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It has been a short while, though I have been writing. I wanted to share, as this has seen a few revisions and could use a pass-over from eyes that aren't mine.
Revision 10/31/10:
Mourning October
I.
Speak the whisper of stones, of morning-breath freezing about birch-trunks.
It was cold in August: my fingers played at the candor in your cascading hair. And you said I was “fine” by the standard of sea-care. Adrift? no, but drifting certainly
toward a certainty. Waves from somewhere crashing around our feet.
Before the end of day we watched the sky pulse gradient without light. The lack of color alarming: it and you and me together, under the hood of some ornamental star
and we were indistinguishable from ash and snow.
Under rock. Above sea-salt. There are places in this world filled with joy and we cannot find them.
II.
Two songs intertwined; four legs measuring gaits of varying length;
your eyes and my mouth so close never meeting.
The ash dissipated as we turned our backs to the earth, we forced ourselves toward frozen light.
Me and you and it were lost, becoming birch-song and stone-gaze.
10/15/10 Draft:
Spoiler:
Mourning October
Tell me of the whisper of stones, of morning-breath freezing about your birch-trunks.
It was cold in August, as fingers detaching from hands played at candor. And you said it was “fine” by the standard of sea-care. Adrift? no, but drifting
toward a certainly.
Before the end of day we watched the sky pulse gradient without light. The lack of color alarming: it and you and me together, under the hood of some ornamental star
and we were indistinguishable.
Under refuse. Above sea-salt. There are places in this world filled with joy and we cannot find them.
Roundabout. Reversal. Two songs intertwined; four gaits of varying length; your eyes and my mouth so close. Me and you and it were lost, becoming birch-song and stone-gaze.
Of course the obligatory these are suggestions yadayada.
Under refuse. Above sea-salt. There are places in this world filled with joy and we cannot find them.
I like that line as an ending. I don't think you need the line that follows, especially since it's repeating images already built into the poem itself. At least not the whole line; I really don't like how it begins.
Suggestion because of the abundance of "of" in the first line
Tell me of the whisper of stones, of morning-breath freezing about your birch-trunks.
"Tell me about a stone how it whispers, the morning breath freezing about your birch-trunks"
I like the play of language going on inside the poem. "but drifting / toward a certainly", "indistinguishable"
I don't know what to think of the "sky pulse gradient without light". I imagine the two characters in the poem in a car as the day ends. But I don't know what the pulse without light is all about.
Hm. I can see the idea concerning the ending. I'm hesitant to end it on a negative note ("There are places in this world filled with joy and we cannot find them") for my own, selfish reasons. The last line has some imagery I love, specifically "Two songs intertwined; four gaits of varying length". Perhaps I could tweak that last line and pare it down to something more laconic, expansive-in-concept and hard-hitting.
Those three "of's" in the first line are damn near each other. Perhaps
Speak the whisper of stones, of morning-breath freezing about [upon?] birch-trunks.
It maintains the sort of impersonal humanistic character I'm always seeking, as well as my beloved imperative voice.
I'll go get some coffee and see if I can re-work some of this before any of my co-workers get in.
Oh, well I certainly read the poem as a sad poem. Perhaps that is just because i'm madly in love with sadness. The "Roundabout. Reversal" I didn't like so much. I do like the line "Two songs intertwined; four gaits of varying length" but I just wonder about its musicality and thematic coherency with the rest of the poem.
I do like that revision a bit better than the original. Not that I hated the original line or anything, but the abundance of "of" was distracting to me. I wonder if anyone else felt that. "Speak" is a better verb than "tell" no doubt.
Perhaps the sadness is the real voice, here. I suppose I just want to avoid it.
"Roundabout. Reversal." is actually important, though perhaps not where it is.
I suspect a second section may be in order. Hm. "Two songs intertwined; four gaits of varying length" is far too good for me to scrap it. Back to the drawing board.
I have had a chance to play about this over the last two weeks. Revisions and expansions are posted in the OP. The first section feels pretty tight, and I'm somewhat secure in believing that I've been successful in unifying my imagery.
Posts
I like that line as an ending. I don't think you need the line that follows, especially since it's repeating images already built into the poem itself. At least not the whole line; I really don't like how it begins.
Suggestion because of the abundance of "of" in the first line
"Tell me about a stone how it whispers, the morning breath freezing about your birch-trunks"
I like the play of language going on inside the poem. "but drifting / toward a certainly", "indistinguishable"
I don't know what to think of the "sky pulse gradient without light". I imagine the two characters in the poem in a car as the day ends. But I don't know what the pulse without light is all about.
Those three "of's" in the first line are damn near each other. Perhaps
It maintains the sort of impersonal humanistic character I'm always seeking, as well as my beloved imperative voice.
I'll go get some coffee and see if I can re-work some of this before any of my co-workers get in.
I do like that revision a bit better than the original. Not that I hated the original line or anything, but the abundance of "of" was distracting to me. I wonder if anyone else felt that. "Speak" is a better verb than "tell" no doubt.
"Roundabout. Reversal." is actually important, though perhaps not where it is.
I suspect a second section may be in order. Hm. "Two songs intertwined; four gaits of varying length" is far too good for me to scrap it. Back to the drawing board.
But you know the old adage, kill your babies.