Poetry / Nothing Pushes Back

A couple times a day small curls appear
in the water.  I come sometimes to the river
to see them.  The best place, I’ve found,
is an old trestle bridge.  Now it’s been renovated,
but I climb out to the pillar, and its high walls
hide me from the train.  It isn’t often.
I don’t like nostalgia, and it is for this reason:
If I let it, memory hides me too.

I look down that cement pillar at the water
turning in on itself.  This is the tide
finding an objection.
It moves, and this is what calls me to say: behind.
One could lose something in this wake.

An occasional whitecap, maybe.
Was that a fish?  Spend some hours
enjoying the surf, dunking friends,
splashing, confusing the sand crabs,
and this will be the feeling:
The sway.  This way.  No, back.

The day that comes over me is twenty years vanished.
Summer, last day of high school.
I was pushed off this bridge, from this perch,
looking at this … well, not the same water.
Pushed by my best friend.

What about him now?
I remember taking the muscle car and driving,
driving deserted three A.M. streets, driving out to swimming holes
in June, longer falls and colder water I jumped on my own,
with smooth grotto walls.  A strength I could trust,
him lifting me out of the water from an overhanging tree.

A river close to the bay changes its mind.
You can see this in many things, but
I am on a bridge, resting my arms,
peering down at an opaque chocolate,
so I see it here.  Theoretically
I know it is moving, and these swirls are proof.
But I remember footprints in mud.
And memory is so foolish, now it looks like the water.

There is nothing surprising about having an insight,
but I’m taken in the thought,
at the moment of changing directions,
there must be one point that is still.

If this river has came to a halt, then the bridge
would be moving.  Like locks of hair, the wake
tangles.  I follow it and look up, up the river.
The far distant mountains are getting farther,
and I’ve gone down the river into the ocean, the shore with me,
all quietly with just this small disturbance to show it.

That impossible reversal a tidal river turns twice in one day,
I feel now once, and know a tide
is a powerful thing.  Even here, I am
pushing against it, but it is gone.

If I can keep this tide
and the pushing against its absence,
if I can move in two opposing directions,
if I can hold that thought,
then for as long as the memory lasts

I understand why that kid I was
wanted to be held and wanted to be let go.
Why in my memories I am climbing up
a smooth grotto cliff and wanting to find my own hold,
but there, in the way, is the outstretched hand.

And this is how a bridge must feel,
but unlike me, it has no chance to know,
to leave its water and measure its old sense.

But the cement pillar doesn’t really give at all.
Perhaps it would feel no change, for
I do not feel the tide, but my habit
of correcting for it, acclimated in the muscles.
Part is submerged, part is supermerged.

Over it, I say, ready to jump, and I push.
Then nothing pushes back
and I say, how strange.

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snootchon4 avatar General Stranger

May 08, 2008

snootchon4

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snootchon4 reviewed Version 1 - Read 100% of the Item

First off, the poem is very long, reads long and is excessivly wordy, particulalry in the first half. You spend an inordinate amount of time setting the stage. The first stanza reads like a prose paragraph.

“I don’t like nostalgia, and it is for this reason:
If I let it, memory hides me too.”                   Nice two lines.

“It moves, and this is what calls me to say: behind.
One could lose something in this wake. “

   I like the call to the memory, though the memory section seems contrived, its words do not flow even as well as the first few stanzas.

Is there a hint of an erotic nature to the friendship? or was the friend the dominant of the two, not allowing the reader to make his own way?
at the moment of changing directions,
there must be one point that is still.

“I’m taken in the thought,

If this river has came to a halt, then the bridge
would be moving.  Like locks of hair, the wake
tangles.  I follow it and look up, up the river.
The far distant mountains are getting farther,
and I’ve gone down the river into the ocean, the shore with me,
all quietly with just this small disturbance to show it.”

These two sections represent the most poetic phrasing in the poem, and, to top it off, the images and themes are strong. One of the few instances where it feels like you sre saying something that is important and necessary for the story.

It boils down, to me, that the poem, which I think has a lot of merit and some good imagery, really needs to be boiled down to the bone. The reader wants to know what the poem is trying to say, but he has to wade through a whole lot words in order to get to the end, that it is tough to go back and decipher the images and point.

There is so much work required to get through the poem, there is little energy left to try to get to the heart of it.

Pete

trampledpixie avatar General Stranger

April 29, 2008

trampledpixie

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trampledpixie reviewed Version 1 - Read 100% of the Item

This was definitely interesting but it read more like a stream-of-consciousness than a poem.  The free verse was only awkward in the first stanza, where it seemed more appropriate to a narrative than the structure you chose, but reading it again, I see how the line breaks do provide a sort of poetic meter.

