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Gulsher John Gulsher John Male, 69, Pakistan (6/2/2014 4:41:00 AM)

Dear Readers:
The below short passage is a simple
rephrasing of Mr. Jefferson Carton and of Mr.John Ashbury about Contemporary prosody/poetry.
(a/p my understanding) ...................
it's gonna be more productive for wannabes, ESLs, and art leaners if they take it seriously.

Dears, Poetry and especially the modern, is about the EFFECTS- sound and visual, at least -besides meaning.
So afore pursuing it:
]First read good poetry but don't imitate.
]use simple, plain(colloquial?) but not bombastic rhetoric and dictions)
] be focused on rhythm (Form, music, pattern) than rhyme (for sound effects)
]Avoid sappiness and irrelevant Artfulness.
]Prefer good and fresh metaphors analogies, similes that create images but surprising and appropriate. (for visual effects)
]Divorce all the clunky stinky expressions. (clich├ęs)
] Do focus on meaning rather than message.(don't seek or insert any allegorical meaning in concrete statement)
]No need for biographical background and emotionalism.
]paint your words rather than write.
] Do not bore people with your Confessions, Preaching and Philosophy.(let reader to praise the poem itself)
]Extra pruning will help your expression more inspiring

p.s.
my posted poems(if they are) are sort of crappy, so please don't marry up them with this passage.

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  • Alexander Rizzo (6/2/2014 8:37:00 PM) Post reply | Read 1 reply

    did you write these yourself, john?if so, you're not practicing what you preach, homeboy.

    Replies for this message:
    • Gulsher John Rookie - 1st Stage (6/3/2014 3:39:00 AM) Post reply

      ohhh Mr Rizzo i think u dint read the first para, i said i simply rephrasing Mr Jefferson Carter and Mr John Ashbery's views on Contemporary poetry... and you u know such things are not " that m ... more

  • Jefferson Carter Rookie - 1st Stage (6/2/2014 7:21:00 PM) Post reply

    John, I read your " principles" and think they're just not specific enough to be helpful to any fledgling poets. If you could give examples of each principle, that might clarify.
    But as I said before, the proof of the pudding in contemporary open forms is whether the choice the poet made works or not.

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