will.dockery@gmail-dot-com.no-spam.invalid (Will-Dockery) posted:
Michael Pendragon wrote:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Michael Pendragon <user17124> posted:
FRAGMENTIST POETRY EXPLAINED:
As many of our readers are aware, Fragment Poetry is a literary >> movement that began in the latter part of the Twentieth Century. It
combines stream of consciousness with word/thought association, >> eschews traditional grammar, and focuses on vaguely related thought
fragments rather than a traditional (intelligible) narrative.
"Polished Moonlight" is a typical example from this movement.
Polished Moonlight
Fragmentist poetry often uses catchy titles, and "Polished Moonlight"
is no exception. The titular phrase reads like a lovely metaphor, as
indeed it would be if only it were a metaphor for *something.* >>
In Fragmentist poetry, a metaphor doesn't require a meaning. The
poet uses metaphoric sounding phrases for the sake of creating >> pseudo-metaphors; much as it employs symbolic sounding words for the
sake of sounding symbolic.
The reader is left to supply any meaning for the title, the
"metaphors," "symbols," as well as for the poem itself.
This poem, however, being mercifully brief, is actually fairly simple
to figure out.
The phrase, "Polished moonlight," implies a brighter, shinier, even
smoother, variation of the generic variety. Exactly how this relates
to the rest of the poem is anybody's guess. And that's the point.
Fragmentism is designed to be a series of associative thought
fragments that imitate the workings of the thought process. The >> reader follows the poet's chain of associations, then adds their own
to complete the poetic experience.
Polished moonlight
beams from the darkness
Typically, the poem starts off with what appear to be two thought
fragments (assuming that "beams" is used as a noun, and not a verb).
Either way, the meaning is the same: beams of moonlight shine down
from the darkness of the night sky.
Granted, this is not a particularly strong statement, but a poem >> comprising a series of thought fragments is not meant to make any
statement. The beams of light coming out of the darkness merely >> serves as an associative prompt for the next image/thought fragment.
brothers free
for the music riff.
How does one associate "brothers free" with moonbeams? And where
does the music riff come from?
The answer, of course, is that this is the thought process of the
poet. And if the reader is a mentally ill, homeless, alcoholic, and
drug addict, one can't expect his thought associations to be the same
as our own. The poet is taking us on a journey through his thoughts
(or, rather, thought fragments), and our job as readers is simply to
sit back, enjoy the ride, and to add any of our own associations >> arise.
However, as I am familiar with this poet's body of work, and the >> frequently recurring themes and motifs that appear in it, I feel that
I can safely say that the "brothers" are "Stinky George" (the author)
and "Dirty Mike," two derelicts who "camp" together under the same
piece of discarded tarp. The music riffs are those played by Dirty
Mike each night on his guitar, banjo, mandolin, lute, zither, or >> harp.
A gift from Heaven
The moonbeams are a gift from Heaven. Again, this is not a
particularly profound (or even remotely novel) idea. It does, >> however, bring the thought associations back to the original image
(moonlight).
Orion in dust
hidden in the haze
Apparently, the constellation is obscured by clouds (or clouds of
pollution rising above the Chattahoochee).
mysterious magic.
Is the "haze" the "mysterious magic," or the combination of
moonlight, haze, and Dirty Mike's guitar riffs?
Literally, the haze: probably, all three. Fragmentist poetry doesn't
require a formal education, and the reader is challenged to uncover
what the poet meant, rather than what he actually wrote.
All for your love
a drink of cold water.
Fragmentists often suddenly address a previously non-existent "you."
Whether this is a character in their poem, or their reader, is again
up to the reader's interpretation.
However, since 80 percent of Stinky George's poetry is about him,
Dirty Mike, and Loretta (a homeless crack ho he was romantically >> involved with) playing music and dancing around their "camp" fire,
one can safely conclude that Loretta is being addressed.
Which explains the final fragment, "a drink of cold water."
Loretta's love is a proverbial "drink of cold water" to Stinky G.
And all of the magic: the moonlight, the haze, Dirty Mike's guitar
riffs; were all done (whether by the universe or the enchantment of
the poet) to obtain the crack ho's love.
IOW, it's a saccharine-coated, and risibly sappy, love poem with >> nothing new to say.
