DDCPoetry

Original poem reprinted online here:  "Immortal Longings" by Robert Pinsky Originally read: October 20, 2013 More information about the Poet: Robert Pinsky This poem feels dream like.  From the title, "Immortal Longings" which brings a divine desire to the poem (which seems out of grasp), I think this poem tries to pin down the emotion. But there's some heady things to follow in this poem.  Not so much surreal, just conceptual, "Inside the silver body / Slowing as it banks through veils of cloud / We float separately in our seats."  This feels like a description of sitting on a plane, but note how the language here has some pretty high symbolism with "silver body" and "veils of cloud"  and also note that the subjects (we -- me and you) are "floating" as well. "Like the cells or atoms of one / Creature, needs / And states of a shuddering god."  The simile drives the poem back and forth between the macro (last stan

Original poem reprinted online here:  "Equation for Cresting" by Christopher Bolin Originally read: October 20, 2013 More information about the Poet: Christopher Bolin The reusing images and language in a poem is a tricky thing.  There's the limit where the images and language, repeated, are interesting until a certain point.  Why?  I think this is the question that this poem raises. "This is the world's reenactment of today, / and of this moment,"  Past me focused on "globalized scene"  well, I think not really.  This beginning of the poem to me now is more of the set-up of the language and images -- prepare for more of the same in different ways:           and of continuing on-with its satellite imaging of scattering birds      obscuring our faces--      and this is the world's reenactment of its percentages:      of the constant shifting of satellites      and the constant scattering of birds and the likelihood Key images: satellite imaging,

Original poem reprinted online here:  "The Ventriloquist's Heart" by Lisa Allen Ortiz Originally read: October 18, 2013 More information about the Poet: Lisa Allen Ortiz Awkward conversation, "At dinner I lean in close. / I say: The ventriloquist's heart has eight chambers. / His blood lurches from one to the other." For a poem, this sort of conceit can be metaphorical and can be gotten away with, well sometimes, but what this poem does is acknowledge the impracticality of lines like this in a real conversation, "I am trying / to explain exactly how I feel."  And this isn't one sided. "You say: let's go home." The other speaker has more of a say on the direction they both go.  So the question at this point is who is the "dummy" or who is the "handler"?      In the car, I hear clapping and an audience roaring      with laughter.  I follow you upstairs.  Beneath my sequined top      I hide a music hall: no cover,

Original poem reprinted online here: "The Bear" by Jim Harrison Originally read: October 18, 2013 More information about the Poet: Jim Harrison This poem is a narrative that starts at the speaker then expands outward.  A bear is a bear until it can dream. The poem starts out with the repetition of the "when" phrase, "When my propane ran out / when I was gone and the food / thawed in the freezer I grieved."  Here seems to be the start of an adventure narrative.  The speaker ran out of utilities to survive "propane" "food" and how something thawed.  The tone seems serious enough. "over the five pounds of melted squid, / but then a great gaunt bear arrived / and feasted on the garbage."  Now here's the thing.  The poem turns a bit because of the adjectives used to describe the bear seem a little too overboard, couple this with alliteration and the tone of the poem changes to something a bit more humorous -- especially with th

Original poem reprinted online here: "poem I wrote sitting across the table from you" by Kevin Varrone Originally read: October 16, 2013 More information about the Poet: Kevin Varrone The title of the poem plays on the romantic ideal.  Well, at least from me.  The idea of creating something for another person as they wait.  And this is my problem, no where in the title does it indicate the purpose of writing across from someone.  There could be implications, like the couplet form, but nothing really solid.  I think the poem plays with this idea. "if I had two nickels to rub together / I would rub them together"  the affirmation of intent.  But this is stated and then pushed further through a simile, "like a kid rubs sticks together / until friction made combustion"  now this is what is anticipated -- the reaction. And even though these are in couplet forms, note how the actual and the simile are two lines each as though to show a connection, but separate t

