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Winning Writers has engaged Tracy Koretsky to provide expert private critiques of your poems, stories, and essays. Her work has been widely published in literary magazines and has earned more than 50 prizes, including nominations for four Pushcarts and three Best of the Net. She has two books available, Ropeless, a novel about possibilities, and Even Before My Own Name, a memoir in poems. "I will help you see the good in your work and offer specific, respectful, practical options to consider. Approaching your piece from a variety of angles, I will aim to provide you with new ways to think about it." You can view samples of Tracy's work by reading her public poetry critiques on our website. Each critique is $45. Submit one poem up to 250 lines long or one work of prose up to 6,000 words long. You can expect your critique to be 750-1,250 words long. Please allow 2-4 weeks for Tracy to complete it. Your satisfaction is guaranteed. If our critique does not deliver value for you, you can request a prompt refund from adam@winningwriters.com. Please do not submit work that is under active consideration in a Winning Writers contest. Work submitted to past contests is acceptable after the results have been announced, and you may submit a work to one of our contests after it has been critiqued. Tracy does not participate in the judging process for any of our contests. | |
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It’s Fun to Go Gamming with Morris’s Pequod Poems
Wilda Morris’s latest collection, Pequod Poems, is delightful for its vibrant story telling through poetry. Its publication commemorated the 200th anniversary of Herman Melville’s birth. It consists of poems written in an outstanding variety of forms, some rarely used, and even some invented by the author. Each poem relates in some way to Melville and his famous whale and each one attests to Morris’s artistry and vivid imagination.
Organized into five sections. The poems in Part I introduce us to major characters in Moby-Dick treated here in unique fashion. Morris presents Ishmael by way of a Mesostic poem. In this form, all the printed characters of the epigraph weave vertically through the poem and form the sentence: “What a fine frosty night; how Orion glitters…” “Oceans” uses the Pleiades form, seven lines of six syllables each, in which the first letter of each line is from the poem’s title. “The Captain,” is rendered as a spiraling (and double) Abecedarian.
The full enjoyment of Morris’s poems derives not only from her abundant variety of poetical forms. Her clever wielding of content brings us so clearly into the whalers’ experiences. “A Pequod Sailor Speaks,” imagines the watery vistas the captain and crew might have seen.
Sudden winds bellow, curdle foam.
Sword-sharp, they rip the sails, shriek
and break the mast. Lightning stabs…
We read of Ahab considering the wind, learn of Pip, the tormented cabin boy, and encounter poems written from the viewpoint of Ahab’s wife. Using the sestina, Morris describes Stubb pondering the shadows he sees
…when the Angel of Death knocks and I hear
the window of my life closing…//
…I try to be bold, look into the face of death.
Ahab vows the finish of the great white whale in “Prophecy.” In “White” we find “…like tempestuous / wind and breakers, the spun / water that the white whale / whipped into a fury…” The Captain’s monomaniacal quest to avenge himself of his dismemberer is ever present in the lines.
In Part II, Morris uses the bouts-sonnet form, an erasure poem, the “a gram of &s” form, and other playful narrative styles, one of which takes end words from Shakespeare’s Sonnet No. 80. Throughout, the poet deftly maintains her theme.
The poet speaks in more philosophical tones in Part III. Here she sometimes addresses Melville directly. In Part IV, unexpectantly she brings out a bit of backtalk, assuming a new pitch. In “Meditation by the Water,” a speaker asks just what the psalmist means when he declares “the Almighty will keep you / under his wings.” And in “No Harm in Ahab,” a poem significant for our current times, Morris delves into the theme of evil and the question of righteousness.
Five poems in Part V bring the volume to a close. Here we come upon the “Golden Shovel,” the “lipogram,” and a form Morris herself devised.
With its rich content and variety, the skillful manipulation of words into logical form, and Morris’s imaginative imagery, Pequod Poems forms an engaging collection. One can read it for story, for reconnection with Melville’s novel, for pure delight in the richness of Morris’s descriptions, and for her skillful rhyming techniques.
About the Reviewer:
Parodies based on Poe, "The Night Before Christmas", Yeats, ans Frost:
If you are going to have a "With Apologies To..." poem, it needs to be clever enough to back up the fact that it is based on a famous original. So many of these poets jumped ship somewhere in the middle and did not utilize any clever parodying qualities, and merely wrote poems that were completely separate from the originals. Just stealing the voice of a dead poet does not a good poem make!
Poems that I found particularly arduous to read: Poems about pooping, farting, vomiting, getting fat, having saggy boobs, tricking your husband so that he would stay with you, tricking your wife so that she would leave you, wrinkles, chocolate addiction, unoriginal limericks that began "There once was a man from Nantucket" that ended with "f*** it!", poems that invented their own language without a glossary and just translated as wan gibberish.Poems that were offensive: Ones that embraced a pro-rape culture (there were more of these than you might think, and it was quite disheartening); poems that described women as objects; poems that led the reader to believe they were about women and then turned into poems about an object (odes to a car, boat, La-Z-Boy, golf club, burger, guitar, etc.); homophobic, sexist, xenophobic, racist poems, of which there were many; poems that mock a lifestyle in attempts to undermine it (making light of stay-at-home moms/dads, that sort of thing); poems that made light of mental illness, addiction, and recovery, in an offensive way as opposed to a self-deprecatingly humorous way."I'm getting so old" poems: These were by far the highest number of poems submitted in 2014. These have the ability to be funny, but more often than not there is SO much overlap. "I used to be so attractive, thin, energetic. Now I'm fat, wrinkly, and don't have sex. I can't bend over anymore, I can't sit up without grunting, I can't eat fried foods, I can't enjoy life because I'm over 60." These become tiring and disheartening after a while. There were a few that embraced an original voice and those made the cut, but the vast majority of poems about aging were nearly indistinguishable from each other.Feeling squirrelly: There were well over a hundred poems solely about squirrels. This is merely a side note, as some of them were quite funny, but out of sheer curiosity, what the hell was it about squirrels this year? What is this obsession? Why are squirrels so dang poetic? Any squirrel poems that ended in a pun about nuts generally didn't make the cut.
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