Critical Mass

HomerPindar

Literotica Guru
Joined
Sep 21, 2001
Posts
963
So far as I’ve read there is two parts to writing good poetry, first is write write write and then write some more. The second is read read read read, and yes, read some more. (Eating, sleeping and paying bills don’t get mentions :D) I’m going to suggest a third important aspect to being a poet; learning to critique poetry. This means not just reading poetry, but dissecting it, understanding what makes, or breaks, the poem and learning how to express your opinions in a constructive critique.

To wit, Critical Mass. Now, to carry this idea, I’ve consider some rules by which we should all play along. By all means, critique the rules. If the thread devolves into a rules critique over a poetry critique I’ll consider the idea to have failed miserably and let it die its slow creeping death down the forum thread list. On the other hand, I withhold the right to edit this post alone in this thread to update any rule changes that might be agreed upon.

The rules to critiquing:
Rule One: CONSTRUCTIVE criticism I had considered calling this thread “No compliments” but decided that no, critiques cover the “good” as well as the “bad.” Yet, we don’t want “I really liked such and such” or “That sucked.” Explain yourself, in detail, backing up your argument from the posted poem as needed.

A Suggested Note here: Avoid using words such as “like,” “nice,” “good,” or “bad.” These tend to get over used without actually supplying any information. If it works, explain how. If it makes you feel, explain what it made you feel. If it sucked, be specific about what doesn’t work.

Rule Two: Comments are on the poem only. There is no need to comment on the poet at any time. Critique what is posted, not some opinion you might have of the author, or sonnets for that matter. If you don’t like the form of the poem, tough cookies, skip the review of that poem if you can’t get over your personal taste.
Rule Three: No Editing Your Posts! Be willing to back up what you say, or don’t post it. (A third option is to accept that you were wrong and be mature enough to post that you were wrong.) Remember, you are posting on someone's poetry, that deserves the consideration it takes to reread your own posts and decide if what you post is what you meant to say.

Rules for posting your own poetry:
Rule One: Just the Poem! No explanations, notes, or sidelines. JUST THE POEM. If it can’t stand on it’s own, consider the poem incomplete, and go back to editing.
Rule Two: When posting your own poetry you cannot comment on the critiques for one week. That’s seven days of silence (ok, while I can’t keep anyone from using PM’s, I highly recommend and urge folks to refrain from posting PM’s about the critiques). Let people answer each others questions, in a round table poetry review (from which these rules are being lifted) such insight is often the most constructive way of seeing how other people see your poetry. Don’t ruin this chance to read what people think. Afterwards, feel free to comment on your review to date and as further reviews come up.
Rule Three: One of your own poems at a time. You can, and are encouraged, to help critique other poems. Since this isn’t a round table, we don’t have to worry about folks all talking at once. So, multiple poems can be reviewed at one time, so long as it is from multiple authors. (If too many poems are on the chopping block at any one time feel free to speak up and suggest that a hold be put on further poems being posted. Seeing as this is meant to be serious, hard-core type of critiquing, I don’t foresee people lining up to drop their work on the chopping block, so to speak.)

Rules for posting Another’s poem:
Yes, I understand this might be seen as something of a radical idea, but if the poem is published, either here, elsewhere on the web, or in a book, the author has submitted for public scrutiny and as such, their work is fair game. SO:
Rule One: This is NOT an opportunity for you to drag in your personal dislike for poet so and so and rip into their poem. See the rules on critiquing above. Be prepared to explain your choice of poetry and back it up as you would a critiquing of the poem itself.
Rule Two: If the poem is from a Lit member you should contact them and explain that their poem is being examined in this thread. You might suggest that they read this post first so they understand what they might be reading more of. Clearly, I do not expect people to pick Lit authors at random and start doing heavy critique’s of their work, but if you’re going to, show enough respect to let them know what you are doing.
Rule Three: If you are not the author of the poem, the author has the right to respond as soon as the author deems it appropriate. In this way, authors need not wait the week.
Rule Four: NO PLAGIARISM Sounds self explanatory to me, but just to clarify, you must show the author’s name in the post, preferably after the title at the top of the post. Supply a link if the poem can be found on the Web, or cite the source if the poem is from a book.

