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DJ Thomas May 2010
Hi, below I copy a humorous hiabun, which I shared as an exercise to mentor enquiring and inspired poets to learn, so they might adopt and try different techniques and then give critique together with awesome comments... Yes, I used the words ***, ****** and **** for context the rest was left to an individual imagination as in good poetry!

It included reflective commentary encompasses innocent classification terminology used in the critique, reading, examining, appreciating, understanding and writing of poetry for example: POETIC DEVICES (enjambement, duality, keriji, images, collocation, semantic, oxymoron, repetition, listing etc.), STORY (personification, characterisation, subject, context, voice etc.), IMAGERY (synaesthesia), STRUCTURE ( lineation, breaks, syntactic etc.), SOUNDS (syllables, rhyme, alliteration, pace, musicality, phrasing, beat, assonance, onomatopoeia, mouthed rhythms, patterned) and WORDS (preposition, determiner, verbs, adverbs, lexical, nouns, adjectives) used by poets, critics and academics...

And here it is :

****** tongue-in-cheek haibun - a reflective commentary on writing a popular tanka

Eye lashes flicker
a shared urgent interest
parting - dancing smile


My first inspiration was ***, passionate life squeezing screaming ***, the thumping wall musicality of ***, exhaustingly inventive sweaty and wet.

I wanted to make it a senryu but for duality the female characterisation demanded two more lines each extending to seven syllables.  

Arousing images captured her moaning splashing loneliness in unusual collocation.

I was first excited by the placement of a hovering extended enjambement to give life to my final line, whilst also considering the satisfaction in using noisy mouthed rhythms.  

I believe I easily hid the wet aroused context with a watery semantic field, that suggested she would choke and drown.

So in my last line I had ‘pleasures’ as a cutting keriji to make clear the dominating ****** context, having previously used a preposition and determiner to maintain duality!


Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite




copyright©DJThomas@inbox.com 2010
Mateuš Conrad Feb 2017
and all i ever wanted, was to work in a music shop, to compensate my fancy moving away from Stendhal's scarlet & noir, and into the domain of Nick Hornby's high fidelity... well... that died a very Belgian death, very much akin to euthanasia.

at least i don't
bleach people to mere
pronoun usage.

and yes,
i treat the tetragrammaton
as a superlative,
esp. given
i am akin of Atilla -
and the Visigoths...
such that i am:
of the invading "horde",
because of he
the so-called culture
i see no civilisation on the horizon...
i see no Baroque...
            i hear no Bach,
and will never hear a stance
such that the music be composed...

because what is happening
in no circus of nouns...
people are being bleached,
they are being leash bound
to walk into a pet barbers to get their
hair "done"....
         i am not the one
regarding them as sole
pronoun exhibitors...
   there they are: merely pronoun bound...
and should i call them black,
or care to call them copper skinned
akin to the Indus peninsula...
                       i have forgotten
the agitating "they"...
            
i don't have a cartesian dualism
to mind...
i simply have my own dichotomy
to attend to...
   as Voltaire said: each to his own
garden; and a pair of shoes.
    
once again...
  geometry will never scope beyond the orb...
there is no geometric study to
suggest a shape for the universe...
now we know: there's no thinking
outside the box,
  even if that might ease your "claustrophobia".

  and i rather call a person by their
self-identifying characterisation
that reduce myself to a liberal
censor clot of only managing other people
in the pronoun category, auto-suggestive
of a *we
vs. them...

       i don't see how that makes us
liberal, that having forsaken descriptive
approaches, we incorporated
the additive approach carte blanche
as a guide to treating everyone akin
to being dubbed albino.

   i like talking about ******* a brown-skinned
girl...
    i like talking about ******* a Thai girl...
i like putting cardamom in my curry,
or my cinnamon...
  or my everclear - heartspark dollarsign -
and thus about the time i
gave to flying the kite of full, manly,
****-refraining autonomy...
to the wind itself.

  just when we were about congested,
and lated constipated...
        i wrote this, like a clerk
might, in the bureucracy of the failing
Roman Empire, akin
to the reminiscent W. H. Auden...
      on pink'oh paper that turned boredom
into the origami of paper-aeroplanes...
  neat, folded, against the envelope
requirements... thrown right into
the lap of don quixote,
       recycled, shredded by a windmill...

as if about just apparent...
        at least this dream, this utopia
didn't originate with me...
    oh sure, i believed it...
that we could house the entire ethnically-diverse
populace under one roof...
   i believed it, the world told me to believe it...
i'd love to believe it thrice over...
   i mean, i'd love to have
    duo-ethnic children,
        who spoke four languages...
in the least three...
    but **** how that gets swept under
the rug and forgotten along
with Aladdin...
   it just gets boring, all that masochism
of being an anti-racist social warrior
but at the same time calling oneself
a white-trash stereotype transcendent.

