My poet selection will be Yusef Komunyakaa, a brilliant artist of word. My partner is Marcus Bracey, and his poet will be Kevin Young. The main thing that coorilates the two poets is the style in which they write or reference. Most of the work these two authors create has to do with the Jazz period and all the art, music, and life that was associated with that time.
     The most appealing thing about Komunyakaa's handywork is seen with his references to war. He seems to cleverly integrate his wartime writing with that of the Jazz era, as well. The constant use of former Jazz singers, Jazz Elements, and even having the cover of his book "Neon Vernacular" as a Jazz artwork proves his use of the time period's influence. Most of Komunyakaa's work is easily read on multiple website such as the poetrey resource center seen in class. Most of the reading I have done so far has come from his book.

    Denise Levertov's writing in comparison to the majority of the stuff written through Catherine Wagner's eyes are similar in many ways. Levertov tends to put on the free verse attitude. This is quite comparative to the way Wagner writes, as well, although the two author's writing habbits tend to stray from each other's norms. Wagner tends to speak on sex and her personal life, with family, love, and life. Levertov, however, tends to write more on worldly issues rather than personal issues.
    
    With the picture above called "Viennese Walk", this shows visually the poetry seen within Levertov's poem "The Third Dimension." Part of this poem is seen as follows:
Who'd believe me if
I said, 'They took and

split me open from
scalp to crotch, and

still I'm alive, and
walk around pleased with

the sun and all
the world's bounty.'

    Although this poetry is not as entirely confusing as Wagner's work, it still represents a bit of free verse with a little reason left in. Levertov's poetry remains understandable within this free verse struction, unlike that of Wagner. Therefore, this poetry of "The Third Dimension" may be very apealing to those familiarized with the sciences behind the third dimension and beyond.

Daniel Morrison
UH2010-02
ED Writings and 200 word essays

We Outgrow Love

We outgrow love like other things
   And put it in the drawer,
Till it an antique fashion shows
   Like costumes grandsires wore.

      The poem above refers to Dickenson’s lack of love, in the most simplest of explanations. She was a recluse, living the life of loneliness within her parent’s home, with no suitors to claim her or show her interest. The reason as to her seclusion has been blamed upon a multitude of illnesses, ranging from a seriously deep depression to epilepsy, but none have been confirmed as the true cause to her seclusion other than references to the depression from the various letters sent from and to her. In this seclusion, she met only a few friends within her lifetime, eventually succumbing to the fear of being along and unloved, never to marry. With this premise, it is likely this poem was written as an outward appearance of this strain of her lifestyle, referencing it to an outdated or old fashioned ways of being. She even refers to love as something mundane that eventually some person stores away in the depths of one of many drawers, never to be seen or heard of until the drawer somehow becomes opened again, and the mundane item is remembered upon as a past event rather a future hope.

Nature Rarer Uses Yellow

Nature rarer uses yellow
Than another hue;
Saves she all of that for sunsets,--
Prodigal of blue,

Spending scarlet like a woman,
Yellow she affords
Only scantly and selectly,
Like a lover's words.

      This is Dickenson’s representations of nature, something she highly valued. In the days not spent in seclusion, she would often spend time outside in the wilderness, admiring the beauty. In fact, nature was one of her greatest muses, as she attributes quite a large amount of poetry towards nature and the wilderness. In the poem mentioned above, she specifically references the color yellow for various reasons. For the overall tone of this poem, it is represented as peace and tranquility, although sometimes it can be viewed in another light. It is seen as something that comes at the end of the day, something that can be used for relaxation after working hard, or after dealing with the daily deeds of a recluse with few friends, and little family to fully know her and comfort her. She took comfort with nature, figuratively being great friends with nature to the point of giving nature a personification of ‘she’, rather ‘it’. Another analysis of this could be the fact that she equates nature to a female, much like the phrase mother nature. As a mother would care for her children, Dickenson sees nature as the caretaker, with the yellow sunsets calming Dickenson, the mother’s child.

Daniel Morrison UH2020-02
9/5/13

Poetic Rhythm and Meter with a contemporary Song
Imagine Dragons – Demons
http://www.youtube.com/watch?v=mWRsgZuwf_8
‘ signifies a stressed word or syllable in cases that the word must be split
The numbers in front of the lines are the syllables per line to show the rhythm

5When the days’ are cold’
5And the cards’ all fold’
5And the saints’ we see’
5Are all made’ of gold’

5When your dreams’ all fail’
5And the ones’ we hail’
5Are the worst’ of all’
5And the blood's’ run stale’

6I wanna hide’ the truth’
6I wanna to shelter’ you’
6But with the beast’ inside’
6There's nowhere we’ can hide’

6No matter what’ we breed’
6We still are made’ of greed’
6This is my king’dom come’
6This is my king’dom come’

6When you feel’ my heat’
5Look into’ my eyes’
6It's where my demons’ hide’
6It's where my demons’ hide’
4Don't get’ too close’
4It's dark’ inside’
6It's where my demons’ hide’
6It's where my demons’ hide’

5When the curtain's’ call’
5Is the last’ of all’
5When the lights’ fade out’
5All the sinners’ crawl’

5So they dug’ your grave’
5And the mas’querade’
5Will come call’ing out’
5At the mess’ you've made’

6Don't wanna let’ you down’
6But I am hell’ bound’
6Though this is all’ for you’
6Don't want to hide’ the truth’

6No matter what’ we breed’
6We still are made’ of greed’
6This is my kingdom’ come’
6This is my kingdom’ come’

5When you feel’ my heat’
5Look into’ my eyes’
6It's where my demons’ hide’
6It's where my demons’ hide’
4Don't get’ too close’
4It's dark’ inside’
6It's where my demons’ hide’
6It's where my demons’ hide’

6They say it's what’ you make’
6I say it's up’ to fate’
6It's woven in’ my soul’
6I need to let’ you go’

6Your eyes, they shine so’ bright’
6I wanna save that’ light’
6I can't escape’ this now’
6Unless you show’ me how’

5When you feel’ my heat’
5Look into’ my eyes’
6It's where my demons’ hide’
6It's where my demons’ hide’
4Don't get’ too close’
4It's dark’ inside’
6It's where my demons’ hide’
6It's where my demons’ hide’
(Hide hide hide)
_______________________
 5When the days’ are’ cold’
5And the cards’ all’ fold’
5And the saints’ we’ see’
5Are all made’ of’ gold’

5When you feel’ my heat’
5Look into’ my eyes’
6It's where my demons’ hide’
6It's where my demons’ hide’
4Don't get’ too close’
4It's dark’ inside’
6It's where my demons’ hide’
6It's where my demons’ hide’
(Hide hide hide)
___________________________________

               According to this table and sample verse with a chorus, the verse tends to see an Anapestic-Spondaic Diameter. The first two lines of the chorus meets that standard, but the chorus substitutes Pyrrhic-Iambic-Spondaic Triameter for the third and fourth line, as well as the final two lines. The 5th and 6th lines have a simple Iambic Diameter.