Friday, September 18, 2015

"Old-Fashioned Writing Implements’ Relative Utility" by K.J. Hannah Greenberg

Recall, a “good” picture captures, then retains the eye. Light, also dark’s
Structure, suppose constraints remain far less important details than shape,
Contour, color, when subjected to hard breathing, rough words. Equally,
Monomania in chickens, transubstantiating straw to gold, generational
Ideological thievery, lauding misanthropic celebrities, makes awkward.
Transportation hubs, where large numbers of people collide, die frowning.
Streaking, blobbing, smearing, no end of clicks and ruins, or gauche lines,
Mutilated compositions, broken pens, pencil stubs, stubby quills, erasers
Succeed in replacing contrivances; ninnyhammers won’t suffice; they’re 
Fat fists banging, again, again, again, on issues including friends, family
Random flibbertigibbet persons, extenuating circumstances, coppices.
The up and coming live from the one demonized tetsubin to another.
Romance pirates tend to scoff at utility in ordinary things, likewise forget relative
Cures focused on safety. Sure, planting pumpkin seeds remains fun, invigorating,
Stimulating, sexy, but confabulations, specific to certain types of deedle-balls
Or academic sports, involving book reviews, interviews, composing nonfictions,
(Especially interdicted narratives), makes souls disinclined to embrace Icelandic
Sensibilities, such as joining anger executives, cutting shortbread, whistling Dixie.
Furthermore,“thingos” with vocabularies rotate infelicities in different ways.
Like bedroom etchings, those children of writing implements provoke change,
Grow users’ avidity, no matter their ebullience, empower professional ethics.
Rocking chairs held together by twine, duct tape, maybe spit, work accordingly.
Ineluctable plus vapid items defer to personal wrought from the largest boulders.
All that is good is bad in select places like the UK, India, Australia, and France.
So, it remains vital to remember compositions’ lessons, spongee floors, dance.
Possessing strong underlying elements, handouts for meter, upmarket fiction,
Rarely helps readers, editors, any poetry audience, actually; merely calibrates.
If not for galoots’ newfound strength from frolicking, writing’s incorrigible
Nature might still allow phantasmagorias to shift and fade, confuse minions,
Scatter entire senescent landscapes among compatriots, nemeses, comrades.
The preterition of common sense, after all, gets offered decades past authors’
Pretended good feelings. Prose set down while shuttling Junior to daycare,
Shooting pictures of other offspring, changing nappies, and then returning
To eat ice cream, water geraniums, or pat lugubrious hounds is inexplicable,
Since few among us eagerly work to get better analyses, free cups of water.
Given openings to impinge on the eyesense, we continue to be imprisoned.' 


KJ Hannah Greenberg is the author of more than a dozen books. Her writing has received National Endowment for the Humanities funding and has been nominated for the Pushcart Prize, the Million Writers Award, and The Best of the Net. Hannah's newest books are: The Immediacy of Emotional Kerfuffles, 2nd ed. (Bards and Sages Publishing, 2015), and Dancing with Hedgehogs, (Fowlpox Press, 2014). Hannah lives and creates in Jerusalem.