Fibonacci: forms in nature. forms in poetry?

http://le-tokyo.greatestjournal.com   http://www.shutterandpupil.com/189.htmlIn my “free time,” I do stuff like listen to podcasts from BBC radio (England changes you)…and I came across this bit on The Fibonacci Sequence, on the programme “In Our Time.”  What is interesting to me about this chat, specifically, is that it began to intersect some of my ideas about creating an “invented form” for Seminar: Poetics by Praxis, and my thoughts about form, more generally, and naturally embedded roots for poetic form, specifically.  Winter trees, in particular, make me think of strict forms existing in nature, which may be borrowed from, or mused upon for creating formal poetry…Levertov has this to say in her essay, “Some Notes on Organic Form:

For me, back of the idea of organic form is the concept that is a form in all things (and in our experience) which the poet discover and reveal. There are no doubt temperamental differences between poets who use prescribed forms and those who look for new ones—people who need a tight schedule to get anything done, and people who have to have a free hand—but the difference in their conception of “content” or “reality” is functionally more important. On the one hand is the idea that content, reality, experience, is essentially fluid and must be given form; on the other, this sense of seeking out inherent, though not immediately apparent, form. Gerard Manley Hopkins invented the word inscape to denote intrinsic form, the pattern of essential characteristics both in single objects and (what is more interesting) in objects in a state of relation to each other; and the word instress to denote the experiencing of the perception of inscape, the apperception of inscape. In thinking of the process of poetry as I know it, I extend the use of these words, which he seems to have used mainly in reference to sensory phenomena, to include intellectual and emotional experience as well; I would speak of the inscape of an experience (which might be composed of any and all of these elements, including the sensory) or of the inscape of a sequence or constellation of experiences.       (more…)

Original post by Whitney

revised sonnet

Miss Coca-Cola 1943

For my grandmother, Isabel Blackwell Roberts (b.1925-1977)

“Passion moves inward, striking and blighting the deepest cellular recesses.”
	- Susan Sontag, Disease and It’s Metaphors

Your young figure cinched in by a woolknit,
striped bathing-suit, your fingers enclose
the waist of a coke bottle, dark and fit
as a tiny dressmakers’ dummy, poised
for another colored fabric pin. I hold
you now, in frame: wet-bark dark curls, long-legged,
painted lips, sun-sketched collar bones: the mold
that cast my father: born squalling, your third.

I wonder if you blamed “the dishwater”
when he noticed your papery skin, hands
painted in bruises.  Later, the matter
of collecting black curls from the wash-stand:
dyed flax-threads, shredding, five years of keeping
poison a secret: the cancer’s unfolding.

Original post by Whitney

Heroic Couplet revision

Naucrate at the Death-scene of Icarus

 ”In Rama was there a voice heard, lamentation, and weeping, and great mourning, Rachel weeping for her children, and would not be comforted, because they are not.” (Matthew 2:18)

Hand spun, now crumpled, wings hang like gentle
sails, harnessed with leather to his genteel

back. Hair, deep as night, lies in folds, laced through
with weeds, on the sky-runner’s quiet brow.

Red shadows, like winter trees, stretch across
in congealing, rusted rivers. Limbs, traced

in blood, pooling red seas that gather
beside him. I inherit Gaea’s¹ wrath

as mother to him, still and quieted.
Time pardons none, not even the dead,

a berry stain of bruise spreading, smearing
youth’s pinked, glowing cheek. None desiring

him now. None knowing the strength of his arms
to serve his own sublime, fool-hearty aims.

The women don’t come wreaths, rose-wound.
Erota², playing her zither, cannot be found.

Where are the sandy-footed Mourners with
sable hair? Beauties promised by such strength?

Not here. Not here to comb his soft flesh for feathers,
nor to wipe salt dust from his skin. Not here.

I alone, his chattel mother, beside
his cobbled bed, kneeling, tears mixed in blood.

For cover, I raise his mound of lichened rocks,
but cannot move him. The boy’s body speaks

in arched and lengthened lines toward the sky.
Closed eyes, slackened fingers seeking beauty

even in death.  He reaches for the sun,

the rapture of Muse-beauty killed my son.

¹ in Greek religion and mythology, the earth, daughter of Chaos, both mother and wife of Uranus (the sky) and Pontus (the sea).  She helped bring about Uranus' overthrow by the Titans, because he had imprisoned her sons.
² Muse of lyric poetry.

Original post by Whitney