The Sockdolager

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Sounds perfect Wahhhh, I don’t wanna
byzantienne

Poem: I lik the form

microsff

My naym is pome / and lo my form is fix’d
Tho peepel say / that structure is a jail
I am my best / when formats are not mix’d
Wen poits play / subversions often fail

Stik out their toung / to rebel with no cause
At ruls and norms / In ignorance they call:
My words are free / Defying lit'rate laws
To lik the forms / brings ruin on us all

A sonnet I / the noblest lit'rate verse
And ruls me bind / to paths that Shakespeare paved
Iambic fot / allusions well dispersed
On my behind / I stately sit and wave

You think me tame /
  Fenced-in and penned / bespelled
I bide my time /
  I twist the end / like hell


* “lik” should be read as “lick”, not “like”. In general, the initial section on each line should be read sort of phonetically.

Written for World Poetry Day, March 21, 2018. When I had this idea earlier today, I thought it was the worst, most faux hip pretentious idea for a shallow demonstration of empty wordsmithing skill in poetry ever. So I had to try to write it. I mean, how often do you get to fuse the iambic dimeter of bredlik - one of the newest and most exciting verse forms - with the stately iambic pentameter of the classic sonnet?

vermilionink
brooklynmuseum:
“ Still portraits of athletes are the counterweight to the action and allow for reflection. There are many portraits of famous athletes, but there are also many indelible portraits of lesser-known or anonymous sports figures: the high...
brooklynmuseum

Still portraits of athletes are the counterweight to the action and allow for reflection. There are many portraits of famous athletes, but there are also many indelible portraits of lesser-known or anonymous sports figures: the high school footballer, the amateur boxer, the struggling gymnast, the young bullfighter. The most sensitive photographers will find something that triggers the viewer’s admiration or understanding, or that provides emotional insight into the struggles and achievements of their individual subjects, famous or not.

Étienne Marey and Georges Demeny’s early photographs of human movement inspired the backdrops of Gérard Rancinan’s extended 2004 series of Olympic athletes, including this photograph of five-time Olympic gold medalist Laura Flessel and her épeé (fencing sword). This series is effective pictorially and historically. In it, Rancianan borrows liberally from the great artists before him, and, in his own imaginative way, helps keep their work alive.

Gerard Rancinan (French, born 1953). Laura Flessel, 2001. Chromogenic print. Courtesy of the artist.

thesockdolager

Something about this is screaming @byzantienne at me.