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Literature Text
i sit my head into my pillow stack
weather-worn
restless
multi-torn
i breathe in
breathe out
s i g h
deeply, feverishly
c r y
not because you were ever in my bed
-i have yet to become a carnivore
too young to taste the indulgence of flesh
but because i have yet to feel the weight of
your head
your thoughts at unholy hours
things
places
persons
situations
that have made you the broken being that
you
are
b r e a k i n g
me
in
to
even though you have not planned me through
i packed myself into your suitcase
without any warning or excuse
throwing every bit of me that to you is of no use
i'm super-glued
with novels of hopeless, helpless
romances
and elegies of them, too
and
you
smile
while
i
remain aflame, unfazed
c o n s t a n t i n e
with nothing to gain
everything
l o s t
weather-worn
restless
multi-torn
i breathe in
breathe out
s i g h
deeply, feverishly
c r y
not because you were ever in my bed
-i have yet to become a carnivore
too young to taste the indulgence of flesh
but because i have yet to feel the weight of
your head
your thoughts at unholy hours
things
places
persons
situations
that have made you the broken being that
you
are
b r e a k i n g
me
in
to
even though you have not planned me through
i packed myself into your suitcase
without any warning or excuse
throwing every bit of me that to you is of no use
i'm super-glued
with novels of hopeless, helpless
romances
and elegies of them, too
and
you
smile
while
i
remain aflame, unfazed
c o n s t a n t i n e
with nothing to gain
everything
l o s t
Literature
culmination of events part 2
i. perfection
auditorium with fold-down chairs: you told me
that you would kill your father, if you had the chance.
you hated your own blood, but
you didn't hate me so i stayed, even though you always
knew how to make her cry.
ii. connection
sometimes you were full of nothing but saltine crackers
and radio static, and that was at the same time
too much and not enough at all.
i begged you to remember me
but by then i think
you were already too far gone.
iii. strangulation
sometimes the things we can't see are the ones
that force us to look a bit closer:
scratch off the gold-tinted paint and
look me in the eyes.
but this
Literature
other people's heartbreak
fifteen year old father,
and he can't uncrumple the dollar bills for the automatic teller machine
where the bamboo walls
girls veiled in smoke,
thin-strap tank tops
the click and hiss of a soda can
she miscarries in the basement on a hot summer night,
the dregs of her uncle's offspring draining from her in hemorrhagic spurts,
her fingers bruising on the unsheeted mattress
mom and pop wake to a phone call from the county coroner
he is blue from the lake water and green from the nausea
and grandma knits afghans, over
and over
and
over
Literature
Seafoam
Seafoam
is the hush of the ocean,
the glossy paint on your car,
the gleam in your eyes.
It's the ruffle of parchment in the glove compartment
of your susurrating '57 Thunderbird
as we leave the last rumble of brontide behind
on a salt-crushed highway.
Traces of powdered sugar noses
and mint milkshake lips
were cold reminders
of warm nostalgic days
when summer could melt the tarmac
like my bones under your gaze.
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Free Verse
I WOULD SUPER LOVE TO SEE COMMENTS, THANK YOU!!
----------------------------------------------------------------------------
Critique:
What do you think of the line breaks? The flow?
Is the formatting over or underdone?
Was there real impact at any instance?
I WOULD SUPER LOVE TO SEE COMMENTS, THANK YOU!!
----------------------------------------------------------------------------
Critique:
What do you think of the line breaks? The flow?
Is the formatting over or underdone?
Was there real impact at any instance?
© 2013 - 2024 Sammur-amat
Comments49
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<img class="avatar" src="a.deviantart.net/avatars/t/h/t…" alt="" title="theWrittenRevolution" />
It's interesting for me to see someone else write in an experimental style. Personally, I've tried many, many different things with whitespace, phrasing, and other experimental goodies. What's so interesting is that, when reading this, I can see why some people are amazed at how creative it is, and how others can see it as a nuisance. That being said, I'm going to give you two sides of the coin - as much as I can from either perspective; or perhaps a balance of the two.
I'll answer your questions along the way, but not necessarily in order, and not necessarily all of them. Additionally, in order to stay true to what I know, I will restrain from reading other comments and critiques until I’ve finished mine.
I apologize in advance for wordiness of this critique. It’s been a long while since I’ve done one.
First, a little intro of what I’ve learned...
When writing for an audience, it is important to think about how the audience will perceive your work. “Will they understand what I mean?” isn’t necessarily as important as “Will it be difficult for them to decode what I’m trying to say?” The trouble with writing for others is that you can understand what you wrote and what you were trying to say because you wrote it. It’s dangerous because other people aren’t you and therefore need to take in what you wrote and process its meaning for themselves. Some people are lazy about it and others aren’t.
And now for the critique...
In this poem, you’ve made excellent use of the white space: indenting, spacing, and line breaks. I love to experiment with these myself and it’s really nice to see other people do it as well; very liberating. However, in a poetic sense, I (and many others) take a look at what this adds to the work...
Honestly, at the end of reading, I wasn’t sure what the overall story was. It might be that I just woke up from an inadequate night of sleep with terrible dreams, but when I thought about it, I couldn’t recall what actually happened in the poem; just that there was a lot of formatting work. The part that tripped me up the most in terms of decoding what you said was the ending of the third stanza. “That have made you the broken being... me in to” If this was a single line, I could have read it simply, as a single sentence, but the separation of things made it difficult to understand what was going on. Paraphrasing what other people have told me, you might think you’re being clever, but you’re actually taking away from your work and reducing the overall impact.
Additionally, things like spacing apart the letters in words are cute, but somewhat pointless.
Your intention may have been to make the words seem longer, but it really doesn’t add much to the overall impact of the work. It can even make your poetry look sloppy; which is a bit harsh to say, but it’s true. The reason behind this is that the poem no longer fits together as a single work, but more as a bunch of words that you separated with an explosion.
Okay, so that was mostly negative. But I do have some positive things to say!
Experimenting with these techniques is an excellent way to improve your writing skill and I hope that negative critique doesn’t impact your choice to explore. I provided some criticism in hopes of helping you improve your style so that your work can be presentable to a larger audience.
Please, continue to experiment; by experience, I know that you’ll get better with every try. Again, you may get a lot of negative stuff in reviews, but think about it constructively and pick out the things in the reviews that will allow you to improve.