touch it, or hear it?" If the answer is a resounding "no", it's an abstraction. None of the senses are involved, and the phrase relies entirely on the readers' frontal cortex for interpretation -- that is, it's an idea, a concept, a judgement, or a statement of belief. That is an abstraction.

Rachel

[katherine]

I hope it's okay if I add something here...

A lot of critics use the phrase "Show, don't tell" (or some variation of it) to explain what they mean by avoiding abstractions in a poem. I find that phrase ENORMOUSLY helpful in understanding the critiques I've gotten regarding abstractions. http://www.everypoet.com/poetry/poetry_forums/smile.gif

[Ted]

Originally posted by TheBroad:
An easy way to identify an abstraction is to ask yourself this question: "Can I see it, smell it, taste it, touch it, or hear it?" If the answer is a resounding "no", it's an abstraction. None of the senses are involved, and the phrase relies entirely on the readers' frontal cortex for interpretation -- that is, it's an idea, a concept, a judgement, or a statement of belief. That is an abstraction.

Rachel


Rachel, you have the eerie ability to strip an issue to its core elements as easily as peeling a banana.

[Dorothy F. Parks]

Thanks ! I understood the meaning of the word but did not understand what it does to a poem. Helpfull!

[luvisawoman]

I have serious problem with abstraction.... Based on what I have been seeing if it's a feeling than it's an abstraction. That is what I have been hearing on my stuff... cliche' (which I understand a little better) and abstract, but if you're writing about a feeling how can you avoid being somewhat abstract?? I'm really lost on this.

[RainKing]

Originally posted by luvisawoman:
I have serious problem with abstraction.... Based on what I have been seeing if it's a feeling than it's an abstraction. That is what I have been hearing on my stuff... cliche' (which I understand a little better) and abstract, but if you're writing about a feeling how can you avoid being somewhat abstract?? I'm really lost on this.

An abstraction does not necessarily mean you are speaking about a feeling. Although we often describe our feelings in an abstract way, it can also mean an unclear image or unclear content meaning. At least that is what I understand it to mean. I think the best thing to keep in mind, is that when you are writing about being "sad", there are ways to use descriptive language (ie, the 5 senses) that will show your emotions. To simply say "I was sad" is abstract because it leaves a multitude of interpretations. Abstraction = just telling. Instead try to show and describe your emotion. Hope that some of this helped.
Chip

[garyg]

Write about things.

Give us details. Be specific.

Feelings and emotions are not things.

Poems are made of words.

Use words to describe things.

Use words to create images that describe things.

Imagery is spelled Imagery.

If you don't know what imagery is, or how to spell it, don't use the word.

Write about things.

Lather, rinse, repeat.

garyg

[O'Carroll]

The solution is simple -- don't write about your feelings. The shortest verse in the Bible is "Jesus wept." Much better than something like "Jesus felt unhappy." Richard Wilbur writes, "Love calls us to the things of this world." (I haven't got his book in front of me, hope I'm quoting exactly.) Write well about the things of this world, and the love will be there. But if you write badly about love, won't nothin' be there. Nothing worth reading, at any rate.

All the best,
Chris

Originally posted by luvisawoman:
I have serious problem with abstraction.... Based on what I have been seeing if it's a feeling than it's an abstraction. That is what I have been hearing on my stuff... cliche' (which I understand a little better) and abstract, but if you're writing about a feeling how can you avoid being somewhat abstract?? I'm really lost on this.

[awilson]

Once again thank you. I am told to watch abstractions but there the advice ends. You have been very helpful.

Originally posted by Gabriel:
Because of the frequency of complaints of abstractions and warnings against them, I felt compelled to if not describe, at least try to explain some of the reasoning behind these warnings and admonishments. Yeah, I think that's a word.

It is worthwhile to consider the etymology of the word. It comes from the Latin and means "to pull away [from]." This is important to remember, because the effect that abstractions have on poetry is directly related to this meaning. Abstractions pull the reader away from the objects and images in poems. This is a problem because as a writer, one driving goal is to be as clear, concrete, and concise as possible. By drawing the reader away from the meaning, the poem can become blurry and difficult to distinguish.

Now, although I rarely will admit to this when writing a critique, I do believe that abstractions have a place in poems. Let me qualify this before I am dragged from my computer chair and beaten. I believe that abstractions have a place in poetry when they draw away from the poem in order to provide a clearer picture of the whole. Think of it like those panning helicopter shots seen in movies. It is only that this is so very rarely done effectively that I do maintain the stance that abstractions should be avoided. Rest assured that if an abstraction is used in a poem and it works, it will be pointed out. I think that might be the best way I have at present to approach the issue. I hope this helps to explain why critics call out the abstractions when they see them, and at least part of why they should be avoided.

-Gabriel

[This message has been edited by Gabriel (edited 01-23-2001).]

[b1smh17]

I seem to have a problem with abstractions. Many of my poems only relate to the present time in my life. How can I make my poems more concise and easier to understand to the outside world?

[&*(9)%46#$&]

Originally posted by b1smh17:
I seem to have a problem with abstractions. Many of my poems only relate to the present time in my life. How can I make my poems more concise and easier to understand to the outside world?

Through and by constant practice, application and hard work. Read and write everyday. Read
out loud that which you written to see if it sounds and flows well. Don't try to impress
your readers with your superior knowledge and
vocabulary. Always try to remember who your readers are;what might be "concise and easy"
for some people be anything but for some other people.
I hope this has been of some help.

[Patti]

Gabriel, Thank you for starting this and to everyone else who has contributed. You say that you believe that some abstractions are effective. Can you give us an example of an effective abstaction and one that is not? Well, at least one that is effective. I guess I can find plenty that don't work when I look at my own stuff.

[Gabe1]

Originally posted by Patti:
Gabriel, Thank you for starting this and to everyone else who has contributed. You say that you believe that some abstractions are effective. Can you give us an example of an effective abstaction and one that is not? Well, at least one that is effective. I guess I can find plenty that don't work when I look at my own stuff.

*I'll dig around and see if I can turn one up.

[Qyl]

Ok, I was thinking about this abstraction thing and here is what I came up with.

The idea is to avoid the use of abstract words and phrases. It is not to avoid communicating abstract ideas, such as emotion. You can use concrete terms to communicate your abstract ideas, and I thought of two important reasons why you should do so in poetry.

1. The written mode of communication is one of the most difficult channels that can be used. It is several steps down from face to face communication, audible communication, and even visual communication in efficiency and accuracy. Further, poetry is one way communication, with no feedback/response loop. Writing is already full of abstraction, the symbols we use are atomic abstractions used to form words, which are an abstraction of some thing, be it an idea, an expression of tense, or a representation of some concrete object. Words have varying representations depending on each individual. Some highly abstract terms, such as 'love', may not have the same meaning to any two people. So if you want to get you message across, you have to give the reader something they can set their feet on, otherwise, they are left to interpret your message with very little to go on. One way, written communication, needs the help of concrete images.

2. Poetry generally attempts to get a message across in just a few words. Concrete images help the writer to achieve this, whereas abstract words just don't cut it.

That's it, I think I am beginning to understand the concept.