/poetry/

[Anonymous No.6990424]

Poetry general?
Let's talk verse lads.
Feel free to post your own poems in the thread, I might be in the mood to give feedback at some point, but keep in mind this isn't meant as a critique thread.

>Who are your favorite poets?
>Who got you into poetry?
>Favorite poems?
>Least favorite poets?
>How long have you been reading poetry?
>How long have you been writing it?
>Have you published?
>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
>If not, why not?
>Favorite movement/era?

Was Whitman a homosexual? The answer is no, let's talk about it.

[Anonymous No.6990431]

>>6990424
>Who are your favorite poets?
Aragon
>Who got you into poetry?
The ineffable
>Favorite poems?
Wouid be silly to hav esome
>Least favorite poets?
Everything that's in english lol
>How long have you been reading poetry?
Since I was 10
>How long have you been writing it?
same
>Have you published?
only in shitty uni papers
>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
yes
>If not, why not?
>Favorite movement/era?
none in particular

[Anonymous No.6990443]

>>6990431
>frog
>being smug about english poetry
This is something unexpected

[Anonymous No.6990448]

>>6990443
I'm not smug, it just is my least favorite.

[Anonymous No.6990475]

>Favorite Poets
Sylvia Plath, Jim Morrison, Walt Whitman

>who got you into poetry?
An old teacher gave our class the assignment of writing a poem. When they were turned in and a student asked what he thought of them, he said they sounded like they were written by people our age. Looking back on it, it doesn't seem like that big of a deal, but when I was younger it infuriated me that he implied that my poetry was characteristically bad, so I took up writing seriously.

>Favorite poems
I have none

>Least favorite poets
Bukowski

>how long have you been reading poetry?
Since I was 14 or 15

How long have you been writing it?
Same

Have you published?
Twice, both times were through shitty contests

>are you familiar with the technical side of poetry?
Yes, although I doubt as well as I should be

>favorite movement/era?
Late 50s through the 60s

[Anonymous No.6990478]

>>6990475
Morrison's poetry is awful and devoid of any meaning.

[Anonymous No.6990490]

>>6990478
Have you done an actual serious analysis of it or are you basing that on what some of the circlejerks on this site say?

I will give you that some of his earlier stuff is just meaningless & drug fueled. However, later on he put serious effort into his works and I find they have plenty of literary merit.
A lot of his work is tied to some of the themes William Blake also explored. Take for example a poem entitled power. It, similar some of Blakes work, explores the idea of a stripped reality, where one can really identify what is going on and what is possible. I recommend you reread Morrisons catalog, with an emphasis on his unpublished work.

[Anonymous No.6990494]

>>6990490
Where to start ?

[Anonymous No.6990516]

>>6990494
Try reading Wilderness and The American Night, they are both collections of works that saw somewhat limited exposure (although The American Night contains some song lyrics).
Wilderness is a bit less organized than The American Night, but I tend to enjoy it more. That being said everything in the American Night is a bit more polished.

The work that people seem to go to most is The Lords and The New Creatures but after reading it again relatively recently I can say I find the least appealing.

[Anonymous No.6990523]

>>6990516
I've read the American Night and that's precisely what I thought was terrible, is Wilderness better and different ?

[Anonymous No.6990525]

Wallace Stevens:
The Snow Man
Meditation Celestial and Terrestrial
A Postcard at the Volcano
The House was Quiet and the World was calm

Keats:
To Autumn
Ode to a Nightingale

Dickinson:
From Blank to Blank
We grow accustomed to the dark
Because that you are going
Long famous sleep
Nature is what we see

Philip Larkin:
Aubade

T.S. Eliot:
Preludes

Byron:
Darkness

I would appreciate recommendations.

[Anonymous No.6990542]

>>6990523
Yes, The American Night is much more polished & the works are sorted by how they appeared and how he wanted them to be published or seen. A good amount of the poems in The American Night were either self published or published in magazines. Wilderness seems to be largely a lot of rough sketches.

[Anonymous No.6990546]

>>6990523
If you've read The American Night and thought it was garbage, I don't think you'll find much in Wilderness to change your mind.

[Anonymous No.6990618]

>Who are your favorite poets?

Crane, Hopkins, Spenser

>Who got you into poetry?

I read all of Walt Whitman in 5th or 6th grade and for a few years read a lot of poetry, but I stopped for a while and now I'm back into it.

>Favorite poems?

no

>Least favorite poets?

Plath, Larkin, Ted/Langston Hughes, Thoreau, Neruda, iunno anything shitty?

>How long have you been reading poetry?

iuno

>How long have you been writing it?

iuno

>Have you published?

won't be for a while

>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc

obviously

>If not, why not?

becuase unlike lit I actually read

>Favorite movement/era?

none in particular

[Anonymous No.6990689]

Hey guys, i'm only just getting into poetry seriously. I have read a good amount of narrative poetry (and Shakespeare) so i'm familiar with the structure, but regular poetry seems to go right over my head. I tried reading some Eliot on my phone the other day and it was either boring or too good for me to appreciate.

I'm right now reading through Blake's stuff, and I think he's really good.

But anyway, what are some poets to read to begin navigating the territory? help

[Anonymous No.6991013]

>>6990689
Well, how familiar are you with poetics? I think to understand why they did something you might want to know what they did first. Perhaps flip through a poetry handbook of some sort, or an encyclopedia/glossary of poetry (I can provide both if you want)?

Otherwise the best way to get familiar with poetry is to just read it. It's all rather lateral and abstract at time. I'd recommend starting with the Greeks or a mythology handbook, if you really want to pick up on a lot of the references. Otherwise Yeats is straightforward enough for many people to begin with, along with the high romantics, like Shelley, Byron, Keats, Wordsworth, and so on. Whitman is another straightforward (at least, on the surface) poet, along with Dickinson, Stevens, maybe even Frost.

[Anonymous No.6991115]

>Who are your favorite poets?
Anne Carson
Amelia Rosselli
Gertrude Stein
Dante Alighieri
Louis Zukofsky
Sylvia Plath

>Who got you into poetry?
7th grade English teacher. I'd always preferred it over prose, but he really gave me the foundation I needed in order to move beyond a surface-level enjoyment.

>Favorite poems?
'Alicante Lullaby' by Plath
'Ultimo Canto di Saffo' by Leopardi
'Parturition' by Mina Loy

>Least favorite poets?
Bukekski
Ungaretti
I keep trying to get into Dorothea Lasky but she does nothing for me and I can't stand her reading voice


>How long have you been reading poetry?
10 years

>How long have you been writing it?
For as long

>Have you published?
Nah

>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
Absolutely.