Now, granted, poetry reviews can continue anywhere else, and please, do continue them. This thread just applies some specific rules to the process, and expects a certain level of analysis that might be a bit to much for the newbie to want to handle. Again, if this appears too redundant I’ll let it die that slow death down the forum.

(This is an extension of an idea originally suggested by SeattleRain in her “Interact” thread (but she had no idea this was gonna come of it :D))

HomerPindar

[Edited 3-16-04 to correct the "Suggested Note" as mentioned by /Ice]
 
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Critical Mass Review #1 :)

...Dead Poets. Bring Out Your Dead...

The body of art crawled up from the dirt
be it a Denom on a tear?
Aiming low against the commoner?
Cad! Cod eyes, can you not see the art from the dead?
Shake off it's loam
hop on its hip
boned
slamed
forced down your own rear end
and watch us dig up this grave art
on shoved L's
spades, spics, spans
wash your hands
(4) on it, (3) hoist, (2) dust, (1)
words

HomerPindar
 
God help me, I see rules and want......

TO BREAK EVERY ONE IN RAPID SUCCESSION!

I have to put myself on a 7 day time out
I want to break every one of those rules
like
right now


quick
get me out of here I am doing it in my mind, eek

such a smart ass
will sleep pay bills and join in the fun and BEHAVE
 
HomerPindar said:
The rules to critiquing:
Rule One: CONSTRUCTIVE criticism I had considered calling this thread “No compliments” but decided that no, critiques cover the “good” as well as the “bad.” Yet, we don’t want “I really liked such and such” or “That sucked.” Explain yourself, in detail, backing up your argument from the posted poem as needed.

Note: Avoid using words such as “like,” “nice,” “good,” or “bad.” If it works, explain how. If it makes you feel, explain what it made you feel. If it sucked, be specific about what doesn’t work.
Yes, I'm gonna start this thread with some rule-bitching. :) Just a minor one, mind you. I can't give you comprehensive and constructive if I have to tiptoe around certain words and expressions. If I play, my reviews will be littered with "good", "bad", "I like" and such. (But never without backing it up with specific explanations of course.) Critique is opinion, and opinion is nothing other than personal likes and dislikes, reaction on action.

If this doesn't disqualify me, I'll dissect your poem this afternoon.

/Ice
 
Re: Re: Critical Mass

Icingsugar said:
Yes, I'm gonna start this thread with some rule-bitching. :) Just a minor one, mind you. I can't give you comprehensive and constructive if I have to tiptoe around certain words and expressions. If I play, my reviews will be littered with "good", "bad", "I like" and such. (But never without backing it up with specific explanations of course.) Critique is opinion, and opinion is nothing other than personal likes and dislikes, reaction on action.

If this doesn't disqualify me, I'll dissect your poem this afternoon.

/Ice

AH HA, I see I have misquoted myself...that should be a hints sort of comment, as made by the roundtable moderator I'm stealing this from. That part is not hard core rules, but a suggestion on how to avoid empty compliments and blank expressions of "What do I do with THAT?" I'll go fix that one now, thanks Ice.

HomerPindar
 
Re: God help me, I see rules and want......

annaswirls said:
TO BREAK EVERY ONE IN RAPID SUCCESSION!

I have to put myself on a 7 day time out
I want to break every one of those rules
like
right now


quick
get me out of here I am doing it in my mind, eek

such a smart ass
will sleep pay bills and join in the fun and BEHAVE

*snicker* :p

HomerPindar
 
Re: God help me, I see rules and want......

annaswirls said:
TO BREAK EVERY ONE IN RAPID SUCCESSION!

I have to put myself on a 7 day time out
I want to break every one of those rules
like
right now


quick
get me out of here I am doing it in my mind, eek

such a smart ass
will sleep pay bills and join in the fun and BEHAVE

You just want Homer to spank you into submission...:D
 
...Dead Poets. Bring Out Your Dead...

