[stylist] New poem
Bridgit Pollpeter
bpollpeter at hotmail.com
Wed Mar 27 22:37:27 UTC 2013
Kyle,
After reading Barbara's and Lynda's comments, who are both much more
competent on poetry than myself, I must say I agree with their
assessments. I still enjoy this poem, but it could use a bit of cleaning
up. The simplicity is what I like, but there are moments that get a
little clunky. Also, the beginning is a little cliché; it picks up
speed, for me, towards the end.
Bridgit
Message: 9
Date: Mon, 25 Mar 2013 15:08:51 -0400
From: "Donna Hill" <penatwork at epix.net>
To: "'Writer's Division Mailing List'" <stylist at nfbnet.org>
Subject: Re: [stylist] A Writer's Wormhole: Novelist to Publisher in 3
EasyNervous Breakdowns
Message-ID: <6358CFBBFAA949C98371EC160742E4D7 at OwnerHP>
Content-Type: text/plain; charset="us-ascii"
Jackie,
I'm sorry to hear that my experiences are turning you off to
self-publishing. Publishers and agents who accept poetry are few and far
between, and many poets are going the self-publishing route. The
publishers are out there though, so just keept working on it.
Your teacher is very wise. I wish I had stuck with Word 2003, but it
wasn't working right with my new computer. I'm still not sure what the
issue really was, but I switched to 2010. Donna
------------------------------
Message: 2
Date: Tue, 26 Mar 2013 16:06:10 -0400
From: "Donna Hill" <penatwork at epix.net>
To: "'Writer's Division Mailing List'" <stylist at nfbnet.org>
Subject: Re: [stylist] MS and Windows
Message-ID: <D9F4E1E12DCD429BB2BDB7CEA1B3D492 at OwnerHP>
Content-Type: text/plain; charset="us-ascii"
Bridgit,
I use Windows 7 & Office 2010 with Jaws 12. I found out from FS support
that Jaws didn't even start supporting Office 2010 until the very end of
Jaws 12. In fact, I didn't have the most recent version, & Jaws "Check
for Updates" never found it for me. I had to get FS to do it. Things are
a little better, and I have a demo version of Jaws 14, which makes a
significant difference in Word's Styles menu, but isn't quite there yet.
At least there aren't ten things just labeled Toolbar.
Do you think normal people have the stamina to struggle through with
stuff like this like blind people do routinely? Donna
-----Original Message-----
From: stylist [mailto:stylist-bounces at nfbnet.org] On Behalf Of Bridgit
Pollpeter
Sent: Tuesday, March 26, 2013 2:30 PM
To: stylist at nfbnet.org
Subject: [stylist] MS and Windows
Donna,
Word 2003 won't work as well with newer versions of Windows and even
JAWS, so if you have Windows 7 or greater, or a newer version of JAWS,
Word and MS in general will run much better with a newer version as
well. I'm dealing with the same situation as you and Jackie. It's quite
the pain in the bum.
Bridgit
Message: 9
Date: Mon, 25 Mar 2013 15:08:51 -0400
From: "Donna Hill" <penatwork at epix.net>
To: "'Writer's Division Mailing List'" <stylist at nfbnet.org>
Subject: Re: [stylist] A Writer's Wormhole: Novelist to Publisher in 3
EasyNervous Breakdowns
Message-ID: <6358CFBBFAA949C98371EC160742E4D7 at OwnerHP>
Content-Type: text/plain; charset="us-ascii"
Jackie,
I'm sorry to hear that my experiences are turning you off to
self-publishing. Publishers and agents who accept poetry are few and far
between, and many poets are going the self-publishing route. The
publishers are out there though, so just keept working on it.
Your teacher is very wise. I wish I had stuck with Word 2003, but it
wasn't working right with my new computer. I'm still not sure what the
issue really was, but I switched to 2010. Donna
_______________________________________________
Writers Division web site
http://www.writers-division.net/
stylist mailing list
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t
------------------------------
Message: 3
Date: Tue, 26 Mar 2013 19:22:25 -0400
From: "Mary-Jo Lord" <mjfingerprints at comcast.net>
To: "'Writer's Division Mailing List'" <stylist at nfbnet.org>
Subject: Re: [stylist] Sharing a pantoum -Adding Color to your work
Message-ID: <B1DBDB1F759A455F801FE61EDBDD55D9 at MediaCenter2005>
Content-Type: text/plain; charset="us-ascii"
Hi Linda,
Thanks for such a great explanation of colors and painting. I'm going to
keep this for something to refer to when I'm confused about color.
Mary-Jo
-----Original Message-----
From: stylist [mailto:stylist-bounces at nfbnet.org] On Behalf Of Lynda
Lambert
Sent: Tuesday, March 26, 2013 8:28 AM
To: Writer's Division Mailing List
Subject: Re: [stylist] Sharing a pantoum -Adding Color to your work
Good Morning,
Barbara, since you asked me the difference between the two blues we were
talking about, I thought I would write about how color is achieved in
paintings. That is what I know to my core. Just as color in a painting
evokes a mood, so it does in a poem.
The same principles will work with words, when you stop to consider how
to achieve color in writing, too. The choice we make when writing about
a color, will cause our work to have a mood and give the reader a very
particular sense of place, or feeling.
Speaking of colors - there are as many colors as there are stars in the
sky.
But to begin, we can break them down into families of color. This is
very basic. You probably learned how to use a "color wheel" as a child,
or in primary school? The Color Wheel has only SIX colors and from those
SIX, all other colors are derived. Remember the Roy G. Biv way of
remembering your colors? Red - Orange - Yellow- Green - Blue - Indigo -
and Violet.
So when you are talking about Azure Blue, Cerulean Blue, Midnight Blue,
Baby Blue, Sky Blue, Cobalt Blue, or any of the other zillion blues -
they are all in ONE COLOR FAMILY, to begin with. So you begin there.
Now, how do we get all those different BLUES? There are a number of ways
to do that. When you are painting, you normally have one or two
different tube paints in two different blues - for example: I would
have a "cerulean blue tube" and another much deeper blue tube of paint,
such as "Thalo Blue."
This will give me a far wider range of options and here is why.