that's me about to puke,
and write my name in diarrhea ink,
followed up by doing the same in
gonorrhea ink.

what happened at the end of the 20th century
was a very well believed
in dream, even though it was a butterfly...
and lasted no more than a few years...
it was worth it... it's when i had my childhood...
and i could have even been a roofer until now
should there be someone who said
they were overworked in a supermarket...

it was very nice for a bit,
great to believe in... how suddenly 2000 years
of history could be forgotten and
let us live in a togetherness...
    but like today, Syria and a civil war...
civil wars are unique...
  a Syrian barber tells a Syrian butcher
to *******...
     and would it be necessary for
     an English politician to get involved?

unless they're selling both
  Israeli uzis (the country where the ***
originated, yep, Israel)...
          i'm not a Syrian civilian...
so what the **** are all these tourists
talking about?! i don't care if they come
from Westminster, what are these tourists
talking about?!
                  i'd like to be a Syrian civilian
first, before i give my opinion...
        i'm not giving a single opinion
as a tourist that was ever in Syria,
or a one: waiting to visit it in the "near" future.
******* tourists...
     you have to use a blunt knife carving
this piece of history...
not point using a well sharpened knife
cutting with eloquence and absolutely
no profanity... given the excesses of ****...
   i say: oaths! oaths!
DJ Thomas Aug 2010
My first inspiration was ***
passionate life squeezing screaming ***
the thumping wall musicality of ***
exhaustingly inventive sweaty and wet

I wanted to make it a senryu
but for duality the female characterisation
demanded two more lines
each extending to seven syllables

Arousing images captured her moaning
splashing loneliness in unusual collocation

I was first excited by the placement
of a hovering extended enjambement
to give life to my final line
whilst also considering the satisfaction
in using noisy mouthed rhythms

I believe I easily hid the wet aroused context
with a watery semantic field
suggesting she would choke and drown

So in my last line I had ‘pleasures’
as a cutting keriji to make clear
the dominating ****** context
having previously used
a preposition and determiner
to maintain duality*

Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite


.
copyright©DJThomas@inbox.com 2010
Jellyfish Apr 2012
When I decided to write my first poem, I thought back to the days,
when we were studying poetry and the teacher would amaze,
she'd make me write down words and things, I'd be chasing praise.
But looking back at my book now, I know what I should do,
and so here follows my glossary of things I'll write for you:

I have - Alliteration, Antagonist, Allegory and Anapest.
Characterisation, Complication, Convention and Connotation.
Elegy, Elision, Epigram and Exposition.
Free verse, Falling action, Falling meter and also Fiction.
Literal language, Imagery, Lyric poem and Irony.
Rising action, Resolution, Rising meter with Recognition.

Acatalectic, Anacreontic, Amphimacer and Amphibrachic.
Cliché, Common Measure, Couplets and Catalectic.
Deconstruction, Dispondee, Dialect Verse with a Dictionary.
Iambic Meter, Incantation, Impromptu with Inspiration.
Laureates and Limericks, Light Verse poems and Linguistics.
Metaphors, Mock-Heroics, Middle English and Movement Poets.

Oh gosh that seems a little worse, than I had it made to be,
I was expecting just to write a poem 'bout my cat and me.
I guess it's harder than it looks so I'll just give up now;
I'll let those big brave poet people, write them all somehow.
Just my thoughts on education's version of poetry, I rather enjoyed writing this one.
Kriti Gupta Jun 2014
it was an endless expansion of noise
human noise
people that you've been before
the ones who you can't help but care for
you're only as wise as the mistakes you've made
and you're only as free as the songs you play
you've become my inspiration
my destination
DJ Thomas May 2010
Eye lashes flicker
a shared urgent interest
parting - dancing smile

My first inspiration was ***, passionate life squeezing screaming ***, the thumping wall musicality of ***, exhaustingly inventive sweaty and wet.

I wanted to make it a senryu but for duality the female characterisation demanded two more lines each extending to seven syllables.  

Arousing images captured her moaning splashing loneliness in unusual collocation.

I was first excited by the placement of a hovering extended enjambement to give life to my final line, whilst also considering the satisfaction in using noisy mouthed rhythms.  

I believe I easily hid the wet aroused context with a watery semantic field, that suggested she would choke and drown.

So in my last line I had ‘pleasures’ as a cutting keriji to make clear the dominating ****** context, having previously used a preposition and determiner to maintain duality!



Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite


.
copyright©DJThomas@inbox.com 2010
DJ Thomas Apr 2010
The play is written to be staged in a pub or a large cave like yurt in Cardiff.  Its action and dialogue provides characterisation, with sound and lighting being used to establish context.  The setting a darkened pub corner that is  modelled on The Bunch of Grapes in Pontypridd.   There are only 6 characters, five speak in haiku-ed verse with the exception of the Drunk who acts as my 'Greek Chorus'.

