Showing posts with label poetry. Show all posts
Showing posts with label poetry. Show all posts

Saturday, November 16, 2013

Poem

This poem first was published online in the Winter 2012 edition of New Mirage Journal, but unfortunately for me, the site appears to have gone away. So, I'll post it here, with one edit: "glittering" originally was "glittered."

 

Regarding Joy and Grace

By Colin Foote Burch


Spinning, apropos or no,
Grooving on glittering club floors
Or shimmying on scorched highway medians:

You will be like the sunflower
Willfully set in the crack
Of the dirty city sidewalk,

Grateful the dark lattice dome crumbled
And now we have sky --
Blue, unbounded sky.

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Thursday, April 7, 2011

A few links for today's ENGL 201

Kevin Young, "Aunties"


Wislawa Szymborska, "Advertisement"

Rhina Espaillat, "Weighing In"

Campbell McGrath, "Nights on Planet Earth"

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Tuesday, April 5, 2011

Links for today

Three links for today:

Anything But Standard


The Pardon


Losing River View Farm

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Friday, November 19, 2010

Anapest and Amphibrach are pronounced as Dactyls: And other Observations on Pronouncing Poetic Feet

"Anapest" and "amphibrach" are pronounced as dactyls.

"Dactyl" is pronounced as a trochee.

"Trochee" is pronounced as a trochee, too, and so is its opposite, "iamb."

"Spondee" pretty much sounds like a spondee to me.

So what does all this mean?

Director Barry Edelstein, who has coached Gwyneth Paltrow and many other actors in Shakespearean matters, offered this explanation of poetic feet in his book Thinking Shakespeare:

Iamb

The syllables go: Unstressed-stressed

dee-DUM

Like:

de-TROIT

new YORK

#

Trochee

The syllables go: Stressed-unstressed

DUM-dee

Like:

LON-don

BOS-ton

#

Anapest

The syllables go: Unstressed-unstressed-stressed

dee-dee-DUM

Like:

ten-nes-SEE

new or-LEANS

#

Dactyl

The syllables go: Stressed-unstressed-unstressed

DUM-dee-dee

Like:

I-o-wa

MICH-i-gan

#

Amphibrach (AM-fi-brack)

The syllables go: Unstressed-stressed-unstressed

dee-DUM-dee

Like:

chi-CA-go

al-AS-ka

#

Elsewhere -- meaning, outside of Edelstein's book -- I found examples of the spondee that I put together as follows:

Spondee

The syllables go: Stressed-stressed

DUM-DUM

Like:

hog-wild

U2

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Thursday, November 4, 2010

Animated poems and live performances by poets (for class)

Preposition (animated)
http://www.poetryfoundation.org/journal/videoitem.html?id=149


Incision (animated)
http://www.poetryfoundation.org/journal/videoitem.html?id=151


Lake Echo, Dear (animated)
http://www.poetryfoundation.org/journal/videoitem.html?id=153


Ted Kooser: Daddy Longlegs
http://www.poetryfoundation.org/journal/videoitem.html?id=161


Jane Hirshfield: For What Binds Us
http://www.poetryfoundation.org/journal/videoitem.html?id=159


Kevin Young: Aunties
http://www.poetryfoundation.org/journal/videoitem.html?id=169

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Sunday, September 5, 2010

'Tree of Heaven' by James McKean

Tree of Heaven (Iowa Poetry Prize)Tree of Heaven by James McKean

My rating: 5 of 5 stars


May I'm biased; Jim was my thesis adviser in grad school. Then again, the Iowa Poetry Prize should indicate the power of "Tree of Heaven." I'm not sure I can give an adequate description. I'll just say, I finished each poem in amazement and gratitude for a new way of seeing.



View all my reviews

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Tuesday, February 23, 2010

Abiding Images

An abiding image is a lingering picture in your head.

I'm simply jotting down these thoughts related to teaching poetry to freshmen.

A friend recently told me that older movies would show the same image for 10 seconds -- or did he say more than that?

