JULIE ELLINGER HUNT : You Were Thirsty so I Bought You a River
JOHN HORVATH Jr : Experience for Poets
BILL CARROLL : Blue Heron Fishing
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You Were Thirsty so I Bought You a River Experience for Poets Blue Heron Fishing  
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JULIE ELLINGER HUNT
You Were Thirsty so I Bought You a River
Tears run down my face often and my thoughts run away from me Skinned because the bones are better bare Half of what is now isn't because nothing that makes sense lasts long come and take a seat along the rock wall watch your river crest watch the currents sway change disappear with drought I can't breathe anymore, or any good I'm twisted up from all this doubt puCcle pieces no longer fit together I'm falling further down into the pit they make us live in But a lot looks better from here so come down from those heights and sit with me some more
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You Were Thirsty so I Bought You a River Experience for Poets Blue Heron Fishing  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games
JOHN HORVATH Jr

Experience for Poets

Three kinds of experience are available to poets —the material and the immaterial and the amaterial.

Material experience is readily available via action/reaction in our day-to-day world, the world that apparently accompanies us through time. “I saw her at 0100 hours this morning and she died moments after I left” can become the basis for a longer narrative. If you can answer Who? What happened to what effect and/or affect? Where? When? How? even Why? then you have a material experience.

Then there is immaterial experience—walking across the living room, for example. Normally, we nothe— let alone, neglect, ignore-- the immaterial until/unless it impinges upon us, becoming material. Normally, driving along a highway, we may recognize that drivers like ourselves are in other vehicles; generally, they pass without notice. If we look to the right at a stop sign to find another driver pointing a gun—the immaterial becomes material.

A third level, the amaterial experience, is seldom the aware experiences of dilettantes in poetry. Let me first note that the amaterial is like the amoral—a rock is amoral (having neither good nor bad relationship to effect/affect related to morality); however, a rock taken up by a patriot to be thrown at a tyrant becomes moral; if, to commit murder, the rock is used immorally.

So, too, we are agents acting with agency (rock, knife, gun). This transitional material/amaterial/immaterialism given nature of things is always within the grasp of the poet. The truck (amaterial) crashes into a store (immaterial) because its driver is drunk (material). Bloom has laid out a theory of dramaturgy that includes scene, act, agent, agency, actor; thus: “Friday afternoon I was standing at the apothecary bus stop [setting]. Heavy traffic caused sudden stop and go, enjamb and unjamb situations [scene], truck [agency] crashes [act] into a store because a drunk [agent] driver [actor] was at the wheel. A little girl was killed.”

Finding the elements of dramaturgy traces how the amaterial/immaterial becomes material experience. But another level of experience exists.

Writers of dream journals are aware that to dream is to experience; however, watching/hearing/seeing via media (TV or radio or cinema) is also experience (having a power to change its “reader”). We too often ignore reading as experience but all humans share in this power to change (ourselves and others); “I read X. I was truly frightened; you should read it.” Thinking, dreaming, imagining are immaterial yet men and women have these experiences available for creativity. Joseph Conrad's experience of another's episode of adventure, says he, led to the novel Nostromo. Let us call this immaterial basis of experience, “spiritual experience” and the material experience “spatial experience”.

All experience in some way or another is immaterial, amaterial and/or material. Labels make things more or less available to us: consider, for example, the “N-word”—its spatial usage, say in a pick-up basketball game, can designate proper or improper usage; it thereby tells the condition of the speaker, persona, character,. What is ascribed to the literary (spiritual experience) is not necessarily ascribable to the writer or reader as their color is amaterial. We must go to the text itself for judgment. In the example we say 'it is the spirit of the thing, the act, etc'

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You Were Thirsty so I Bought You a River Experience for Poets Blue Heron Fishing  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games

BILL CARROLL
Blue Heron Fishing
Above impossibly steady stilt legs The long, gray neck contorts Slowly, supple as The river's viridian current A seasoned fisherman's surer eye Judging the heft and speed Of dawdling fins, the interval needed To shatter the mirror's surface Sending relaxed willows and clouds Fleeing in sudden widening circles, Diverting dazed and wriggling silver Down her own dark rivulet.
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You Take Advantage of My Good Mood TOP  You Were Thirsty so I Bought You a River ©  JULIE ELLINGER HUNT  .comment1
Experience for Poets MID   044POEM2 ©  JOHN HORVATH Jr, reviewer  .comment2
Blue Heron Fishing] BTM  Blue Heron Fishing ©  BILL CARROLL  .comment3