Of Poem « POETICKS

Archive for the ‘Of Poem’ Category

Entry 1734 — “Poem Meets His Author”

Tuesday, February 24th, 2015

        Poem Meets His Author            One day Poem found him          self sitting at a pic                        nic                table in a pleasantly             sunny park facing a weird,            bald-headed old man with a pony-tail           and an engaging smile.            Immediately he knew who the man was:             his author.          No mystery how he knew: everything he knew          his author provided him when his author needed          him to know it (seldom when he did).            Poem wondered what was up. That came from          his most essential self--i.e., the personality,          character, exterior or whatever you          wanted to call it, that his author had given him          when creating him.                 More accurately, it was what the author himself had gotten               from, who knows where, at some point in his               growth toward what he had been when what he was made          him recognize the need for an later ego that,                            in                            turn                     caused him to bring forth Poem.            "Blah," Poem thought. "This joker is just          another alter ego of Bob Grumman's, just one          maybe closer to his real self."            "Does that make a difference?" asked          the text's Bob Grumman. Before Poem          couldanswerthepoemstopped.

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Entry 1732 — “Marmalooted But Carrying On”

Sunday, February 22nd, 2015

I was planning to tell you about my horrible last night.  For some reason the word, “marmalooted” occurred to me, and it seemed for who-knows-why to described what happened to me.  Then “unluted” followed it into my verblageniusse brain and I thought, why not instead a new Poem poem!!!  Ergo, whether it’s any good or not:

     Marmalooted But Carrying On         Poem was so sure for the first three hours of the evening       that he'd be unluted the rest of his miserable life,         that he regretted he had no gods             to pray that he'd quickly die                                                   to.          No, that's not quite accurate: he did not wish for death         because certain of it (as he always had been                             when his body felt significantly more screwed up         than it always felt since, at 57, he had actually                   been afflicted with something life-                     threatening for the first time       (prostate cancer).              Be that as it may,                        every time he moved              any part of                his body, he shivered instantly below zero,     in spite of          the four layers of clothing he'd put on               including his winter overcoat,         and the three blankets and comforter he was                   lying    under.             This was not the first time he'd been attacked           for some unknown reason by severe chills.  Not only       had he always survived them, but he always got over them        no more than a few hours after they'd begun, and        the after-effects were minor and lasted no more than a day.               No exception this time.  This was unfortunate, for      it resulted in this wretchedly marmalooted report.  

Good but far from great this might be as a prose text, but DOA (dead on arrival) as a poem. Hmmm, I think I would call it informrature, or a factual report rather than a poem. Oh, well, whatever it is, it’s another daily entry here.

Note: I originally put it in my blog’s “From My Poetry Workshop” category. I think it’s finished now, though–i.e. I don’t think it worth trying to improve even if I had any idea how that might be done. So it’s in the “Of Poem” category (which I’m happy to realize doesn’t claim it to be a poem).

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Entry 1729 — “A Quanthrille of Grrr-rille”

Thursday, February 19th, 2015

I found another Poem poem from that batch of 39 I made early in 2014 and discovered I liked it quite a bit:

AQofGrrr-rille

There’s a large problem with this, though: it’s too much like this, which I posted back on the seventh:

               A Quadrille of Deedle                   The rain lifted, but over-churched                    somewhere by the glymmyr the first                          ocean's philosophy,                        Poem                                   fell into the West                                   lighk a thousand                                spandered leaves                   A prayer away, a cloud rose just behind the dis                   tant wharf and                 remained in place.                      A girl in pale blue loy                     tered on it.                   Wordsworth and       Shelley                     joined her.  The                    rain re                         turned.  Heavily.                                           The girl                                      dissolved to the left of the poets,                                                                                                      silently,                                            in an obsolete meaning of "the."

There’s at least one more variation on the above.  What to do?  I suppose just making a theme and variations set?  Or perhaps a splice of the two here with some of the repeated material changed?  The bottom one seems before the second.  I’ll have to think a while about them. . . .