But the meaning is unimportant. The purpose of Fragmentist poetry is
in the journey one takes to reach that meaning. And here we journey
through a mixture of both clich|-d and extremely obscure images >> (portrayed as associative thought fragments) to reach a
stereotypically romantic climax -- two lovers being serenaded in the
moonlight.
It is well known that you don't "get" modern poetry, Pendragon.
And so it goes.
Keep telling yourself that
Michael Pendragon <user17124@newsgrouper.org.invalid> posted:
will.dockery@gmail-dot-com.no-spam.invalid (Will-Dockery) posted:
Michael Pendragon wrote:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Michael Pendragon <user17124> posted:
FRAGMENTIST POETRY EXPLAINED:
As many of our readers are aware, Fragment Poetry is a literary
movement that began in the latter part of the Twentieth Century. It
combines stream of consciousness with word/thought association,
eschews traditional grammar, and focuses on vaguely related thought
fragments rather than a traditional (intelligible) narrative. >>
"Polished Moonlight" is a typical example from this movement. >>
Polished Moonlight
Fragmentist poetry often uses catchy titles, and "Polished Moonlight"
is no exception. The titular phrase reads like a lovely metaphor, as
indeed it would be if only it were a metaphor for *something.* >>
In Fragmentist poetry, a metaphor doesn't require a meaning. The
poet uses metaphoric sounding phrases for the sake of creating >> pseudo-metaphors; much as it employs symbolic sounding words for the
sake of sounding symbolic.
The reader is left to supply any meaning for the title, the
"metaphors," "symbols," as well as for the poem itself.
This poem, however, being mercifully brief, is actually fairly simple
to figure out.
The phrase, "Polished moonlight," implies a brighter, shinier, even
smoother, variation of the generic variety. Exactly how this relates
to the rest of the poem is anybody's guess. And that's the point.
Fragmentism is designed to be a series of associative thought >> fragments that imitate the workings of the thought process. The
reader follows the poet's chain of associations, then adds their own
to complete the poetic experience.
Polished moonlight
beams from the darkness
Typically, the poem starts off with what appear to be two thought
fragments (assuming that "beams" is used as a noun, and not a verb).
Either way, the meaning is the same: beams of moonlight shine down
from the darkness of the night sky.
Granted, this is not a particularly strong statement, but a poem
comprising a series of thought fragments is not meant to make any
statement. The beams of light coming out of the darkness merely
serves as an associative prompt for the next image/thought fragment.
brothers free
for the music riff.
How does one associate "brothers free" with moonbeams? And where
does the music riff come from?
The answer, of course, is that this is the thought process of the
poet. And if the reader is a mentally ill, homeless, alcoholic, and
drug addict, one can't expect his thought associations to be the same
as our own. The poet is taking us on a journey through his thoughts
(or, rather, thought fragments), and our job as readers is simply to
sit back, enjoy the ride, and to add any of our own associations
arise.
However, as I am familiar with this poet's body of work, and the
frequently recurring themes and motifs that appear in it, I feel that
I can safely say that the "brothers" are "Stinky George" (the author)
and "Dirty Mike," two derelicts who "camp" together under the same
piece of discarded tarp. The music riffs are those played by Dirty
Mike each night on his guitar, banjo, mandolin, lute, zither, or
harp.
A gift from Heaven
The moonbeams are a gift from Heaven. Again, this is not a
particularly profound (or even remotely novel) idea. It does, >> however, bring the thought associations back to the original image
(moonlight).
Orion in dust
hidden in the haze
Apparently, the constellation is obscured by clouds (or clouds of
pollution rising above the Chattahoochee).
mysterious magic.
Is the "haze" the "mysterious magic," or the combination of
moonlight, haze, and Dirty Mike's guitar riffs?
Literally, the haze: probably, all three. Fragmentist poetry doesn't
require a formal education, and the reader is challenged to uncover
what the poet meant, rather than what he actually wrote.
All for your love
a drink of cold water.
Fragmentists often suddenly address a previously non-existent "you."
Whether this is a character in their poem, or their reader, is again
up to the reader's interpretation.
However, since 80 percent of Stinky George's poetry is about him,
Dirty Mike, and Loretta (a homeless crack ho he was romantically
involved with) playing music and dancing around their "camp" fire,
one can safely conclude that Loretta is being addressed.
Which explains the final fragment, "a drink of cold water."
Loretta's love is a proverbial "drink of cold water" to Stinky G.
