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Review by revdbob
Rated: E | (4.5)
Very nice fable/fantasy. I smile as I write. There are a few grammatical flaws (the its/it's confusion, for example), but not many. You probably shouldn't quote the nursery rhyme directly but make up your own (not only would our nursery rhymes be less likely in a fantasy world, but there could be plagiarism issues if someone has copyrighted them). Likewise the riddles are fine, but if not original it would be better if they were. Simple is good, however, since as a fairytale it is presumably meant for children too. And as for the French accent, well, a funny accent is cute, but you never know who might be offended by calling it French. Why not have him say in some odd accenting he is sorry his English is not so good but she would never understand if he spoke in the language of Stone? - or something like that. Good job - Keep writing!
Bob
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Review of The Birdcage  
Review by revdbob
Rated: 13+ | (4.5)
A very nice story, wonderful atmosphere. One inconcsistency in that he was afraid there would be no one to take him in without the old man, yet at the end he is free. Why is he not terrified?

He lied in his bed should be "he lay on his bed."
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Review of Finding the Ring  
Review by revdbob
Rated: ASR | (4.0)
Sort of an anti-climactic ending, though real-life adventures like these usually are that way, aren't they? Clever to direct readers to all those family members through the course of the story. (Are all of them actual family? What a writing crew you have!)
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Review of My Honey  
Review by revdbob
Rated: E | (4.5)
This is a great little triolet. The missing .5 is only because I doubt that it can be published for pay and because by subject matter it is not quite universal, hence not quite capable of "greatness."

But were I your Prince, I'd just love to get this as a note, on a card, on a gift label, or written in lipstick on the bathroom mirror - as long as you agreed either to leave it there forever, or wash it off yourself! *Smile*
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Review of Baptism of Rain  
Review by revdbob
Rated: E | (4.0)
Before I begin to take this apart, let me assure you that though I may make as many negative comments on this as I would on trash, it is because I know you have the ability and possibility to rise from the merely good to the excellent. Much of what I would say to you critically would be true of every poem here; there would just be too many other problems to bother saying these! And if I got this from a teen, it would be a 6.0! Your 4.0 is most people's 4.5-5.0.

At the same time, most of my comments are theological, and it is the Gospel message I am wondering if you are getting across clearly.

Your poem in italics, my comments in bold unless the writingML screw us up! *Smile*

The Word brings salvation, not just good intention.

This sounds like you mean that God's Word brings not just benign good wishes form God, but salvation itself, except that seems a little banal to me. I doubt anyone ever really thought God was merely well-meaning, and fairly few would dismiss him as ineffectual even when they think they have to work out their own salvation apart from God's Word made flesh.

A heart touched by love cannot escape the Dove.


Isn't this backwards? Isn't the work of the Spirit prior? "we love because He first loved us!"

A soul in near darkness seeks His awesome brightness..
Does the soul in darkness seek God's brightness? my experience as a pastor is that more often they think that's all the light there is! They tend to wallow in it, perhaps even despairing. They also tend to avoid God, fearing the light.

A poor wanderer, lost, prays for a safe signpost.

When emotions run high and touch the sky,
The baptism of rain begins, washing away sins..
Is it emotion which triggers forgiveness? Not at all! Repentance and faith (which aren't emotions themselves, though they may be laden with them) isn't it?


It begins with a pain, brought home by sin again.
It grows with time passing, and each new trespassing.
Sins err bringing despair stops if only we share..

This line I think needs punctuation at least. it's kind of confusing as is. Sins don't err, they ARE error. And it isn't sin which brings despair, but the belief that one is lost in one's sin and has no way out.


He listens for our cries, as our sins reach the skies.

This is an unusual image, in that we think of our prayers reaching the skies, but sins more naturally seem to sink to hell. Are they "stinking to high heaven??



When emotions run high and touch the sky,

againt he issue of emotion, but now I want to know, just which ones are these that are supposed to trigger mercy?

The baptism of rain begins, washing away sins.

Contritely head bowed, seeking pardon denied,

denied? I thought God offers pardon to all who come in faith. Indeed, while we were yet sinners, Christ died for us, so pardon is offered even before we are aware that we need it. That is why it is called Good News. Christ preaches salvation won already, not one that is merely earnable.

Our hearts have drawn near, giving way to the fear.
I don't understand this line, we draw near to God when we give way to fear? Hardly! Fear draws us away from God, perfect love casts out all fear!

Home of the soul is lost, when by tempter tossed.
Only by faith we see, only by grace can it be.

When emotions run high and touch the sky,
The baptism of rain begins, washing away sins.

Baptism, now in the soul, began from pain untold.
Marching next to the heart, so that it may take part.
Racing then to the face, where all see its trace.
Paths, shining wet and clear, on the ground disappear.

When emotions run high and touch the sky,
The baptism of rain begins, washing away sins.

This is the baptism, His word does envision.
A soul broken, mended, by His word spoken.
Forgive me this, Father, for being a bother,
I, a sinner, desire the beauty you inspire.


When emotions run high and touch the sky,
The baptism of rain begins, washing away sins.

Let the tears begin, as I try to not sin.
Let the tears flow, as I escape from below.
Let the tears flood, as I consider Christ’s blood.
As the tears consume, He my sin does assume.

Okay, but I am uncomfortable because it sounds not merely like Jesus responds with His love in our grief, but that He ONLY does so. We may be griefstricken when we first realize our sin; but as we realize forgiveness, we should no longer be burdened with grief, but experience hope, joy, the peace that passes understanding - all now opposites.




The baptism of rain begins washing away sins,
When emotions run high and touch the sky we cry.
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56
Review by revdbob
Rated: ASR | (5.0)
I was about to give you a 4.5, simply because there is so much more that needs to be said about these things, and then I thought, that may not be fair. This is perhaps only one day's lesson plan of many. There is nothing actually wrong that you have said, and pretty decently as is your wont.

