Blog #11: Group Ode

Ode

Ode to Dissonant Chords (A short composite)

I

For the beauty of the interlacing,

Dissonant and blissful calls of the wild-

Each tune for subtle ears an embracing.

Grasping the hands of both old and kind child.

Whimpering voice of how you chill the world-

Singing sonnets of both home and exiled.

Grasping the oaken woods of the old gnarled,

Kissing the broken waves of the new tears,

Holding each suckling sweet babe up curled,

Riveting up each maidens wind filled hair,  

Embodying the core of  crying men-

Even the joy can be heard in despair.

The dreadful calling of your holy sin,

Can be withheld in a winterfell wren.  

The part of this ode may be small but as I worked alone I am very proud of this portion that could become a beautiful full ode. I might actually work on this on my own and turn it into a full fledged piece. I have never been a fan of odes, though with this project it has become- if not a passionate but- a friendly relationship between myself and Ode formatted poetry. Though only limited amounts of the population may understand the reasoning I hope the virtuoso individuals understand my meaning and the non-musical individuals appreciate the words and rhythms chosen.

Blog #10: “Pop Villanelle”

Pop Villanelle
Nay Sir, Nay

Nay, to the lustful hand and voice of you.
Questions and answers, left barren, no care,
I do believe you- sir- have no clue.

Gentle hands and gentle tongues laced with glue,
Sickly words blossoming within my hair.
Nay, to the lustful hand and voice of you.

My innocence upon your gaze did flew,
You do not hear my blessing prayers, do you?
I do believe you- sir- have no clue.

Names kins and skin for thee to never view,
You and me will never make a loved pair.
Nay, to the lustful hand and voice of you.

You are not called to wait within a queue,
Step away now or you will be hit square.
I do believe you- sir- have no clue.

Arrogant charm in hope for me to screw,
But even stars know I won’t hold your heir-
Nay, to the lustful hand and voice of you.
I do believe you- sir- have no clue.


Adapted from “No” Meghan Trainor

Blog #9: “Pop Sonnets”

Original Song

"NØ"

I think it's so cute and I think it's so sweet
How you let your friends encourage you to try and talk to me
But let me stop you there, oh, before you speak
"Nah" to the "Ah" to the "No", "No", "No"

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

First you gonna say
You ain't runnin' game,
Thinkin' I'm believing every word
Call me beautiful,
So original,
Telling me I'm not like other girls

I was in my zone
Before you came along,
Now I'm thinking maybe you should go
Blah, blah, blah,
I be like "Nah" to the "Ah" to the "No", "No", "No"

All my ladies, listen up
If that boy ain't giving up
Lick your lips and swing your hips
Girl, all you gotta say is...

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

Thank you in advance,
I don't wanna dance (nope)
I don't need your hands all over me
If I want a man,
Then I'mma get a man
But it's never my priority

I was in my zone,
Before you came along,
Don't want you to take this personal
Blah, blah, blah,
I be like "Nah" to the "Ah" to the "No", "No", "No"

All my ladies, listen up
If that boy ain't giving up
Lick your lips and swing your hips
Girl, all you gotta say is...

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

I'm feeling untouchable, untouchable
I'm feeling untouchable, untouchable
I'm feeling untouchable, untouchable
I'm feeling
("Nah" to the "Ah" to the "No", "No", "No")

I'm feeling untouchable, untouchable
I'm feeling untouchable, untouchable
I'm feeling untouchable, untouchable
I'm feeling
("Nah" to the "Ah" to the "No", "No", "No")

All my ladies, listen up
If that boy ain't giving up
Lick your lips and swing your hips
Girl, all you gotta say is...

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

My name is "No"
My sign is "No"
My number is "No"
You need to let it go
You need to let it go
Need to let it go
"Nah" to the "Ah" to the "No", "No", "No"

I'm feeling untouchable, untouchable
I'm feeling untouchable, untouchable
I'm feeling untouchable, untouchable
I'm feeling
"Nah" to the "Ah" to the "No", "No", "No", "No"

English Sonnet

Nay sir Nay

With thou hands you cradle me with passion;
Pondering that of questions and answers.
Telling thee of how I look a dashing,
Calling forth and flirting with advancers.

