Feature ArticleMy Father Who Art in Heaven About the AuthorWorld-Mysteries.com
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Poetry-16
Feature ArticleMy Father Who Art in Heaven About the AuthorWorld-Mysteries.com
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Tuesday, December 18, 2007
Poetry-15
Feature ArticleHow to Write Bad Poetry "All bad poetry springs from genuine feeling."--Oscar Wilde People write poetry for a plethora of reasons, but this article has a sharpened arrowhead aimed directly at the fingertips of amateur poets who wish to be published yet refuse to learn the attributes of a well-crafted poem. These poets are the ones who plop their pieces, shining with every beam of ambiguity, vagueness and hackney, into cyberspace for review. I have encountered a few of these poets to whom I have given a courteous critique, only to be backhanded in the face by sore comments such as, "You must be too dense to get it," or "Everyone I know tells me how great I am. You're the only one…" Of course I am usually left wondering why someone would care to post a poem in a critique forum if any constructive comment given to the poet gets immediately flushed down the cyber-potty. Many new poets seem to think that writing a poem is one hundred percent emotion. They overlook the notion that, as with any craft, poetry entails a good deal of practice and learning as well as desire and talent. So instead of writing about the importance of concrete imagery, figurative language, and the art of minimizing abstractions, I thought it might be fun, (and might even tick a few people off) to write a small compendium of attributes of bad poetry. Recipe for a Really Bad Poem - A bad poem should not have any original language. If you aim to write a bad poem, avoid coming up with stark images. The last thing you would want to do is write something fresh, innovative, and evocative. Use as many hackneyed expressions as possible, such as "crystal clear," "dark as ebony," "blue as the sky," "dark as night," "…paints a picture," "climb the highest mountain," Etc. - An especially bad poem should be heavily weighted with abstract words such as "heart," "love" "sadness," "despair," "hate," and "destiny." The more abstract and generalized your poem, the better suited it will be to mean absolutely nothing to the reader. Aim for zero concrete images if you want a particularly bad poem. For example, "The world is a sorrowful place/ filled with sadness and hate…blah blah blah." Also, be sure to TELL the poet how to describe something by using superfluous abstract adjectives! "The water is pretty;" "The world is ugly;" "His eyes were beautiful…" A bad poem should never use figurative language or descriptive imagery to SHOW the reader a slice of life. - No matter how odd the sentence becomes, or how unlikely the phrase would be concocted in normal language, make it RHYME. Rhyme anyway!! That's right, a bad poem is going to have very forced rhyme. If you have to rearrange the structure of a sentence just to make the rhyme fit, go for it! For example: "The apple blossoms fell in May/ on the grassy field is where they lay." (Notice how I just couldn't say, "They lay on the grassy field?" That wouldn't rhyme, so I had to make up a funky sentence. - Don't worry about punctuation, grammar, or spelling. What you really want to do is to make the reader scratch her head and read it a zillion times trying to figure out what it means. Bad spelling and poor grammar will really detract from the meaning, so get reckless with your words. Try this poem out for size: i watch as the sun/ sets over the horisen/ the ocean pants/ like a wild monster/ breaths with heavy/ breath and then falls/ something small/ always gets lost/ in the mouth/ of agony -------or------- u r reel speciol/ like honi sweet/ from a candy bee. - A good practice for a cleverly bad poet is to make the objects of the poem plural! Globalize your subject for an incredibly weak impact! "Trees are…" "People cry…" "Flowers bloom…" By pluralizing all the objects of the poem, you are blurring the imagery, thus making it sappy, intangible, and simply boring. ---------------------- Frequently Asked Questions of bad poets who want to be published but don't want to work: ----------------- Q. Who are you to judge what a good poem is? A poem is like beauty; it is in the eye of the beholder! A. Paul Valery once said, "a poem is never finished, only abandoned." You have to work on your poem. You have to find a certain clarity that will reach the reader. Sometimes we get so fogged up with our own emotions, we don't really see the true poem. Emotional outpours make excellent first drafts, but if you don't go any further then that, you aren't working hard enough to make your poem good—even in your own eyes. Also, as far a judging a poem is concerned, as long as you hope to publish your poetry, it will get judged. Know what these "judgers" are looking for. Q. If clichés were so bad, why have they been around for so long? A. Exactly!! Everyone understands clichés—almost to the point where they don't even mean anything anymore. Poetry is an art of expression and exposition. If you are too lazy to come up with the images yourself, then you aren't really writing poetry. Q. I write poetry for personal reasons. It is my way of dealing with the world. Why should I care what you think about poetry? A. You shouldn't. Unless you are trying to perfect your craft so that you can express yourself through literature in some publication, you can write any way you want. Just know, though, that if you post your poem for critique, you might get some honest criticism based on poetic technique. If that is not what you are looking to get, please let people know what you are looking to get. Devrie Paradowski is a freelance writer and poet. Her poetry has been published by several literary journals and she has written dozens of articles for various publications including "Poetry Renewal Magazine," and "Poetryscams.com." She is the author of the chapbook, "Something In the Dirt," which can be found at http://www.lulu.com/content/108560 " http://www.lulu.com/content/108560 . In 2001, Devrie founded a popular online literary community ( http://www.LiteraryEscape.com " http://www.LiteraryEscape.com ) that has become highly respected for some of the most honest and in-depth poetic critique on the Internet. In keeping with her commitment to inspire amateur writers to hone their skills, she also founded a local writer's group called, "The Fire and Ice Writer's Group." ...
