Angielski
I spent almost the entirety of my last poetry anthology focusing on the alliterative meter - on carving in granite while focusing on the romantic nature of Greenwood Cemetery's leaves and trees and fish. (I will forever refuse to use their foundation's mid word dash). In this volume, I wanted to invert both foci of the last: I wish to paint with watercolors and carve with wood rather than to carve in granite, as Lewis would have it, and make my subject matter focusing on the concrete of the city rather than the leaves and birds of the field.
This antinomy of both - a stone sculpture of the Fae; a watercolor of concrete - proves to me illuminating in a way similar to Wordsworth's and Coleridge's project. Concrete in Watercolor lead me into surrealism, back to Greenwood, and everywhere in between. ¿It also, because I cannot seem to get the practice of the alliterative meter out of my head, ended up reverting to the mean of alliterative meter. These poems were published in may places - Forgotten Ground Regained and Space and Time and Life in a Time of Covid and Alliteration and Teach. Write. etc.