One thing I am glad you don't say, as one teacher here recently actually said to my dismay, that poery is for letting everything go and letting your feelings flow almost without restriction especially in free verse. To me that marks a teacher who should perhaps not be teaching poetry because he or she doesn't really understand it! Free association is fo the psychiatrist's office, or for your journal, which you do not normally share. It is NOT poetry. And free verse in many ways is the most difficult of all forms to do well, becuase one forsakes the tools as well as the limits of rhyme and rhythm and must create new rhythms and use only the remaining techniques. Some people seem to feel that to have form is limiting. For the lame person, a walker is freeing, not limiting! And most people, after all, are pretty lame poets, including some who publish!

Are you familiar with Laurence Perrine's Sound and Sense? Perrine is just great with explaining most things about traditional poetry, includes wonderful examples, and does something no one else I have ever seen do: shows how to distinguish bad from good poetry, and then good from great poetry.

I hope the "Viv is Leaving" does not mean for anything awful, like for good! Thanks for sharing your work and yourself.
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Review by revdbob
Rated: ASR | (3.0)
Well, I think I know one reason why you haven't got reviews - I for one am not sure I understand what all you are saying in it. I hesitate to say good or bad when I'm not sure I get it, because it is sometimes hard to tell whether that is my fault or yours! So I'm going to give it a number assuming it is your fault; but I am not comfortable with it, and if you can show me that I just miss the point, I'll be glad to re-rate.

What I understand from your poem is that the protagonist has secretly had an illicit love affair, perhaps extra-marital. I take it from the last line of stanza two that the love affair has actually caused "love's demise,"a realization that sometimes comes too late a marriage to recover. The third stanza suggests sexual climax, although I'm not sure that is what you mean, since that would imply something more like a teenage romance and the usual ashamed aftermath especially for girls. How four lovers get into it in the last stanza is very confusing. That suggests this was actually an orgy, a foursome-friendship the protagonist(s) allowed to spill into sex which thereby destroyed their friendship and both marriages; except the word "joined"contradicts it.

In short, there are two many conflicting signals for a message to come through. The imagery is heavily sexually laden; but I am not at all clear ultimately that sex is the point. All affairs, all non-marital sexual affairs are built on lies and pretense and wilful blindness; but where they come in in the poem is really unclear.

So I'm giving it a 3.0, not because it is necessarily banal, not because there is nothing good about it, (some of the imagery could be quite fine) but simply because it is confusing enough I can come to no clear picture of what has happened and where it is going, or even ultimately, what is the message.
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Review of Poetry Forms  
Review by revdbob
Rated: 13+ | N/A (Unratable.)
This is quite a tour de force. I am not familiar with all these forms. But I do have a suggestion. After your get it nicely edited so there are no typos or obvious grammatical infelicities, (and you take out odd words like "infelicities" that only aren't necessary or poetic technical terms), get it vetted by some really good poetry scholars for accuracy and publish it as a pamphlet which will be a sellout in university English departments around the world. This is too useful not to be shared more widely. But do leave it here for all us non-pros!
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Review of Slow Death  
Review by revdbob
Rated: ASR | (4.5)
Your work is good enough to start getting really picky; that is to say, we need to expect more of you than being just very good. It is time to demand a level of genuine excellence. Since few of us here can really work very often at that level, and many of us haven't yet gotten the education or experience even to recognize real excellence fully, it will be hard for you to get the help you need; and I am not claiming to have it. You would probably only get it consistently by being in a first rate course with a first rate professor, usually available only at first rate institutions. That being unlikely, you will have to settle for getting occasional hints at improvable spots by such as we here and putting the scraps together for yourself.

That is at least somewhat good news for you, I think, for all that I find it frustrating myself, because most of what is published is not really excellent, and some is not even pretty decent! THe bad news is that the difference between moving from 80% to 90% of perfect is much easier than moving from 90% to 95% let alone to 100%! I can move 6 things, whether poems or areas of my life, from 60% to 90% in the time it takes to get just one from 90 to 93 or 95, if you take my meaning, and usually it isn't important - unless you are trying to create art that will last. (Only you know your real values and intentions.) I'm usually happy just to get minds turning, and it is more effective overall to get 6 people turning at 90% than to get one at 95%. It isn't always worth the effort to approach perfection. But it is wonderful to try at least occasionally, where the result might just be worth it.

This piece is already very good and could be better - perhaps can become excellent. But it will probably never be great poetry, even so. After the build up I'm sure that isn't what you expected to hear, but bear with me. It leads into a short essay on the difference between good and great.

This piece, I think, (let me emphasize that phrase) has a ceiling on how close to greatness it can ever approach without significant changes in that while the subject matter is important, it is not yet quite universal. The more universal, the more potential for greatness. I will make a couple of points that might (emphasize "might") bring it closer to univerality, just a little beyond the adolescent perspective.

This idea might be compared to painting an apple. You could paint it so well people would want to eat it, and it would be an amazing tour de force, and perhaps command a price in the thousands of dollars; but it would still only be an apple. It could never begin to approach the significance of, say, Picasso's Old Man with a Guitar, which touches the universal very profoundly.

(aside:
P 2: If I Were the Painting Picasso Made  (E)
A poem about Picasso's ethereal Old Man with a Guitar
#967083 by revdbob
tries to say that)

Even when the execution is flawed, Picasso's work shows genius because of the vision and the universality of his themes. The best velvet Elvis ever done will never be better than kitsch.

