Din is driven by a
mentality cluttered by the noise of second’s expiration. The cuckoo’s voice erupts at new sixties
peak; perhaps, for some nadir, perhaps for some, nadir
Numerals escalate and
descend, slashed and severed, if but for a moments glance. Thrashing to
commencement, in an elapsed respite never to arrive anew. This is true, very true.
Portent looming
undoubtedly draws and expires. Crescendos rise and mergers meld. Confluence is
inevitable, only its perception can be swayed; only perception can be swayed.
Purpose wavers not,
yet design can be reconditioned. Whether wontedly framed or crafted to a future
glimpsed, it’s function remains, ignorant to change, ignorant to change.
Faster, turning in revolution.
Circle, persisting in syncopation. Morning ever reaches night, as is
continuity’s design, lest, of course, if batteries should fail, lest if the
battery should die.
Never altering
pacing’s creed, each minutia’s never to repeat. Sounding still or pealing high,
some build toward elation, others are solely bled to cry, others solely bred to
cry.
Some stare in
anticipation when predictability is ever known. Some ignite their todays by the
voices of a tomorrow never told. Ever waiting for a second hand, a second hand
to hold.
Head on over to D'Verse for this latest installment of Meeting The Bar, where Victoria is revisiting imagist poetry, yet offering a zinger of a twist. She does a great job explaining the theme more fully and offers some wonderful examples in her article, which I strongly encourage all to read. So, head on over, read the article, link up your poem and then sit back and enjoy the work of the other poets of D'Verse.
Some ignite their todays by the voices of a tomorrow never told. Ever waiting for a second hand, a second hand to hold....this section really jumped out at me fred.....great job on th near repetitions at the end of each stanza as well gives it a haunting quality...cool rhythm to this one as well...
ReplyDeleteSo much to love here. The repetition in the last lines of each stanza works well--I got the feeling of the sameness of each tick of a clock. And of course the last image, the second hand to hold. Very well done!
ReplyDeleteI enjoyed your poem, Fred; but especially the last stanza. Definitely nothing is ever predictable...and we can never tell about tomorrow. I like the double meaning of 'a second hand.' I think we all would like another hand to hold on to; plus perhaps grab that second hand that keeps moving....in order to just slow down time!
ReplyDeleteEach have their own way of defining such life acts and usually go at thier own pace, sometimes no pace at all, but yeah as they say, timing is everything.
ReplyDeleteWow, Fred! There is amazing depth to this piece. I LOVE the ending. :)
ReplyDeleteTres scholarly... and I really like the repitition at the end of each stanza.
ReplyDeletea second hand to hold..much to ponder in this fred..to me it speaks about finding the own voice, the rhythm carrying..
ReplyDeleteI like this part best:
ReplyDeleteNever altering pacing’s creed, each minutia’s never to repeat. Sounding still or pealing high, some build toward elation, others are solely bled to cry, others solely bred to cry.
I think its a challenge to capture a moment or scene or a time ~ Enjoyed this Fred ~ Happy weekend ~
Your use of repetition in this highlights the whole feeling of syncopation, rhythm and reflection. Nicely done, Fred.
ReplyDeleteI like this the best -- lots to think about here
ReplyDeletePortent looming undoubtedly draws and expires. Crescendos rise and mergers meld. Confluence is inevitable, only its perception can be swayed; only perception can be swayed.
Some stare in anticipation when predictability is ever known. Some ignite their todays by the voices of a tomorrow never told. Ever waiting for a second hand,
ReplyDeleteRightly so! The future can be so mysteriously blanketed one often wonder what follows. The voice and the tone was just perfect, Fred!
Hank
...I like how you recited it Fred... It adds intensity and life to whole cover of the poem... especially the refraining lines with a bit of invertions between word/s - you recited every last line of each stanza in a lowering tone...almost murmuring and it works very effective & appealing to ears... Normally, when i do poetry reading i prefer to be consistent in sounding calm & slow...not initiating tone nor emphasizing word/s so as not to sound like in a declamation or oratorical recital...i prefer mine to be in a plain, deep tone...but of course there could always be an exception...since yours require a much intonation & speed on some lines or group of words... Thanks, i enjoyed it...smiles...
ReplyDelete