>Favorite movement/era?
Gruppo '63, Objectivism, Stilnovismo,

[Anonymous No.6991384]

I'm reading this. I'm only a few pages in and it's frustrating because I feel like the author's just waggling his dick instead of trying to explain anything sensibly. I've been trying to get poetry for the longest time now and I'm almost ready to call it quits and assume the vast majority of people who like this stuff are from Mars or have their heads up their asses. I probably sound like a dick, but whatever, I'm fucking frustrated.

[Anonymous No.6991392]

>>6991384

Uh, the "this" in question.

[Anonymous No.6991522]

Eliot, Crane, Yeats, Auden

Reading Brodsky's essays for English class

Four Quartets/Waste Land, Sailing to Byzantium, In Memory of W.B. Yeats, The Stolen Child, Disillusionment of Ten O'Clock, The Graveyard by the Sea, Elegy for N.N.

Language poetry in general

About 6 months since I got into it with any degree of seriousness

Around a year

No, but I got a scholarship

Yes, because I took high school English

Modern/fin de siecle

[Anonymous No.6991584]

>>6991384
Try this
http://bookzz.org/book/2330459/dfa61a
or
http://bookzz.org/book/1621379/d70538
this instead. What exactly are you trying to learn?

[Anonymous No.6991759]

Living by the giving tree
Anarchy was made for me
When mankind will be set free

Lifeless living to escape
Overtones of heavenscape
Viscous mucus of an ape
Even prior Dinah's rape

[Anonymous No.6991870]

>>6990431
is that you ozric tbh

[Anonymous No.6991956]

When you guys say Crane, do you mean Hart or Stephen

[Anonymous No.6991985]

>>6991956
in this thread they are all hart

if they even knew stephen crane wrote poetry they would be more precise

[Anonymous No.6992011]

>>6991985
who the fuck knows about hart crane that doesn't know stephen crane wrote a few mediocre poems? your attempt at being smug and condescending just makes you look all the more stupid

[Anonymous No.6992058]

>>6992011
looks like someone is triggered

[Anonymous No.6992389]

>>6991584

Alright, thanks. Thought over what I said and I think my biggest problem is I don't understand most poetry I pick up or how it even differs from prose enough to warrant differentiating the two. I think the problem's more on my end though.

[Anonymous No.6992440]

I'd like to delve into English poetry, where should I start ?

[Anonymous No.6992455]

>>6992440

[Anonymous No.6992469]

>>6992455
Not very helpful, where to start with Shakespeare?

[Anonymous No.6992494]

>>6992469
it's really not difficult, dude. find a collected works and read left to right.

[Anonymous No.6992506]

>>6992494
>collected work
Any references?

Also, which one of his plays should I read?

[Anonymous No.6992523]

>>6992506
http://bookzz.org/book/931161/0befaa

>which one of his plays should I read
all of them, really. at least hamlet, macbeth, henry IV, R&J, midsummer's night, othello, taming of the shrew, and a few others. i wouldn't neglect the sonnets either

[Anonymous No.6992526]

How to approach poetry?

How to approach metaphor? What is the relevance of metaphor, as a mode of thinking?

And of symbols? (no Jung)

Joyce wrote, in the Dead, something of the sort "There was grace in her attitude, as if she were a symbol of something."
This always makes me think. I know why he would say that, but I don't know its significance. Feels more like he's given me a riddle.

[Anonymous No.6992533]

>>6992523
I see, thanks

[Anonymous No.6992535]

>>6992506
>>6992469
Hamlet, Henry IV (part 1), King Lear, The Tempest

[Anonymous No.6992556]

>>6992469
>Shakespeare

[Anonymous No.6992585]

>>6992535
Nothing else? no Macbeth, Mindsummer's Night Dream etc..?

[Anonymous No.6992619]

>>6992526
>How to approach poetry?
As an erotic experience.

>How to approach metaphor? What is the relevance of metaphor, as a mode of thinking?
Read Hart Crane's letters/essays on the subject. Metaphor is the perversion of language to engage the unconscious and the infinite.

>And of symbols?
Symbols are another method of escaping language, reverting to ur-signifiers that unite as many concepts as possible under a single sign. Joyce was a hopeless romantic, so for him a woman, like a symbol, took on an ultimate sort of significance.

[Anonymous No.6993151]

>>6990431
Why would it be silly to have favorites? Being unsentimental is no fun, anon.

[Anonymous No.6993176]

I'd appreciate critique on this; it's based on a pair of religious sculptures I saw in a museum the other day, and I hope it isn't too disjointed.

Also Walt Whitman weren't gay, he just had a bordering-on-erotic love for every thing in the universe.
And a fantastic poem I've read lately is Thomas Hardy's "The Convergence of the Twain"

I
Confused, the young boy sits in the lap
Of the priest, whose fingers slim
Enclose him, whose neck stretched above
Appears so alien.

II
Now kicking ice, a slim young man
Denounces and expounds,
His shivering audience aghast
At his heretical words.

III
The wasted body, arms point-pricked,
Is stretched across the warm
Cloak folds of the motherly lap,
Below a craning soft throat.

[Anonymous No.6993202]

>>6993176
The stanzas are a bit too short and too literal to really do much beyond painting a sketchy picture. It feels as if you're just glancing over your subjects, and missing a lot by doing so. The language and the feelings conveyed both strike me as somewhat pedestrian. Structurally, however, it's very competent. You just need to find a style that fits the form better.

[Anonymous No.6993204]

>>6992619

I thank you for your post.
That said:
>As an erotic experience.

: ugh

Anyway I looked up Crane's letters and they seemed a neat take on the subject, plus your "ur-signifiers" which hint at gostudysemiotics and I will

[Anonymous No.6993227]

>>6993202
Thank you for the critique, I'll work on it further.

[Anonymous No.6993243]

>>6993204
I know very little about semiotics, that was just spitballing.

>As Plato expresses it, eros can help the soul to "remember" beauty in its pure form. It follows from this, for Plato, that eros can contribute to an understanding of truth.

Poetry is less something to be decoded and more something to be felt. Of course it can be interesting to discuss intellectually, but its "erotic" nature is its most vital element and should always be kept in mind when reading/writing it. It's useful as an approach because it can be frustrating to always be looking for a clear path of analysis that isn't actually there.

[Anonymous No.6993352]

>>6993243

I'd agree on 'sensual' rather than erotic, for it's a bit more detached from sex

And if it isn't there (an approach), why not just make one. A trail in a forest can be a metaphor for analysis as a means of navigating somewhat safely through poetry. I mean, Whitman advocated "Nature without check with original energy", but there's also the increasing awareness that we inevitably end up interfering with everything we observe

And why not decode poetry? If you take it as human artifact, you might see it can be an object of intention. Trying to figure out what an author said. And of course, some authors don't even know or care about what they say, so there's that.
Context is at essence.

