< between summer and night >

[rayheinrich]

Thanks so much for explaining your means of hypnosis. Very valuable to me. The your tripped me for meaning, but I read INto, so that must be what tripped me there.

No need to or expectation of an edit, I'm mostly just talking to myself, trying to pinpoint my own reactions.

I spend plenty of my life fulfilling obligations I have tied myself to, time spent here is my self-centered pleasure.

Well, "into" IS pronounced " in to ".  I subconsciously mispronounced it to make it fit.
I'm always doing that. I can usually catch those forced pronunciations if a wait a day or two before I
read the poem again. Not this time. It took you reading it fresh to find that.
Thanks
I've changed "into" to "and cuts".

ray

---

i have no idea about the meter you say you used [i'm not yet past iambic] but the poem evokes.... the image is perfect for it, it draws the eye away and helps the chisel, and the heart slip a little. i also like the repeats used throughout the poem. we as critics often [always almost complain about them] here they show the exception to the rule; if done well they can add impact to a poem.

Your perceptions please the hell out of me.

And speaking of repeats. I have a poem here:
< a window on whose other side is everything >

It drives people who hate repeats CRAZY!

ray



P.S.
Disyllabic feet are ones that have two syllables.
An iamb has its last syllable stressed: " aWAKE "
A troche has its first syllable stressed: " WAKing "

There are two others that only Leanne uses:
A spondee has both syllables stressed
A pyrrhic has neither syllable stressed.