Achieving Balance… Slowly.

As a poet, I am always inspired by the beach and the sea.

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I posted recently about needing to write some positive poetry to balance the number of dark and melancholy poems that I’ve written, so that my next collection isn’t entirely moody, angry and defiant.

On Wednesday evening, between a meeting and a theatre company rehearsal, I grabbed some dinner and headed to one of my favourite spots – the beach. It was an unseasonally mild evening for early May— still 24 celcius when I got there— so I took off my shoes and grounded myself in nature with some deep breaths and my bare feet on the earth. It felt so good to find quietness and solitude there, just the sea, a few gulls and me.

While I sat on the foreshore and pondered the scene before me as evening fell, the beginnings of a poem came to me. Now that it’s finished, I’m pretty happy with it. I love the sensuous, joyful feel of a lovers’ reunion, and I think I’ve captured the moment well.

You can read Sunset Rendezvous at WordyNerdBird Writes. I hope you enjoy it.

 

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Thank you to everyone who took the time to encourage or inspire me with ideas, whether as a comment or in a private message. It means a lot to me that you would do that, and that you’re interested enough in my writing to help me in that way.

 

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Balance.

I’m looking for positives. Feel free to help me out!

pexels-photo-69213Balance is something I often aim for, but things don’t always work out that way.

I’ve just been looking at the poems I have written for my next collection, and the majority are quite dark. I’m going to have to make a conscious effort to write some more positive or happy poems to balance it out.

Easily done. All I need is for the universe to be nice to me, and for wonderful people and happy events to inspire me. No biggie… right?

If you’d like to inspire me, leave a story, an observation, or a happy experience in the comments!

Seriously, Universe… What Am I Doing Wrong?

Apparently, I never learn.

Promo X Cold Shoulder Plain

Only on rare occasions am I ever tempted to feel as though I might just get on top of things.

Other days, like today, I realise yet again just how little most people value me, or anything I do.

Seriously, universe, what am I doing wrong?

I work hard, I’m a loyal friend, and I care more about people than most of them will ever realise. It’s true that I don’t come in the smallest package with the sleekest, glossiest wrapping, but if I’m given the choice of someone who “fits an image” or someone who will both help me and defend me or die trying, I know which person I’d pick to have on my team. I’m not perfect, but who is?

So, tonight I’ve spent a few hours trying to think through and process how I feel and why, In that process, the words of one of my own poems came back to me. I wrote ‘Cold Shoulder’ on a previous occasion when other people’s behaviour left me feeling a similar way.

COLD SHOULDER

Many years I’ve lived on the Cold Shoulder
An inhospitable, stony place –
Where there’s little but frosty silence,
No allowance for comfort or grace.

The chill wind of indifference
Cuts the air without making a sound,
Skittering icy flakes of apathy
And leaves’ skeletons over the ground.

A fine specimen of resilience,
I’m a fine diamond in the rough,
A survivor of hostile conditions
Where life is invariably tough.

I suffer no delusions of love –
For that loss I have frequently wept;
But knowing I don’t matter at all
Is the hardest of truths to accept.

Weary of relentless erosion,
I implore the stone lords for reprieve,
But there is no reward for devotion
To those in whom you don’t believe.

Let them preach not to me of salvation
When they hold all the power in their hands
To inflict such complete desolation –
One could never meet all their demands.

So I remain here on the Shoulder
In this treacherous, heartless place:
Although frigid, this landscape is honest,
And each rock only has the one face.

©2017 Joanne Van Leerdam

 

This is not new territory for me. I have survived every other “kick in the head”, and I’ll survive this one, because I refuse to lay down, shut up and die. And I’ll make all seven people who do actually care about me proud in the process… again.

It does make me wonder, though, why I fall into that same trap of assuming that anyone else ever actually tries to see my worth, or cares about it.
Apparently, I never learn.

 

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‘Cold Shoulder’ is published in ‘The Passing Of The Night’
by Joanne Van Leerdam.

When Evil Seems To Win.

A poet reflects on what inspired her latest piece of dark poetry.

One of the things I find hardest to deal with in life is the perception that sometimes, evil seems to win.

I don’t know why it should surprise me each time it happens, but it still does. I don’t know why people’s cruelty and evil actions still shocks me, but it does.

