Night Fishing Gjertrud Schnackenberg

In the of 23 lines, every line is rhymed inside that stanza except the one ending ‘spread. ‘ We find the missing word-mate for spread placed prominently at the end of the 1st line of the last stanza. By requiring the reader to wait for the rhyme to where light begins to spread, the poet reinforces the feeling tone: something is hidden, something is amiss. (bridgesandburrows.wordpress.com)

What could happen if the form of this poem had rebelled against the clock’s sinister precision? what could happen if Schnackenberg had roughened the meter or broken a line or two in half? In that case the poem could have taken a stand against artifice, made a good-faith try to embody the messy reality of death. Instead it maintains a sort of complicity with the clock, which never misses a beat. It is as if the poet were saying: here is a small, perfect work of art. It neatly, wittily encapsulates the experience of losing my father. And in its perfection, it’s a awful lie. (ekphora.blogspot.com)

I do not think I have common writing days. Or let us say a common writing day could also include many other actions. I do not have the discipline I hear about with envy of those writers who can get up early and go directly to work with the 1st freshness of the day. I typically work through other obligations 1st volunteer teaching, certain responsibilities with a Quaker Meeting to which I belong, maybe some task I have taken on of editing someone’s work before I settle to writing. Then I have to take the time to listen to and bring forward the ideas or phrases that have been simmering as undercurrent in my mind throughout the other tasks. (cervenabarvapress.com)

Right around the time of my last birthday, I started to think seriously about death. I spent the next some number of months writing and ruminating on the emotional fallout. I was reminded of that time last week, in Paris sleeping on a narrow mattress on the floor of an apartment belonging to a stranger. Though that may be the set-up for a salacious crime novel, Paul, a friend of my traveling friend Heinrich, turned out to be gracious although we were constantly in the way. His complete apartment is smaller than the kitchen of a place I once had in Ohio, and costs four times as much, my apartment was down the street from a Giant Eagle and a Jiffy Lube, whereas Paul lives three minutes from a bakery that sells golden-crusted baguettes and a rich flakey ache au chocolat that grandmothers fight in line for. (blog.bestamericanpoetry.com)

The poet Gjertrud Schnackenberg, whom William Logan once called the most talented American poet under the era of forty, published her 1st book of poems in 1982. She’s since become one of our most respected authors of verse. Schnackenberg’s 1st three books, collected in Supernatural Love, show the thrilling evolution of a distinctive voice in today’s letters. From an early mastery in which precision and heartbreak are inseparable, her poetry accelerates book by book through the searching, concentrated, and metaphysical imagery–also as the cascading syntax–which became her signature. If we’re witnessing her classic portrait of Darwin in his last year or discovering the vertiginous brillance of her elegy for the Byzantine monuments of Ravenna, we find in Schnackenberg gemlike poems offered as visionary papers, unmistakable in their glittering range and passion–and never the same twice. (textbookrush.com)

I’m a senior book and magazine editor who lives in Kuala Lumpur, Malaysia. I love books and the freedom to read whatever makes me happy: both fiction and nonfiction. I have generally been obsessed with the relationship between literature and life and its role in society. As an editor, I have edited many books, however never get tired of the great adventure of reading. We must never underestimate the redeeming power of fiction in our lives. The idea that there’s something out there that’s far, far bigger than our lives sustains some of our lives. I’m the co-editor of URBAN ODYSSEYS: KL STORIES. (goodbooksguide.blogspot.com)

Vebidoo is a people search engine that searches and finds public available info for names on the internet. When a user initiates a search, Vebidoo only finds info that’s available for the public. The info found is depending on public available resources and is attainable for everyone. The info can be found without Vebidoo also; but, Vebidoo helps the search for users. (vebidoo.com)

I’m happy you referenced "Home Burial. " I see Frost's influence usually in line 3: "Looking back over her shoulder at some fear, " lines 23-26: "The little graveyard where my people are!/ So small the window frames the whole of it. / Not so much bigger than a bedroom, is it?" and the coda: "I will follow and bring you back by force. I’ll!—’ The humorous thing about "Home Burial" is that I didn't see its influence till my 3rd draft. It’s evident to me now that I had studied that poem and internalized it. Ah, the power of the out cold! Since my poem started after I visited Frost's grave, it looks like a no-brainer that his imagery and diction could bless the poem. (blog.bpj.org)

O Pen! In 2004, I wrote a poem called O Pen and performed it at an open mic. Mid-way through Pacific University’s MFA program, I have decided I needed a way to discuss poems I was studying or wanted to know more about. O Pen sounded like a perfect name for such a group, and we have been meeting each week, since February 2008. I dedicate my musings to the creative, thoughtful and intelligent people who go to and to those who enjoy delving into the magic of a poem. (kdjospe.blogspot.com)

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