Original poem reprinted online here: "A Study (A Soul)" by Christina Rossetti Originally read: October 16, 2013 More information about the Poet: Christina Rossetti The poem is in the Italian sonnet form with an abba/cddc/efe/efe rhyme scheme.  The break apart is distanced here -- just like the title which indicates a systematic introspection into the parenthetical soul.      She stands as pale as Parian statues stand;      Like Cleopatra when she turned at bay,      And felt her strength above the Roman sway,      And felt the aspic writing in her hand. The soul, I'm assuming, the she is described in the physical stance first.  The color and the ability to stand is what's important to note, and then the context of standing is described further in -- power, like Cleopatra, both in a militaristic sense and the writing (diplomatic) sense.  What does this mean for the soul?  the soul seems timeless, something historic.     Her face is steadfast toward the shadowy land    

Original poem reprinted online here:  "Amour Honestus" by Edward Hirsch Originally read: October 15, 2013 More information about the Poet: Edward Hirsch So the title and the feel of the poem seems French -- with talk of love and what not.  And if I didn't look up the title, I would've translated it as "honest love" which does go along with the poem as well. But I'm wrong. "Amour"  does mean love in latin and this word translates throughout multiple languages.  However, "Honestus" doesn't mean honest rather honor.  Honest being more defined by truth, and honor more of defined by a virtuous character.  Yes, this does change my interpretation the poem, but I don't know how much. Why, the refrain of "hell of it" in the end of the second line of each couplet shifts the emotions in the poem quickly like the first couplet, "The nights were long and cold and bittersweet, / And he made a song for the hell of it."  

Original poem reprinted online here: "O Sweet Spontaneous" by E.E. Cummings Originally read: October 14, 2013 More information about the Poet: E.E. Cummings My copy says the title of this poem is "5."  A mistake on my part. In any case, this poem works through innuendo; however, the relationship is between how certain people want to view, "O sweet spontaneous / earth" versus what the earth actually does. The first group of people, the ones that have, "the / doting / fingers" are of "prurient philosophers."  The alliteration of the line adds a sense of humor to the situation, and the idea that these philosophers are "purient" (having lustful or lascivious thoughts" brings a humorous dirty-old-man feel.      [...] pinched      and      poked      thee       , has the naughty thumb      of science prodded      thy                beauty Note how everything is aligned as though planned the further the poem.  Even the syntax of

Original poem reprinted online here: "I carry your heart with me (i carry it in]" by E.E. Cummings Originally read: October 14, 2013 More information about the Poet: E.E. Cummings Syntax.  This is what the entire poem is based off of.  First though note that in this entire poem there is no other punctuation other than brackets or parenthesis.    Here's the thing as well.  With the title, the entire title is bracketed but there is an open parenthetical there as well.  For me, I take the brackets as more of a conceptual overview with the parenthetical being more of an emotional encapsulation opened up with the repetition of "carry" focusing more on the verb than the contents. Even though the content of the first stanza is pretty straight forward, the syntax pushes for something more:      i carry your heart with me(i carry it in      my heart)i am never without it(anywhere      i go you go,my dear;and whatever is done      by only me is your doing,my darling) Note

Original poem reprinted online here:  "Resumé" by Dorothy Parker Originally read: October 13, 2013 More information about the Poet: Dorothy Parker So I'm looking up resume because I assumed I knew what the definition. Resume -- " a brief account of a person’s education, qualifications, and previous experience, typically sent with a job application." or " a summary. " How to interpret the title in  context  to the resume?  Especially an abab rhyme scheme one as well. Well let's go down the list, "Razors pain you;" is a correlation line -- razor's cause pain, just like the next line, "Rivers are damp."  Past me noted at this point, "death/suicide tactics diffused for superfluous reasons."  Great, now why? The list becomes easily diffused, "Acids stain you; / And drugs cause cramp"  I don't know any drugs that cause cramps, unless overdosed.  I think this is the point where the idea of suicide is tied do

