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Poetry Review: I hope this reaches her in time

I hope this reaches her in time:

Truncation for Effect

 r.h. Sin’s collection of poetry, I hope this reaches her in time, is the journey of a broken heart, of grief, and of rebuilding one’s self. Its poems are terse and to the point, charged with an almost typical angst and “you’ll be okay” sentiment. However, its staccato pacing ties the narrative together through Sin’s truncation of sentences: there are brief spurts of emotion and pared fragments that – albeit briskly – make the collection cohesive.

While not uncommon, this short, fast-punch style suits the arcs of the narrative: being left by a loved one, grieving, anger, and moving on to self-confidence are all emotions delivered with a flow of consciousness voice. The opening poem “good women are tired of giving” sets the tone with a brevity that permeates each piece in the work, cutting through it with short verses such as “the girl who deserves the sun / is tired of being rained on.”

Much like Sin’s book a beautiful composition of broken, I hope this reaches her in time relies heavily on these truncated sentences to produce dramatic juxtapositions: often existing as fragments of sentences, the individual lines punctuate the narrative. These snippets serve as tiny dagger pricks that help convey the poignancy of emotion of the narrator: “aren’t you tired of this shit / the constant struggle / the feeling of loneliness.”

The majority of the poems in the collection, also, evade the usage of proper punctuation full stops, leaving each line on the page hovering in its own space without a sense of stopping. The lack of punctuation permits the reader to string these snippets together, even when they might not necessarily scan as a joint phrase and render a more complex meaning, creating a Joycean effect that reflects the narrator’s state of mind: “and so the loneliness / will grow from the emptiness / you feel / those nights will be the toughest / those mornings, even tougher / it’ll hurt, you should have loved her.”

One key technique throughout the poems seems to lie in the composition of the stanzas themselves; many of the poems start and end with lines that could be taken together, paired on their own. One could cut out the middle lines and glean the entirety of the individual poem. Take, for example, this eleven-line stanza:

and all of this for a love
that turned out to be hatred
all of this for a heart
that never deserved yours
all of this hurt
for a relationship
that would never work
all of yourself
all of everything
invested into something
that now feels like nothing

The efficaciousness of this poem lies in its repetitive nature [of fragmented thoughts], but is ultimately completed by combining the first and last line of the verse: “and all of this for a love / that now feels like nothing.” This technique is employed throughout the work as another form of truncation; the two opening and closing lines package up the meaning in a brief scanning of the poem. While there is some variation to this affectation – obviously notable in the shorter verses – this technique remains consistent throughout and produces a unique, curt effect that propels the narrative forward at a swift, almost frantic, pace: “we become content / deepening the bruises” and “i needed to find myself / while trying to keep you” are two such examples of the proactive nature of the narrator demonstrated through this curtailing of the verse.

Ultimately, the truncation of the lines in I hope this reaches her in time creates a staccato pace throughout the work. It successfully builds up momentum to express the spiraling emotions of the narrator up until the final poem, which is the most truncated of all: “until next time, talk to you soon… / (call ends…).” This ending creates a sense of the narrator experiencing short bursts of emotions and ties together the clipped speech throughout the work; I hope this reaches her in time becomes, in essence, a one-sided telephone conversation with the one who broke your heart.

Poetry Review

Form and Function in
the princess saves herself in this one

Amanda Lovelace is a local author whose poetry went from online popularity and self-publishing to traditional publication with already three editions of the princess saves herself in this one in print. It is a tale of grief, survival, and healing: empowerment of the self and a reminder to “practice self-care before, during & after reading.” The poetry is straightforward and poignant, with most effect coming not from more common poetic devices but by a manipulation of the text itself to achieve a purpose.

