You – a poetic elaboration

I have been considering the one-word poem YOU. It is up to the reader or listener to meditate/associate/respond according to the receptive nature of that individual person at the time of reading or hearing. That is, if that person has time to contemplate such a poem in the busy 24 by 7 world of today.

Here are some positives in relation to such a poem to stimulate thought –

Subject and Object: The beloved is both the reason for the poem and its entire content. They are not just being addressed — they are the poem.

Economy of Expression: It says, “Nothing else matters. Only you.”

Devotion: It’s a surrender — the lover reduces the infinite complexity of love to a single, defining presence: you. If it is a lover that is being addressed by this word.

Mirror: It can also be a reflection — the beloved might see themselves in the poem, but also see the lover’s entire being poured into that word.

Timelessness: Unlike longer poems, it doesn’t age or tire; it remains whole and immediate

I have expanded the one-word poem into the following to give more poetic expression. But again, the subject and object of the poem depends on the reader/listener for interpretation.

                                           
YOU

I wrote a hundred lines.
Burned them.
Too many metaphors.
Too many ways to almost say it.
Then I wrote your name.
Once.
Paused.

The page stared back —
full.
Complete.
Crowded, even.
Everything empty
nothing
except

and you read it
                  as if I’d hidden more,
                         but there is no more to say
                                               



What can I say … enjoy being you … whoever and wherever you are. And thanks for reading this Post. You are important; essential in keeping poetry alive.

.

A one-word poem – Boring

I was on duty trying to entertain my eleven-year-old granddaughter when she came back from school.

She knows I am interested in words and poetry. When I started to broach that subject the response was one word -Boring.

I said to her that words are important. The words that you use say something about you. And of course choosing the best word and placing it in the appropriate location is always the aim of the poet.

Well, the one-word response was Boring. And then as though she wanted to emphasis her response she repeated Boring several times. You could say she created a one-word poem.

I guess this eleven-year-old finds grandfather totally boring. Wendy Cape was in that boring state with nothing creative on her mind. So she used that emotive feeling to create a boring poem.

Being Boring
'May you live in interesting times.' Chinese curse
If you ask me 'What's new?', I have nothing to say
Except that the garden is growing.
I had a slight cold but it's better today.
I'm content with the way things are going.
Yes, he is the same as he usually is,
Still eating and sleeping and snoring.
I get on with my work. He gets on with his.
I know this is all very boring.
There was drama enough in my turbulent past:
Tears and passion - I've used up a tankful.
No news is good news, and long may it last.
If nothing much happens, I'm thankful.
A happier cabbage you never did see,
My vegetable spirits are soaring.
If you're after excitement, steer well clear of me.
I want to go on being boring.
I don't go to parties. Well, what are they for,
If you don't need to find a new lover?
You drink and you listen and drink a bit more
And you take the next day to recover.
Someone to stay home with was all my desire
And, now that I've found a safe mooring,
I've just one ambition in life: I aspire
To go on and on being boring.
Wendy Cope (1945 -

Wendy Cape is renowned for her humorous poems. She is happy to be a cabbage. An appropriate metaphor. A cabbage just responds to soil and temperature. It can be a little annoying when the same friend always starts the conversation – “What have you been doing”.

What can I say, I hope you are coping (forgive the pun) with all that is happening in the world.

Wendy Cope on Wikipedia

The eternal language of words …

The eternal language of words … after a recent visit to the Ancient Egypt Discovery Exhibition in Canberra at the National Museum of Australia showing exhibits from the Dutch National Museum of Antiquities (Rijksmuseum van Oudheden) …

… the importance of words … unknown by those who created them centuries ago … leaving words behind … they didn’t know that their words would have significance … the past defined by the written language of the day … and the language of the past influencing the progression of on-going life … telling its story of the life of the day …  and wisdom and knowledge filtered forever flowing forward … in the beginning was the word and the word is life eternal

 … what equivalent eternal Shakespeare words that crease the pages of today will be of similar significance to future generations?

The foyer of the National Museum of Australia

Ancient Egyptian letters being investigated

And looking at some ancient Egyptian love poems – https://mywordinyourear.com/2021/11/07/ancient-egyptian-love-poems-john-l-foster-translator/

A Room of One’s Own – Virginia Woolf

A Room of One’s Own is an extended essay by Virginia Woolf, first published in September 1929. The work is based on two lectures Woolf delivered in October 1928 at Newnham College and Girton College, women’s colleges at the University of Cambridge. It is an emphatic statement on emancipation and empowerment of women. And it clearly articulates the personal restrictions of being a woman in the life of Virginia Woolf. If you want to see the improvement that has been made in recognition of women compare the restrictive time of the early twentieth century in England.

But I was interested to see what she had to say about books and writing. And in particular how such written expression has the ability to enhance reality in the sharing of human experience. The following is an extract from her essay encouraging women to write.

There runs through these comments and discursions the conviction—or is it the instinct? — that good. books are desirable and that good writers, even if they show every variety of human depravity, are still good human beings. Thus when I ask you to write more books I am urging you to do what will be for your good and for the good of the world at large. How to justify this instinct or belief I do not know, for philosophic words, if one has not been educated at a university, are apt to play one false. What is meant by 'reality'? It would seem to be something very erratic, very undependable—now to be found in a dusty road, now in a scrap of newspaper in the street, now a daffodil in the sun. It lights up a group in a room and stamps some casual saying. It overwhelms one walking home beneath the stars and makes the silent world more real than the world of speech—and then there it is again in an omnibus in the uproar of Piccadilly. Sometimes, too, it seems to dwell in shapes too far away for us to discern what their nature is. But whatever it touches, it fixes and makes permanent. That is what remains over when the skin of the day has been cast into the hedge; that is what is left of past time and of our loves and hates. 