But yeah I agree these kinds of thoughts^ usually end up derailing from the nature of it. Your side, as of now, is like Blake's on Newton's

https://en.wikipedia.org/wiki/Newton_%28Blake%29

[Anonymous No.6993448]

>>6993352
Both the Newton painting and that Whitman line were posted in a thread I made yesterday about favorite lines of poetry. Was that you?

But I think the decoding is where our opinions diverge.

The darling of the New Critics, T.S. Eliot, was once asked by a lady what he meant by the line 'lady, three white leopards sat under a juniper tree.' He replied, "I meant 'lady, three white leopards sat under a juniper tree.' "

Many poets do not particularly want their work to be decoded or their intentions revealed, because in most cases their intentions are greatly inferior to the work. See also: Donald Barthelme's story "The Balloon".

But I agree that a trail can be made, it's just that I find it more useful and pleasurable to see trail-making as an act of creativity than one of analysis.

[Anonymous No.6993460]

>>6993448
Third line was meant to be in quotes, that's from some article.

[Anonymous No.6993477]

>>6990424
>Who are your favorite poets?
Whitman, Lorca, Billy Collins, Anne Sexton
>Who got you into poetry?
Shel Silverstein
>Favorite poems?
()
>Least favorite poets?
Eliot, Plath
>How long have you been reading poetry?
I don't keep track
>How long have you been writing it?
a few years
>Have you published?
in lousy school journal
>Are you familiar with the technical side of poetry?
yes, not so fun to analyze
>If not, why not?

>Favorite movement/era?
()

Whitman was probably a switch hitter (at least that's what I took away from Leaves of Grass)

[Anonymous No.6994109]

Are there any good reads that break down poetry (maybe famous poems, just discuss them really) to help someone who's never written really anything get into poetry?

Also how do you guys find new poets you get into? I don't know many websites and such and I'm just new to it all

[Anonymous No.6994141]

>>6994109
The Well Wrought Urn

poetryfoundation.org and their journal if you wanna drop some dough

[Anonymous No.6994174]

>>6994109
Lurk /lit/, read Bloom or any other decent critic who drops a lot of names.

[Anonymous No.6994336]

>>6992556

also

>>6992469

literally his complete works, the entire thing, no joke

then read all of Marlowe, Jonson, Kyd and Dekker, and then you can say you have some meager knowledge of the era

and then you go forwards and backwards from there, and after reading the greeks, you go forward again and understand why not starting with them (along with the romans and middle english poets) was an awful idea!

[Anonymous No.6994438]

>Who are your favorite poets?
T.S. Eliot, Gerard Manley Hopkins, Samuel Taylor Coleridge, Robert Browning

>Who got you into poetry?
Reading poems from an early age. Stuff like Shel Silverstein and Dr. Seuss

>Favorite poems?
The Wasteland. Porphyria's Lover.

>Least favorite poets?
Sylvia Plath, Emily Dickenson

>How long have you been reading poetry?
Seriously reading for eight years

>How long have you been writing it?
four years or so

>Have you published?
Never in a serious publication

>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
yes

>If not, why not?
>Favorite movement/era?
Difficult to say... I'd say I only have favourite poets instead of favourite movements. There is always going to be gold and rubbish from any era/movement.
Victorians or Dark Romantics might be the best on the whole though.

Was Whitman a homosexual? The answer is yes, let's not talk about it.

[Anonymous No.6994585]

>>6994438

>Was Whitman a homosexual? The answer is yes, let's not talk about it.

Why would you not want to talk about it? I doubt he was ashamed of the fact.

I'm straight and I love poetry, but it seems very odd that anyone who also loves poetry would be uncomfortable about homosexual poets. Many great poets were gay. Why would you make it a point to avoid ever talking about it?

[Anonymous No.6994588]

>>6994438
>least favorite
>emily dickinson
edgelord tbh

[Anonymous No.6994886]

>>6994438
Except Whitman was certainly not a homosexual and if you've read Song of Myself you've severely misunderstood the poem.

[« Ƹ̵̡Ӝ̵̨̄Ʒ » No.6994896]

>>6994886
Probably a bisexual

[Anonymous No.6994944]

Ginsberg famously claimed to have slept with a man who slept with Walt Whitman, obviously third-hand info by now but at least it's anecdotal

[Anonymous No.6994950]

>>6994944
ginsberg was a pedo boyfucker

[Anonymous No.6994981]

>>6994950
Keep your sordid past out of this thread

[Anonymous No.6994992]

>>6994981
>pedo boyfucker detected

[Anonymous No.6995359]

>Who are your favorite poets?
Homer, Ovid, Spenser, Donne, Coleridge, Shelley, Keats, Hopkins, Hardy, Pound, Stevens...missing a few obvious.
>Who got you into poetry?
Keats
>Favorite poems?
Ovid's Amores by Marlowe, Pound's Chinese translations, The Rubaiyat of Omar Khayyam, Keats Odes of 1819, Shelley's lyrics, Hopkins' sonnets, Coleridge's conversation poems, The Iliad, Paradise Lost, The Faerie Queene...
>Least favorite poets?
I think Shakespeare's sonnets are overrated. Don't like Eliot, too intellectualising. Blake is not the mystic genius everyone thinks he is. Pope is a hack. Basically all the Victorians were shallow parodies of the High Romantics.
>How long have you been reading poetry?
Uhhh 2-3 years thereabouts?
>How long have you been writing it?
About the same. I don't have a high opinion of it.
>Have you published?
Lol no
>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
Fairly.
>Favorite movement/era?
The Romantics, easily. Also the Elizabethans

[Anonymous No.6995372]

When you guys read a poet you're not overly familiar with, what's your process like?

[Anonymous No.6995381]

She facebooked me
Said "She's dying you see"
Monster in the brain stem
D - I - P - G

[Anonymous No.6995399]

>>6995381
Is this better?

You facebooked me
A city away
You told me your daughter is dying
So I went out for pot
And poppy seed tea
And spent the evening crying
But the whole time
I was on the bus, the sun
Came through the windows, blinding
And every stop I made
It started to rain
What's even the point in trying?

[Anonymous No.6995628]

>Who are your favorite poets?
La Fontaine, Leconte de Lisle, Corneille, Hugo and Mallarmé
>Who got you into poetry?
My father, he gave me an anthology of French poetry
>Favorite poems?
Too hard to say
>Least favorite poets?
Eluard, Breton, Musset
>How long have you been reading poetry?
Since I was 13
>How long have you been writing it?
Probably the same
>Have you published?
No
>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
Of course
>Favorite movement/era?
Classicism, Decadentism, Parnassianism

[Anonymous No.6995641]

>>6991870
no, my nick is fffanatique

[Anonymous No.6995668]

>>6995399
Last line ruins it.