The first striking piece of technique that Lovelace employs is in the juxtaposition of her titles; the majority of the collection titles the poem at the end of the piece, rather than in the beginning. This leads the reader directly into the raw emotion of Lovelace – be the subject abuse, alcoholism, or recovery – without any preparation, so each delivery packs a metaphorical punch. For example, consider the following poem:

when i had

no friends

i reached inside

my beloved books

& sculpted some

out of

12 pt

times new roman

& it was almost good enough

Here, the title “& it was almost good enough” not only befits the nature of the poem, but serves as a final closing line as though the title were a part of the poem itself. This technique is employed copiously throughout the collection and provides a unique take on the structure of poetry. Albeit one, short line, the punctuation of the title as a final line is reminiscent of the final couplet of a sonnet; it serves to both summarize the poem and provide an impactful delivery.

Lovelace also enjoys the shape of her poetry: verses themselves are typographically modified to enhance the theme of individual poems. Although not an unfamiliar technique, the restraint and deftness with which Lovelace employs shaping her words allows for multiple readings of each and furthers the narrative:

the princess woke

to feel her castle rocking

back & forth

back & forth

back & forth

This structure repeats but softly gives a cadence of rocking that gradually increases until the climax of the poem: “at first / she thought / a hurricane / must be brewing, / but she was / wrong.” The wavering nature of the poem ending on the word “wrong” substantiates a sense of imbalance or something amiss in Lovelace’s psyche as she crafts the poem.

Lovelace, at points, goes quite literal in the shaping of her poetry, letting the physicality of a word dominate a poem in a picture:

there

was never

enough alcohol

to keep my mother warm

in a house

as cold as

t  h  i   s.

With this poem, the imagery is overt – as to whether it is too literal is subject to debate – but the poem still manages to backload panache by the stinging expansion of the word “this” in the final line. Due to its spacing, one is drawn immediately to the word. “This,” Lovelace is saying, “This is my point,” referring to the text before it, shaped as a house supported by a weak pillar of gapping between the foundation of the house-structure itself. The spaces, then, represent the cracks in a house ruled by this, the mother’s insatiable desire to keep herself from the “cold” by indulging her alcoholism.

This gapping is further employed in words like “s h a t t e r e d” or the scattering of words in the shape of a spiral: “death / wound / itself / around /her / bones / like / a / piece / of / red / ribbon.” There is a certain calculated playfulness – despite the serious subject matter – in the construction of these poems that harkens back to the title, the princess saves herself in this one. By manipulating the words into the shapes she desires, Lovelace is ultimately taking control of the power of the written word on both a physical and spiritual level.

Form and function in Lovelace’s collection subvert the reader’s expectations of free verse by subverting and reshaping the text itself. The juxtaposition of the title at the end of the verse rather than the beginning places a period and stamp of force on the individual poems, while manipulation of individual letters or words similarly compels the reader to look at the poem from a different perspective. Each piece could certainly stand alone as free verse with no fiddling, but there is a thoughtfulness in the structure of the shape of words that conveys emotion and image with poignancy. In this manner, Lovelace’s poetry successfully transcends the confines of language. To further cap off her fancy, flipping to the back cover of the book one can find the ending line of the series, emblazoned in bold, large font just as the front cover, the alternate title (or perhaps, as many of her other poems, the actual title) of the book itself:

the story of

a princess

turned

damsel

turned queen

It’s that time of year again…

Taxes, taxes, taxes. I know I’ve been MIA for a solid two months or so, but work and family have kept me away from the best part of my life — writing!

The Janet Project is currently still a WIP, but doesn’t have much more to go. Then I get to go through the joy of query letters! *shudder* If anyone has suggestions on a good way to write one, I’m more open than an Atlantic City hooker. Too crass? Too bad. Query letters stink.

As my day-job is in the financial field, I wanted to explain to those who write exclusively as their source of income that you might not have tax withheld from your advances and royalties. If you don’t want to owe a lump sum in April, you should pay estimated tax (April, June, September, January [of the next year]). This is more or less the same concept of withholding, as here in the US we’re required to PRE-PAY our taxes. So, to avoid any penalties… fork over some of your tax liability during the year and don’t get whammied up the rear end in April. 😉

This is perhaps the most boring post I’ve ever written, so I’ll link to a great music video by a group Chris and I are going to see live on Tuesday. It’s Snow Halation, by μ’s. It’ll be a nice diversion from all the stress going on right now. Definitely check out the vid and TODOKETE!! with Honoka.