Now the writer, as I think, has the chance to live more than other people in the presence of this reality. It is his business to find it and collect it and communicate it to the rest of us. So at least I infer from reading Lear or Emma or La Recherche du Temps Perdu. For the reading of these books seems to perform a curious couching operation on the senses; one sees more intensely afterwards; the world seems bared of its covering and given an intense life. Those are the enviable people who live at enmity with unreality; and those are the pitiable who are knocked on the head by the thing done without knowing or caring. So that when I ask you to earn money and have a room of your own, I am asking you to live in the presence of reality, an invigorating life, it would appear, whether one can impart it or not.

What would life be like if we didn’t have books and written words in general to surround us and give us meaning. No matter in what form a person writes and whether or not the legacy of work deemed as literature. As I sit in my study I am surrounded by the living thoughts and life expression of so many different people and I give a big thankyou. Equally I encourage others to share the reality of an envigorating life in such manner.

Well, the time has come … the Richard said …

Well, the time has come … the Richard said … reaching the leadup to that transition stage in life … for I have personal projects that must take priority, so I must refrain from continuing Posting on this Site … at least until further notice … in the meantime here are some statistics on the viewing of Posts from my WordPress account …

From 5 April 2011 to 25 December 2022 … 479 Posts created …

Twelve of the most popular Posts …

When all others were away at Mass – Seamus Heaney
Dance me to the end of love – Lenard Cohen
Journey to the interior – Margaret Attwood
Recognition – Carol Ann Duffy

Yussouf – James Russell Lowell
Wuthering Heights – Sylvia Plath
Gold Leaves – G. K. Chesterton
Winter – Shakespeare

Silver – Walter De La Mare
The History Teacher – Billy Collins
I remember, I remember – Philip Larkin

Words – Sylvia Plath

This Word is not the last word …
… and the bottom line, well never the last line …


I will be in touch, well at least by your touch LOL     X Richard



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December 23 – Celebration of a birthday

December 23

A sip and a smoke on the back porch,
then its starts to snow;
it seems the night
has decided to number
its ghosts.

No snowflakes settle; beyond reproach,
all absolved — go, go,
a cull of light;
as my birthday remembers
its lost.

Carol Ann Duffy (1955 -

December 23

pavlova and BBQ on the beach
the day full of light
and gives warmth
to all the cells
of my now

so many memories have rescinded
like missing snowflakes
that once came to my window
and momentarily settled
before melting away

Richard Scutter

Well interesting that I share a birthday with Carol Ann Duffy. And that she mentions the snow in relation to the passing years as people like ghosts are recalled before fading like disappearing flakes of snow.

It was snowing heavily when I was born. It was so cold, I got quite a shock. I am still recovering.

The Prisoner – Alexander Pushkin

The Prisoner

I sit by the bars in my cell, in the damp
A lusty young eagle caged up in a cramp.
A suffering comrade down there waves his wing.
And flaps as he pecks at some blood-spattered thing.

He pecks it and drops it, and looks up at me
As if our ideas were in deep sympathy.
His beckoning call and his eyes seem to say
What he wants from me: ‘come on let’s fly away!

We brothers, free birds of the air, let us go!
Where mountains stand white, with the storm clouds below,
Where rolling blue oceans run off to the sky,
Where I can fly free with the wind - he and I!’

Alexander Pushkin (1799 – 1837)
translated by A. D. P. Briggs

Ostensibly a poem about a caged eagle. Representative of Russian oppression and the cruel treatment of Russians in the Stalin era. Seeking flight from such conditions and the beauty of nature outside the cage.

Pushkin is considered by many to be the greatest Russian poet and the founder of modern Russian literature. 

Alexander Pushkin on Wikipedia – Alexander Pushkin – Wikipedia

Playing with words – A Wislawa Szymborska poem

The Three Oddest Words

When I pronounce the word Future,
the first syllable already belongs to the past.

When I pronounce the word Silence,
I destroy it.

When I pronounce the word Nothing,
I make something no non-being can hold. 

Wisława Szymborska (1923 - 2012)
Translated by S. Baranczak & C. Cavanagh

Poets do like playing with words. And the choice of words is always a consideration. And so too the way they will present themselves when pronounced. An example is HIS, a wonderful word to be used when talking about a snake in a poem. So, if you are considering creating a poem about a snake make it masculine.

Looking at the three words in the above. Future is a two-syllable word. It is really a past/present word when split into syllables and pronounced. And so does that make all one-syllable words present, well until you release pronunciation of the syllable and then it fades into the past. Well, of course it is continually fading as the sound of the syllable dissipates. In the example of HIS, perhaps you should hold that sound when reading to make that snake a vicious one about to bite the listener.

Silence is not a word to have in a poem for it destroys the intent of what the poet is trying to create. Is it better to have a pause instead when reading the work? And how do you create a pause and hold a break when reading a poem?

Nothing is of course something for NOTHING is beyond comprehension.

So here is a sonnet which contains the word SILENCE … but I am asking the reader not to say the word SILENCE but to make a twenty second break. So that when it is read it is no longer a sonnet – so to speak (sorry about that!).

Wind and Sun

Wind and sun give us a choice,
shouting with their voice.
SILENCE
Drenching rain, din, din, din
soaked again to the skin.

And to add overwhelming proof
some are climbing on the roof. 

Some think of building a new arc
but cut down trees to make a start.

Our children know better though,
they're being taught the way to go.
Wind and sun give us a choice,
shouting with their voice.
SILENCE

Well, we are experiencing unprecedented flooding in Eastern Australian!

See my previous Post on The Joy of Writing by Wisława Szymborska.