Poetry Thread

starlight

Heritage
Protestant
Woman
This is a thread dedicated to poems and also discussion of those poets. Please share your favorites.
---------------------

I don't want to say that this is my "favorite" poem but it is one of the ones that moves me every time I read it:

"The House Dog's Grave" by Robinson Jeffers
I've changed my ways a little; I cannot now
Run with you in the evenings along the shore,
Except in a kind of dream; and you,
If you dream a moment,
You see me there.

So leave awhile the paw-marks on the front door
Where I used to scratch to go out or in,
And you'd soon open; leave on the kitchen floor
The marks of my drinking-pan.

I cannot lie by your fire as I used to do
On the warm stone,
Nor at the foot of your bed; no,
All the nights through I lie alone.

But your kind thought has laid me less than six feet
Outside your window where firelight so often plays,
And where you sit to read‚
And I fear often grieving for me‚
Every night your lamplight lies on my place.

You, man and woman, live so long, it is hard
To think of you ever dying.
A little dog would get tired, living so long.
I hope that when you are lying
Under the ground like me your lives will appear
As good and joyful as mine.

No, dears, that's too much hope:
You are not so well cared for as I have been.
And never have known the passionate undivided
Fidelities that I knew.
Your minds are perhaps too active, too many-sided...
But to me you were true.

You were never masters, but friends. I was your friend.
I loved you well, and was loved. Deep love endures
To the end and far past the end. If this is my end,
I am not lonely. I am not afraid. I am still yours.

Another poem is "The Country Doctor" by Will McKandree Carleton:
There's a gathering in the village, that has never been outdone
Since the soldiers took their muskets to the war of '61,
And a lot of lumber wagons near the church upon the hill,
And a crowd of country people, Sunday dressed and very still.
Now each window is preempted by a dozen heads or more,
Now the spacious pews are crowded from the pulpit to the door;
For with coverlet of blackness on his portly figure spread,
Lies the grim old country doctor, in a massive oaken bed,

Lies the fierce old country doctor,
Lies the kind old country doctor,

Whom the populace considered with a mingled love and dread.

Maybe half the congregation, now of great or little worth,
Found this watcher waiting for them, when they came upon the earth;
This undecorated soldier, of a hard, unequal strife,
Fought in many stubborn battles with the foes that sought their life.
In the nighttime or the daytime, he would rally brave and well,
Though the summer lark was fifing or the frozen lances fell;
Knowing, if he won the battle, they would praise their Maker's name,
Knowing, if he lost the battle, then the doctor was to blame.

'Twas the brave old virtuous doctor,
'Twas the good old faulty doctor,

'Twas the faithful country doctor-fighting stoutly all the same.

When so many pined in sickness he had stood so strongly by,
Half the people felt a notion that the doctor couldn't die;
They must slowly learn the lesson how to live from day to day,
And have somehow lost their bearings-now this landmark is away.
But perhaps it still is better that his busy life is done;
He has seen old views and patients disappearing, one by one;
He has learned that Death is master both of science and of art;
He has done his duty fairly and has acted out his part.

And the strong old country doctor,
And the weak old country doctor.
 
Ozymandias:

I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”

The Second Coming

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

Anything by Bukowski: https://www.best-poems.net/charles_bukowski/index.html
 
Petrarch Sonnet 90:

Upon the breeze she spread her golden hair
that in a thousand gentle knots was turned
and the sweet light beyond all radiance burned in eyes where now that radiance is rare;

and in her face there seemed to come an air
of pity, true or false, that I discerned:
I had love's tinder in my breast unburned,
was it a wonder if it kindled there?

She moved not like a mortal, but as though
she bore an angel's form, her words had then
a sound that simple human voices lack;

a heavenly spirit, a living sun
was what I saw; now, if it is not so,
the wound's not healed because the bow goes.
 
Poetry: In The Denny’s Parking lot, slightly buzzed in Arlington, 1am on a Wednesday night.

Just a blast of music
of The Cure playing ‘Friday Im in love’
as I silently wave to the copper
outside and nod while I ate
my Jelly Donut from Dunkin’s.

I gently turn up the air conditioning
and lean back on my chair
and thought about pulling
my classic Mob italian accent my
comrades don’t know I can pull
off and crank call the living smokes
out of them.

A good laugh, is a good laugh and puts
a smile to the soul and give
butterflies to the stomach
at 1 am unexpectedly or not,
anyways, Im slightly buzzed
and I’ll probably smoke a nice pipe,
heat up some black coffee with
three tea spoons of sugar and
play darts with the sounds
of The Beatles roof top concert album,
in the backyard, right after this.