By way of contrast, he said, today's films project images for a far briefer period of time.

The point?

I think poems are much like those older films. Poems can hold and examine images, and add new layers of meaning to images as well.

Jeanne Murray Walker once said that the point of poetry is to help us slow down.

Poems can help us drink in the abiding images and add some new meaning to the world around us.

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Sunday, January 4, 2009

An amateur poem: 'Losing River View Farm'

I originally submitted this poem in 2006 as part of my poetry applications to the master of fine arts in creative writing programs at both Queens University and Vermont College. I had also applied to both programs in creative nonfiction. The two schools accepted me in creative nonfiction, and both rejected me in poetry! I completed my MFA in creative nonfiction at Queens University, Charlotte, in May 2008. In the following poem, I tell a gut-wrenching story from my own life. From the standpoint of composition, I crafted the same number of syllables into each line, with a shift to fewer syllables per line in the last section, to represent the change I was describing.

Losing River View Farm
By Colin Foote Burch
(c) 2009 Colin Foote Burch

My lost love is two Flemish-brick chimneys
Connected by 300-year-old wood –
A remote farm house forever lost when
My grandfather bled into his bed and
The family knew henceforth the doctors
Would be too far away from River View.
We sold it, not before digging, peering
Through the house and barn, through decades of dust,
Through books and forgotten military
Uniforms and defiled clocks, over
The courses of weekends as my grandfather
Wobbled about, trying to regain his
Strength, trying to say good-bye forever.

There’s no silencing his regret or ours.
My uncle planned to retire down there.
That house tied me to the past’s bubbling fount,
And to a family history that
Gave a spiritual and ancestral
Home, just two or three miles from All Saints church,
Where my (namesake) great-grandfather still rests
Among Burches, Dents and Blackistons. Lost:
Our family land, our family farm,
In the state where I was born but lived for
Only three months, native Marylander.

There are some memories we can only
Remember while in this old house – even
In the new addition, built cozy to
The bedrock of Flemish brickwork. Here we
Watched football on the old RCA set,
Here we dozed nightly by the fireplace, here
We dipped Aunt Barb’s “Mississippi Mud’’ dip
And thought we could skip dinner. The large room
Of the new addition, living room and
Kitchen, was where my grandmother cooked eggs
And bacon and apples in a skillet.
Through the door way was the old house, the high
Ceiling of the old dining room, with its
Fireplace in the corner, where we piled a
Table for Thanksgiving and Christmas feasts.

There are some memories we can only
Remember while in this huge yard – those
Weaving runs through the boxwood rows, pursued
By our small black mutt; tossing the Frisbee
With a girlfriend to whom I would propose;
Picnics years ago under the cedar,
Before the tornado took it; Grandpop’s
Story of the water tower’s age-old
Skeleton – his summer duty as a
Boy was to clean the tank that’s been gone for
Decades now, while the lingering smell of
Honeysuckle on the quarter-mile lane
To Burch Road floats everlasting and strong.

There are some memories we can only
Remember while in this place – among the
Places where they were born, wood floors and walls,
Boxwoods and smokehouse as witnesses. In

My dream, water was flowing off the
Property into Canoe Neck Creek –
Not onto the property, not high
From storm or tide – flowing off the land,
A rolling gush down the gully now,
Between the grass and the crops, near the
Remnants of the old pier, into the
Great creek, a flow of thousands of small
Memories, indistinguishable
And tumbled together and drown in
The creek’s greedy memory, its mud
And water never sharing the past,
It will remain silent and stingy
As motorboats and water skis splash
The waters where our crab pot once sat,
Grandpop’s “Crustacean Hilton,” last home
To meals we cracked on the screened back porch –
A later tradition but one
I will always remember.

