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Hey all, glistening for some feedback on this here poem of mine.
Thanks.
Knock. Knock.
Spoiler:
He drags his feet through the snow for god
knows the entire length up the driveway.
Sleigh dogs trumpet in the otherwise
observant night, and he knows those dogs
would keep barking even if he was not
here. But he is here, facing his future
before him; as if thawing from a chill
his eyes water. Each careful step hardens
his chest. The trail behind him, the fanged
scrape in his lungs; constrict on him as if
alive. His taxi honks behind him.
Startled, his hand releases a present
he should have left long ago. As he bends
down searching for what he has dropped, a light
scampers out the bottom as she opens
the door just a crack, scared of who is out there.
Is there a specific reason that you've chosen to give line breaks here at 4-line intervals? I can't tell from the content if this is meant to be a formed poem or not. If it's not a specific form, ditch the random line breaks as they don't seem to do anything but break the poem up arbitrarily and make it flow less.
The poem itself has a morose quality that vaguely reminds me of Richard Brautigan or other Beat poets.
see Boo, Forever by Brautigan: Spinning like a ghost
on the bottom of a
top,
I'm haunted by all
the space that I
will live without you.
-- your turn of phrase about the 'present' is reminiscent of this kind of thing, and I think good use of line breaks to add pacing could improve the meaning behind your words.
I like the abstraction in this piece but I can see where other readers may be turned off by it.
Overall, I'm interested to see what you might do with this.
I tend to default to 4 line stanzas and ~10 sylls just as a constrain during creation.
I see this one may require line finesse. Let me see what I can do. Thanks for the input.
Spoiler:
He drags
his feet through the snow
for god knows
the entire length up
the driveway. Sled
dogs trumpet
in the otherwise
observant
night,
and he knows those dogs
would keep barking
even if he was not here.
But he is here, his future
before him; as if thawing
from a winter chill
his eyes water. Each careful step
hardens
his chest. The trail behind him,
the fanged scrape in his throat
constrict
as if alive.
His taxi honks. Startled,
his hand releases a present
he should have left
long ago.
As he searches for what he has
dropped,
a light scampers out the bottom
as she opens the door
just a crack, scared
of who is out there.
yeah, this poem IMO would benefit from breaking the syllable constraints and maybe breaking up or rearranging some of the lines to lend more impact to specific words/ phrases. typing this from my phone, I'll post a more concrete example when I get home
OK-- I like the new formatting in the spoilered post (which I couldn't get to from my phone). The only thing I would do is reserve line breaks for the end of sentences-- line breaks in poetry act like the beginning of a new paragraph in an essay; it indicates a pause.
What do you think about this one I've been working on in my blog? I think it lies more in the concrete and less in the abstract, mainly because I consider a broader audience for its inception. Maybe I'm wrong.
Spoiler:
On solstice,
in Fairbanks,
Alaska, the sun stays up all night
nodding
as if a grandfather
smiling at the neighborhood children,
while he hands the last slices
of bread
from the cracked cliffs of his fingers
to the migratory loons.
We sit in this valley of light
on the roof of a cabin. Here,
I offered you
a kiss and you
covered my lips, shoved
my back onto the hot
shingles. Our shadows
married and one
like the last
snow angel
crumbling
in the hands of the sun.
From what I know about poetry, you can change up the line breaks. They don't need to stop at the end of a sentence or phrase. But there should be meaning when you do something out of the ordinary. For instance, in the second poem, why is "of bread" significant? Did you mean for us to take pause and consider the bread closely?
Conversely, the line "a kiss and you" seems like it could have simply been "a kiss" alone. Why did you add "and you" to that line in particular? Is there something we need to be considering there?
I have a bible comic. It's super holy and sexy.
[SIGPIC][/SIGPIC]
Oddly enough when I read it aloud I separate the "and you" as the "a kiss/ and you" suggests.
The "of bread" was more for suspension or surprise. Perhaps I was trying to create a surprise in a place that doesn't really need it just to create a "surprise".
Memory is the underside
of a pillow I've left
cooling under the shadow of itself. His thoughts
of her last night embraced between
his folded arms. She warms one
soft cheek on his rising
and falling chest. Untucked, their smiles
curl like burning paper. Informally,
her hands spiral
around his waist. His fingers
flip through
the pages of her hair, returning
to their favorite passages.
Alternative line breakage.
Journal
Memory is the underside of a
pillow I've left cooling under the shadow
of itself. His thoughts of her last night embraced
between his folded arms. She warms one soft
cheek on his rising and falling chest. Un-
tucked, their smiles curl like burning paper.
Informally, her hands spiral around
his waist. His fingers flip through the pages
of her hair, returning to their favorite
passages.
