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  1. One of our regular members, whose work has always been novel and a pleasure to read, has of late been producing some sonnets. Backchannel, Eclipse asks (re his recent "sonnet for Newcastle (practice)," "hi Tony does the meter scan in that sonnet?-Barry." Reproduced below is the text of my reply to him which he has graciously allowed me to share so that others also may (hopefully) benefit from the analysis. Eclipse wrote this sonnet in an hour. It usually takes me a lot longer than that to even formulate an idea (or ideas) for shorter poems. Then again, I'm pretty slow, lol.
  2. I submit five poems of Edgar Bowers for examination: THE ASTRONOMERS OF MONT BLANC EDGAR BOWERS (four more) These poems are all written in flawless iambic pentameter that is mostly strict (meaning, in addition to other accepted substitutions, they contain only the occasional anapest). Read each one out loud, but do not try to read them according to some preconceived notion of what iambic pentameter is or should be. Rather, read them naturally and trust that the meter is there. Notice how the musicality varies in each of the poems, how the language speeds up and slows down at various
  3. I recently contacted an expert on meter at a well-known internet poetry workshop with a few questions that I had. He answered my questions and recommended that I get a book which is unquestionably the best work on the subject of meter available today. In other words, it's a contemporary standard. The book is by Timothy Steele, a professor of English at California State University in Los Angeles, and it's called "All the Fun's in How You Say a Thing -- an Explanation of Meter and Versification." (Ohio University Press, Athens, Ohio, 1999) None of my local Borders or Barnes and Noble stores
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