rummaging through poetry
There's a mess everywhere,
I don't care I don't care I don't care
today.
I hardly see love happening anymore, and when I do
I don't believe it.
The untidiness of it,
the hard-knock following
without a church
no saints.
We sing about it all the time.
I had more strange dreams--the rebound on full-swing--only the desert was snow this time around
and there were more feline deaths.
There was also a wedding where a man I used to court groomed
the girl he'd always sworn himself to.
I liked the decoy while it lasted
and he left me one morning to go back to her.
I hadn't thought of him, or them, in so long. I was trying so hard to fit him
into a mold.
The last person I wanted bad was Vicki.
See how that went.
Describe work in terms of its most characteristic emotion, or "humour"--whether writing comes from a taproot of rage, pity, love, or grief:
In terms of my own writing, when pulled away from it, I believe it to be characteristically curious and longing, encompassing the place where something has left and there is a gap to be filled. I often write after I experience something new--new music, new place, new people--and I want to fill pages with all the particulars of that new scene.
It's almost impossible for me to write about something that I experience every day. Something that I'm used to. I suppose that's why I look to the past for inspiration in subjects and to the present for inspiration in emotion.
When I compose something new, I generally have a scene in mind and I fill that scene with details, ending on something either shocking or pivotal to the building action.
Not necessarily a surprise ending, but I like things to end nice and neat without dropping off. Not that ends are tied, but the last image or thought allows the reader to ruminate on what was said, but not flip to the next page and blow right past it.
So I suppose, since you're asking Tony, those are the emotions that underline what I write.
"The manufacture of images is often attributed to the unconscious." -TH
"A girl puts her head on a boy's shoulder; they are driving west.
The windshield wipers wipe, homesickness one way, wander-
lust the other, back and forth."
-Galway Kinnell "Driving West"
"A good definition of poetic diction is 'speech that is consciously making reference to the history of its usage'. The poet of diction makes reference to the history of its contexts."
When beginning, what snaps into mind? An image, usually, or a thought--some kind of emotion that flings onto the page through a series of images and abstractions, but the impulse is to begin with something abstract or to make a grand claim.
Why?
It takes going through and looking at first lines.
In doing so, I realize that I've always cared and catered more to the last line in any piece of writing. Yes, usually, the novel, but also in poems.
What doesn't boil down to consciousness and awareness? They are the root of intelligence. If you care to learn more about the world and people filling it, you have to use consciousness and when you want to alter something of the self that is either undesirable or non-existent, you use self-awareness. Of course, pure emotion will always occur in times of great distraction--including, but not limited to, intoxication, shock, grief, or love.
What do I have to add to the great unknown?
I don't care I don't care I don't care
today.
I hardly see love happening anymore, and when I do
I don't believe it.
The untidiness of it,
the hard-knock following
without a church
no saints.
We sing about it all the time.
I had more strange dreams--the rebound on full-swing--only the desert was snow this time around
and there were more feline deaths.
There was also a wedding where a man I used to court groomed
the girl he'd always sworn himself to.
I liked the decoy while it lasted
and he left me one morning to go back to her.
I hadn't thought of him, or them, in so long. I was trying so hard to fit him
into a mold.
The last person I wanted bad was Vicki.
See how that went.
Describe work in terms of its most characteristic emotion, or "humour"--whether writing comes from a taproot of rage, pity, love, or grief:
In terms of my own writing, when pulled away from it, I believe it to be characteristically curious and longing, encompassing the place where something has left and there is a gap to be filled. I often write after I experience something new--new music, new place, new people--and I want to fill pages with all the particulars of that new scene.
It's almost impossible for me to write about something that I experience every day. Something that I'm used to. I suppose that's why I look to the past for inspiration in subjects and to the present for inspiration in emotion.
When I compose something new, I generally have a scene in mind and I fill that scene with details, ending on something either shocking or pivotal to the building action.
Not necessarily a surprise ending, but I like things to end nice and neat without dropping off. Not that ends are tied, but the last image or thought allows the reader to ruminate on what was said, but not flip to the next page and blow right past it.
So I suppose, since you're asking Tony, those are the emotions that underline what I write.
"The manufacture of images is often attributed to the unconscious." -TH
"A girl puts her head on a boy's shoulder; they are driving west.
The windshield wipers wipe, homesickness one way, wander-
lust the other, back and forth."
-Galway Kinnell "Driving West"
"A good definition of poetic diction is 'speech that is consciously making reference to the history of its usage'. The poet of diction makes reference to the history of its contexts."
When beginning, what snaps into mind? An image, usually, or a thought--some kind of emotion that flings onto the page through a series of images and abstractions, but the impulse is to begin with something abstract or to make a grand claim.
Why?
It takes going through and looking at first lines.
In doing so, I realize that I've always cared and catered more to the last line in any piece of writing. Yes, usually, the novel, but also in poems.
What doesn't boil down to consciousness and awareness? They are the root of intelligence. If you care to learn more about the world and people filling it, you have to use consciousness and when you want to alter something of the self that is either undesirable or non-existent, you use self-awareness. Of course, pure emotion will always occur in times of great distraction--including, but not limited to, intoxication, shock, grief, or love.
What do I have to add to the great unknown?