Your having highlighted those: Your having highlighted those lines demonstrates the core fear being expressed- that inextricable feeling of helplessness in the path of a fast forming snowballing avalanche that swallows everything in its trajectory. Thank you for your kindness on this poem, its communication is returning full circle.
That was quite a challenge,: That was quite a challenge, the fifth couplet, as to structural dynamic and effecting organic unity rather than just tossing up a salad of thought and image. It is also an exploration on how to bring about the poetry of of historical personages and events that have more than one point of view or interpretation, i.e., in the case of Jack the Ripper to mention a quite obvious case. Most of our information comes from time honoured acceptance even if there are other versions of the truth available as in the historical accuracy of Shakespearean literature, et al. How we are remembered and 'peddled' isn't hardly ever within our power to manage or control. The world will choose to remember they way it suits. Thanks kindly.
That's quite envigorating: That's quite envigorating Starward! Thanks for sharing your thoughts. It definitely isn't a misreading as the dynamics of your take are quite in keeping with the inspiration of this poem. 'The hand that is no longer' is a strange and alluring idea that begs to be articulated. It also allows for the idea that we are although connected throughout our waking days are for periods of time (shorter or longer) separate from each other. And that opens up other avenues in the meditations on relationships and human bonds and beyond. How exciting for you to have began that exploration through this 'portal' poem. Again, my gratitude, Rik.
To me, the poem mingles the: To me, the poem mingles the romantic with the eerie---and I hope I am not misreading (please tell me, though, if I am missing something). Even the spring morning is melting away, and that, too, is a little eerie. But the eeriest detail is the shadow of the hand (the hand implied to be missing, or withdrawn), but held tight in the night hours. I think of a scene of handholding in Shirley Jackson's novel, The Haunting, which some have declared to be the greatest ghost story ever written (and, most of the time, I agree): and that hand that was being held, in her novel, is spectral, long dead, and motivated to horrify and drive the main character into madness and death. I love poems that resonate so well that they lead me to think of other things I have read (like the The Waste Land does), and this poem, in its very compact and succinct way, does exactly that!
That fifth couplet is very: That fifth couplet is very wise, very astute, and very shrewd. The whole poem implies quite a backstory about that tragedy your note mentions.
The third line gives a cold: The third line gives a cold chill, then the sixth line sounds almost playful with its alliteration, and then the huge impact of that last line with the cattlecars ready to roll behind a locomotive belching coalsmoke, and into the camps where the crematories belch human fleshsmoke.
The phrase that occupies the: The phrase that occupies the last four lines of this poem is really, really powerful. The textures of my todays, when I was young, were certainly instruments of torture more often than not, and I shudder to think of them.
You are absolutely right, and: You are absolutely right, and I love your thelogical view. Once and for all at Calvary gave that particular Once an entirely different, and triumphant, meaning. Your theological perspectives are always refreshing!
Quite so, Starward and at: Quite so, Starward and at only one other such instance brings it all around referring to the once and for all sufficiency and efficacy that was accomplished at Calvary!
Thank you,...: Much appreciated, sir. By that token of just having written/entered something/keyed in something, whether it is a rhymed poem or in a free verse form, a prose poetry or even an experimental one..this self-criticism perhaps might also be viewed as self-deprecation. Being a person who comes from a different culture, I sometimes do categorize my own works in comparison with the way other cultures may be doing something of the sorts, as well. And the way language may flow out from myself, as a non-native English speaker, and at least trying hard to conform to many standards/rules, these are just some of such criteria that I'd used upon judging my own work. Please pardon me, as I was becoming more truthful or in a way being fatally honest..just to not call myself intellectually dishonest (at some point). And, as an aficionado of other cultures, I do study Japanese language standards as well.. (these flitting perspectives & approaches) could somehow give one an idea of why experimenters with language itself could prove to be relatively producing many outcomes or sometimes entanglements (that should explain many language barriers and miswordings for most whom I believe experiencing just the results in their conflict, through their interactions). Until then. (I needed to get back to work soon; I apologize for sometimes I may not respond as expected.) I thank you/sumimasen.
Thanks for the reply, but I: Thanks for the reply, but I respectfully disagree with your thought that your posts are affected. I read a couple of your other poems and did not find them affected. or forced or constrained, at all.
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