Original poem reprinted online here: "Just Another Paradigm Shift" by Paul Grant Originally read: October 13, 2013 More information about the Poet:  Paul Grant Reverse.  Is this another paradigm shift?  Past me stated "like ending credits -- but still within a paradigm"  and I think this is the point of the poem.  What can be viewed with the ending up front. Well, the end is breft, "Just a shadow.  Hardly that. But audible"  The end lacks adubility, "Coming out of the woods, whispering / Happily ever after,"   And every shift in this poem comes from the misalignment of lines -- note that they are not stanza breaks.  The misalignment continues the backwards narrative.                      Even in that light --      stars with the skeletons of animals      and old friends --                      visible Here is the play between structure and statement.  The statement goes against the "dark" the unseen.  Here, the visceral image of skeleto

Original poem reprinted online here:  "A Sunrise Song" by Sidney Lanier Originally read: October 9, 2013 More information about the Poet: Sidney Lanier Quatrains with an "abab" rhyme scheme.  I think I chose this poem because I didn't understand all the allusions, but I wanted to.  So when I looked them up for the first time, I read a strong sense of spirituality and region in this poem -- which, essentially, what allusion does. So my rant about allusion is this.  Yes, it's a good way to tie in multiple ideas down to a symbol or a sign, but it's up to the speaker to make the allusion interesting enough for people to look it up.  Also, a poem too dependent on allusion risks apathy.  Why am I reading this poem instead of the source material?  It's the balance. In any case, the first stanza in the poem has words indicating imperialism:      Young palmer sun, that to these shining sands      Pourest thy pilgrim's tale, discoursing still      Thy silv

Original poem reprinted online here: "Number 20" by Lawrence Ferlinghetti Originally read: October 9, 2013 More information about the Poet: Lawrence Ferlinghetti This poem has elements of E.E. Cummings with the compound words like "pennycandystore" and the adjusted alignment.  But these techniques add to the core of the poem of "childhood."      The pennycandystore beyond the El      is where I first                  fell in love                              with unreality The poem starts out with a narrative hook of "first love" but then that hook is dashed away with "unreality" and so the poem goes towards a a surreal effect, "Jelly beans glowed in the semi-gloom / of that septemeber afternoon / A cat upon the counter moved among"  and here with these lines there's an added sense of ambiance.  Something bright in the bland.  And a "cat moving" indicates more of a transition to something.                        

Original poem reprinted online here:    "Double" by Rae Armantrout Originally read: October 9, 2013 More information about the Poet: Rae Armantrout From the outset the form is duplicated.  Superficial, yes.  But when a poem starts out with "Double" there is an expectation of something either is added or is duplicated.      So these are the hills of home.  Hazy tiers      nearly subliminal.  To see them is to see      double, hear bad puns delivered with a wink.      And untoward familiarity Past me noted things like "duplicitous housing?  Multiples of the same thing?" And after reading this stanza, not so much this.  This stanza is focusing on the interpretation of the "hills" which are of home and so the see the signifier is a match to the idea of bad puns -- as though we are forced to understand the same meaning. The untoward familiarity line plays with the idea of motion.  This line shows stagnation, and enforces it through awkward negation.  

Original poem reprinted online here:   "Do Not Go Gentle Into That Good Night" by Dylan Thomas Originally read: October 9, 2013 More information about the Poet: Dylan Thomas The Villanelle .   This is not the only thing to know about this poem.  I know this poem is used as the "best" example of a villanelle, but the one thing to try to figure out as a reader is why?  Why this form?  Why the repetition? So based on the first stanza, "Do not go gentle into that good night. / Old age should burn and rave at close of day; / Rage, rage against the dying of the light" the refrain lines are, "Do not go gentle into that good night" which is a request from the speaker, and "Rage, rage against the dying of the light" which is more of a command made by the speaker to the subject. Each stanza thereafter talks about different types of "men" in the second stanza, "Though wise men at their end know dark is night / Because their words ha