You could create the greatest piece of ad music ever; but it would still not compare even to a flawed Beethoven's Fifth Symphony because, after all, it is only an advertising jingle. The lack of universality doesn't make it bad; most art doesn't really aspire to be The Brothers Karamazov! I think what Coke did with "I'd Like to Teach the World to Sing" a number of years ago is about as excellent and near to universal greatness as an advertising form can possibly approach. It is excellent and memorable. But, sadly, an ad for Coke is still just an ad for Coke.

Because I am neither Keats nor Dostoevsky, all I can do is point to places you might want to think about tweaking in your work. This piece touches if not quite embraces the universal theme of freedom, and is worth trying to get a few of those extra points over 90. I cannot fix them for you. Those strokes of genius come or they don't, but rarely will belong to anyone but the poet herself.

Well, this is an awful lot of preamble before actual review - sorry about that. I just wanted to be clear that I am not offering you criticism in the ordinary writing.com way.

I have no real quarrel with the form, just a speculative philosophical aside. In general, I suggest that forms of poetry, like many other things including actual poems, do not translate as well as we may think, because they are culture-bound in some ways. Dodoitsu, like haiku, which has actually transplanted to English usage surprisingly and unusually well, is a Japanese form which has been employed by Japanese thinkers and developed in a way that suits Japanese thought and language better than it can ever suit any other language. The Indian ghazal, I think, is another such form which can be tried out and produce some interesting items in English; but which I think will always have better results in Indian thought patterns most readily expressed in Hindi and other Indian languages, than it is likely to have in English. I do not suggest you abandon experiments with such forms - trying something new always teaches one something - nor that this is an inappropriate form. I only suggest for thought - since you like philosophy and I presume aesthetics - that it is just possible it imposes limits on an Engtlish speaker's thoughts of which we might not even fully be aware. It might be interesting for you to try the experiment of writing a poem with the same theme (but starting from scratch) in a form developed among English speakers and see if it leads you in any markedly different directions.

I readyour poem as a picture of an adolescent girl who is being over-protected by her parents. She is not allowed to go out - presumably on dates or to parties. Perhaps she is, in their minds, too young to date, or they don't trust her friends. My sons (when in high school) have had a number of friends-who-are-girls of Asian Indian extraction. Their parents are very strict by American standards. The girls are not allowed to date at all. End of discussion. They cannot go to homes the parents have not visited and rarely even then, especially for parties; although they will occasinally sponsor a party at their own homes for selected kids and their parents. The families are lovely people, warm and welcoming - not at all weird - but in their culture. girls just don't mess with boys, even at 18. The girls, however, are not Indian y culture anymore, but American, and they chafe badly and hurt much, which their parents don't understand. In short, this is a more common situation for more reasons than we are usually aware.

More specifically to your poem now:

She is always so sheltered.
She doesn't know what life is.


Usually I am sort of a stickler for punctuation. I believe that it is a communication aid, and even poetry should not omit it UNLESS it serves a poetic purpose. Here I think you have overused it. If you remove the first period, the connection between the lines is more clear: she CAN'T learn what life is because her sheltering has become smothering.

It slowly passes her by,
if they only knew.


Here the comma adds a meaning I think you don't intend. By linking the second line to the previous clause it suggests a conditional. We don't automatically assume the second line implies "if they only knew they might not do it." It SOUNDS like it means life WOULD pass her by if only they (unpecified) knew, but therefore not necessarily if they don't. The problem is not that the reader can't figure that out; but that he has to stop to figure it out and it is not necessary to add the confusing element. What would happen if you put the period after "by" and an ellipsis after "knew"?

Her parents don't understand,
that there's a fine line in life,


Actually, the fine line you are talking about is not one in life but in parenting. There are fine lines between protection and over-protection or smothering. The line "If only they knew" already suggests the lack of understanding so it doesn't need repeating. What if you used the space that line takes up to suggest that the parents think they are doing the loving caring thing, but miss the negative effects, or miss one of the caring things they need to do for their daughter in letting her have at least a limited freedom, or that they are over-slow in letting go?

to have such sheltered lives,
or allow freedom.


The infinitive here is not grammatically correct as it stands. However you revise the first two lines of this stanza will determine these two.

She watches from her window,
silent tears slide down her cheeks.


I'm guessing you had originally written "sliding," cut it back to save a syllable, and forgot that doing so invalidated the comma after "window." Either a period and new sentence, or a semicolon now needs to follow "window." If it were possible to suggest somehow in preceding stanzas that the girl sees "life" existing outside her window, that it is life she is watching through it, it might make a more powerful image here.

If only they understood,
how much she craved life.


This would possibly link up better if my earlier suggestions about indicating that parental error of overprotection came from love, though misapplied. In doing so, incidentally, you would enrich the poem, indicating that it is not just their daughter who suffers, but the parents as well, in trying to do what is right by her, and bring the whole thing closer to greatness. Perhaps an indication somewhere that they are confused by or grieve for her tears might be very helpful - or perhaps introducing it at the end, where, though it would mean a real shift in focus, it would be both dramatic and powerful.

She tries hard to have friendships,
but her parents want her home,
they think it's for her own good.
Inside she's dying.


Too many commas here. After home should be a period (and after "friendships, maybe a semicolon) as it stands. But wrestle this thought through. IS it that her parents want her HOME? OR that they want her SAFE? Are they not trying to ensure her life? IF you could somehow express the dichotomy beteen the adolescent view and the parental view of what will give her life, you would heighten the poignancy enormously! It is, of course, not at all impossible to have genuine friendships even though one is mostly house-bound. Most school friends today do little home visiting it seems, when compared with what we did as kids.

Well, that's more than you wanted or expected - almost 42 times the 250 character goal, including an essay on good and greatness to boot. I hope some of it is helpful. I oughta save that essay somewhere if I can figure out where to put it - I might get a chance to use it again! *Smile*

Do keep writing, and at your level, not just writing, but refining. You have ore; pull out the gold!



