Rules on the Composition of Poetry

It must be complete.

avoid starting lines With a capital letter

Every single time

.

italics should never be used especially

for the sentences one is

most                    PROUD              of

and please avoid typographical

tricks

in order to make your point

 

: The reader is giving you enough attention already without the need of feeling ‘talked down to.’

 

Never declare anything!

- (This-is-like-that-is-like-a-whale-is-like-a-breeze)

- or state that such a thing merely IS:

A noun is in a place with a phenomenon and therein lies some significance.

We get that!

 

Colors mixed with emotions are labelled ‘Shakespearian’ but are in fact dreary.

Especially when paired with -

Color                         Emotion                   Place

Red                              Ennui                       Meadow

Yellow                         Fear                          Sidewalk

Blue                             Surprise                   Bathroom

 

- shake with a generous helping of possessives =

 

my ennui yellows the bathroom mirror which reflects the sidewalk blue in my eyes, sidewalk because I fear the meadow outside, a surprising red meadow

Need we say more?

 

Questions become especially woeful. A plethora of nonsensical examinations 

intended to drag the gullible

to dark depths

of impenetrable

dream symbolism

mistaken

for insight

 

perniciously placed after examining a family artifact - like a trap door in an old house.

 

‘My great-grandmother’s spinning wheel

(as a child!) I always thought was used to steer a big ship

Why does the grass grow to a point? , as if to pierce the sky?’

 

We write to share [read: to impress] the unsayable exuberant joy at the heart of being [read: others that we are attracted to]

- with this in mind, any ((barely concealed, like a dancer in silhouette)) references to sensuality, bodies and sex in general is ((perfectly transparent, like your sick fantasies)) an attempt to entice the reader into desiring sexual intercourse with us -                        a delusional aspiration

 

our body-vines indistinguishable

the burning heart of earth, our rhythm, hers,

twin falling-flying sensations merge 

a tremble-shudder through the walls of time

 

(ahem: the reader is not fooled by your attempts to brag about a satisfying sex-life)

 

moving on . . .

 

Excessively strange punctuation is a tedious mess.

If you love apostrophes: write science fiction.

If you love parenthesis and brackets: Write mathematics.

Poetry needs not these ornaments.

 

Rebecca.

 

Inserting a name into what was a piece formally enjoyable by everyone

makes it a diary entry. No one cares about who you know.

 

({Please also avoid anything that makes the reader have to rotate the book or view things sideways this point should be so obvious it needn’t be stated but just for clarity’s sake if your words belong on a wheel then make a wheel and if they’re meant to be read sideways on rings like a laminated safety manual than make a laminated safety manual.})

 

And finally, this loathsome folly of saving the ‘punch-line’ the ‘ending twist’ the ‘turnaround’ the ‘revelation’ for the final line, thus forcing the reader

(whose patience has been infinitely tried to the limits already)

to reconsider the entire piece - 

 

You’re going to die and you don’t know when.