Original poem reprinted online here:   "The End of the Weekend" by Anthony Hecht Originally read: October 8, 2013 More information about the Poet: Anthony Hecht If you took Samuel Maio's class on anything poetry related (research or workshop), then you ran into this poem.   And no matter how many times we went over the poem, the professor always had his sympathies for the speaker. The poem is in rhymed sestets with the rhyme scheme of abcbca.  I think the important thing to note is the wide separation of the "a" rhyme with the disjointedness of the "bc" rhymes which foreshadow the speakers separation of the moment. But the moment is this currently, "A dying firelight slides along the quirt / Of the cast iron cowboy where he leans / Against my father's books."  So the zoom focus of a fire, a hearth perhaps, and of a symbol -- note that this leads to the realm of narrative, "The lariat / Whirls into darkness.  My girl in skin tight jea

Original poem reprinted online here:   "It Is Marvellous..." by Elizabeth Bishop Originally read: October 7, 2013 More information about the Poet: Elizabeth Bishop This Elizabeth Bishop poem caught me off guard.  The poem seems deeply personal, but when I read the poem again, the tone is more of a discussion of romance -- the outsider perspective -- rather than being in one. "It is marvellous to wake up together / At the same minute, marvellous to hear / The rain begin suddenly all over the roof"  The first three lines focuses on the scene of the poem as the image of the rain falling is combined with a couple waking up -- what colors this image is the idea of "marvellous" and the continuous usage of the word starts to have me disbelieve its meaning. "To feel the air clear / As if electricity passed through it / From a black mesh of wires in the sky"  Cliche.  The simile is referring to the sound of rain falling on the roof, but also can be contra

Original poem reprinted online here: "Unharvested" by Robert Frost Originally read: October 5, 2013 More information about the Poet: Robert Frost An Elizabethan sonnet separated out with a ten line stanza and then a quatrain.  However, the first stanza could be separated out by two quatrains.      A scent of ripeness from over a wall      And come to leave the routine road      And look for what had made me stall,      There sure enough was an apple tree. Cause and effect.  The speaker here is on a "routine road"  and then stops with the smell of "ripeness"  -- presumably apples or something more.  What this stanza does is focus the poem to what the scent means to the speaker.      That had eased itself of its summer load,      And of all but its trivial foliage free      Now breathed as light as a lady's fan      For there had been an apple fall Note the play of language coinciding with the seasons -- summer as the season, fall as the verb.  But note

Original poem reprinted online here: "Incomplete Lioness" by Linda Bierds Originally read: October 4, 2013 More information about the Poet: Linda Bierds A part of me knows this is an eckphrastic piece because of the reference in the beginning, but I don't know the art piece this refers to.  But the description of the sculpture opens interpretations to craft. But first a comparison, "or lion"  which indicates something gender-centric, or an incomplete lioness is equivalent to "a lion" -- this is what I mean by open interpretations using an either/or strategy, and specific language based on construction, "affixed to a bone-like armature, just a flank / and scored shoulder, and far down the missing / crouching shape, a single, splay- toed paw."  Art is about the small, but specific details like "missing" and "scored" could be interpreted as interpretations based on craft, "The companion, or mate, is better formed / and o

Original poem reprinted online here: "Blues" by Alice Bolin Originally read: October 3, 2013 More information about the Poet: Alice Bolin The opening three lines set a typical narrative response with the focus on the setting, "A train fills our horizon, boxcars fan out / into embrace, it wide order.  A moving west. / To make no attempt at an index"  then the switch happens with the anaphora of wrong, "wrong girl, wrong summer, wrong car" which indicates a shift, right? The listing of "wrong" feels more nostalgic, then regret, and just like "Blues" there's a delicate play of regret and wanting to go back to the past, "We chased us from this coast and the radio / mildewed, tin songs palpable as maps."  And even though mildewed could be an image of decay (foreshadow actually), here the poem starts to become tangible -- rather than an expanse the details is close, event with tone, "How do you like that!" But then the

