Thursday, June 4, 2015
Thursday, April 30, 2015
This leaves two poems remaining, to complete today, and perhaps that lends toward the thrust of this poem, the concept of anticipation building inexorably toward something. The metaphor starts with a droplet of water vapor, builds, and drives through to the rainstorm that has to come in the end.
Wednesday, April 29, 2015
This poem captures a rare moment on a busy highway, that time when the car is suddenly alone, if only for a few seconds. It always feels oddly unsettling before it becomes peaceful, something I equate to performing a solo in the middle of a big group performance.
The metaphor I build here works to encapsulate that moment, and set it apart from the frenzy both before and after. I try to let it linger a moment, like a drop of water holding to a leaf before it falls, while at the same time letting its evanescent quality show with the mass of movement before and after.
Tuesday, April 28, 2015
Monday, April 27, 2015
This poem represents a scene, repeated may times while I was working out of town. This came as part of the experience that did the most to lead me to my current career path, and in the process showed me a world very different from what I knew up to that point.
The poem is built on repetition, reinforcing a cyclical feeling within the moment, while simultaneously paced to feel like it is moving constantly forward, blending people and music and visuals as different swirling aspects of the nights there.
This is a story-telling poem that captures a moment from earlier this month. I used personification and some exaggeration for effect. The poem also uses present tense to make the action feel more immediate.
The poem moves between characters and setting, an attempt to build a world both around and within the confrontation. This works to both focus in on the moment described and frame it as just a moment within a broader context.
Sunday, April 26, 2015
These poems may be read together or in isolation. A haiku is a short form of poetry that originated in Japan. Traditionally, the poem contains seventeen syllables, divided into three lines, with five syllables, seven syllables, and five syllables, respectively, and focuses thematically in nature.
The form, like most poetic forms, has been stretched outside these traditions over the years. It should, though, say much with little. In addition, a common element of haiku is juxtaposition, combining or shifting between two ideas that may be ambiguous or contradictory.
Here, all three of the above haiku build from the idea of a cyclical world. The first juxtaposes a quiet night with the appearance of an entire universe. The second moves between the idea of big effort and that of a stationary carousel's grounded movement. Finally, the third places the bright colors of a sunset in the context of the inevitable blackness that follows, while at the same time hinting that the color returns as inevitably as the black.
Saturday, April 25, 2015
Friday, April 24, 2015
I played in this space with the idea of examining the way a couple looks, picking apart motivations and feelings from a single frozen frame. We do so looking at accused criminals or lovers or kids squirming under inquisition, all attempting to use skills we believe we have to understand the inner workings of another's mind.
Thursday, April 23, 2015
This poem should strike a chord with anyone who has attempted to advise a child, an employee, a friend, or anyone else, only to watch helplessly while the advice dissipates as though never spoken at all.
Thinking about the random ways dandelion seeds float, and the underlying connotation of wish-making as one blows, the image for me captured at once a picture of elegance and helplessness. It is a very short piece, but within it I tried to blend hard sounds with soft (e.g., "whorl on fickle winds") to further capture that dichotomy, reflecting both the ease with which the words part and disappear and a note of bitterness watching it happen.
Monday, April 20, 2015
This poem peers inside a brain that refuses to sleep, something I and many about whom I care know all too well. I start with the proverbial sheep but have them come in already killed off, letting the sheep play the role of Archduke Ferdinand for this particular war.
I let the characters and everything in the landscape reflect various concerns and desires that might flood a mind on any given night, an effort to give an allegorical feel to the action taking place while reflecting the chaotic feel in the mind of a person who just wants to shut it all off.
This poem reflects something most people have experienced at one point or another: the building up of concerns from something we can laugh off to a compilation that becomes overwhelming. I worked to create a contrast between the idyllic scene and the human emotion within it, a reflection of an outside world moving quietly, steadily forward despite the human turmoil occurring within it.
In writing poetry, both this poem and more generally, I worked to avoid editorializing, letting emotional impact and any ideas emerge from the visual and auditory cues. Hopefully this allows the poem to resonate very differently for different readers.