—POEMs included : including a few notes for the editor(s)/reader(s) to understand
context post-reading, if so inclined.
Écoute – This poem, without consideration of its
concrete shape on the page, utilizes a form i created called the
alliterative acrostic. The number of lines the poem will have is dictated
by the word, or phrase, one wishes the margin to convey; here, four (h e
l p). The poem also happens to be a double acrostic. The parentheticals
(fetters if you will) create the second word (h a s p).
Grav · ity – This vispo has a few features worth noting. The
poem, a quatrain, begins with the security being pulled down, toward
gravity, the identical final three letters; each falling letter spaced slightly
closer. Then we have the faintly colored interstitial texts, two of them. i
call these my poetic pentimenti. The appear, at first glance, to be
echoes, of sorts, of the word which the follow. However, another way to
view them, feel them, would be to consider our shorthand language of
texts : i t y. i thank you, or i o u, i owe you. And finally, the layout of the
poem, specific sections, allows the reader to make a choice on how
they will interpret the piece, a sort-of Mobius strip. See line three’s
loosens, or loses; the orbiting option, the reader’s choice.
Shine Ballard, the operoseopsimath, currently creates and resides on this plane(t).@xShine14