an american ghazal rather than the more traditional ghazal |
My grandmother's grandfather's brass bound trunk traveled steerage from County Cork to Boston. Cara painted pictures today: 9 year old impressionism. She is a rainbow, wearing her efforts with style. Portraits and daguerreotypes meant long, stiff motionless hours. I'd wondered why the ancestors never seemed to smile. Filigreed teaspoons, be-ribboned gown, a pressed and dried corsage, children's schoolwork, high school letters, a piece of the 'wall.' My son, his smile showing through layers of mud, shows me his treasure: an arrowhead pried loose from ancient soil, held in a bloody hand. fyi.... Twentieth-century American poets have omitted the rhyme while retaining the couplet form and the approximate length. They also emphasize a disconnectedness between couplets, juxtaposing apparently unrelated observations, placing insights or images side by side without explaining their connection. These gaps can be a great source of power and mystery. In writing a ghazal, you have to use impulse and intuition more than rationality. It helps to make each couplet interesting and complete in itself. Fragments, glimpses, and exclamations often need no more than a couplet. And it helps to make a "jump" after each couplet, from the political to the personal, from talk to thought, from idea to image, from near to far.------(Creating Poetry, John Drury, Writer's Digest Books, Cincinnati, Ohio.) |