Birds of the World~ Fine Art and Poetry

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I see everybody around — father, mother, brothers and sisters with many more — consoling me. Am I desperate today? There is an answer still — all is so wrought already well , there can hardly be any ill! Fondly I remember that event today. Many years have come to pass in between. Amidst occasional blushes I gloat over your words. I am confirmed those were not your words truly.

Early Years: 1881-1900

Equally assured I rest today left all to myself. Now the gulf of years separating us is unbridgeable. I am confident you are left unhurt to lie well there. Your charm in a serene soft beckoning soothes all. All questions surfacing here find me alone for an answer.

These evenings are different. To find a little darkness is difficult.

Painting of Girl in Garden with Bird and Poem

Lights all around are a disturbing thing. To rest, to sleep, to relax and to enjoy It looks too difficult for this flooding light. Sometimes it looks cave life was free.


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Emotions in raw forms were pure. Honest exchanges defined relationships To find friends or make enemies.

Poetry-Inspired Fine Art Wedding Editorial

Exposed in full, how embarrassed one stands Unable to face admires and critics alike! Capturing the way of the world through lens- Life is seen at every angle.

Poem of the week: Wedding by Alice Oswald

In the last and abstract hour Of daylight, She gazes the sudden flight, the fragile balance between the different and the same, of the multitudinous bird. And thinks in these brief shared lightnings we reach transcendence. And that is all. Skip to content. These visual concerns might seem far afield from literary analysis, but for Gilfillan, the fine arts have much in common with the fine art of poetry.

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In the series of observations that follows his artwork, he writes:. When you look at a poem for the first time, what do you see?

Do you then associate those forms with mountainsides, waterfalls, birds, buttons? Several poems in this issue seize our visual as well as our verbal attention. The poem plays with sound and sense, but it also plays with space: Kearney repeats a quatrain multiple times, and partway down the page, he starts overlaying that same quatrain on top of his text. Lower still, he overlays atop his overlays, producing an illegible blur. The quatrain reads:. The quatrain hints at emotional distancing while it enacts verbal distancing, and its blurred text corresponds to its slurred words.

Then, out of the maelstrom, regularity and readability return.

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At what point in your reading routine, if at all, do you notice such visual effects? How would it change your experience of poetry to take their landscaping into account even before you read them, as Gilfillan did in an Ann Arbor bookstore years ago? Prose Home Harriet Blog.


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