Probably I shouldn’t post again on this, but I’m surprised you have qualms about “sorrow” as a verb. I’ve used it that way, and it feels quite natural. It gives “sorrow” a more dynamic role, which I think it not only appropriate, but in many cases, necessary. A person also doesn’t need to be familiar with your work to appreciate it. All they need is an openness to form and structure as background music and let the chips fall where they may. By that I mean it doesn’t and sometimes even shouldn’t have some obvious meaning. Even oddball pop culture references (I’m thinking Huncke) with which I’m notoriously unfamiliar, suddenly within the context of a poem, jump out with new life. A poem is a world unto itself. If the sound of it rings true somehow, it’s a springboard into that world, which itself is a delight.
|