SUBJECT>Re: Climbing to Redemption -- Revised (CTG) POSTER>Christopher T George EMAIL>editorcg@yahoo.com DATE>1109353857 IP_ADDRESS>mail.acog.org PASSWORD>aaXga4uf0tS3k PREVIOUS>83895 NEXT> IMAGE> LINKNAME>Poetry by Christopher T George LINKURL>http://chrisgeorge.netpublish.net/index.htm

: Chris-

: I am not (at all) a missionary for any sort of
: minimalist school (god forbid) and I read a
: lot of poetry that is very descriptively
: dense, so I suppose it’s worth trying to
: explain WHY your modifiers are not working
: for me. I think, at least partially, the
: heavy use of modifiers that are somewhat
: expected or dull (gnarled wood, ancient
: bark, green sorrel) seems questionable. But,
: I suppose the main problem is that so much
: of the interesting detail in the poem is
: resituated onto bulky modifying phrases and
: away from the subject/predicate.

: I’m sure you know by now that I just generally
: don’t respond very well to these sorts of
: Polaroid poems which are comprised of mainly
: a recitation of actions and observations and
: in which the urge to support the chronology
: of the poem overpowers the sonics, wordplay,
: and flexibility of device…so I have no idea
: what the value of these comments might be.

: The punchline—playing on the name
: “Redemption”—might work better if there
: hadn’t already been attempts to
: anthropomorphize “Redemption” in a different
: light (“Redemption breathes/she’s holding
: our lives in limbo” and “as she has gathered
: and harbored” and “the sun in her crown”).
: The late turn into the intimate moment
: between climbers is not adequately anchored
: in the context of the poem, in my opinion.

: Thanks for the opportunity to read and respond.

: -H

Hi Hannah

Many thanks for your constructive comments. I appreciate them.

Chris