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| 0 recommendations | Message 1 of 14 in Discussion |
| (Original Message) | Sent: 9/23/2008 11:16 PM |
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| 0 recommendations | Message 2 of 14 in Discussion |
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| | From: _susan_ | Sent: 9/25/2008 4:58 AM |
okay, i'm not looking at meter here, which seems to be fine. i didn't scan the poem, so i take your word. chlorophyll sounded better the second time around. on first read, i thought it was too complicated for this poem. not natural and fitting. but on a second read, it worked. everything was fine, and worked, until you got here: ... to lead me on a path to nowhere, prompting to deface the yin and yang, the virgin and the son. I yield--it is your turn to cross the road or save yourself the trouble to reload. looked like you just wanted to finish it. i don't think you need that whole yin/yang thing with the virgin and son thrown in. and 'reload'? gypsy woman, work on those last group of lines. you went from nature to well, something that sounded false. at least to my ears. s. |
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| | From: gypsy | Sent: 9/25/2008 5:09 AM |
Hi, Susan, thanks for stopping, reading, and telling me. To me, it does not sound false, but I am the one with the story in my head. So, I shall step back and read it from outside the frame. I am referring to being tired of painting faces, or rather, this is how it started, and then, the convolution of my psyche always puts more in the blender. Thank you!!! gypsy woman |
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ive a hard time reading. i dont know much about meter to say, but so many lines begin at the very end of the previous line. its like riding an elevator that comes to a slow stop before each stop but then jerks up again, proceeding. this makes it near impossible, at least for me, to be able to take in whats being said and at the same time ride on the rhythm, maybe im just not adept to be reading sonnets. i want each line to work more on their own, i think, and less as building blocks for the whole. its very hard to find the balance there, i think, but crucial to the sonnet form, maybe. maybe im completely wrong.
what's interesting to me is this "The mind no longer drives" stop. What interest me is to linger in what the mind might be driving, something more ambiguous and less stated. what was it he said, about the fuse that drives the flower. i think an image is needed her, less factual. the mind that drives the hand to paint is an anatomy lesson: basically saying, im feeling down, i cant paint. i want it to be lifted from this easy simplifying.
can the mind drive something else, an abstract, that could be the hand, that could be something else.
this might seem a bit contradictory: on the one hand i have a hard time following, on the other hand, i want it more abstracted. well, perhaps. but no, a more abstracted image more easily carry its own weight, i think, at least so when part of a continuing as it is here.
well, i apologise, i'm feeling more critical than usual, which is probably why i've refrained from commenting too much lately.
anyhows. keep experimenting. or what to call it. its always worth the read and the time.
ws |
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| 0 recommendations | Message 6 of 14 in Discussion |
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| | From: gypsy | Sent: 9/25/2008 8:48 PM |
WS, lazily, but more indirectly a command: The mind no longer drives the brush to paint a gleaming story colored yellow, for
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| | From: gypsy | Sent: 9/26/2008 1:51 AM |
I just read your comments again, WS. I think what you are saying is you want more metaphor. I will think of this, too! Thanks!!! |
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| 0 recommendations | Message 9 of 14 in Discussion |
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well edited, well written, well done bravo nena |
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