Just m e— a mic— and my words on a stage performative poetry

Hello Hello How are you? Yeah, good you? Twice in a lifetime she thinks a smile not quite formed Meeting eyes, they watch each other Are you seeing anyone? Cautiously a whisper comes, You don’t get that any more. And looks away Her smile warms And with sparkly eyes, …she stands It was really nice to see you. And walks away

so many years, I hid away. uresponsible and free I farmed out the essential beneath a dome for 3. Nah— a dome of four., Me, I, her— and she Four worlds, one mind Parallel In time collective …are we.

There's this cafe I used to go to– I lived just down the road. With mismatched, gray and salmon tiles. For years, it felt like home. I left the suburb a while ago, thinking that it was best. The fence that borders our little home, surrounded by my ex. The yellow door that kept us safe, windows of painted glass. I walked through shattered glass.

Free form: craft in relocation free verse and what I enjoy writing. Became dominant in the 20th century because poets want to move away from traditional style. traditional forms – (Shakespeare) – visible structure iambic pantameter, da-DUM da-Dum da-Dum syllable count predictable lines that often rhyme(ha funny) free verse isn't anything goes, It still has a rhythm created through emotions, breath, or thought. Emotional honesty over ornament. Psychological realism voice-over form used well : has an internal rhyme(and somtimes internal ryhme) uses line breaks purposefully, leans into Minimalism uses white space as a part of meaning. Used poorly, it can sound like chopped-up sentences with no internal music and random line breaks. In traditionalists or forming writing circles The style can be looked upon as a lack of training, a lack of depth, reliant on clichés. But free verse removes external constraint– which means you must create internal discipline yourself. so thus – free verse isn't the absence of craft, It's just relocated.