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I'm interested. Family related issues

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timpaker:
Interesting....


Oya make I go write about 'Yam'..... Yeah that's the only addiction I know...

Brb...

Oya go write am. Don't forget to tag me.

What's even my own addictions? I've got many. Some I love; others I despise.

Chuksemi:
The world is filled with people who are addicted to one thing or the other. I could remember years ago, while I struggled to quit sucking my navel. It was war, I say. Some of us are still struggling with something, that thing we don't do in public but in secret. We hate it, but we can't help it. To you this poem is dedicated.


[b]My love and dear friend
I will follow you, it's the trend
In secret we interwine
In view of opticals, we disband

Momentarily, though my joy
In your grip I am like a toy
Your kisses like ripe strawberry
My feet are feeble when I stand before you

My love for you is strong
Our romance would last long
My eyes are misty
Your hands should be around me

Why doesn't my gain endure?
I am devoted to you for sure
Momentarily my joy I say
Hours I spend to gain that little

You cheat on me with impunity
I cling to your supposed purity
Brain spins, heart sparks
I can now see effects of loving you

Resolved I am to quit
Yet I achieve not this feat
My legs are chained
Blame them, they walked into you

Bang the adverse hits me harder
Misty eyes I would not go further
Determind I am, though I fail
One day I would be free

Free to roam the streets of life
Sure not to be your wife
Relieve resides always in me now
Cos with fierceness I fight

I fight to keep my sanity
Yeah, to prevent insanity
One day I would win the fight
Today, I have won[/b]

Well written poem. I love it!
In verse 2, try changing to, "In your firm grip I am a puppet" ..... "your kisses are sweet sour strawberry/that kneel my feeble feet before your dominating heart"

I think this brings out better imagery and the use of some words like 'puppet' shows that your addiction controls you and you have no power over its 'dominating heart'. Heart signifies love between you and your addiction as you portray the poem.
Also the oxymoron used, 'sweet sour' shows that you enjoy what you despise, but you can't help it. You will also notice the alliteration employed, 'sweet sour strawberry' it aids the flow. (Timparker knows this better).

Do some more revisions. I love your poems!

God bless you, sir
OMA

I love this poem. Nice one, divepen.

Chuksemi:
I am thirsty sir

thirsty of poetic juice or what?

BRIEF HISTORICAL EVIDENCE OF COLLABORATIVE POETRY

Examples of collaborative poetry abound in Japanese poetry long time ago and in recent times, one of the most famous examples is the poem collection by French poets Andre Breton, Paul Eluard and Rene Char. The poems were written collaboratively over the course of five days in 1930.

Most recent collaborative poetry include the collaborative works of American poets Denise Duhamel and Maureen Seaton, who have been writing poetry together for 15 years and have published three collaborative books. Duhamel described this collaboration saying, "Something magical happens when we write - we find this third voice, someone who is neither Maureen nor I, and our ego sort of fades into the background - The poem matters, not either of us."

METHODS OF WRITING COLLABORATIVE POETRY
Collaborative poetry is not limited to verses by verses among poets, but also extends to other artists and performers - spoken word poets, musicians, even sculptors. Poetry as an art is entwined with other forms of art such as artwork, music. Words of a poet may be carved laboriously by hand into stone or iron and can be read quickly by passing strangers who has the inkling of deciphering what it depicts. Likewise, an artwork can be translated into words by a poet. I have done this over time by seeing beyond what a mere art work means. You will find some poets accompanying their poems with artwork (pictures).

In 1940, American poet Charles Henry invented what he called "The Chain Poem" where each poet writes a line and then forwards the poems to another poet across the world.

Another recent experiment in collaborative poetry writing is TAPESTRY POETRY, developed by Avril Meallem, a poet living in Israel and Shernaz Wadia, a poet living in India. Together, via email, they formulated the following guidelines for this innovative genre of collaborative poetry writing. Each poet composes a poem on a title chose by one of them and without any discussion as to the theme of the poem. The poems are exchanged and then have to be woven into one seamless, flowing piece that can stand on its own. Being a collaborative effort the editing becomes a to and fro process until both writers are satisfied with the resulting 'TAPESTRY'.

The basic rules are: Each individual poem has to be of 9 lines. Only the person who gives the title has the right of actually using it in the poem. This is to avoid repetition. The majority of words of the original poems should be kept, but grammatical changes allowed. e.g. singular to plural, verb tenses, adjectives and adverbs can be replaced with other more befitting the Tapestry, but retaining the original flavour. All 9 lines of each poem are to be used in the Tapestry, which effectively makes the Tapestry an 18-line poem.