 

Bao for Bao 〜バオ作り〜

Happy 2020, everyone! I hope everyone rang in the New Year with something fun and delicious.

Speaking of deliciousness, hubby (who is obsessed with all types of bao, including me — my nickname happens to be Bao-Bao) made David Chang’s pork buns today from scratch. How amazing is that?

Steam away.
Bao buns!
So many bao…

And then, of course, we have the final product: a bao with pork, pickled radish and cucumber, hoisin sauce, and a little sriracha for good measure:

Steamed bao with pork, pickled cucumber, and radish; tomato salad garnish.

What is everyone eating to pick up their spirits? It had better involve wine!

Happy 2020.

xoxo

Have a Happy Helen Christmas

It’s this time of year that we truly think of our loved ones. As we decorate, I remember back to the days when my grandmother was alive; cooky, faux-fur coat, fake earrings; her Scotch, and her cigarettes.

Nana Hayes
“She lived in her liquor, and died with a flicker.”

I still relive some of her traditions, and it’s having pieces of her that really enlivens my holiday. It’s not just that: even though she passed when I was fourteen, to this day she still informs my writing and my life. This post is to celebrate her.

The scariest Santa ever.

Nana’s ceramic Santa and Mrs. Claus.

I hope everyone has something special from a loved one to put out this year. Be it my great-grandmother’s ugly Christmas tree ornaments to the newest, sparkly bulbs, make a new tradition to celebrate the season.

Happy holidays, everyone.

xoxo

PS — to all those sending well wishes, thank you! I embrace them all and am truly humbled.

Seven Years a Brony

Facebook has the lovely “remember this?” memory function that most of the time fills me with unabashed shame or a surfeit of giggles. Needless to say, I seldom share.

Today marked the seven year mark of my first pony picture of my OC (original character), Wine Quill. I would, once again, be remiss if I didn’t share him with the world:

Wine Quill
Wine Quill, Brian’s OC

My Little Pony: Friendship is Magic has had a remarkable impact on my life; on what I feel about friendship, love, and how I could cope with depression. I still carry ponies on my person, and am proud to have a husband who became a Brony as well. The series may have just ended, but it lives on in our hearts. *sappy music plays*

Wine Quill & Pumpkin
Wine Quill celebrates Halloween.

As as a PS, I once made a custom pony for my friend Dan. He may have lost the pic, but I have not!!

And a Big Bowl of Ravioli

We’re here listening to My Little Pony: Friendship is Magic Christmas (thanks, Uncle Scott!). Pinkie Pie’s “Twelve Days of Christmas” is especially epic.

Thanks to everyone who has been so supportive these past few, hectic weeks! Mom seems on the mend, so fingers-crossed, all will be well.

Hopefully we’ll get to game some Tails of Equestria this week, and maybe squeeze in a dance lesson or four. I miss my Dana. <3

As I’m now a public figure of sorts, my heart is open to the world. I’m glad that there are those who read this blog — I’m working hard to produce good work and am so thankful for all my supporters out there. Love you and happy holidays. xoxo

 

Toes

I doubt my mother would like this post, but I am remiss without it.

Mom had a bypass; vascular surgery to be exact, and the prognosis is that she’s going to lose some toes. That’s horrible. My mother is the champion of Christmas, and being hospitalized has severely lessened her ability to be the magic Santa she always is (spoilers kids: Santa is my mom).

I worry about my family; my mother’s desire (above getting out of the hospital) is to make a perfect Christmas. It won’t be. There will be lost toes. There will crutches. There will be siblings who despite the season will call my dad to check up on him (and he’s not doing so swell, as well), but don’t check in with my mother. This saddens me greatly, especially in what is supposed to be a time of love and joy.

I have Nana’s ceramic tree up. I have Pop-Pop’s gimpy, wind-up dog. What does everyone have this season? I just want my Santa back in the shop.

Riot Blade Thanksgiving

Happy early Thanksgiving! I hope everyone has something to be thankful for tomorrow.

