Lodz '42

WickedEve

save an apple, eat eve
Joined
Oct 20, 2001
Posts
11,470
I have been working on this poem for several weeks. After much research and literally 100s of revisions and few good edits from Angeline, I have the poem in decent shape--though, still a few iffy spots. I'd like any suggestions you may want to offer.

Revision:

Images, sallow
and rawboned in sepia,
merely strangers in my head
here past the hour of enduring.

Other pages,
tattered corners of life--
Hadassah trembling,
her shawl bartered
for stale bread in winter.

In bleak dawn,
knowing my own sunrises,
passages emerge
on the horizon of my hand.

With bread swaddled in arms,
did she know her tomorrow,
the descent of black hair,
its gathering up?

In darkness,
she found calm.
It was a deceitful light

against pillars of flesh,
pressed ever silent--
breathless basalt.

Imagine,
no space to fall.

For Hadassah,
I write meager bread,
hardly a bellyful
to ache your hearts.

--------------------------------

Original:

A woman trembles
into bleak dawn,
her shawl bartered
for stale bread in winter.
Another sunrise,

another,
there will be descent
and gathering up
of her black hair,

and beauty, bared,
pressed ever silent--
pillars of flesh
like breathless basalt.

Imagine,
no space to fall.

The woman,
bread swaddled in arms,
destined for darkness,
where calm is a deceitful light,

and shrill walls shadow
any carks and cares
over her ima's fraying of a shawl.

This woman,
once Hadassah
before they made her human

less.


~


Images, sallow
and rawboned in sepia,
merely strangers in my head
here past the hour of enduring,

where I write meager bread,
hardly a bellyful
to ache your hearts.
 
Last edited:
Remarkable, Eve. And very powerful.

I wonder about a distance created by the labels "the woman" and especially "a woman". If you named her it would seem more personal to me.

The italicized stanza is amazing.
 
Re: Re: Lodz '42

flyguy69 said:
Remarkable, Eve. And very powerful.

I wonder about a distance created by the labels "the woman" and especially "a woman". If you named her it would seem more personal to me.

The italicized stanza is amazing.
I'm basically going with woman because she isn't much more than that since she has been dehumanized. In that one stanza I mention that she was Hadassah before they made her human-less.
 
Re: Re: Lodz '42

flyguy69 said:
Remarkable, Eve. And very powerful.

I wonder about a distance created by the labels "the woman" and especially "a woman". If you named her it would seem more personal to me.

The italicized stanza is amazing.

I asked the same thing. :)

And I agree about the italicized part.
 
Re: Re: Re: Lodz '42

Angeline said:
I asked the same thing. :)

And I agree about the italicized part.
Asked the same thing about "the woman"? Well, in that one stanza it says she was once Hadassah before they made her human-less. So, now she's "a woman." Does that not work?
 
Re: Re: Re: Re: Lodz '42

WickedEve said:
Asked the same thing about "the woman"? Well, in that one stanza it says she was once Hadassah before they made her human-less. So, now she's "a woman." Does that not work?
My mistake. I assumed "Hadassah" was a title or status, not a name. Now that I have googled it ("the Hebrew version of Esther") it changes the poem for me. I think you nicely dehumanize her (can that be done nicely?).
 
Re: Re: Re: Re: Re: Lodz '42

flyguy69 said:
My mistake. I assumed "Hadassah" was a title or status, not a name. Now that I have googled it ("the Hebrew version of Esther") it changes the poem for me. I think you nicely dehumanize her (can that be done nicely?).

It actually works both ways because Hadassah is also the name of a prominent Jewish women's organization, one that has been around a long time. If you know that connection, she sort of becomes "everywoman," which works beautifully in the context.
 
what spots are iffy to you?



WickedEve said:
I have been working on this poem for several weeks. After much research and literally 100s of revisions and few good edits from Angeline, I have the poem in decent shape--though, still a few iffy spots. I'd like any suggestions you may want to offer.


A woman trembles
into bleak dawn,
her shawl bartered
for stale bread in winter.
Another sunrise,

another,
there will be descent
and gathering up
of her black hair,

and beauty, bared,
pressed ever silent--
pillars of flesh
like breathless basalt.

Imagine,
no space to fall.

The woman,
bread swaddled in arms,
destined for darkness,
where calm is a deceitful light,

and shrill walls shadow
any carks and cares
over her ima's fraying of a shawl.

This woman,
once Hadassah
before they made her human

less.


~


Images, sallow
and rawboned in sepia,
merely strangers in my head
here past the hour of enduring,

where I write meager bread,
hardly a bellyful
to ache your hearts.
 
hate to say this...

because you are my friend, and I have many friends here. that's my feeling, anyway.

but i don't like this one. the language is nice, the sounds and the rhythms are nice, and i have no clue what it's about. it doesn't connect with me, and doesn't invite me to a second read. it doesn't even invite me to look for references.

it almost caught me, with the "woman" bartering her shawl for a loaf of stale bread. past that, however, i lost pace and was never again motivated to regain it.

though obviously not reckless nor ignorant, this piece manages to fly in the face of everything i've managed to distill into a personal philosophy, over the last couple of decades, about what i believe ought to constitute excellent poetry. This dart misses the board altogether for me: it's not accessible.

perhaps it has been over-edited? there seems to be a growing current against "wordiness" in poems (aka "lack of economy" in diction); over-explanation and what-not. i'm not in agreement with that movement. the articles of speech, and at least a minimum of necessary background information, make an idea fluid for a listener or a reader, to me.

i know i'm just a voice in the wilderness, and i know my "darts" often miss the board altogether, but i do believe it's important to know where one is aiming... i can't detract from the beautiful concatenations of phraseology in this poem, nor from the exquisitely unified tone and diction, but it doesn't "grab" me... the sound is there; the sense is not.

... these are just my ideas, trying to be gently honest about my personal perception of this particular poem (as compared also, in my opinion, to many very much better ones).

/foehn
 
I have worked on this for weeks, and it just doesn't flow. So, I thought about the poems I used to send to smithpeter. Damn him. He'd turn them upside down and send them back and tell me it was better that way. lol So, I turned this upside down and shook off some stanzas and I like it better, but will continue to revise, heavily. And I need to change the title, I think.


Images, sallow
and rawboned in sepia,
merely strangers in my head
here past the hour of enduring.

Other pages,
tattered corners of life--
Hadassah trembling,
her shawl bartered
for stale bread in winter.

In bleak dawn,
knowing my own sunrises,
passages emerge
on the horizon of my hand.

With bread swaddled in arms,
did she know her tomorrow,
the descent of black hair,
its gathering up?

In darkness,
she found calm.
It was a deceitful light

against pillars of flesh,
pressed ever silent--
breathless basalt.

Imagine,
no space to fall.


For Hadassah,
I write meager bread,
hardly a bellyful
to ache your hearts.
 
Thanks for the comments. I'm going to put this away. It's not working. It's time to go back to playing with my origami sex poem.
 
WickedEve said:
Thanks for the comments. I'm going to put this away. It's not working. It's time to go back to playing with my origami sex poem.

Could you try to be a little less popular and empty your mailbox?

:D
 
WickedEve said:
Oh! Hold on. lol I was submitting erogami. :)

ok. i'll be back in a little while. i'm going to beat my head against the new sestina again for a while. :)
 
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