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Review by revdbob
Rated: 18+ | (4.5)
Pretty good story. Makes you wonder how many real fruitcakes there are in the world, because I have seen true stories too close to this for comfort!

Some spelling/grammar problems:

thrusted it I'm pretty sure the past tense of "thrust" is actually "thrust;" but I think "threw" would actually be stronger.

bergundy cotton Spelling: "Burgundy"

It's still dark outside-- In word format for a dash use two hypens with a space before and after, or some people do it with no spaces either place. In this odd writingML format, what works for a dash is a single hyphen with a space fore and aft

I woke where I'd have plenty of time I think you would be better served replacing "where" with "so"

around nine a.m. You've already said it was a.m., an awkward and reader-slowing abbreviation anyway. I think you would be better served just saying "around nine."

Good work!
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Review by revdbob
Rated: E | (4.5)
Nice. There's an Indian gentleman on line whose handle escapes me at the moment. who likes to do these and may be able to tell you if having the second-last syllable always the same is cheating - I would think it was, or at least would move the significant syllable to the one before the last word. I'm guessing you may have learned ghazaling from him, and if you know of whom I speak, why not ask him?

A few typos and grammar errors as follows:

At it's its end you'll discover your wholeness.

That voice in your ear,no comma is when I draw near.
I and Thou are a numinous wholeness.

In Truth, space but no commawe are One, all sin is undone
We are knitted together in wholeness.

At the end of your days, space but no commayou will know all My ways...


A distinct cut above average, both in quality of execution and in thought which tends in religious poetry to get maudlin and sappy.

You might enjoy my poem
Poetry 1: Baptized  (E)
One who watches from behind walls the work of God's Spirit is finally set free.
#965426 by revdbob
which has gotten a lot of good reviews.

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Review by revdbob
Rated: 13+ | (5.0)
This is quite a tour de force, Jon X-tremely so! Very well done. "before he was exulting me" - I think you mean "exalting." There were even some words I had never heard of - exsert? But they are words, and I congratulate you. When you are done with the X-periment, you might take out the weirdness and finish it as a traditional story, too.
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Review by revdbob
Rated: E | (4.0)
I'm so in love with your stuff that I question whether I should ever have a criticism. I am probably just being dense!

But here goes anyway.

Of the three, I find the third most successful. I understood the double-entendre. Good as it is, it can't be grat poetry because the theme is trivial, if common experience; but it is well done.

In the first, "flies" appears also to be a double-entendre, but I miss it somehow, and I don't associate real flies with a bookstore at all.

The middle one seems to have the most significance and potential, yet is the one of which I most miss the meaning. I am sure the lily is a great image, but not knowing who "Will" is [or is it perhaps (since this is a churchyard) something to do with the doctrine of human free will?] The ending seems to suggest the beginning should be "standing tall and proud" rather than limp and bedraggled. Help me see what I am missing; maybe I'm just being dumb. Otherwise, I'm afraid it doesn't quite work.
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Review of Boise City  
Review by revdbob
Rated: 13+ | (5.0)
Are you submitting your stuff anywhere? If Boise has a city magazine, they would buy this, I bet. Or an Idaho mag. Don't try Kansas, tho! *Smile*

I can't remember the last time I bothered to review 4 pieces from the same portfolio. One, maybe two, rarely three. You do great work. "prairie dogs like brown bagged bottles" Wow - original and absolutely apt. I bow in admiration.

I suggest submitting to the poetry newsletter especially the first two I reviewed. They're wonderful.

You who read these reviews and tell me I am good at it: check out Kåre Enga and see if I'm not right.
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Review of She who serves  
Review by revdbob
Rated: ASR | (4.5)
This would be nice for a card to give to Lisa, although I don't think I follow the last line.

It is not intended to be published unless there is an employee newsletter - which counts! - so it shouldn't be held to the same standards as "poetry,"but it is very well done.

One thing I forgot to mention in my other reviews that cropped up again here: there is no space before an apostrophe. Putting it there makes the apostrophe look like a single quote mark out of place, too. Check all your stuff for this as I have noticed it several times.
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Review by revdbob
Rated: 13+ | (5.0)
Oh, my, I do like your writing! This is very impressive. I'm not sure I have understood every line, nor have I yet studied it in detail, but I want to write immediately the impact it has on first reading.
...
Now I have. What great images, what an original idea, to divide the name of tsunami in that way and make it work! I have no idea how to make this better. Thank you.
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Review by revdbob
Rated: ASR | (5.0)
This is now a very fine poem. I'm still only guessing, but "growing younger every day" seems to imply decline into second childhood. Sixty is a little young perhaps for that. But I like it very much and will look forward to reading more of your stuff.
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Review of The Tender Heart  
Review by revdbob
Rated: E | (3.5)
A sonnet is a very strict form. Rhyme and rhythm has to be exact, not just close - an iambic pentameter - 5 iambic feet in every line. In "The hope you gave me has vanished/ The brightness and cheerfulness of spring was in my life when it wasn't even May" you have one of three and one of seven feet. You have many non-iambic feet. You can get away with a couple, but not ideally any.

The first line should read "...I used to be.

But if this is a first try at a sonnet, you should not be discouraged. It is a demanding form, and it is not a bad try. The rewards for success though can be outstanding. Look at Shakespeare!
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Review by revdbob
Rated: E | (3.5)
Itis possible this should get a higher rating. part of the problem is that I don't get too much of what you are trying to communicate. That could be my fault, or it could be yours. People don't get James Joyce, and it is their fault.

First, minor problems: The word is spelled "falter" and I think you mean "quietly" rather than "quitely."

Assonance and alliteration: almost absent. Stanzas and versification: no significance. (Maybe there should be). Imagery: obscure.

I will try to interpret what you have written, and you can tell me whether you have communicated.