Awkwardness also comes from the lack of complete thoughts (going back into the stream-of-consciousness concept).  You begin by distractedly describing what you see, then segue into a flashback regarding your best friend where he pushed you into the river.  We don’t really know anything about the incident, whether it was a surprise, unwanted, or all in good fun, before you describe other things that, I think, deal with that same day that have a separate setting (swimming holes).  

The stanza following: we’re back in the present, I think.  More descriptions of the bridge and stream but aimless in their meanderings, like a lazy summer day (which in its own abstract way suits the poem perfectly when the reader [being me in this instance] finally thinks outside the box).

Eventually, we shift to the flashback again, but it’s still in the separate setting, the grotto with the steep walls.  I am still left very curious about the instance of getting pushed off the bridge.  The flashback events help to establish the trusting friendship, but they still strike me as incomplete. It’s almost like we have a poem that branches out into two separate directions about midway and doesn’t ever meet itself again.

The two subjects appear to be the bridge over the stream, and the friendship some twenty years ago that involved summer trips to swimming holes.  There could easily be a poem for each, and even just this one would work if there were more clarity in how the two stories are solidly interconnected.  Hearing more about the pushing incident (the curiosity is killing me by this point), would help that.  Otherwise, a bit of restructuring the stanzas could help in the clarification of the subject, or make an even deeper metaphor by using the bits about the bridge to connect one ‘shore’ (subject or flashback section) to the other.

And do the things you see have any significance other than just being seen?  The cement pillar seems to hold a definite prominence, but I’m not entirely sure what it is or what it could represent other than being partly in and partly out of the water.

The last stanza confuses me entirely.  It brings up the subject of pushing again (tantalizingly leading me to think that my unending query will be answered), but jumping at the same time.  Are you jumping from the bridge into the water?  Falling in?  Or is this still dealing with the pillar?

I have a definite feeling that there is a lot being referenced here that I’m simply not grasping, my two brain cells not communicating.  A good part of me actually enjoyed the constant ambiguity, relishing in how you wrote and being reminded of my own slews of incomplete thoughts while doing something inherently relaxing.  At the same time, I have a strong image of the bridge and stream (I really liked the use of ‘opaque chocolate’), but the flashback is a bit too much on the hazy side.

firemaidenphoenix avatar General Stranger

April 28, 2008

firemaidenphoenix

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firemaidenphoenix reviewed Version 1 - Read 100% of the Item

I thoroughly enjoyed this piece, but saw several things that I think could be improved.

The first sentence “A couple times a day small curls appear in the water” is a little awkward, I think because people more generally say “A couple of time a day”. I recommend making this change or, if you prefer “Two times a day”, and also adding a comma after day to show the natural pause in the sentence.

Also in the first stanza, the fact that the bridge has been renovated seems irrelevant.  You’re describing the bridge to us for the first time – either offer more description of how the bridge has changed, or leave it out altoghether – we want the visual, acoustic, and emotional introduction to the place here, not random bits of trivia.

The line “One could lose something in this wake” is especially strong – it has to be said slowly, deliberately, and reinforces the impression of the speaker reflecting. And of course, it is very true that one could lose a great deal looking at the river – the past- for very long.  That line was very well done, and worth looking at twice.

I also thought the similarity in sound of “The sway. This way” was very clever.

“Summer, last day of high school” would sound better as “Summer, the last day of high school”.

“Pushed by my best friend” is another good concluding line to a stanza- you cannot slur these words, they must be spoken slowly. Good job!

I don’t think you need theoretically in the sentence “Theoretically, I know it is moving, and these swirls are proof.” It’s all your impression, right? All your memory and your opinion? Plus, when you take out Theoretically, you move straight from “I see it here” to “I know”, which gives your vision more force.

“There, in the way, was the outstretched hand” is an unexpected, and therefore, most welcome line in this poem. 1) Very good that you stepped out of the cliche uses for outstretched hands and 2) Interesting and profound to say that the helping hand was an obstacle (which is very often the case in life, but only rarely acknowledged).

The last stanza is wonderful. “I push, then nothing pushes back and I say, how strange” is a natural response from someone living in today’s reactionary culture, and most of us can relate to this: We yell, somebody yells back. We clap, someone bows. We give advice, people respond with explanation. Almost all the time, Newton’s law of opposing reactions is true in our social interactions, so it is very believable that a person, out in the water, pushes, feels no returning push, and is surprised.