Sick, ghastly hands upon my rosy flesh,
Whispering of sweetest kiss in my hair;
Moving towards thou virginity to thresh,
Your burly eyes, ravenous as the bear.

Done with the star signs held above fates head.
Thous lusting words crawl up the women's skirts.
Farewell, write the promises of bed wed.
My name to thee no sugary desserts-

-With a single mighty disdainful blow,
Proclaiming thee, a god-forsaken “No”.

Petrarchan Sonnet

Nay

Away with thee, thee defiled swine,
Thou may lust for the God to pleasure you
With my eyes and body, stars for thous view
No matter how thee ask, I decline.
For your hands and heart will never be mine-
I say and cry Nay sir Nay! You ugly shrew.
Rodent that prays to touch the stars of glue
No name, nay number, never fated sign.
Bathing in lusting baths over women,
Of sick carrion vulture thoughts grappling.
With your desire I leave no answer-
Of private layer be non of strippen.
You will not seed in me your lost sapling-
Speaking with thee, drives to call a pastor.  

Blog #8: Paradox of Poison Party

Darkly Gothic Poem
Below is the poem I performed for my small group as well as for the class. Ironically dark in this humorous setting, it contrasts very much to how people would have reacted to it at an actual public poetry slam.

Dark Love 
It is a night of dark desire, a song of sorrow, 
wolves vent their loneliness. The thirsting one
stirs. 

Mist shrouds her brooding form, 
an impatient desire.

Her raven hair cascades over
translucent ivory shoulders, and her
full scarlet lips part slightly, to taste the 
life streaming from the
pale flesh beneath
her.

Now a night of ecstasy,
I smile vaguely. 

These poems, short and sweet are very dark and sad in their text though in the context of the party, it was seeming as a joke, I wonder how the classroom will affect our interpretation of other poems later. But I was glad to perform my forte even though it was not an original composition. I am still proud of this sad piece of work.

Gothic Outfit

There is something innocently blissful in wearing all black to school, vintage corset dress, fish-net tights, lace veil, black gloves, leather boots- the whole mile topped off with black lipstick. It was fun and elegant and odd to wear clothing like this to a party. Though having the entire class behind me and each other with other Gothic styles was great. Hope to dress up in the mood and tone more within this unit and year.

"Poisoned" Dessert
Below (in the picture) it can be seen that I made a couple batches of Blightful Brownies. Within the brownies there were peanut butter instead of egg to make it smoother (as was super noted to not harm anyone with allergies- don't want any real poison here), as well as accenting it with extra chocolate chunks. Though don't be deceived these sweet treats will "Make your face shrivel" as they had cups of secretly disguised raisins mixed in, though sweet, they can be pretty nasty when you don;t expect them. Topped off with homemade blood icing and candy bones this is a really trickful treat.

Blog #7: Mythological Allusion Poetry PowerPoint

PowerPoint Presentation 

Blog #6: Man Booker Prize Prompted Writing

      Prompt
1988. Choose a distinguished novel or play in which some of the most significant events are mental or psychological; for example, awakenings, discoveries, changes in consciousness. In a well-organized essay, describe how the author manages to give these internal events the sense of excitement, suspense, and climax usually associated with external action. Do not merely summarize
the plot.

       Essay Response

In Did You Ever Have a Family by Bill Clegg, the complex plot and underlying out-of-order conspiracies are plagued with significant mental events for each of the many characters within the book, with these psychological awakenings and discoveries being the drive of the plot. Bill Clegg demonstrates these mentally aware events within the intense with sentimental revelations of thought for each character, the suspense of what the discoveries of thought pronounce in the book, as well as having the climax being a realization of mysterious thoughts to the reader as well as a conjuring of painful memories and disastrous realization of thought processes for one of the many main characters. One of the main characters that experienced the most trauma and mental realization was that of June.

