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Zara

  • Last seen on Dec 9 11:21 AM 2006. Member since February 14, 2006.
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  • on Risk by Anais Nin, on August 17, 2004
    I have an affinity with Anais Nin lately. I know the moment of which she speaks. Though I suppose it is meant to be read in any way the reader chooses, and what makes it so good is that it can mean just about anything to do with making choices. My understanding may not be yours, but still we both understand.

    I know Nin mostly from her diaries and from her letters to Henry Miller. Her letters...in the electronic age, these would not have survived. I wonder how much literature will never be found in the email age.

    Hmm.

  • on o sweet spontaneous by e e cummings, on May 30, 2004
    Philosophy and science and religion all lay their meanings on what just is.

    That's my take on it, anyhow.

  • on in just- by e e cummings, on May 30, 2004
    ya gotta wonder about that balloonman, goat-footed and all....

    I loved this poem, along with everything else by cummngs, when I was 14. I tried to write like him! HA!

    perhaps this is a metaphor for sexual awakening, I don't know.

  • on Cut Grass by Philip Larkin, on May 30, 2004
    I just have to do this:

    Long, long the death it dies
    in the white hours of young-leafed June
    with chestnut flowers,
    with hedges snowlike strewn, white lilac bowed,
    lost lanes of Queen Anne's lace,
    and that high-builded cloud moving at summer's pace.

    because I wanted to see what it would read like if taken out of the rhyming quatrain form. What's delightful about poetry like this is that you have to read it twice, at least, once to ride the rhymes and once to catch the meaning. Larking achieves his effect with masterful use of enjambement.

    I don't know why he moves from 4 syllable lines to 6 syllable lines; maybe someone else out there will figure that out. I would think that a poet of his skill did this as a conscious choice, not by accident.