Let me explain where this train of thought originated.

Not long ago, I witnessed the complete and irreversible downfall of someone I’ve known for some time. I haven’t always necessarily liked that person – less, in fact, as time went on, although that’s not really relevant to this post. I honestly thought that their behaviour couldn’t get any lower than what I had already witnessed, and what I already knew of him. I was wrong.

Please understand that in writing this post, I do not for one moment mean to suggest that I feel sorry for him. I don’t.
I do feel incredibly sorry for those whose trust he, and every other person like him, has broken and abused. My heart breaks for those who find themselves and the rest of their lives shattered among the trail of destruction they leave behind. These things leave permanent scars from which some people never recover.

And there is no denying that I am incredibly angry. How dare he? He can’t say he didn’t know it was wrong. He can’t say he didn’t know what he was thinking. He knew, and he went ahead and did it anyway.

So, as his life unravelled before my eyes, I was left feeling the same about him as I do about everyone who betrays the trust of the people they should be protecting.

Whether it’s broken friendship, corruption, or an absolute degradation of one person by another, I believe that there are powers in this world that celebrate when someone who has always taken a strongly moral stand falls from a position of leadership and finds themselves in a downward spiral of shame and humiliation, especially if it’s a person of faith.

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It was this chain of thought that led me to write ‘The Demons Dance’. It is grim imagery of demons dancing and celebrating around the crumpled form of their latest victim, upon whos miery and death they are completely drunk.

In this poem, as in a number of my others, my love of writing horror and the macabre has combined with my penchant for poetry to produce what I believe is poetry that is both grotesque and beautiful at the same time.

Click to read The Demons Dance.

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A Favourite Poem: ‘The Bells’ by Edgar Allan Poe

‘The Bells’ is a magnificent poem that is best read aloud.

‘The Bells’ is a poem that Poe wrote in the final year of his life, as he battled writer’s block that seemed to have developed with his grief for his wife, who died from tuberculosis. It is highly reflective of the way in which he perceived the changes that happen in one’s life – as one gets older, the ringing of the bells is less about happiness and increasingly about grief and fear. From courtship, to marriage, then grief and despair, and finally one’s own death, each stanza grows darker and longer than the one preceding it. The haunting tone of the final stanzas is powerful and chilling, leaving the reader with a strong sense of impending doom and terror.

For me, this poem also reflects how happy times seem to fly past quickly, while periods of darkness and sorrow seem to linger and to obscure the light of those happier memories and thoughts.

It’s a beautiful thing to quietly read and reflect on the poem, but it is possible to overlook some technical elements of the poetry if one reads it silently. Reading the poem aloud adds another dimension altogether to one’s understanding and experience of the poem.

In each stanza, the bells are made of particular metals that reflect the purpose and symbolism of the bells, but which also have different sounds when they ring in that verse of the poem.
The verbs used by Poe to describe the way in which the bells ring have been purposefully chosen to shape the meaning by controlling the speed and temperament of the reading. Short vowel sounds in “jingling” and “tinkling” are replaced with successively longer vowel sounds that slow the reading down and lower the register of the voice, so that the mood becomes more serious and sombre. By the end, the “moaning and the groaning of the bells” is oppressive and fearful, evoking horror and fear in the reader.

I really enjoy the onomatopoeia – words that sound like their meaning – of the poem as it grows progressively louder and heavier, emphasising and compounding the darkening tone and message of the poem. It is the sounds of the bells that tell us what is going on, as much as the other narrative provided by the poem.

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THE BELLS

I
Hear the sledges with the bells–
Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells–
From the jingling and the tinkling of the bells.

II
Hear the mellow wedding bells
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells,
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells–
To the rhyming and the chiming of the bells!

III
Hear the loud alarum bells–
Brazen bells!
What tale of terror, now, their turbulency tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now–now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear, it fully knows,
By the twanging,
And the clanging,
How the danger ebbs and flows;
Yet, the ear distinctly tells,
In the jangling,
And the wrangling,
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells–
Of the bells–
Of the bells, bells, bells, bells,
Bells, bells, bells–
In the clamour and the clangour of the bells!

