Hunter

the hunter, alone
silent in the snowy copse
his heartbeat heard strong
a loud thumping from within
as his prey is spied

this day the elusive doe
in his sights stands still
graceful neck arched to the sun
breath misting the air

In a swiftness, eyes meet eyes
before frantic bolt

His shots in the air ring loud
rumbling the earth
setting all fauna in fear
of much more than him

his tale to be told come spring
sole consolation
as snow in numbers gather
too close for him to outrun
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dVerse has us Meeting the Bar by trying our hands at writing Choka, an unrhymed poem alternating five and seven syllables that end with an extra seven-syllable line. You can use the 17 or 19 onji (syllable) style.  It can be any number of lines that you choose.

dVerse ~ Poets Pub | Meeting the Bar~ the Choka

In Step

1! 2! 3! 4! 5! 6! 7! 8!
1! 2! 3! 4! 5! 6! 7! 8!

Her booted stilettoes are a forte staccato on the polished wood
Counter point to the allegro of the snapping castanets in her hands

1-2-3-4,
1-2-3-4,

Kitten heeled pumps are andante, in the diminuendo chords
Arms ebb and flow evoking waves, foliage that caters to a wind’s bend

1, 2, 3,

1, 2, 3

While soft soled flats give a dolce presence to the calando of the tune
Her fingers doloroso wiping imagined tears in the final longa before applause

1 and 2 and

Bare toes touch floor at last

Finite

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At Real Toads I am given inspiration to write a poem on shoes for Susi.

While at dVerse I Meet the Bar by giving some elements of music for Victoria.

Yesterday Haunts

like water in desert

the beauty of you quenches

my lips part – breath gasps

for the feel of your strong arms

that have yet to hold me close

><——><

a bloom of scarlet

stark against a white canvas

then sheets – now snow drifts

both give note to the battles

of my birth and of my death

><——><

where there is no sound

one hears how your voice  trembles

its timbre thrills – pains

gripped in memory’s cruel grasp

yesterday haunts tomorrow

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Today at dVerse Toni has us exploring the Tanka in its more traditional use. Having written non-traditional and super tanka before, I challenged my self to string a few together for something of a little narrative. The first tanka above are lovers at first sight, the middle – a soldier’s poem on his birth at his death and the last tanka – the lover left behind who remembers.

Tanka have a 5-7-5-7-7 syllable count, per line.  The first two lines of the tanka are known as the kami-no-ku – upper poem, the last two lines are the shimo-no-ku – lower poem.  The third line. middle line, is the kireji or, cutting line or pivot denoting the difference between the two parts.  This is important to remember when writing tanka.  There are also no uppercase letters, no punctuation (except for the short dash, like an aspirated breath) or title. Tanka are subjective and can be emotional, opinionated, sensual, and lyrical.  They move back and forth through time and use elegant phrases or euphamisms, simile and metaphor.

dVerse ~ Poets Pub | Meeting the Bar – Form: Tanka

Meter Down

Oh, I’m lousy at meter
Unless it’s Demeter
Of she I can speak night and day
Iambic pentameter
Just doesn’t matterer
To my muse any way

Saw what I did there, eh?

And “da-DUM da-DUM”
Just makes me feel dumb
Strike that mouse in the clock I begs
For I will give the boot
To all who mention “foot”
When lyrics ain’t got any legs,

But will run for some green ham and eggs. Dregs!

Whether di-, pent- or Hexes
Oh how meter vexes
The voice when unnaturally dropped
On meter spanned then
With lines enjambed when
Ow! I think my poor brain has popped!

And now my watch is end-stopped

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popped
In a play against how cell phones now seem to take up so much of our time, Izy at Real Toads takes us “Out of Standard” and challenges us to pick up our cell phones for some “inspiredo”  by taking the last text received and use it in a poem. Luckily, my last text had no emojis.

real-toads-buton

Real Toads | Out of Standard – From the Black Mirror 

Meanwhile at dVerse, Victoria challenges us to pick a subject and write in meter to set its mood. Can you say ‘Ugh!”? I have never been one for formal meter.  If a word or phrasing comes naturally to my write, an errant “foot”, sticking out like a sore thumb, will happen. The message is more important. Thus,  I could not resist delightfully mocking it here as my subject, throwing in some poetic terminology,  Hickory Dickory, Dr. Seuss and a touch of Game of Thrones to boot.