Here's a 1 sentence poem. I'm always worried about these because, well, it's one sentence: is that enough? I don't know. Care to help me out? =p
Alaska
A loft
in a cabin down
a potted road, through underbrush
overgrown, where I sleep
behind windows nailed with blankets
breaking sun, the scattered
light through fibers, my thoughts
of us.
re Journal: the first format is better, though I think that the end of a sentence also works best as the end of a line.
I personally really like the Alaska poem and I don't think I would change anything about it-- it carries well and the line breaks work to add emphasis in ways the straight sentence would not.
Like a lugie from above
love flew into my palm. I clawed
my fingers as one might to carry an egg
or a bleeding hand to a sink.
After many washes and even the alcoholic
sanitizer evaporating as quickly as it hit,
the mucus felt as if it remained. A phantom
pain? Days, weeks, months later,
as I hold out my hand to shake yours,
the thought of phlegm over my palm like a coat
my mind will not disrobe; I wonder
do we feel the same thing?
Posts
The poem itself has a morose quality that vaguely reminds me of Richard Brautigan or other Beat poets.
see Boo, Forever by Brautigan:
Spinning like a ghost
on the bottom of a
top,
I'm haunted by all
the space that I
will live without you.
-- your turn of phrase about the 'present' is reminiscent of this kind of thing, and I think good use of line breaks to add pacing could improve the meaning behind your words.
I like the abstraction in this piece but I can see where other readers may be turned off by it.
Overall, I'm interested to see what you might do with this.
jayxwolf.com || twit || fb || writing || ravelry || dA || g++
I tend to default to 4 line stanzas and ~10 sylls just as a constrain during creation.
I see this one may require line finesse. Let me see what I can do. Thanks for the input.
his feet through the snow
for god knows
the entire length up
the driveway. Sled
dogs trumpet
in the otherwise
observant
night,
and he knows those dogs
would keep barking
even if he was not here.
But he is here, his future
before him; as if thawing
from a winter chill
his eyes water. Each careful step
hardens
his chest. The trail behind him,
the fanged scrape in his throat
constrict
as if alive.
His taxi honks. Startled,
his hand releases a present
he should have left
long ago.
As he searches for what he has
dropped,
a light scampers out the bottom
as she opens the door
just a crack, scared
of who is out there.
jayxwolf.com || twit || fb || writing || ravelry || dA || g++
jayxwolf.com || twit || fb || writing || ravelry || dA || g++
in Fairbanks,
Alaska, the sun stays up all night
nodding
as if a grandfather
smiling at the neighborhood children,
while he hands the last slices
of bread
from the cracked cliffs of his fingers
to the migratory loons.
We sit in this valley of light
on the roof of a cabin. Here,
I offered you
a kiss and you
covered my lips, shoved
my back onto the hot
shingles. Our shadows
married and one
like the last
snow angel
crumbling
in the hands of the sun.
Conversely, the line "a kiss and you" seems like it could have simply been "a kiss" alone. Why did you add "and you" to that line in particular? Is there something we need to be considering there?
[SIGPIC][/SIGPIC]
Oddly enough when I read it aloud I separate the "and you" as the "a kiss/ and you" suggests.
The "of bread" was more for suspension or surprise. Perhaps I was trying to create a surprise in a place that doesn't really need it just to create a "surprise".
Thank you for your feedback.
Journal
Memory is the underside
of a pillow I've left
cooling under the shadow of itself. His thoughts
of her last night embraced between
his folded arms. She warms one
soft cheek on his rising
and falling chest. Untucked, their smiles
curl like burning paper. Informally,
her hands spiral
around his waist. His fingers
flip through
the pages of her hair, returning
to their favorite passages.
Alternative line breakage.
Journal
Memory is the underside of a
pillow I've left cooling under the shadow
of itself. His thoughts of her last night embraced
between his folded arms. She warms one soft
cheek on his rising and falling chest. Un-
tucked, their smiles curl like burning paper.
Informally, her hands spiral around
his waist. His fingers flip through the pages
of her hair, returning to their favorite
passages.
Alaska
A loft
in a cabin down
a potted road, through underbrush
overgrown, where I sleep
behind windows nailed with blankets
breaking sun, the scattered
light through fibers, my thoughts
of us.
I personally really like the Alaska poem and I don't think I would change anything about it-- it carries well and the line breaks work to add emphasis in ways the straight sentence would not.
jayxwolf.com || twit || fb || writing || ravelry || dA || g++
Like a lugie from above
love flew into my palm. I clawed
my fingers as one might to carry an egg
or a bleeding hand to a sink.
After many washes and even the alcoholic
sanitizer evaporating as quickly as it hit,
the mucus felt as if it remained. A phantom
pain? Days, weeks, months later,
as I hold out my hand to shake yours,
the thought of phlegm over my palm like a coat
my mind will not disrobe; I wonder
do we feel the same thing?