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Monday, December 17, 2007
Poetry-14
Feature ArticleWhat's On Your Shift List? About the AuthorDrawing from the wisdom of native and ancient spiritual traditions, Keith Varnum shares his 30 years of practical success as an author, personal coach, acupuncturist, filmmaker, radio host, restaurateur, vision quest guide and international seminar leader with "The Dream Workshops." Keith helps people get the love, money and health they want with his free Prosperity Ezine, free Empowerment Tape and free Coaching at www.TheDream.com. ...
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Sunday, December 16, 2007
Poetry-13
Feature ArticleDysgraphia Dysgraphia is a learning disability that affects writing abilities. It can manifest itself as difficulties with spelling, poor handwriting and trouble putting thoughts on paper. Because writing requires a complex set of motor and information processing skills, saying a student has dysgraphia is not sufficient. A student with disorders in written expression will benefit from specific accommodations in the learning environment, as well as additional practice learning the skills required to be an accomplished writer.
Tight, awkward pencil grip and body position Illegible handwriting Avoiding writing or drawing tasks Tiring quickly while writing Saying words out loud while writing Avoiding writing or drawing tasks Unfinished or omitted words in sentences Difficulty organizing thoughts on paper Difficulty with syntax structure and grammar Large gap between written ideas and understanding demonstrated through speech
Accommodations: providing alternatives to written expression Remediation: providing instruction for improving handwriting and writing skills Each type of strategy should be considered when planning instruction and support. A person with dysgraphia will benefit from help from both specialists and those who are closest to the person. Finding the most beneficial type of support is a process of trying different ideas and openly exchanging thoughts on what works best.
Early Writers -
About the AuthorJames O'Keefe is the owner of http://www.aboutrsd.com About Rsd. offering FREE articles, tips, hints, and real-world advice on how to deal with various health issues. He is also the owner of http://www.theparentaladvocate.com The Parental Advocate. , which is dedicated to helping Special Education students' parents become better advocates for their children. ...
