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Published: 2012-11-16 14:45:13 +0000 UTC; Views: 634; Favourites: 13; Downloads: 2
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Description
Nestling into my side on the couch,she murmurs half-asleep that
“Home always had a fireplace
for the winter,
even when we lived
in the Winnabow boonies.”
Her father would buy dried oak logs
from the beds of pick-ups,
later hauled in by her brothers
to join wood-smoke
with the home-smells
of vanilla candles,
baking bread and Brunswick stew,
drifting outside on wisps
of chimney smoke.
“When we were younger,
we were always dirty,”
she tells me, smiling at her dusty feet
buried in the light, silty soil
of her early-childhood island.
“But in a healthy, little-kid way, you know?”
They did not believe in shoes
and loved digging winter holes
in the dirt-sand beside the garage,
dreaming of China
and pretending to be meerkats
until real dirt and manure
filled the holes with spring garden.
Elbows on the ferry rail,
she leans forward, hair knotting
around her face.
During Oak Island hurricanes,
she would stand outside before the rain
and stretch out her arms
against the feral gusts,
feeling just a little more weightless,
just a little closer to birds
in the throaty hum of the wind
and the absence of taming voices.
“I used to sit in the very tops of trees too,
swaying, clinging to one limb, every moment thinking
What if it breaks? What if I fall?”
She looks over at me studying her.
“But I’m too big for tree-climbing now.”
Once, I told her that children
must remember their earliest heartbeats
in the primordial ocean of the womb
because there is something about water
that draws children like mosquitoes --
they splash in the puddles,
play in the tide pools,
stare over bridge railings
at the rolling dark of the rivers below.
“I never forgot that fascination,”
she tells me, tossing a coin into the sea.
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Comments: 11
WhispereDreams [2013-12-10 11:17:30 +0000 UTC]
I disagree with Braxton-T-Rutledge. I love all of it except for the last stanza. I find it really jarring the way the diction suddenly leaps to the academic. I'd probably like it just as much as the rest without the third line "the primordial ocean of the womb". It just doesn't fit the rest, even with two speakers. It sounds like some neo-Freudian critical theorist jumped in. The rest of the poem is just so image-rich, and the final stanza, most especially that line, is far more cerebral.
I see in your comments that the final stanza is the one that contains the ideas you're most attached to, and I'm sorry if I seem harsh. I like the ideas. I too feel we have some tie to water, to the ocean, and have played with that in my writing (if you're interested, the idea comes up in my piece called "Murder" or "A Murder" or whatever I settled on for title, so feel free to go be harsh to that. Or don't read it. Just presenting evidence that I'm not just trying to say something nice after being mean.).
But I think maybe because that's the idea that seems biggest and most important, you're upping the diction to explain what seems most complex, and I feel like it just isn't working. I think you say just as much in your third stanza, with the concrete images of the branches, or even the wind and feeling closer to flying, and the comparison of childhood and adulthood in simple phrases. I think that "But I'm too big for tree-climbing now" is incredibly poignant and speaks volumes there, especially at the end of the notion of weightlessness, of delicious fear knowing the branches could break, all without having to resort to archaic formal, high diction like "primordial" or "womb".
So to answer your question #3 I guess I relate to the third stanza the most, and the fourth the least, though I really want to relate to the fourth and would if the diction didn't turn me into an academic instead of a child enthralled in the spellwork of story and reminiscence.
Question 1... I guess so, though not in terms of each stanza being about an element. (I guess this is about question 2 as well). I honestly didn't cotton on that we were doing an element per stanza and that was why it was called "Elemental" until I read your guidelines for critique. I see it now, and it works, and it's obviously not too in your face. But the reason the title works for me is more that the emotions brought out seem elemental in their ways, raw and open to the world, as brought out through your imagery that connects it so firmly -- except, for me, in the last stanza. But I suppose, depending what you're going for, you might want to go for a more concrete image-based title rather than a metaphorical one (as I originally thought) or one which refers to the structural theme of the poem.
