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  #1  
Unread 06-22-2024, 10:31 AM
Glenn Wright Glenn Wright is offline
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Location: Anchorage, AK
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Default Farallon Light

This is the second poem about my family history.

Farallon Light (Version 4)

The Farallon Islands bite the fogbound ocean
a marathon’s distance from the Golden Gate.
Four men and two women have made the swim.
The odor from millennia of bird shit,
from gulls and murres, cormorants and petrels,
announces itself a mile or more offshore.

My father spent his childhood on those rocks.
His father kept the lighthouse. I knew my dad
in pieces. He saw the Battle of the Bulge.
He drove a gas truck through a burning village.
And at his funeral several homeless men
wearing clean shirts and sober, paid their respects.

The Natives called them the Islands of the Dead.
The lethal tides destroyed ships by the hundreds
on wolf-tooth crags, ringing the isles with wreckage.
The Farallones formed my dad. Speaking of them,
far and alone, a light gleamed in his eyes.
For him, that hellish place was paradise.





Farallon Light (Version 3)

A marathon’s distance from the Golden Gate,
the Farallon Islands bite the fogbound ocean.
Four men and two women have made the swim.
The odor from millennia of bird shit,
from gulls and murres, cormorants and petrels,
announces itself a mile or more offshore.
The Natives called them Islands of the Dead.
The lethal foam made shipwrecks by the hundreds
on wolf-tooth crags, ringing the isles with remnants.

My father spent his childhood on those rocks.
His father kept the lighthouse. I knew my dad
in pieces. He saw the Battle of the Bulge.
He drove a gas truck through a burning village.
And at his funeral several homeless men,
wearing clean shirts and sober, paid their respects.
The Farallones formed him. When he spoke of them,
he smiled. A gleam of light came to his eyes.
For him that hellish place was paradise.

—————————
Edits:
S1L3: Four men and two women have made the swim. > Just four men and two women have made the swim. > Four men and two women have made the swim.
S2L2: His father kept the lighthouse. I know so little > His father kept the lighthouse. I just know pieces > His father kept the lighthouse. I knew my dad
S2L3: about my father. He fought in the Battle of the Bulge, > about my dad. He fought in the Battle of the Bulge, > of my dad. He saw the Battle of the Bulge. > in pieces. He saw the Battle of the Bulge.
S2L4: and drove a gas truck through a burning village. > He drove a gas truck through a burning village.
S2L5: At his funeral a half-dozen homeless men, > At his funeral half a dozen homeless men, > And at his funeral several homeless men,


Farallon Light (Version 2)

Jagged, sharp as the teeth of a wolf’s jaw,
the Farallon Islands bite the fogbound ocean,
forbidding as Odysseus’ crashing rocks,
a marathon away from the Golden Gate.
Four men and two women have made the swim.
The foul stench from millennia of bird shit,
gulls and murres, cormorants and petrels,
announces itself at least a mile offshore.
The Natives called them Islands of the Dead.
With swirling foam, cruel crags, and howling wind,
hundreds of shipwrecks ringed the isles with remnants,
as though they had been haunted by heartless Sirens.

So a lighthouse was built atop the highest peak.
My dad spent several of his childhood years
living on those God-forsaken rocks.
His father served as one of the lighthouse keepers.
I never knew Dad’s parents, but I’ve seen portraits.
My grandpa was a sailor from Australia;
my nan a dumpy, dour Victorian
from Glasgow. In no photos are they smiling.
My father rarely talked about himself.
He died when I was young, before I knew
the questions to ask that he could help me answer.
Occasionally he let a secret slip.

He fought in France and the Battle of the Bulge.
He drove a gas truck through a burning village.
At his funeral, a half-dozen homeless men,
wearing clean shirts and sober, paid their respects.
His joyless memories and other demons
kept much of my father’s life submerged in darkness.
But when he spoke about the Farallon Islands,
growing spuds, no schools, no shops, tinned food,
water barged in, gathering eggs and clams,
somehow learning to read and write, do figures,
he smiled. A gleam of light came to his eyes.
For him, that hellish place was paradise.


Farallon Light (Version 1)

Jagged, sharp as the teeth in a wolf’s jaw,
the Farallon Islands bite the fogbound ocean,
forbidding as Odysseus’ crashing rocks,
a marathon away from the Golden Gate.
Four men and two women have made the swim.
The odor from millennia of bird shit,
gulls and murres, cormorants and petrels,
announces itself at least a mile offshore.

The Natives called them Islands of the Dead.
The first European to visit was Francis Drake.
The Spanish were next, then Russians with Aleut bondmen,
chasing the fur seals almost to extinction.
The Gold Rush brought battalions of egg hunters.
In the swirling foam, cruel rocks, and howling wind,
hundreds of shipwrecks ringed the rocks with remnants,
as though the islands were haunted by heartless Sirens.

