DDCPoetry

 Poem Found Here:  "Wildpeace" by Yehuda Amichai This is a definition poem.  What is Wildpeace?  But this poem starts a definition with negative reasoning, "Not the peace of a cease-fire, / not even the vision of the wolf and the lamb,"  I take this as defining the compound of "wild" here as a separate entity of peace -- creating a a wry oxymoronic tone to the poem and still keeping the gravity of the situation.  For example, a lack of a cease-fire or a stop, or not even a single image of stopping this discordance. And when the poem clarifies what it is not, the next lines of the poem clarify what it is, "but rather / as in the heart when the excitement is over / and you can talk about a great weariness."  The respite.  The respite of the adrenaline dying down from the stress of the situation to the sinking realization thank comes from some trauma or reoccurrence of trauma happening. "I know that I know how to kill,"  The repetition in ...

 Poem Found Here: " A Gas Butterfly" by Innokenty Fedorovich Annensky A feeling or emotion on the tip of the tongue but cannot be named in a single idea or word -- that's the feel I get from this poem.  "Tell me what's happening to me? / Why is my heart beating so fervently?"  Two thoughts came to mind when I read the first two lines.  Do the rhetorical questions lead to a concept of "love" (questioning of heart beating)?  Or do the rhetorical questions refer to something more sinister?  I was thinking a gas butterfly would be a romanticized idea of war, especially with the images in the next line of, "Why has this madness, like a wave, / Broken through the rock of habit?" However, the poem doesn't go toward definition through questioning, rather there's a stream of consciousness about trying to understand what is going on.  And trying to figure things out sometimes comes through contradiction "Is it my strength or just my to...

 Poem found here:  "Enough Music" by Dorianne Laux The title feels aggressive.  "Enough Music"  Is this a command?  Is this a statement?  "Enough" is such a loaded word that the first thing I think of is of someone at a breaking point, like they had enough. But the poem doesn't go in an aggressive rather a relatable, maybe somewhat mundane scene. Sometimes, when we're on a long drive, and we've talked enough and listened to enough music and stopped twice, once  to eat, once to see the view, we fall into this rhythm of silence [...] I think it's important to acknowledge this sentence and how much work it's doing.  First, the overall sentence meanders from one point to the next as though to mimic a long drive.  In a short poem, there's specific ways this is achieved: the usage of "Sometimes" in the beginning of the poem detracts a sense of urgency in the sentence, the usage of "and" brings a repetition to a poem th...

 Poem Found Here: "Vocabular Lesson" by Don Hogle This poem is a timepiece where someone else's definition and usage of the word changes the dynamic of a father son relationship. In the beginning of the poem the poem sets up the scene, "My father was driving. I was in / the passenger seat of the Rambler."  The rambler is important to note here because it places the poem in a different time frame than now.  From a cursory search, a Rambler was a car in the 1960's. In the second stanza, there's already foreshadowing of perspective, "He watched the road. I looked / straight ahead at the palm trees."  In my notes I wrote how the enjambment works here.  The drop off of "straight ahead at the palm trees" focuses the reader to the first word, "straight."  I feel this is another foreshadowing of the upcoming conversation. However, the poem continues with the narrative by giving context of past conversations.  "Mysteries of sex...

 Analysis of "Large Reclining Nude" by Lois M. Harrod Poem found here:  http://www.versedaily.org/2021/largerecliningnude.shtml This is an eckphrastic poem based on this painting: "Pink Nude" by Henri Matisse The first line comes in first person perspective presumably from the subject of the painting.  "I said to him I said why did you / make me so big,"  Note how the first lines from this perspective refers to the artist, directs towards the artist as though she is the driving the conversation of questioning the artist about forced perspective. "why / you make the white bedspread / look like a black and white / tiled floor,"  The difference between a forced perspective and what is real.  From the subject's perspective, the art piece doesn't reflect reality just like how big the subject is." "do you want people / to think I let you take me in the / kitchen."  The phrasing implies something more intimate with "take me....