I’m feeling grateful for many things, especially the love of my friends and husband. I’m also thankful that Terra is close to mastering her Ifrit summoning board. RIOT BLADE!!

As random as that is, I wanted to give a general update: my mother is ill and hospitalized, so I haven’t had has much leisure to write as I’d like. I hope this Thanksgiving anyone who actually reads this blogs sends her warm thoughts of healing. 🙂

I’ll talk to you all after the holiday with updates on The Janet Project.

xoxo

“UGH!” said Ugh — Some More D&D Action

When we last met our heroes, Trojan Aziz was dodging Niveus Hare’s fireballs as they came upon a goblin camp. Since then, Trojan, only mildly singed, and an ever-inebriated Niveus were separated from their friend, Ped Xing, and had made new acquaintances in Ugh and Doria, a half-orc and a human — a human who died in battle and was put in a bag of holding for a week before resurrection.

“Ugh,” said Ugh, the half-orc barbarian, as he hauled a catatonic cleric like a sack of resurrected potatoes off the back of Nivvy’s horse.

“Maybe we can find some sort of thaumaturge to stop the drooling,” Niveus offered.

The four of them — Ugh, Niveus, Trojan the elven rogue, and the not-so-present Doria had been traveling for several days, to a town Ugh knew as Dunwich. They would be able to stock up on some necessary healing potions — Nivvy’s staff of healing unfortunately bamfed out of existence after some gratuitous misuse — and hopefully a keg or three of good ale.

Dunwich wasn’t unfamiliar to Ugh, as he’d been a resident of Fel’way since his birth. Niveus and Trojan, on the other hand, had been rather unhappily transported from Faerûn by otherworldly magic along with their missing friend, Ped Xing. Every new town, so far, was turning out to be something of a surprise.

The settlement crept up upon with the smell of burnt flesh and the sight of rising smoke. Trojan was the first to scuttle up the main road, ready to stab and slash and cause general mayhem: the village was in danger; that much was obvious. Niveus, gingerly alighting from his horse — he didn’t want to sully his fancy lavender ensemble — took up the middle on account of being “squishy,” and Ugh lugged Doria behind him with a hand that could use a good manicure.

“This isn’t a normal goblin raid,” he said. “The city guard is too used to that.”

“Let’s go cut ’em up,” Trojan said.

“I don’t have that healing staff anymore,” Niveus said. “And Doria is still a bit… touched.” Nivvy daintily took a handkerchief and wiped her chin before polishing off some potables from his hip flask. “Just try to stay the way out of my fireballs.”

“Wizards,” grumbled Ugh.

“You didn’t mind when I charmed the barkeep into lowering the cost of the port,” Niveus said. “However dubious that transaction was.”

Ugh just grunted.

“C’mon, you two,” said Trojan. “Let’s go do this hero stuff!”

“And maybe get some remains for sausage filling while we’re at it?” Niveus’ voice was all too hopeful.

Ugh rolled his eyes. “Gross. And I’m a half-orc. Gross is my thing.”

Done with the bantering, Trojan gripped both his companions by the hand and proceeded to march the group up the slight slope toward Dunwich. The town’s gates had been smashed open; that much was obvious as the group approached. Upon broaching Dunwich proper, the residencies on the outskirts were barred shut: townsfolk, nowhere to be seen.

“I hear something to the north,” said Trojan. A cacophonous thumping like a gigantic drum rang out from the center of the town, where, according to Ugh, the mayor resided and governed.

“After the brass, eh?” said Niveus. “Time for the saviors to step in.”

“I’ll stealth up and gather some intel,” said Trojan. Ugh grunted in acknowledgement and stood protectively in front of his party’s magic-wielder and slightly enfeebled healer.

“Gobbies?” Doria asked.

“Hush,” said Niveus.

Trojan slinked behind the town’s pub — hoping Nivvy and Ugh wouldn’t try to peruse the goods while he was off working — and headed toward the town hall. It was a sturdy building, surrounded by a wooden wall. A wooden wall currently being crushed by an ogre with a battering ram.