And all of the magic: the moonlight, the haze, Dirty Mike's guitar
riffs; were all done (whether by the universe or the enchantment of
the poet) to obtain the crack ho's love.
IOW, it's a saccharine-coated, and risibly sappy, love poem with
nothing new to say.
But the meaning is unimportant. The purpose of Fragmentist poetry is
in the journey one takes to reach that meaning. And here we journey
through a mixture of both clich|-d and extremely obscure images
(portrayed as associative thought fragments) to reach a
stereotypically romantic climax -- two lovers being serenaded in the
moonlight.
It is well known that you don't "get" modern poetry, Pendragon.
And so it goes.
Keep telling yourself that
You make it very clear, Pendragon.
Even the greatest modern poets, Allen Ginsberg, Charles Bukowski, Jack Kerouac, you don't like or understand.
And so it goes.
will.dockery@gmail-dot-com.no-spam.invalid (Will-Dockery) posted:
Michael Pendragon wrote:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Michael Pendragon <user17124> posted:
FRAGMENTIST POETRY EXPLAINED:
As many of our readers are aware, Fragment Poetry is a literary
movement that began in the latter part of the Twentieth Century. It
combines stream of consciousness with word/thought association,
eschews traditional grammar, and focuses on vaguely related thought
fragments rather than a traditional (intelligible) narrative.
"Polished Moonlight" is a typical example from this movement.
Polished Moonlight
Fragmentist poetry often uses catchy titles, and "Polished Moonlight"
is no exception. The titular phrase reads like a lovely metaphor, as
indeed it would be if only it were a metaphor for *something.*
In Fragmentist poetry, a metaphor doesn't require a meaning. The
poet uses metaphoric sounding phrases for the sake of creating
pseudo-metaphors; much as it employs symbolic sounding words for the
sake of sounding symbolic.
The reader is left to supply any meaning for the title, the >> "metaphors," "symbols," as well as for the poem itself.
This poem, however, being mercifully brief, is actually fairly simple
to figure out.
The phrase, "Polished moonlight," implies a brighter, shinier, even
smoother, variation of the generic variety. Exactly how this relates
to the rest of the poem is anybody's guess. And that's the point.
Fragmentism is designed to be a series of associative thought
fragments that imitate the workings of the thought process. The
reader follows the poet's chain of associations, then adds their own
to complete the poetic experience.
Polished moonlight
beams from the darkness
Typically, the poem starts off with what appear to be two thought
fragments (assuming that "beams" is used as a noun, and not a verb).
Either way, the meaning is the same: beams of moonlight shine down
from the darkness of the night sky.
Granted, this is not a particularly strong statement, but a poem
comprising a series of thought fragments is not meant to make any
statement. The beams of light coming out of the darkness merely
serves as an associative prompt for the next image/thought fragment.
brothers free
for the music riff.
How does one associate "brothers free" with moonbeams? And where
does the music riff come from?
The answer, of course, is that this is the thought process of the
poet. And if the reader is a mentally ill, homeless, alcoholic, and
drug addict, one can't expect his thought associations to be the same
as our own. The poet is taking us on a journey through his thoughts
(or, rather, thought fragments), and our job as readers is simply to
sit back, enjoy the ride, and to add any of our own associations
arise.
However, as I am familiar with this poet's body of work, and the
frequently recurring themes and motifs that appear in it, I feel that
I can safely say that the "brothers" are "Stinky George" (the author)
and "Dirty Mike," two derelicts who "camp" together under the same
piece of discarded tarp. The music riffs are those played by Dirty
Mike each night on his guitar, banjo, mandolin, lute, zither, or
harp.
A gift from Heaven
The moonbeams are a gift from Heaven. Again, this is not a >> particularly profound (or even remotely novel) idea. It does,
however, bring the thought associations back to the original image
(moonlight).
Orion in dust
hidden in the haze
Apparently, the constellation is obscured by clouds (or clouds of
pollution rising above the Chattahoochee).
mysterious magic.
Is the "haze" the "mysterious magic," or the combination of >> moonlight, haze, and Dirty Mike's guitar riffs?
Literally, the haze: probably, all three. Fragmentist poetry doesn't
require a formal education, and the reader is challenged to uncover
what the poet meant, rather than what he actually wrote.
All for your love
a drink of cold water.
Fragmentists often suddenly address a previously non-existent "you."