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Entry 1723 — A Single Poem from Three

Friday, February 13th, 2015

I didn’t spend too much time on this but really like the way it came out:

        At the First             At the first ocean-wisdom, the lazy questions of                               the dolphins, folooping around his starplug,                 centered what thoughts Poem had.              Gradually, his vocabulary wore away into warmth,             proud to the touch, and galleoned              to the top of the laughing April morning                          unnorming, unnorming, unnorming              every worn where a syllable was abled against.                  Poem was uninquiserentlyy delubricated about                  what the word,                                 “starplug”                                        meant.               Of        course he knew                                                   it wasn’t a word the way, “way” or “why” were, just a                nonciation of his high-blimeyed cre                                       ator.         Still                                    it whatted for him at the leastest least's fringe.                       Was that girl somewhere in it?  The one     in that poem of long                      ago                who was      not    at                            the whirlf?                   A potentially usable vocabulea far dis              tant but still in view, Poem      inquiserently salubricated the grrrlplug         into his deepest wayre                       duculently achime                                                          in the Agincourt of his widening kingship.                       True merry the celubriation now inned                              around the now full-faring flitter Titania                                         had choired about                                                             the many-whatted girll, and all the long-agone                          youmth of a particular summmermurrrr    dayyy              renorming into cockleblithe murmythry. . .

No doubt I’m too close to it to tell, but it seems right now the best of my revisions of the 39. I don’t think it’s quite finished, though.
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Entry 1721 — Yet Another Poem Poem

Wednesday, February 11th, 2015

My excuse for taking care of another entry with just another Poem poem from the 39 is a better one: it is that I want to use as much of the day as I can to take care of a project I consider IMPORTANT!  It’s just a book review to be post at Amazon, but will include passages for use in the final edition of my Shakespeare and the Rigidniks, which is one of my Major Life’s Projects.  Anyway: here is today’s poem:

               A Small Stone’s Whisper                   On the top of a pine                 a small stone’s whisper                      away from                                  Poem,                  Crow                                                  burst                      into ex cathedra laughter,                 scarlet in the iambic greyness of                 the Massachusetts winter snowing                                          into April.                     Poem looked up in wonderment,                  never having come on Crow                  in any of the hinterskies                                   that had overhung his dull excursions.                             The lane that Poem had been slowly                  walking on unwogged—but only                                                                     briefly.  Then it snarled                                                halfway up the still-bleak sky,                  Poem tumbling off it.       Mean                     while Crow frayed out of sight.                        Poem got up from the snow and went on                              hindering awry, destined to be unnoticed so long                   as men have breath or eyes to see                     but too tired to care.

I revised this one more than I’ve revised the others from the 39 so far post, but nothing major. The quotation from Shakespeare is new. I’m not sure it works.

Note: I’ll probably not post many more from the 39–the ones remaining seem pretty poor to me.  The one above I consider a keeper, but just barely.
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Entry 1720 — “Arsummal”

Tuesday, February 10th, 2015

Another day of running around, tennis in the morning, and errands, and next, a meeting of my little local writers’ group.  Ergo, nothing here but another Poem poem from my 39 thrown-togethers:

ArsummerI love the image of the “unmarried knowledge,” but doubt I’ll ever know what it means. 
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Entry 1719 — “The Game Drees Awn”

Monday, February 9th, 2015

Today the first of the Poem poems in the quartet (I think):

The Game Drees Awn

Again, I’m using my 39 “done-with-minimal-thought” Poem poems to get a blog entry out of the way.  It looks like there won’t be much else for a while–good for me, because it will mean I’m busy with things more important to me; bad for you, unless you’re one of the few who like my Poem poems.  (Note: the Joyce in these things is obvious, but, to me, the Dylan Thomas is much more loud.)
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Entry 1718 — “In the Key of Null Flat”

Sunday, February 8th, 2015

Today another of my 39 quickly-done Poem poems from a year or so ago because I want to get this entry out of the way quickly so I can concentrate on my latest Work-the-will-make-me-Famous:

                      In the Key of Null Flat                                A red chord silenced by sleet;                        in                          the distance, the wharf, listened                        into down to Poem’s long lost secret fortress in                            the marshes;                                    banjo-sharp 11-year-old boys                               aglow in possibililities                                               never to history                                than accountancy,                                         turning into                                                                snow                           Did Wordsworth ever write a poem about snow .  .  .  ?

