someone remaining important

I've always been a fan of your poetry, this one is no less than. Fabulous title for a sadly beautiful poem of how love incises memories. ~A "What we do for ourselves dies with us. What we do for others and the world remains and is immortal." Albert Pine

thank You

Poetess you certainly are ! I'm so happy I came by ((whitney)) Mark "some things change, some things do not"

I had the feeling this ones about your mother or a signifigant woman in your life applause is all I have today sorry love and hugs Jayne-Chloe x x x

love this but not sure of the shaped form. But thought I'd have a look see so I checked it out aligned left and yes, it works better this way. Got me buggered as to why, most poems don't. Each word chosen with langorous precision. Brilliant. Cheers, Jess, reprehensibly irrepressible

What wonderful language you have used to convey feeling! the part about the letters of the name being sissors was really imaganitive, the shape works well with the pauses of reading, to let the reader think about what they have just read well done vix Optimism in adversity nutures positive outcomes

Much like a first love, lost, wrenched away framed by a large void of what happened between the time of leaving, and the unoccupied rooms of the present This couldn't have been said better. I love it.

I don't believe we have met, just call me shells I'd like say uh ummm *clears throat and leans to whisper* "Your heart is showing"

Nicely brewed there, white tea. A well-executed lightly handled elegiac verse, probably about mother. Super strong title and opening. Lose the lines referencing an old love, and the last line about faded memory: They are cliché, and interrupt or detract from your original work. To shape or not to shape? The most important question is do you know why you shape it the way you do? Does it look right to you or sound right to you? Contemporary wisdom suggests words at the end or beginning of a line get emphasized, in sound and meaning. We also use line breaks as big pauses, emblems, and as substitutes for punctuation, and visually as white space. I changed “of” to “in” at the anger stanza, because I knew what you meant, but it read that the woman wasn’t afraid to speak about anger, instead of speaking angrily. Lastly, deleting a handful of words helps the poem flow by taking out the prosy syntax where it crowds in a bit. Following these suggestions, and aligning words to the left margin for now, she reads: I do not know how to see your face its familiarities, its brave differences or how to begin planting the breath of your name in conversation each letter, a separate pair of scissors. Your beauty remains a stain that I don’t speak of. You were a woman unafraid to speak in wonderfully spirited anger, showing me what I could be. I still carry your heaviest pieces.

Hi, only here for a second, but this just floored me & I feel it's devastating power in the pit of my being, wonderful, wonderful write, with so much carried in it's wake & so much beautiful filligree entwined between it's lines. How I am missing the brilliance of writers & beings here. You have spoken this poem to the core of my self & many others I do not doubt. I look forward to coming back in time to explore your other works. Cheers Anni~ "To thine own self be true, and it must follow, as the night the day, thou canst not then be false to any man." ~William Shakespeare, Hamlet.

This is delicately honest. Loved it. Victor

Ann of Norway The anagram cutting itself, the pain of separation. "of leaving, and the unoccupied                   rooms of the present" The stain of your beauty, this is so particular a way of expressing it, I can see it like a beautiful water colour stained paper, delicate yet strong too, the whole body! I like you poem and have to agree a little with Nicole. Good poetry whit tea. Love Ann