Forgotten soldiers
of a platinum land
reflect quitely upon the abyss.


American (platinum) soldiers (literal?) are poorly considered (by teh folks back home?) and reflect upon the death(?) that faces them.

Hearing their own echo
It causes their minds to stumble.


Getting no responses but their own cries for help? attention? they are confused and doubt themselves?

The forethought is there
the sword has been drawn.


They are ready to fight (but perhaps don't know why they should bother?)

It slashes out with
a peaceful snare.


almost meaningless to me, unless you are possibly suggesting something like a peaceful intent to waging war, such as is suggested for our being in Iraq. That gives many soldiers cause to doubt the sanity of our leaders, that I know is true.

The golden flakes of
inequity give no joy
to the soldiers
as they faulter.


What is the "inequity?. Golden flakes? Neither image means anything or suggests anything to me. The soldiers seem to be faltering due to poor leadership, weak support, and questionable reasons for fighting.

If that is not close, well, do explain what you were trying to do!

Keep writing.
Bob
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Review of The Mask  
Review by revdbob
Rated: E | (3.0)
This a conflicted rating. The story itself is quite a bit better, but there are so very many technical errors that it can't rate a 4.0. It easily could, or possibly better when they are repaired. Please let me know when you have revised out the errors - typos, spelling, and syntax, so that I can re-rate.

To have the entire story except for the second last paragraph in quotations makes punctuation rather awkward, and requires you to use quotations within the quotation, which you do not do properly here. You might consider whether that is the best way to present the story.

“The mask was the loveliest that Isabelle had ever seen. It sparkled with garnets and crystals. The feathers would glint different colors at the candle light touch.
awkward construction. One fo the places where the prepositional phrase may work better: "at the lightest touch of candle-light" perhaps.

The mask did not fasten around ones one'shead comma but was held in place with a wand that was wrapped in gold damask. Isabelle wanted to wear the mask to the Baumgartle Ball. It would match her new gown to purification.”
you mean, perhaps "perfection?"

“Isabelle stomped her foot the mask belonged to her sister Maria.

here is a problem with the quotation technique. If you are telling teh tale in third person, you don't need the quotes; but if you are, then Maria, who is speaking, would say, "to me, her sister." rather than "to her sister, Maria." This sort of conflict also occurs throughout.

Her mean, selfish sister who would not hear of letting Isabelle borrow the mask for even one night. It was, after all, not Isabelle’s fault that the Baumgartle’s invitation had been for her and her fiancé, Matthew.”

“She and Matthew would marry in a few months and were invited often as a couple to outings and evening affairs. If Maria were older she could chaperone Isabelle and Matthew. Why was Maria so put out? The way she was acting one would think that Isabelle had arranged for Maria’s exclusion.”

“Isabelle had just finished putting on her gown when Maria strolled into the room. Isabelle gasp as Maria handed her a red velvet box.

‘Isabelle, it is my wish that you wear my French mask to the ball tonight.’”

“‘Oh, Maria!! Thank you so kindly!!’
unnatural phrase. Wouldn't we more likely say "Thank you so much?"

Isabelle was beside herself with excitement. ‘I was certain that you would not allow me to use your mask.’”

“‘I almost did not. Again, unnatural dialogue. Usually we use contractions in dialogue. This is not a formal essay.

But I know how important it is to you to make the best impression. So if you will consider contraction
take special care then I will allow you to use the mask tonight.’”

“Isabelle rushed to her sister and disregarding any damage to her own gown gave her a hug. ‘I promise, Maria. Oh I will take only the best of care of your wondrous mask.’”

“‘ You had better take care. If you don’t take care of my mask I’ll never forgive you.’ Maria replied as she opened the red velvet box. ‘And I want you to remember everything.’”

‘”I will! I will tell you about every detail tomorrow. I promise!’Isabelle lifted the wondrous mask from the satin bed. Maria helped Isabelle with her wrap just as she was told that Matthew was waiting down stairs for her.”

“Isabelle and Matthew had a gay time at the ball. Under the watchful eye of Matthew’s Aunt Carrie the pair danced and dined. The conversation was lively. Isabelle had never looked as heavenly as she did that night. Everyone agreed that The Baumgartle’s Ball was the toast of the season.” sighed Maria. “No one knows what happened as Isabelle, Matthew and Aunt Carrie drove home that night. When they had not returned at the expected time Father went to find them. By that time it was to late; all three were gone.”

The gentleman sitting across from Maria reached for her hand. Maria’s smile was sad but she continued, “Isabelle has tried every year on the anniversary of her death to come back to our home. Ever every
year someone has come to the door to bring Isabelle home, but she disappears before she can come inside the front door. Oh, in my younger days I have even waited outside. It did not help at all. I can not see her and she can not bring my mask home as she promised.”

“After eighty years now I am hoping that one day soon I can meet her on the other side. Perhaps if I listen to her description of the ball she will not have to try to come home ever again.” Maria stood to show the gentleman out. After she said goodbye she closed the door for the last time.

last time? Was she about to die? The meaning is not clear

I like the story. I hope you fix it up. It deserves abetter rating.
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Review by revdbob
Rated: ASR | (4.5)
This is such a good effort, I want to give a little extra to the review.

First: Substance: Very good. Aging is a signifcant issue for everyone, as is memory. The most important distinction between good poetry and great is not technical skill but importance and value of content.

Execution of theme: Good. Last stanza seems to be answer to preceding two, but is so only in physical sense, and has already been declared in beginning stanzas.

stanzas and versification:

Length of stanzas, number of feet, rhymes all appear to be immaterial. Single line stanzas appear to have purpose of emphasis, although "that appeared" probably does not need its own separate stanza, would be comfortable in the preceding stanza,I think, which would make the single word stanza more forceful. Whether it needs to be a separate stanza rather than just a separate line is still questionable.
Separation of other stanzas is appropriate.