The body of art crawled up from the dirt


My first thought was a zombie metaphor, but I felt this line to be slightly ambiguous to bring this home. If my thought was similar to yours, then I would prefer from beneath the dirt

be it a Denom on a tear?

Is this supposed to be Demon?

Aiming low against the commoner?

As a standalone sentence I would prefer Aimed

Cad! Cod eyes, can you not see the art from the dead?

Are you saying that the dead is creating the art? If you are trying to discriminate between art and dead I would use tell in place of see

Shake off it's loam
hop on its hip
boned
slamed


Do you mean slammed?

forced down your own rear end

Up or down?

and watch us dig up this grave art
on shoved L's


I don’t understand shoved L’s.

Edit: Okay, I figured it out, shoved L's is a play on shovels....Duh.

spades, spics, spans

Spades goes with shovels. Spades goes with spics for bigot slang. Spic and span go together. Spades spics and spans escapes me. Nice alliteration though….:D

wash your hands
(4) on it, (3) hoist, (2) dust, (1)
words


I am good with wash your hands but the rest of it escapes me. Assuming I don’t need to know, would it be better for the numeration to be on one line rather than breaking words onto another line? Or give each number it’s own line?


Is this the type of exercise you are after?
 
HomerPindar said:
The rules to critiquing:
Rule One: CONSTRUCTIVE criticism I had considered calling this thread “No compliments” but decided that no, critiques cover the “good” as well as the “bad.” Yet, we don’t want “I really liked such and such” or “That sucked.” Explain yourself, in detail, backing up your argument from the posted poem as needed.

A Suggested Note here: Avoid using words such as “like,” “nice,” “good,” or “bad.” These tend to get over used without actually supplying any information. If it works, explain how. If it makes you feel, explain what it made you feel. If it sucked, be specific about what doesn’t work.



Criticism must take into account what the author was trying to accomplish and not so much what we, as critics think they should be trying to do. Oops, maybe I failed this test myself in some of my commentary to recent poems.
I am most experienced in film criticism, and this idea is what I always use to keep me on track. I confess to knowing almost nothing about how to critique poetry, but I will try to keep your guidelines in mind, because they sound very sensible and helpful.
 
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Re: Critical Mass Review #1 :)

HomerPindar said:
...Dead Poets. Bring Out Your Dead...

The body of art crawled up from the dirt
be it a Denom on a tear?
Aiming low against the commoner?
Cad! Cod eyes, can you not see the art from the dead?
Shake off it's loam
hop on its hip
boned
slamed
forced down your own rear end
and watch us dig up this grave art
on shoved L's
spades, spics, spans
wash your hands
(4) on it, (3) hoist, (2) dust, (1)
words

HomerPindar
Well I don't really know what to say about this poem as a whole. There are portions of it that I love to let my tongue roll around on. I'm taking the piece as a form of free association free verse and it's kinda cool.

As to what the message of the poem is, or theme or meaning, or whatever word you'd like to put in there, I think there's some archeology, museum curatorship, collection archiving going on. I see either a dusty old historian climbing out from a basement room, arms full of what passes for treasure in his mind and ressurecting it, or, the better image of the archeologist, out on a dig. Where the sanctioned grave robbers get to work shoving bits of the past around, justifying their actions by calling what they find art.

(4) dig it up, (3) lift it outta the hole, (2) clean it up, (1) explain its relevance.

Denom, is an abbreviation of denomination and tear could be a wordplay suggesting either a tear drop or a rip/tear -- rending or partying, I can't decide which, or as The_Fool suggests here, you meant demon and either the vision of the tear or the tear ;) would fit quite well.

The rhythm gets quite hip hop and slam poetry urgent, just as you bring the words in and I enjoyed the bounce it brought to my reading.

And when you call us Cod Eyes, are you making fun of those of us who are too unsophisticated to understand the poetry? .. tsk. Is it art or is it something that should have stayed buried?

Inquiring minds wanna know.
 
Re: Critical Mass Review #1 :)

HomerPindar said:
...Dead Poets. Bring Out Your Dead...