Whether this is a character in their poem, or their reader, is again
up to the reader's interpretation.
However, since 80 percent of Stinky George's poetry is about him,
Dirty Mike, and Loretta (a homeless crack ho he was romantically
involved with) playing music and dancing around their "camp" fire,
one can safely conclude that Loretta is being addressed.
Which explains the final fragment, "a drink of cold water." >> Loretta's love is a proverbial "drink of cold water" to Stinky G.
And all of the magic: the moonlight, the haze, Dirty Mike's guitar
riffs; were all done (whether by the universe or the enchantment of
the poet) to obtain the crack ho's love.
IOW, it's a saccharine-coated, and risibly sappy, love poem with
nothing new to say.
But the meaning is unimportant. The purpose of Fragmentist poetry is
in the journey one takes to reach that meaning. And here we journey
through a mixture of both clich|-d and extremely obscure images
(portrayed as associative thought fragments) to reach a
stereotypically romantic climax -- two lovers being serenaded in the
moonlight.
It is well known that you don't "get" modern poetry, Pendragon.
And so it goes.
Keep telling yourself that
You make it very clear, Pendragon.
Even the greatest modern poets, Allen Ginsberg, Charles Bukowski, Jack Kerouac, you don't like or understand.
And so it goes.
I never said that I didn't understand them
Michael Pendragon <user17124@newsgrouper.org.invalid> posted:
will.dockery@gmail-dot-com.no-spam.invalid (Will-Dockery) posted:
Michael Pendragon wrote:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Michael Pendragon <user17124> posted:
FRAGMENTIST POETRY EXPLAINED:
As many of our readers are aware, Fragment Poetry is a literary
movement that began in the latter part of the Twentieth Century. It
combines stream of consciousness with word/thought association,
eschews traditional grammar, and focuses on vaguely related thought
fragments rather than a traditional (intelligible) narrative.
"Polished Moonlight" is a typical example from this movement.
Polished Moonlight
Fragmentist poetry often uses catchy titles, and "Polished Moonlight"
is no exception. The titular phrase reads like a lovely metaphor, as
indeed it would be if only it were a metaphor for *something.*
In Fragmentist poetry, a metaphor doesn't require a meaning. The
poet uses metaphoric sounding phrases for the sake of creating
pseudo-metaphors; much as it employs symbolic sounding words for the
sake of sounding symbolic.
The reader is left to supply any meaning for the title, the
"metaphors," "symbols," as well as for the poem itself.
This poem, however, being mercifully brief, is actually fairly simple
to figure out.
The phrase, "Polished moonlight," implies a brighter, shinier, even
smoother, variation of the generic variety. Exactly how this relates
to the rest of the poem is anybody's guess. And that's the point.
Fragmentism is designed to be a series of associative thought
fragments that imitate the workings of the thought process. The
reader follows the poet's chain of associations, then adds their own
to complete the poetic experience.
Polished moonlight
beams from the darkness
Typically, the poem starts off with what appear to be two thought
fragments (assuming that "beams" is used as a noun, and not a verb).
Either way, the meaning is the same: beams of moonlight shine down
from the darkness of the night sky.
Granted, this is not a particularly strong statement, but a poem
comprising a series of thought fragments is not meant to make any
statement. The beams of light coming out of the darkness merely
serves as an associative prompt for the next image/thought fragment.
brothers free
for the music riff.
How does one associate "brothers free" with moonbeams? And where
does the music riff come from?
The answer, of course, is that this is the thought process of the
poet. And if the reader is a mentally ill, homeless, alcoholic, and
drug addict, one can't expect his thought associations to be the same
as our own. The poet is taking us on a journey through his thoughts
(or, rather, thought fragments), and our job as readers is simply to
sit back, enjoy the ride, and to add any of our own associations
arise.
However, as I am familiar with this poet's body of work, and the
frequently recurring themes and motifs that appear in it, I feel that
I can safely say that the "brothers" are "Stinky George" (the author)
and "Dirty Mike," two derelicts who "camp" together under the same
piece of discarded tarp. The music riffs are those played by Dirty
Mike each night on his guitar, banjo, mandolin, lute, zither, or
harp.
A gift from Heaven
The moonbeams are a gift from Heaven. Again, this is not a
particularly profound (or even remotely novel) idea. It does,
however, bring the thought associations back to the original image
(moonlight).
