I am waiting to see this poem now Colin. Sometimes I don't know where my 
poems come from. It is interesting to see how your poem is developing in 
your mind before it actually reaches the page. I know my poems are written 
in my head long before I write them down but how they get there is another 
thing. Years ago I went to a writers convention and one novelist said that 
she never talks about her novel whilst she is writing it. She went on to say 
that when she has talked about her characters or plot before completion then 
somehow the "magic" is lost.  I have remember this ever since and somehow 
this is true for me. I do write prose and I have found after the first ten 
thousand words I am dying to show someone, but maybe that is why I have 
about three or four unfinished novels knocking about. I do look forward to 
your poem Colin and look forward to seeing it on the screen,. I don't think 
the general public realise how much work goes into a poem it is such 
condensed  thought saying so much in just a few words. The poems I give the 
most thought to I am mulling over in my head for ages. Sometimes the thought 
disapears and I have lost it for good but if it reappears then I know it 
just has to be written and these are generally my best poems. best wishes 
sally j


>From: Colin Dewar <[log in to unmask]>
>Reply-To: The Pennine Poetry Works <[log in to unmask]>
>To: [log in to unmask]
>Subject: pre-sub
>Date: Mon, 12 Feb 2007 16:42:21 -0000
>
>Generally I submit poems that are at a fairly advanced stage, even if they 
>do not seem it. However this time I thought I would sub something that is 
>so close to inception that it hardly exists yet, to see if anyone would 
>contribute c and c to a proto-poem.
>
>No words have been put on paper yet, but the poem would contrive art as a 
>search for status rather than a search for enlightenment, or at least 
>manifest the risk of this. The narrator is talking to a potential partner 
>about a painting of a (male) peacock that he has just done, and is perhaps 
>showing it to her. As far as he is aware it is evidence of his aesthetic 
>and enlightened nature, but the potential partner, is likely to be aware 
>that he is just using the painting to glorify himself (without realising 
>it). He is also a rich person, which may be why he can afford to paint, and 
>it is conceivable that the potential partner is really more interested in 
>this side of things anyway. In other species where males are generally not 
>able to accumulate resources, there is often a gaudiness, and in the 
>females a drabness which operates in reverse to the typical the human 
>pattern, or what has been historically the human pattern. I haven't decided 
>yet whether that is significant in the poem. A model I could draw from 
>would be R. Browning's Last Duchess dramatic monologue,  which has a 
>sub-text that is never made explicit, but leaves the audience with a clear 
>understanding of how things really stand.
>
>Colin
>
>
>

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