So a lighthouse was built on the tip of the highest peak.
My dad spent several of his childhood years
living on those God-forsaken rocks.
His father served as one of the lighthouse keepers.
I never knew Dad’s parents, but I’ve seen portraits.
My grandpa was a sailor from Australia.
My nan, a dumpy, dour Victorian
from Glasgow. In no photos are they smiling.

My father rarely talked about himself.
He died when I was young, before I knew
the questions to ask that he could help me answer.
Occasionally he let a secret slip.
He fought in France and the Battle of the Bulge,
and drove a gas truck through a burning village.
At his funeral, a half-dozen homeless men,
wearing clean shirts and sober, paid their respects.

His joyless memories and other demons
kept much of my father’s life submerged in darkness.
But when he spoke about the Farallon Islands,
growing spuds, no schools, no shops, tinned food,
water barged in, gathering eggs and clams,
somehow learning to read and write, do figures,
he smiled. A gleam of light came to his eyes.
For him that hellish place was paradise.

Last edited by Glenn Wright; 06-25-2024 at 10:05 PM.
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  #2  
Unread 06-22-2024, 10:50 AM
Yves S L Yves S L is offline
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Hello Glenn,

I don't really know how to assess this narrative stuff, but, yeah, it is markedly better than the last effort. I am not thrilled by lines such as "His joyless memories and other demons/kept much of my father’s life submerged in darkness." but that stuff does end up in prose narratives (of which this is an iambic pentameter version), and if you develop it out in other episodes ... so ... yeah.
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  #3  
Unread 06-22-2024, 11:10 AM
David Callin David Callin is offline
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Location: Ellan Vannin
Posts: 3,421
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I like this, Glenn, but could you bear to lose the second verse? I think it detracts from the family story, and the poem would be better without it.

Lots of good detail in the family story.

Cheers

David
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  #4  
Unread 06-22-2024, 12:22 PM
Carl Copeland Carl Copeland is offline
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Location: St. Petersburg, Russia
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Curious. The first time I read this, the meter seemed too loose. A number of Sphereans like their meter closeted, but I often wonder what the point is if I have to hire a detective to find it. But when I took a shower and came back for a second read, the meter was suddenly audible.

Like David, I got the feeling it could be shorter, but I have the attention span of a goldfish. Maybe he’s right that the Wikipedia history in S2 could go. On the other hand, I love the alliteration in S2L7.

Like Yves, I experienced much of the language as rather prosaic, but (also like Yves, it seems) I’m not sure I have a problem with that. You tell an interesting story in some interesting ways, and I’m richer for it. If someone wants to call it metrical prose, so what?

I’m afraid I’m not being very helpful, Glenn, but that’s where I am right now. I love the classical references in S1, by the way, and what a brilliant title!
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  #5  
Unread 06-22-2024, 01:26 PM
Glenn Wright Glenn Wright is offline
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Hi, Yves, David, and Carl

I’m glad you liked the blank verse better than my rubaiyats, Yves. I thought I’d take a break from them, but be warned! I plan to return to them with renewed vigor.

I agree, David and Carl, that the poem was longer than it needed to be, and that the history of the islands is a distracting digression. I had already pretty much decided to trim the lines you suggested, David, but put them in to see what the reaction would be. In version 2, I cut four lines and re-arranged the stanza structure going from a panoramic view of the setting in stanza 1, zooming in to a brief account of my dad’s family in stanza 2, and finally to a close-up of my dad in stanza 3. My hope is that it feels more controlled. Your poem “The Dhoor,” David, is what prompted me to undertake this family history project.

I toyed with the idea of using “Ithaca” as the last word instead of “paradise,” but decided it was too heavy-handed, and since my father never expressed any desire to return to the Farallones, I thought the light/dark, heaven/hell images worked better.

I appreciate your affirming my suspicion that the poem needed tighter focus. Thanks, gentlemen.

Glenn

Last edited by Glenn Wright; 06-22-2024 at 01:35 PM.
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  #6  
Unread 06-22-2024, 01:57 PM
Yves S L Yves S L is offline
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Lost in the wilderness, I shouted, "Glenn,
Write verse to bring me to myself again.
One perfect rubaiyat is all I ask,
Then I'll stop wandering, but only then."

Last edited by Yves S L; 06-22-2024 at 01:59 PM.
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  #7  
Unread 06-23-2024, 02:54 AM
Julie Steiner Julie Steiner is offline
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Hi, Glenn!

I like this better than the sketch of Aunt Margaret, but it has a few of the same problems. For me, the main problem in both poems is that the absence of length restrictions tempts you to drown the story in extraneous details and excessive description.

Yes, it's not a sonnet, so you aren't obliged to cram everything into fourteen lines. But you still need to tell the story before your readers' attention span and patience are exceeded.

Unnecessarily long-winded locutions like "sharp as the teeth of a wolf’s jaw" (where else would a wolf keep its teeth?) add up. And do you even need to mention teeth at all, since the verb "bite" already does such a good job of conveying that image?