IV
Hear the tolling of the bells–
Iron bells!
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy meaning of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people–ah, the people–
They that dwell up in the steeple,
All alone,
And who, tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone–
They are neither man nor woman–
They are neither brute nor human–
They are Ghouls:–
And their king it is who tolls;
And he rolls, rolls, rolls, rolls,
Rolls
A pæan from the bells!
And his merry bosom swells
With the pæan of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the pæan of the bells–
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells–
Of the bells, bells, bells–
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells–
Of the bells, bells, bells–
To the tolling of the bells,
Of the bells, bells, bells, bells–
Bells, bells, bells–
To the moaning and the groaning of the bells.

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Songs and Poetry

Songs and Poetry: Sometimes it’s hard to tell the difference.

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In an earlier post, I referred to song lyrics as being a form of poetry.

There are many songwriters who write deeply poetic songs. Elton John and Bernie Taupin, John Lennon and Paul McCartney, Paul Simon, Billy Joel— they are among the greats. Today, singer/songwriters like Ed Sheeran and Katy Perry are among the artists whose songs contain some incredibly powerful poetry.

While it might be fun to come up with more examples, I have no desire to try to list them all – I don’t even think that’s really possible. Chances are, some who make my list might not be included in yours. I just named a few to get you thinking.

While many songs rely on a catchy hook or a beat that makes people want to dance, it’s the poetry of others that gives them the power to move a person emotionally, or to profoundly affect someone’s thoughts and actions.

Consider the influence John Lennon’s ‘Imagine’ had on an entire generation. Similarly, Simon & Garfunkel touched hearts and lives worldwide with the soaring power of “Bridge Over Troubled Water”, while the poignant emotion of Elton John’s “Candle In The Wind” or “Sorry Seems To Be The Hardest Word” is still hard to resist.

I don’t know if this happens to everyone, but poetic songs seem to attach themselves to part of my soul and remain there, indelible and timeless.

This line of thinking led me to trying to work out which song contains my favourite “song poetry”. That’s actually a really tough question, so I decided I’d listen to a few of my favourites and try to narrow it down.
A week later, I think I have an answer. (Disclaimer: this answer is likely to change at any moment.)

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This song is a brilliant extended metaphor about identity and finding one’s place in the world. The contrast between a rock or an island with the vulnerability of being human, and the paradox of isolation being a form of sanctuary, are ideas which should be jarring, yet they are delivered with such finesse that we’re left thinking, “I totally get that!” They’re ideas and images we all understand, and the poet communicates uses a depth of emotion and human experience to say things that many other people could never bring themselves to verbalise.

The clincher for me is the final verse. “I have my books and my poetry to protect me.” That’s exactly what I do! I retreat into fictional worlds. I write stories and poems that help me to deal with life. I use poetry to crystallise my thoughts and feelings, and use my writing to communicate what it’s hard to say any other way.

As I was reflecting on that final verse, a poem I wrote last year came to mind. I’m not suggesting that I think I’m as good as Paul Simon, but it does explore similar ideas of hiding behind – or within – the books and words I have written.

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It was written during a time of great personal conflict and turbulence, and expresses the refuge I found in my writing. In different poems written during this period, I portrayed myself at different times as a fighter, as a hostage, and as a traveler. At no time did I portray myself as willing to surrender to the storm that raged around me, nor to anything else that tried to do me in. In my writing, I was strong. I was safe.

When I went back to read that poem as part of the process of writing this post, I was stunned to discover the similarity of the ideas to those explored by Paul Simon, even though my poem was neither based on nor drawn from his lyrics.

I was also confronted by the warning of the last two lines. I have to take care when I feel or experience something, or when I write something powerful, that I can’t afford to unpack and live there. I still have to live my life and be who I am, and I still have to deal with whatever life throws at me.

After all, I am neither a rock nor an island, no matter how much I might sometimes wish I were.


‘Safe’ is published in my book, ‘The Passing Of The Night’.

 

 

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When Life Gets Out Of Control, I Write Poetry.

What makes an introverted poet breathe fire?

Two weeks ago, I had finished an incredibly busy first term at school and was looking forward to a well-earned break for a couple of weeks.
When people asked me, “Are you doing anything for the holidays?” I gave them my standard answer: “As little as possible.”
You’d think I’d learn not to tempt fate like that, but apparently not.