[Anonymous No.6995671]

>>6995668
But it was decent other than that?

[Anonymous No.6995684]

>>6995671
Yeah sure, it's okay. It would just work better without the last line. It's cliché, and that third rhyme sounds silly.

[Anonymous No.6995686]

>>6990424
>Who are your favorite poets?
van Hoddis, Heym, Goethe, Byron
>Who got you into poetry?
I'm not sure, actually.
>Favorite poems?
van Hoddis' Nachtgesang.
>Least favorite poets?
Free-verse stuff that is basically just prose with random enjambements.
>How long have you been reading poetry?
Just a few years. Since I am 17 or 18, I'd say.
>How long have you been writing it?
Pretty early in school. Even in elementary school, but those were of course infantile, but I think even they had a certain sense of meter. Writing with with rhymes in verses and a consistent meter always kinda seemed natural to me, I think.
But to answer the question, I think I was 15 or so when I really picked up writing poetry.
>Have you published?
In a magazine that a friend of mine founded. So, no.
>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
Yes, pretty much.
>If not, why not?
>Favorite movement/era?
German expressionism.

[Anonymous No.6995689]

>>6995686
>Free-verse stuff that is basically just prose with random enjambements.
This

[Anonymous No.6995732]

>>6990424
>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc

Honest questions because I'm interested:

>form and structure
what do you mean specifically by this?

>poetic devices
do you mean stop like anaphora, metaphor, similes? because i am familiar with them in the sense that i know they exist, but can i use them effectively?

>metre
i'm assuming this just means know dactyls, iambs, etc

[Anonymous No.6995778]

>>6995732
Not OP, but meter is more complex than just calling it iamb and then a day.
In university when talking about poetry we did not even use these terms, instead we described each line in-depth. The following points had to be described:
>is the first syllable stressed or unstressed? (I am not sure what the english term for that is, in german we call it "Auftakt". Google recommends the terms prelude or upbeat, but they both seem unfitting.)
>is the cadence masculine or feminine? As in, is the last syllable stressed or unstressed? (A good way to learn this is to remember how female versions of words often have an unstressed ending, while male ones don't. See: god, goddess.)
>are the syllables inbetween alternating strictly from stressed to unstressed?

Though I think that in most cases calling the meter a iamb, a dactyl, an anapest or a trochee would suffice.

[Anonymous No.6995848]

>>6995778
>first and last syllable
i'm familiar with this, and i think you'd just call it an upbeat (literally meaning Auftakt).

i guess i'm asking because i wonder what kind of significance this has.

i mean, i know a feminine ending will suggest a softer, lighter note than a masculine, and that this in itself can be a point, depending on the line.

i guess i was just asking because i wasn't sure what was meant with "familiar." i mean, i know about these things (although not every technique), but i can't always use them well in analysis or in my own writing, since the uses will change from poem to poem.

[Anonymous No.6995860]

>>6995848
Truth be told, they are not always relevant to the content of the poem.

[Anonymous No.6995924]

>>6995860
feminine endings, you mean? or meter variations in general?

this is my experience too though. it's not always you can take a variation and extrapolate something from it. Sometimes it's just a nice rhythmic variation from the preceding lines, or it just sounds nice

[Anonymous No.6996112]

1/2

>>6995778
Well I had written up a nice, long response and then my PC restarted while I was taking a piss, so I'm very unhappy about having to retype this.
>is the first syllable stressed or unstressed? (I am not sure what the english term for that is, in german we call it "Auftakt". Google recommends the terms prelude or upbeat, but they both seem unfitting.)
The name of the stress of an initial syllable depends on the metrical scheme in being used; for example, a trochaic line beginning with a stressed syllable is normal whereas an iambic line beginning with a stressed syllable employs initial truncation, also called an acephalous line or a headless line. So where a normal line of iambic pentameter, for example, would read "-/ -/ -/ -/ -/", an acephalous line would scan "/ -/ -/ -/ -/" and contain nine syllables. Meanwhile, an acephalous line of trochaic pentameter would scan "- /- /- /- /-", as it's missing its initial syllable. So to answer your question, in English it's simply called "acatalectic" for an unaltered, typical line of metre and "acephalous", "headless", or "initially truncated" for a line missing its initial syllable (they all mean the same thing).
>is the cadence masculine or feminine? As in, is the last syllable stressed or unstressed?
In English (that is, accentual-syllabic verse) metre it's the same, a masculine, or strong, line is a line ending in a stressed syllable and a feminine, or weak, line ends in an unstressed syllable. An iambic line ending in an unstressed syllable is either truncated, also known as catalectic, because it's missing its final stressed syllable, or hypercatalectic, meaning there's an added stressed syllable.
>are the syllables inbetween alternating strictly from stressed to unstressed?
This is simply metrical scheme.

[Anonymous No.6996119]

The type of stress pattern determines the first half of the metrical scheme. The number of feet, that is, the number of times the pattern is repeated (can be determined by counting the amount of stresses), determines the second half. So for example, -/ -/ -/ -/ -/ would be iambic pentameter because it's iambic and there's five feet (five instances of the pattern).

All of this falls under the the term "metre", and it's all indicated by the type of scheme employed. Whether a line is feminine or masculine is part of the metre, as it's simply an alternation to a standard line, same with truncation and such. So if we had a line of hendecasyllabic iambic pentameter, we'd simply call it a hypercatalectic line of iambic pentameter if the extra syllable was at the end. Whether it's feminine or masculine would depend on if the extra syllable is stressed or unstressed, but we'd just call it a feminine/masculine hypercatalectic line of iambic pentameter.
I probably overexplained this, as you likely know these things already but just in case anybody reading was unfamiliar I went ahead anyways.

>>6995860
>>6995924
Well, if a poet is adhering to a strict metrical scheme and suddenly truncates a line or stanza, it's for a reason. It's always for a reason, that's what makes the great poets great. A rhythmic variation or truncation for an audible/musical effect is relevant to the content, it's a part of the poem. There are multitudes of reasons as to why a poet will do a certain thing with their structure, why they chose the form they did, why this line is masculine and that line is feminine, why this foot is inversed or this line is headless, and so on and so on. It's why I tell everyone that asks me how to get into poetry to learn the technical side. So much work goes into the subtleties of a poem that you're missing a metric shit ton of the nuance and finesse and eloquence of a great poem, and that's all shit you don't get to appreciate if you're not even aware it's happening.