The spirit of collaboration needs to be ubiquitous among contemporary poets. It gives life to poems, hope, willingness and the undying flame of poetry burning in the bowel of the poet. If you aren't writing collaborative poem, I encourage you to try. The fun is like sipping a cup of sweet caramel, it will leave you wanting more. Grab your co-collaborator's hand and get ready to go into weird uncomfortable amazing poetry depth. There is light down there. Summon courage, pack some snacks, and poem your paper off.

Thank you
OMA

ALL YOU NEED TO KNOW ABOUT POETRY COLLABORATION

It is a thing of honour to be part of this writing workshop in which I am so elated. I thank God for this day and every blessed day He has bestowed on us. I also thank Divepen, the mastermind of this citadel of learning about writing and every writer and reader who has been part of this since its commencement.
I have learnt a lot since the beginning of this programme and it has contributed immensely to my or our approach to writing poems and stories. I want to show my profound recognition and gratitude to our Super writers, Larrysun, Ishilove, whitemosquito, mazionumeko, repogirl, princesa, kayemjay, humblebygrace, mynd44, frank316, redmosquito, audreytimms, prettyspicey, royver, noble4d, cuddlemii, timpaker, sammyhoe,temitopedaniel, to name but few in no particular order.

In the best of collaborative poems, the literary kinship between poets come through, making the poem better because it is the work of two or more people.
Poetry is a literary work in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm and literary devices and collaboration is the act of working together with one or more people in order to achieve something.

Wikipedia states collaborative poetry as an alternative and creative technique for writing poetry by more than one person. The principal aim of collaborative poetry is to create poems with multiple collaborations from various poets.

Poets practise the loneliest art. A poem begins in solitude and silence for mind to wander through forest and ocean, home and abroad, for imaginations to run as wild as possible. Revision after revision, a poem grows out of lines, phrases, even stanzas drop away as the poem achieves its final shape - which may have little or nothing to do with its initial inspiration. This isolation experienced by a poet can be mitigated and subdued by collaborating with other poets to create the most effective and vivacious means of delivering their verses amidst the euphoria of accomplishment.
Collaboration seems to go against the solitude and introversion of the creative process. The great satisfaction in publishing collaborative poems with other poets in a perfect work of literary art is immeasurable, just like the depth of an ocean.
It is easier to collaborate than to write on your own, because it resurrects new ideas and spurs a poet into action. There are lot of things poets can talk about and it is more fun writing collaborative poem. it's something poets can do continually throughout the day, sending back and forth, verse to verse, and without talking about the poem directly, the poets keep going. Then the day just get way more interesting. There may be no plan on what next, the poets involved keep going.

It is so great and motivating, poetry is always an intimate experience. Deep emotions run through the poets and in between their poetic lines. There are sometimes I will need to cry and ruminate deeply so as to elude my room-ic (happy) mood and I will be able to scribble down a sad poem such as death, desolation, slavery, etc. A poet needs to wear the shoes of his poems' characters.
Collaboration isn't possible without the willingness of those involved to sacrifice their ego and give in to the possibilities of what happens when you let another person's poem-heart leads yours.

A collaborative poetry has the ability to change an average or avid reader of poems who never puts pen to paper to a prolific writer of poems. That is, he may find his poetic blood through transfusion from another poet in a collaborative poem. He will have access to diction and style of the poet and in turn, they live inside him and will be born as beautiful poems.
Collaborative poets give themselves over to their poems and those poems belong to themselves and the world. There will no longer be, "the poem is written by me or by him" but the poem is written by a voice with various style and dictions.

I guess it's time.
Timpaker, thanks once again.

Timpaker! Nice one. Let me read it over again for full ingestion and digestion. Awaiting the forms of poetry.

Thanks for hearkening to our voices and making reference to 'In My home' .

Chuksemi: Thanks a bunch, mentor. . So what is this one called?

It's called quintet and some of your rhymes are 'half-rhyme' e.g born and grown.

Thumbs up!

Chuksemi: Thanks a bunch, mentor. . So what is this one called?

It's called quintet and some of your rhymes are 'half-rhyme' e.g born and grown.

Thumbs up!

Bamibor: OMA, this is beautiful. I really enjoyed reading it. It's well delivered, simple yet not lacking in depth. I'm not an expert in prosody but I must commend your intertwine of alliteration and assonance.

I really think this is one piece that both young and old can enjoy reading (infact I think it can be used in schools).

Thanks Bamibor, I appreciate your comments sir.

noble4d: The poem has six stanzas each in cinquain... I love the input of analysis...thumbs up

Sir noble4d, thanks.