This one (which I’ve slightly revised, changing an order of lines, and just a few other smaller things) I don’t think much of, but I think it’s the introductory poem to my wharf sequence, or one of them.
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Entry 1717 — “A Quadrille of Deedle”

Saturday, February 7th, 2015

Here’s another of my 30 spontaneous poems, except it’s no longer spontaneous, ’cause I revised it just now, my main change being the addition of the last three lines, which make it another masterpiece:

               A Quadrille of Deedle                   The rain lifted, but over-churched                    somewhere by the glymmyr the first                          ocean's philosophy,                        Poem                                   fell into the West                                   lighk a thousand                                spandered leaves                   A prayer away, a cloud rose just behind the dis                   tant wharf and                 remained in place.                      A girl in pale blue loy                     tered on it.                   Wordsworth and       Shelley                     joined her.  The                    rain re                         turned.  Heavily.                                           The girl                                      dissolved to the left of the poets,                                                                                                      silently,                                            in an obsolete meaning of "the."

Apparently I had religion on my mind while composing these poems. Interestingly, I think.

Note: “Quadrille” is some kind of wordplay on “quartet–due to my making a set of four poems about the wharf and Wordsworth and Shelley, etc. This one, I believe, is the fourth in the set. My impression is that the wharf comes up in more than four of the 39 poems. I love the image of “the wharf,” a receiver from afar and entrance into afar . . . Among so much else.

A thought: posting one of my 39 poems daily here until there are no more to post and seeing how many regular visitors I lose. . . . (My megalomania assures me that even these poems will be too good to attract new visitors.)
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Entry 1716 — “Bar Cripe”

Friday, February 6th, 2015

While going through my diary in search of accomplishments, I came across a poetry exercise I’d begun in March: the standard write-a-poem-a-day exercises many have tried–spontaneously, without worrying about whether or not what you wrote was any good.  I’d forgotten all about it even though I wrote 39 Poem poems over the course of 39 day, putting them in my diary entries but not here (so far as I know).  Often I wrote how bad they were although once in a while I thought one had possibilities.  I just skimmed through them yesterday, but collected them into a single file and printed them after noticing a few I thought I might make something of.  Looking over my print out, I read the very last poem of the series, and thought it possibly one of my best ever, so decided to feature it in this entry:

Bar Cripe

Actually, the above has been slightly revised.  I had trouble carrying its formatting over into this entry, and at one point accidentally stuck the end of it under the rest of the poem tilted.  I liked the effect, so used it as shown.  Some of it depends on a reader’s knowledge of other Poem poems of mine, but I think it reasonably accessible to anyone who has read widely in poetry without know my poetry.  I love the ending.  Note: I myself am unsure exactly what a few locutions mean but keep them for what seems to me their tonal effect.

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lineation « POETICKS

Archive for the ‘lineation’ Category

Entry 12 — Line Breaks

Friday, November 13th, 2009

I may know as much as anyone in the world about the nature and function of lines breaks.  That’s not a major boast: there isn’t much to know about them, and understanding them doesn’t take research or study, just a little commonsensical thought.  I’m making them the subject of this entry because of a thread at New-Poetry I got involved with.  A few of the contributors to the thread seemed to me to be having trouble fully understanding the device.  Anyway, I’ve decided to write  a minor primer about it, bringing back my recent Poem poem to illustrate its simplest functions:

.                                  Another Failure

.                                  For half the night
.                                  Poem struggled mightily
.                                  to sing himself a sleep
.                                  that melted understandings into him
.                                  as intricately deepening as April rain
.                                  dislodging a woodland’s smallest wisdoms;
.                                  but nowhere in it did
.                                  anything extend beyond
.                                  its decimal point.

I will now repeat it, with a comment in purple under each of its lines:

.                                  Another Failure

.                                  For half the night

The poem’s first line-break notifies the reader that he’s in a poem, as does every poem’s first line-break; slows his read to force him to pay at least a little more attention to what’s going on in the language of the poem and what its expressing, particularly its imagery, as do all line-breaks; with the corroboration of the poem’s other lines, if the reader glances at them, informs him of the poem’s pace, in this case comparatively quick; gives his mind a resting place from the possibly difficult material of the poem (again, like all line-breaks); presents a hint (possibly misleading) of the kind of poem the will follow as to style, subject matter, rhythmic nature, technique, point-of-view, and the like, in this particular case, mainly suggesting quotidianness via a commonplace diction, and the representation of a highly standard image; and, finally, setting up a rhyme by leaving “night” in an emphazied location of the poem.

.                                  Poem struggled mightily

The poem’s second line-break does most of the things its first one did but also pretty much establishes the poem as free-verse, and puts “might” near its end to rhyme with the final word of the previous line.