Cerulean Blue is mid-tone color and an opaque paint - that means you
cannot see through it at all when it is put on the palette, no matter
how thin you apply it. It is very dense.
Thalo blue, on the other hand is quite a highly saturated color (very
different than Cerulean) thin and it is transparent. It is so powerful
of a color that you can only mix a little tad of it in with your other
paints. It will completely take over and it will take a lot of skill to
be able to use Thalo blue successfully.
Basically, you can think of a color application in painting as one of
three
things: transparent, translucent, or Opaque.
That would be how the paint appears as it is mixed on the palette and
of course it would appear that way on the canvas after it is applied.
It would most likely be applied in very thin layers, one upon the other.
As the layers are worked over each other, you would bring in very subtle
nuances of colors - each affecting the previous layers - this would be
how the "old masters" painted. Watercolors are transparent colors
typically. To get those kinds of transparencies with oils you have to
add other mediums to it, such as linseed oil and a touch of turpentine -
and there are other materials you can use as well to get the oils more
fluid and thinned down. By nature, they are heavy, and have to be
"worked" to get them ready for applying to the canvas.
The other popular kind of paint for modern painters is acrylics.
Acrylics are very different than the previous two mentioned above.
Acrylic can also be transparent - this is done by adding lots of water
to the paint; and, or, spraying the surface of the canvas with a spray
of water from a pistol grip bottle or atomizer. You can get very
ethereal and lovely surfaces and colors with acrylics. The are actually
water based paints, and people love them because you don't have toxic
chemicals to mix with them, and you do not have strong odors in the
studio. You can layer the acrylics masterfully, just as you can the oil
paints, once you learn how to do that - it takes time and lots of
practice! But, they are wonderful paints.
There are many other kinds of paints, too, but these three are the most
used ones.
To get the myriad of colors you may want, you can learn how to add
various amounts of other colors into your mixture - this takes a
lifetime to learn.
White can be on your palette, too. But, an amateur painter will think
that white will give you the lighter colors, and will not realize that
the white will weaken your colors and cause them to appear chalky. A pro
will know how to mix the colors with other colors and barely touch the
pile of white on the palette - it is used very carefully. White is NOT
a COLOR. And, there is nothing that is white in nature. There are things
that appear to be white, but they are really a mixture of many other
very subtle colors that give the illusion of being white.
And, then, there is BLACK. Black in ever, ever, found in nature. Like
white, it is an illusion and when a person learns color theory they will
quickly see there is no such thing as anything that is black. The very
darkest hue or value of any color, gives the illusion of being black to
the untrained amateur.
You will always see lots of primitive, naieve, artists using both white
and black in their paintings. This is because they have had no training
and have no understanding of color theory.
A professional landscape or portrait painter will never have black
paint in their palette at all. Black will do the opposite of what white
will do - it will flatten your colors and dull them down, and distort
them into a garish mess. And, BLACK is not a color, either. Black,
however, will be the joy of a contemporary painter - and it is used as a
statement and a thumbing of the nose to traditional "rules." Before I
started my BFA in Painting, I had been a painter for about 10 years. I
was traditionally trained, and was soaked in "color theory." My work was
already being shown in museums nationally and published in magazines
before I ever started my undergraduate education.
In undergrad school, I went out and bought gallons of black paint and
large brushes from the hardware store and plunged into a new world!
Defiance!
Dissonance!
In your writing, you will learn to use color to get the nuances you
desire as well. It is those subtle nuances that make the work sing.
When using the name of a color, think about what that word really means
- the history of it's use; how it looks; how it would feel; how it might
smell; and how it fits into your goals for that poem.
Myrna's poem, "Azure Skies" has it all and that's why it "works."
Lynda
----- Original Message -----
From: "Barbara Hammel" <poetlori8 at msn.com>
To: "Writer's Division Mailing List" <stylist at nfbnet.org>
Sent: Tuesday, March 26, 2013 1:17 AM
Subject: Re: [stylist] Sharing a pantoum Azure Skies Thank you all!
> Oooo! You've used cerulean in a poem? Maybe I'll have to look up my
> poems that have mentioned azure or cerulean. (I might even want to
try my
> hand at making them better but I have this thing in my head that tells
> me:
> once they are done, they are done. You said what you wanted at the
> time
> so leave it alone. Rewriting would make me consider it a whole new
poem.
> Crazy, I know, but it is what it is.)
> Barbara
>
>
>
>
> Poetry is an echo, asking a shadow to dance. -- Carl Sandburg
> -----Original Message-----
> From: KajunCutie926 at aol.com
> Sent: Monday, March 25, 2013 1:04 PM
> To: stylist at nfbnet.org
> Subject: Re: [stylist] Sharing a pantoum Azure Skies Thank you all!
>
> Thank you to all for your kind words and sharing your own unique
> perspectives about the poem. I too have folders.. a main NFB folder
> and sub-folders. I am very humbled
> that others have created a folder for my work.
> Shawn nailed it about the contrast of azure which denotes beauty and
light
> and the sorrow and darkness. This poem was inspired by the time after
my
> husband's death. It was so unexpected that I found myself in a dark
place
> but at the same time I wanted to embrace the sky. The discussion of
> colors
> was really interesting to me as I use color in much of my work and
have
> even
> written about cerulean. Now I am thinking about cyan and how to work
> that
> into a piece.
> Again thank you so much! Now off to do more reading.
> Myrna
>
>
> In a message dated 3/25/2013 12:00:47 P.M. Central Daylight Time,
> llambert at zoominternet.net writes:
>
> I have been thinking lately about the words that we use over the
> years in our own writing. As I am working on my archives, I am
> coming across some words that are very consistently in my lexicon over
> a long time - since the 70s. A project I would like to tackle when I
> have a space of time to do it
> would be to explore my own vocabulary and begin to weave the pieces
> together
> as I encounter them - a research project into my own work.
>
> Azure is really a state of mind.
> I am sure I have never used that word in anything I have written -
> it's a very beautiful word that evokes so many hues - Reading Myrna's
> poem seemed to open up a window for me this morning - a window into
> the heavens because
> it implies a kind of transparent or translucency.
