Things Are Looking Up

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All nine trees found
low on this high infinity
down each city's once well
had cause to
look, play, want
and went; two give,
two hundred just
follow to make that into thought.




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i found this easy to read, but very confusing. i am not sure what you are trying to get across to the reader.

kim




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No offence, but the whole thing just went over my head.

A little explaination, perhaps?
Calvin : You can't just turn on creativity like a faucet. You have to be in the right mood.
Hobbes : What mood is that?
Calvin : Last-minute panic.




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I have read and reread this poem many times. I cannot for the life of me figure out what you are trying to say. This poem makes absolutely no sense at all.


hummingbird
I hate mean people




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All nine trees found ( you need to be more specific, why were they lost?)

low on this high infinity ( this in no way ties in with the trees. you need to add a few more lines to let the reader know your point)

down each city's once well ( this is a fragmented sentence, i would revise this a little)

had cause to
look, play, want
and went; two give, ( i think you need to let us know who or what had the cause, this too makes no sense, i would remove this and reword it better)

two hundred just
follow to make that into thought. ( sorry to keep repeating myself, but this is also fragmented and confusing)

i have read your other work, and found it to be good. this to me seems like you purposely wrote this just to confuse the reader. and maybe see what responses you would get.


lysolstinks




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Enigmatic, dense but no impenetrable. Elegant, I love your sense of space. Hinting at an epic grandeur. This is a labyrinth of chimera.

low on this high infinity


For some reason this made me think of sound frequencies, the hidden within motion.

two hundred just
follow to make that into thought.


that's the twist really, at least that's how I interpreted it, these flashes, these threats of stimuli, spun into thought itself. It's almost testing the fallibility of words itself, v post post modern.

You are an illusive creature.
Princess of Parataxis, Mistress of Manichean McGuffins




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I can't pull the meaning out of this, and I can't even sort out the grammar.... What are you trying to get at?

I think I like your poetry more when you're less enigmatic... Sorry Melja!
“It's necessary to have wished for death in order to know how good it is to live.”
― Alexandre Dumas, The Count of Monte Cristo




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Kit wrote:Quote:
two hundred just
follow to make that into thought.


that's the twist really, at least that's how I interpreted it, these flashes, these threats of stimuli, spun into thought itself.


Kit's got it!




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AAAARGHH.

So darn confusing. I am confused. What are you saying????
TELL ME!

My mind is BLANK.

I liked reading it... but what the CENSORED does it really mean?
my world isn't only beautiful
it is so far away




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To alleviate confusion?

Ciao, everyone! Even though most of you just responded to say that you didn't understand, I'm still glad you left a comment because it forced me to think about this poem in a different way.

Now I'm not sure how curious you all actually are, so if you really do not care as to what it means (that's perfectly alright; I won't be offended!), you can stop reading right now and proceed to another thread, as the rest of this post will be something of an explanation of said poem ^_^
Spoiler
Still here? Cool ^_^
So first (so you don't have to scroll all the way back up), a recap of the poem:

All nine trees found

low on this high infinity

down each city's once well

had cause to

look, play, want

and went; two give,

two hundred just

follow to make that into thought.



And now my thought process

In all honesty, there *is* a certain amount of this that means absolutely nothing, haha. I put it together by means cleaning up some magnetic poetry that I put together, so I'm surprised it's as coherent as it is (not that that's any real excuse, of course; poetry should still be poetry regardless of its means). Hence, my thoughts may or may not make any real sense (feel free to disagree. In fact, I encourage you to disagree, as conflict and conversation will undoubtedly make for a better poem (synthesis ftw!)) ^_^

The first half or so of the poem is really just establishing a basis for the second half to rest upon. You've got trees in an urban setting (the city well) and sort of a mythological idea (they're low on a high infinity, almost as if they're suspended in midair near the bottom of this forgotten well), so there's this conflict set up between natural and the technological (tree vs. city) where the technological is currently winning, having pushed all the trees back into this one tiny little space.

Now the second half is more of a temptation/fall of nature end to the conflict presented. Each of these "trees" had individual reasons to defy their inclination to remain in the well. The resolution to the problem was that two trees give into this pressure, the pressure to remain separate rather than integrated with their surroundings, and a large number of supporters comes seemingly from out of nowhere to substantiate what they could not do themselves. Kit explained it well before: these little bits of nothingness multiply and accumulate between themselves until a whole lot of nothing turns into a great deal of something.

So in all, I guess that's what it's really about: a relatively insignificant part of something in and of itself twisting and changing until it's influential enough to make a difference with the collective whole. Or, more simply I suppose, "the straw that broke the camel's back".


I hope that makes things a little more clear? Thoughts in light of all that are most certainly welcome. ^_^

Happy writing!



It's easier to come up with new stories than it is to finish the ones you already have. I think every author would feel that way.
— Stephanie Meyer