.                                  to sing himself a sleep

The next line-break does little new, but the extra time it gives the reader may help prevent his reading “a sleep,” a key contributor to whatever value the poem has, too hurriedly.

.                                  that melted understandings into him

Coming a little late compared to the other line-breaks, this one is responsible for giving its line a feel of magnitude, importance; I believe it will be welcomed for the pause it provides the reader to think about just what its line and the preceding one mean

.                                  as intricately deepening as April rain

The next line-break lets its line extend even more.

.                                  dislodging a woodland’s smallest wisdoms;

Then a line-break halting its line somewhat sooner than the previous line-breaks halted theirs–perhaps indicating the we’ve reached the poem’s peak and are now quieting.

.                                  but nowhere in it did

Another short line, now, stopped before it says anything–stopped also on a word a more standard line-break would not have, to “merely’ keep the reader from being completely on balance.

.                                  anything extend beyond

The penultimate line-break does little more than prevent the reader from too quickly learning where the sentence he’s reading is going.

.                                  its decimal point.

The poem’s final line-break provides it with a sharp short clear end.

Any questions?

Additional comments: when I wrote this poem, I paid little attention to the line-breaks I was making–they came pretty much naturally.  I’m sure that’s the way it wis with most composers of free verse.  The “did” I thought about before going with, though, and I think I came back to one pair of lines that sounded wrong, and change the line-break between them.

A reader, too, if experienced, ought not pay much conscious attention to the lineation of a work of free verse–but, if effective, it will have a great deal of influence on his understanding of the poem.

One last comment: in the right hands–those of E. E. Cummings, for example–line breaks can be employed to do much more of value in a poem than they do in “Another Failure.”

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Entry 398 — “The Tide,” a Poem Poem « POETICKS

Entry 398 — “The Tide,” a Poem Poem

.            The Tide

.            A long stare smelled its way
.            past the lantern’s purpled lisp
.            against kerosene mares radiant in
.            the prenatal barn storm
.            that Poem
.            was tearing the petals off of.
.            Behind him, the Hawaiian sidewalk
.            sidled dangerously into a canasta game,
.            like misspelled lemonade
.            remembering where the jewels were.

.            The tide was later than usual.
.

I threw the above together so as to have something here.  Believe it or not, I then revised it!  I only changed a few lines, though.

I’m beginning to think I’ll never have a blog entry with any real content again.  A real disaster, Kevin Kelly is now prowling this here territory, lookin’ for poems to throttle, and he’s brutal.  I could deal with him back when he lived in or around Port Charlotte, but he’s gotten a lot meaner since he moved.

5 Responses to “Entry 398 — “The Tide,” a Poem Poem”

  1. Geof Huth says:

    You know that Kevin Kelly guy always reminded me of Surllama for some reason.

  2. Bob Grumman says:

    I’ve always suspected they were one and the same–the two l’s in Surllama are strong evidence of it. And, of course, they are both maximally crude fellows. . . .

  3. Kevin Kelly says:

    Ha, ha! Remember Todd Russell aka Huck Finch? He told me before I moved to California, something to the effect of: “Don’t let California change you, Surllama, I mean Kevin” and I remember thinking, “Nothing can change me!” … and then I became a snob. It happened about four years ago, to be exact. I’ll have to admit, it felt good to give in, like a warm bath of salt.

  4. Kevin Kelly says:

    But seriously, sir, I’m trying to ONLY comment on the stuff I like (hence, the scarcity of any comments … I kid!) … and I like this here poem. I have to admit, I’ve always liked your poetry when you start talking about the tide and the phone ringing to itself, etc. My favorite line by far: “like misspelled lemonade” Good imagery! So there.

  5. Bob Grumman says:

    Well, I’ve always said negative comments are more helpful than positive ones, but your positive ones have definitely been helpful. As for Huck, we’ve exchanged e.mails since you’ve left. He’s sent me invitations to the parties he yearly has, but I’ve not yet been able to get to one. You should e.mail him, or facebook him. I think he’s on Facebook.

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Entry 390 — Two Poems from three Years Ago « POETICKS

Entry 390 — Two Poems from three Years Ago

.

Just about three years ago I wrote a version of the following poem:

.             Poem has a question

.             Whose sleep is the sky?
.             For hours and
.             hours Poem
.             wondered.

I improved it just now by deleting its previous two last words, “about that.”

