I wrote this poem in the form of a cyhydedd naw ban.
Nepenthe
I suppose this poetic form might loosely be considered in the form of ars poetica.
Guilt
I wrote this in the poetic form of a clogyrnach.
The Sounds of Wisdom
I wrote these as three standalone yet related poems in the style of Japanese quatrains called koutas. Koutas often employ onomatopoeic words, so I’ve encorporated a dozen across these poems. Koutas are also often accompanied by other koutas of similar themes, which I’ve attempted to do here. I imagined my time in Wadi Rum when writing these, hence the references to jebels & rose red canyons.. though, I am swept by any outing in nature alone.
Her Morning Stroll
I wrote this poem in the form of a Vietnamese luc bac.
Perfume
I wrote these couplets in two stanzas following the form of a cywydd deuair fyrion.
Lotus Eater
I wrote this in the form of a cyhydedd fer.
Measure
I wrote this poem in the form of a French kyrielle; inspired by this simple photo I took years ago while wandering alone in Georgetown. Though kyrielles do not require any specific meter, I chose to write this in trochaic pentameter because of its melancholic rhythm.
Candlelight
I’ve written this poem in the form of a Welsh englyn byr cwca.
Missing Senses
I wrote this poem in vers libre using ten decasyllabic quatrains. A 10 by 10. The title is a double entendre.
Citadel
Written in vers libre with dodecasyllabic quatrains in three acts. I include an enjambment in act one. I originally wrote this as prose in 2017.
Misplaced in Time
I wrote this poem in prose. I jotted it down on a piece of paper in February 2013 and kept it in my pocket for a few weeks before buying a journal for writing poems. I kept the paper this was originally written on in the journal and over time it became a bookmark.
A Flower in the Frost
I wrote this in the form of a French descort; a poem style that consists of different line lengths, stanza lengths, and meters. It avoids rhyme, and has no refrains. I’ve integrated a cornucopia of meter styles and lengths from monometer to heptameter consisting of trochees, iambs, spondees, and pyrrhic feet. Some lines are catalectic. I’ve used an alliteration, and a caesura as well. Finally, the two stanzas differ; the first is a quatrain, the second—a quintain. All to honor the form, and the underlying theme.
Catharsis
Written in the form of an Italian rispetto.
Uncharted Waters
This poem is written in the form of an Irish quatrain called a cro cumaisc etir casbairdni ocus lethrannaigecht.
Tithonus
I wrote this in the form of a double dizain. The tragic myth of Eos & Tithonus.
Fringes
A decasyllabic 11-line stanza. In Shakespearean tradition I’ve invented a word for this poem. It’s a portmanteau: forevamour (forever + amour).
Everlast
I wrote this poem in the Irish Séadna form. It’s form appears simple but is quite complicated: Two quatrain stanzas of alternating octosyllabic lines with disyllabic endings and heptasyllabic lines with monosyllabic endings. Lines two and four rhyme, line three rhymes with the stressed word preceding the final word of line four. The last syllable of the first line alliterates with the first stressed word of the second line for each quatrain. There are two aicill rhymes in the second couplet of each quatrain. There is alliteration in every single line of the poem. The final word of line four alliterates with the preceding stressed word of the same line in each respective quatrain. Finally, the last syllable of line one alliterates with the first stressed word of line two, also in both quatrains.
Castle in the Sky
I wrote this in the form of a Chaucerian roundel.
Travel Journal
I’ve written this poem using trochaic octameter with punctuating lines of catalectic trochaic meter.