09-24-2012, 11:58 PM
If the reply is the poem as Billy says then Addy is now a literary figure, open for allusions in the literary canon.
I think this one has the feel of being more solid than a couple other ones I put on here, called "evolving" and "beyond", where I want the reader to join the process. I'm trying to be direct to someone, but the subject keeps dissolving into another then another. So it's as if I'm trying to morph myself into each cycle of someone's attention span that's running away with them, and me, and the poem. The poetic qualities break down, into quantities. And it's a painful thing for me, I'd much rather write a solid Romantic poem like Byron. So there's those tensions between what I'm trying to say to someone and what I end up saying in life. As is compacted in the poems.
The only real solid Romantic point this poem tries to make is that this person I'm speaking to is unique, and all of these allusions and comparisons are weak and fleeting.---So the critics get the idea right, but they don't get the drift; which is understandable. It is a direct tone, as Philatone says. I feel I have no ground to stand on, and I'm constructing a reality out of a desperate situation, where the speaker is losing himself and his relationship in trying to repair it. The responses by others and by me are as much part of the poem, in that they help me with other writings. Realities and identities are changing rapidly in my experience, and all of you help by giving multiple perspectives to abstract intangibles. Which is the field I'm working on. Is it worth maintaining a persona in a reality where soul is only a poetic construction deconstructed by psychology? Sometimes a poem is only a man trying to write himself.
I think this one has the feel of being more solid than a couple other ones I put on here, called "evolving" and "beyond", where I want the reader to join the process. I'm trying to be direct to someone, but the subject keeps dissolving into another then another. So it's as if I'm trying to morph myself into each cycle of someone's attention span that's running away with them, and me, and the poem. The poetic qualities break down, into quantities. And it's a painful thing for me, I'd much rather write a solid Romantic poem like Byron. So there's those tensions between what I'm trying to say to someone and what I end up saying in life. As is compacted in the poems.
The only real solid Romantic point this poem tries to make is that this person I'm speaking to is unique, and all of these allusions and comparisons are weak and fleeting.---So the critics get the idea right, but they don't get the drift; which is understandable. It is a direct tone, as Philatone says. I feel I have no ground to stand on, and I'm constructing a reality out of a desperate situation, where the speaker is losing himself and his relationship in trying to repair it. The responses by others and by me are as much part of the poem, in that they help me with other writings. Realities and identities are changing rapidly in my experience, and all of you help by giving multiple perspectives to abstract intangibles. Which is the field I'm working on. Is it worth maintaining a persona in a reality where soul is only a poetic construction deconstructed by psychology? Sometimes a poem is only a man trying to write himself.