> Lynda
>
>
>
>
>
> ----- Original Message -----
> From: "Barbara Hammel" <poetlori8 at msn.com>
> To: "Writer's Division Mailing List" <stylist at nfbnet.org>
> Sent: Monday, March 25, 2013 11:25 AM
> Subject: Re: [stylist] Sharing a pantoum Azure Skies
>
>
>>I have a Myrna folder, too.
>> Azure is one of those words I work in to poems on occasion. My
>>other favorite sky color is cerulean. So, Lynda, what is the
>>difference between azure and cerulean? And I thought cyan was the
>>color that is an even mix of blue and green, somewhere between aqua
>>and turquoise.
>> Barbara
>>
>>
>>
>>
>> Poetry is an echo, asking a shadow to dance. -- Carl Sandburg
>> -----Original Message-----
>> From: Lynda Lambert
>> Sent: Monday, March 25, 2013 8:54 AM
>> To: Writer's Division Mailing List
>> Subject: Re: [stylist] Sharing a pantoum Azure Skies
>>
>> Here is my thoughts after reading this excellent poem:
>>
>> This Pantoum is so rich in mythological imagery. It is ethereal.
>>
>> Your choice of the two noun, Zephyr, combined with Breeze,
>>
>> gives the feeling of lightness,fluidity, and fragility.
>>
>> And then you pull into this combination the color that is
>> historically mythological - Azure!
>>
>> Together the two words denote anything that is very fine and light,
>> and even magical in nature.
>>
>>
>>
>> The Zephyr is such a fragile kind of breeze - in ancient times it
>> was known as the "West Wind."
>>
>>
>>
>> Azure always makes us bring out thoughts to the heights, upwards, to
>> the sky, and even the atmosphere. It is a delicate blue, yet rich in
>> value.
> At
>> times it is called "Alice Blue."
>>
>> In early times, painters would not use Azure as a pigment because
>> they believed it to be unstable, but in time, it was realized that
>> it was indeed a stable color and after that we began to see it
>> brought into paintings. Typically, it would be used in paintings of
>> sacred events - it denoted royalty, and holiness.
>>
>>
>>
>> I think your poem gives allusions to these things so well, and
>> particularly it works because of the Pantoum form. I noticed
>> immediately that you used
>> the traditional Pantoum form, using end rhymes. You did it so well
that
>> the
>> poem does not have the kind of rigidity that often comes via a
rhymed
>> ending. Your rhyming end words retain the lightness you created from
the
>> first line.
>>
>>
>>
>> In photography and on the web, Azure is a color that is also called
> Cyan.
>>
>> Often this color is called light sky blue, baby blue, and silver
>> lake blue. I have a feeling that this color will be found in the art
>> of just about any
>> civilization, and it will be used with the depiction of things from
>> Nature.
>>
>> I suspect you could do an entire research project on the topic of
>> "Azure Skies." It is that BIG in scope, I think.
>>
>>
>>
>> OH, the other thing that was strange as I read this poem, is that I
>> had read
>>
>> "brush" as "blush" without realizing it. So I went back once I
>> realized
> I
>> had mis-read the poem, and I purposely read it as "blush" in those
>> places - and WOW, again, the idea of painting and the movement of the
>> artist's
> hand
>> was so clear to me.
>>
>>
>>
>> This is a very "painterly poem."
>>
>>
>>
>> Thanks for sharing.
>>
>> I started a Myrna folder, so I can keep some of your gems - this one
>> is
> in
>> it!
>>
>> Lynda
>>
>>
>>
>> My Blog: http://www.walkingbyinnervision.blogspot.com
>> My Website: http://lyndalambert.com
>>
>>
>>
>>
>>
>>
>> ----- Original Message -----
>> From: <KajunCutie926 at aol.com>
>> To: <stylist at nfbnet.org>
>> Sent: Sunday, March 24, 2013 10:28 PM
>> Subject: [stylist] Sharing a pantoum Azure Skies
>>
>>
>>> Okay here is my last pantoum which I believe was written about
>>> three months ago... I also attached it as a rich text file...
>>>
>>> Azure Skies
>>>
>>> That I could soar across azure skies
>>> To leave my thoughts upon zephyr's breeze
>>> And ask no quarter or compromise
>>> When night time comes and darkness bleeds
>>>
>>> To leave my thoughts upon zephyr's breeze
>>> Brush stroked dreams, watercolor hued
>>> When night time comes and darkness bleeds
>>> Upon the echo of my soul renewed
>>>
>>> Brush stroked dreams, watercolor hued
>>> They fill the heart where grief had grown
>>> Upon the echo of my soul renewed
>>> The truth of these thoughts unknown
>>>
>>> They fill the heart where grief had grown
>>> And ask no quarter or compromise
>>> The truth of these thoughts unknown
>>> That I could soar across azure skies
>>>
>>>
>>> nfbnet.org/kajuncutie926%40aol.com
>>>
>>>
>>
>>
>>
>
------------------------------------------------------------------------
----
----
>>
>>
>>> _______________________________________________
>>> Writers Division web site
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>
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rnet
.net
>>>
>>
>>
>>
>> _______________________________________________
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>
>
>
> _______________________________________________
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------------------------------
Message: 4
Date: Tue, 26 Mar 2013 19:24:42 -0400
From: "Mary-Jo Lord" <mjfingerprints at comcast.net>
To: "'Writer's Division Mailing List'" <stylist at nfbnet.org>
Subject: Re: [stylist] Perception Pantoum
Message-ID: <0E293996090D46279005C709D23871FD at MediaCenter2005>
Content-Type: text/plain; charset="us-ascii"
Hi Barbara,
This is enlightening and in one of my favorite forms of poetry.
Mary-Jo
-----Original Message-----
From: stylist [mailto:stylist-bounces at nfbnet.org] On Behalf Of Barbara
Hammel
Sent: Sunday, March 24, 2013 11:18 PM
To: stylist at nfbnet.org
Subject: [stylist] Perception Pantoum
Here is my first attempt at writing a pantoum. (And I didn't even make
it rhyme. Though I may try my hand at that sometime for a REAL
challenge.) Barbara
PERCEPTION PANTOUM
By Barbara Hammel
The experts call it synesthesia,
When the senses join together.
