Monthly Archives: March 2014

After the flood

Jane Dougherty Writes

The banks are quiet now
After the flood.
Green grass grows
And golden kingcups
Among the sedge.
The banks are green
Where the ruins of trees
Rest awhile
After the turbulent waters ebb
Until the green grass
And golden kingcups
Weave a bright winding-sheet
Or the next wild tide
Sweeps through the sedge
To bear them down to the sea.

©Tess Avelland /  	Midnightmuse ©Tess Avelland /

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Any Poem with Cats is a Poem Worth Reading


il_340x270.457958621_7luy[1] I’ve been reading Emily Berry’s debut book of poetry  Dear Boy and I’ve fallen in love with it. She twists a surreal edginess in a pragmatic tone, you seem to begin in one place and end up in another. The narratives lead you through odd, surprising images, comical to a degree. Her phrasing is easy to follow, the simplicity accentuates the absurd in it’s frank manner, for example in one of my favourite poems  My Perpendicular Daughter:

                                     …they hung her

upside down inside me: now she sticks

straight out, gets in the way when I stand

close to walls.

The role and expectation reversal plays imminently throughout her works, such as the immature parent, or the disturbing doctor. This theme is repeated in The Tea-Party Cats, where power is explored cleverly, the cats…

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Alliteration- by K.J. Rollinson


Alliteration is defined as the repetition of an initial consonant sound. This has been used to great effect in slogans such as –

“You’ll never put a better bit of butter on your knife.” (Advertising slogan for Country Life butter).

Or how about a mixed alliteration form:

“Good men are gruff and grumpy,
Crawling, crabbed and cross. (Clement Freud)

“Fly o’er waste fens and winding fields (Tennyson)

One of my favourite alliteration is the letter ‘S’, which is used to great effect in the following.

“The sibilant sermons of the snake as she discoursed upon the disposition of my sinner’s soul seemed ceaseless.” (Gregory Kirschling. ‘The Gargoyle,’ 2008).

Like a rhyme, alliteration can make a poem easier to remember. It has a long and distinguished history. Middle English poetry was written in a verse form, which featured the repetition of consonants within a line, e.g.

“In a somer season, when soft was the sonne….”

The poem ‘Beowulf’ is an example of medieval Anglo-Saxon poetry which was written by monks in c.1100. Examples from the poem are given below, which are heavy in their use of alliteration.

“Cunningly creeping, a spectral stalker”

“Hot-headed Beowulf was bent on battle”

“How glutted with gore he would guzzle his fill

One of the characters in my ‘Fallyn’ trilogy is called Kalla, a shape shifter. She is also a visionary, and speaks in rhyming verse when she has a vision of the future. She sometimes uses alliteration, as in the following example taken from the first book, ‘Fallyn and the Dragons.’

Dragons flee no fire to bring.

Or when she has a vision in the second book ‘Fallyn in the Forbidden Land’ and speaks the words –

No greater gift than life to give.

Time to learn that life does not last.

I use alliteration in the synopsis of the final book, ‘Fallyn and the Sea Dragons.’

…farewell to Lord Fallyn in this final fantastic fantasy fable.

Take care not to use alliteration when it is not appropriate – in formal writing for instance. In such cases it can have a distracting and irritating effect.

Feel free friend to use this fine form forthwith – but a word of warning – avoid the use of ‘S’ if you tend to spray when you speak!!

The Inside Little Girl

Regina Puckett

The Inside Little Girl

The Inside Little Girl
Regina Puckett

There is a little girl hidden far, deep inside
Trying her very best to be my heart’s guide
She urges me to have fun and try playing more
That I can’t get my feet wet standing on the shore
It’s too bad I usually force the little girl to go away
I think hard work can’t be accomplished if I play
But I do wonder if maybe I’m wrong and she’s right
When she tugs at my heart I can almost feel the light

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