[Anonymous No.6996177]

>>6995732
>what do you mean specifically by this?
The difference between form and structure, as I recognize it, is that form is the specific type of poem used, for example a ballad, or sonnet, or limerick or villanelle and how they're used and why whereas structure is the whole of a poem's specifics; that is, how the metrical scheme is used, which one is used, what alterations are employed, the "turn" of it, or how it's structured specifically and entirely.
>do you mean stop like anaphora, metaphor, similes?
This is what I meant, yes.
>>metre
>i'm assuming this just means know dactyls, iambs, etc
And how they're used and altered, yes.
Really though they're just questions to get some discussion stirred, anyone's free to answer them however they choose to.

[Anonymous No.6996229]

>>6995359
>I think Shakespeare's sonnets are overrated
Care to elaborate?
>Don't like Eliot, too intellectualising
Yet you claim Pound as a favorite? Strange, lad.
>Blake is not the mystic genius everyone thinks he is.
I agree with you to some extent, his religious tint is extremely off-putting for my taste and he seems almost zealous and crazed at times.
>Pope is a hack.
Elaborate. I don't agree with you here at all.
>Basically all the Victorians were shallow parodies of the High Romantics
But you listed Hopkins and Hardy as favorites. Also I think this is a shallow interpretation of the victorians; The high romantics emphasized an individuality and awareness of nature, the beauty of the world and love specifically. They were an embodiment of the "akam", that is, they were expressive of the introspective. Victorians were almost antithetical in comparison. They wrote largely of the people, ie their culture and its going-ons. They're aristocratic, arrogant almost in tone and air. Obviously there will be some overlap, and not every poem from both eras are going to embody their overall qualities, but they are two entirely different eras in mood. I think two to three years of reading experience is hardly enough time to write poets and eras off like you did, though I'm curious to hear what you have to say on the matters.

[Anonymous No.6996262]

>>6990424
>>Who are your favorite poets?
Tennyson, Frost, Larkin, Auden, Bishop
>>Who got you into poetry?
Obscure slam poets at open mics near my high-school
>>Favorite poems?
The Trees by Philip Larkin, As I Walked Out One Evening by Auden, Stopped at woods and Mending Wall by Frost, Break Break Break by Tennyson, The Art of Losing by Elizabeth Bishop
>>Least favorite poets?
Crane
>>How long have you been reading poetry?
5 years
>>How long have you been writing it?
6 years
>>Have you published?
In fiction, not poetry
>>Are you familiar with the technical side of poetry? ie form and structure, specific poetic devices, metre, etc
Yes
>>If not, why not?
-
>>Favorite movement/era?
Anti-modernism. Modern attitudes tempered by formal practice and the insights that come with form. None of the formal over-indulgences of out-and-out modernism.

[Anonymous No.6996271]

>>6996262
>>How long have you been reading poetry?
>5 years
>>How long have you been writing it?
>6 years
How can you write poetry without reading it?

[Anonymous No.6996277]

>>6996271
Listened to it at an open mic. I read loose-leaf poems in English class, but that is hardly "reading" in the same sense as seeking out books of it.

[Anonymous No.6996900]

>>6996119
>There are multitudes of reasons as to why a poet will do a certain thing with their structure, why they chose the form they did, why this line is masculine and that line is feminine, why this foot is inversed or this line is headless, and so on and so on.

well, on principle i'd agree that this should be so, but is it really? i know that no verse is free and all that, but if you take one of the most insane and loosey-goosey Ashbery poems, can you really find a meaningful pattern and use of metre?

if you're up for a challenge, i'll just mention the one i'm reading this instant: Daffy Duck in Hollywood. the first few lines make a few clear metric points, but then everything starts going to hell.

it's a great poem I think, but is scanning it even all that meaningful?

i ask because i really wonder about this very often when i read him, and many of the very modern poets, and i can't really decide if there's an answer

>>6996177
>the "turn"
this is a concept i haven't understood i think. care to elaborate?

[Anonymous No.6996973]

What do you think of this one? Fielding writes that it is “a proof that good books, no more than good men, always survive the bad.”

Deity

From Thee all human actions take their springs,
The rise of empires and the fall of kings!
See the vast Theatre of Time display’d,
While o’er the scene succeeding heroes tread!
With pomp the shining images succeed,
What leaders triumph, and what monarchs bleed!
Perform the parts thy providence assingn’d,
Their pride, their passions, to thy ends inclin’d:
Awhile they glitter in the face of day,
Then at thy nod the phantoms pass away;
No traces left of all the busy scene,
But that remembrance says— The things have been!

[Anonymous No.6997027]

>>6996900
Well, you have to consider whether those few supposedly metrical feet are purposely metrical or just happen to fall into a scheme. Iambs in particular occur rather often naturally in the english language. If it's free verse and you can't for the life of you figure out why the feet were done the way they were, you might assume it wasn't intentional. Scanning a lot of (not all, obviously) free verse will prove fruitless anymore.

>turn
Simply a phrase I meant as "change" within the poem, how it turns.

[Anonymous No.6997074]

down all the cockheads
i cook some cock
to feed cockhead
cocks
but the streets of cock
cock cock cock
cock cock cock
cocky cock cock
giggely goggely
i cooked some cocks
and cocked some cooks

[Anonymous No.6997504]

>>6997074

That was beautiful.

[Anonymous No.6997555]

Marianne Moore is my gold standard for poetry. Any contemporary recommendations?

[Anonymous No.6997569]

>>6997555
>recommendations
better taste

[Anonymous No.6997593]

>>6997569
But I only mentioned the one poet. No matter how much better my tastes get, she'll still be the GOAT.

[Anonymous No.6997664]

>>6997593
what do you like about her? I don't get her syllabics and formless poetry

[Anonymous No.6999667]

page ten bump

[Anonymous No.6999669]

>>6995359
How can you be a parody of a movement that came about after you? I'm guessing you meant that the Romantics improved upon the ideas/themes/styles of the Victorians?

[Anonymous No.6999687]

>>6997593
Her protege, Bishop, as well as, pre-Cantos Pound, Basil Bunting, H.D, George Oppen,

[Anonymous No.6999704]

>>6990424
The wind whispers it's sweet breath,
Tickling the hollow in the back of my neck,
I close my eyes to the sea,
Shivering 'neath my wet fleece,
The pattering of water continuous around,
Eliminating, when I jump, the sound.
My shadow slips below the surface,
Leaving as much mark as my life save bliss.

Shit?
Pretentious?
Thoughts in general?

[Anonymous No.6999744]

>>6999704
in line one it should be "its" rather than "it's"
the apheresis in line four is jarring and takes me out of the piece completely; it sounds strange and doesn't fit. I also don't know why it's done, considering the rhythm of what comes before it just isn't there.
It's just an awkward piece. I don't think the rhythm comes out the way you intended it to, and the diction and syntax are clunky.
For example, lines five and six are too jilted and muddy. Six is two syllables shorter than five and the stresses aren't uniform, further adding to the muddiness when reading it aloud, and finally the exact rhyme of the two lines sticks out compared with the rest of the slanted consonant rhymes.