(PS -- sorry this critique is so absurdly late... I was away for a while and am now making my way through my backlog of items in my deviantwatch in chronological order.)
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oracle-of-nonsense In reply to WhispereDreams [2013-12-12 03:15:32 +0000 UTC]
Thank you very much for this, it's very helpful (not harsh or late at all)! Thank to you, I may actually include this in my application for an MFA program, once I get it edited
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WhispereDreams In reply to oracle-of-nonsense [2013-12-12 11:23:32 +0000 UTC]
You're very welcome. Glad it didn't seem harsh.
I've been away from writing and critiquing for a while. I feel like my keyboard should be creaking like an unoiled hinge. It's nice to hear that my thoughts are still helpful. I've missed this.
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Braxton-T-Rutledge [2013-03-31 21:56:47 +0000 UTC]
I don't think the title works. By the time I reach the end, I'm thinking a title like "Standing in my childhoods footsteps" or "beside the ocean of my youth." Something like that. I can see you using nature in the poem, but it is neither about the elements, nor is it about an elemental, or even about an elemental force, so much as it is a quiet musing in the presence of some other person, some other voice. I'm not one for titles, I am generally bad at titling my own work, but this title doesn't fit the poem.
The poem works as a whole, not because of the elements, but because it is a unified series of musings on childhood, it is nostalgia that holds this together and unifies it.
The last stanza I connected with the most. I've long thought that we as people remember being suspended in water, with the gentle sway of our mothers movement. We love swings, we love immersion in warm water, generally close to the temperature you'd find in the womb. I've written several things which include this idea (none of them really turned out well or have been revised yet). I can identify with the other stanzas as well, each one is approachable. We all have memories of childhood, and we can easily fall into the nostalgia the voice of the poem presents.
I don't think this poem knows what it is about yet. By your questions for critique, I think you were aiming at one thing, but something else happened instead. I'd dig deeper into the childhood, dig deeper into the past, or dig into the present. What do these memories mean to the voice here? Why are they remembering them now?
I think I've already covered the ideas and images, but this is a poem without a Meaning or Message, and that is a good thing. It doesn't preach, just reveals in a quiet way bits of a life, of memories, and the tone of the poem is both wistful and matter of fact.
If anything, more setting. Give us a sense of where they are, who is speaking, why they are there, how much time is passing while these memories are bubbling up? There are a lot of things to add here, maybe not a lot of words, but little hints of what's going on around this speaker and whomever they are speaking to.
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oracle-of-nonsense In reply to Braxton-T-Rutledge [2013-04-03 01:33:26 +0000 UTC]
It began as less story, more just a random collection of memories that each dealt with one element. Now, it has become something else, and the title should probably change to mirror that, although I have no idea what to change it to, being very bad at titles.
I also connect with the last stanza the most, so that's nice to hear. Sometimes I wonder if I'm the only one who understands the things I think about most days, so it's nice to know that others share those musings.
I don't know myself who the two speakers are, although someone interpreted them as present-me and past-me, which I suppose could very well work, although I didn't have that in mind particularly when creating the storytelling aspect and the two speakers. I'll have to think more about who I want them to be before deciding on any details to add in.
Thank you very much for taking the time to write this detailed comment. I really do appreciate it.
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FuzzyHoser [2013-03-08 01:37:53 +0000 UTC]
This is really charming and sweet.
I really enjoyed it.
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oracle-of-nonsense In reply to FuzzyHoser [2013-03-08 02:11:47 +0000 UTC]
Thank you I'm glad you enjoyed it
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Will7744 [2012-11-22 04:39:42 +0000 UTC]
prosaic, yes, but rich, laden with light touches all the way through - had me from "into a patchwork quilt of scents," - if these aren't your memories, you affect them brilliantly
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oracle-of-nonsense In reply to Will7744 [2012-11-22 14:58:02 +0000 UTC]
They are my memories, and I'm glad I wrote about them well enough for you to enjoy them. Thank you
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glossolalias [2012-11-17 15:38:44 +0000 UTC]
your work has been featured here: [link] please go check out the other pieces & have a nice day
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