Family came to stay, visitors called in, things happened. I just needed to rest… but when was that ever going to happen? I wanted to write, but there was no time for that, either. I began to feel as though life was out of control.

And then, I started to get angry. It wasn’t directed at anyone or anything in particular – instead, it was a rumbling discontent within me. As the only introvert in a house full of rampant extroverts, I felt misunderstood and somewhat neglected.

One afternoon, my house fell quiet for a few moments. I sat in the comfy chair in my study with a book, took a deep breath, and before I knew it, I had dozed off.  It didn’t last long.

I woke up to a barrage of sound from the football blaring on the TV in the adjoining room, people talking loudly to be heard over it, and others talking loudly with a phone on “speaker” mode. They could have gone to another room. They could have closed my study doors and left me there in peace. But they didn’t.

That was when this poem erupted from within me.

The imagery of a dragon is not accidental: I wanted to incinerate them them all, or at least toss them around a bit with my tail. Knowing that I couldn’t breathe fire on them all like I wanted to – they are family, after all – I escaped to my bedroom, closed the door, closed the drapes, and promised myself that whoever dared to knock on that door— or, heaven forbid, walk through it— and interrupt me again definitely had it coming. Then, as I generally do, I unloaded my feelings in the most therapeutic way I know: angry poetry.

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It doesn’t tell the complete story. It’s really just a brief glimpse of a scene, but it reveals enough for the reader to understand. And I’m sure every exhausted teacher or parent, every person who is exhausted by constant demands, and every introvert who reads it will totally get it.

Awoken

Beowulf: A Marvellous Story, Magnificently Told.

Beowulf, a centuries-old epic poem, is a marvellous story, magnificently told.

Beowulf is the oldest poem that we have in an English language. It is a medieval Anglo-Saxon epic poem that tells of the adventures of the hero, a great warrior named Beowulf, who crossed the sea from Sweden and helped the Danes fight the monster Grendel. ‘Beowulf’ is based on an early Germanic tale that relates events which would have happened after the fall of the Roman Empire and before these tribes moved into Britain. It celebrates a culture that glorifies strength, courage, and heroic achievements. These stories were told in verse by poet-singers called scops as a popular form of entertainment.

imagesAfter being passed down as an oral tradition for centuries, Beowulf was written down somewhere between the eighth and tenth centuries in Old English, the language that the Anglo-Saxons spoke in Britain. We don’t know who wrote it, or exactly when or where it was written down, or if the characters in the poem really existed. The single manuscript that still exists was written in two different people’s handwriting. The poem could be one traditional tale, or a combination of a number of folk tales into one great story. There was a Swedish king named Hygelac who died in 521AD, so it is possible that some or all of the characters were based on real people.

Old English is very different to modern English, so the poem has been translated into modern English so that we can still read and understand the poem today.

Perhaps the most distinctive poetic device in Old English poetry is the kenning. A kenning is a short, metaphorical term which describes a thing without using its name. In ‘Beowulf’, the king is referred to as a “ring-giver”, while Beowulf himself is called “Higlac’s follower”. My favourite from ‘Beowulf’ is “whale-road” as a description for the sea– isn’t that magnificent? While we are still very fond of metaphor, I think it’s a shame we don’t make more use of the kenning. Old English poetry was also characterised by strong rhythm and frequent alliteration. This would have helped the scops learn and remember the tale as an oral tradition, and added a musical element to the recitation, as well as making the story pleasant to listen to for the audience.

Beowulf_Manuscript

Modern translations follow the convention of making frequent and consistent use of both kennings and alliteration. This adds a wonderful sensory element to reading the story of Beowulf, which even today is a thrilling read. It delivers elements of adventure, history, heroism, and macabre storytelling.

The poem is way too long to include in this post, but you can find Beowulf, translated by Seamus Heaney, as a safe-to-download PDF at Scribd.
(Note: you do not have to subscribe or accept any trial memberships to get this file.)

There is also a wonderful reading of the poem in contemporary English on Youtube.

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A Favourite Poem: ‘The Man From Snowy River’ by A.B. Paterson

‘The Man From Snowy River’ is one of my life-long favourite poems.