Overall, I am really thrilled about this piece and glad I had time today to look at it more closely.

starblue avatar General Stranger

April 27, 2008

starblue

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starblue reviewed Version 1 - Read 100% of the Item

This poem gave me the feeling of a journal entry by someone seriously considering something unstated.  As clear as it is to the author, it is hazy in parts to this reader.  For an example:
“It moves, and this is what calls me to say: behind.”  I do not follow this thought to an understanding.
Here too, I do not understand what is meant  ”The sway.  This way.  No, back.”
I found no errors in spelling or grammar.  The flow was not smooth, it was jerky and not clear.  I get the sense of a serious writer who is forcing the words too hard.  The talent shows through, so keep writing.  This would need some further work before it would be ready for an agent to present it to a publisher. A fair read

rotivator avatar General Stranger

April 22, 2008

rotivator

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rotivator reviewed Version 1 - Read 100%% of the Item

These are my favorite lines, they evoke a strong sense of wistful nostaliga, very bittersweet:

But I remember footprints in mud.
And memory is so foolish, now it looks like the water.

And this is how a bridge must feel,
but unlike me, it has no chance to know,

I think you have built a nice poem here, but after finishing reading I felt as though it had either said too much or too little. By that I mean after I was done, I wanted to know more, so either you could flesh it out, or make the piece more oblique, which would then reflect this back upon my own experiences. Thanks for sharing.

PhoebeRaven avatar General Stranger

April 18, 2008

PhoebeRaven

REVIEW QUALITY: 100.0%(1 vote ) personal info reviewer stats
PhoebeRaven reviewed Version 1 - Read 100% of the Item

This must be one of the most accomplished poems I have read on here, I am truly impressed and moved. I will try to go into a bit of detail without rambling.

Like any great poem, this one unfolds itself slowly over several reads, and I am still not sure I grasped all the images and little meanings in words. This is partly because I obviously don’t share your memories, but also in part because your metaphors are very dense. I could meditate over the meaning of a sentence like “One could lose something in this wake.” forever. What could one lose? What do I lose when I stare out at the water, when I let time pass me by, when I simply reminisce and wait for change?

I am a fan of little flash sentences that simply spark thought in the mind like your “The sway.  This way.  No, back.” Sometimes these flashes say so much more than a long sentence and I feel here you capture it all, the indecision, the not wanting to look back for too long and doing it anyway, the getting lost in the moment and pulling yourself out of it again. With six words you basically describe a whole tug-of-war of the mind. Great stuff.

I had the hint of a problem with one small paragraph, but it may just be semantics.
“A river close to the bay changes its mind.
You can see this in many things, but
I am on a bridge, resting my arms,
peering down at an opaque chocolate,
so I see it here.”

Here I don’t really feel it is necessary to say again that you are on the bridge, the reader knows that. I would much rather you give some of the things one can see it in rather than telling us from where you see it, because we are there with you anyway.
Maybe I just misread this though, pronouns are always tricky.

I like the sense of wonderment that comes through in your poem here and there, and wonderment about things most people pass by in their lives. Like “nothing pushes back” and how the cement pillar doesn’t give. It is in noticing these small things, I think, that the artist distinguishes himself (or herself) from the rest of people. Because the artist looks at ordinary things and finds them anything but ordinary. This wondering about something where everybody else would just go “What? Why would you think about that?” is exactly what I look for in art. Because it opens my eyes to a different perspective and makes me see the world anew.

I am sure if I read the poem yet again, I will have more to say, but I don’t want this review costing you 1000 credits, so I’ll stop here.
I would be willing to converse via messages, if you feel I have anything valuable to say.

Anyway, thank you for sharing this, it truly is a fine and delightful read and will go into my favorites list (which is remarkably empty until now).

Amandalinq avatar General Stranger

April 18, 2008

Amandalinq

REVIEW QUALITY: 100.0%(1 vote ) personal info reviewer stats
Amandalinq reviewed Version 1 - Read 100% of the Item

If I let it, memory hides me too

Can i say it: Wow!

That one line really sticks in my head almost more than any other.  

“If this river has came to a halt” error in verb tense
“It moves, and this is what calls me to say: behind.”  suggestion: this is what IT
calls…  or did I misinterpret this?

It happened a couple times that I was certain you were making an allusion to death.  Is that what you intended or am I inserting my own meanings?  ie: “One could lose something in this wake”  wake, as in funeral wake?

did the speaker almost die in the tides?  

I guess what I’m getting at is that I really don’t understand this poem.  

What you’ve accomplished is a masterful work that feels so very dreamlike.  And like a dream it flows from thought to thought, but not necessarily with logical flow or clarity.  

I can’t lie, I tried but I’m not certain I really understand this piece.  
Is that my failure?
Who is your intended audience?  Ponder that question.

The emotional content here is amazing though.  You really managed to make me feel quite melancholy and hopeless.  Good job there.

Amanda

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obelletto

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