Monday, June 30, 2014

Cloudmother by Siobhan Harvey


When a child starts school, so too the
parents:

this is a truth Cloudmother can�t
escape.



Here are others � when a teacher favours
a child,

so too the parents; when a classmate
befriends a child,



so too the parents; when a label owns a child,

so too the parents. The mother most of
all.



The handwriting lessons that failed to
prepare her for life;

the teachers who saw careers in

The Beautiful Game


Looking for a cross
But found
A corner


Clive Tyldesley, commentating on the England vs Uruguay World Cup match, 19th June 2014. Submitted by Ross McCleary.

Saturday, June 28, 2014

Sticks and stones


Unfortunately it is far from true�
The power of words to affect
your emotions and actions
is well demonstrated in science.

A word is not a crystal,
transparent and unchanged;
it is the skin of a living thought
and may vary greatly in color and content
according to the circumstances and time
in which it is used.

Majority Floor Leader Jim Stamas, R-Midland,
determined Lisa Brown's comments
violated the decorum of the House,
"What she said was offensive" said Rep. Mike Callton, R-Nashville.
�It was so offensive, I don't even want to say it
in front of women.
I would not say that in mixed company.�

Lisa Brown called a press conference, today.
She defended her use of the word "vagina"
saying it is the "anatomically medically correct term.�

Her English teacher even told her
you can�t get wet from the word water.




Each stanza from a different source: Susan Smalley, Professor Emeritus, Department of Psychiatry and Biobehavioral Sciences at UCLA; Oliver Wendell Holmes, Jr; Detroit News, June 2012; Detroit Free Press, June 2012; and Nin Andrews, Sleeping with Houdini (BOA Editions Ltd, 2008). Submitted by Joanna White.

Tuesday, June 24, 2014

Monday, June 23, 2014

'Chemotherapy' by Mary McCallum and 'In the corner of my mind, a boy' by Frankie McMillan




Chemotherapy by Mary McCallum



who knew she was
there

hidden
inside that thing that turns

her girl upside
down and inside out

(poison, really, a
small inefficient

killing field) let
loose in a body still

young enough to
smell of milk

in the morning, one
the mother must

return to sit
beside and stand over

to stroke the soft
cheek, catch the soft

vomit, be steel to
all that

Absent Father


I find myself here with a baby with delicate bones,
fine features and blue eyes, who � especially asleep,
when she's at her most beautiful � looks exactly like you.
The fine movements of the lips, the almond-shaped eyes,
the one dimple on her right cheek.
I still find this resemblance strangely, unsettlingly painful.

I imagine you waking up beside that other woman,
whoever she might be; she will never find out
about this one aspect of your life.
I find it hard to picture you; I don't know your apartment,
but I imagine you waking up in it, flat on your back,
elbow tucked beneath your head, thinking of your baby,
somewhere, with someone else, hundreds of miles away.

For a few minutes every once in a while,
more rarely each year,
and too briefly.


Taken from A letter to...my baby's absent father in The Guardian, 7th June 2014. Submitted by Angi Holden.

Thursday, June 19, 2014

A Poet's Glossary



Looking through A Poet's Glossary, by poet Edward Hirsch, certainly offers many possibilities for writing prompts.

Hirsch has put together a very international collection of terms from A (as in abededarian) to Z (zeugma).

You might try writing a Bedouin women�s ghinnawa (highly stylized verses) or a style of gentle banter that originated as a sung verbal duel in the West Indies called picong.

There are also the more familiar terms that we were introduced to in school.

The book has been called a followup to Edward Hirsch�s best-selling book How to Read a Poem: And Fall in Love with Poetry from 1999 which contained a useful but limited  glossary.

For example, Hirsch defines "couplet" as two successive lines of poetry, usually rhymed (aa), which has been an elemental stanzaic unit�a couple, a pairing�as long as there has been written rhyming poetry in English. 

We call a couplet closed when the sense and syntax come to a conclusion or strong pause at the end of the second line, thus giving a feeling of self-containment and enclosure, as in the first lines of �To His Coy Mistress�:

Had we but world enough, and time,
This coyness, Lady, were no crime.

We call a couplet open when the sense carries forward past the second line into the next line or lines, as in the beginning of Keats�s Endymion (1818):

A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness, but still will keep
A bower quiet for us, and a sleep

     Full of sweet dreams . . .


Ben Jonson told William Drummond that he deemed couplets �the brav�est Sort of Verses, especially when they are broken.� All two-line stanzas in English carry the vestigial memory of closed or open couplets.
In an interview, Hirsch explained his intent for the glossary:

I see this as a book for the initiated as well as for the uninitiated reader. People who don�t know much about poetry can find what they need to know about certain basics, like the nature of the line or the stanza, or the characteristics of a form, like the ghazal or the sestina. But there are also a lot of things in this book that even widely read readers of poetry may not know much about because they are outside our tradition. So, for example, you might not know to look up a form of African praise poem called the or�k�. If you care to think about praise poetry�what it is, how it functions�then the or�k� has a lot to tell you. To help the reader along different pathways, I�ve added �See also� at the bottom of every entry.

Curious about the abecedarian and zeugma?