There are many Australian poems and many well-known Australian poets.  Australian bush poetry, which brings to life the uniquely Australian landscape and the people who live there, has always been a prominent feature of Australian literature.

A.B. “Banjo” Paterson lived from 1864 until 1941. The author of ‘Waltzing Matilda’, ‘The Man From Snowy River’ and ‘Clancy of the Overflow’ is still one of Australia’s most beloved poets.

Like many of Paterson’s poems and those by his contemporaries, ‘The Man From Snowy River’ tells of life in the high country of south-eastern Australia in the late 1800s, where large cattle stations, smaller farms, villages and horsemen featured strongly in the landscape.

It’s highly descriptive, but it is also a narrative poem – that is, a poem that tells a story. They often make use of the voices of a narrator and one or more characters to help deliver the story to the audience. A narrative poems usually follows a set rhythm pattern, and will generally use a regular rhyming pattern throughout a poem.

This is one of my life-long favourite poems. I hope you enjoy it.

The Man From Snowy River

There was movement at the station, for the word had passed around
That the colt from old Regret had got away,
And had joined the wild bush horses – he was worth a thousand pound,
So all the cracks had gathered to the fray.
All the tried and noted riders from the stations near and far
Had mustered at the homestead overnight,
For the bushmen love hard riding where the wild bush horses are,
And the stock-horse snuffs the battle with delight.

There was Harrison, who made his pile when Pardon won the cup,
The old man with his hair as white as snow;
But few could ride beside him when his blood was fairly up-
He would go wherever horse and man could go.
And Clancy of the Overflow came down to lend a hand,
No better horseman ever held the reins;
For never horse could throw him while the saddle girths would stand,
He learnt to ride while droving on the plains.

And one was there, a stripling on a small and weedy beast,
He was something like a racehorse undersized,
With a touch of Timor pony – three parts thoroughbred at least –
And such as are by mountain horsemen prized.
He was hard and tough and wiry – just the sort that won’t say die –
There was courage in his quick impatient tread;
And he bore the badge of gameness in his bright and fiery eye,
And the proud and lofty carriage of his head.

But so slight and weedy, one would doubt his power to stay,
And the old man said, “That horse will never do
For a long and tiring gallop-lad, you’d better stop away,
Those hills are far too rough for such as you.”
So he waited sad and wistful – only Clancy stood his friend –
“I think we ought to let him come,” he said;
“I warrant he’ll be with us when he’s wanted at the end,
For both his horse and he are mountain bred.”

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“He hails from Snowy River, up by Kosciusko’s side,
Where the hills are twice as steep and twice as rough,
Where a horse’s hoofs strike firelight from the flint stones every stride,
The man that holds his own is good enough.
And the Snowy River riders on the mountains make their home,
Where the river runs those giant hills between;
I have seen full many horsemen since I first commenced to roam,
But nowhere yet such horsemen have I seen.”

So he went – they found the horses by the big mimosa clump –
They raced away towards the mountain’s brow,
And the old man gave his orders, “Boys, go at them from the jump,
No use to try for fancy riding now.
And, Clancy, you must wheel them, try and wheel them to the right.
Ride boldly, lad, and never fear the spills,
For never yet was rider that could keep the mob in sight,
If once they gain the shelter of those hills.”

So Clancy rode to wheel them – he was racing on the wing
Where the best and boldest riders take their place,
And he raced his stockhorse past them, and he made the ranges ring
With stockwhip, as he met them face to face.
Then they halted for a moment, while he swung the dreaded lash,
But they saw their well-loved mountain full in view,
And they charged beneath the stockwhip with a sharp and sudden dash,
And off into the mountain scrub they flew.

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Then fast the horsemen followed, where the gorges deep and black
Resounded to the thunder of their tread,
And the stockwhips woke the echoes, and they fiercely answered back
From cliffs and crags that beetled overhead.
And upward, ever upward, the wild horses held their sway,
Were mountain ash and kurrajong grew wide;
And the old man muttered fiercely, “We may bid the mob good day,
No man can hold them down the other side.”