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Saturday, December 15, 2007
Poetry-12
Feature ArticleRobert Burns Love Poem: "A Red, Red Rose" Robert Burns, a poor man, an educated man, and a ladies' man, is representative of Scotland, much like whisky, haggis, bagpipes, and kilts. He lived a life shortened by rheumatic heart disease, 1759-1796, but his life journey through poverty, informal education, disappointed love, nationalism, and literary and financial success can be identified by all Scots and common men the world over. He has become almost a national symbol of all things Scottish. His life is like a love story with a happy ending. The Poet, Robert Burns Robert Burns's family raised seven children on sparse, rented farmland on the west coast of Scotland. The family cottage still stands as a proud tourist attraction. The family farm was not successful and the family moved from farm to farm. Life on the farm in western Scotland was harsh and Robert worked long hours with his father. Burn's father recognized the value of education and he managed to hire a local teacher to tutor Robert. He was an extremely bright student, mastering Shakespeare, current poets, French, Latin, philosophy, politics, geography, theology, and mathematics. His father read the Bible during the evenings around the cottage fireplace and Robert became an expert on the Bible and a devout Church member. Robert Burns wrote his first poem at age 15. The poem was called "Handsome Nell" and was about his first love for a girl named Nellie Blair. Throughout his life, Burns was a charming and witty man, attracting the attention of numerous women. A dozen or more women can be identified as the inspiration for various poems. Burns wrote many famous love poems, including "A Red, Red Rose" and "One Fond Kiss." Here's an excerpt from "Handsome Nell." "O once I loved a bonnie lass, Burns, in a later comment on this poem, stated that he had "never had the least thought or inclination of turning poet till I got once heartily in love, and then rhyme and song were, in a manner, the spontaneous language of my heart." The Turning Point In 1786, at age 27, Robert Burns went through a major turning point in his life. He suffered a disappointing love affair with Jean Armour, who was pregnant with his twin sons. The local community and Armour's father were outraged by the affair and her father rejected Burns's offer of marriage. Dejected and depressed, Burns made plans to leave Scotland and sail to Jamaica in the West Indies. To finance the trip, Burns submitted a volume of his poetry for publication. The publication of 612 copies in a simple, unbound volume was called "Poems, Chiefly in the Scottish Dialect," also sometimes known as "The Kilmarnock Edition." The poems were well received in Edinburgh by socialites who were enchanted by the poems and amazed that a poor farmer could write so well. So, instead of planning his escape to a new world, Burns planned a trip to Edinburgh. His confident manner, ingratiating style, and his obvious wit and intelligence brought Burns popularity and admiration. Soon, a second publication of his work was executed in Edinburgh. The Growing Popularity During his stay in Edinburgh, Robert Burns met printer James Johnson, who planned a project to print all of the folk songs in Scotland. This project enthralled Burns and embarked upon a journey throughout Scotland to collect as many folk songs as possible. Burns collected over 300 songs and wrote a few himself, including "A Red, Red Rose." One of the results of his travels throughout Scotland was that Robert Burns ingratiated himself to everyone he met and he rose to national prominence and popularity. The collected songs were published by Johnson in six volumes and by George Thomson in a five volume set. Another happy outcome of this turning point in Robert Burns's life is that he was able to return home and marry his beloved Jean Armour, now with the blessing of her family. Robert Burns continued to collect and write songs for The Scots Musical Museum, an anthology of traditional Scottish lyrical poems, until his untimely death from rheumatic heart disease in 1796. Within a few years of his death groups of Robert Burns's friends and fans gathered to promote his memory and to celebrate his life. By 1801, five years after his death, groups met on the anniversary of his death, but later they began to meet on the anniversary of his birth, January 25. Now there are many Burns clubs and societies who celebrate his memory with dinners, including haggis, and readings of his works. The Poem, "A Red, Red Rose" One of the most famous songs that Robert Burns wrote for this project and first published in 1794 was "A Red, Red Rose." Burns wrote it as a traditional ballad, four verses of four lines each. "A Red, Red Rose" begins with a quatrain containing two similes. Burns compares his love with a springtime blooming rose and then with a sweet melody. These are popular poetic images and this is the stanza most commonly quoted from the poem. The second and third stanzas become increasingly complex, ending with the metaphor of the "sands of life," or hourglass. One the one hand we are given the image of his love lasting until the seas run dry and the rocks melt with the sun, wonderfully poetic images. On the other hand Burns reminds us of the passage of time and the changes that result. That recalls the first stanza and its image of a red rose, newly sprung in June, which we know from experience will change and decay with time. These are complex and competing images, typical of the more mature Robert Burns. The final stanza wraps up the poem's complexity with a farewell and a promise of return. "A Red, Red Rose" is written as a ballad with four stanzas of four lines each. Each stanza has alternating lines of four beats, or iambs, and three beats. The first and third lines have four iambs, consisting of an unstressed syllable followed by a stressed syllable, as in da-dah, da-dah, da-dah, da-dah. The second and fourth lines consist of three iambs. This form of verse is well adapted for singing or recitation and originated in the days when poetry existed in verbal rather than written form. A Red, Red Rose O my luve's like a red, red rose. As fair art thou, my bonnie lass, Till a' the seas gang dry, my Dear, And fare thee weel my only Luve! ***************************** Garry Gamber is a public school teacher and entrepreneur. He writes articles about real estate, health and nutrition, and internet dating services. He is the owner of http://www.anchoragehomes.inetusanow.net " http://www.Anchorage-Homes.com and http://www.thedatingadvisor.com " http://www.TheDatingAdvisor.com. ...
