[wendy v]

Kate, I don't think the two Wilbur poems you posted were spoiled by sentimentality, but I do recognize that neither one of them is nearly as fine a poem as The Writer.

I think you and Alan are right about the two-word 'bridge' being the primary reason for that amazing change of pitch in the Owl poem, but I'm also thinking anticipation of the upward rhyme is contributing something there. I didn't have the answer, I just wondered if anyone else did. Even when things are explained or unveiled, it's all still magic to me.

Anyway, since I'm short on cybercash this week, I'm hoping you'll both accept my Sucidal Eggplant poem as payment.

I tried not to make it too sentimental.

wendy

[PrttyKtty]

Thanks to all of your for your part in a lively and enlightening discussion of sentimentality. As an admitted neophyte to poetic writing, and one just beginning to dare to deal with a series on the mother/daughter relationship from the vantage of a mature woman, sentimentality will be a pitfall to avoid most assuredly. From this discussion, I will be most cognizant of the need for honesty and lack of exageration as opposed to emotional manipulation. I really liked Charles' supposition that the writer should strive to bring the reader to the same level of emotional intensity as the writer. I posted a poem on the metered board called "Closing In". If any of you are so inclined, I would appreciate a "sentimentality scan" Its truly fascinating listening in - ah, the marvels of the internet! Thanks.
PK

[Brian Hagerty]

I haven't read all the posts on this topic, but I thought the amount of obviously unthought out negative responses was appalling. Mockking Coleridges rhymes is one thing to mock a treatise on burden is hardly poetic.(Regardless of rhyme) I hope Coleridge resurrects and beats eacj one of you for your absent minded laugh.

[Caleb Murdock]

Why don't you just beat us all up yourself?

[Alan Sullivan]

Given the number of typos in B.H.'s posting, I imagine his weapon of choice would be an empty bottle.

A.S.