#OnRepeat: I am a missing planet


I am a missing planet
You know me from my orbit
From my effect on others
the way I make them spin off centre
moving in marvelous ways
Unseen treasure crossing your sky
Think on where I am not
then you will know where I’ll be
Expect me when you see me
I’m waiting to be discovered

Every day with a “Why?” in it! (Freewriting)


Sunday afternoon -The dark tea time of the soul (h/t Douglas Adams) Let the random ruminations begin!

Hugo stared at the wall daring it to be anything but what it was. Unyielding, unchanging, uninteresting. It did not alter or shift. Neither did the Djinn rune written in an ink no pure human could read.

Library.

There was no option but to do this the Djinn way. He felt his body undulate and lose weight. It felt like falling asleep but not nearly as comforting.  Anyone lucky or unlucky enough to have been watching him at that moment would have seen him appear to fade into near nothingness, a ghost image. That ghost then appeared to walk through the wall. 

The manner of why this can be is quite tedious to explain.

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This Love. Take It!


Thank you Heid and Juliet, for nominating me for the challenge of sharing “Love” with an axiom of ten lines. The rules are to:

  • only use four words in each sentence
  • each sentence to include the word “love”
  • to give my favourite quote on love
  • and to nominate other bloggers to share the love

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Writing 201: Future – What Took You So Long?


“Could it be our last prompt word of Writing 201: Poetry? Already?! Let’s keep our spirits up by focusing on whatever it is that’s coming next. Whether it’s about tomorrow, next October, or the year 2345, let today’s poem be inspired by your vision of the future. (Fears, hopes, and plans are equally acceptable, of course. So are robots and hoverboards.)

You didn’t think we’d end a poetry course without a single word on (arguably) the most iconic form of them all — the sonnet? From Petrarch to Shakespeare to Lorca to Heaney, it’s a form that’s has endured dozens of vogues, backlashes, and comebacks — it will bury us all. It will outlive the cockroaches.

In some ways, the sonnet is easy: you get 14 lines of verse, usually grouped into four stanzas of 4-4-3-3 lines each (alternatively: two groupings of eight and six lines, respectively). Sonnets used to be written in metered verse (like alexandrines in French and iambic pentameter in English, for example), but many modern poets forego the meter altogether, or at least don’t use it consistently. Sonnets also tended to be written using any number of established rhyming schemes (for example, Shakespeare’s abab cdcd efef gg), but that, too, is no longer a formal requirement. (If you’re a sonnet purist, or the ghost of Shakespeare, please forgive me!)

The last device we’ll explore together in this course is one of my favorites — the chiasmus (key-AHS-mus). At its simplest, a chiasmus is essentially a reversal, an inverted crossing (it got its name from the greek letter chi – X). How can we use it? Let Snoop Dogg show us the way: Laid back, with my mind on my money and my money on my mind”  https://dailypost.wordpress.com/dp_assignment/writing-201-future/ ”

What Took You So Long?

I wish I was there to kiss and love you, my lover not yet kissed
and tell you you’re the coolness of my crying eyes
We could drive all night joy in our car, pretend we’re teenagers joyriding
and stop on Primrose Hill to watch Saturday fall and Sunday rise Continue reading

Writing 201: Landscape – “wetness”


“The space(s) we spend our days in have such profound effects on us. Today’s word prompt, landscape, invites you to explore your whereabouts and translate your thoughts into a poem. You could focus on the physical traits of a place you find particularly beautiful, or on the way you interact with your surroundings at home, on the way to work, or when you’re on holiday.

Remember that staple of kindergarden arts, the collage? Found poetry, today’s optional form, is the language-based variety. Like a blackmail letter in a sordid crime novel, a found poem is made up of words and letters others have created. It’s up to you, the poet, to find them (hence the name), extract them, and rejig them into something else: your poem. The classic way of going about the creation of a found poem is scissors and newspaper in hand: you cut out words and phrases and arrange them into your poem. You can then either snap a photo and upload it to your blog, or simply transcribe the resulting text into a new post.

There’s a lot you can do with enumeratio — today’s suggested literary device — in your poems (want to feel especially tweedy? Pronounce it ey-nu-may-RAH-tee-yo). As its name might suggest, it basically means constructing a list, a successive enumeration (duh!) of multiple elements in the same series.

“wetness”

Wetter?
You can’t look at the atmosphere
Every part of we is an ocean
Physical, moisture, intense
Increase the humidity
A lot of things are happening
Everywhere we are connected
So, this is complicated
Cause to warm
Travel to the southwest
Wetter areas become wetter

Coming decades

http://www.theguardian.com/environment/climate-consensus-97-per-cent/2015/feb/09/global-warming-is-causing-more-extreme-storms

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Writing 201: Drawer – The RIng


Sat in the drawer of my desk, useless and unused
Next to the stapler and the lidless marker, unwanted refused
Gathering dust and jammed under a ruler, my affection sill lingers
I move it to one side to get to a ballpoint, engagement ring without a finger

I wish I could say gone but not forgotten, take a sip of vanilla whey
I don’t mind I wasn’t the one you wanted, lean back a little and sway
Over you now and I’ve learned my lesson, selling it on eBay7642193362_3c8ab4f21f_b

Writing 201: Fingers – The shock of the pen


“Sure, eyes are expressive. But there’s so much more we can do with our fingers — today’s word prompt — from opening a gift and plucking a guitar to signing words and waving goodbye. If you want to go beyond actual digits, you could write about any finger-shaped object you find interesting, or about something that comes into frequent contact with your fingers: a ring, your keyboard, a glove.

Today’s suggested form might sound like an oxymoron: the prose poem. Unlike some of the other forms we experimented with — say, the limerick — a prose poem, by definition, has no fixed rules. Whether a reader sees the prose or the poetry in it hinges on a variety of factors beyond your control.