dverse

dVerse ~ Poets Pub | Meter-Made Mood–dVerse Meeting the Bar

Such A Little Word

I know he can hear me
I see it in his eyes
I feel the depth of his frustrations
With every tear he cries
I know he’s trying to rail,
Trying to scream, trying to shout
But try as he might, true words
That we all know, just can’t come out
A four-year-old mind trapped
In a fourteen year old frame
Each day holds very little difference
But they’re never quite just the same
Searching for the rare moments
Of complete cognizance
For that miracle of his smile
His soundless laugh with a little dance
Autism is such a little word
For the mighty struggle that goes on within
That my six year colloquially describes as
“Missing a part of what ought to be in him”
For a childish blanket statement
It sort of holds pat
But even at her young age she realizes
It’s a lot more than that
As cruel as only kids can be
They take stabs at her young soul
When teased about her big brother
Who has about as much control
On how some days he’s happy active
Willing to play, pretending to help sweep
Versus the several days at a time
When he’ll do little more than sleep
And I don’t know what is harder on us all
The bad days when he withdraws from all we meet
Or the really good days when we can spend hours
Without a sudden episode in the middle of the street
Those times give a false sense of hope
A hint of the child that he could have been
We endure instead, the echoes of silence
He’s forever trapped within

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Today at dVerse Victoria challenges us to write a poem in the first person. An extra challenge to write from a perspective not your own. My muse takes me to the heart of a parent of a challenged child.

dverse

dVerse Poets Pub | Meeting the Bar: Me, Myself and I

Remember

Within your hearts abode
                  a code
The slices of our past
              can last
Simple joys to not perish
              but cherish
Go on and  reminisce
               since
You hold the key
             see?
There will be your smile
                  awhile
Within the territory
             memory
             glory
              me

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Welcome to Echo Verse

An Echo Verse is a poem where the last word or syllable in a line is repeated or echoed underneath to form a rhyming line.

dVerse Poets | Meeting the Bar: Echo Verse

Talk Dirty To Me

Labium
superius and inferius oris
in tumescence
release a barely discernible decibel
of languorous aural emissions

All immediately negated
with the onset of cataglottism
to labia majora and minora

The effect
a highly desirous result
in the slow cessation
of osculation

The means of reduction
to the initiating stimuli
of narratophlia
via the buccal cavity
of a pleasing nature

<>==========<>==========<>

Today at dVese we’re challenged to Systematically Derange the Language by trying one of 3 approaches Reduction, Oulipa or Surprising Conceit to create a new poem. Via a combination of Reduction and Surprising Conceit I create a piece by using dry technical phrases in a place where most writers are very fluid and verbose on the subject.

dVerse ~ Poet’s Pub | Meeting The Bar 

So Cold

Oh so cold | my soul breaks

Your sweet warming touch | slick shards that shatter though my heart

Now fills with trepidation | the shrapnel of all your lies

Where it was once welcomed most fondly | leaves me with harsh truths

Breaks my soul | oh so cold

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The “Tonequain” is a poetic form created invented by Tony Meade. It is based on the classic cinquain form, then breaks it by adding an extra syllable to each line, giving a five-line poem with lines of 3, 5, 7, 9 and 3 syllables in that order. In addition where the classic has strict use of iambs, because of the odd number of syllables you cannot write an iambic poem in this form (you could try writing in dactyls, amphibrachs and/or anapaests if you want). You are free from of the iambic tyranny!

You can reverse the order of the lines, write a two stanza poem where the form of the stanzas mirror each other, or you could write a garland or even a coronet.

I had a little fun here where I wrote two Tonequains side by side. The first in 3, 5, 7, 9, 3 syllable order, the second in reverse with a 3, 9, 7, 5, 3 order. Each a Tonequin on its own, together creating a Super Tone if you will.

Enjoy

dVerse ~ Poets Pub | Meeting The Bar : The Cinquain … Expanded

Luna

woman_in_the_moon

Loquacious as stone she

Looks soft to the lonely

Listens to deep confides

Lifted in to the night

Likens their tears to tides

Lingering in the heart

Lost where to end or start

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Today at dVerse our host for this week, Vandana, asks us to create a Pleiades poem.

A Pleiades, invented in 1999, consists of seven lines of six syllables; each line starting with the same letter as the title. The title is a single word.

And as further challenge, our poem should reference to a celestial body in honor of the form inspired from a heavenly object.

dVerse ~Poets Pub | Meeting The Bar: Pleiades