March

on the passing of summer into autumn as they ride on an express train In Europe
 * || Title || Author || Comments || Date ||
 * 96 || Express Train || Gottfreid Benn || * The speaker appears to be ruminating
 * The first signs of autumn are outlined by the speaker within the first couple lines - "Brown. Brandy brown. Leaf brown. Russet. Malayan yellow." indicating the change in color of the tree leaves
 * The speaker seems to view autumn as some sort of disease, as if it is killing summer - there is a "fevered scent" in the gardens of summer || March 2, 2012 ||
 * 97 || The Approaches || Harry Clifton || * The speaker appears to create a metaphor for death in the form of a house - the subjects of the poem travel to the house - death - by traveling there in a car, the car journey being representative of the several years of their lives that they have already lived
 * The metaphor of the house for death is not put into a negative light however - the speaker declares that going to the house - to death - is like "coming home"
 * The speaker makes it clear that death itself is not the painful part, but the steady, drawn-out approach toward death - "only the approaches / are terrible, only the years, / the getting here, which takes forever" || March 2, 2012 ||
 * 98 || This Ecstacy || Chard DeNiord || * The whole poem is not broken into multiple stanzas - it is just one large stanza. Poems structured like this always make it more difficult for me to decipher different ideas presented in the poem. Everything is just smashed together with no breaks.
 * The speaker mentions the "Kronos Dome". I had to look up this reference - it is referring to the Greek myth of creation in which Kronos, the youngest of the titans, in the form of a sickle cut a gap between heaven and Earth, in turn enabling the beginning of time and human history - the speaker uses it to fancily refer to our lives on Earth
 * As far as I can tell the "ecstacy" that the speaker feels throughout the poem comes from the small joys that exist in life || March 2, 2012 ||
 * 99 || Trailers || Chard DeNiord || * The structure of the poem seems to mimic the action of the people described within it. Like the previous poem, it is made up of only one large stanza, making for one large block of text, each idea flowing directly after another. This is similar to how, in the poem, a crowd of extras for a film are flowing one after another around the set.
 * It seems to me that the extras in the poem are wearing a guise of calmness and serenity so as to stay in character, when in reality they are all very stressed, being pressured by the director to get the scene right "the first time"
 * the "someone striking" I would guess is the star of the film, bringing a certain spark to the film set where everyone is acting like they are just going about their everyday business || March 2, 2012 ||
 * 100 || My Voice || Rafael Campo || * In the poem, the speaker outlines how he or she wrote a Cuban song, going into the songs lyrics and the meaning behind them
 * The speaker uses song writing as a means to express his or her true emotions, the speaker declaring that "i call this song of needful love my voice"
 * Within the song itself, the speaker expresses the need to suppress unhealthy fantasies, using common Cuban myths to present examples of these fantasies and using the sea as an extended metaphor for this need || March 2, 2012 ||