- Hand-in-hand she enters to **** her thumb in a corner

- Chocolate ice cream soda demanded from Daddy

- Joking banter ceased slowly as the regulars all begin to quaff their brown pints

“Balll uut eass swept -
Chimrrrrr, Chiirriica,
war is never won”

- Church quiet, the village pub listened lips clamped tears swelling

“ ***** cut swapped with eyes -
Chimerica, Chimerica,
war is never won”

- The cornered hero of two Afghanistan tours is seen regressing into childhood*

The set darkens slowly then after 30 seconds a spotlit conversation in lines and stanzas begins.

Haiku and tanka that inspired the coming play include:

******* -
thoughts sought, taught and wrought,
testosterones
Fighting aggressive games,
Afghanistan camouflage


Globalism and War -
cloned greedy conspiracy,
that third tower
Titled selfish-self-grandiose,
deliver warring terror


Springs cut Irises -
dripping vital red not purple,
far from my window*

.
copyright©DJThomas@inbox.com 2010
Geraldine Taylor Jun 2017
As potential grew, a desire to write, disclosed to few

Imagination immerse, but yet to thirst for knowledge, accrued ambition address

All aboard the express, thoughts of Harry, a plot to marry

From fanciful flights to greater heights

Capturing such visualisation, twas the formation

Characterisation, of wings to soar, with metaphor

From Dumbledore, yet taking shape

Professor Snape, assume the plot, lest thoughts forgot

A forest to roam, a philosophical stone

Such creative flair of which to share

Joining of the dotted line, artistic mind

Transporting train, journeyed acclaim

Of whom to impede, the will to succeed

The ability to write, the capacity to teach, the desire to reach

An impetus for change, a literary role, a priority

Of which to seek with tenacity

Beyond horizons, beyond confines, stand undefined

Awe-inspire, great readership, a due reply

To simplify, a noble shift, outstanding writer in the midst

Dynamic plot from pen to page, persistence through to published stage

A realised dream, challenge overcome

A victory won definably, stocked supplies to library

Broomstick flight phenomenon, a mystical tale was to become

Would generate, the bus of Knight, to render right

A rebuilt life, a legacy made

From chosen craft to final draft, a world of creativity

The right to type, to innovate, an intriguing wait

A shining star that would liberate



Written by Geraldine Taylor ©
The celebrity poem entitled 'J. K. Rowling' is auto-biographical in nature, which celebrates the inspiring journey of the accomplished author. Her innate ability and ambition to write was originally known only to those closest to her. The journey from a humble station to 'Hogwarts Express' was no simple feat. The commitment and dedication to hold onto the initial vision of Harry Potter, along with his varied adventures was crucial.

Even when outward circumstances and temporary trials of life appeared to go against the grain of the vision, one had to embrace the potential that would later be realized. Within the formality of daily life, she had initially undertook alternative career paths, including teaching English students in Portugal. Yet in the midst of her accrued experience, the foundations of her career as an author were taking shape. As time evolved, the relevant opportunities began to unfold, with the Harry Potter series now being translated into film, as well as an intriguing world of fantasy.
Waiting4TheStop Jan 2015
Someone has called my creativity into question.
Frankly I am dismayed at the mere suggestion.

I can barely concentrate.
I am beyond irate!

How can you even ******* dare?!
Who are you?
Some narrow-minded ***** or ******* with your nose in the air?
I post what I write to share. It is my choice, my god given right
no-one and I mean NO-ONE will ever tell me what I can or cannot do!

Since when was using my imagination a crime?!
Please feel free to tell me, I'll make the time.

I'll listen to your point of view.
And if it's needed I will give credit where credit is due.

Characterisation, creating a sense of fascination.
Making you stop, think, pause even just a momentary hesitation.

Wonder, frustration, happiness, anger and more. The whole emotional range.
You may find the experience unfamiliar, alien or strange.

True poetry is not restrictive.
Many can find the act of reading it quite addictive.

Poetry is unique to each and every reader.
No single person's opinion can enable them to be given the title of "Leader."
(C) 2014
Mary Gay Kearns Apr 2018
From' Twopence to Cross the Mersey' we became friends
Finding in each other's soul a companion
And so we trudged, together, pushing the unwieldy pram
Along the streets of Liverpool where the river swam.

Structure, meaning, characterisation, the book had its plan
But we loved dear Helen, little waif from another span.
The waters had their beauty that we could see,
Finding yet another  moment to share a read.



Love Mum ***

Thank you dear Vics for all the good times we had.

— The End —