Katherine,
It's good to meet you, I'm Audy and I'll be taking a look at this poem of yours today. Overall, I felt it is a pretty simple idea that is often over-used to the point that it is almost cliche - that is, the idea that rain expresses a sort of sadness and mirrors the act of a human crying. The power of this idea comes from our way of needing to personify nature - you'll often hear that the wind "whispers" through the flowering fields that is to say, very much like how a human would whisper to a lover for instance. The same idea is expressed here, the sky would grieve, the same way like how we would mourn for a love one. Keep in mind, it is not a new idea. So, how do you turn something old and make it into a new idea? We'll get to that in a second.
Technical
Some of your previous reviewers have covered it- mostly that your lines don't have much consistency. Part of that is because of the rigidity with how you started, "I knew it would be raining / when I stepped outside today" you develop a steady cadence here, a smooth rhythm with seven syllables each.
Now, this cadence gets thrown out the window in the next line, and then you go back to it, and then you just break it apart completely. I appreciate your experimentation with words though, I appreciate how you take things like sobbing / mourning / wailing -> mostly in poetry, this is a no go because you have three words that mean the exact same thing, and poetry is all about precision. We want the least amount of words to provide the biggest amount of punch - it's just like how the world works, like how economy works - the smaller the material/intake and the bigger the reaction - then the more the worth and value to it.
BUT - when I see things like above where you have the sobbing/mourning/wailing - I usually nod my head in approval - not because it makes your poem stronger, but because I acknowledge why you made the choice to include those words, because you're experimenting with sounds and those -ing sounds are irresistable, and you're experimenting with form, and the way you've placed them on their own lines like that and you're using this to propel momentum - see, that's what I'm talking about. You're crafting the piece here - you're experimenting with sounds and forms, and that's a good thing in my book. I encourage all kinds of experimentation, because it's only by experimenting and trying what works and what doesn't work and then seeing why it doesn't or what happens when you do this - what effect do you create - it's only by doing this that you improve, and with each piece get better and better.
So, the question becomes. How do I take an old idea and make it new? We've established that you've experimented with sounds and rhythms and words - now the next step for you: try experimenting with image. Expand upon the image. The image is the central and most integral element of a powerful poem - just like in prose, where the scene makes up the story and holds all the characters and emotions and settings - so the image makes up a poem.
Here, you're talking about sadness and you're connecting it with rain - but take it further than that - how does sadness feel like? What is the texture like? Is sadness rough like the bark on a tree? Is it actually smooth like caramel syrup, enough to seep into you and leave you bitter? This is where the poetry lies.
I hope this review helps. Let me know if you ever do decide to play around with image, or if you just want to chat this up and discuss in greater depth.
~ as always, Audy
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