Practice Restraint

Steppe

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"Practice Restraint" by Laura Sims.

"...is an anthology of sparcely worded free-verse poems steeped in the author's queintessential talent to imply volumes from brief phrases. Touching upon complex situations through the minute illumination of instants, "Practice Restraint" resembles a hakiu collection in spirit, though it does not employ the haiku format specifically."

It seems to me that whether we like a more horizontal poetry, more full-bodied and longer lines, more traditional like, or a more vertical poetry, shot-lined, sparcely written, new age or post modern, there is something to be said all round for the practice of restraint.

Odd as it may seem, even the ports who write sparcely may need tp practice restraint even more.

I think this restraint may have to do with things other than just words as well.

I think you might enjoy this book by Laura Sims whatever style you write in.
 

B.D. Eyeslie

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"Practice Restraint" by Laura Sims.

"...is an anthology of sparcely worded free-verse poems steeped in the author's queintessential talent to imply volumes from brief phrases. Touching upon complex situations through the minute illumination of instants, "Practice Restraint" resembles a hakiu collection in spirit, though it does not employ the haiku format specifically."

It seems to me that whether we like a more horizontal poetry, more full-bodied and longer lines, more traditional like, or a more vertical poetry, shot-lined, sparcely written, new age or post modern, there is something to be said all round for the practice of restraint.

Odd as it may seem, even the ports who write sparcely may need tp practice restraint even more.

I think this restraint may have to do with things other than just words as well.

I think you might enjoy this book by Laura Sims whatever style you write in.

I've recently read a collection of haiku of the 3-4-3 variety and tried my hand at it. It's quite a mental workout, but the more I do, the more I like it. I'm told this is the more traditional Japanese form—that and trying to incorporate nature and seasonal meanings. Maybe people here would be up for a try at this.
 

Blarg

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3 4 3? Holy cow that sounds brutal.

edit: By the way, Steppe, I admire your poetry most by far when it is restrained. The tension between that restraint and evocativeness strikes me as your poetry's particular and most profound virtue.
 
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Steppe

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Ok Perscribo. I'll be busy traveling for a few days but when I'm back I'll post a few suggestions of my own.

One thing to point out to E. D. Eyesile is that the book does not deal with haiku. The introduction was just making the point that the author's poetry is "haiku like", not in form but in the "pratice of restraint" which haiku is known for.

Restraint is nothing new. Most poets practice it to one degree or another. "As few words as possible" is the poet's moto.

When restraint is not practiced, porsey poems are the result, imo. But "the right words in the best order" must be part of this "practiced restraint", or nothing much is gained.

Perhaps other poets on the forum would like to add an opinion here.
 

Blarg

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I like prosey poems sometimes. I think poetry is often not in the language but the thought. Many elaborately crafted, linguistically perfect poems aim at and come to naught. Many things very simply worded harbor deceptive depths and figurative and symbolic magic. Just as one must train oneself to read poetry, one must train oneself to find poetry. Each is a matter of refining understanding and artistic instinct.

Anyway I actually came back into this thread to say that it would be nice if such an interesting first post were in the "books we're reading thread," which could become a wonderful and entertaining resource if it were embraced.
 

Norman D Gutter

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Hmmm. "Sparce" isn't a word, nor is "sparcely," at least not in any dictionary available to me right now. Or is that a British spelling for "sparse"? Assuming you typed it correctly, Steppe, that one item will make me stay away from her book.

NDG