Poetry Corner – Poetry in Motion

Hello Dear Ones!

I awoke inspired to inspire!

My intention today is to assist us all in removing the stereotypical structures that we have been rigidly taught. “Poems should be 4-line stanzas.”  “Poems must rhyme.” “There are only so many styles of poetry and one must adhere to those structures.”

Ba – humbug, I say! Today anything goes when it comes to poetic expression! Whatever moves you, go for it!

I enjoy using an expansive structure when there is motion of some form or another within the context of a poem’s expression or topic. The way a poem is placed on a page can add to the movement, the flow of the piece. Varying the placement of each line gives the illusion of action – with one line beginning at one spot and another line beginning somewhere other than what we normally perceive (what we were taught) to be the natural starting place. Here’s a for instance:

With laughter
**********and mischief
the giggling child
************iran hither and yon
darting in and out
*************iover and under
and around
*********everything in his way
preventing speedy arrival
*******************at his targeted destination:
the gaily wrapped presents
********************iunder the Christmas tree.

The need for the eyes to rove along a line and to roam up and down within a line enhances the sense of motion. Wise use of tall and short letters with a motion-specific intention is recommended here – choosing words as much for shape of letter as for definition and purpose. Here’s an example (Note: use of both words and letters for shape and sound are utilized):

The snake senses foods
Just ahead and
With slow and slithery undulations
His sinuous stealth secures lunch.

Yet in poetry today, with no restriction to form or format, you can add even more impact to the mix. Here’s a rather comical yet effective alternative to the same poem as above:

The Snake SenSeS foodS
JuSt ahead and
With Slow and Slithery undulationS
HiS SinuouS Stealth SecureS lunch.

This next more sedate poem is one of my personal favourites. I wrote it while sitting on a rock overlooking what should have been the Juan de Fuca Strait on the west coast of British Columbia, Canada. I say ‘should have been’ because that day there was no view. We were totally fogged in. The motion of the fog, the gentle lap of water along the shore, and the boats I could hear but not see made for the activities of what I could sense but not observe. This is the result. (Note the use of action in the structure to express conceived motion):

My world, as I know it
***************************
Is gone.
I step into the fog
To feel the moisture

******************Taste its freshness
Smell the aromas
Of both land

******iiand ocean scents.

The lapping
**********Of gentle waves
Upon the rocks
*************I know to be below
Are a soft accompaniment
To the orchestration
Of
***ship’s
********horns –
**************Tones and frequencies
Varying with proximity
**********************************And urgency.

Through the haze
Their call can be heard:
I am here.
*********Be Cautious.
T r e a d   s l o w l y.
****************************************************Touch me not.
Between warning sent
And message received
There is a peace to the interlude.

A solitary moment
Of acceptable
And appreciated
*****************************Aloneness,
One woman on the planet
Breathing deeply
***************Quietly
Sighing
*******Smiling
Content with her privacy.

Dear Reader – poet that you are! – feel free to use words and structure to express your motions as well as your emotions. Be bold. Be brave. Be you!

In Light and Laughter,

Marcia

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