For me it's colored words and numbers.
My alphabet is rainbow-hued.
When the senses join together
Some folks have colored taste or sound.
My alphabet is rainbow-hued,
Plus days, months and some numbers, too.
Some folks have colored taste or sound,
Others see words or names in hues,
Plus days, months and some numbers, too.
Some even feel shaped sound or taste.
Others see words or names in hues,
As balls or spirals or lines.
Some even feel shaped sound or taste
With real texture and dimension.
As balls or spirals or lines
Of colors or just in shades,
With real texture and dimension,
Inside or outside the body.
Of colors or just in shades,
We'd be lost without this gift.
Inside or outside the body,
Our mingling senses join.
We'd be lost without this gift,
For me it's colored words and numbers.
Our mingling senses join.
The experts call it synesthesia.
Poetry is an echo, asking a shadow to dance. -- Carl Sandburg
------------------------------
Message: 5
Date: Tue, 26 Mar 2013 20:31:23 -0400
From: "Lynda Lambert" <llambert at zoominternet.net>
To: "Writer's Division Mailing List" <stylist at nfbnet.org>
Subject: Re: [stylist] Sharing a pantoum -Adding Color to your work
Message-ID: <116E03B242694323B0401BB5D1F82EC5 at Lambert>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
thanks, Mary Jo. Color holds so much history and meaning, and the really
interesting thing is that a particular color will change meaning with
different time periods - the same color will be called by a different
name,
accroding to the times. Like everything else in life, it is ever
changing.
But, each color has it's own character and holds meaning.
I enjoyed thinking about this early this morning before I started off on
my
day.
Lynda
Lynda Lambert
104 River Road
Ellwood City, PA 16117
724 758 4979
My Blog: http://www.walkingbyinnervision.blogspot.com
My Website: http://lyndalambert.com
----- Original Message -----
From: "Mary-Jo Lord" <mjfingerprints at comcast.net>
To: "'Writer's Division Mailing List'" <stylist at nfbnet.org>
Sent: Tuesday, March 26, 2013 7:22 PM
Subject: Re: [stylist] Sharing a pantoum -Adding Color to your work
> Hi Linda,
> Thanks for such a great explanation of colors and painting. I'm going
> to keep this for something to refer to when I'm confused about color.
> Mary-Jo
>
>
> -----Original Message-----
> From: stylist [mailto:stylist-bounces at nfbnet.org] On Behalf Of Lynda
> Lambert
> Sent: Tuesday, March 26, 2013 8:28 AM
> To: Writer's Division Mailing List
> Subject: Re: [stylist] Sharing a pantoum -Adding Color to your work
>
> Good Morning,
> Barbara, since you asked me the difference between the two blues we
> were talking about, I thought I would write about how color is
> achieved in paintings. That is what I know to my core. Just as color
> in a painting evokes a mood, so it does in a poem.
>
> The same principles will work with words, when you stop to consider
> how to achieve color in writing, too. The choice we make when writing
> about a color, will cause our work to have a
> mood and give the reader a very particular sense of place, or feeling.
>
> Speaking of colors - there are as many colors as there are stars in
> the
> sky.
>
> But to begin, we can break them down into families of color. This is
> very basic. You probably learned how to use a "color wheel" as a
> child, or in primary school? The Color Wheel has only SIX colors and
> from those SIX, all other colors are derived. Remember the Roy G. Biv
> way of remembering your colors? Red - Orange - Yellow- Green - Blue -
> Indigo - and Violet.
>
> So when you are talking about Azure Blue, Cerulean Blue, Midnight
> Blue,
> Baby
> Blue, Sky Blue, Cobalt Blue, or any of the other zillion blues - they
are
> all in ONE COLOR FAMILY, to begin with. So you begin there.
>
> Now, how do we get all those different BLUES? There are a number of
> ways
> to
> do that. When you are painting, you normally have one or two
different
> tube
> paints in two different blues - for example: I would have a "cerulean
> blue
> tube" and another much deeper blue tube of paint, such as "Thalo
Blue."
> This will give me a far wider range of options and here is why.
>
> Cerulean Blue is mid-tone color and an opaque paint - that means you
> cannot
> see through it at all when it is put on the palette, no matter how
thin
> you
> apply it. It is very dense.
>
> Thalo blue, on the other hand is quite a highly saturated color (very
> different than Cerulean) thin and it is transparent. It is so powerful
> of a color that you can only mix a little tad of it in with your other
> paints. It
> will completely take over and it will take a lot of skill to be able
to
> use
> Thalo blue successfully.
>
> Basically, you can think of a color application in painting as one of
> three
> things: transparent, translucent, or Opaque.
>
> That would be how the paint appears as it is mixed on the palette and
> of course it would appear that way on the canvas after it is applied.
> It would most likely be applied in very thin layers, one upon the
> other. As the layers are worked over each other, you would bring in
> very subtle nuances of
> colors - each affecting the previous layers - this would be how the
"old
> masters" painted.
> Watercolors are transparent colors typically. To get those kinds of
> transparencies with oils you have to add other mediums to it, such as
> linseed oil and a touch of turpentine - and there are other materials
you
> can use as well to get the oils more fluid and thinned down. By
nature,
> they
> are heavy, and have to be "worked" to get them ready for applying to
the
> canvas.
>
> The other popular kind of paint for modern painters is acrylics.
> Acrylics are very different than the previous two mentioned above.
> Acrylic can also be transparent - this is done by adding lots of water
> to the paint; and, or, spraying the surface of the canvas with a spray
> of water from a pistol grip
> bottle or atomizer. You can get very ethereal and lovely surfaces and
> colors
> with acrylics. The are actually water based paints, and people love
them
> because you don't have toxic chemicals to mix with them, and you do
not
> have
> strong odors in the studio.
> You can layer the acrylics masterfully, just as you can the oil
paints,
> once
> you learn how to do that - it takes time and lots of practice! But,
they
> are
> wonderful paints.
>
> There are many other kinds of paints, too, but these three are the
> most
> used
> ones.
