haiku

[Zondrae]

David J.

number 4 is the one I would pick as closest to the Japanese ideal.

[Zondrae]

Marty Boy,

I believe you are trying to wind us up.
We know you have the heart of a poet and therefore, if you wish, you could find beauty in everything. See, you have shown us many times that you are not the thick headed yob you profess to be.So we know you are only having us on.

[Bob Pacey]

Both styles are just a jumble of thoughts really.

Almost like you are writing a bit of a note to yourself.

Might be attractive for some but verbal dribble to me.

Bob

[Neville Briggs]

The thing I find disconcerting about the Haiku is that they are so meagre. It's like trying to make a meal out of a jatz biscuit and one baked bean.

Almost like you are writing a bit of a note to yourself.

by George Bob, I think you've got it !!

[David J Delaney]

Here you go Neville, my attempt at a soliloquy.

Soliloquy of hope.

David J Delaney 22/10/2010 ©

Look through my eyes, can you see the swirling leaves dancing on the gentle breeze? hear the murmur and watch the swaying of the branches from the vast array of tropical trees, feel the increasing moisture of the approaching wet season as the ominous dark grey clouds seem to slowly amble across the sky, perhaps the smell of invigorating freshness from occasional rain showering like the flurry of confetti at a wedding, then turning into a deafening downpour flushing the roofs and gutters.

NO!

Look closer, I’m manacled, imprisoned to this nine to five doom for another three years, bound by a computer whose beeps and burps frustrate me: with it’s slowness and temperamental displays of defiance, and the phone, Oh Yes! this ringing, persistent, repetitive, unrelenting mind sapping technology with faceless people demanding attention, all driving my mind to an almost explosive finalé, I mull, force myself to receive the never ending procession of stock arriving, and, let’s not forget the orders going out, the smiling customers, forced smiles, wanting their goods, not concerned for my mental deterioration, three more years, will this torture be excruciatingly slow, sapping the very being from my body, do you, like me wish these three years to end now, so I can enjoy the freedom that nothingness brings.

Can you see it?

[David J Delaney]

G'day Marty, as I said before it's not everyones cuppa, have a read of this, & I'm not trying to convert you, just thought you might be interested in a little history mate.

http://en.wikipedia.org/wiki/History_of_poetry

[Bob Pacey]

Might have got it Nev but I really don't want it you can have it back.

Bob

[warooa]

It's like trying to make a meal out of a jatz biscuit and one baked bean.

hungry pleading eyes
"that, sir . . is a two-course meal"
super-model sighs

and it rhymes

[Bob Pacey]

Interesting Dave ????

Unlike the USA, Australia lacks any real academic discourse in the field of performance poetry or poets; there are no prizes, no courses of study at universities, no peer-reviewed journals, no histories, no national anthologies, nothing that could be considered a body of information for the study and analysis of performance poetry. All there is are reports that have appeared in the daily presses and on radio and television, and the memories of readings attended. In the USA, Def Poetry and Slams are the legacy of performing poets like Allen Ginsberg and the Beats, and those like Hedwig Gorski who eschewed writing for print and publishing their poems in books in favor of recording and radio broadcast. Academia associates the American performance poetry movement to a history of African American oral culture in its current manifestation as Def Poetry and Slam. Australia has yet to examine how aboriginal oral culture and classical oral traditions fit into the history of 'soundings.'

Since the 1960s, when regular rhyme and rhythm in poetry became replaced by a more freestyle expression, and the public soundings of these works relied less on familiar rhythms and more on the political, social and psychological interpretation of the words, sounded poetry, has been appreciated for many other qualities. The sound of words and word combinations, fragments of sentences, repetitions, mirroring within the text, alliteration and assonance and even internal rhyming became devices in the writing, and the line the basic unit of the poem, the breath determining the rhythm. The performing poets in 1978 drew attention to themselves as a new cultural formation and to the fact that there were poets dedicated to the sounding of poetry as their primary poetic activity and that poetry could be written not only for print, but exclusively or primarily for sounding. Obviously the print poets who were being asked to present their work to public audiences at State Writers' Festivals in the 1980s, must have felt intimidated by the performing poets that they shared the stages with, but history tells us they also had much to learn from them as well.


Bob

[Neville Briggs]

Interesting Dave. I've never made a study of soliloquy for writing. Often indulge in soliloquy, for me I think it might be called day-dreaming. .
I thought of another title for yours ": Bring on Retirement "


Are you supposed to have rhyming and alliteration in a Haiku Marty ??

the 1960s, when regular rhyme and rhythm in poetry became replaced by a more freestyle expression

I don't know what information forms the basis of that statement. If anyone cares to make the effort to look at poetry in Australia over the last fifty years, they will find that that statement is not true.
Rhyme and rhythm are forms of poetic structure, they have never been " replaced ".
" Freestyle" is also a type of construction, rhythm and rhyme are to be found in so-called freestyle, just not placed in the conventional way. Also you can find that plenty of modern poets have always retained the easily recognizable formal structures including metric and rhyming schemes. Colin Thiele, Judith Wright ,Clive James, Kath Walker and Kevin Hart are examples.

Although I agree, that in contemporary poetry, informal and sometimes unstructured verse has been favoured over others.

" expression " is a different thing. Poetic expression is something that is both unchanging and evolving. It is unchanging; in that poetic expression is always the distilling or intensifying of language to speak directly to the emotions.
It is changing; in that language evolves, and poetry, I think, should evolve also so that it speaks with the voice of to-day, not the manners of a past time.

That's why I get a bit bemused about our discussions that get bogged down because we are not all talking about the same thing.

I think it is much better and much more productive to leave off banging on about what we like or don't like in forms.

Let's concentrate on what we all like. Which surely must be, the mystical or magical way in which poetry speaks straight to the heart in a way no other speech can do.