Chuksemi: I wish to start something like this very soon, though I am officially a big learner. But I would appreciate your blunt criticism when I start. Of course I would tag you. I admire your write up, you are indeed, a good poet.

Everyone is learning, bro. I can't wait to start reading yours.
God bless you

Chuksemi: I think this is a quatrain, rhyme scheme is aabbc. Please correct me If I am wrong, I am purely a novice here.


Oma4u. Timparker. Ishilove, divepen. Larrysun. Firestar, naijababe. Dygeasy. Rap360, audreytimms, marioking. Please drop a review.

I love your poem and it's depiction. This's not quatrain. This's a five-line poem while quatrain is a four-line poem. You got it?

OMA

Whao! Whao! Whao! Wonderful jobs from you all

noble4d: Honestly, I love your use of words....but, what type of poem is this?

Elergy or dirge. Thanks, noble4d. I appreciate you, sir.

A DROP OF INK

Silence smothers the speaking pen
Words muffle in your itching throats
But you've got a lot to tell the world
If no one ever reads your words
How do we hear your speaking heart?

Your heart, a barrel of plethora tales
Mind, reservoir of ruminating bales
But tamed voice keeps them crude
If you've never paint the pictures
How do we see your winning world?

Why stuck and struck in lifetime silence?
When your pen wants to elude your cage
Whip out your silent loquacious pen
Glide and slide it over the needing page
While you write in utmost ambience

You've got the light to bright the shadow
Sonorous voice to sing for us the blues
Through the flying words of your mouth
Changes may arise like phoenix from the ashes
And You too may be remembered in this axis

Series of stories standstill, and still
Waiting to be put in a pending paper
That lies fallow on the four-legged mahogany
Scene to scene; chapters to chapters
living world arise from the dead of white paper

Kiss your silent warrior with thunderous voice
Let it swoop like an eagle to your world
Let it peck words with its fluent nifty nib
And stream them down to its eloquent tip
A drop of ink makes a mighty word

For the sake of this seminar/workshop I'd like to add analysis to this poem

BACKGROUND OF THE POEM
The idea behind this poem is the 'rephrasal' of the common phrase - a drop of water makes a mighty ocean. If a drop of water could make a mighty ocean, definitely a drop of ink could also make a mighty word. This shows that the poet does not undermine what words can do. He knows the power of words and how its effects could summon a change.

'In the beginning was the word….."

THEME/ANALYSIS

This poem opens with the poet asserting that 'silence smothers the speaking pen' and goes further to show the image of someone who is willing to speak, but words disappear somewhere in his throat.
In stanza two, thus: the poet tells us that we have a lot of stories in our heart we wish to tell, but quietude makes those stories never heard. The poet uses 'comma' to relate heart and a barrel of plethora tales as metaphoric or simile expression. Same goes for mind and reservoir of ruminating bales. The poet selects the word 'bales' which means 'suffering or evil'.
Sometimes evil or sorrowful thoughts which might cause depression or inhumane actions flash through our mind, but if these thoughts could be written as stories or painted as an artwork, they may be jettisoned as they have found a life in art.

"Most artists/poets in the world may manage to get through life without little or no violence, because their works provide means for them to express themselves"

In stanza four and five, the poet encourages a singer with sonorous voice to sing and a writer to start writing. They should allow their thoughts to be penned down as the drop of their ink makes a mighty word which may inadvertently change the world.

POETIC DEVICES

STRUCTURE: The poem consists of six stanza of thirty lines that flow like a gentle river continuously, with an end-rhyme as in 'word' and 'world' of lines 27 and 30.

DICTION: The general language of this poem is direct, precise and simple. Through simplicity the images of pen that glides and slides over paper is clearly conveyed.

ALLITERATION: This is the repetition of 's' in line 1, 'silence smothers the speaking pen'. Also in 'series of stories standstill, and still'.

PARADOX: In line 2, 'words muffle in your itching throat', it is paradoxical to say that words do not come out of the mouth that is eager to speak.

PERSONIFICATION: The poet uses a lot of personifications to enhance the flow and beauty of the poem. The attributes of human beings are given to non-human, like 'silence smothers the speaking pen'. The poet portrays it as though silence suffocates the breath (speaking) of the pen. Also as if pen could speak. In line 5, 'speaking heart' and in line 8, 'voice keeps them crude'
in line 12, '…pen wants to elude your cage' and in line 13, 'loquacious pen'. in short personification is ubiquitous in verse 3 and the poem as a whole.