>
> To get the myriad of colors you may want, you can learn how to add
> various amounts of other colors into your mixture - this takes a
> lifetime to learn.
>
> White can be on your palette, too. But, an amateur painter will think
> that white will give you the lighter colors, and will not realize that
> the white will weaken your colors and cause them to appear chalky. A
> pro will know how
> to mix the colors with other colors and barely touch the pile of white
on
> the palette - it is used very carefully. White is NOT a COLOR. And,
there
> is nothing that is white in nature. There are things that appear to be
> white, but they are really a mixture of many other very subtle colors
that
> give the illusion of being white.
>
> And, then, there is BLACK. Black in ever, ever, found in nature. Like
> white,
> it is an illusion and when a person learns color theory they will
quickly
> see there is no such thing as anything that is black. The very darkest
hue
> or value of any color, gives the illusion of being black to the
untrained
> amateur.
>
> You will always see lots of primitive, naieve, artists using both
> white
> and
> black in their paintings. This is because they have had no training
and
> have
> no understanding of color theory.
>
> A professional landscape or portrait painter will never have black
> paint in their palette at all. Black will do the opposite of what
> white will do - it will flatten your colors and dull them down, and
> distort them into a garish mess. And, BLACK is not a color, either.
> Black, however, will be the
> joy of a contemporary painter - and it is used as a statement and a
> thumbing
> of the nose to traditional "rules." Before I started my BFA in
Painting,
> I
> had been a painter for about 10 years. I was traditionally trained,
and
> was
> soaked in "color theory." My work was already being shown in museums
> nationally and published in magazines before I ever started my
> undergraduate
> education.
>
> In undergrad school, I went out and bought gallons of black paint and
> large
> brushes from the hardware store and plunged into a new world!
Defiance!
> Dissonance!
>
> In your writing, you will learn to use color to get the nuances you
> desire as well. It is those subtle nuances that make the work sing.
> When using the name of a color, think about what that word really
> means - the history of it's use; how it looks; how it would feel; how
> it might smell; and how it fits into your goals for that poem.
>
> Myrna's poem, "Azure Skies" has it all and that's why it "works."
>
>
> Lynda
>
>
>
> ----- Original Message -----
> From: "Barbara Hammel" <poetlori8 at msn.com>
> To: "Writer's Division Mailing List" <stylist at nfbnet.org>
> Sent: Tuesday, March 26, 2013 1:17 AM
> Subject: Re: [stylist] Sharing a pantoum Azure Skies Thank you all!
>
>
>> Oooo! You've used cerulean in a poem? Maybe I'll have to look up my
>> poems that have mentioned azure or cerulean. (I might even want to
>> try my
>
>> hand at making them better but I have this thing in my head that
>> tells
>> me:
>
>> once they are done, they are done. You said what you wanted at the
>> time so leave it alone. Rewriting would make me consider it a whole
>> new poem. Crazy, I know, but it is what it is.) Barbara
>>
>>
>>
>>
>> Poetry is an echo, asking a shadow to dance. -- Carl Sandburg
>> -----Original Message-----
>> From: KajunCutie926 at aol.com
>> Sent: Monday, March 25, 2013 1:04 PM
>> To: stylist at nfbnet.org
>> Subject: Re: [stylist] Sharing a pantoum Azure Skies Thank you all!
>>
>> Thank you to all for your kind words and sharing your own unique
>> perspectives about the poem. I too have folders.. a main NFB folder
>> and sub-folders. I am very humbled
>> that others have created a folder for my work.
>> Shawn nailed it about the contrast of azure which denotes beauty and
>> light
>> and the sorrow and darkness. This poem was inspired by the time
after my
>> husband's death. It was so unexpected that I found myself in a dark
place
>> but at the same time I wanted to embrace the sky. The discussion of
>> colors
>> was really interesting to me as I use color in much of my work and
have
>> even
>> written about cerulean. Now I am thinking about cyan and how to
work
>> that
>> into a piece.
>> Again thank you so much! Now off to do more reading.
>> Myrna
>>
>>
>> In a message dated 3/25/2013 12:00:47 P.M. Central Daylight Time,
>> llambert at zoominternet.net writes:
>>
>> I have been thinking lately about the words that we use over the
>> years
>> in
>> our own writing. As I am working on my archives, I am coming across
>> some
>> words that are very consistently in my lexicon over a long time -
since
>> the
>> 70s. A project I would like to tackle when I have a space of time
to do
>> it
>> would be to explore my own vocabulary and begin to weave the pieces
>> together
>> as I encounter them - a research project into my own work.
>>
>> Azure is really a state of mind.
>> I am sure I have never used that word in anything I have written -
>> it's
>> a
>> very beautiful word that evokes so many hues - Reading Myrna's poem
>> seemed
>> to open up a window for me this morning - a window into the heavens
>> because
>> it implies a kind of transparent or translucency.
>> Lynda
>>
>>
>>
>>
>>
>> ----- Original Message -----
>> From: "Barbara Hammel" <poetlori8 at msn.com>
>> To: "Writer's Division Mailing List" <stylist at nfbnet.org>
>> Sent: Monday, March 25, 2013 11:25 AM
>> Subject: Re: [stylist] Sharing a pantoum Azure Skies
>>
>>
>>>I have a Myrna folder, too.
>>> Azure is one of those words I work in to poems on occasion. My
>>>other favorite sky color is cerulean. So, Lynda, what is the
>>>difference between azure and cerulean? And I thought cyan was the
>>>color that is an even mix of blue and green, somewhere between aqua
>>>and turquoise.
>>> Barbara
>>>
>>>
>>>
>>>
>>> Poetry is an echo, asking a shadow to dance. -- Carl Sandburg
>>> -----Original Message-----
>>> From: Lynda Lambert
>>> Sent: Monday, March 25, 2013 8:54 AM
>>> To: Writer's Division Mailing List
>>> Subject: Re: [stylist] Sharing a pantoum Azure Skies
>>>
>>> Here is my thoughts after reading this excellent poem:
>>>
>>> This Pantoum is so rich in mythological imagery. It is ethereal.
>>>
>>> Your choice of the two noun, Zephyr, combined with Breeze,
>>>
>>> gives the feeling of lightness,fluidity, and fragility.
