DDCPoetry

Original poem reprinted online here: "Traveling Through The Dark" by William Stafford Originally read: February 17, 2013 More information about the Poet: William Stafford I remember reading this poem a long time ago, and I didn't know what it meant.  I looked straight at the narrative about a guy dumping off a still born into the river -- saving it from a harsh life.  The images are nice and describe the tension of the decision. Yes, the poem means this.  Past me even wrote this down to reaffirm my beliefs. Now though, I'm looking at this poem differently.  First, the poem has the form of a sonnet, but not the rhyme scheme or the meter.  This adds to the incompleteness of the poem but some semblance of form is there -- form: something to reattain or discard.  Second, William Stafford, for a time, was considered in the Deep Image school of poetry with the likes of Robert Bly, Galway Kinnell, Louise Simpson, James Wright (I think these are poets all from the...

Original poem reprinted online here: "Detail of the Hayfield" by Richard Siken Originally read: February 8, 2013 More information about the Poet: Richard Siken Past me wrote this down about the last line of the poem, "The last line utilizes the duality set up in the poem," I thought about what I wrote.  What I wrote wasn't very clear.  It doesn't point to the duality in the poem.  And after reading the poem, I'm pretty sure there isn't much of a duality in the end -- rather it's the speaker trying to condense two parts into one. The poem starts off with an observer perspective, "I followed myself for a long while, deep into a field."  The lines sets up a somewhat surreal, yet objective experience.  The "I" observer acknowledges  the surrounding but the followed "I" doesn't seem to have a consciousness yet.  The next line, "Two heads full of garbage" shows a certain filter.  The "I" whose head...

Original poem reprinted online here: "Farm Scenes" by Robert Bly Originally read: January 28, 2013 More information about the Poet:  Robert Bly  I never wrote about sequence poems versus stanza break poems.  I believe that sequence poems take the white space as semi-colons.  That each piece, no matter how separate the content may be, are connected to each other somehow or someway; meanwhile, stanza break poems could shift topics and correlate to the stanza before or branch off into something entirely different.  Of course, I may be wrong with my assumptions. So for Bly, I remember most of the work had a Jungian influence ( Deep Imagism ), so the most important parts to look out for is the usage of light and darkness (or how one turns to the shadow [or the Orpheus complex]).  Anyway, away from the jarganism. In the first stanza, there's a specific visual scenery of "Everything is white."  That all the connotations of the color is there, but it's butted...