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Zaret Journeys When You Can't Do Any More Geraldine Zetzel Traveling Light 1. What epigraph or epigraphs would you choose for a collection of your own poems?Consider titles—of the book, of its three sections, and of individual poems such as “The Way the Dark Opens Out into Light,” “Falling,” and “Stone.” Look at the titles of your own poems and find one that might be more suggestive, simpler, or less obvious. Try ordering a group of your poems for a chapbook of 15-25 pages. Consider line breaks when reading the poems in Stumbling.See if you can imply more than you state in the poem, perhaps some sort of family dynamic. It is interesting to look at “The Short Way to the Beach” from at least two points of view: a) its relationship to the book’s title and overall theme, and b) its use of form. You might want to read a formal translation of Dante’s Divine Comedy (Robert , for instance) to see a rather famous use of the form. For another use of the same form, read Robert Frost’s “Stopping by Woods on a Snowy Evening.” Now try your hand at this form, perhaps in a poem that describes a child’s perilous journey, short though that journey might be. Consider the ending of “Souvenir” in which a “gentle sway of blue” vanishes “into the flowered meadow.”What, for you, is the psychology of the child’s act? Try a poem of your own in which a child (perhaps you, perhaps not) performs an act inspired by the same sort of feeling present in “Souvenir.” 8. He wrote and wrote and wrote, with no time to live or work or even think too much.“My Father’s Heart” is breath-taking in its combination of strong emotion and strict form. This sounds humorous, maybe, but the man obviously had a sickness.If you are feeling adventurous, read about canzones. Are there serious elements in this very humorous poem? What elements do you find in the poet’s attitude toward children and parents? Try composing a poem in which you reveal your own attitude(s) toward a parent, a child or a sibling, perhaps focusing on a single incident or a series of related incidents. b) about a rendezvous, as in “Raspberries” (p.31) and “Grass” (p. Another possibility: write about a lust or a crush, as in “Courting the Muse” (p. Write a “persona poem” as Hall does in “Weddings” (p. In a poem about someone who may have hurt you or with whom you have had a falling out, see if you can achieve the same sort of empathy by imagining yourself into the life of the other person.15. Try writing such a poem, perhaps doing some research to bone up on the life of a celebrity who intrigues you. Each poem builds on the one before it, so we urge you to read the book straight through, from start to finish. Make an effort to write your way past whatever barriers you might have constructed to mitigate the pain of loss or disappointment. When I was first called upon to give poetry readings, I would often preface the poem by explaining—rather defensively—that the poem was true. While I was depressed, both a relative and one friend suggested that I enjoyed my pain., edited by Philip Dacey and David Jauss, has a clear explanation of the form and some good examples. You might want to keep in mind that forms like this one often lend themselves more easily to story-telling than to philosophizing, although like all rules about writing, this one is made to be broken. The sonnet is another form used frequently in although the author favors loose sonnets marked by slant rhyme and syllabics (in which each line contains the same number of syllables), rather than meter and full rhyme. If so, what is the effect of balancing humor and seriousness? Bear in mind that ambivalence is often the hallmark of truth and that it is usually better to be specific, to show rather than tell. 83)—that is, a poem in which you speak in the voice of someone else. In the end, it will be interesting to consider the ways in which the title might be construed.2. 13) is, in one respect, a “catalogue poem” in the tradition of Walt Whitman. Just as this poem begins with a quotation that the poem contradicts, you might compose a poem that begins with someone’s statement then takes issue with it. Try a poem in which you describe the early stages of a love when all is bright and shiny, perhaps a first rendezvous or meeting, a first getaway, etc. Another told me I must "Get over it." And I see how a healthy person could want to say these things to someone who seems to refuse to see that life is so beautiful. Describing depression and despair is impossible because despair and depression are indescribable.

Robson Big Dipper Chivas Sandage Hidden Drive Jean Sands Gandy Dancing Close But Not Touching Peggy Sapphire In the End a Circle Maria Sassi Rare Grasses Jane Schapiro Let the Wind Push Us Across V.Vara Through Salt and Time Gerda Walz-Michaels Stone Walls Kirsten Wasson Almost Everything Takes Forever Rhett Watts Willing Suspension Allen C.West Keeping Night at Bay Mame Willey On the Irreversibility of Time Barry L.He bore what got dished out,” remember that he has just had not reached that circle of hell that would break him. I almost bought the vacuum cleaner but I thought, thirty years from now or twenty, or ten—what will it matter?

What feeds on us is dreams and if they look like alien invaders when they fall away maybe that’s how the process works. I turned instead toward the kitchen, ate a dozen fresh cherries, licked the juice from my fingers.I had climbed up onto the sink in the bathroom, opened the medicine cabinet, taken out my mother’s lipstick and was trying to apply it to my own face when my grandfather caught a glimpse of me. How does her attitude differ from that of her friend?He probably mistook the lipstick for blood and rushed forward to rescue me. What interests me about the memory are the themes of beauty and transformation and their link to danger. Writing: If you are looking for a topic to write about, think of some of the misconceptions you had when you were very young; put yourself back in that frame of mind, and see what kind of writing results.Ferguson Flounder In: Fishers Island Sketches Kate Fetherston Until Nothing More Can Break Carol Gabrielson Fine A Tilted World Steve Foley A Place at the Table Harper Follansbee, Jr. Johnston Silk Fist Songs Weight of the Angel Arlene Swift Jones God, Put Out One of My Eyes Joan Kantor Shadow Sounds Phyllis Beck Katz All Roads Go Where They Will Migrations Les Kay Kilco Co Margaret Keane - Sister Marie Michael Keane Love Like This Jim Kelleher Quarry Mick: A Celestial Drama Elizabeth Kincaid-Ehlers Seasoning How Do I Hate Thee Tricia Knoll How I Learned To Be White Alex Kochkin From Nought Anew Judy Kronenfeld light lowering in diminished sevenths Joan Kunsch Playing with Gravity & new work Pam Lacko Laughing in the Face of Cancer Susannah Lawrence Just Above the Bone Kenneth Lee Sweet Spot Lake Effect Ann Mirabile Lees Night Spirit David Leff The Price of Water Depth of Field Mary Leonard The Sweet & Low Down Gregory Le Stage Small Gods of Summer Hope Is a Small Barn Suzanne Levine Haberdasher's Daughter Grand Canyon Older Than Thought Rebecca Lilly A Prism of Wings Light's Reservoir Tom Mallouk Nantucket Revisited Srinivas Mandavilli Gods in the Foyer William H.