The body of art crawled up from the dirt
be it a Denom on a tear?
Aiming low against the commoner?
Cad! Cod eyes, can you not see the art from the dead?
Shake off it's loam
hop on its hip
boned
slamed
forced down your own rear end
and watch us dig up this grave art
on shoved L's
spades, spics, spans
wash your hands
(4) on it, (3) hoist, (2) dust, (1)
words

HomerPindar

Given a suspicious nature, I am giving you the benefit of the doubt about how much effort was put into this poem and choosing to believe the grammatical and spelling errors were included on purpose as a giant bull's eye. Having seen many, many times iterations of "check your spelling before you post" this poem would be unforgiveable otherwise.

So, after magicking clean all preventable errors I am left with the following thoughts:

Point of view is inconsistant. Everything in the poem is an untagged address, by which I assume aimed at the reader. This does not fit with the first line, which is some universal perspective, nor the final few, which seem to be addressed to someone on the poem's stage, fellow labourers or something.

Punctuation completely disappears after the first few lines, which greatly muddies the above.

The counting at the end is an interesting mechanism, however, I do not see what you are trying to do with it. At first I thought it a consecutive arrangement of actual things (4 on it, 3 hoisting, 2 dusting, 1 …_words?), but the plural of words threw me off. One person responsible for speaking words? One word left to describe the art / death?

The descreasing amount of words per line in the middle of the poem seems to indicate a constriction of thought, however, what about the invasion of an ant (which I understand do not actually invade dead bodies) warrants such fear or focus.

As a last, more constructive note, the comparison between finished art and death I think very interesting. I do not think your metaphors are working with the easier comparisons to be made. That said, a single unobstructed line of clarification of any amount of detail might fix everything.
 
First, thanks for the words, comments and thoughts. I appreciate the time and thought put forth.

I've noticed a particular style of poetry has become the norm here at Lit. This is niether good or bad. It simply is. This is a poetic style of using words descriptive, whereas, with this particular poem (and a few others I've posted in days past) I played with language, words, or even sounds, as having multiple meanings at the same time.

Does it work? Hard to say, I'm reluctant to simply explain away the poem (it's sort of like explaining a joke - I hate doing that. I rather let the person puzzle it out and then, at some later date, say while driving down the street, suddenly get it to whatever smile, chuckle, snicker or whatever response is forthcoming at that later date) BUT (Hey, Boo, is this wordy enough for you? :D) it does seem such approaches are not working here.

From thenry
Given a suspicious nature, I am giving you the benefit of the doubt about how much effort was put into this poem and choosing to believe the grammatical and spelling errors were included on purpose as a giant bull's eye. Having seen many, many times iterations of "check your spelling before you post" this poem would be unforgiveable otherwise.
Having offered, to a number of threads, the very point about editing: know the rules so you know when you break them.

Also thenry
Punctuation completely disappears after the first few lines, which greatly muddies the above.
Incorrect. It "disappears" after:

Shake off it's loam

That single apostrophe has gotten me some comments on it's own. How many ways can that line be read with the suggested apostrophe? "Its" and "it's" are totally different on the page, but are spoken the same.

The punctuation returns on:

on shoved L's

"L's"? Yes, Fool, it sounds like shovel's, but is that all it sounds like? Ever been on mass transit during rush hour?

Hence, what does the lack of punctuation do?

From champagne1982
The rhythm gets quite hip hop and slam poetry urgent, just as you bring the words in and I enjoyed the bounce it brought to my reading.
Glad this was noted, as hip hop, poetry slam, graffiti artist society is the question of the poem - is any of this (this poem, hip hop, graffiti) poetry? And does it work as art? Even when we don't understand it...? Even when it looks alien...? threatening...? Or is poetry dead and buried...? (yes, those damn elipsis, but hey, no one picked on me for using them in the actual title :D)

Am I trying to be clever? Hell yes.
I was, with this style of poetry, trying to get as many meanings as possible with every character, so that the poem could be read, reread, or broken down more than once for more than one meaning. Yet, it's not very "poetic" as a poem. Oximoronic, eh?

