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Last Login: 01/15/2014 4:15 am

Registered: 09/03/2004

Gender: Male

Location: Arvada,Colorado

Birthday: 05/24/1989


Exiled AngeI on 06/30/2019

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B e l l u m B u n n y Report | 06/14/2010 1:02 am
B e l l u m B u n n y
Its been a rollercoaster ride for me still is XD wots new with u ^^
B e l l u m B u n n y Report | 06/02/2010 8:33 pm
B e l l u m B u n n y
Lol i dont know if ive replied back yet or not...lol how are u XD
B e l l u m B u n n y Report | 02/16/2010 7:09 pm
B e l l u m B u n n y
Lol hi XD sorry for late reply...how are u XD
MissionStops Report | 09/22/2009 9:31 pm
I am in Japan for another few weeks.. on the 7th I`ll hit the Osaka streets and the next day Back to Helsinki-Tallinn
ProfessorKC Report | 09/16/2009 9:15 pm
Sorry that portions of my last comment are a bit confusing. I am not well as I previously mentioned. I will gladly explain further at a later date. Good night.
ProfessorKC Report | 09/16/2009 9:12 pm
Readings? Start with this, it's basic and layman and applies to your audience here as they attempt to interpret:

How to write a poetry critique from the 101 or 102 class and it's simple for an important reason (also considered basic "deconstruction" wink :

Step 1)

Read the poem aloud three times. This repetition will help you hear things that you would not normally grasp while simply reading a poem, and it will help you capture the rhythm of the author's words.

Step 2)

Write an overview before you sit down to write a poetry critique. Write down all of the main subjects and symbols in the piece to ensure that you have a firm grasp on the main idea.

Step 3)

Break the poem into chunks. You can either focus on one or two lines at a time, or focus on three to four lines. The poem will usually be set apart by some sort of punctuation that will help you in this.

Step 4)

Evaluate each chunk. This is where you get into the nitty gritty. Write a poetry critique by searching through each part of the poem for grammar, syntax, chosen words, figurative language, and organization. Search for the meaning behind each simile and metaphor used in the poem to dig out the entire meaning.

Step 5)

Be constructive with any criticism if you are critiquing an author's work for a workshop or as a favor. Though every author enjoys hearing "That's great," it doesn't help in the writing process. Go over all of the things you consider strong in the poem, and then offer advice as to how you think certain phrases or symbols may be clearer or better phrased.

You faltered in steps 2 and 4 due to and attempt to connect your two exhibits with pretty but conmpletely disconnected image that cause the reader to stagger and say "What was that?" or "Why?" No piece of work will stand well if only the author knows the "true and real and entirely correct" interpretations of their writings. At least someone has to get something out of it. Dealing with "CompPrep," Perhaps, you aren't old enought o experience the time when violent gangs actually wore matching "jackets'. In motorcycle clubs across America, even non-"outlaw" biker gangs, this method is stil utilized. Readers can only relate even the most abstract ideas and imagery to experience and knowledge (to illustrate: you cannot explain the color blue to a blind person - i. e. my often keep it simple comments) I'll admit to failure in step 5 in offering proper input which I am attempting to correct a bit here.

It is terrific to "deconstruct" criticism. Publishers and other writers, when it is their comments especially, do not and will not care for this at all. Word for wisdom, any attempt to throw intellectual indignation at a professional won't end up justifying the nickel you wasted on electricity to send the e-mail.

I'd recommend in reading: Samuel Beckett and particularly his literary criticisms. If you wish to get a grasp of true abstractionism in an existential bend, he would be perfect for you especially with some of your apparent themes.

I do apologize about this being so late in answering you. I am having some medical difficulties and do not know when we might continue our discussion in the future. I will reply when I can. It is the best I can offer.

Personally, I am a Bruce Weigl fan in poetry, but in part because I know the man. I'd recommend him as well. William Blake's "London" for quick simple remarkable yet connected and seemless imagery of a very dark flavor. Quite a few of the romantics in a matter of fact would work for you. There is a dark period of that movement which I believe would benefit you to persue.

If anythign else comes to mind I will post it here. Thank you for your time.
B e l l u m B u n n y Report | 09/15/2009 2:31 pm
B e l l u m B u n n y
Not much... >.> you? ...so sorry answering late....im never on.... >.>
ProfessorKC Report | 09/02/2009 4:13 am
Ah, another 20 year old out to take over the world, so an attempt is made to intellectualize as much as possible.  I've used that defense when much less experienced in life. 

Now the amusing aspect I mentioned, Jargon is the weapon of those who do not have much to say but need to defend themselves and their fragilities. I have seen it haoppen with truly brilliant students and professors who have not yet figured out how to handle the students in questioon. I would recommend several more classes, would do you a world of good, since "deconstruction" of a poem is exactly (according to which particular critical method ... and oh yes, there are several out there (schools of thought are like grains of sand and opinions, and terms are often interchengable and reused), try to look at more than one web site in the future for your information) what that was or maybe you should look at your Beckett a bit closer when it comes to his views on deconstruction of all literature (including theatre) - or all life for that matter. It is quite intriguing what a man who routinely communicate at the highest levels of sophistication in 8languages has to say in the topic of writing. It appears at first glance in much of his prose and poetry to be mre absurd than your crocodiles, but unlike yours, further stucdy gives it sense and a profound meaning.