Orion in dust
hidden in the haze
Apparently, the constellation is obscured by clouds (or clouds of
pollution rising above the Chattahoochee).
mysterious magic.
Is the "haze" the "mysterious magic," or the combination of
moonlight, haze, and Dirty Mike's guitar riffs?
Literally, the haze: probably, all three. Fragmentist poetry doesn't
require a formal education, and the reader is challenged to uncover
what the poet meant, rather than what he actually wrote. >>
All for your love
a drink of cold water.
Fragmentists often suddenly address a previously non-existent "you."
Whether this is a character in their poem, or their reader, is again
up to the reader's interpretation.
However, since 80 percent of Stinky George's poetry is about him,
Dirty Mike, and Loretta (a homeless crack ho he was romantically
involved with) playing music and dancing around their "camp" fire,
one can safely conclude that Loretta is being addressed. >>
Which explains the final fragment, "a drink of cold water."
Loretta's love is a proverbial "drink of cold water" to Stinky G.
And all of the magic: the moonlight, the haze, Dirty Mike's guitar
riffs; were all done (whether by the universe or the enchantment of
the poet) to obtain the crack ho's love.
IOW, it's a saccharine-coated, and risibly sappy, love poem with
nothing new to say.
But the meaning is unimportant. The purpose of Fragmentist poetry is
in the journey one takes to reach that meaning. And here we journey
through a mixture of both clich|-d and extremely obscure images
(portrayed as associative thought fragments) to reach a
stereotypically romantic climax -- two lovers being serenaded in the
moonlight.
It is well known that you don't "get" modern poetry, Pendragon.
And so it goes.
Keep telling yourself that
You make it very clear, Pendragon.
Even the greatest modern poets, Allen Ginsberg, Charles Bukowski, Jack Kerouac, you don't like or understand.
And so it goes.
I never said that I didn't understand them
Yet you obviously do not.
Michael Pendragon wrote:
Will Dockery <user3274> posted:
Michael Pendragon <user17124> posted:
will.dockery@gmail-dot-com.no-spam.invalid (Will-Dockery) posted:
Michael Pendragon wrote:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Michael Pendragon <user17124> posted:
FRAGMENTIST POETRY EXPLAINED:
As many of our readers are aware, Fragment Poetry is a literary
movement that began in the latter part of the Twentieth Century. It
combines stream of consciousness with word/thought association,
eschews traditional grammar, and focuses on vaguely related thought
fragments rather than a traditional (intelligible) narrative.
"Polished Moonlight" is a typical example from this movement.
Polished Moonlight
Fragmentist poetry often uses catchy titles, and "Polished Moonlight"
is no exception. The titular phrase reads like a lovely metaphor, as
indeed it would be if only it were a metaphor for *something.*
In Fragmentist poetry, a metaphor doesn't require a meaning. The
poet uses metaphoric sounding phrases for the sake of creating
pseudo-metaphors; much as it employs symbolic sounding words for the
sake of sounding symbolic.
The reader is left to supply any meaning for the title, the
"metaphors," "symbols," as well as for the poem itself.
This poem, however, being mercifully brief, is actually fairly simple
to figure out.
The phrase, "Polished moonlight," implies a brighter, shinier, even
smoother, variation of the generic variety. Exactly how this relates
to the rest of the poem is anybody's guess. And that's the point.
Fragmentism is designed to be a series of associative thought
fragments that imitate the workings of the thought process. The
reader follows the poet's chain of associations, then adds their own
to complete the poetic experience.
Polished moonlight
beams from the darkness
Typically, the poem starts off with what appear to be two thought
fragments (assuming that "beams" is used as a noun, and not a verb).
Either way, the meaning is the same: beams of moonlight shine down
from the darkness of the night sky.
Granted, this is not a particularly strong statement, but a poem
comprising a series of thought fragments is not meant to make any
statement. The beams of light coming out of the darkness merely
serves as an associative prompt for the next image/thought fragment.
brothers free
for the music riff.
How does one associate "brothers free" with moonbeams? And where
does the music riff come from?
The answer, of course, is that this is the thought process of the
poet. And if the reader is a mentally ill, homeless, alcoholic, and
drug addict, one can't expect his thought associations to be the same
as our own. The poet is taking us on a journey through his thoughts
(or, rather, thought fragments), and our job as readers is simply to
sit back, enjoy the ride, and to add any of our own associations
arise.