Note: I find that the day after I wrote the above, I “improved” it by adding ten or twelve lines to it.  I hereby disown that version.

The following is a re-done poem I sent a year or more earlier to something going on in Mexico.  I was trying to do something with the show’s theme of International friendship, or something.  Barely worth keeping, I’d say but may some will enjoy it.

Note: as should be obvious from the way I strained tofind things for this entry, I’m still blah.

5 Responses to “Entry 390 — Two Poems from three Years Ago”

  1. marton koppany says:

    Whose sleep is the sky.

  2. Bob Grumman says:

    Aah, you minimalists!

    But possibly yours is an equal but different version of the poem; I like Poem physically in his poems, though, and the emphasis on the time the question intrigues him. There’s even a juxtaphor (implicit metaphor) between the motion of the sky and the motion of Poem’s wonder–for me, at any rate.

  3. marton koppany says:

    It just came to my mind as a possible “answer” to Poem’s “question”. Perhaps, yes, because he was physically there. :-)

  4. Kevin Kelly says:

    I’m still working my way in reverse (top to bottom) on your blog, Bobby, so I may find more like these, but I think there’s something really interesting going on in “Mathemaku No. 21,” specifically in the figure after the minus sign. I like the possibilities with the reverse type creating new shapes inside those already created in the mashing up of letters.

  5. Bob Grumman says:

    Thanks for the look, Kevin.

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Entry 398 — “The Tide,” a Poem Poem « POETICKS

Entry 398 — “The Tide,” a Poem Poem

.            The Tide

.            A long stare smelled its way
.            past the lantern’s purpled lisp
.            against kerosene mares radiant in
.            the prenatal barn storm
.            that Poem
.            was tearing the petals off of.
.            Behind him, the Hawaiian sidewalk
.            sidled dangerously into a canasta game,
.            like misspelled lemonade
.            remembering where the jewels were.

.            The tide was later than usual.
.

I threw the above together so as to have something here.  Believe it or not, I then revised it!  I only changed a few lines, though.

I’m beginning to think I’ll never have a blog entry with any real content again.  A real disaster, Kevin Kelly is now prowling this here territory, lookin’ for poems to throttle, and he’s brutal.  I could deal with him back when he lived in or around Port Charlotte, but he’s gotten a lot meaner since he moved.

5 Responses to “Entry 398 — “The Tide,” a Poem Poem”

  1. Geof Huth says:

    You know that Kevin Kelly guy always reminded me of Surllama for some reason.

  2. Bob Grumman says:

    I’ve always suspected they were one and the same–the two l’s in Surllama are strong evidence of it. And, of course, they are both maximally crude fellows. . . .

  3. Kevin Kelly says:

    Ha, ha! Remember Todd Russell aka Huck Finch? He told me before I moved to California, something to the effect of: “Don’t let California change you, Surllama, I mean Kevin” and I remember thinking, “Nothing can change me!” … and then I became a snob. It happened about four years ago, to be exact. I’ll have to admit, it felt good to give in, like a warm bath of salt.

  4. Kevin Kelly says:

    But seriously, sir, I’m trying to ONLY comment on the stuff I like (hence, the scarcity of any comments … I kid!) … and I like this here poem. I have to admit, I’ve always liked your poetry when you start talking about the tide and the phone ringing to itself, etc. My favorite line by far: “like misspelled lemonade” Good imagery! So there.

  5. Bob Grumman says:

    Well, I’ve always said negative comments are more helpful than positive ones, but your positive ones have definitely been helpful. As for Huck, we’ve exchanged e.mails since you’ve left. He’s sent me invitations to the parties he yearly has, but I’ve not yet been able to get to one. You should e.mail him, or facebook him. I think he’s on Facebook.

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Entry 474 — “Poem’s Boringness” « POETICKS

Entry 474 — “Poem’s Boringness”

Poem’s Boringness

Poem was well-aware
how boring he was, but
how could he be otherwise,
alter-egoing for
a sickness so wholly
over-burdened with ambitions
to which it could only get close enough
to pule its futility about into texts
like this . . . for some for
ever incomprehensible reason?

 

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Entry 390 — Two Poems from three Years Ago « POETICKS

Entry 390 — Two Poems from three Years Ago

.

Just about three years ago I wrote a version of the following poem:

.             Poem has a question

.             Whose sleep is the sky?
.             For hours and
.             hours Poem
.             wondered.

