One of the cool things about carefully constructed formal poetry is that it does things with sound that hit on almost a subconscious level. We’re all usually acutely aware of rhyme, alliteration, meter if it’s done strictly, and repeating lines. But there’s a lot more going on beneath the surface, which even the poet might not be aware of; they may be selecting words that just “sound right” without even realizing that it’s because a particular combination of sound and rhythm can cause effects in the …
I’m reblogging this, from Joseph Harker’s Naming Constellations.
This is the second Reverie exercise, and holds a lot.
This is the second Reverie exercise, and holds a lot.
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