    June is an older woman who had lost her husband to divorce, his daughter to neglect and her entire family, including her boyfriend, to a house fire on the day of her daughter’s wedding. Suspense builds right from the very beginning of the novel, “wakes to the sound of sires. Many, loud, and very near” (Clegg 1), where the looming fire began, the reader and many of the characters unknowing for the cause of such a disaster. Though this suspense leads to the rising action as we follow up with June as the funeral the next day were the reader feels the value shift from a neutral to a sad and devastated feeling, the polarity of such a scene going from bad to worse for the dear familiness woman. She exclaims the revelation in her thoughts the facts of the night before, “The old stove, gas leaking through the night… a spark most likely from an electric switch or light” (Clegg 9), it turns to her own revelation of dread the feeling and blame that had been turned towards her and her boyfriend. Her emotions reading the pain in her words, “the instant and all-consuming fire” (Clegg 9) mixes with the judgment of the town, “They did not ask her why she was the only one outside the house at 5:45 in the morning. But when the officer asked of her boyfriend Luke” (Clegg 9) she comes to the realization that the distrust held previously in her boyfriend has not been put into her. She turns to shun the town and move away from them, “she stood and walked out of the church hall” (Clegg 9). This mental awakening of her previous assumptions of an untrusting town blooms into the main conflict and mystery of the fire for June to run away from and realize.

    She had left and abandoned her town in her pain to find solace in a wayside place, to find peace. She had left herself behind along with her past, “she had no ID” (Clegg 61) while in “this New England motel room, the problems that existed could be fixed by someone else” (Clegg 165). Much of the rising action of the novel follows June as she avoids her past and her memories until a shocking realization of the truth behind the fire as she has a mental awakening and discovers that though she affected the situation it was not her fault, “far enough away and next to someone she does not know, she cries” (Clegg 165) the anguish leaving her as she had pent it up for all of time that she had never fixed the broken stove while her boyfriend fled to the woods after a fight she settled into a chair outside the house to rethink her decisions. She comes to a personal light that she could be happy, the negative of the fight over marriage blooming into a happier patience as “she will wait for him here. Under this wedding tent, she will wait. And she will say yes” (CLegg 262). Where this climax near the end of the story pieces together all the parts of the out of order novel that rings with the truth of pain and sadness, rather than the depression of mystery. June though, is not the only tale of heartbreak and sadness, outcasted Luke, June’s boyfriend, had a mother who’s twisted torment followed and derived the story forward, not through her actions but through her mental awakenings.

    Without hope in this small town Lydia, the mother, strived for little except a call for freedom, for love, for acceptance; the town denied. Due to her messy and dark past, “When Luke was born, it was clear to everyone that Lydia’s husband… was not the father” (Clegg 25), she was pushed away from town and sent onto her own, she “was as banished as one can be in a town of fifteen hundred people” (Clegg 25). While the town saw her a dismal and maleficent, from the reading omniscient 3rd person view Lydia’s very thoughts and past could be seen and understood. Her husband was abusive and she was not treated well while a stranger respected her and loved her for her, “So when she recognized something that could drive Earl and most likely the rest of the town away she didn’t hesitate” (Clegg 73) her climaxing thought of her personal tale leading the thoughts to switch from the reminiscence of abuse to the thriving of defiance. She brought her own freedom into the story as well as her life.

    The novel may have been out of order and told through many people’s eyes, though this in itself does help in the work of using mental notions as the driving point of the story. As the reader learns of the characters thoughts and feelings to drive the mystery to conclusion as well as the feelings and stories to closure. The book was not based on the characters emotions, but written entirely with them.

Blog #5: Greek Tragedy Presentation & Paper

Video

Menu Slides



Script



Planning Sheet
Title analysis, first/last line analysis, 3x3, 3-sentence thesis, shifts chart, storyboards, framed narrative rationale