Now as I was young and easy under the apple boughs About the lilting house and happy as the grass was green, The night above the dingle starry, Time let me hail and climb Golden in the heydays of his eyes, And honoured among wagons I was prince of the apple towns And once
poems & poets
Our paper house sat
on the banks of the red river
and though mother
wasn’t like other mothers
I was like other girls
trapped and lonely
and painting pictures
in the stars. I was slick
with old birth or early longing,
already halfway between
From the Italian sonetto, which means "a little sound or song," the sonnet is a popular classical form that has compelled poets for centuries. Traditionally, the sonnet is a fourteen-line poem written in iambic pentameter, which employ one of several rhyme schemes and adhere to a tightly structured thematic organization. Two sonnet forms provide the models from which all other sonnets are formed: the Petrarchan and the Shakespearean.
The first and most common sonnet is the Petrarchan, or Italian. Named after one of its greatest practitioners, the Italian poet Petrarch, the Petrarchan sonnet is divided into two stanzas, the octave (the first eight lines) followed by the answering sestet (the final six lines). The tightly woven rhyme scheme, abba, abba, cdecde or cdcdcd, is suited for the rhyme-rich Italian language, though there are many fine examples in English. Since the Petrarchan presents an argument, observation, question, or some other answerable
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You compose first, then you listen for the reverberation.
While poetry remains as the primal foundation for my visual and literary work, I’m constantly analyzing its relationship to my ‘mixed-media’ identity, and I like Carrie Mae Weems’s words, “Sometimes my work needs to be photographic, sometimes it needs words, sometimes it needs to have a relationship with music, sometimes it needs all three and become a video projection.” There are endless creative decisions for each of us, linked to our needs as human beings.
As a poet who is also a photographer and painter, I find myself perpetually challenged by meditations on my blurred insider-outsider role as well as the tail-chasing dialectic of Subject-Object and Other. For me, poetry and photography, as mediums, exist as persistent spaces of discovery, shock, pleasure, risk, and joy. These spaces also contain voices, which can be intense, inaudible,
All the Beat Generation writers occupy a contested space in conversations about American literature. The creators and guardians of the modernist canon dismissed Beat writers such as Allen Ginsberg, Jack Kerouac, and William S. Burroughs as subliterary, mere popular culture icons, vacuous self-promoters, and even inciters of juvenile delinquency.
As Norman Podhoretz wrote in "The Know-Nothing Bohemians," his 1958 attack on the Beats in Partisan Review, "On the Road and The Subterraneans are so patently autobiographical in content that they become almost impossible to discuss as novels." Podheretz grants the Beats great, albeit negative, influence when he claims that "juvenile crime can be explained partly in terms of the same resentment against normal feeling and the attempt to cope with the world that lies behind Kerouac and Ginsberg." These attacks, along with the pop-culture image of the beatnik—as embodied by the iconic, goatee-wearing slacker Maynard G. Krebs—have