HomerPindar
 
You know I love you, Homer, but"

HomerPindar said:

Shake off it's loam

That single apostrophe has gotten me some comments on it's own. How many ways can that line be read with the suggested apostrophe? "Its" and "it's" are totally different on the page, but are spoken the same.


HomerPindar

The words "its" and "it's" mean two different things.
"Its" is the possessive as in "...jealousy rears its ugly head..."
Most possessives are formed with the apostrophe, as in "Homer's poem" or "Windy's critique." Not so with it.

"It's" is always the contraction of the words "it" and "is."

Your line then is a compound sentence made up of two independent clauses:
1. the command "Shake off." and
2. the declarative, "It is loam."

Note the sentence above, "That single apostrophe has gotten me some comments on it's own."
"it's" = "it is."
You are using it in the possessive sense. Is this an error?

(I don't like people who make picayune grammar points to make others look stupid. I make my own errors, and I know it, but I am wondering if you have something else besides a minor error going on? You do seem to be writing on some microscopic level here, and I wonder if I'm missing something or if you do simply have a misconception about "its" and it's.")
 
Re: You know I love you, Homer, but"

WindChyme said:
The words "its" and "it's" mean two different things.
"Its" is the possessive as in "...jealousy rears its ugly head..."
Most possessives are formed with the apostrophe, as in "Homer's poem" or "Windy's critique." Not so with it.

"It's" is always the contraction of the words "it" and "is."

Your line then is a compound sentence made up of two independent clauses:
1. the command "Shake off." and
2. the declarative, "It is loam."

Note the sentence above, "That single apostrophe has gotten me some comments on it's own."
"it's" = "it is."
You are using it in the possessive sense. Is this an error?

(I don't like people who make picayune grammar points to make others look stupid. I make my own errors, and I know it, but I am wondering if you have something else besides a minor error going on? You do seem to be writing on some microscopic level here, and I wonder if I'm missing something or if you do simply have a misconception about "its" and it's.")

Chuckle, I know what the differences are, I broke the rules to imply that one should/can read the sentence two different ways.

Shake off it's loam

One, with the apostrophe and the sentence actually then lacks a comma, it should read,

Shake off, it's loam

if one is to have the "it is" But, again, read it aloud and what's the audio telling you?

Shake of its loam

as a possessive. The question then is, is the loam possessed by "it" or is "it" loam?

HomerPindar
 
Re: Re: You know I love you, Homer, but"

HomerPindar said:
Chuckle, I know what the differences are, I broke the rules to imply that one should/can read the sentence two different ways.

Shake off it's loam

One, with the apostrophe and the sentence actually then lacks a comma, it should read,

Shake off, it's loam

if one is to have the "it is" But, again, read it aloud and what's the audio telling you?

Shake of its loam

as a possessive. The question then is, is the loam possessed by "it" or is "it" loam?

HomerPindar

Aha! I thought so. A mindfuck! :)
It's not nice to fool Mother English.
 
Re: Re: Re: You know I love you, Homer, but"

WindChyme said:
Aha! I thought so. A mindfuck! :)
It's not nice to fool Mother English.

Having no one else to fool with, I flirt with your Mother English.

"It's true, it's true! If we didn't have motherfuckers in the world we'd all be only children!"

:D

HomerPindar
 
Re: Re: Re: You know I love you, Homer, but"

WindChyme said:
Aha! I thought so. A mindfuck! :)
It's not nice to fool Mother English.

I agree. There are better ways to build ambiguity than grammar "Sink My Battleship," pronoun choice for instance. And especially on an its/it's choice, no one is going to read it aloud when one of the meanings is specified. If you wanted the audio to tell me then this should have been an audio poem. Or the word presented in such a way as suggests both: it s, it_s, etc.

