"It's not good enough for anything Scottish to be just an option that pupils or teachers can choose if they like or if they have time. In what other country of Europe would you find such a state of affairs?" #ScotsLanguagehttps://t.co/8MgV9cbA3g
— Àdhamh Ó Broin (@Gaeliconsultant) November 27, 2017
Last week, talented storyteller and fellow blogger H L Gibson asked me to offer some thoughts about poetry, along with an original poem. Here’s Part 2 of 2. ICYMI, see also Part 1.
Welcome back to The Artist’s Corner for the second portion of my interview with poet Carrie Tangenberg. Today, we’ll continue with Carrie’s amazing insight into poetry as well as enjoy one of her original poems.
Why is poetry important?
A literary question for the ages. I can only look through my biased poet’s lens, but I think it’s valuable not just because academia tells us it is.
For me: Poetry gave me a way to express myself early in life that did not demand absolute clarity or lots of text. I could write what I felt or wanted to feel. I could focus on rhythm and the sounds of words. It didn’t have to make sense to anyone but me, and even then, it took me a long time to be so kind to myself. I used to be quite experimental, moving from puns to invented words and concepts, creating…
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Writer, be free! Reblogging a post I pressed in 2015 from Live to Write – Write to Live, along with my commentary at the time. Happy Independence Day.
“The trick is to metabolize pain as energy. Learn, when hit by loss, to ask the right question: ‘What next?’ instead of ‘Why me?” — Julia Cameron, The Artist’s Way: A Spiritual Path to Higher Creativity
I agree with most of the major points in the main post linked above on the confidence/vulnerability topic, including the embedded, sampled responses. In fact, I found myself at each turn nodding and thinking, “Just like Julia Cameron says in The Artist’s Way.” Many of these themes and issues arise frequently in the book. **
The one thing I disagree with, and side with Cameron about, is the notion that we are our own best judges. While it is true that during the creation process it is best to eschew judgement (especially of ourselves) altogether, once the…
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A post linked at bottom from the blog http://memoriousmag.wordpress.com, companion to Memorious: A Journal of New Verse and Fiction, has moved and intrigued me. It also intersects with my own blog’s areas of poetry, nature, travel, art, and reviews.
Sara A. Lewis reviews Matthew Thorburn’s book-length poem Dear Almost and presents Leslie Harrison’s interview with the poet. An epistle in four parts parallel to the four seasons, the book is about the loss of Thorburn’s unborn daughter to miscarriage.
Some of the review and discussion’s elements that caught my especial attention and urged me today to pursue the book:
- a cultural tradition unfamiliar to me – classical Chinese poetry and Chinese language (Mandarin) through wife Lillian’s family and their 3-year-old son learning Chinese
- the notion of the “season suite” – A book-length poetic form brewing for Thorburn (though not consciously as a form) found its subject, and the book was born.
- the raw, peculiar experience of loss and grief for a forming but unborn child her father will never meet – This recalls for me actor Caitriona Balfe’s deeply affecting performance as Claire Fraser in episode 207, “Faith,” of the Outlander STARZ TV series (series 2 based on Gabaldon’s 2nd book Dragonfly in Amber), when Claire learns her first child, a daughter, was stillborn.
- Thorburn’s relationship with Elizabeth Bishop’s poetry, a favorite poet of mine – a coupling of attentiveness with deep, restrained emotion
- using haiku as bookends to a longer poetic passage
- the interviewer’s incisive sophistication and the poet’s elegant thoughts
The interview is a bit of subtle theater emulating the kind they finish it discussing–how epistolary works hold readers at bay as the audience overhears a conversation between others.
Matthew Thorburn’s fourth full-length collection, Dear Almost, has recently been released by Louisiana State University Press. A book-length poem broken into sections that correspond to the four se…
Reblogged from my friends at Assholes Watching Movies.
Here’s my comment on their post and the discussion (spoilers included).