Reader-response does interpose reader impressions (that is one of the wonder things about writing and reading - the freedom of the mind to wander) and "breaking" scene or character is a writer's perogative when using metaphor, but when it destroys continuity completely and leaves a reader saying to themselves "why did they do that? It makes no sense and then there is absolutely no follow up or connection with any other part of the work" it is obviously just a "neat idea" or image inserted by a writer who believed it incredibly profound at the time and then failed to realize it's inappropriateness (I see this very often in class, and hve been guilty of it as well) for the rest of the image. By all means, break continuity, the standard sonnet does that indeed as a rule of form in the flinal two lines does so, but at least there is some relation to the what has already transpired in the piece which in your case ... is not even remotely the case.

Bottom line , The poem about the pretty young woman was good, the first and thrid stanzas came off meeaningless and the one about the lone cute boy was mediocre but held one fair image. I have already explained why and if you do not like this, then fine :) You don't have to like it. you've stated that opinion that you don't appreciate my opinion. Fine and diddle-ee-dee-dandy. I will think you are wrong and you will think I am and I have absolutely no problem with that nor do I think anything ill towards you. While sitting in my completely neutral corner I will ask a question: Do you understand this has never been personal?

It appears that this has become some form of attack in someone's eyes and that was never intended and in the follow up a presumtion, and a fairly disrespectful one, of lack of knowledge followed when dealing with the ways and means of the "critters" out there. Since I generally deal with work by young adults and have several colleagues, resources, and means to handle them in the appropriate ways, I believe I am entitled to my opinion. If I was a thirteen year-old who had never written a poem or bothered to read anything but video game instructions for their X-Box 360, I 'd be entitled to my opinion.

Get use to it if you believe you want to be a writer, in one year you will receive 90% rejections and maybe 10% acceptances no matter how good you are to start. If your reaction to that situation is anything like this, you will not last. Take that as a bit of friendly advice.

Now, I am done with this issue. I am almost 100% positive that you are one of those types who absolutely must have the last word re
ProfessorKC Report | 09/01/2009 12:54 am
Visited the site and still think the change in metaphor is unnecessary. It's the reading equivalent of driving down the highway at 60 mph and then shifting by accident from fourth gear to reverse. The resulting mess of you engine is the images you developed prior to this moment and just having ian intersting image of crocidiles in the sky dosn't mean, though it is imaginative, it fits with the rest of the piece. It is a perogative of a writer to choose how he sets his tone and CompPrep (something you wrote preparing for your comps, eh?) was quite nice comparing a old style gang intiiation (modern gangs don't wear jackets) with being forced into are accepting certain beliefs ("from KKK to Natural Right" interesting choices there ... hmmm). It is blunt, violent and with plenty of shocking images. In other words it's easy to write for someone who knows how. I'd like to see you do subtle and minimalist just to see what you are capable of (just a thought). I will glide by again later to the site as time permits and read some more.

By the way do you attend college or are you a fellow bibliophile as well. Different critical forms were not what I expected to hear on this forum, yet it was refreshing and a little amusing I'll admit (but I'l explain that later if you ask). Have a good day.
ProfessorKC Report | 09/01/2009 12:37 am
Oh yes, I have assistants who help me type since I am terible at it!

I was gravely injured in the Gulf War years back and it affects me in subtle ways, so I do apologize for the sloppiness. I didn't think to MS Word the message then copy it accross like my colleagues constantly suggest to me. I also have my many faults such as forgetfulnes and I geuss prife , believeing I can continue just fine on my own without any help. It is a human failing I endeavor to address ... someday razz

Mainstream Flat Liners

Famed attempts of crocodiles in the sky
Mourn their brothers of black roses and bowties.
An observation of webs through the morning dew grass.
These forgotten rhymes form the shadows of your past.

Exhibit A: The Lone, Striking Girl

Beauty is in the eyes of every beholder
As she flaunts her single skill.
Though little to no talent is needed,
It’s a pastime for the other fifty still.
She’ll dress per her mood,
In accordance with the sky
As jets overhead
Fly a low passerby.
Encounters have gifted her a timeless tale.
Colloquies in vanity, a bait-and-switch sale.
Given a shot, she’ll aim for the chest,
Just to your left, where aspirations rest.
But futures bother her not, if you know what I mean.
With looks like those,
Endowed an ends without means.

Now you may never know when draining slumbers will end
Because even with eyes open, these dreams seem to send
Etchings of visions that long for the past.
Every walk through the park was a walk through the grass.

Exhibit B: Your Local Cute Boy

Never top of the game,
He’s always halfway between.
Stuck in the ranks
Of every boy on the scene.
Mostly ever a friend
To every exhibit on show.
Dreaming in vacant fields,
His envy will forever grow.
He knows what he wants for every time or every two.
But before assertions first, the familiar chase has run through.
This moment he stands alone, static in the rain.
Waiting for a cab on the way, to bring him new pain.
So next time your lips burn for sentimental vice,
Remember that high ends fade.
But your local cute boy will forever and always look nice.