I once tried for ambiguous meanings based on lines, where a line could belong to either the preceeding thought or the following but couldn't join them. An excerpt:

Cleopatra or rather a statued
figure from across the gulf
stares at me deeply concerned
over a trifling year spent hearing
the breathing of black liquid eyes
still move me, making me stop
suddenly frozen in time, yet

Sure, maybe one person in twenty would read it both ways, but most glance over the break and filter it away. I was once inspired to attempt mimicing James Dickey's style and building ambiguity through repetition and formatting, but cutting and pasting destroys most of it and I don't feel like putting forth the effort in recreation for a post.

The trip down memory lane has been fun; in return I put something up on the chopping block. I can say that much explanation, can't I 'pindar?
 
Masked

"Masked"

It's twice now I've seen someone
under a street lamp from long ago.
On these occasions a feeling
passes through me, these
moments of righteousness
and suspicion, something chilling.
The wind blows coldly
this far from the ground.

Once was an old girlfriend blocking
traffic, recording on film a late
night diner and seeking distance.
Another was a childhood friend
striding across a road, crushing
cigarette beneath heel and wearing
something reminiscent of a school's
uniform. I remember little

of my day to day from childhood.
That past is a smooth wall merely
supporting my present position.
What I do remember are the chips
and blemishes in the plaster visible
from this distance. How likely, then,
that some faces are just shadows
vanishing with the light, a good look

and I see a young tourist, or businessman.
At a glance I even find familiarity
in the clouds and the stars are
an infinity upon which anything
can be drawn. Then again I met
the mother of a former lover,
odd because I spend the whole
night staring, finally remembering

how she herself appeared. What
a disservice I have done her mother
by never meeting the woman before
me, seeing only slapdash coats
of flesh over the daughter underneath.
The resemblance was amazing
in look and gesture and I find myself
unable anymore to judge such things

as her passion and intensity
without forced recall. Amazing
also how what remains after
a year are the so imminently
replaceable affectations
of voice and face. At a glance,
even my own mother can look
familiar to me. Do I pity

any person on the street,
faceless mannequins drawn
upon by circumstance, masked
by my disregard? When the mask
I meet begins to resemble the person
underneath, I know I can never
really see a person with a mask,
and never really see a person

without one, their faces blemishes
over my ideals. And this is what I had
until someone from the base of the wall
found me, came up prodding my eyes
with a face far from faded in my mind
yet invisible in the crowd that night.
A face and a person so diverged
from who I thought I'd found, memories

twelve years long but five busy years
old, that if the faces of my memory
are masks then they are masks I merely
dreamed upon passing their players;
the blemishes only in my mind
like the stars only in the sky, are
to be drawn upon before leaving,
placed upon anyone convenient.

Each time I must remind myself
that the past and its interlocking masks
are meant to be left, and for that
I am thankful. The ability to forget
is as precious to me as the ability
to be reminded by whatever metaphor
of everything I have ever seen. Well
everything worth remembering, I mean.
 
Re: Re: Re: Re: You know I love you, Homer, but"

thenry said:
I agree. There are better ways to build ambiguity than grammar "Sink My Battleship," pronoun choice for instance. And especially on an its/it's choice, no one is going to read it aloud when one of the meanings is specified. If you wanted the audio to tell me then this should have been an audio poem. Or the word presented in such a way as suggests both: it s, it_s, etc.
But the language is being used in such ambigious ways all the time, hell, I've had the debate over the concept that an event can be post-modernist, or can only the words used to describe the event be post-modernist? (I argue the later, but I digress :D) The fact that the line can not be read as proper english is just as visible as the placement of spaces or other forms of punctuation. Or, so I thought (I'll have to consider this point again over time and let it sink in)


I once tried for ambiguous meanings based on lines, where a line could belong to either the preceeding thought or the following but couldn't join them. An excerpt:

Cleopatra or rather a statued
figure from across the gulf
stares at me deeply concerned
over a trifling year spent hearing
the breathing of black liquid eyes
still move me, making me stop
suddenly frozen in time, yet

Sure, maybe one person in twenty would read it both ways, but most glance over the break and filter it away. I was once inspired to attempt mimicing James Dickey's style and building ambiguity through repetition and formatting, but cutting and pasting destroys most of it and I don't feel like putting forth the effort in recreation for a post.