It's unpolished and amateurish, but nothing that can't be improved with practice and study. I'd recommend practicing controlling the musicality of your poems, through rhythm specifically and diction. Read everything you write (and read) out loud, it helps a ton. A lot of the time what you have in your head doesn't translate perfectly into what you write, and hearing it will help you see where it didn't. Write more, and read more, maybe some of the older musical poets to get the idea such as Thomas Campion or even some of the songs Shakespeare wrote.

[Anonymous No.6999773]

>>6999744
Alright.Thanks

[Anonymous No.6999788]

>>6999704
What this other person said. Plus reading it aloud will really bring out the melodrama of your verse, which to me reads like nails on a chalkboard. I'd say cut it down, make it less pretty and say what the hell you mean. What's the emotion you're trying to convey? i can feel the idea underneath but maybe my (slightly alcohol affected) brain can't decode it.

[Anonymous No.7001624]

page ten bump

[Anonymous No.7001694]

>>7001624

hey friend, you seem to know what you're talking about. could you critique this? is it even worth a damn?

i'm >>6996900 etc
A View of the Country


A swift movement of a threatening object
and the light turns now toward its evening
companion: this companion is total darkness
and the feeling of being suddenly forgotten
or the feeling you might recall you had back when
someone swung the barnyard far beyond
any reasonable horizon. This poem is a thermostat.
One whose quicksilvery motions are themselves
a threat. It lies in a country you will not leave
with anything except the remembrance of dithering
gray clouds no longer affirming those figures
you loved so much. Soon the sun returns.

[Anonymous No.7001717]

This piece is my latest, which was included in Tokyo Drift. I never quite liked it, and as much as I'd re-post it I never received feedback. I want to move on, but the idea for my upcoming poem is radically experimental, upsetting to the extent that I'm constantly putting it off for fear of poor execution. Anyhow, here it is:

...RIVERWARDS he drifted, sad and lonely,
In heavy heart. Trees swayed with the wind.
There wane in the passage behind him a patch
Of summerset, near ebbing its tides to rescind
Beneath the spot, where we tore from silence
The Persephone, by scent of pomegranate
Into the foliage, so writ, to account from fate
All abundance, and quarters to serve hold nature
Its dwellers’ appointments, nest and hole, from terror,
And how feather-weight branches, combing twigs.
Post-industrial waste frolics with the spring
Bai-u’s retreat, and welcome the charcoal gloom
In suffocating bliss, holding back some deadened time.
Why, this begot he, Lord upon sevenfold skies,
A garden amidst a thick clouding of fumes,
As dissimilar to the tundras in discerning eyes…


...RIVERWARDS he drifted, wilting within
A day of waterfall, a spirit to sing.

[Anonymous No.7003897]

>>7001694
>>7001717
another page ten bump, i'll read these when i'm in the mood

[Anonymous No.7005159]

These Falling Words.

Starting

Stuttering

Stopping

In Zeroes

In Ones

Striking at the air

Both quickly

And Slowly

Falling pretty

And invisible

Words rain

Letter and by letter

Vibrations keeping order

Like soldiers marching

Through empty space

Ricocheting too

Like hurtling lead

Only harmless

And perfect

From time

To time.

[Anonymous No.7005638]

Mind if I post a poem here too? I wrote this for the Qixi Festival today. Tanabata, if you prefer Japanese. How good/bad is it?

When to the seventh night they flock,
Joy-birds across the silver stream
With wings like glockenspiels that beat
And ford the waters, dock to dock,
Allowing us to meet—

Your sunset clouds signal to me
Anticipation, in their weave
Of colour threaded through with heat
Beneath their studied lethargy,
As ev'ning airs blow sweet—

And till the morning you'll be real
No bright star, distant: human warmth
In hands, cheeks, eyelashes adorn,
Beauty to see, your pulse to feel.
I'll hold you till the morn.

So when tonight the bridge is born
Allowing us at last to meet
I'll come, as ev'ning airs blow sweet:
I'll come to hold you till the morn.

[Anonymous No.7006373]

After a few naps I'm glad the thread didn't die while I was asleep

>>7001694
I like your diction in that it doesn't feel forced, ie as if you were painstakingly searching for a word to fit.
That being said, there isn't anything that makes me want to return to the piece. What it has going for it is that it's not overtly pretentious. My issue with it is that it's couched in symbolism, and other than the act of trying to figure out what you want to tell me there's nothing that makes me want to read it again. It's prosaic almost in structure and device, and by that I mean if I were to find this text in a book of prose without the few line breaks there's nothing that indicates "this is poetry" to me other than the use of symbols, which in itself and isolated isn't inherently poetic.
I guess what I'd advise is practice the use of poetic devices, try to accomplish what you're trying to do through the use of other things outside of strictly symbols. I'm not saying to use anaphora or apostrophe or what have you just for the sake of using them, but try to consider all of your options. Poets have a lot of tools that writers of prose don't necessarily get to take advantage of.
Just practice more lad, I don't think your piece was bad.

>>7001717
I'm assuming if it was in one of the memebooks it has some sort of other context to it?
Almost reminds me of some of Joyce's prose in its diction. It's not bad, pleasant to read almost; if I had to say something about it is that I wish it was more rhythmic. When I read this I /want/ a rhythm there to "mesmerize" me into it. I think it'd benefit from some sort of assonance, consonance, metre, or something to give it more flow, as it does remind me of Joyce in a way and the thing that draws a lot of readers into him is his hypnotic rhythm. Otherwise not bad, just keep practicing.
One specific thing I wanted to mention,
>Post-industrial
This term took me out of it. It feels very out of place considering the diction up to that point is natural/incites nature. It's too human a term and feels clunked in there. If that's the intended effect ignore this, obviously.

[Anonymous No.7006378]

>>7005159
Ah, well. It's very gimmicky. I get that the words are supposed to "cascade" or in your own words "fall" but I'm not getting the effect. The words themselves, that is, your word choice, is somewhat bland. There's nothing here to that elicits my interest, nothing "spicy", so to speak. The images are weak, for example
>Like soldiers marching
is rather clichéd and tired.
My advice? Read more poetry. Like a lot more; read more than you write. EVERYBODY should read more than they write. Write a poem? Read ten. Study what they do and how they do it. Did a poem give you a feeling? Did it elicit a response from you, any sort of response? How, how did they get the reaction out of you? Furthermore, what did they say and how did they say it? What sort of images did they use and why?
Take all of this from your favorite poets and consider it, use their methods in your own poetry and make it your own, bend it to your own specifics. It takes years to develop your own style and method to things, until then focus on practice and emulating the men that did it. You've got shoulders to stand on, use them.

