Thursday, January 31, 2013

Descriptive Paragraph Poem


Past and Present

The first thing
is the clutter.
Yes, I admit to it.
Condensation clings against the hills and valleys
of dented plastic,
the water bottles
scattered over three puzzle-pieced desks.
Honesty curls over the scuffed wooden dresser
in sculpted forms
haphazardly teetering,
on a grapevine wreath
a backdrop of white-washed walls.
Coffee stained mugs
 sit on once desolate edges.
The monochromatic lengths of brown rug
like the dense earth
under cities of laundry and books.

And then immediately
The pills.
A strict line.
Evidence of a schedule, order.
I will not lie to you.
It is not disturbing,
the prescriptions,
only an acknowledgment of habit. 
 



Tuesday, January 29, 2013

Descriptive Paragraph



   The first thing evident, I would say, is the clutter.  Plastic water bottles, their sides dented and uneven are scattered here and there over the three puzzle-pieced desks.  Condensation clings against the hills and valleys of the plastic resisting the pull of gravity.  I admit to the coffee stained mugs that sit on once desolate edges and the mismatched socks that wedge seamlessly into the most unsuspecting corners.  Sculpted forms of layered lotions, sprays, fluorescent tubes of soft smelling goop lie carefully over the scuffed wooden dresser.  They teeter silently against a grapevine wreath.  Long and spindly fingers reach out, stiffly grasping at the white-washed walls to keep it upright.  Rising stoically behind the twisted vines, is a poster of Picasso's "Blue Nude".  Sensuous and raw, it stands as a monument to honesty exhibited in the woman's emotional, curled form.  Below, the brown rug, mysterious in its vast, monochromatic lengths is covered with islands composed of laundry and books like the dense earth under cities.  Rainbows of cardigans are heaped haphazardly-like over the boxy chairs that prove to be just as uncomfortable as they look. And the sliding closet doors, overlap in the middle leaving cashmere and lace guts to spill generously over.  Then there are the chords.  They hang from filled power strips, black and menacing.  The wires weave through miscellaneous objects to their lit up and humming destinations.  They creep around shiny metal bed frames where sheets lie mangled and crushed, untouched from the night before.  From there the eye is immediately drawn to the pills.  Medications line the top of bed rest, the regiment of a schedule evident and seemingly the only order to the room.  I will not lie to you.  The scene of numerous prescriptions is not disturbing, it is only a form of silent acknowledgement made from years of habit.  Maybe it is the same with everything though.  Each act is derived from habit.  We clutch the past in one hand and in the other, we struggle to keep hold of the present. 


Thursday, January 24, 2013


In writing poems from the prose we were given, I found that there were certain words that I was drawn to.  I think they became important to me in defining the story and I therefore decided to include them in my poems.  The words lent a feeling and a lyrical quality while still remaining centered in the theme or story of the poem.  After defining what words I should keep, the center of the poem became more evident to me.  This chronologically may not make sense because I hadn't surly found the center before the words I would use, but I think the words and their order significantly generate how we react.  For instance, in a poem like “Jabberwocky” by Lewis Carroll the made-up words create the story through placement and sound. 

When I found the center within my words, I went about interacting them with each other and ultimately tried to find where they made the most sense in regards to sound.  Paying attention to sound also influenced where line breaks would be as well as the length of lines.  By saying different combinations aloud, I attempted to find where the words sat comfortably.  By comfortably, I do not mean complacent; I only mean comfortable in relation to the overall feel and presence the poem took when read, while still remaining engaging.  

Tuesday, January 22, 2013

Poetry Skills Exercise:

Pine Barrens:
Version 1


The Pine Barrens once had their own particular witch.
Pineys put salt over their doors
to discourage visits from the Witch of the Pines,
Peggy Clevenger.

It was known that she could turn herself into a rabbit,
for a dog was once seen chasing a rabbit
and the rabbit jumped through the window of a house,
and there-
in the same instant,
in the window
- stood Peggy Clevenger.
On another occasion, a man saw a lizard
and tried to kill it by crushing it with a large rock.
When the rock hit the lizard,
the lizard disappeared
and Peggy Clevenger materialized on the spot
and smacked the man in the face. 

Clevenger is a Hessian name.
Peggy lived in Pasadena,
another of the now vanished towns, about five miles east of Mt. Misery.
It was said
that she had a stocking full of gold.
Her remains were found one morning
in the smoking ruins of her cabin,
but there was no trace of the gold. 

Version 2:

It was said that she had a stocking full of gold, 
the Witch of the Pines, Peggy Clevenger.
And on occasion
could turn into a rabbit. 

To discourage visits
she disappeared to a vanished town. 

Windows and doors materialized one morning
the smoking ruins of her cabin,
in Pasadena, five miles east of Mt. Misery
but there was no trace of the gold.

The Blueberry Pickers
Version 1:

We had come to a clearing
where thousands of blueberry bushes grew. 
In the center of it was the packing house-
a small, low building
with open and screenless windows on all sides.

In front of it was a school bus marked “Farm Labor Transport.” 
The driver stood beside his bus. 
He was a tall and amiable-looking man,
with bare feet he wore green trousers and a T-shirt. 
The end of the working day had come. 
Pickers were swarming around a pump-
old women, middle-aged men, a young girl.
 A line was waiting to use an outhouse near the pump.

Inside the packing house,
berries half an inch thick were rolling up a portable conveyor belt
and, eventually, into pint boxes.
Charlie’s sister was packing the boxes. 
Charlie’s daughter –in-law was putting cellophane over them. 
Charlie’s son Jim was supervising the operation.
Charlie picked up a pint box
 in which the berries were mounded high,
and he told me with disgust that
some supermarket chains knock off these mounds of extra berries
 and put them in new boxes, getting three
 or four extra pints per twelve-box tray. 

At one window,
pickers were turning in tickets of various colors, and they were given cash in return. 
One picker,
who appeared to be at least in his sixties,
tapped Charlie on the arm and showed him a thick packet of tickets
 held together with a rubber band.
“I found these,” the man said.  “They must have fallen out of your son’s pocket.” 
He gave the packet to Charlie, who thanked him
and counted the tickets. 
Charlie said,
“These tickets
are worth seventy-five dollars.”

Version 2:

 The end of the working day had come.
 Berries, half an inch thick
were rolling up a portable conveyor belt
and eventually, into pint boxes.
Mounded high
cellophane over them.

Pickers swarmed
in the clearing
where thousands of blueberry bushes grow.
The screenless windows
of the packing house
stood amiable and bare.
Inside Charlie’s sister was packing the boxes.


Pickers turned in
their tickets for cash,
and a man gave Charlie a packet
held together with a rubber band.
“I found these,” the man said. 
The tickets were worth seventy-five dollars.

In the front
A school bus was marked
“Farm Labor Transport”.