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Sunday, December 21, 2008

The ambitious holiday reading list

Reading:

The Triggering Town: Lectures and Essays on Poetry and Writing, by Richard Hugo

Shopgirl, by Steve Martin

Faith Seeking Understanding: An Introduction to Christian Theology, by Daniel L. Migliore

Radical Orthodoxy and the Reformed Tradition: Creation, Covenant, and Participation, James K.A. Smith and James H. Olthuis, editors

Macbeth, by Shakespeare

Critical Theory: A User-Friendly Guide, by Lois Tyson

Reading the Written Image: Verbal Play, Interpretation, and the Roots of Iconophobia, by Christopher Collins

Finishing or Continuing:

The Best Creative Nonfiction, Vol. 1, Lee Gutkind, editor

The Optimist: Poems, by Joshua Mehigan

The Last Battle, by C.S. Lewis, which I've been reading with the kids

Tree of Heaven: Poems, by Jim McKean, who was my thesis adviser

Air Guitar: Essays on Art and Democracy, by Dave Hickey

A Stay Against Confusion: Essays on Faith and Fiction, by Ron Hansen

Examining:

Imaginative Writing, by Janet Burroway

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Monday, May 5, 2008

C.S. Lewis' friend, poet Ruth Pitter, finally gets a critical biography

British poet Ruth Pitter was the first woman to win the Queen's Gold Medal for Poetry.

But you've probably never heard of her.

You've probably heard about the wannabe poet who sent her poems for her to critique -- that wannabe poet was C.S. Lewis.

Here's an interview with Don W. King, author of Hunting the Unicorn: A Critical Biography of Ruth Pitter (Kent State University Press), the first critical biography of Ruth Pitter, scheduled for release next month.

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Thursday, February 7, 2008

Poem first published in LiturgicalCredo.com will be anthologized

Rhett Iseman Trull’s poem “Counting Miracles at the State Asylum” will be included in an upcoming anthology entitled “The Poetry of Recovery,” which will feature several other established poets.

The poem was first published about a year ago in LiturgicalCredo.com, a member of the Council of Literary Magazines and Presses. LiturgicalCredo.com will be credited in the anthology.

Read ”Counting Miracles at the State Asylum” at http://www.liturgicalcredo.com/PoetryPage031507.html .

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Sunday, April 8, 2007

War and poetry in a Mt. Vernon, Iowa, Presbyterian church

When her congregation became divided over the war in Iraq, a liberal Presbyterian minister found that the patriots in the pews didn't want her quoting parts of the Bible. But Emory Gillespie ultimately found comfort among books of poetry and other war-weary clergy. She tells her story here:
http://www.poetryfoundation.org/features/feature.onpoetry.html?id=179405

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Monday, February 12, 2007

Thought for the Week: the immortal word

Isaac Asimov's defense of the written word:

"Consider, for instance, Hamlet's great soliloquy that begins with 'To be or not to be,' the poetic consideration of the pros and cons of suicide. It is 260 words long. Can you get across the essence of Hamlet's thought in a quarter of a picture -- or, for that matter, in 260 pictures? Of course not.... Pictures will not do; they will never do. Television is fun to watch, but it is utterly and entirely dependent on the spoken and written word.... There is a fundamental rule, then. In the beginning was the word (as the Gospel of John says in a different connection), and in the end will be the word. The word is immortal."

(I found this quote in Fit Bodies, Fat Minds by Os Guinness.)

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Monday, February 5, 2007

John Berryman & The Hold Steady

Brandon Stosuy says rockers The Hold Steady are channeling the late poet John Berryman in this PoetryFoundation.org article: http://www.poetryfoundation.org/features/feature.onpoetry.html?id=179023





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Friday, January 26, 2007

Cave Wall: A new journal of poetry & art

Rhett Iseman, a graduate of the UNC-Greensboro MFA program in poetry, has launched a new literary journal devoted to poetry and art: Cave Wall.

Iseman has published some first-class poets in the first edition, including Fred Chappell, who was North Carolina Poet Laureate 1997-2002. Chappell is also a novelist whose 1986 book Dagon was named the Best Foreign Book of the Year by the Academie Francaise (which would be in France).

For a sampling of the first edition's poetry and art, and for subscription details, hit http://www.cavewallpress.com/ .

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