>>>
>>> And then you pull into this combination the color that is
>>> historically mythological - Azure!
>>>
>>> Together the two words denote anything that is very fine and light,
>>> and even magical in nature.
>>>
>>>
>>>
>>> The Zephyr is such a fragile kind of breeze - in ancient times it
>>> was known as the "West Wind."
>>>
>>>
>>>
>>> Azure always makes us bring out thoughts to the heights, upwards,
>>> to
>>> the
>>> sky, and even the atmosphere. It is a delicate blue, yet rich in
value.
>> At
>>> times it is called "Alice Blue."
>>>
>>> In early times, painters would not use Azure as a pigment because
>>> they believed it to be unstable, but in time, it was realized that
>>> it was indeed a stable color and after that we began to see it
>>> brought into paintings.
>>> Typically, it would be used in paintings of sacred events - it
denoted
>>> royalty, and holiness.
>>>
>>>
>>>
>>> I think your poem gives allusions to these things so well, and
>>> particularly it works because of the Pantoum form. I noticed
>>> immediately that you used
>>> the traditional Pantoum form, using end rhymes. You did it so well
that
>>> the
>>> poem does not have the kind of rigidity that often comes via a
rhymed
>>> ending. Your rhyming end words retain the lightness you created
from
>>> the
>>> first line.
>>>
>>>
>>>
>>> In photography and on the web, Azure is a color that is also
>>> called
>> Cyan.
>>>
>>> Often this color is called light sky blue, baby blue, and silver
>>> lake blue. I have a feeling that this color will be found in the
>>> art of just about any
>>> civilization, and it will be used with the depiction of things from
>>> Nature.
>>>
>>> I suspect you could do an entire research project on the topic of
>>> "Azure
>>> Skies." It is that BIG in scope, I think.
>>>
>>>
>>>
>>> OH, the other thing that was strange as I read this poem, is that I
>>> had read
>>>
>>> "brush" as "blush" without realizing it. So I went back once I
>>> realized
>> I
>>> had mis-read the poem, and I purposely read it as "blush" in those
>>> places - and WOW, again, the idea of painting and the movement of
>>> the artist's
>> hand
>>> was so clear to me.
>>>
>>>
>>>
>>> This is a very "painterly poem."
>>>
>>>
>>>
>>> Thanks for sharing.
>>>
>>> I started a Myrna folder, so I can keep some of your gems - this
>>> one is
>> in
>>> it!
>>>
>>> Lynda
>>>
>>>
>>>
>>> My Blog: http://www.walkingbyinnervision.blogspot.com
>>> My Website: http://lyndalambert.com
>>>
>>>
>>>
>>>
>>>
>>>
>>> ----- Original Message -----
>>> From: <KajunCutie926 at aol.com>
>>> To: <stylist at nfbnet.org>
>>> Sent: Sunday, March 24, 2013 10:28 PM
>>> Subject: [stylist] Sharing a pantoum Azure Skies
>>>
>>>
>>>> Okay here is my last pantoum which I believe was written about
>>>> three months ago... I also attached it as a rich text file...
>>>>
>>>> Azure Skies
>>>>
>>>> That I could soar across azure skies
>>>> To leave my thoughts upon zephyr's breeze
>>>> And ask no quarter or compromise
>>>> When night time comes and darkness bleeds
>>>>
>>>> To leave my thoughts upon zephyr's breeze
>>>> Brush stroked dreams, watercolor hued
>>>> When night time comes and darkness bleeds
>>>> Upon the echo of my soul renewed
>>>>
>>>> Brush stroked dreams, watercolor hued
>>>> They fill the heart where grief had grown
>>>> Upon the echo of my soul renewed
>>>> The truth of these thoughts unknown
>>>>
>>>> They fill the heart where grief had grown
>>>> And ask no quarter or compromise
>>>> The truth of these thoughts unknown
>>>> That I could soar across azure skies
>>>>
>>>>
>>>> nfbnet.org/kajuncutie926%40aol.com
>>>>
>>>>
>>>
>>>
>>>
>>
> ----------------------------------------------------------------------
> ------
> ----
>>>
>>>
>>>> _______________________________________________
>>>> Writers Division web site http://www.writers-division.net/
>>>> stylist mailing list
>>>> stylist at nfbnet.org
>>>> http://nfbnet.org/mailman/listinfo/stylist_nfbnet.org
>>>> To unsubscribe, change your list options or get your account info
for
>>>> stylist:
>>>>
>>
> http://nfbnet.org/mailman/options/stylist_nfbnet.org/llambert%40zoomin
> ternet
> .net
>>>>
>>>
>>>
>>>
>>> _______________________________________________
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>>
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> ternet
> .net
>>>
>>
>>
>>
>> _______________________________________________
>> Writers Division web site
>> http://www.writers-division.net/
>> stylist mailing list
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> ol.com
>>
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>> Writers Division web site
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>
>
>
> _______________________________________________
> Writers Division web site
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>
------------------------------
Message: 6
Date: Tue, 26 Mar 2013 18:21:42 -0700
From: Kyle woodard <wallacewoodard at gmail.com>
To: "Writer's Division Mailing List" <stylist at nfbnet.org>
Subject: [stylist] new poem
Message-ID:
<CAJLrucBt=SHA6wQ_+yCCFLFzqo9t3nLJiFmwGStdZVsHi8V0CA at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
Hello, here is a new poem I just wrote that I wanted to share and get
some feedback on, if you wouldn't mind. It is tentatively called
treasure i would appreciate any feedback or thoughts you have on this
poem. Later Kyle Woodard
I am silent when others are loud,
I am humble when others are proud.
I sit in silence most of the time,
However I am no voiceless mime.
I talk in the silence when no one is there to listen,
I cry in the dark where no one can see my eyes glisten.
I listen to all who smile, cheer worry, cry and doubt,
I give wisdom and comfort to those who seek me out.
So who am I this selfless wonder?
So what am I some precious jewel or pirates plunder?
To what name do I give myself?