Imagery: Very good. Vivid.

Alliteration and assonance: Reasonably effective. Could perhaps be more, but what there is is not really inadequate, neither intrusive nor absent. Reads well.

Details:
She sits in an old tin bathtub,
the rubber ducky played with by her toes,


The passive line seems unnecessary. The suggestion I got from this line is that she is quite senile; but that is not borne out throughout, either. Is she supposed to be? "Toes playing placidly with the rubber ducky" Is she not? "Toes playfully bouncing the rubber ducky" are possibilities.

patchouli lingering in the steamy air.why period? Comma?

She submerges for a moment,
feels the oils caress her wrinkles
note: not a senile action. Maybe unnecessary blank line here, I think.

that appeared,

somehow,

in the decades since her grandma
bustled about her baking bread.

All in a dream, as heat seeps
into bones sixty years young
and growing younger every day.
This suggests senility again, to me

Where did the child go comma
that spent her Summers summers picking flowers,
watching the morning glories climb
to greet the dawn with blue?

Where did the youth go comma
who sighed upon the back porch swing comma
then walked down the crimson sidewalk
question, not critique: why crimson?
while a cardinal darted overhead?

She sits in her steamy oilscomma
smoothing wrinkles of a well lived life,
toes playing with her grandchild’s toy,
lost in patchouli dreams.


I like this very much. Good job!
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Review by revdbob
Rated: 18+ | (4.5)
O wow! This has possibilities! You have a nice writing style, good dialogue, readable throughout. most amazing to me is how well you developed characters in so short a space. Even McWeeny is real!
(But don't tell me that is a real name! Egad!)

I find I am ambivalent about the ending. I am guessing Ziggy told Manny not to come back because Ziggy wants Anita himself, though any guy who did that knowing Anita wants Manny back would end his tenure on my friend list right there. Otherwise it is not at all clear either why Manny left or why Ziggy would tell him not to come back or even, except in general, why Anita would want him back. I'm not sure how you will resolve those issues or if you will want to or bother; but I think it's worth the effort to think about.
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Review of Member Survey  
Review by revdbob
Rated: E | N/A (Review only item.)
#15 was annoying and pointless. When I didn't check it, the survey wouldn't load either, making it doublt annoying. The only reason I can think of for that is that the program demands exactly 15 questions, which is silly. Why not replace it with "I do/do not have other comments to make about writing.com" and provide a space for that. There were a couple of answers I felt ambivalent about and would have liked a space to explain, for example.
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Review by revdbob
Rated: E | (4.0)
This is reasonably well written, except for what I hope is a typo of the word "congratulate":

Whenever they guess a correct answer, I congradulate them

In this sentence, I was interested in your choice of the word "guess," as if they had no reason or justification at all for the answer/s they give. Or perhaps do you only answer "why" when they have no such reason?

Some cultures are concrete cultures; they do not think in abstracts. "Why" generally asks for abstractions. If one reads the Bible in the original languages, one is struck by the cultural fact that Hebrew thinkers are concrete thinkers. For example, they tend not to talk about "joy" per se; rather they say "the mountains skip like lambs," or some other more concrete pictorial way of expressing the abstract idea. Greek thinkers, on the other hand, of whose culture we in the Western world are the inheritors, are abstract thinkers, especially in the scholarly world. To abstractors, the question "why" is very meaningful, and as a result disciplines such as (our particular way of doing) science flourish in the western world. To concrete thinkers, the question "why" is not usually asked; rather it is replaced by the question "when?" An abstractor would say "My toe hurts. Why?" The concretizer thinks "My toe hurts. When?" The answer in both cases sound similar and result in similar future behavior. The abstractor says "because I stubbed my toe. Why? Because the chair is in the way. What to do? Move the chair." The concretizer says "it happened when? After I stubbed my toe. Can it be prevented from happening again? Yes, let me move the chair."

I know that the Japanese are concretizers. It is one reason why (thinking abstractly) they seem to be wonderful perfectors, but not notable innovators. They tend not to ask "why does this happen," and so stumble on a new approach, rather, they ask "when," and so improve what exists. You will discover I think that it is the same with Koreans. Even when using the word "why," it means when or how, and you will tend to get an answer more akin to what we might answer to those questions, and they will tend to be see-hear-touch-taste-able explanations rather than an abstraction. Here is another common illustration. Everyone has heard of the Zen koan "What is the sound of one hand clapping?" Occidentals tend to be more mystified by this koan (if they have never heard it before) than Orientals, and more amazed by the simplicity of the accepted answer: to swing one hand forward as if to clap - to show rather than to explain the sound. This is concrete thinking. Therefore your asking "why" in the western sense is mystifying in many ways, because it asks them to think in ways not cultural natural, and that, if you have ever really tried to do it yourself, is VERY difficult. I want to come back to this in a minute.
There is a second reason for what you have discovered, and that is, that Koreans, as many of Oriental culture and also many of our own more driven student types, want always to be right. Even more so in our culture, to be wrong is felt more to be a moral failure that an excusable error. This, I think, has to do with the relative values of shame and guilt. We are a guilt culture (I think we are moving away from that to becoming a blame culture, but that is another issue). We carry moral error with us, and feel guilty, if we have a conscience, even if no one knows about the rror. We also tend not to feel guilty about errors with no moral significance. Orientals culturally tend not to experience guilt at all! Rather, they focus on shame. This means that if your error is public, you are shamed. In some cultures, to shame another, to be the cause of another's shame even by bringing it to light, is to be morally reprehensible. In New Guinea, where I lived for eight years, it was a capital offense in the old days. In Japan, it led to hara kiri for the shamed. So if a Korean student does not wish to risk being shamed, s/he may not answer a why question at all! This also may be part of the reluctance you are experiencing. Combine that with the fact that "why" doesn't mean what Occidentals mean by it in their culture, so that their answers are very likely either to be wrong, or to be shown to be inadequate by your subsequent "why," and you have an explanation of what you are seeing. Even though they may come used to the fact that you just don't act like a Korean and do all sorts of counter-cultural things without realizing it, and discount to some degree your constant shaming them in class simply by doing what any good Occidental teacher would do to promote what we call "thinking" more deeply, that shame is still felt. There is a reason why there may be so relatively many suicidal oriental students in western situations. Orientals are not stupid, even though thought patterns differ, and when they catch on to the differences and can think like a westerner, they often excel beyond native westerners. By combining both ways of thinking, I suspect, they simply see more possibilities.