When they reached the mountain’s summit, even Clancy took a pull,
It well might make the boldest hold their breath,
The wild hop scrub grew thickly, and the hidden ground was full
Of wombat holes, and any slip was death.
But the man from Snowy River let the pony have his head,
And he swung his stockwhip round and gave a cheer,
And he raced him down the mountain like a torrent down its bed,
While the others stood and watched in very fear.

He sent the flint stones flying, but the pony kept his feet,
He cleared the fallen timbers in his stride,
And the man from Snowy River never shifted in his seat –
It was grand to see that mountain horseman ride.
Through the stringybarks and saplings, on the rough and broken ground,
Down the hillside at a racing pace he went;
And he never drew the bridle till he landed safe and sound,
At the bottom of that terrible descent.

He was right among the horses as they climbed the further hill
And the watchers on the mountain standing mute,
Saw him ply the stockwhip fiercely, he was right among them still,
As he raced across the clearing in pursuit.
Then they lost him for a moment, where two mountain gullies met
In the ranges, but a final glimpse reveals
On a dim and distant hillside the wild horses racing yet,
With the man from Snowy River at their heels.

And he ran them single-handed till their sides were white with foam.
He followed like a bloodhound in their track,
Till they halted cowed and beaten, then he turned their heads for home,
And alone and unassisted brought them back.
But his hardy mountain pony he could scarcely raise a trot,
He was blood from hip to shoulder from the spur;
But his pluck was still undaunted, and his courage fiery hot,
For never yet was mountain horse a cur.

And down by Kosciusko, where the pine-clad ridges raise
Their torn and rugged battlements on high,
Where the air is clear as crystal, and the white stars fairly blaze
At midnight in the cold and frosty sky,
And where around The Overflow the reed beds sweep and sway
To the breezes, and the rolling plains are wide,
The man from Snowy River is a household word today,
And the stockmen tell the story of his ride.

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If you want to further enjoy this poem, you can listen to this wonderful reading of the poem by actor Jack Thompson, who played Clancy (of the Overflow) in the movie ‘The Man From Snowy River’ and has a very nice voice.

 

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Writing What I Know.

One of the simplest pieces of advice given to writers is to “write what you know”.

One of the simplest pieces of advice that is given to writers, especially those just starting out, is to “write what you know”.2018-04-08 18.10.55

It’s good advice.
It doesn’t take long, though, before it gets more complicated: it’s what you do with it after the first draft that makes any piece of writing effective and powerful.

While I don’t have any personal experience of unicorns or magical black cats— yes, it’s hard to believe, isn’t it?— my poetry is full of what I know. Every poem is inspired by real-life experience, either mine or that of someone close to me, or my own observations of other people and their actions. Even those poems that appear to be fictional are grounded in personal truth.

For this reason, there really isn’t anything that I won’t write about.
Grief. Fear. Joy. Sadness. Depression. Temptation. Despair. Determination. Anger.
It’s all there.

Writing poetry is the most effective therapy that I have ever experienced. At different times in my life, I’ve sat through grief counselling, infertility counselling, and therapy sessions to help with my depression. Each was worthwhile in its own way but, for me, none of that has come close to the healing power of ink on paper, working through ideas, shaping and crafting meaning with the words I choose, so that I can express my thoughts and feelings effectively.

Late last week, for example, I found myself confronted by the actions of a particular individual whom I had not seen for some time. Churning inside with revulsion and anger, I knew I was not ready to get into the car and drive home in that state, so I went and found a place where I could think and write and start to deal with both the new knowledge and the way it made me feel.

I didn’t write one poem. I started several, and have made progress on three. Only one is finished- at least, I think it is. It doesn’t identify anyone, nor is the finished poem specific to only my situation, but it leaves the reader in no doubt whatsoever about how I feel. It’s a poem that is entirely relatable for anyone who finds themselves horrified by the unsavoury actions and/or evil intentions of another.

My hope in publishing it is that, if someone in a similar situation to mine should read it, they will know they’re not alone in their feelings. There is, after all, solidarity in numbers.

Evil

I haven’t decided whether or not ‘Evil’ will make it into a future collection for a book.
I do know that I felt a great deal better when I had written it than before I started. And really, that was the whole point.

If you’d like to read more of my poems, there are a number of them published on WordyNerdBird Writes.

Joey'sMapleLeafTatt

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