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> The Only Of Only Being Woman ... That's very good. I wonder if you were aware of all the slant rhymes. The reason I ask is because sometimes I've written a whole poem in slant rhyme without realizing I was doing it. Things like that usually mean the poem is particularly successful. Also the adroit variation in sentence lengths which gives the piece in effect an underlying irregular stanzaic pattern -- conscious or not? I know it doesn't matter but it's interesting to speculate. Oddly the voice (as opposed to the content) strikes me as not particularly feminine, not like Sappho or Dickinson who despite someone's previous comments seem to me the most intensely feminine of poetic voices, by which I mean they have a sort of calm precision, or energetic causualness, or knowing naivete, or ... well I don't know what I mean because they keep dodging whenever I've almost got them pinned down. Why do they DO that damn it. Anyway the voice in this piece seems to me to have an energetic exuberance not particularly associated with gender. Ironically. (Again conscious or not?) I do think though it could have been stronger by excising the generalizing abstract phrases like "new un-written law" or "the nothingness of being". They dilute the impact of the mosaic of concrete images which is the poem's primary and most successfully used technique I hope no one minds my using this list to actually discuss one of its members poems. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%