Coming back as I promised to an earlier reference, the problem of absttract vs. concrete thought is not merely cross-cultural. There are many conrete thinkers in our culture as well. All children, to begin with. They are very literal. If you say the moon is made of green cheese, they want to know what it tastes like. The very notion of symbols is difficult of apprehension int he very young. Most children are unable to think abstractly until they hit puberty, when there must be some kind of brain changes as well as other physical changes. It is not that children don't ask why, why, why in trying to figure out how the world works; it is just that a parent knows that s/he has to answer in concrete ways. A philosophical explanation will be useless, and not at all what is asked for! A significant proportion of the population is NEVER able to think well abstractly. Their lives run from one minute to the next. "Why" is not of interest; they want to know what and when and how. As you have noticed, such things have concrete answers! Even in religion, they want answers, not abstract explanations, and they want their answers to be black and white, as nuance-free and as unchanging as possible. Many adults, even those capable of abstract thought, are not comfortable with it and prefer to see their world very concretely; but a large proportion never really develop the ability to do it well at all!

This creates a real problem, in my opinion, when it comes to religion. With due respect, I think you display a misconception relatively common in our culture about the nature of religious faith, but is one especially common among those who do not think well abstractly. "How"is NOT really religion's concern or interest, nor even is "what" or "when,"except, as it were, as clothespins upon which to have the laundry of meaning and purpose. The clothespins are not what are important, even though you diligently keep them and use them. The important questions center on "why?" Why is the world as it is; what is its meaning and purpose? The concrete answers are grist for the thought mill; they are not the center of religious thought.
It may seem that I have just demonstrated how half the population even in abstract cultures think concretely and wonder how this can be so. Remember, it is not that concrete thinkers have no interest or concern in meaning and purpose, but that they express their concern and think about them in concrete ways. They are more interested in certainty, less able to deal with ambiguity and ambivalence perhaps (although everyone has to learn to deal with those things in a pragmatic way: it just will never happen that you will never again stub your toe or bark your shin if you are still walking!) Genesis, for example, is not giving us a recipe book for making people, for all that some fundamentalists seem to imagine it is. It does not tell us God's methods of creation. Rather it answer the questions of Who and Why the universe exists; not how, but why human beings came to be; not what sin broke the ice, but why the relationship between humanity and God is, shall we say, strained. What the meaning of sin is, not what kind of fruit was on the tree or even that there was a tree with fruit. An abstractor would say, "The world is here because it was created by God, WHo being a loving being needed beings to love and by whom to be loved. Sin came about becuase any being that can love has to be able to choose whether or not to love, which means they must be capable of unlove, of selfishness. The break in relationship comes when humanity decides to set its own will above God, to love one's own ego more than God." But that is all abstract, and lots of people can't follow the idea. The Hebrew wouldn't even have tried to express it that way, rather they tell a story that means the same thing.

Further trouble can come when an excessively literal and conrete mind focuses on the details rather than on the purpose of such stories, which does happen in certain fundamentalist Christian and Muslim (and Hindu and Buddhist) sects, where, for example, faith itself is transferred from God to teachings (doctrines) about God, to sacred books, or sacred acts (rituals), and the details become more important than the meanings, or the meanings are seen to be dependent upon the details, rather than the other way around. Among Christians, this shows up when the focus is upon the Bible rather than upon the Christ to Whom the Bible points. The Bible is thew clothespin; Jesus is the laundry!

This is a rather lengthy review; I hope it is helpful. I would like to add this to my own blog and portfolio, perhaps with your own article as the stimulus, with your permission.
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Review of Art is You & Me  
Review by revdbob
Rated: E | (3.5)
Welcome to writing.com. I have only been here less than two months, but it has been interesting and fun' and generally pretty affirming and validating. I am sure you will find it so likewise.

You will soon note that there are a few formatting conventions, failure to follow which will annoy some people. I think that annoyance to be a little bit of overreaction, myself; but conventions are the manners of this (onlinbe) culture, and manners are the grease which keeps friction from rising too high.
Your titles and copyright notices are redundant; the later is routinely added, the former is put in the little boxes before you ever get to the box in which you write the body of your piece, the author is prominent on your portfolio page, as is the date of last editing.

ART IS You & Me

By John Keaton
March 1, 2005

The Elusive Architecture of Emotion and Reality


As an artist (my eldest son is a studio artist, by the way) you are familiar with how baroque style developed into roccoco, the restrained and precise into the florid and excessive. Today's roccoco writing was called "purple prose" when I was learning to write, and it is greatly frowned upon. Especially in an age where there is so much information and so little time to take it all in, we want to pare down our writing to essentials. I find that hard, myself, but it does make for more interesting writing.

For many years, people have asked and I am certain, wondered, what is it that makes me tick? They cannot, or so it seems, to understand my Passion for Art.

Better to be less vague. Describe an instance when this happened. What makes you think they can't understand your passion? Do they have no passions for anything? A concrete example will serve you better. In short, even in writing, you show rather than tell!

