1,49 €
This book of poetry is about work, family, and sincerity. - The Author
I enjoyed the explorations of realtiy and fantasy. -- Erin Bernstein, author of Mystic Desire.
Das E-Book können Sie in Legimi-Apps oder einer beliebigen App lesen, die das folgende Format unterstützen:
Veröffentlichungsjahr: 2016
Based on the influences of one’s class and preferences for style, the definition of poetic writing can be diverse and complicated. The historical perspective of poetic writing pivots to a Eurocentric understanding which is prevalent in the West. Over time, those descriptions of poetry broadened with honesty as more influences were taken into account across the world. African, Asian, and the writing of native people are just some of those solid poetic voices being heard and accepted in our comprehension of poetry. Now, our general perception of poetry is more inclusive and diverse in interpretation. Although there will always be those stuck in some fundamentally flawed one-dimensional definition of poetry and poetic writing, the process of expanding the meaning of poetic writing is still evolving.
For instance, I informed a poet that I was writing a collection focusing on workers, class, and style. I was stunned when she replied, “Tim, have you ever been a part of all the classes in society?” I responded, “Is being a part of a particular class a prerequisite for writing about it?” I was glad to hear her response was no.
However, this example underscores the biases which western culture has presented towards different voices. Needless to say, I didn’t point out how the great writer Shakespeare’s works were considered low-class and trashy during his lifetime. Nor did I inform my poet friend that Shakespeare was probably never a king, duke, or sat in royal households during his lifetime. It is culturally deceptive to pretend one’s words are more superior than another’s in writing when time is the ultimate judge. Furthermore, an appreciation of poetic writing in its different forms must first derive from an individual’s ability to recognize himself as merely a part of humanity and not its final voice in determining what is quality literature.
Likewise, a culture which is willing to examine itself with a sincere desire to open its horizons must also be accessible for the individual. Culture can be thought of as “the way things are done around here,” and there are many cultures: nations, schools, cities, neighborhoods, etc. Each has its own variation on what a good poem should be. Even with these various cultures influencing the population, the individual preferences of the poet reign supreme in delivering a poem to readers.
Yet, some qualities of poetry are similar, and therefore, cross classes of people in their style when communicating to the reader. Structure, rhythm, and tone are characteristics of all poems. Mood can be as intense and varied as the writer/reader relationship. What’s essential in a poem is that an idea which is comprehended universally is communicated. Universal themes include: love, triumph, defeat, death—to name a few.
To such a degree, poetry does not have to comfort or provide a shelter from these or any aspects of life. In fact, many of my favorite poems are quite disturbing. The poem, like other art forms, evokes a response in the reader based on the reader’s experience with the subject matter of the poem or the reader’s ability to place himself in that particular situation. Poets can use a variety of approaches to elicit the reaction from the created text.
Indeed, conforming to a particular approach to constructing poetry is not a requirement for the poet. Schools of writing on this aspect of poetry tend to feed themselves at the detriment of those of us who hunger to be flexible in our concepts of poetry. This is why poetic writing continues to evolve: there is no fixed master plan for style, and there are no permanent overlords on the topic because every class of people has honest voices.
For these reasons, I wrote my third collection of poetry, to express my perspectives pertaining to style and class and the sincerity that exists within us all. I strongly disagree with the idea that art of any kind isn’t art until the elite of the society decides such is so. It’s a well-understood thought from many cultures: By the time the aristocrats catch on to what the general population considers creative, that general community has moved on to something new and original. The power elite (military leaders, politicians, business executives) frequently ignore the under voice of the power deplete, the bottom rungs of the social ladder.
Surely the power elite belong to classes which may look down on the lower classes (people who are homeless, working class, middle class, etc.). They shun the methods, techniques, and flair of the lesser groups. However, all socio-economic classes have their styles in writing, appearance, and manners. Often, those styles of the lower classes are eventually adopted by the upper classes and sometimes the opposite occurs. It is intellectually and emotionally dishonest to project one’s values on others to the extent that creativity is rendered nonexistent. Empathy is required for the poet to step into others’ situations and deliver poetry of meaning. Otherwise, the text is a fraud and the reader can detect the insincerity. Imagination is the mother of empathy; empathy gives birth to creativity and honesty.
Nothing in our life time is truer than an honest day’s work, which all classes complete in varying ranges of style and competencies. In the next chapters, I write poems about the workers in different classes of society. After those pages, I wrote poems about the activities of these groups. As an author, I am neither a socialist nor do I deny the harsh realities of what unchecked capitalism could do to a society. However, the use of language in poems and other literature impacts how we speak of our economy and the degree of honesty we share with one another in our daily interactions. Enjoy: An Honest Day!