However, as I am familiar with this poet's body of work, and the
frequently recurring themes and motifs that appear in it, I feel that
I can safely say that the "brothers" are "Stinky George" (the author)
and "Dirty Mike," two derelicts who "camp" together under the same
piece of discarded tarp. The music riffs are those played by Dirty
Mike each night on his guitar, banjo, mandolin, lute, zither, or
harp.
A gift from Heaven
The moonbeams are a gift from Heaven. Again, this is not a
particularly profound (or even remotely novel) idea. It does,
however, bring the thought associations back to the original image
(moonlight).
Orion in dust
hidden in the haze
Apparently, the constellation is obscured by clouds (or clouds of
pollution rising above the Chattahoochee).
mysterious magic.
Is the "haze" the "mysterious magic," or the combination of
moonlight, haze, and Dirty Mike's guitar riffs?
Literally, the haze: probably, all three. Fragmentist poetry doesn't
require a formal education, and the reader is challenged to uncover
what the poet meant, rather than what he actually wrote.
All for your love
a drink of cold water.
Fragmentists often suddenly address a previously non-existent "you."
Whether this is a character in their poem, or their reader, is again
up to the reader's interpretation.
However, since 80 percent of Stinky George's poetry is about him,
Dirty Mike, and Loretta (a homeless crack ho he was romantically
involved with) playing music and dancing around their "camp" fire,
one can safely conclude that Loretta is being addressed.
Which explains the final fragment, "a drink of cold water."
Loretta's love is a proverbial "drink of cold water" to Stinky G.
And all of the magic: the moonlight, the haze, Dirty Mike's guitar
riffs; were all done (whether by the universe or the enchantment of
the poet) to obtain the crack ho's love.
IOW, it's a saccharine-coated, and risibly sappy, love poem with
nothing new to say.
But the meaning is unimportant. The purpose of Fragmentist poetry is
in the journey one takes to reach that meaning. And here we journey
through a mixture of both clich|-d and extremely obscure images
(portrayed as associative thought fragments) to reach a
stereotypically romantic climax -- two lovers being serenaded in the
moonlight.
It is well known that you don't "get" modern poetry, Pendragon.
And so it goes.
Keep telling yourself that
You make it very clear, Pendragon.
Even the greatest modern poets, Allen Ginsberg, Charles Bukowski, Jack Kerouac, you don't like or understand.
And so it goes.
I never said that I didn't understand them
Yet you obviously do not.
Like rea Understand.
Michael Pendragon wrote:
Will Dockery <user3274> posted:
Michael Pendragon <user17124> posted:
will.dockery@gmail-dot-com.no-spam.invalid (Will-Dockery) posted:
Michael Pendragon wrote:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Michael Pendragon <user17124> posted:
FRAGMENTIST POETRY EXPLAINED:
As many of our readers are aware, Fragment Poetry is a literary
movement that began in the latter part of the Twentieth Century. It
combines stream of consciousness with word/thought association,
eschews traditional grammar, and focuses on vaguely related thought
fragments rather than a traditional (intelligible) narrative.
"Polished Moonlight" is a typical example from this movement.
Polished Moonlight
Fragmentist poetry often uses catchy titles, and "Polished Moonlight"
is no exception. The titular phrase reads like a lovely metaphor, as
indeed it would be if only it were a metaphor for *something.*
In Fragmentist poetry, a metaphor doesn't require a meaning. The
poet uses metaphoric sounding phrases for the sake of creating
pseudo-metaphors; much as it employs symbolic sounding words for the
sake of sounding symbolic.
The reader is left to supply any meaning for the title, the
"metaphors," "symbols," as well as for the poem itself.
This poem, however, being mercifully brief, is actually fairly simple
to figure out.
The phrase, "Polished moonlight," implies a brighter, shinier, even
smoother, variation of the generic variety. Exactly how this relates
to the rest of the poem is anybody's guess. And that's the point.
Fragmentism is designed to be a series of associative thought
fragments that imitate the workings of the thought process. The
reader follows the poet's chain of associations, then adds their own
to complete the poetic experience.
Polished moonlight
beams from the darkness
Typically, the poem starts off with what appear to be two thought
fragments (assuming that "beams" is used as a noun, and not a verb).