This led me to question myself, well, what is that: ask ART? How can it be defined?

See how many unnecessary words there are there?

Your response is somewhat surprising to me, the reader, though, because I would expect after a question about what makes me tick, to look into "who am I?" rather than "What is Art?"

Perhaps better would be to say "What does art mean to me?" and continue ...

Why is it such a huge part of my life? No matter how many times I repeat to myself by saying, no space here after the quote mark I don't care what people think or say no space here before the comma , there is a deep and resonant voice inside me that knows I must answer that question. Why, I don't know. But, I MUST! If not for others, then at the very least for my own sense of well being.

You owe no one an explanation of why you feel as you do or are who you are, except in the sense that if YOU would like to be better understood and appreciated, then sharing what you think makes you tick is a route to doing so.

So, I decided to find out. That is the purpose of this writing. Above all, honesty is, as we know, the most difficult pill to swallow; yet we all rejoice at its fruition, namely, more honesty. Isn't that the Terrible Beauty that is Art?

None of the above is really relevant and needs to go, although honesty might be added to your list of adjectives (more about that later). This is terribly hard for a writer to do. It is like struggling with a painting that is trying to do something truly creative, and you have something in miind that is wonderful; the trouble is, it doesn't belong in THIS painting! Painting that part OUT is PAINFUL! Sometimes you just have to go paint it on another canvas to preserve it for later inspiration. The same is true for writing. When certain words or ideas are just too good to forget, but really do not contribute anything to what your present purpose is, you gotta cut them; but you CAN move them to another file - a journal, perhaps, like an artist's day book, for later review and expansion.

I have chosen to write this piece as work of art unto itself. Adjectives, more adjectives and flowing attributes to the Muse that moves me. I am blessed with a love for the Sacred Entity. Dare I call her by any other name? My gift is inspiration and I give it freely, as it is given to me.
It is a sacred obligation, like the ocean, a child, and a source.


Unhappily I find the above paragraph the epitome of roccoco prose, flowery beyond either art or need. Art means different things not only to different people, but in differing circumstances. And there is a great difference between bad art and good art, and good art and great art!

Bad art has no particularly purpose, and even when done with some modicum of skill shows nothing of the world. It is velvet Elvises, pointless even when done perfectly. Good art is not merely well-crafted, but says something. It may not be very profound - in writing it can be merely a description of a beautiful day that makes you feel the sun beat upon your face and the wind in your hair - but it has a purpose, it is beautiful and good to look at. It is a welll done but not particularly memorable still life.
Great art goes beyond merely great craftsmanship; in fact in a painting, it may be its imperfections that bring it the last little bit from mere photographic fidelity to greatness! But it has purpose and meaning; moreover it has depth. it's meaning does not merely scratch the surface or sing about how nice the day is; it probes profundity. The Mona Lisa is not the absolute best depiction of a woman ever painted, nor is she the most beautiful woman ever depicted, nor are the colors the most vibrant. In fact, the painting is understated, even quite common in some ways! But into the painting da Vinci has added, (much else, but if nothing else), the smile, subtle and enigmatic, over which people for generations have smiled and spoken and thought and reminisced and imagined and speculated.... It engages people's minds to think deeply; therefore it is a great work of art. In writing it is no different. Understatement makes a more profound point than being drowning the reader in sugar molasses phrases. It allows the subtle to come through, and make its more profound points!

So here, let me suggest that if what follows IS art, you do not have to tell your reader. If it is not, declaring it was your intention to make it art will not make it so.

It is an axiom of successful writing that adjectives be kept to a minimum. In your piece from here on you deliberately flout that advice. THAT IS OKAY because it is purposeful from this point on. It was not okay UP to this point. From here you want to paint a word picture, as it were surrounding the word "art" with words representing all of its connotations and implications, as if one were to paint one's beloved surrounded by items suggestive of his or her character.

The way this is usually done in writing is through the medium of poetry, where every word carries multiple meanings and connotations and is carefully chosen,, even to its placement in a verse, to wring the last possible meaning out of it. This is a kind of attempt at prose poetry. I imagine that writing it was rather helpful, even cathartic for you. For the reader, though, it is overwhelming. There are too many words and concepts piled upon one another, connected indeed to your concept of art and of your artistic temperament, but to each other very little.
It cannot be absorbed. There is apparently random punctuation and captialization (I could find no meaningful patterns) and the pile of words is too high for anyone but the most dedicated to read every word or to stop to think about how each particular word elucidates your meaning. Writing that won't be read is like painting that won't be seen. It may contain profundity like all get-out; but it's still pretty meaningless and purposeless.

Even so, I think there is a more serious problem. Your stated purpose of writing was to open yourself up to people who don't understand you. But what you have done is akin to a Sanskrit speaker, having been asked to explain to an English-only speaker the meaning of his Sanskrit manuscript, obliges with a long, scholarly, detailed explanation - in Sanskrit! To be of any use, he would have to give his explanation in English! In order to explain something of what art means to you, you have to translate your form of art into a form your reader can grasp. If you show this to those who ask you what makes you tick, I would bet anything they would say "yeah, but so what makes you tick?" or something to that effect. Of what point would be a painting, exquisite though it might be, that could only be seen by those whose eyes pick up radio-length waves? To be grasped at all, the radio waves would have to be changed into colors in the visible light spectrum (which is essentially what astronomers do with those gorgeous photos of deep-space nebulae and the like). You have to speak the language of your readers, use their vocabulary and their forms, in order to make an impression.

But don't worry, they wouldn't ask if they didn't care. You'll get other chances. There are resources here (in this piece) for further writing development as well. Show us a series of shorts where the qualities you list (such a long list!) are shown and highlighted. You have given us a glossary, now take the words from the gloassary and paint a word picture with them!
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