>>7005638
Not bad, just unpolished. My main gripe is that the rhythm of it is unrefined. For example when reading
>When sunset clouds signal to me
we have to wrench "signal" in order to make it uniform to what you've been doing; we normally say "SIGnal", with emphasis on the initial syllable, but here we're forced to place emphasis on the latter half of the word in order to avoid an annoying break in the rhythm.
There's multiple instances of this throughout, but I'm not going to point out each one. Try to find them on your own and polish them up, whether you have to play with syntax or elision or change the word entirely.
So ultimately I'd recommend practicing metre. Avoid wrenching syllables at all costs. It's annoying and completely takes a reader out of the piece. Just practice practice practice. Metre is a thing that eventually becomes second nature, done as easily as breathing. It simply takes practice and time.

[Anonymous No.7006765]

>>7006378
What you think of this?


Mannerism

These are the problems which inhabit the imagination
Tincture of opium, redolent eucalyptus balm
The constituent order fails
At any attempted rescue, the end of a soft brown epoch

Some things were marvelous: Bring on the Byzantine
The gilded orient spoiling Venice’s moldy sewer
“Why must they build their capitals on swamps?”
Paris! London! Moscow!

We find remaining fragments bizarre
It’s the mulch of the Cul de Sac
Tempting our languor with that dead clutter sensation
“I’m like a fallow field.”
The party’s over and we remember this.

[Anonymous No.7007030]

>>7006378
Joy-birds poem here. I was hoping that the wrenched syllable on "signal" would go by unnoticed, but evidently not. Thanks for the feedback!

[Anonymous No.7007593]

>>7006378
Hello, riverwards poem here. Thanks for the constructive feedback. Also, was it you that recommended a certain book of poetics by the name "A Poet's Glossary" by Hirsch? I intend to delve into it soon, any other books you'd recommend or, perhaps, general observations in that vein?

[Anonymous No.7007784]

>>6990424
I sit and dream and dream and think and sit
About the time that I've wasted on /lit/.
I've even started writing poetry-
I think it's time to commit bukakke.

[Anonymous No.7008058]

>>6993176

I disagree. Only a gay man could write
"Out of the cradle endlessly rocking"

The messenger there arous'd, the fire, the sweet hell within,
The unknown want, the destiny of me.

He's there listening to a bird sing its heart out for its missing mate which brings him to unsatisfied love and this "unknown want." pretty gay.

>6993477
Maybe he did swing both ways. But the poetic persona of that poem is gay for sure.

[Anonymous No.7008076]

>>6990424
My time at school was an unhappy time
Tumult and turmoil I shall convey with rhyme.
Dear reader, heed this tale of regret
And use it to your own success beget.

What is school but a cage to house the young,
Before they bend to world's will? Feces are flung,
As children jest as wild beasts or apes;
The expense of others are their japes.

The cruelest minds belong to those
Who do not write with prose, appreciate the smell of rose,
Or any other flower. Who heed not nature's laws,
And do not question society's flaws.

Such are the young. And as they roam the Earth
Naive and infant in their tribal mirth
They suffice to the basest of desires:
Vindictive vengeance, self-service. All are liars

With above all else a need to rule, to dominate,
To wreak havoc upon the objects of their hate
Which they do with strength of arm and blow of fist
Under the fury of the crimson mist.

I found myself involved in such a fight
One day, and to resolve my plight
I summoned forth such strength I knew not I had:
I fought with fury as a demon mad.

Afterwards my mother to me spoke,
And listed all the bones which my foe broke.
And from the step of punishment my mind roamed free
As I reveled in some ruthless glee.

I told her from that step that I cared not,
And that it was a punishment ought not forgot.
And so my doom was laid upon me from the stair
She said 'You're moving to your auntie and your uncle's in Bel Air.'

I whistled for a cab, and when it came near
I saw the license plate said 'Fresh'; there was a dice in the mirror.
If anything, I'd have said that this cab was rare,
But I thought 'nah, forget it. Yo homes- to Bel Air!'

I pulled up to a house about seven or eight,
And I yelled to the cabbie 'Yo homes- smell ya later!'
I looked at my kingdom: I was finally there
To sit on my throne as the Prince of Bel Air.

[Anonymous No.7008085]

>>7008058
>projecting your own value judgements
shallow and ignorant

[Anonymous No.7008094]

Hey y'all, I wrote this a long time ago when feeling le sad, let me know what you think:

Soup for Disambiguation

Stagnant to the point of chasing to catch flies.
You know, just tryna’ shake my favorite lies and create
A new guise;
One I won’t despise.
Blessed is he who tries to see through other’s eyes.

Now life’s catching on the clutch of ego
I will, for sure, anxieties, strife (maybe, I might)
Haven’t quite given up the fight.

Is it really so warm in there?
Feigned confidence mirrors despair.
Not meaning to get in your hair…
Waiting halfway, alone, sitting there.
And your downcast gaze
Tells me you’d sooner cling to the familiarity of your childhood swing
Than look to what the edge of the sky could bring.

Uncertainty is the lens of your fearful eyes
Heaven is here
Best realize before you die.
So, friend, may I ask?
Of that conviction in your flask?

[Anonymous No.7008110]

>>7008058
>>6993176
denying that people who were clearly gay (had romantic and sexual relations with other men/women) like whitman and proust and even wilde is my favorite stubborn not-even-meant-ironically meme on here

[Anonymous No.7008117]

>>7008085

At least I used textual evidence to support my assertion.

[Anonymous No.7008133]

>>7008110
>i haven't read any of his work

[Anonymous No.7008138]

>>7008117
No you don't, that's the whole point genius. Your "textual evidence" doesn't support anything, you simply projected your idea of gay onto it.

[Anonymous No.7008167]

>>7008138

What is the unknown want then? Unknown by who?

[Anonymous No.7008236]

I'd appreciate some critique for the following

A smile that's widest for the camera
and all publicity bears some kind of agenda
Beneath a bare light bulb she stands
acrobatic smile, camera in hand
to present herself half as tan
and you'd think she's at some thanksgiving in winterland
but she's just bitter,
so bitter in comparison.

Here on the other end
My life shuffles between experience and contemplation
some days are filled with too much to absorb
and so I bite off the next invitation
But as for me, I'm much the same
Just a cluster of moles
at times could feel like three stains
when I lose count of all these people that I became.

Then the engineer begins to doubt his brain
the farmer, you know, begins to doubt his grain
And the end of the tunnel does elude the train
when the tent droops down with incessant rain
And the genius refrains far too long man
then he goes insane
when a marquee that yelled now mumbles his name.

Two dancing feet seem content with a cane
when no jiving seems to be worth the pain
Hard mornings
hard to keep her face out of the frame
as innocence treads down the wrong lane
I guess some things dissolve
a standard remains
While I try to muse some melody
that might just explain.

