RAY SUCCRE : Flourishing Things Like the Deadening Things
JOHN HORVATH Jr : Poetry: in the Telling
WARD KELLEY : Pounding Poems
POETRYREPAIRS v11.08:096
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Flourishing Things Like the Deadening Things Poetry: in the Telling Pounding Poems  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games

RAY SUCCRE
Flourishing Things Like the Deadening Things
Set me down to stand on my own; I have stronger feet where my eyes are fed, where I might see less of you is more to you. You're enthralled— the deadening things are like nutrient for you. So set me down; I'll blink for shade in the embowered thick. You'll note I amble there, in Winter where the frost-bit stalks have abandoned temerity, and hold there in SuCcer, my feet in sap rinks run from all manners tall; I'll be inbreathing, but never enthralled. Always the sky knelling over each hour, half-regaining its blue stock. Always the floor as expiry's bitterest mulch releases short pageants of peat. Always the sovereign green laying out its robes. Always the spread or receding, drinking up the diKky tips of air. I'll try; set me down, my eyes on a cream sun pitcher briCcing over, froth of lit edges running down the rays. I'll fail; set me down there and watch me die into the feast, without invention, neither brisk nor primitive, and deaden me, a pulse in the unsettled scene of an unwritten act, as the boredom takes me over for waste.
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Flourishing Things Like the Deadening Things Poetry: in the Telling Pounding Poems  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games
JOHN HORVATH Jr
Narrative Poetry: In the Telling

Wayne Booth refers to 'evidentiary narrative" which includes the novel among other things; but I prefer a distinct "social narrative" in poetry, or more simply "narrative poetry". All writing has an audience (even a diary addresses a future 'you' of the narrator) and it requires a telling. The reader also tells via comment, criticism or retelling.Telling primarily communicates from the mind of the poet to the mind of a reader.

Narrative poetry is never mere communication of facts/things; these are not in themselves poetry. We may find Robbe-Grillet's 'descriptions' fascinating but the communication poets do is both about things/facts and subtleties (puzzles) for the reader to discover and discern if the poem offers full communication. Another way of saying this is that the narration directs attention to incongruities among the things and facts of the poem but more importantly the sociey among poet, persona, and reader.

These directions can be subtle or bold ("my father sailed the Atlantic with Cristoph Columbo" must redirect a reader away from his or her present, for no man lives long enough to both sail and father a child in this century) Such boldness ought not be presented as an error of fact but of something more. As a narrative poem directs it also hint

In part, a poet hint to help readers unravel a puzzle (the Greeks called it an 'aporia' which distinuishes the puzzle as mere pieces like wood or fabric to be fit together. The pot must always go beyond the things/facts presented. Hints indicate that the plot has greater significace than its parts or its whole - one or other is expected and to give the unexpected to the reader is the matter of rising and falling action, the points at whcih plot leads to or from climas to conclusion or, in most short poems, the poem reaches its closure.

There is in these cases of social narrative a relations or set of relations among characters/personae/readers/poets. The relation between narrator and the 'telling' is most important. These relations may be reprented or related (told). There are ways to represent whcih have become stand in poetry. By simile: a is similar to B the arm of a person is like the arm of a clock which rise and fall in a distinct pattern, the later hours seeming more slow or more deliberate.) There are icons, things that stand in place of another idea. Water has become an icon of birth as flying has become an icon of sexual activity. The more definite relations of icon to idea are called metaphor which are also complex. A poet of course, over time and publication, growing familiarity to the reader, develop his or her own set of similes, Icons, metaphors as William did by moving the four horsemen of the 'apocolypes' to the four horses of 'education'.

In effect, social narration is moved (dramatized) so that many fomats and arrangements can be made to the basic who, what, where, when, why and how which a reader is directed to attend. And if the poem is drama (movement) its poet is director. But this drama seeks audience participation.

I will attempt to develop this notion of movement in next month's essay.

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Poetry endangers the established order  of the soul - Plato



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Flourishing Things Like the Deadening Things Poetry: in the Telling Pounding Poems  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games

WARD KELLEY
Pounding Poems

Poems pounded down like thumping hooves, staccato oak leaves, slapped paper, the all-importance of the words a bond, a liturgy sticking the nuance of self to your soil . . . even though you were never meant to be here for long, for long. You knew this by the way the poems pounded down like your hand slapping the carpet when the sloe gin has taken your presence on another slippery expedition of mortality; it's clear the poems do not pound the words pulped of many other poets, flouncing their fears forward on paper held like a ticket, a ticket. The very thing that keeps you here also makes you flirt with another way, yet you fear there may not be an exact torrent of poems there (the only way to pound the blood, the only way to properly shake the fabric of death) and if there's a chance the poems only pound on this side, this side, can this be why only a handful of poets come this close to the kill? Poems must continue to pound, you understand, even as you caress another way to compose yourself.


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You Take Advantage of My Good MoodTOP Flourishing Things Like the Deadening Things©  RAY SUCCRE .
Poetry: in the TellingMID  096POEM2©  JOHN HORVATH Jr . previously published on POETRYREPAIRS.com v01.08:085
Pounding Poems]BTM Pounding Poems ©  WARD KELLEY .POET'S NOTE: Sylvia Plath (1931-1963) American poet, published her first poem at the age of eight. Suicidal from a young age, she endured, at various times, electroshock and psychotherapy. She married the poet Ted Hughes, who went on to become England's poet laureate. The marriage lasted seven years, but failed when Hughes left her for another woman. Months later, Plath killed herself with cooking gas. In a macabre twist of irony, the woman for whom Hughes left Plath also gassed herself to death. Another poet-suicide, Anne Sexton, wrote of frequent drinking dates at the Ritz with Plath: "Often, very often, Sylvia and I would talk at length about our first suicides; at length, in detail, and in depth between the free potato chips. Suicide is, after all, the opposite of a poem."
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