The trip down memory lane has been fun; in return I put something up on the chopping block. I can say that much explanation, can't I 'pindar?

lol, I laugh because I didn't want to get into a debate over whether such a thing constitutes an "explination" so I didn't put such a line in my own opening post. Honestly, the idea is that those reviewing the poem(s) get a chance to talk it over amongst themselves before the author "sets the record straight" As such, this "thread"/dialogue on my poem does not relate to your poem you've posted (thanks for that btw) so continue the thoughts if you have 'em.

As for the line changes type poem, I wrote a research poem once in three poems, with three voices. Poem "A," line 3 could be read two ways, as a preamble to Poem "A" line 4, OR as a preamble to Poem "B" line 1. Two lines later, the same trick was used to introduce Poem "C" from Poem "B's" line 4. I recall posting it here on lit for folks to check out, but it didn't get alot of response. Ah well, insanely hacking away at poetry still :D

Then again, if I'm to be called a 'mad scientist' of poetry, please don't make it a drooling one. Or Gertrude Stein for that matter.

HomerPindar
 
I feel we've done thenry an injustice here. He's been waiting for someone to crit his poem and noone has plunged ahead. I think this poem, the way it sits, is like a piece you're told is on your reading list and although the desire to finish the task is there, it's still a task.

Masked is a little dark and long for my tastes. I feel insignificant at the end of it, maybe I'm supposed to? "Well everything worth remembering, I mean."

There is strong imagery in the wall of the past, a little chipped and faded, yet still strong enough that, no matter how hard we push against it, we can't go back.

And in this passage, the paint brush that applies the mask of sameness to everything:
What
a disservice I have done her mother
by never meeting the woman before
me, seeing only slapdash coats
of flesh over the daughter underneath.
gave me a strong feeling of knowing just what you mean.

On the whole though, I was still left a little dazed and disappointed that there wasn't a more powerful lesson. I don't know what you could have taught, but I just know there is something lacking.

This inadequacy of understanding why this poem doesn't appeal to me bothers me. It's like there's something I can't put my finger on. If this is what you meant to evoke thenry, then you've done a wonderful job.

Thanks for sharing.
 
champagne1982 said:
On the whole though, I was still left a little dazed and disappointed that there wasn't a more powerful lesson.

While I know many things I do not want a poem of mine to be, many phases I've struggled through, the next always seems the most important. There used to be word play and screwing any reader who didn't understand, writing purely descriptive poetry, and writing succinctly around a central metaphor. Now I'm left with striving for all of the above plus a coherent point. Yes, Champagne, you hit the nail on the head.

Unfortunately, everything written lately, on the scale of about two years, has been very long and ultimately without much of the significance I've been trying to generate. Debuted in the above poem was the third trial final stanza. Or second tenth stanza as the poem originally ended at nine without any point at all. The first tenth stanza moaned something along the lines of "those still privileged enough to be climbing" or something.

This tenth stanza builds upon one of the last thoughts of the ninth, "to be drawn upon before leaving," where I'm thinking that when memories are physical, leaving them behind is like forgetting. So, for me the current meaningful emphasis is on the line "the ability to forget is as precious to me…."

The way writing works for me is that when I reach a point like this, the poem lays fallow for a month or two before I change it. I'm kind of on the Elizabeth Bishop plan. The problem is the poem has gone through two such cycles and is no closer to resolution. I'm currently considering a new stanza exploring why, if the ability to forget is precious, so many faces and memories are mapped onto the present. However, such a stanza would do little except extend the metitative nature of the poem.

I feel like this is the stage I've built toward as a writer, but I still feel stuck in long metitative poetry, completing circles within circles or logic and metaphor and arriving eventually exactly where I began. Which you successfully confirmed, champ. (And doesn't that come across as patronizing, champ.)

I've been trying to break away from myself lately, and quickly posted one of my efforts. ( here ) Reading it now, about a month later, I think that it's still exactly what I was trying to break away from, just a bit shorter.
 
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