Another piece if your in the mood. If not off you go then. BENEATH THE WHINING scaled the walls every time nothing nothing on the other side found the doors their locks never the keys paid my dues never got a receipt every time i fell got back up followed the light always took the noble path stepped barefoot on jagged rocks autographed the stones in blood -mine from great heights lost my hold landed on my feet regret occupies the larger part of my thoughts sometimes i cried even yelled my infamous screams my life it turns out was blessed having accomplished none of my goals i lived an existence i alone could appreciate underneath the layers of self inflicted scars i found a me i loved and respected i need nothing more armand
Maybe we could grow old and not betray each other. This a compelling inscape poem. Note the skillful use of short lines, and the chilling suspense conveyed through enjambment: The poem puzzles with its erotic implications, and the effect is enigmatic, disturbing. I am reminded of the poems of Hughes and Plath.
If so it distracts,but otherwise this is impressive writing, tightly controlled. Violin by Sheila Black You must use the body - its curves, its hollows, the spring of the sound, which brings back what is absent, what has been and is now gone, fading.
There is a pain at the source of it - so easily broken, this tree without a heart, the sap dried to amber patina. Only in the sound can you hear it move, the veins in the blood of the body that is no more.
The bow pulled along the taut strings, a pitch that is all but unbearable. The poem plays implicitly on several connotations of movement - "Only in the sound can you hear it move"- and makes us indirectly aware of the parallel between playing an instrument and making a poem. The poet has very exactly caught the feel of mellowed wood - "carved out, thinned and made to flex".
Some of the line-endings are a little weak: Otherwise I like everything here, except "the presence of absence", where the violin as a physical object gets lost in abstract nouns. But this simple, line description is remarkably free of those particular influences.
It begins with two arresting spondees, "Earth-sweat, sea-breath" - compound nouns, reminiscent of Hopkins. Then it unfolds slowly in a single sentence of free verse, spreading across the page in longer and longer lines, to mimic the engulfing gloom.
The verbs are well-chosen to convey the active, versatile movement of the fog - "smothers", "pockets", "sprays", "spits", "heaves". Lizard by Martha Close Each morning, strobed in the flicker of the kitchen light It speeds a steep slalom up the wall above the sink, This fir-cone fat one dislodges dust and air and Its firm tail flails a hectic pulse to its lair behind the fridge.
Then once, deep in a bag of biscuits that I ate without a plate I saw it seeing me. Its defiant, guiltless, Sugar-sated eyes are dry; fearless, but unblinking still. In its throat a muddy vein throbs through watery skin, As it gulps and grips and sets to squirm.
Its unwitting trespass sickens me, makes me take tongs And lift, still bagged, the lumbering live-ness. Feel it clutch and heave and fight. Does it howl as I toboggan it, Bag and biscuits all, down the long garbage slide?
This is a terrific poem, written by someone with sharp powers of observation, who has either an affinity with DH Lawrence and Ted Hughes, or an acquaintance with their poems about animals.
I once spent a day trying to write about a lizard, and got nowhere near the accuracy of this inscape, which focuses on physical details, seen close-up: I love the sound-patterns in the poem: But the phrase "lumbering live-ness" and the question "Does it howl? Patience by John Curry In balance, purposeful, precise, you race with deft and sudden steps, keep just behind the leader for half a lap, to feel his pace then burst.
But you say little hung on winning. I watch your face, sinewy in thought, relax and grin. Always like this, you man of action, whose days made such events as led to me, and me to borrow your story.Directions: Write a short poem of at least 6 lines entitled, “I am #1.” Make it look like a poem but do not rhyme it – remember form is meaning.
What chair represents you? 6. What time of day best describes you? 7. What musical instrument best describes you? EXAMPLE: I am a blue bubbling e f f e r v e s c e n t soda-pop. I stand out.
When you are reading an appropriate metaphor you are immediately drawn between the truth of the comparison that is being alluded to. The ability to understand metaphoric language opens the key to poetry of tremendous beauty.
Metaphor Poem About Love. Love is a walk in the rain at night, Short Poems (48) Sonnet (5) Family Friend Poems. In my experience, the best way to write a poem is just to put it to paper. Write out whatever you’re thinking, feeling, seeing, etc. Poetry is % subjective, meaning it’s unique to you because your experiences are completely yours.
Nov 19, · 10 offbeat college essay topics. Write a haiku, limerick, or short poem that best represents you. Write a short story using one of the following titles: a.) House of Cards, b.)The Poor. I am writing a haiku but it is so hard to write something that best represents me in 3 short short lines..
From the NYU Supplement.. I am writing a haiku but it is so hard to write something that best represents me in 3 short short lines..
(eight lines or less) poem that best represents you. Ny0rker Registered User Posts: 1, Senior Member. I loss my best friend/spiritual brother of 24 years in September to cancer. I miss him so much.
I couldn't find the right words to write to you my son to tell you Happy Fathers Day, because After reading this poem I can say that your poems are most effective poems. I really want to say thanks to you for writing this wonderful poem.