I suddenly realized yesterday that I had my secret messages reversed: the one I thought should be the lower was above the other (as I visualize the piece).  So I redid the poem.  I dropped “and,” while I did so to suggest that what followed might be thought of as the pond, or an illustration of it–as it is intended to be a metaphor for it.

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Video Game DVD Rentals

I reduced the size of the message in code.  Very Minor, it would seem, but I think it improves the thing significantly!  It looks better to me, but the main thing is that it suggests through its reduced size, the secret nature of the message.  Historical note: when I first made a cryptographiku ten or more years ago, I thought I was really on to something.  Within a year or two, I already felt I’d exhausted the form.  I’d made six or seven cryptographic poems, and used coded material in a few other poems.  I did think the cryptophor (coding employed metaphorically) was an effective device that might remain in the poetry tool kit, but that a poem whose central aesthetic effect depended on one had little future.  I still think it may not, but my Basho poem is a new use of the form so gives me hope others will be able to find other new ways of using it.

Psychologically, I find it interesting that I suddenly, pretty much out of nowhere, had the idea for this new kind of cryptophor of mine (which, I will now reveal, involves a method of coding two messages at once–to suggest layers of hidden meanings rather than just a single under-meaning) after giving up on the device.   My experience suggests how long it can take the subconscious to take an invention, my cryptophor, one step further.  At least five years.

In this poem, to continue, the cryptophor suggests the entrance into another world that Basho’s frog’s dive is, and without anyone’s plunge into real, or equivalents of, ponds . . .   I think its meaningfulness makes my poem at least a good one, and its metaphoric use of “doubling coding” makes it important enough to be considered major.  If I’m wrong, all my poetry has been a waste of time.  Oh, except for the pleasure of creativity I’ve derived from it.  But I have a need to make a significant contribution to the culture of my time, not just do things I enjoy, although I’d see no point in making significant contributions to the culture of my time if I didn’t get creative pleasure from the process.  If that were possible: I don’t think anyone can do anything of cultural value doing something he doesn’t enjoy.  (Something verosophical or artistic.)

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Dell computer deals

I suddenly realized yesterday that I had my secret messages reversed: the one I thought should be the lower was above the other (as I visualize the piece).  So I redid the poem.  I dropped “and,” while I did so to suggest that what followed might be thought of as the pond, or an illustration of it–as it is intended to be a metaphor for it.

.

Video Game DVD Rentals

I reduced the size of the message in code.  Very Minor, it would seem, but I think it improves the thing significantly!  It looks better to me, but the main thing is that it suggests through its reduced size, the secret nature of the message.  Historical note: when I first made a cryptographiku ten or more years ago, I thought I was really on to something.  Within a year or two, I already felt I’d exhausted the form.  I’d made six or seven cryptographic poems, and used coded material in a few other poems.  I did think the cryptophor (coding employed metaphorically) was an effective device that might remain in the poetry tool kit, but that a poem whose central aesthetic effect depended on one had little future.  I still think it may not, but my Basho poem is a new use of the form so gives me hope others will be able to find other new ways of using it.

Psychologically, I find it interesting that I suddenly, pretty much out of nowhere, had the idea for this new kind of cryptophor of mine (which, I will now reveal, involves a method of coding two messages at once–to suggest layers of hidden meanings rather than just a single under-meaning) after giving up on the device.   My experience suggests how long it can take the subconscious to take an invention, my cryptophor, one step further.  At least five years.

In this poem, to continue, the cryptophor suggests the entrance into another world that Basho’s frog’s dive is, and without anyone’s plunge into real, or equivalents of, ponds . . .   I think its meaningfulness makes my poem at least a good one, and its metaphoric use of “doubling coding” makes it important enough to be considered major.  If I’m wrong, all my poetry has been a waste of time.  Oh, except for the pleasure of creativity I’ve derived from it.  But I have a need to make a significant contribution to the culture of my time, not just do things I enjoy, although I’d see no point in making significant contributions to the culture of my time if I didn’t get creative pleasure from the process.  If that were possible: I don’t think anyone can do anything of cultural value doing something he doesn’t enjoy.  (Something verosophical or artistic.)

.

Dell computer deals