The long catalog of your father's childhood gets a little out of control, too:

     water barged in, gathering eggs and clams,
     somehow learning to read and write, do figures,

Wow! That's some smart water!

A similar sort of dangling modifier strikes here as well:

     forbidding as Odysseus’ crashing rocks,
     a marathon away from the Golden Gate.

Odysseus's crashing rocks were in the Pacific Ocean? Who knew?

When you pile up modifiers, eventually they'll start modifying each other instead of the thing you intended.

It's past my bedtime, so I'll stop there, but you get the idea. Fortunately, the tightening process should be a lot easier this time, without a complicated rhyme scheme to maintain.

Last edited by Julie Steiner; 06-23-2024 at 02:56 AM.
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  #8  
Unread 06-23-2024, 03:34 AM
Carl Copeland Carl Copeland is offline
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Quote:
Originally Posted by Julie Steiner View Post
The long catalog of your father's childhood gets a little out of control, too:

     water barged in, gathering eggs and clams,
     somehow learning to read and write, do figures,

Wow! That's some smart water!

A similar sort of dangling modifier strikes here as well:

     forbidding as Odysseus’ crashing rocks,
     a marathon away from the Golden Gate.

Odysseus's crashing rocks were in the Pacific Ocean? Who knew?

When you pile up modifiers, eventually they'll start modifying each other instead of the thing you intended.
The danger of dangling modifiers should always be kept in mind, but I didn’t notice or misread either of these, and I’m not only a stickler, but an inveterate misreader. Can’t we let common sense do a little work in steering us away from “water learning to read and write”?

Last edited by Carl Copeland; 06-23-2024 at 03:43 AM.
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  #9  
Unread 06-23-2024, 05:21 AM
Mark McDonnell Mark McDonnell is offline
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Hi Glenn,

There seems to be a tendency toward both the overly "poetic" and the prosaic here. And both, I think, are due to your lack of faith in the reader's ability to infer. In the opening stanza we get, to me, unnecessary classical references (Odysseus, the Sirens), lots of cliched modifiers (foul stench, swirling foam, cruel crags, howling wind) and similes (the wolf's jaws), while when you get to the meat of the poem, and your father, some of the language is bland and "telly" to the point of dullness.

"His father served as one of the lighthouse keepers.
I never knew Dad’s parents, but I’ve seen portraits."

"My father rarely talked about himself.
He died when I was young, before I knew
the questions to ask that he could help me answer."

"His joyless memories and other demons
kept much of my father’s life submerged in darkness."

There's a plodding quality to these lines as well that gives the impression you are mesmerised by the 5 beat stricture and simply filling in the blank-verse blanks, as it were. I think much of this could be said with far greater brevity, or in some cases left unsaid. That goes for these lines and for the poem as a whole. The final line, too, is like shouting to the people snoozing at the back of the theatre to make sure they've got the point. Finish with the "gleam of light" in the eyes.

In general I agree with others that this is the more successful of your family histories so far. There are nice things in it. Cutting S2 was a good idea, but I still think it is weighed down with extraneous material, of both the kinds that I've highlighted. I would cut, cut, cut to the bone. And also not worry about whether you reach 5 beats on every line, as long as you are keeping the loose iambic pulse.

I had a little go at what I might do with S1, with your version first:

Quote:
Jagged, sharp as the teeth of a wolf’s jaw,
the Farallon Islands bite the fogbound ocean,
forbidding as Odysseus’ crashing rocks,
a marathon away from the Golden Gate.
Four men and two women have made the swim.
The foul stench from millennia of bird shit,
gulls and murres, cormorants and petrels,
announces itself at least a mile offshore.
The Natives called them Islands of the Dead.
With swirling foam, cruel crags, and howling wind,
hundreds of shipwrecks ringed the isles with remnants,
as though they had been haunted by heartless Sirens.

A marathon away from the Golden Gate,
the Farallon Islands bite the fogbound ocean.
Four men and two women have made the swim.
The stench from millennia of bird shit,
from gulls and murres, cormorants and petrels,
announces itself a mile offshore.
The swirling foam left shipwrecks by the hundreds
on the crags, ringing the isles with remnants.
The Natives called them Islands of the Dead.
.
.

Last edited by Mark McDonnell; 06-23-2024 at 09:51 AM.
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  #10  
Unread 06-23-2024, 07:22 AM
Yves S L Yves S L is offline
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In "Jagged, sharp as the teeth of a wolf’s jaw" the extra information is not that teeth are in a jaw, but that it is the teeth of a wolf that is being described and also the visual focus on the jaw. It is because wolfs are know predators that the line takes on a greater sense of danger, then merely using the verb "bite". Sure, there might be various issues with the phrasing, but let us focus on the real issues. Yeah.

Last edited by Yves S L; 06-23-2024 at 07:33 AM.
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