[Anonymous No.7008776]

>>7008076
fuck you you asshole

[Anonymous No.7009630]

http://www.youtube.com/watch?v=sth1XDwlihY

The best hope for British poetry in years. Dart is a monumental piece of work, and Memorial left me speechless.

[Anonymous No.7009643]

What do you all think of limericks? Have you tried writing any recently?

[Anonymous No.7009662]

>>6990424
STAAAAAAAAALLLLLIIIINNNNNNNNNNNNNNN

[Anonymous No.7009759]

>>7008076
10/10

[Anonymous No.7009781]

>>7008076

[Anonymous No.7009812]

>>7008076
What a range of emotions

[Anonymous No.7009832]

>>7008076
>All are liars
>With above all else a need to rule, to dominate,
stopped reading there. Your enjambment needs work.

[Anonymous No.7010323]

>>7009832
.... you really should have kept reading

[Anonymous No.7011112]

>>7008076
Some of those stanzas... actually had some potential

[Anonymous No.7012973]

>>7008076
I actually read until the end before I realised this was a troll. I should have known before that:
>My time at school was an unhappy time
>The cruelest minds belong to those
>Who do not write with prose

[Anonymous No.7013892]

>>7009630
Literally not poetry

[Anonymous No.7013932]

r8 plz, don't steal.
Circle of Inaction:

A question poised,
On the tip of my tongue.
Never spoken aloud,
I can't climb the first rung.

Always afeared,
Of what the answer may be.
Gripping deathly,
It takes a hold on me.

Thus never is asked,
"Do you want to go out?"
For Cowardice,
Is embedded like grout.

[Anonymous No.7014468]

>>7009630
ugh, i hate her

everything is "veiled" or "dim" or "secret"

every fucking noun is a tree or a leaf or a raindrop

gumdrop forest poetry

[Anonymous No.7015052]

The center cannot hold! Mere anarchy,
"Cutting asunder of straps and ties,"
Smells like a pile of black jet fuel;
It roars like tanks in a bombed city;
It looks like porn. Take one clip
I saw the other day - from ANNA,
The awesome Abkhaz National News Agency:
A POV cam on a Syrian tank, patrolling
An art director's Call of Duty scene
In gorgeous full HD. Our tank fires.
Big dust cloud. Bricks bounce on bricks.
We roll back and shoot again. We drive
Somewhere else and do more firing. This
Is anarchy: boring. Till a rebel pops up
With an RPG and takes us out. Boom!
But it violates every law of drama if
Death is the end of the clip. Would ANNA
Be ANNA, without the perfect edit: cut
Straight to that rebel's own headcam?
Allah Akbar! Allah Akbar! Allah Akbar!
There is one God. Mohammed is his prophet.
Mere anarchy is the future of journalism.
Where the hell it flows who knows, but
Carlyle's Niagara swings now to full flood.
"What enormous Pythons, born of mud..."
Thing is, kids, I was born in seventy-three.
You've seen GIFs of it. I lived there.
You cannot teach me out of Old America -
Or those small scraps that then remained,
Now lost as Hoover, as vanished as Nixon;
And you stink at editing physical objects.
Here's a car insurance ad from Life, '66.
A national epidemic of auto theft! Citizens,
Take prudent precautions! First and foremost,
Stop leaving your keys in the car! Anarchy
Is funny. Why wouldn't it be? But tell me,
Motherfucker: what bites has it bitten from you?
You and your friends? You, friends and family?
Where at the least have you feared it and fled?
Anarchy, it turns out, is fuckin' hungry.
A regular polar bear, and in fact I saw
In the Times today a color dispatch
From Longyearbyen, Norway's northmost hole,
Where people are insane or something and
Leave their keys in their cars. But wait!
Anarchy is not there. Except that it is,
Dressed as a bear. No vagrant or scoundrel,
"Distressed needlewoman," maniac or orc,
In Longyearbyen may dwell. Not for your good,
Of course. For his. Bears would eat him.
Bears will eat anyone, of course, but at least
Bears will never steal your car. And you,
"Who are not interested in war, but war -"
You too are on the map: bears to the north
And tanks to the east. And as it turns out,
Anything can be a bomb. And to the south -
To the south! Anarchy, a white wave, waits
Big and patient as death. Already its drops
Are wetting your shoes and watering your lawn.
What makes you special? Your latitude?

[Anonymous No.7015058]

>>7015052
But sir, the anarchy is barely started.
This film's in its first fifteen minutes.
And you love it. You're having a blast.
You're the pride and pinnacle of history.
"For we are a people drowned in hypocrisy;
Saturated with it to the bone." Anarchy
Is your vampire girlfriend, pneumatic
And robotic; she eats you; you feed her.
There's nothing new but there's always news.
"Democracy is not a form of government;
Democracy is an absence of government."
Anarchy's gyre burns without changing,
Grilling meat and crapping entropy - what?
Oh, that's right. It's you again, you,
With the tractor production statistics.
In your bizarre career as armchair king,
You learned well to discount your eyes
And trust whatever went written in numbers,
While p-values aped the haruspic stars
And professors played the court magician.
"With four points I can fit an elephant;
Give me five and he'll wiggle his trunk."
And what of it! The tractors are real.
The whole recovery is real! The curve,
As a whole, wriggles really upward...
Of course there are shining reversals.
A year, a decade, five or even ten.
Even Rome had Indian summers galore.
Even in Cato's day the plot was clear.
Anarchy is nothing if not a dramatist.
And a bear: she fed well this summer,
She is fat today; let her hibernate;
We'll see her other aspect in the spring.
So our kingless empire spins immortal,
Plated in old brown fur-clotted blood,
Stinking just a little more each year.
Still you will do anything but serve!

[Anonymous No.7015122]

>>6990424
and i think i 'remember'
him ordering cantaloupe
because i made a ~joke about
a 'film' he had been in
i said it was funny because his 'parents'
stopped him from 'eloping'
he laughed and ate ~two-thirds
of the fruit before telling me
he didnt remember that one
i attributed it to alcoholism
or the inexpressible 'pain' of
having grown up in the 'public
eye' or him trying to be totally
and radically 'sincere' like an evil fortune-teller[1]
i really had just confused 'his' wikipedia
with clifton webb's[2]

[1] - here i was trying to make a play on words about the concept of "sin" and the last syllables 'homophone' of "seer." please tweet me of you understood this.
[2] - as above only webb vs. web as in website, which i feel is an 'accurate' category for wikipedia. Again, please send ameliorations or advice through twitter

>the most interesting stylist of his generation

[Anonymous No.7015173]

>>6990424
Poetry is so pointless.