“Well, shit,” Trojan swore. He was tempted to nock an arrow into his longbow and distract the creature, but he noticed off to the side a second, lumbering hulk of an ogre littered with goblins riding its back. This would be too much for him alone. He counted four goblins atop the beast.

“Sleep,” whispered a voice behind Trojan’s back. Despite his cool demeanor Trojan jumped. Liquid syllables too hard to remember swept past his ears, and one by one the goblins dropped off the ogre’s back, falling into a deep slumber on the ground.

Trojan turned around to see Niveus and Ugh behind him, surprised that they so sneakily crept up behind him. Doria huddled back in the corner, chanting something about making things glow.

The sleep spell was effective, but not without its caveats: both ogres turned around to face the party and roared with exasperation.

“I thought we were going in quietly,” Trojan said.

“I got bored.” Niveus shrugged and took another slug from his flask.

Both ogres began stamping toward the group, and Niveus shrank back toward Doria. “Did my job!” he quipped.

Ugh pulled the straps off his great axe and hefted it with two meaty hands, his eyes glazing over. Let the anger well up inside, he thought, and within seconds he was filled with rage. The half-orc charged toward the goblin-free ogre and swung mightily, opening a razor-sharp, red wound from shoulder to belly on the beast.

“So much for stealth,” muttered Trojan, before a chaotic flicker gleamed in his eyes. “It’s stabbing time!”

He rushed forward, unsheathing and hurling a softly glowing dagger from his belt. The blade flew toward the ogre with the battering ram, digging deep into its shoulder and whipping out in a trail of blood as the dagger magically boomeranged back into Trojan’s hand. The ogre howled and dropped the ram to the ground, cursing loudly.

“I guess it’s my turn again,” Niveus said from the background. More harsh sounding words escaped his lips as he extended his left hand. Gathering green light extended from his fingertips and coagulated into a ball of vitriolic sludge. Niveus flung a dart of pure acid at the howling ogre, flask in one hand, and smiled as there was the heavy sizzling of evil flesh melting by the power of his magic.

“Don’t get cocky!” raged Ugh. He had leapt onto to the other ogre’s back, careful not to disturb the sleeping goblins scattered about his surroundings and with a loud clang crashed his great axe into the trapezoid of the beast, crippling its right arm. The ogre, eyes bloody, reached up with his left hand and swiftly threw Ugh into a pile of rubbish from the crumbling wall.

“Cocky my ass,” Trojan said. He sprinted forward, drawing his rapier as he ran.

“Do I have to use another spell?” called Niveus, cheeks slightly flushed.

Ugh’s ogre was staggering, looking worse for wear, so Trojan focused an elegant stroke of his blade against the underbelly of the other, whose face was distorted, rendered even more hideous by Niveus’ evocation. A deft slash — one and a sneak attack for good measure — gutted the monstrosity and Trojan was covered in ogre offal.

“One left,” growled Ugh, picking himself up out of the pile of debris. He could feel the frenzy overtake him, and without restraint launched himself toward the remaining ogre and began hacking away, chucking bits of monster flesh left and right with a perverse relish.

Immediately the ogre was bombarded by three bolts of pure arcane energy, pummeling its wounds open further and exposing some green, fleshy bones. The ogre dropped to its knees beneath Ugh’s weight and ultimately collapsed as the half-orc slit it neatly down its back with his axe.

Trojan took it upon himself to drop his rapier and slip two more daggers out of his belt. He drove them both into the throat of the blinded ogre and whipped them out, now completely covered in blood but rewarded with a thud as it dropped to the ground.

“If it was only this easy all the time,” said Niveus. He had begun casually slitting the throats of the sleeping goblins with his athamé, careful to preserve the bodies. “Sausage, anyone?”

“Ugh!” said Ugh, his stream of adrenaline slowly tapering off.

Trojan looked around for something to wipe himself off with, considering he was covered in ogre blood. He was interrupted by calls in Dwarvish, which he could barely parse, from ahead toward the manse.

Our heroes’ adventure continues soon, with missing children and hags, oh my!