Either way, the meaning is the same: beams of moonlight shine down
from the darkness of the night sky.
Granted, this is not a particularly strong statement, but a poem
comprising a series of thought fragments is not meant to make any
statement. The beams of light coming out of the darkness merely
serves as an associative prompt for the next image/thought fragment.
brothers free
for the music riff.
How does one associate "brothers free" with moonbeams? And where
does the music riff come from?
The answer, of course, is that this is the thought process of the
poet. And if the reader is a mentally ill, homeless, alcoholic, and
drug addict, one can't expect his thought associations to be the same
as our own. The poet is taking us on a journey through his thoughts
(or, rather, thought fragments), and our job as readers is simply to
sit back, enjoy the ride, and to add any of our own associations
arise.
However, as I am familiar with this poet's body of work, and the
frequently recurring themes and motifs that appear in it, I feel that
I can safely say that the "brothers" are "Stinky George" (the author)
and "Dirty Mike," two derelicts who "camp" together under the same
piece of discarded tarp. The music riffs are those played by Dirty
Mike each night on his guitar, banjo, mandolin, lute, zither, or
harp.
A gift from Heaven
The moonbeams are a gift from Heaven. Again, this is not a
particularly profound (or even remotely novel) idea. It does,
however, bring the thought associations back to the original image
(moonlight).
Orion in dust
hidden in the haze
Apparently, the constellation is obscured by clouds (or clouds of
pollution rising above the Chattahoochee).
mysterious magic.
Is the "haze" the "mysterious magic," or the combination of
moonlight, haze, and Dirty Mike's guitar riffs?
Literally, the haze: probably, all three. Fragmentist poetry doesn't
require a formal education, and the reader is challenged to uncover
what the poet meant, rather than what he actually wrote.
All for your love
a drink of cold water.
Fragmentists often suddenly address a previously non-existent "you."
Whether this is a character in their poem, or their reader, is again
up to the reader's interpretation.
However, since 80 percent of Stinky George's poetry is about him,
Dirty Mike, and Loretta (a homeless crack ho he was romantically
involved with) playing music and dancing around their "camp" fire,
one can safely conclude that Loretta is being addressed.
Which explains the final fragment, "a drink of cold water."
Loretta's love is a proverbial "drink of cold water" to Stinky G.
And all of the magic: the moonlight, the haze, Dirty Mike's guitar
riffs; were all done (whether by the universe or the enchantment of
the poet) to obtain the crack ho's love.
IOW, it's a saccharine-coated, and risibly sappy, love poem with
nothing new to say.
But the meaning is unimportant. The purpose of Fragmentist poetry is
in the journey one takes to reach that meaning. And here we journey
through a mixture of both clich|-d and extremely obscure images
(portrayed as associative thought fragments) to reach a
stereotypically romantic climax -- two lovers being serenaded in the
moonlight.
It is well known that you don't "get" modern poetry, Pendragon.
And so it goes.
Keep telling yourself that
You make it very clear, Pendragon.
Even the greatest modern poets, Allen Ginsberg, Charles Bukowski, Jack Kerouac, you don't like or understand.
And so it goes.
I never said that I didn't understand them
Yet you obviously do not.
Like rea Understand.
Anonymous wrote:
Polished Moonlight
Polished moonlight
beams from the darkness
brothers free
for the music riff.
A gift from Heaven
Orion in dust
hidden in the haze
mysterious magic.
All for your love
a drink of cold water.
*********************************
Poem posted in the troll free zone.....
will.dockery@gmail-dot-com.no-spam.invalid (Will-Dockery) posted:
Michael Pendragon wrote:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Michael Pendragon <user17124> posted:
FRAGMENTIST POETRY EXPLAINED:
As many of our readers are aware, Fragment Poetry is a literary
movement that began in the latter part of the Twentieth Century. It
combines stream of consciousness with word/thought association,
eschews traditional grammar, and focuses on vaguely related thought
fragments rather than a traditional (intelligible) narrative.
"Polished Moonlight" is a typical example from this movement.
Polished Moonlight
Fragmentist poetry often uses catchy titles, and "Polished Moonlight"
is no exception. The titular phrase reads like a lovely metaphor, as
indeed it would be if only it were a metaphor for *something.*
In Fragmentist poetry, a metaphor doesn't require a meaning. The
poet uses metaphoric sounding phrases for the sake of creating
pseudo-metaphors; much as it employs symbolic sounding words for the
sake of sounding symbolic.
