Original poem reprinted online here: "contemplation within the framework of the dream" by Renée Ashley
Originally read: October 24, 2013
More information about the Poet: Renée Ashley
What intrigued me the most about this poem is the use of the colon in the second line versus the lack of periods throughout the piece. It wouldn't have bothered me so much, but there's capitalization that feign a new sentence within the text, therefore, creating the assumption of pause and cohesiveness.
But this poem is within "the framework of the dream" not "a," "the." Very specific on talking about the general. And what's being discussed, "Consider the custom of likeness or unlikeness fit as the / moon to a sky :" equivocation of reality versus appearance -- note the colon is there as well to indicate that the following are either defining points of this concept, and/or a focusing device for the speaker to go forward.
"let one point light up let it be relative / to that The speed of that Let something, quite real cry / out--" The play here is conceptual, light and speed play more with the conceptual and scientific with "relative" working with multiple definitions. while "cry" plays more with the sonic device which goes out.
"the dead still insisting still making themselves / known their body ill-fit and mostly self inflicted They / change the story" The personification here insists upon being present here. The commentary comes with "self inflicted." And yes they change the "story" but not necessarily the framework of the dream , "A pattern of escalation Of furthering a backing off Embellishment!" I didn't notice the exclamation mark until now. I feel the exclamation mark is more of a tonal distinction than a strong pause. In any case the push and pull is told here with no consequence, again, to the framework.
"There is no space / big enough for me to speak into about this Any little / human thing might act as a balm" So here the speaker sort of gives up trying to speak about "this" which is still, at this point, pretty ambiguous what "this" is. The conceptual I suppose. The change of pace does cut off the poem so, theoretically, the thought of the lined could have been placed anywhere as an indicator of "the end of the discussion." The balm line further gives reason to not discuss further -- just something temporary and doesn't get to the core of the "pain."
"What's your confession?" Feels like a throwaway to relate back to the reader., but this implies that the speaker is telling a confession -- the inability to speak about "this" -- kind of, again, a confession that could only work in the framework of the dream.
Originally read: October 24, 2013
More information about the Poet: Renée Ashley
What intrigued me the most about this poem is the use of the colon in the second line versus the lack of periods throughout the piece. It wouldn't have bothered me so much, but there's capitalization that feign a new sentence within the text, therefore, creating the assumption of pause and cohesiveness.
But this poem is within "the framework of the dream" not "a," "the." Very specific on talking about the general. And what's being discussed, "Consider the custom of likeness or unlikeness fit as the / moon to a sky :" equivocation of reality versus appearance -- note the colon is there as well to indicate that the following are either defining points of this concept, and/or a focusing device for the speaker to go forward.
"let one point light up let it be relative / to that The speed of that Let something, quite real cry / out--" The play here is conceptual, light and speed play more with the conceptual and scientific with "relative" working with multiple definitions. while "cry" plays more with the sonic device which goes out.
"the dead still insisting still making themselves / known their body ill-fit and mostly self inflicted They / change the story" The personification here insists upon being present here. The commentary comes with "self inflicted." And yes they change the "story" but not necessarily the framework of the dream , "A pattern of escalation Of furthering a backing off Embellishment!" I didn't notice the exclamation mark until now. I feel the exclamation mark is more of a tonal distinction than a strong pause. In any case the push and pull is told here with no consequence, again, to the framework.
"There is no space / big enough for me to speak into about this Any little / human thing might act as a balm" So here the speaker sort of gives up trying to speak about "this" which is still, at this point, pretty ambiguous what "this" is. The conceptual I suppose. The change of pace does cut off the poem so, theoretically, the thought of the lined could have been placed anywhere as an indicator of "the end of the discussion." The balm line further gives reason to not discuss further -- just something temporary and doesn't get to the core of the "pain."
"What's your confession?" Feels like a throwaway to relate back to the reader., but this implies that the speaker is telling a confession -- the inability to speak about "this" -- kind of, again, a confession that could only work in the framework of the dream.
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