Original poem reprinted online here:  "Said to Have Been Heard to Say Hush" by Nathaniel Mackey Originally read: October 2, 2013 More information about the Poet: Nathaniel Mackey The very first thing I write about this poem is "go back to poets.org" to understand "mu" “The ‘Mu’ series of which this poem is a part rings changes on its title’s various meanings and associations:  muthos (mouth, myth), music, muse, the emotional interjection mu, the lost continent of Mu said to have existed in the Pacific, etc.  Lately, as in this poem, a strong accent falls on its Japanese meanings, ‘not,' ‘non-,' ‘nothing,' ‘no,' and its place in the Zen tradition.” —Nathaniel Mackey And, honestly, if I didn't read that, I probably wouldn't "understand" the poem as one of play and slipstream connections. So this poem is quite hard to analyze on a stanza by stanza basis because the poem plays with lyric and narrative, image and language, noth

Original poem reprinted online here: "As You Never Bothered to Return My Call" by August Kleinzahler Originally read: September 30, 2013 More information about the Poet: August Kleinzahler Lament.  From the very beginning the speaker plays with lament and, more specifically, sentimentality. With the first few lines there's a juxtaposition of wants, "What I had wanted was to be chaste, / sober and uncomfortable" it's not like the last part of "uncomfortable" undercuts the desire to be chaste and sober, but there isn't a "linear" progression.  For example, wanting to be uncomfortable isn't a usual want and neither is, "for a sprawling episode on a beach somewhere / dirty, perennially out of fashion;" Note the semi-colon which connects this sort of linearity with this idea, "some kid gave up on only half-way through / and left to go warm in the sand."  Lament, staying in one place.  The "kid" leaving to

Original poem reprinted online here: "Native Trees" by W. S. Merwin Originally read: September 30, 2013 More information about the Poet: W. S. Merwin I feel everything in this poem is dependent on unpacking the image of "Trees", but also how the image of trees relate to the idea of "Native" since the poem goes in one trajectory, a straight forward narrative based on on knowledge, but could expand to multiple trajectories of family, past, connection which pervades either strongly or weakly throughout the poem. "Neither my father nor my mother knew / the names of the trees / where I was born" past me noted, "tying in definition: trees, self"  and I think this is me overreaching here too early.  What's the most important aspect of the first three lines is the idea of naming and what defines naming for the speaker.      what is that      I asked and my      father and mother did not      hear they did not look where I pointed      surfa

Original poem reprinted online here:  "To Science" by Edgar Allen Poe Originally read: September 29, 2013 More information about the Poet: Edgar Allen Poe This Elizabethan sonnet has something to say -- at least a strong stance.  Well, the first line, "Science! true daughter of Old Time thou art!" starting out with two exclamation mark indicates some sort of emotion.  Forced?  Yup.  In any case the speaker is creating a figure -- a "true daughter" to point out and describe. "Who alterest all things withy thy peering eyes. / Why prayest thou thus upon the poet's heart. / Vulture, whose wings are dull realities?"  So at the end of this quatrain the daughter is compared to a Vulture which is a strong sentiment; however, I think the key to this poem is the progression of the speaker who sees this daughter as someone who alters things, but then the speaker is the one who alters her at the end.  Also note that the "poet's heart" is no

Original poem reprinted online here:  "The Man with the Hoe" by Edwin Markham Originally read: September 28, 2013 More information about the Poet: Edwin Markham This poem is an eckphrastic piece based on this painting by Millet. What the speaker does in the poem is relate the singular image to an expansive one and back to a singular one again -- as though to dig for apparent meaning. "Bowed by the weight of centuries he leans / Upon his hoe and gazes on the ground /The emptiness of ages in his face."  already the speaker is going for a very broad rhetoric with general terms like "centuries" and "emptiness" appropriated to the man in the portrait who is now become more of a symbol for the reader to sympathize with. For the man is, "made him dead to rapture and despair / A thing that grieves not and that never hopes / Stolid and stunned, a brother to the ox?"  Beast of burden.  The speaker is adding more and more meaning to his propped up