I improved it just now by deleting its previous two last words, “about that.”

Note: I find that the day after I wrote the above, I “improved” it by adding ten or twelve lines to it.  I hereby disown that version.

The following is a re-done poem I sent a year or more earlier to something going on in Mexico.  I was trying to do something with the show’s theme of International friendship, or something.  Barely worth keeping, I’d say but may some will enjoy it.

Note: as should be obvious from the way I strained tofind things for this entry, I’m still blah.

5 Responses to “Entry 390 — Two Poems from three Years Ago”

  1. marton koppany says:

    Whose sleep is the sky.

  2. Bob Grumman says:

    Aah, you minimalists!

    But possibly yours is an equal but different version of the poem; I like Poem physically in his poems, though, and the emphasis on the time the question intrigues him. There’s even a juxtaphor (implicit metaphor) between the motion of the sky and the motion of Poem’s wonder–for me, at any rate.

  3. marton koppany says:

    It just came to my mind as a possible “answer” to Poem’s “question”. Perhaps, yes, because he was physically there. :-)

  4. Kevin Kelly says:

    I’m still working my way in reverse (top to bottom) on your blog, Bobby, so I may find more like these, but I think there’s something really interesting going on in “Mathemaku No. 21,” specifically in the figure after the minus sign. I like the possibilities with the reverse type creating new shapes inside those already created in the mashing up of letters.

  5. Bob Grumman says:

    Thanks for the look, Kevin.

Leave a Reply

Entry 580 — “Poem Becomes Another Person” « POETICKS

Entry 580 — “Poem Becomes Another Person”

 

                                 Poem Becomes Another Person                 

                                 One day Poem spontaneously
                                 became another person, Problem.
                                 He shrugged it off.  His author no doubt
                                 no longer had any more chores for
                                 him as a combination poem/alter ego.
                                 He assumed he was still an alter ego–
                                 his author had never shown any ability to create
                                 a human being of any complexity at all
                                 that wasn’t 97% himself.

                                 Problem wandered around for several lines
                                 without being or encountering anything
                                 problematic. 

                                 Was that a problem?  He quickly
                                 spiffled a gumshoe, rhinestones
                                 being out of fashion. 

   

* * *

 

Wednesday, 30 November 2011, 4 P.M.  A pleasant-enough day.  I ran around seven this morning, planning to cover a mile but only was able to run half that.  I blame it on going too fast to begin with–after not having run for two or more weeks.  Not that I start all that fast.  After walking a little, I ran a little, and felt good.  I ran a hundred yards or so after that, feeling almost like I was really running.  After breakfast, I got another exhibition hand-out done, and worked some on my Hardy Boys mathemaku.  It’s not framed, so I’m replacing a framed one with it–mainly because I want to get the framed one unframed so I can scan it into my computer.  I have to have a computer copy of it somewhere but haven’t been able to find it.  Its framing was professionally done, so I don’t want to mess with it.  I’ll take it to the frame shop I’ve done business with and have the guy there switch poems.  Along the way, I had two short naps.  I feel pretty okay now.  I’ve done all my chores, getting a short blog entry out of the way a little while ago, and not having work on the book to do for a few more days.  Reading–another Clancy (mainly)–and A new game of Civilization, with my Civilization winning streak up to 3.

Later note: I wrote a second exhibition hand-out for the day, a little commentary on my Hardy Boys mathemaku.

.

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Entry 12 — Line Breaks « POETICKS

Entry 12 — Line Breaks

I may know as much as anyone in the world about the nature and function of lines breaks.  That’s not a major boast: there isn’t much to know about them, and understanding them doesn’t take research or study, just a little commonsensical thought.  I’m making them the subject of this entry because of a thread at New-Poetry I got involved with.  A few of the contributors to the thread seemed to me to be having trouble fully understanding the device.  Anyway, I’ve decided to write  a minor primer about it, bringing back my recent Poem poem to illustrate its simplest functions:

.                                  Another Failure

.                                  For half the night
.                                  Poem struggled mightily
.                                  to sing himself a sleep
.                                  that melted understandings into him
.                                  as intricately deepening as April rain
.                                  dislodging a woodland’s smallest wisdoms;
.                                  but nowhere in it did
.                                  anything extend beyond
.                                  its decimal point.

