Eric Low's ChoiceShort listed poem(s) Poem #10 Twilight
Poem #5 Rejection
Poem #8 Why WonÂ’t They Come?
Final decision Poem #10 Twilight
His commentsI am mindful that I am only a very minor poet (if at all), but while it may be difficult to differentiate objectively between a good poem and an excellent one, it is relatively easy to detect a bad one.
The nicest thing I have to say about the lot submitted for this is that I am sure their authors were all very sincere about their craft. Some of these poems have the seeds of good ideas, while one or two have promising lines. However, even if you put all these together - sincerity, half a good idea, one or two promising lines - they do not always add up to a poem.
My choice was made based on simple elimination. I went through each poem and mentally crossed out the most cringe-worthy ones first. From the remaining poems, I crossed out those that either contained way too many cliches, or were super “sala” (in every way) or were filled with what I deemed to be severe language errors. After that, I was left with three poems: Rejection (no. 005), Why Won’t They Come? (no. 008.) and Twilight (no. 0010). Of these, I chose Twilight because of a few reasons: one, it had the most promise to rise above what it is now; two, because personally I am partial to local themes; lastly, it pointed to an external context.
I would like to point out though that the one with the most promising line goes to Why Won’t They Come? for “Next a grumpy duck stuck/ between frozen lake and uncertain sky.”.
Suggestions for improvement? Well...read. Then read some more. Not those self-improvement books for poetry or those “how to write better poetry” type, those are helpful only at the beginning stages (they at least point out to you what not to do) and even then reading too many (three is too many) will only dull your poetic voice. Read poems. Read contemporary poems by Mark Strand, Les Murray, Sharon Olds, Gluck, Billy Collins, Simic, Levine, Jack Gilbert, Simon Perchlik, etc, etc. For context, read Whitman, Coleridge, Wordsworth, then Hopkins, Thomas, blah blah blah. If you must read essays on poetry, read Harold Bloom. (ehh.. well, I only read Bloom, so am not good for those examples, might I suggest googling?) For local stuff, read Arthur Yap, Boey Kim Cheng and Cyril Wong.
If you donÂ’t want to buy, the net has chunks of good stuff. The journals are the safest bet though. The Cortland review, Drunken Boat, Black Warrior, Shampoo, Three Candles, Cider Press Review, Free Verse, Softblow, etc etc. though I suggest printing, because reading them off the screen can provide a major headache.
Alamak, just donÂ’t stop reading la.
Put this one aside for a while. Let your ambitions for this poem quiet down. When you go back to this after a while, don’t be afraid to cut it up and start from scratch. There are quite a number of stereotypes in this one, you can turn this on its head by exploring them. The views on tai-tais, trishaw rider and cabaret girls are very one dimensional, utterly stereotypical and seemingly a tad moralistic, so dwell on that. Why not another way? I have met a guilt-ridden tai-tai, a happy with-his-lot trishaw puller and a cabaret girl whose motto is “life is good.” Even if it has to be a pseudo-political/moralistic piece, the reader must be convinced, not coerced.
Also, if the arrangement was meant to mean something, it was pretty weak. Don’t let aesthetic arrangement govern your poem in this manner, and what’s up with the non-capitalised “i”? I really hope you were not trying to imitate cummings or Yap.
Concentrate on your poetic voice first. The rest will come later.
Ok, thatÂ’s my 2 cents worth. Good luck to all with your writing and apologies if a tad offensive.
Regards
Eric Low