I am nothing more than an old dusty book on the shelf
--
Wallace Kyle Woodard IV
(512) 992-6346
------------------------------
Message: 7
Date: Tue, 26 Mar 2013 22:31:47 -0500
From: "Barbara Hammel" <poetlori8 at msn.com>
To: "Writer's Division Mailing List" <stylist at nfbnet.org>
Subject: Re: [stylist] new poem
Message-ID: <SNT139-ds17A64A8E13875687BC1F9DEBD10 at phx.gbl>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
The ending surprised me. I was thinking all the way through, "this is
weird
to write about a person."
I like the poem.
One thing, though. The first stanza flowed along nicely but then you
tried
to fit too many words in a line and it got clunky.
Barbara
Poetry is an echo, asking a shadow to dance. -- Carl Sandburg
-----Original Message-----
From: Kyle woodard
Sent: Tuesday, March 26, 2013 8:21 PM
To: Writer's Division Mailing List
Subject: [stylist] new poem
Hello, here is a new poem I just wrote that I wanted to share and get
some feedback on, if you wouldn't mind. It is tentatively called
treasure i would appreciate any feedback or thoughts you have on this
poem. Later Kyle Woodard
I am silent when others are loud,
I am humble when others are proud.
I sit in silence most of the time,
However I am no voiceless mime.
I talk in the silence when no one is there to listen,
I cry in the dark where no one can see my eyes glisten.
I listen to all who smile, cheer worry, cry and doubt,
I give wisdom and comfort to those who seek me out.
So who am I this selfless wonder?
So what am I some precious jewel or pirates plunder?
To what name do I give myself?
I am nothing more than an old dusty book on the shelf
--
Wallace Kyle Woodard IV
(512) 992-6346
_______________________________________________
Writers Division web site
http://www.writers-division.net/
stylist mailing list
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To unsubscribe, change your list options or get your account info for
stylist:
http://nfbnet.org/mailman/options/stylist_nfbnet.org/poetlori8%40msn.com
------------------------------
Message: 8
Date: Wed, 27 Mar 2013 05:17:18 -0500
From: "NJ Lynn" <freespirit.stl at att.net>
To: "ACB List" <acb-l at acb.org>, "CCB List" <ccb-l at ccbnet.org>, "Chat
Moblind" <chat at moblind.org>, "Missouri List"
<Missouri-l at MoBlind.org>,
"OurPlace List" <ourplace at list.audioldies.com>, "Writers
partyline"
<writerspartyline at bluegrasspals.com>, "Style List"
<stylist at nfbnet.org>, "Writers Chat" <writers-chat at nfbnet.org>
Subject: [stylist] Books & Beyond presents author & radio host Bob
O'Brien 3-27-13
Message-ID: <3165F0098DB84FC7A7D97895C02CFCAA at nancyPC>
Content-Type: text/plain; charset="utf-8"
Books And Beyond Welcomes Radio Personality And Author Bob O?Brien,
Wednesday, March 27, 2013 Newswire, In a radio career of more than 30
years, Bob o?Brien has worked as both a program director and on-air host
on stations all across the country. A fan of early television sitcoms,
he has recently published Single Season Sitcoms 1948-1979? for McFarland
Publishing. This book gives information about 300 shows. In it, he
reveals how many episodes were broadcast, why the shows ended and tells
us the names of stars whose successful careers began with often not so
successful sitcoms. Jimmy Stewart, Connie Francis, and Hennry Fonda are
just a few of the people you will read about in Bob?s book. What
happened to these shows? Why was their duration only one season or even
less? Where did the ideas for them come from? Were there other networks
before we had the Big Three? Who was successful in making a career on
television with this beginning? Do any of these old shows survive? Are
any available for us on DVD?
Join us on Wednesday?s show as we meet Bob O?brien who is an avid
collector of these shows and records too. He is in the midst of writing
a book about 500 very famous songs we all know done first by other
artist than the famous ones connected we remember. I promise a
fascinating show for all who love radio and television. I hope you will
join us. Below is a biography of Bob which gives much information about
his radio career followed by all you need to know to attend and
participate in this upcoming show.
Bob O?Brien (Robert Leszczak) earned his BA in Communications at Seton
Hall University in South Orange, New Jersey in 1981 and worked
extensively with the college radio station there. He was also an on-air
traffic reporter for numerous other area stations. From 1981 to 1983 he
toured and sang as one of the Duprees of ?You Belong To Me? fame.
During the 80?s, Bob worked mostly for stations in New Jersey before
becoming program coordinator for specialty shows and special weekends at
New York?s oldies station WCBS-FM (1983). His other stops during the
decade included WMTR/Morristown NJ, WWYZ-FM/Hartford, WHYN and
WMAS-FM/Springfield MA, WDRC AM & FM/Hartford, and WMEX/Boston. He was
also writer/producer for the syndicated 5-hour weekly oldies magazine
?Solid Gold Scrapbook? hosted by Norm N. Nite for the United Stations
Radio Network (1988 and 1989).
In the summer of 1989, Bob moved to Orlando?s WOCL-FM ?Cool 105.9? to
host evenings and was soon promoted to morning drive. He was also music
director there and did a Saturday night request show. After three years,
he relocated to D.C.?s WXTR-FM to do mornings and the station?s popular
doo-wop show. Then, in early 1995, it was back to Florida ? Tampa Bay
this time ? where he put in four years in mid-days and served as music
director for oldies ?U92? WYUU-FM, followed by a brief stint at Jammin?
Oldies WFJO-FM 101.5.
Since leaving Tampa, he has been production director/mornings for
Orlando?s Smooth Jazz WLOQ-FM and mornings and music at oldies KOLA-FM
in Riverside/San Bernardino, CA. In 2004, he moved to Palm Springs?
KDES-FM to do mid-days and the music, and was upped to program
director/mornings in the summer of 2012.
Not only is Bob a great deejay, but a collector of classic and rare TV
shows on video, too. For over 30 years he has also been a music
historian and an avid collector of rare doo-wop and soul 45?s. He?s had
his first book published, ?Single Season Sitcoms 1948-1979? for
McFarland Publishing, and is now working on a second.
e-Mail: bonnie at accessibleworld.org
Date: Wednesday, March 27,
Time: 5:00 PM PST, , 6:00 PM
MST,
7 PM CSt
8 PM EST, ,
and elsewhere in the world Thursday, 12:00 GMT.