The reader is left to supply any meaning for the title, the
"metaphors," "symbols," as well as for the poem itself. >>
This poem, however, being mercifully brief, is actually fairly simple
to figure out.
The phrase, "Polished moonlight," implies a brighter, shinier, even
smoother, variation of the generic variety. Exactly how this relates
to the rest of the poem is anybody's guess. And that's the point.
Fragmentism is designed to be a series of associative thought
fragments that imitate the workings of the thought process. The
reader follows the poet's chain of associations, then adds their own
to complete the poetic experience.
Polished moonlight
beams from the darkness
Typically, the poem starts off with what appear to be two thought
fragments (assuming that "beams" is used as a noun, and not a verb).
Either way, the meaning is the same: beams of moonlight shine down
from the darkness of the night sky.
Granted, this is not a particularly strong statement, but a poem
comprising a series of thought fragments is not meant to make any
statement. The beams of light coming out of the darkness merely
serves as an associative prompt for the next image/thought fragment.
brothers free
for the music riff.
How does one associate "brothers free" with moonbeams? And where
does the music riff come from?
The answer, of course, is that this is the thought process of the
poet. And if the reader is a mentally ill, homeless, alcoholic, and
drug addict, one can't expect his thought associations to be the same
as our own. The poet is taking us on a journey through his thoughts
(or, rather, thought fragments), and our job as readers is simply to
sit back, enjoy the ride, and to add any of our own associations
arise.
However, as I am familiar with this poet's body of work, and the
frequently recurring themes and motifs that appear in it, I feel that
I can safely say that the "brothers" are "Stinky George" (the author)
and "Dirty Mike," two derelicts who "camp" together under the same
piece of discarded tarp. The music riffs are those played by Dirty
Mike each night on his guitar, banjo, mandolin, lute, zither, or
harp.
A gift from Heaven
The moonbeams are a gift from Heaven. Again, this is not a
particularly profound (or even remotely novel) idea. It does,
however, bring the thought associations back to the original image
(moonlight).
Orion in dust
hidden in the haze
Apparently, the constellation is obscured by clouds (or clouds of
pollution rising above the Chattahoochee).
mysterious magic.
Is the "haze" the "mysterious magic," or the combination of
moonlight, haze, and Dirty Mike's guitar riffs?
Literally, the haze: probably, all three. Fragmentist poetry doesn't
require a formal education, and the reader is challenged to uncover
what the poet meant, rather than what he actually wrote. >>
All for your love
a drink of cold water.
Fragmentists often suddenly address a previously non-existent "you."
Whether this is a character in their poem, or their reader, is again
up to the reader's interpretation.
However, since 80 percent of Stinky George's poetry is about him,
Dirty Mike, and Loretta (a homeless crack ho he was romantically
involved with) playing music and dancing around their "camp" fire,
one can safely conclude that Loretta is being addressed. >>
Which explains the final fragment, "a drink of cold water."
Loretta's love is a proverbial "drink of cold water" to Stinky G.
And all of the magic: the moonlight, the haze, Dirty Mike's guitar
riffs; were all done (whether by the universe or the enchantment of
the poet) to obtain the crack ho's love.
IOW, it's a saccharine-coated, and risibly sappy, love poem with
nothing new to say.
But the meaning is unimportant. The purpose of Fragmentist poetry is
in the journey one takes to reach that meaning. And here we journey
through a mixture of both clich|-d and extremely obscure images
(portrayed as associative thought fragments) to reach a >> stereotypically romantic climax -- two lovers being serenaded in the
moonlight.
It is well known that you don't "get" modern poetry, Pendragon.
And so it goes.
Keep telling yourself that
You make it very clear, Pendragon.
Even the greatest modern poets, Allen Ginsberg, Charles Bukowski, Jack Kerouac, you don't like or understand.
And so it goes.
I never said that I didn't understand them
Yet you obviously do not.
Like rea Understand.
George J. Dance wrote:
Will Dockery wrote:
Cujo DeSockpuppet <cujo> posted:
Will Dockery <user3274> wrote in
news:1777924679-3274@newsgrouper.org:
Wow, a serious poetry critique
I'll pass this on to Zod.
Liar.
You're getting silly, Kevin Fries.
"Getting"?
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