I will now repeat it, with a comment in purple under each of its lines:

.                                  Another Failure

.                                  For half the night

The poem’s first line-break notifies the reader that he’s in a poem, as does every poem’s first line-break; slows his read to force him to pay at least a little more attention to what’s going on in the language of the poem and what its expressing, particularly its imagery, as do all line-breaks; with the corroboration of the poem’s other lines, if the reader glances at them, informs him of the poem’s pace, in this case comparatively quick; gives his mind a resting place from the possibly difficult material of the poem (again, like all line-breaks); presents a hint (possibly misleading) of the kind of poem the will follow as to style, subject matter, rhythmic nature, technique, point-of-view, and the like, in this particular case, mainly suggesting quotidianness via a commonplace diction, and the representation of a highly standard image; and, finally, setting up a rhyme by leaving “night” in an emphazied location of the poem.

.                                  Poem struggled mightily

The poem’s second line-break does most of the things its first one did but also pretty much establishes the poem as free-verse, and puts “might” near its end to rhyme with the final word of the previous line.

.                                  to sing himself a sleep

The next line-break does little new, but the extra time it gives the reader may help prevent his reading “a sleep,” a key contributor to whatever value the poem has, too hurriedly.

.                                  that melted understandings into him

Coming a little late compared to the other line-breaks, this one is responsible for giving its line a feel of magnitude, importance; I believe it will be welcomed for the pause it provides the reader to think about just what its line and the preceding one mean

.                                  as intricately deepening as April rain

The next line-break lets its line extend even more.

.                                  dislodging a woodland’s smallest wisdoms;

Then a line-break halting its line somewhat sooner than the previous line-breaks halted theirs–perhaps indicating the we’ve reached the poem’s peak and are now quieting.

.                                  but nowhere in it did

Another short line, now, stopped before it says anything–stopped also on a word a more standard line-break would not have, to “merely’ keep the reader from being completely on balance.

.                                  anything extend beyond

The penultimate line-break does little more than prevent the reader from too quickly learning where the sentence he’s reading is going.

.                                  its decimal point.

The poem’s final line-break provides it with a sharp short clear end.

Any questions?

Additional comments: when I wrote this poem, I paid little attention to the line-breaks I was making–they came pretty much naturally.  I’m sure that’s the way it wis with most composers of free verse.  The “did” I thought about before going with, though, and I think I came back to one pair of lines that sounded wrong, and change the line-break between them.

A reader, too, if experienced, ought not pay much conscious attention to the lineation of a work of free verse–but, if effective, it will have a great deal of influence on his understanding of the poem.

One last comment: in the right hands–those of E. E. Cummings, for example–line breaks can be employed to do much more of value in a poem than they do in “Another Failure.”

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Schools of Poetry « POETICKS

Archive for the ‘Schools of Poetry’ Category

Entry 978 — A List of Poetry Schools

Wednesday, January 9th, 2013

7 or 8 years ago I made a list of linguaesthetic (words-only) poetry schools, hoping to get comments, and–best–additions to it.  It was pretty much ignore.  Here it is again, anyway (and because I’m running behind, thanks in part to my word-processor’s killing four days of my work on the Sonnet book):

1. Edwardian poetry–the kind of standard formal poetry written by most American poets as the twentieth century began.

2. some school between the above and the next?

3. imagistic poetry

4. country poetry, the kind Frost would be the exemplar of–and, yes, I need a much better name for it.  Quotidian subject matter, formal techniques

5. surrealistic poetry

6. plaintext poetry (the kind of which Williams would be the exemplar)

7. objectivist poetry (if that’s different enough from 5.)

8. neo-formalist poetry

9. language poetry

10. infraverbal poetry

11. New York School poetry

12. beat poetry

13. ethnic poetry

14. contra-genteel poetry (Bukowski, and his followers)

15. feminist poetry

16. Haiku

17. Neo-Hopkins Poetry–what Dylan Thomas wrote at his best, word-splash, not the sprung rhythm.

* * *

Hmmm, I left out surrealist poetry and jump-cut poetry.  Odd.  Probably others.

Here’s a Poem poem I wrote at about the same time:

.                                  Another Failure

.                                  For half the night
.                                  Poem struggled mightily
.                                  to sing himself a sleep
.                                  that melted understandings into him
.                                  as intricately deepening as April rain
.                                  dislodging a woodland’s smallest wisdoms;
.                                  but nowhere in it did
.                                  anything extend beyond
.                                  its decimal point.

 

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