Agreed about Jyn’s underdevelopment, along with that of Cassian (Diego Luna), and how unconvincing her 180 shift was. Not clear where she gets her fearlessness. Hubby thought this was more of a real story than the others–not just a bunch of explosions–but I think that’s unfair to eps 4-7. I agree with him Rogue One is better than The Force Awakens, but not by much. Tone is slightly different in a good way, but I found this early plot a little unclear, and the darkness felt more bleak due to insufficient character development.
Great K2-SO. Loved the nods to fans, even fighter pilot leaders. Unhappy with the Tarkin CG, I found it distracting, but, yes, a bit inevitable. The Director was a sort of blah as a villain, but high stakes really did come across more strongly for the Rebels than in the other films, except A New Hope. Also, refreshingly, this was the only film in which the question of tolerating oppression arose. As Jyn says, it’s not so bad “if you don’t look up.” It drives home the point that it’s no picnic for anyone under the Empire, not just for the Rebel Alliance.
Cinematically, I loved the shield gate battle on Scarif, like a blend of the space part of the Battle of Endor in Return of the Jedi, with Akbar-like characters, and assault on the Death Star in A New Hope, with the theme of getting into tight spaces to save the day (Jyn and Cassian, and Princess Leia’s officers with the plans). I found what the Empire chose to do on Scarif at the end to be a bit shocking, which stressed their evilness. The battle was a great, complex assault with multiple heroics on the beach, in the tower, and at the planet’s gate.
Yes, as a prequel into A New Hope, Rogue One was seamless and nearly flawless. Key things are explained that we never learn about anywhere else, like energy sources for Death Star and light sabers. Interesting that the Empire uses the Death Star in other, “smaller” ways prior to erasing Alderaan. The only connective improvement might have been a re-showing of the droids on Leia’s vessel to remind us they’d be there. Their single appearance without that felt forced. Darth Vader, yes. More Darth Vader, please. Loved it overall.
Rogue One is the movie the prequels should have been. It is fresh, entertaining, and necessary. Rogue One’s humour works for adults as well as five year olds (though any self-aware Star Wars fan must acknowledge that the gap there for us is not all that wide). Rogue One links to what we’ve seen before in a way that feels natural and rewards fans who are familiar with every scene of the original trilogy, and leads into the known end point of A New Hope without any trouble whatsoever.
Rogue One is also a movie that could never have been made under George Lucas’ watch. I do not even want to imagine how he would have approached this story, but tonally Rogue One is entirely different than all the movies that have come before, and better for it. This is not a classic adventure serial, it is a war movie…
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“I was reflecting, in the first place,” replied Dantès, “upon the enormous degree of intelligence and ability you must have employed to reach the high perfection to which you have attained. What would you not have accomplished if you had been free?”
[The abbé replies] “Possibly nothing at all; the overflow of my brain would probably, in a state of freedom, have evaporated in a thousand follies; misfortune is needed to bring to light the treasures of the human intellect. Compression is needed to explode gunpowder. Captivity has brought my mental faculties to a focus; and you are well aware that from the collision of clouds electricity is produced—from electricity, lightning, from lightning, illumination.”
– from The Count of Monte Cristo by Alexandre Dumas, Vol. 1, Ch. 17, “The Abbé’s Chamber”
True or false?
a pressed post
Response – the comment that wouldn’t post:
Great topics, Hannah! Thanks for the photo inspiration, too. I like the rice terrace idea Nathan mentioned.
Let’s see, other settings – canyons, badlands, active volcanoes, forests made of giant stalks of crops (wheat forest!), mine dwellings, something like the chocolate factory, castle as entire world, Africa-like savannahs or bush, underwater bubble worlds, some kind of constantly stormy place.
I’m writing a Through the Looking-Glass fanfic of sorts. I’m keeping all of the original features—chess squares, railway, reedy lake, Knights’ Forest, nearby meadow, Tulgey Wood adding a ravine, Garden of Live Flowers, magical brook crossings, feast hall for Alice’s coronation. I’ve added a river, sea coast, bog, mountains, alpine lake, farm, and Wonderland as the next-door neighbor, at least for now. This is my first foray into fantasy writing, so I’ll have to consider these other ideas! It helped to draw a map.
Does it automatically switch from fantasy to sci-fi if we go to space? Do we care?