Doing Something, Even If It Is Wrong? Not This Time

My grandmother used to say, “Well, I’m gonna do somethin’ even if it IS wrong.” That’s a philosophy I’ve tried to live sometimes. I think it’s a good motivator if you’re letting fear hold you back. It’s a way to verbally shrug off fear. But doing something wrong because fear actually is pushing you into it? No. Continue reading

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Dreams and Whatnot

Hello, blogosphere.  Sorry for the extended absence.  There hasn’t been much of a response to my virtual writing workshop, but I am hopeful that some folks are just waiting to see what the final proposal will look like.  I myself am waiting to see what Diaspora will look like, so, here we are.

When last I left you, I was preparing to send my only child off to college.  She seems to be faring well – the usual adjustment bumps and bruises.  I wish I could say the same for yours truly.  Honestly, I wish I could say anything for yours truly with some degree of certainty, but I cannot.  I have managed to keep myself extremely busy, and when I’m not busy, I’m sleeping.  Uh-oh.  I expressed this whack-a-doodle state of affairs to a good friend and fellow writer yesterday, and her advice to me was, “Take some time.  Sit with this, and just let yourself feel what you feel.”  Of course!  Insert smack to the forehead here.  I confessed to her that I see the wisdom of such a course of action, and probably just needed somebody to tell me to take it!

As  poet Jennifer K. Sweeney and I explored in an interview I did of her a few years ago [Main Street Rag, Spring 2007], a poet doesn’t so much “move on” from painful things as “move through” them.*  Frankly, we often move through them when the rest of you cannot bear to do so, and we do it because you cannot bear to do so.   We hew the rough underbrush of the path, and hope that you will follow because we know you will feel better if you do.  We know so because we feel better for having cut the trail; and, we are also readers, so we also feel better when we follow a painful path that someone else mapped first.  Such knowledge of this process, however, did not help me see that I was running away from my own feelings about this personal milestone.  It took someone else articulating it to make me realize what I was (am) doing.

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To Commemorate the “Lost Day” of April 17th

The next device from William Packard’s The Poet’s Dictionary:  A Handbook of Prosody and Poetic Devices:

Prose Poetry:  Poetry having a high incidence of sight and sound and voice devices, but with no formal line arrangements; prose poems resemble loose paragraphs and are sometimes called vignettes.

So many, many, many poets do prose poetry well.  I am not one of them.  Still, this is what I signed on for, so we shall suffer together, dear readers.

I share a prose poem that has found its way in and out of a full length manuscript of mine over the last couple of years.  Thanks for reading! Continue reading

I Cheated the Prompt, and then I Cheated Myself: April 14 Poem

There is only one entry under “J” in William Packard’s The Poet’s Dictionary: A Handbook of Prosody and Poetic Devices, but all is well.  My inability to write anything illustrating the particular tradition described therein has led me back to an old mountain song my grandmother used to sing, to Peggy Seeger’s website, and, ultimately, to a new poem … and maybe even a series of new poems.  Today’s device:

Jongleur:  Roughly from the fifth to the fifteenth centuries, throughout France and Tuscany and northern Italy, Jongleurs were entertainers (acrobats, actors, musicians, singers) who originally wandered from town to town offering their arts for a fee.  Later, these Jongleurs became official fixtures of the various European courts as jesters, clowns, and  reciters of poetry.

At first the Jongleur did not create his own poems but drew from a repertory of ballata and canti and chansons de geste, but by the twelfth century the minstrels or trouvères or Troubadours of Provencal and Tuscany were writing their own poems to be sung.

So, the Jongleur tradition is a tradition of sharing poems through song.  Packard further explains, about the Troubadour:

The Troubadour poet (from tobar, to invent; also from trouvère, to find) usually sang of courtly love – the ethereal, extramarital praise of any Lady who inspired the poet to virtue and to moral excellence and achievement.  Sometimes the Troubadour’s songs followed specific conventions, as the following list indicates:
canzo – song of love
balada – story in verse
plante – elegy or dirge for a lost lover
serenade – evening song
alba – dawn song, when lovers realize day has come and they must part

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