We’ve tackled alliteration last week — the strategic repetition of consonants in close proximity to each other. Today, let’s give assonance a try. It’s the same thing, only with vowels.

Assonance is subtler than alliteration, but can have a profound cumulative effect on a poem, especially when the repeated sound resonates somehow with the topic you’re writing about.”

 (Written with Eminem’s rapping style in mind)

Today’s poem has been guest blogged on Harsh Reality!

Writing 201: Hero, Ballad, anaphora/epistrophe – (and yet he didn’t cry)


“Whether it’s a hero or a heroine, your poem today should focus on a person with an outsized personality — someone who makes a splash (or a mess) whenever he or she crosses others’ path. A parent, a teacher, a writer, Batman: we all know someone heroic, whether in real life or in fiction. Of course, if you’re feeling less laudatory today, feel free to turn things around by writing about an antihero or a villain.

A ballad has something removed from daily life about it — though everyday topics can definitely be given the ballad treatment. The secret is to find the drama, the struggle, the heightened emotions of a given situation and use them to tell a story.

Today, let’s explore the potential of creative redundancy with two neighboring devices: anaphora (a-NAH-fra) and epistrophe (eh-PIS-tro-fee). You may have figured out by now that the fancier the Greek name, the simpler the device. And you’ll be right this time, too.

Anaphora simply means the repetition of the same word (or cluster of words) at the beginning of multiple lines of verse in the same poem. Epistrophe is its counterpart: the repeated words appear at the end of lines. Like most simple devices, though, the trick is in deploying them to their full effect. Repetition lends emphasis to words, adds weight, and leaves a deeper imprint in your readers’ memories. Think wisely about what it is you’re underlining.”

AND YET HE DIDN’T CRY

In an average chain cafe Hugo sat drinking an average cup of joe (and yet he didn’t cry)
He watched fat shoppers puffing carrying fat shopping bags home (and yet he didn’t cry)
Unbidden came to mind his first true love who let her long red hair flow (and yet he didn’t cry)
The coffee reminded him of that first wonderful date (and yet he didn’t cry) Continue reading

Writing 201: Fog, Elegy, Metaphor – Elegy for Shaun Maher


“Fog. Today’s word prompt can be taken in so many different directions: condensation on your car’s window. An eerie landscape (or streetscape) at dawn. Your glasses as you enter a warm room from the cold outside. The mental state of confusion, forgetfulness, or dementia. How will you introduce fog into your poem today?

Today’s form, the elegy, can trace its history all the way to ancient Greece. It started out as a poem that could be about almost any topic, as long as it was written in elegiac couplets (pairs of verse, with the first one slightly longer than the second). Over the centuries, though, it became something a bit more specific: a (more often than not) first-person poem on themes of longing, loss, and mourning.

You knew it was coming. The prince of poetic devices, the thrill up every poet’s spine. Yes: hello, metaphor. Metaphors are everywhere in poetry and in everyday speech (“I’m drowning in work,” “This problem requires brain muscle,” and on and on). They’re so ubiquitous that most people find it hard to explain what they are. So let’s try.”

The milky fog that hangs over Homerton veils all things from each other
the cat from the rat, dog from tree, the child from the mother

Bravely walk into the shroud, enveloping and you might bring to mind
That you are walking through a hole in space, soul and time

Walking down between the alley that leads from the high street to Tesco
You might walk in and find yourself 10 years ago in San Francisco

I beg you please call upon a youth called Shaun Maher
who lives with his dad in Lakeshore

If its a Saturday in April he’ll be a well fed cat dozing in the afternoon air
Out on the lawn, in a pair of cargo pants on a cheap ass lawn chair

Wake up from his slumber with a hard smack upside his dome
And tell that moron kid to keep his dumb ass home

Look that Jackass know it all deep into his bottomless brown eyes
And tell him he that his fathers friend, Smith, lies

Tell him the life promised of adventure, fabulous secrets, “so many to tell”
Is a crock of sh*t, a tissue of lies, baloney, highway to hell

Tell him that misery will fall on his current path, like November storms in the Bay
And unless he ceases from it soon there will come a day

When he’ll look in the mirror at a face that is barely his own
a name of a dead man, in a city that isn’t home

That he will walk as a lone male exiled from the pride
Hollow as an emptied bud, forced by fate to hide

On that day the grim Reaper will come looking, a long trail of lies followed
He’ll tap him on the shoulder, look him in the eye, and say

“I. know. your. name. isn’t. Hugo.”

Poetry Day 4: Animal, Concrete Poetry, Enjambment – “A Lion on the Common”


https://dailypost.wordpress.com/dp_assignment/writing-201-animal/

“Polar bears, microbes in your cells, unicorns, your pet hamster, lolcats: find a way to include an animal, today’s word prompt, in your poem. Or write about a situation that can bring out the animal in you (or someone else). Or dig deeper into the word’s etymology (anima = latin for breath). One way or another, give us a beast of a poem.

Poetry is, of course, a word-based form of expression. That doesn’t mean, though, that the visual layout of a poem can’t affect the way we read it. Taking this idea to a playful extreme is today’s (optional) form to explore: concrete poetry. Also known as shape poetry, the idea here is to arrange your words on the screen (or the page) so that they create a shape or an image. The meaning of the image can be obvious at first glance, or require some guesswork after reading the poem. It’s up to you to decide how difficult you want to make it for your readers.

Today’s poetic device continues the focus on the arrangement of words on the page: enjambment. It may sound like a mouthful. But what it describes is a really simple phenomenon: when a grammatical sentence stretches from one line of verse to the next.”

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