METAPHOR: 'Tamed voice keeps the crude' line 8. The use of metaphor here gives us visual sense of the stories and thoughts that are like crude diamond, drab and dull, but after it is refined, it becomes shine and glamourous, same as the stories of a writer may become an award winning that would be read for centuries. Just like Shakespeare (Over four hundred years) . Metaphor also gives us the visual sense of 'table' in line 23, 'four-legged mahogany'

SIMILES: In line 19, 'changes may arise like phoenix from the ashes'. Also in line 27, 'let it swoop like an eagle to your world.'

IMAGERY: 'Your heart, a barrel of plethora tales, in line 6 . Also line 7,Mind, reservoir of ruminating bales' and 'When your pen wants to elude your cage' in line 12

RHYME: There are tales/bales, cage/page, silence/ambience, paper/paper, world/word. Rhyme added to the flow of the poem.

ENJAMBMENT/RUN-ON-LINE: This is employed in stanza five in such a way that the idea of line 21 spills over to the next line, like that. 'series of stories standstill, and still/waiting to be put in a pending paper/that lies fallow on the four-legged mahogany.'

OXYMORON: In line 13, 'silence loquacious'. Two opposing words are placed together to create a sharp contrast. It portrays a garrulous pen that is kept silent by the user.

ASSONANCE: There is correspondence of vowel, 'struck and stuck', 'glide and slide', 'light and bright' and 'standstill and still'

REPETITION: 'World and word' in verse 1 is repeated in verse 6 and 'How do we' is also repeated

RETHORICAL: How do we hear your speaking heart?

TONE/MOOD: There is a general tone of motivation and inspiration. The mood of the poet is that of sympathy and emotion

THEMES
1. Motivation
2. Inspirations
3. Hope and Optimism
4. Clarion call

Thanks Princesa, and yeah, back to Timpaker, he's got a lot to teach us.

Tomorrow is another great day.

Thanks to God and all.

JigsawKillah: didn't you at least have an idea of what he was talking about

An idea needs to be groomed by reading it over.

JigsawKillah, nice contributions. I've learnt new things from you.

Princesa, DaveP, thanks for the tutorials.

timpaker: I understand quintets are written in 5 lines and are metered most commonly iambic parameters with a rhyming scheme of ababb, abcba, etc.

I'm guessing you used the English quintet (envelope form).

I think what you used there is a Pentastich

Thanks, I googled it. You're right

Timpaker and forms of poetry! You're going to teach us how you flow with various forms and meters. I can't wait to read your write-up.

Divepen, Please tell LarrySun that if we get hold of him, uhmmm...........

JigsawKillah, I don't accept with the part that you said poetry must be read once and understand, except you are talking about nursery rhymes. In fact there are many things to look out for in a poem, so it must be read up to three times, if not more.

I recall timpaker' seductress is hapless. I had to read several times before I understood it. Same as some legendary poems such as wole soyinka 's telephone conversation.

So tell me something else.

timpaker: My question; if I've got one would be the form of poetry used.

I don't get this. But if referring to the form, it's not a free verse. I can't say the form, but it's a five-line stanza known as quintet.

Tell me the form, please.

A DROP OF INK

Silence smothers the speaking pen
Words muffle in your itching throats
But you've got a lot to tell the world
If no one ever reads your words
How do we hear your speaking heart?

Your heart, a barrel of plethora tales
Mind, reservoir of ruminating bales
But tamed voice keeps them crude
If you've never paint the pictures
How do we see your winning world?

Why stuck and struck in lifetime silence?
When your pen wants to elude your cage
Whip out your silent loquacious pen
Glide and slide it over the needing page
While you write in utmost ambience

You've got the light to bright the shadow
Sonorous voice to sing for us the blues
Through the flying words of your mouth
Changes may arise like phoenix from the ashes
And You too may be remembered in this axis

Series of stories standstill, and still
Waiting to be put in a pending paper
That lies fallow on the four-legged mahogany
Scene to scene; chapters to chapters
living world arise from the dead of white paper

Kiss your silent warrior with thunderous voice
Let it swoop like an eagle to your world
Let it peck words with its fluent nifty nib
And stream them down to its eloquent tip
A drop of ink makes a mighty word

For the sake of this seminar/workshop I'd like to add analysis to this poem

BACKGROUND OF THE POEM
The idea behind this poem is the 'rephrasal' of the common phrase - a drop of water makes a mighty ocean. If a drop of water could make a mighty ocean, definitely a drop of ink could also make a mighty word. This shows that the poet does not undermine what words can do. He knows the power of words and how its effects could summon a change.

'In the beginning was the word….."