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Friday, December 14, 2007
Poetry-11
Feature ArticleOgham and Aymara About the Author
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Thursday, December 13, 2007
Poetry-10
Feature ArticlePaul's Letter to 21st Century Christians About the AuthorRev. Saundra L. Washington, is an ordained clergywoman, social worker, and Founder of http://www.clergyservices4u.org AMEN Ministries She is also the author of two coffee table books: Room Beneath the Snow, Poems that Preach and Negative Disturbances, Homilies that Teach. ...
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Wednesday, December 12, 2007
Poetry-1
Feature ArticlePoetry to help in bereavement. About the AuthorEx systems programmer revelling in loss of sanity. ...
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Tuesday, December 11, 2007
poetry-7
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Dimly Lit Poetry - A Moonlit Journey through Urban Decay
Author: Owen Johnston
Urban Decay
Slowly descending
The spiral staircase
Into urban decay
On this night long journey -
Preceded by flashlight
And followed by the full moon,
Whose eyes hold us all in
His view as the street light
Flickers in and out in orange shades.
Spirit of the Past
The spirit of the past
Lives in
The whispers of the wind and
The hoot of the hoary owl,
Which echoes sadly evermore
Against the lonely trees -
Who for days uncounted
Have seen the endless journeys of men
Come to and end beneath them -
This final respite
Marked by names and dates
On lonely tombs.
Ghost Hunting
There is a ghost in the shell
Of every old place -
Whether the unclaimed metal skeleton
Of an abandoned steel mill,
Or the spirit that lingers
On the grounds of a historic graveyard.
These ancient places carry
The immortal remnants
Of old civilization.
Exploring them to
Examine their secrets
Like an urban archaeologist -
Chasing down the answers
To urban legends
And ghost stories -
Simply to know
What came before.
Abandoned Factory
Once full of life,
This old building;
With memories locked away
Under layers of dust.
Cigarette butts and broken beer bottles
Litter the lonely lot.
Once vital and active
In the world of mortal men,
Now immortal in its skeletal frame -
The ghost in the shell of the
Abandoned factory
Speaks secrets of long misused tools,
Broken cinder blocks,
And locked away rooms -
Modern ruins and electric tombs
Long left behind
On this hidden highway.
And evermore in urban legend.
Stomping Ground
Traversing the rural fringes
Of urban reality,
Haunting the spirits
With lamps and curious minds.
Marble City
I know when you were born and died,
But I want to see beyond the moss
On your gravestone.
Who were you in life?
Old Church
I. Cathedral.
I go back in time as I brush webs of dust
From the stained glass window,
Wondering what secrets this
Old church buried with its dead.
II. Esoteric.
As stained as memory,
This old window yet reflects light
Like the sermons once held
In the holy hall.
Farewell Party (Leaving the Old Church)
The ravens on the roof
Stand guard like gargoyles -
These grim feathered ghouls
Perch atop the once proud passages
That they now pretend to own,
And sing a sad a cappella
In mockery of memory.
To End a Journey
I leave as the morning light
Lifts the late night's velvet veil
And the moon bids farewell
To the starry sky,
Wondering if warning signs
Will be like hieroglyphs
To a future age.
Into the Light
Walking at the crack of dawn on
This early morn,
Through fresh cut grass
And beside foggy fields,
My shoes soaked with dew -
I stop to take a drink
And pause to think:
This simple heaven's
Greater'n
That urban hell.
Atalaya
Dark watch tower
Overlooking the lonely beach
Built without blueprint -
Summer home sculpted
From brick and mortar,
Its plans first and solely sketched
In the dreams of a genius and poet.
Ordered chaos - artistic anarchy;
The sculpture room seems to
Summon the spirit
Of the poet's late wife -
As if the ghost
Of the lady sculptor
Haunts the mossy halls
Just to finish her last work.
Manifest Destiny
How wild was the west?
How true rang the gold,
That men sought and killed
For it?
How mighty the steed,
And how much mightier
The man who rode it
And held the law on his hip?
How long the roads of those days?
How deep the secrets?
Would the spirits of
Doc Holliday and Wyatt Earp
Speak to us in the old saloon?
The above poems were excerpted from the author's upcoming online book "Dark Passage". View other online poetry at Johnston Arts - Online Publications. Join poetry discussions at the Johnston Karate Online Community.
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