IMG_9048.png
 
Ozymandias:

I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”

The Second Coming

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

Anything by Bukowski: https://www.best-poems.net/charles_bukowski/index.html
I thought these both were Kipling. I was already familiar with both of these, and love them both. To me they are in the same vein as "If", and "Gods of the Copybook Headings". I will look into Bukowski!
 
  • Like
Reactions: JR5
I mentioned these just now, so I figured I'd post them.

Gods of the Copy Book Headings

As I pass through my incarnations in every age and race,
I make my proper prostrations to the Gods of the Market Place.
Peering through reverent fingers I watch them flourish and fall,
And the Gods of the Copybook Headings, I notice, outlast them all.

We were living in trees when they met us. They showed us each in turn
That Water would certainly wet us, as Fire would certainly burn:
But we found them lacking in Uplift, Vision and Breadth of Mind,
So we left them to teach the Gorillas while we followed the March of Mankind.

We moved as the Spirit listed. They never altered their pace,
Being neither cloud nor wind-borne like the Gods of the Market Place,
But they always caught up with our progress, and presently word would come
That a tribe had been wiped off its icefield, or the lights had gone out in Rome.

With the Hopes that our World is built on they were utterly out of touch,
They denied that the Moon was Stilton; they denied she was even Dutch;
They denied that Wishes were Horses; they denied that a Pig had Wings;
So we worshipped the Gods of the Market Who promised these beautiful things.

When the Cambrian measures were forming, They promised perpetual peace.
They swore, if we gave them our weapons, that the wars of the tribes would cease.
But when we disarmed They sold us and delivered us bound to our foe,
And the Gods of the Copybook Headings said: "Stick to the Devil you know."

On the first Feminian Sandstones we were promised the Fuller Life
(Which started by loving our neighbour and ended by loving his wife)
Till our women had no more children and the men lost reason and faith,
And the Gods of the Copybook Headings said: "The Wages of Sin is Death."

In the Carboniferous Epoch we were promised abundance for all,
By robbing selected Peter to pay for collective Paul;
But, though we had plenty of money, there was nothing our money could buy,
And the Gods of the Copybook Headings said: "If you don't work you die."

Then the Gods of the Market tumbled, and their smooth-tongued wizards withdrew,
And the hearts of the meanest were humbled and began to believe it was true
That All is not Gold that Glitters, and Two and Two make Four–
And the Gods of the Copybook Headings limped up to explain it once more.

As it will be in the future, it was at the birth of Man
There are only four things certain since Social Progress began.
That the Dog returns to his Vomit and the Sow returns to her Mire,
And the burnt Fool's bandaged finger goes wabbling back to the Fire;

And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins,
As surely as Water will wet us, as surely as Fire will burn,
The Gods of the Copybook Headings with terror and slaughter return!


If
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:

If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ’em up with worn-out tools:

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’

If you can talk with crowds and keep your virtue,
Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And—which is more—you’ll be a Man, my son!
 
I've always like this one, for the unusual sound and the use of made up words.

Jabberwocky​

By Lewis Carroll

’Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.

“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!”

He took his vorpal sword in hand;
Long time the manxome foe he sought—
So rested he by the Tumtum tree
And stood awhile in thought.

And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

“And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!”
He chortled in his joy.

’Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
 
I've always like this one, for the unusual sound and the use of made up words.

Jabberwocky​

By Lewis Carroll

’Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.

“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!”

He took his vorpal sword in hand;
Long time the manxome foe he sought—
So rested he by the Tumtum tree
And stood awhile in thought.

And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

“And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!”
He chortled in his joy.

’Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
I feel like Jabberwocky was trying to give the feeling of being written middle-English.

I love a good nonsense poem. Here is another fun one:

Ladles and Jellyspoons

Ladles and Jellyspoons,

I come before you
to stand behind you
to tell you something
I know nothing about.

Next Tuesday,
which is Good Friday
there will be a mothers meeting
for fathers only

Admission is free,
you can pay at the door.
We'll give you a seat
so you can sit on the floor

Wear your best clothes,
if you haven't any.
and if you can come,

please stay at home.
 


By Edgar Allan Poe

It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love and be loved by me.

I was a child and she was a child,
In this kingdom by the sea,
But we loved with a love that was more than love—
I and my Annabel Lee—
With a love that the wingèd seraphs of Heaven
Coveted her and me.

And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee;
So that her highborn kinsmen came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.

The angels, not half so happy in Heaven,
Went envying her and me—
Yes!—that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my Annabel Lee.

But our love it was stronger by far than the love
Of those who were older than we—
Of many far wiser than we—
And neither the angels in Heaven above
Nor the demons down under the sea
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee;

For the moon never beams, without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise, but I feel the bright eyes
Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling—my darling—my life and my bride,
In her sepulchre there by the sea—
In her tomb by the sounding sea.
 

