Persuasion
by Stephanie McLellan
There is goodness in this beauty.
Vanish. Disappear. Run if you must.
These sweeping, sloping lines will draw
Your eyes upon me once more.
There is goodness in us.
Fatherless daughters
by Stephanie McLellan
Astoria awoke in muffled light, and
Unfurled itself, unshuttering its shops,
Revealing glass cases full of watches, and
Walls patterned with five dollar t-shirts.
Its people stretched and yawned,
Showered and dressed, stepped out the door.
The N train snaked its way overhead,
Shuddering and squealing around each curve.
Commuters wore foundations of exhaustion,
Over which they painted lipstick, and somber faces,
Succumbing to the rocking lull of the train, their
Eyelids falling slack, then bursting open at a jarring jerk.
Their destination, a Manhattan station, throbbed with footsteps,
Anonymous bodies shoving and slipping past one another,
Turnstiles revolving and clicking at a furious pace.
Above ground, I mimicked the crowd, darting about,
Tapping out steps in my heels, faking my morning rush
Until I stumbled on the curb, scattering my thoughts.
That's when it happened. For one minute,
You were breathing again, moving again--alive.
Your calloused hands busied themselves,
Tuning your guitar, or maybe rolling the radio dial,
Settling on conservative radio. Or maybe, you were
Thinking of me, and how we haven't spoken for weeks.
But then I catch myself, and you're gone again.
Cruel memory stings me, pummels me, and wrenches away my breath,
Unleashing an ache that stems from my chest to my arms.
How awful is it, forgetting only to remember suddenly, as if
Hearing her monotone delivery of yesterday's news all over again?
The news I always forecasted but never expected.
I paused, struck by pedestrians and the sudden realization:
The world is filled with fatherless daughters.
TWENTY LITTLE POETRY PROJECTS
Jim Simmerman
1. Begin the poem with a metaphor.
2. Say something specific but utterly preposterous.
3. Use at least one image for each of the five senses, either in succession or scattered randomly throughout the poem.
4. Use one example of synesthesia (mixing the senses).
5. Use the proper name of a person and the proper name of a place.
6. Contradict something you said earlier in the poem.
7. Change direction or digress from the last thing you said.
8. Use a word (slang?) you’ve never seen in a poem.
9. Use an example of false cause-effect logic.
10. Use a piece of talk you’ve actually heard (preferably in dialect and/or which you don’t understand).
11. Create a metaphor using the following construction: "The (adjective) (concrete noun) of (abstract noun) . . ."
12. Use an image in such a way as to reverse its usual associative qualities.
13. Make the persona or character in the poem do something he or she could not do in "real life."
14. Refer to yourself by nickname and in the third person.
15. Write in the future tense, such that part of the poem seems to be a prediction.
16. Modify a noun with an unlikely adjective.
17. Make a declarative assertion that sounds convincing but that finally makes no sense.
18. Use a phrase from a language other than English.
19. Make a non-human object say or do something human (personification).
20. Close the poem with a vivid image that makes no statement, but that "echoes" an image from earlier in the poem.