09-29-2021, 03:16 PM
(This post was last modified: 09-29-2021, 04:00 PM by RiverNotch.)
The best lines are the first three lines. The contrasts between "bear" and "dog", "bear" and "shepherd", "black" and "white" -- its sharp, the choice of images appropriately Biblical. After that, it needs some distillation -- "clearing" without the unnecessary "between the woods", autumn as confirmation rather than introduction, and so on.
Good ole Buck was a bear
of a dog, an all black shepherd
with a small white tie on his chest.
We sat on the porch
of my brother's house, one night, and he gazed
with pointed ears at something
I couldn't quite see,
something in the clearing, with the last
of the crickets and the dusky
richness of the first fallen leaves.
It was autumn. His gentle eyes
reflected the crescent moon.
The lines disposed of in the above attempt at revision: Buck was listening to the crickets, he was smelling the leaves, and this poem reflects as much on the scene as it does on him, so unless the speaker is deaf and had no sense of smell, then surely they would have heard and smelled what Buck heard and smelled too, right? And what Buck was really asking about was what the speaker couldn't see, but what Buck supposedly could? At any rate, those lines I feel were kinda unnecessary -- aside from repeating what's already been stated, that Buck seems to perceive things out of the speaker's perception, the image of the moon (and even the smile and Buck's questions) is a transition to the second half to be confident in.
And it does seem to be a matter of confidence that makes the second half quite prosaic. I gravitate towards Tiger's idea that the lines he bracketed are a form of, er, "authorial intrusion", whose idea is already very strongly implied by the next set of lines.
Hands in branches, faces in clouds,
Jesus in toast -- my God, are we really
made in your image, or you, in our imagination?
But we are not what this is about.
Two asides, one light-hearted, one less so. Wasn't it a piece of toast that was famous? Also, I don't quite understand what the phrases "or you, in our imagination" means in that line, but I figure it's important: may you explain it to me?
And after that, it's still kinda prosaic, but with enough drama to really tie things together.
It's about an animal, just a simple dog,
yet so attuned to something
I'm not sure I believe in.
Perhaps you think I'm foolish,
I'm disrespectful, I'm confused,
but I'm certain of that night
on the porch of my brother's house,
the porch across the brambles
where we buried good ole Buck
nearly forty years ago.
Lovely work, but on my first few readings I didn't like it, as the second half being so prosaic really did distract from its quality. "anthropocentric" really took me out of it. xD I guess now there's the matter of content, which I feel compelled to respond to.
Good ole Buck was a bear
of a dog, an all black shepherd
with a small white tie on his chest.
We sat on the porch
of my brother's house, one night, and he gazed
with pointed ears at something
I couldn't quite see,
something in the clearing, with the last
of the crickets and the dusky
richness of the first fallen leaves.
It was autumn. His gentle eyes
reflected the crescent moon.
The lines disposed of in the above attempt at revision: Buck was listening to the crickets, he was smelling the leaves, and this poem reflects as much on the scene as it does on him, so unless the speaker is deaf and had no sense of smell, then surely they would have heard and smelled what Buck heard and smelled too, right? And what Buck was really asking about was what the speaker couldn't see, but what Buck supposedly could? At any rate, those lines I feel were kinda unnecessary -- aside from repeating what's already been stated, that Buck seems to perceive things out of the speaker's perception, the image of the moon (and even the smile and Buck's questions) is a transition to the second half to be confident in.
And it does seem to be a matter of confidence that makes the second half quite prosaic. I gravitate towards Tiger's idea that the lines he bracketed are a form of, er, "authorial intrusion", whose idea is already very strongly implied by the next set of lines.
Hands in branches, faces in clouds,
Jesus in toast -- my God, are we really
made in your image, or you, in our imagination?
But we are not what this is about.
Two asides, one light-hearted, one less so. Wasn't it a piece of toast that was famous? Also, I don't quite understand what the phrases "or you, in our imagination" means in that line, but I figure it's important: may you explain it to me?
And after that, it's still kinda prosaic, but with enough drama to really tie things together.
It's about an animal, just a simple dog,
yet so attuned to something
I'm not sure I believe in.
Perhaps you think I'm foolish,
I'm disrespectful, I'm confused,
but I'm certain of that night
on the porch of my brother's house,
the porch across the brambles
where we buried good ole Buck
nearly forty years ago.
Lovely work, but on my first few readings I didn't like it, as the second half being so prosaic really did distract from its quality. "anthropocentric" really took me out of it. xD I guess now there's the matter of content, which I feel compelled to respond to.

