yeah i could easily gather it was about racism, hmm lynching a black man, yeah not too hard to figure out the issue therenightfish said:they want you to understand the book not the words. symbolism is not trivial.
take for example 'to kill a mockingbird' (a book i had to read in school)
they want you to understand the racism, the decency of some members of humanity even though all around them is quite turgid, the fact that somethings are not worth boasting about.
don't discount what you were forced to do in school / college![]()
*chuckles and applauds*Melaisis said:Well usually, nowadays, its either full of old men who only come to see the equally old, 'headline' band perform on the last night, or a load of cheap-ass university students which would rather attend a three-day orgy of sex, drugs and pseudo-rock and roll in a mud-filled cesspit than actually spend the money on improving their equally declining standard of living.
Oh, you meant the verb...
Well said, but the facts remain that I still don't like poetry, criticize the reasons for that all you wish, but it ain't changing. I feel prose is more accessible, and I like things to have a definite meaning. What I was talking about in my original post is very closely connected with a lack of structure.Cheeze_Pavilion said:No, I still think you can't, let alone do it better. See, a short story is still like a book in that it requires a plot. That's the main advantage you have in a poem as opposed to a book or a short story--you don't need a plot. I mean sure you can write a book like a poem, but then you get Joyce. And basically only Joyce could write like Joyce.Easykill said:In a book you can't, but a short story can do it a hell of a lot better than a poem. I realize most people won't agree with me, and I wasn't trying to insult anyone. I just don't see it.Cheeze_Pavilion said:Let me give you one: you can make a sharp, direct statement that you can't in prose (which is the exact opposite of the way you're categorizing all poetry).Easykill said:I see no advantages of poetry over prose.
I'm a big Marge Piercy fan. I loved _Small Changes_ and that's a damn thick book with everything spelled out. However, in a book like that you can't make a memorable, short statement like you can in poetry. In one of her poems ("What's That Smell in the Kitchen") she writes: "Burning dinner is not incompetence but war." No way that line would stand out the way it does if it were in a book.
Writing a poem frees one of the need to present events in such a way the reader can locate them on a timeline. In a poem one can present them according to *any* kind of logic, not just chronological logic. Books and short stories are a kind of history, a history of a fictional world, but history nonetheless because they describe change over time. When you write poetry you don't have to describe any change over time (which is really what a plot is). Different events can be connected by something other than causation: they can be connected by emotion or reason or anything one would like.
I think this is because in even the shortest of stories each paragraph, each sentence, each clause even has to make some sort of sense standing as an individual unit. Sure the real meaning of those words can be revealed later on, but only to a certain degree. In a poem you can delay the meaning of any part of it for as long as you want. A poem gives the advantage of being able to write something that must be taken as a whole for any of it to make sense.
That's why a short statement stands out more than in either a book or a short story. It's not about length: _Paradise Lost_ is a poem, remember, and that's book length, let alone short story length. It's about how books and short stories have plots, which means those statements become tied to a certain part of the plot. In a poem they can be tied to something other than plot.
In short: in a poem the 'music' of the words can do the same job plot does in a short story or novel. That opens up all kinds of different ways to express one's self.
@The topic as a whole: Some retard on a videogame chat says something disparaging, and we all take this is widespread evidence that reading is looked down upon? Teenagers are dumb. Certain sections of American society are racist and ignorant. And? Surprise?It's not just one retard though, because most of these people could back up their statements with umpteen other examples of peoples distate for reading. I know that guy wasn't the first.
That was more or less what I was trying to say, but I figured I should specify why I don't like it instead of just saying poetry sucks. I wasn't really trying to put down the medium at all. Just giving reasons for why I don't like it.Geoffrey42 said:@Easykill: I think maybe you would get less friction from Cheeze_Pavilion if you just stated it as "I don't like poetry", rather than implying that your preference is indicative of a greater failing in the medium. I don't think we're trying to convince you to like it, but just because you don't like, there's no need to diss it.
P.S. While I fully cherish the proper usage of the term "ain't", due to a greater love of contractions, I ain't in favor of individuals tarnishing its usage by throwing it around inappropriately.
Acknowledged. You made some pretty(oops, before the edit this was petty) good points, but I still don't really feel any differently about it. Except I respect you a bit more I guess.Cheeze_Pavilion said:Ahh, okay. When you give reasons for why you do or do not like something as opposed to making an objective comment about something, it's best to steer away from stating things that sound like facts. For example, when you say "I like things to have a definite meaning" as a reason for not liking poetry, you're not just giving us your subjective opinions as a reason, you're also giving us an objective conclusion that poetry isn't capable of having as definite a meaning as prose (which is objectively untrue)Easykill said:That was more or less what I was trying to say, but I figured I should specify why I don't like it instead of just saying poetry sucks. I wasn't really trying to put down the medium at all. Just giving reasons for why I don't like it.Geoffrey42 said:@Easykill: I think maybe you would get less friction from Cheeze_Pavilion if you just stated it as "I don't like poetry", rather than implying that your preference is indicative of a greater failing in the medium. I don't think we're trying to convince you to like it, but just because you don't like, there's no need to diss it.
Like you said, you don't like poetry and that isn't going to change. However, before giving a reason for it, think on whether that reason is based on objective facts. When you base a reason on objective facts you have to be willing to change your opinion if those facts turn out to be different, or admit it wasn't the real reason in the first place.
You don't have to say something sucks to give your subjective opinion. Just say you don't enjoy it--that's much clearer than giving reasons that are not actually reasons at all. Unless of course you're interested in exactly why you don't like something and have some ideas about it, and want to see if those are the real reasons or it's actually something else by having a discussion about it.
Okay, if I'm reading that correctly, you're saying that an author's restraint in a poem (compromising meaning for the sake of the restraint) is comparable (indeed identical) to an author's restraint in a novel (a compromise for the sake of the plot). Right? I have to disagree, because that doesn't seem right. It may be a tool, but it's still a limitation. An author doesn't have to adjust words to work around the plot, as the plot isn't dependent on what the exact words are, the words build the plot. In a poem, the words have to conform to the restraint (no matter what the restraint is, I used rhyming as an example because it's something we can all relate to poetry).Cheeze_Pavilion said:the restraint in poetry (which doesn't have to be rhyme; it can be the meter of blank verse or just the lyric quality of free verse) replaces the restraint most prose operates under of having to change "the true meaning of what the author was trying to get across" in order to conform to the plot.