Approximately 15 minutes prior to the event start time; go to
The Books and Beyond Room at:
http://conference321.com/masteradmin/room.asp?id=rs3cfe7424e06c
Or, alternatively,
Select The Books and Beyond Room at: www.accessibleworld.org
Enter your first and last names on the sign-in screen.
If you are a first-time user of the Talking Communities online
conferencing
software, there is a small, safe software program that you need to
download
and then run. A link to the software is available on every entry screen
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the Accessible World rooms.
All online interactive programs are free of charge, and open to anyone
worldwide having an Internet connection, a computer, speakers, and a
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Accessible World uses News Wires, like this one, to inform people of the
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Accessible World Contacts:
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------------------------------
Message: 9
Date: Wed, 27 Mar 2013 08:30:29 -0400
From: "Lynda Lambert" <llambert at zoominternet.net>
To: "Writer's Division Mailing List" <stylist at nfbnet.org>
Subject: Re: [stylist] new poem
Message-ID: <0735E84CC54D41449D9C5D85A9EE5EDA at Lambert>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=response
I agree with Barbara.
The other thing that I would do is to go back and see about eliminating
some
of the "I's" in the beginnings of most of the lines - they become
redundant.
While reading this, I kept having a feeling I have read this before. I
did
not know it was a "book" speaking, but when I got to the end, I was
certain
I had read this before - maybe you published it somewhere else? or Maybe
I
read something similar to this, a poem that gives a "voice" to a book?
Or
maybe you were influenced by another poem like this one? It definitely
echoed another work I had read before though.
Overall, It's a nice idea and I think if you edit it down a bit more,
remove
the places where it gets clogged by use of too many words, it will be a
cleaner poem and flow better.
Lynda (River Woman) Lambert
724 758 4979
My Blog: http://www.walkingbyinnervision.blogspot.com
My Website: http://lyndalambert.com
----- Original Message -----
From: "Barbara Hammel" <poetlori8 at msn.com>
To: "Writer's Division Mailing List" <stylist at nfbnet.org>
Sent: Tuesday, March 26, 2013 11:31 PM
Subject: Re: [stylist] new poem
> The ending surprised me. I was thinking all the way through, "this is
> weird to write about a person."
> I like the poem.
> One thing, though. The first stanza flowed along nicely but then you
> tried to fit too many words in a line and it got clunky.
> Barbara
>
>
>
> Poetry is an echo, asking a shadow to dance. -- Carl Sandburg
> -----Original Message-----
> From: Kyle woodard
> Sent: Tuesday, March 26, 2013 8:21 PM
> To: Writer's Division Mailing List
> Subject: [stylist] new poem
>
> Hello, here is a new poem I just wrote that I wanted to share and get
> some feedback on, if you wouldn't mind. It is tentatively called
> treasure i would appreciate any feedback or thoughts you have on this
> poem. Later Kyle Woodard
>
>
> I am silent when others are loud,
> I am humble when others are proud.
> I sit in silence most of the time,
> However I am no voiceless mime.
>
> I talk in the silence when no one is there to listen,
> I cry in the dark where no one can see my eyes glisten.
> I listen to all who smile, cheer worry, cry and doubt,
> I give wisdom and comfort to those who seek me out.
>
> So who am I this selfless wonder?
> So what am I some precious jewel or pirates plunder?
> To what name do I give myself?
> I am nothing more than an old dusty book on the shelf
>
>
> --
> Wallace Kyle Woodard IV
> (512) 992-6346
> _______________________________________________
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>
------------------------------
Message: 10
Date: Wed, 27 Mar 2013 11:18:56 -0400
From: "D.W. Hill" <dwhill at epix.net>
To: "'Writer's Division Mailing List'" <stylist at nfbnet.org>
Subject: [stylist] OT: A chance to voice your opinion on subminimum
wages
Message-ID: <5DF88887B33843FBBAF6229B80DBD6A4 at OwnerHP>
Content-Type: text/plain; charset="us-ascii"
Hi Friends,
I know that some of you, like me, are appalled that workers with
disabilities still don't have federal minimum wage protection. It has
been a major NFB initiative. Here's a way to piggy-back the issue onto
the popular push for a raise in the minimum wage.
There is an accessible petition to Congress, set up by Credo Action in
favor of a raise in the minimum wage. It has a section where people can
add their own thoughts. What follows is the link and a sample comment
section -- I think you could add a lot more. You will be asked for your
name, e-mail and address so they canadvise individual representatives of
comments from their districts. If you have to copy and paste the URL,
double-check that you get it all -- it ends DMx
http://act.credoaction.com/campaign/fair_minimum_wage/?p=fair_minimum_wa
ge
<http://act.credoaction.com/campaign/fair_minimum_wage/?p=fair_minimum_w
age&
r=14177322&id=56631-3827022-KCTdDMx>
&r=14177322&id=56631-3827022-KCTdDMx
Sample comment
Block quote
While you're at it, 300,000 workers with disabilities don't have minimum
wage protection at all. While their employers make six figures, they are
paid pennies an hour. This vestage of low expectations is holding
workers with disabilities hostage and forces them to remain dependent.
It's time to pass The Fair Wages for Workers with Disabilities Act of
2013 (H.R. 831) introduced by Rep. Gregg Harper (R-MS) and repeal
Section 14(c) of the Fair Labor Standards Act, the exception that allows
some employers to pay their workers with disabilities less than minimum
wage.
Block quote end
Donna
-- The Heart of Applebutter Hill, a novel on a mission: DonnaWHill.com
Read Donna's articles on Suite 101:
http://suite101 <http://suite101.com/donna-w-hill> .com/donna-w-hill
Connect with Donna on
Twitter:
www.twitter.com/dewhill
LinkedIn:
www.linkedin.com/in/dwh99
FaceBook:
www.facebook.com/donna.w.hill
Hear clips from "The Last Straw" at:
cdbaby.com/cd/donnahill
Apple I-Tunes
phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=25924437
4
------------------------------
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