David W. Parsley

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About David W. Parsley

  • Birthday 04/03/1958

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    Demosthenes1
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  • Gender
    Male
  • Location
    Rancho Palos Verdes, California, USA
  • Interests
    Literature, philosophy, music, science, religion, God, space exploration, camping, hiking, history, women and feminism, politics, economics, engineering, enterprise and program management, higher mathematics, theology, epistemology, ethics, ontology, cosmology, stock market, art, history, God again, ballet, poets, poems, poetic forms, informal asthetics, film. And other stuff.
  1. Autumn Sky Poetry re-ran a poem of mine in January (link below). This posting is accompanied by a nice photograph and the opportunity for reader commentary (much like PMO's blog concept.) Autumn Sky Poetry Archives One comment thread deals with the question of factuality, both for this poem and for poetry in general. In this case, the poem is completely accurate, justifying the speculations by the commentators as to the story behind the bird's tragic appearance on my doorstep. But literature is filled with pieces that take "poetic license." In our time of letting poetry develop and speak in the context of experience without pretense or superposition of meaning, is this still a valid device? - Dave
  2. Hi Tony, I like what you are doing with the site. It should encourage greater participation from a broader audience. It will be nice to be able to comment on honors like badger's (and others') publications. There are some hiccups to note. For example, "Notes from the Common Era" has experienced a reversal in the order of entries in its sections. We will need to figure out how to fix that. - Dave
  3. I will be entering this into a contest within a few weeks. At that time I will be obliged to hide this topic until the contest outcome is announced. Any recommendations before then would be gratefully received. - Dave
  4. Very moving, captures the sense of displacement and alienation experienced in the face of incomprehensible loss. Like Tony and Tink, I feel that the poem seems to draw its converging lines to the stupefying irony that the inability to come to grips with the tragedy is like a sequence of "rehearsals" - devastating, startles with the affirmation of helplessness. I agree with Tink that some of the internal and line-end breaks could be reconsidered. But my biggest problem with the piece is "senseless grief", which brings a glaring bromide into a highly original poem. Perhaps a phrase more akin to "ritual" or "motions" would work better here. Thank you, Barry. (I think!) Dave
  5. P.S. I also want to thank Tony for this post. It's just good to know that you are doing okay. It is also good to see your comments in the 'Member Poetry' and the 'Member Poetry (overflow)' sections. (Though not in 'Workshop'... ;-)). Dave Again
  6. Hey, badge, I will follow with interest the path of revisions this will take. For my part, you have achieved a valid realization of a poem with Revision 3. That does not mean it is yet the poem you intend. But it works for this reader. - Dave
  7. Fascinating poem and back-and-forth of analysis and revision among colleagues of long standing. At this point, the poem is so finely honed that I can only recommend removing "of" in line 1 and straining "upon" down to "on" in line 4. I particularly admire the deft use of detail in "her inked skin" and the mention of a specific place - a place associated with remoteness from common human society and interaction. It is as if the bottle, once settled on that shore, will remain forever like a footprint on the Moon. As a result, despite its brevity, the poem relates a unique experience with a universally felt blend of nostalgia and unbridgeable separation. Thanks for sharing this, Tony. - Dave
  8. Hi Geoff, I too like the blank tetrameter of the piece, the near-rhyme at the end and in lines 8-9. Pulling on that thread, I admire the starting substitution scansion, it's intonation of breathless introduction that dismisses the need for explanation: . / - - / . / - - / Out of a past under the stairs As if to say, "Hey, it's a ghost. Deal with it." The same movement is used in the penultimate line, preparing the likely term of Tommy's restless search, though even more anonymous than Shelley's figure of furrowed brow. Thanks, - Dave
  9. Tinker, join my voice with those that went before. I enjoyed this cozy poem. - Dave
  10. Tony, your commitment to this site is an inspiration. I am grateful for PMO. It is a place to find poetry not ruled by the tyranny of academia, which has imposed a standard of taste that excludes much work that could eventually prove more permanent. (For a prophetic anticipation of today's scene, check out "Who Killed Poetry," by David Orr, clear back in 1988.) But that permanence can be realized only if there is some place to go back and retrieve the work currently dismissed by "the Establishment. PMO will be one of those repositories, in my opinion. Thanks for your vision and commitment (time and money.) Dave https://www.commentarymagazine.com/articles/who-killed-poetry/
  11. Tinker stole my response, but I'll repeat it anyway. WOW. All the imaginative imagery and turns of phrase are there, the sense of wonder that we all can expect from your pieces. But the narrative progression is breathtaking, possessed of a stomach-dropping unity. You step confidently into a country of symbol and image not repeated from your prior work. You take care to craft the piece, so there is nothing to distract the reader from the journey you narrate, its searing and current landscape. Very, very well done! Thank You (I think!), - Dave
  12. Thanks, Geoff. And thanks for the lead-in tilt of your own at "alternative truths/facts", since the poem itself takes a few liberties with the original story. It is a Snopes-like joke among the dozen or so that sprinkle this poem, presuming that Hesiod and the rest of the gang were a little off on the whole business of Athena supposedly springing out of Zeus's head fully clothed, armed, and bearing a shield. Nor does the faux revisionism end there, since the whole business reportedly occurred while Zeus was still with his first wife, Metis. It also implies that the famous intrigues featuring the lover transformed into a heifer and Zeus himself taking the form of a swan, all to camouflage his "carnal capers" (love that phrase!), actually were repeated more than one time each. I had a blast putting this thing together. As always, feel free to make suggestions. I am not completely satisfied with how the diction works. Does everybody like the lack of punctuation? I think it adds to the sense of surprise and yields alternate readings at strategic points. True? Thanks Again! - Capering Dave
  13. Now isn't that gratifying. Congrats on the publication, Marti! - Dave
  14. Breakfast cup spills tea Darkening pool reflects chilled Sky swelling with geese -------------------------------------------- previously unpublished © 2017 David W. Parsley Parsley Poetry Collection
  15. Great start to this one, Barry. For me it falls a little off-rail starting with "I am allowed.." But what an image: "ladder of my shadows"! How about something more like, "I see the last rung touch the moon as I am laid..."? Just a thought. All the Best, - Dave