I never knew about this song. Even if I had, I would never have realized it was an Edgar Allen Poe poem!

This was the last poem of his that he wrote. I looked it up and it is said to be consistent with a lot of his works, being about a beautiful woman who has died. However, to me it didn't have any atmosphere of horror like his more famous works. I suppose the last lines about a sepulcher and a tomb are in this vein, but I interpret the song to mean that he dreams of her every night, and he feels that her spirit is still with him.

I'll include The Raven to help keep the poetry going.

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
 
What makes "good" poetry?
I'm a total philistine, so my ideas are probably low brow. I like poetry with interesting word combinations. Not just good rhymes, but it could be words with interesting sounds juxtaposed together. Besides the feeling and the pattern of the words themselves, I like poetry that evokes images or feelings or ideas.

It's weird, because regular prose can do these things too. I find myself wanting to use the word to define itself. Poetry is more poetic than prose. I suppose I could be funny and say prose is more prosaic than poetry. Prose can be artistic, but I think it usually is more down to earth and dealing with real things. That's the conventional meaning of the word prosaic. Poetry is more purely artistic, and deals with dreams, ideas, imagination, etc. It can be direct and down to earth in rare cases, but usually isn't.

I guess I would say that poetry that seems good to me is the kind that evokes these kinds of dreams, ideas, and imaginations in way that strikes my artistic fancy.
 
I'm a total philistine, so my ideas are probably low brow. I like poetry with interesting word combinations. Not just good rhymes, but it could be words with interesting sounds juxtaposed together. Besides the feeling and the pattern of the words themselves, I like poetry that evokes images or feelings or ideas.

It's weird, because regular prose can do these things too. I find myself wanting to use the word to define itself. Poetry is more poetic than prose. I suppose I could be funny and say prose is more prosaic than poetry. Prose can be artistic, but I think it usually is more down to earth and dealing with real things. That's the conventional meaning of the word prosaic. Poetry is more purely artistic, and deals with dreams, ideas, imagination, etc. It can be direct and down to earth in rare cases, but usually isn't.

I guess I would say that poetry that seems good to me is the kind that evokes these kinds of dreams, ideas, and imaginations in way that strikes my artistic fancy.
It's a tough and funny question to try to answer isn't it? We can identify "good" poetry and "bad" poetry, but what is it that really distinguishes the two? I've been thinking about what you wrote and I agree but I'll add to it. I think good poetry comes down to cadence and that is what differentiates it from prose. The Jabberwocky poem is a great example, lots of nonsense words but there is verbal flow which makes the poem feel complete. There is still a kind of word pacing even though it isn't really measurable (like iambic pentameter or other formal poem structures).

There is the short poem by William Carlos Williams "This is Just to Say":

I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast

Forgive me
they were delicious
so sweet
and so cold

---
This poem is more than just a sticky note on a fridge but delves deeper into his act of "transgression."

I think what also makes good poetry is that there is the potential for meaning condensed into very few words, and I think that is why poetry ("good" poetry) is so powerful.
 
It's a tough and funny question to try to answer isn't it? We can identify "good" poetry and "bad" poetry, but what is it that really distinguishes the two? I've been thinking about what you wrote and I agree but I'll add to it. I think good poetry comes down to cadence and that is what differentiates it from prose. The Jabberwocky poem is a great example, lots of nonsense words but there is verbal flow which makes the poem feel complete. There is still a kind of word pacing even though it isn't really measurable (like iambic pentameter or other formal poem structures).

There is the short poem by William Carlos Williams "This is Just to Say":

I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast

Forgive me
they were delicious
so sweet
and so cold

---
This poem is more than just a sticky note on a fridge but delves deeper into his act of "transgression."

I think what also makes good poetry is that there is the potential for meaning condensed into very few words, and I think that is why poetry ("good" poetry) is so powerful.
Forgive me but this qualifies as poetry the same way as mumble rap qualifies as music
 
I looked up poems that don't sound like poems, and found this. I've heard (read?) poetry is meant to be read out loud, so I did it with this poem.

I liked it.

Mother to Son

By Langston Hughes

Well, son, I’ll tell you:
Life for me ain’t been no crystal stair.
It’s had tacks in it,
And splinters,
And boards torn up,
And places with no carpet on the floor—
Bare.
But all the time
I’se been a-climbin’ on,
And reachin’ landin’s,
And turnin’ corners,
And sometimes goin’ in the dark
Where there ain’t been no light.
So boy, don’t you turn back.
Don’t you set down on the steps
’Cause you finds it’s kinder hard.
Don’t you fall now—
For I’se still goin’, honey,
I’se still climbin’,
And life for me ain’t been no crystal stair.
 
Back
Top