THEME/ANALYSIS

This poem opens with the poet asserting that 'silence smothers the speaking pen' and goes further to show the image of someone who is willing to speak, but words disappear somewhere in his throat.
In stanza two, thus: the poet tells us that we have a lot of stories in our heart we wish to tell, but quietude makes those stories never heard. The poet uses 'comma' to relate heart and a barrel of plethora tales as metaphoric or simile expression. Same goes for mind and reservoir of ruminating bales. The poet selects the word 'bales' which means 'suffering or evil'.
Sometimes evil or sorrowful thoughts which might cause depression or inhumane actions flash through our mind, but if these thoughts could be written as stories or painted as an artwork, they may be jettisoned as they have found a life in art.

"Most artists/poets in the world may manage to get through life without little or no violence, because their works provide means for them to express themselves"

In stanza four and five, the poet encourages a singer with sonorous voice to sing and a writer to start writing. They should allow their thoughts to be penned down as the drop of their ink makes a mighty word which may inadvertently change the world.

POETIC DEVICES

STRUCTURE: The poem consists of six stanza of thirty lines that flow like a gentle river continuously, with an end-rhyme as in 'word' and 'world' of lines 27 and 30.

DICTION: The general language of this poem is direct, precise and simple. Through simplicity the images of pen that glides and slides over paper is clearly conveyed.

ALLITERATION: This is the repetition of 's' in line 1, 'silence smothers the speaking pen'. Also in 'series of stories standstill, and still'.

PARADOX: In line 2, 'words muffle in your itching throat', it is paradoxical to say that words do not come out of the mouth that is eager to speak.

PERSONIFICATION: The poet uses a lot of personifications to enhance the flow and beauty of the poem. The attributes of human beings are given to non-human, like 'silence smothers the speaking pen'. The poet portrays it as though silence suffocates the breath (speaking) of the pen. Also as if pen could speak. In line 5, 'speaking heart' and in line 8, 'voice keeps them crude'
in line 12, '…pen wants to elude your cage' and in line 13, 'loquacious pen'. in short personification is ubiquitous in verse 3 and the poem as a whole.

METAPHOR: 'Tamed voice keeps the crude' line 8. The use of metaphor here gives us visual sense of the stories and thoughts that are like crude diamond, drab and dull, but after it is refined, it becomes shine and glamourous, same as the stories of a writer may become an award winning that would be read for centuries. Just like Shakespeare (Over four hundred years) . Metaphor also gives us the visual sense of 'table' in line 23, 'four-legged mahogany'

SIMILES: In line 19, 'changes may arise like phoenix from the ashes'. Also in line 27, 'let it swoop like an eagle to your world.'

IMAGERY: 'Your heart, a barrel of plethora tales, in line 6 . Also line 7,Mind, reservoir of ruminating bales' and 'When your pen wants to elude your cage' in line 12

RHYME: There are tales/bales, cage/page, silence/ambience, paper/paper, world/word. Rhyme added to the flow of the poem.

ENJAMBMENT/RUN-ON-LINE: This is employed in stanza five in such a way that the idea of line 21 spills over to the next line, like that. 'series of stories standstill, and still/waiting to be put in a pending paper/that lies fallow on the four-legged mahogany.'

OXYMORON: In line 13, 'silence loquacious'. Two opposing words are placed together to create a sharp contrast. It portrays a garrulous pen that is kept silent by the user.

ASSONANCE: There is correspondence of vowel, 'struck and stuck', 'glide and slide', 'light and bright' and 'standstill and still'

REPETITION: 'World and word' in verse 1 is repeated in verse 6 and 'How do we' is also repeated

RETHORICAL: How do we hear your speaking heart?

TONE/MOOD: There is a general tone of motivation and inspiration. The mood of the poet is that of sympathy and emotion

THEMES
1. Motivation
2. Inspirations
3. Hope and Optimism
4. Clarion call

Divepen, is it high time I posted my poem?

timpaker: Boss, shey you know say that your poem make a whole man like me cry? Abi you and AmiableJay plan am ni? Make una take una time oooo. Princesa, my runaway friend bawo ni? Firestar and Tex I see ya'll. Happy 'Hindipendence' day ya'll (in my yoruba accent)

Happy Hindipendence too

maclatunji: Please view it in Chrome or your phone's browser.

Thank you.

Thank you, sir.
Is it a fiction or non-fiction, because the title makes it look like an article?

maclatunji: Please what browser are you using?

phone opera mini browser

timpaker: HONEYMOON IN YEMEN (Limerick)

The first honeymoon at southern Yemen
Was tensed, I spent nights to break a hymen
On patient tears and bruised knees
With each day ending in pleas.
May patience not burst my sack of se. men!

This one na die o!