|
Mysty, thanks.
Your comments are well-received. I liked the separation of the last line, so it stands by itself, and the attendant change from "And" to "A" .
Second stanza: I see why you cut the lines that way--a visual impression of 'long, drawn-out kiss'. That kind of spreadout has to be inbred in the poem from the start and must be in the way the poet originally writes. I could adopt it, but it would betray my way, but I will ponder the matter before I decide.
The world "Irrelevant" is one that will not do for me, as, on principle, I avoid all abstract terms, nouns or adjectives and stick to the teachings of my masters who said never to use abstractions or use them as little as possible. "Expectation" is also abstract, but less so, as it can mean "desire" (with some luck) with some readers.
Otherwise, thanks for the good comments and I will look at the poem again and see what I can incorporate.
I am aware that I write a kind of poetry which is not usual for this forum. It tends to be blunter and more direct in some ways, worse in other ways, but it has its own stamp and is at least recognizable in that sense. I hasten to add here that terms such as "good" or "bad" poetry are to me meaningless, as poems for me are what I can relate to and what I cannot relate to, and that is what makes them click for me or fail. My own work belongs to an an older, by-gone age, probably the 60's and 70's, as far as its influences go. And it is also associated with the mentality of those years and the aspirations of that era. I was heavily influenced by Wallace Stevens, Ezra Pound, the Beats, Gary Snyder, Kenneth Rexroth, the Confessionals, and the Women poets of the 60's, and all the writers Pound, Rexroth, and Snyder advised me to read. I knew the two latter men personally and often heard them speak about all kinds of stuff in poetry. That explains a lot of my work and the literary critics of my published work have also discovered these influences without being told--those that have read these poets. at least.
|