Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk
By conserving Somewhere Poetry Grows Wild Under The Eucalyptus, By Robert Hobkirk in the gadget, the method you check out will additionally be much simpler. Open it as well as start reviewing Somewhere Poetry Grows Wild Under The Eucalyptus, By Robert Hobkirk, simple. This is reason why we suggest this Somewhere Poetry Grows Wild Under The Eucalyptus, By Robert Hobkirk in soft file. It will certainly not interrupt your time to obtain guide. Additionally, the on-line system will also relieve you to look Somewhere Poetry Grows Wild Under The Eucalyptus, By Robert Hobkirk it, also without going someplace. If you have connection net in your office, home, or device, you can download Somewhere Poetry Grows Wild Under The Eucalyptus, By Robert Hobkirk it straight. You might not additionally wait to get the book Somewhere Poetry Grows Wild Under The Eucalyptus, By Robert Hobkirk to send out by the vendor in other days.
Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk
Free PDF Ebook Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk
A new collection of inspirational poems, Somewhere Poetry Grows Wild Under the Eucalyptus, is the second book of poetry written by Robert Hobkirk, following his first successful poetry book Haiku Avenue. His simple free form style sincerely conveys his meaning, yet leaves enough room between the lines for the reader to fit in his own interpretation. Sit for a while in the shade of the eucalyptus and wonder at the ordinary in plain sight and the mysterious, slightly hidden.
Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk- Amazon Sales Rank: #4170285 in Books
- Published on: 2015-06-11
- Original language: English
- Dimensions: 9.00" h x .38" w x 6.00" l,
- Binding: Paperback
- 150 pages
About the Author Robert Hobkirk lives in Northern California. Besides family and friends, he enjoys nature and baseball on the radio. He does most of his writing in the morning.
Where to Download Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk
Most helpful customer reviews
1 of 1 people found the following review helpful. A great book By Janhendrik Dolsma The title of Hobkirk’s second book (Somewhere Poetry Grows Wild Under the Eucalyptus) is perfectly chosen. A lot of his poems talk about everyday situations. From Hobkirks perspective they are full of poetry. Without being to obvious he connects small events with the bigger world, like in his Avalanche poem, where a bird watches, while an avalanche is roaring down the mountain.Hobkirk is a great storyteller, even in his poems. One of the most touching examples is a poem called ‘Memories’, in which he talks about his Grandma, the soup she made and how she played cards ("Grandma never let me win / I had to earn it"). Great book.
1 of 1 people found the following review helpful. Excellent!!! By scottl Having enjoyed Robert Hobkirks first book, Haiku Avenue, 333 haiku poems, I was looking forward to his second effort. I was not disappointed. As I read through each of the poems in his new book, Somewhere Poetry Grows Wild under the Eucalyptus, I marveled at how he was able to capture the essence of even the simplest of life’s events and describe them in a unique and insightful manner. If you liked Haiku Avenue, I would encourage you to get a copy of his new book. I know you will enjoy it as much as I did. Now, i’m looking forward to his next book.
0 of 0 people found the following review helpful. Very promising! By Erin O. Armendarez The poems in this collection reveal an artist’s attention to the visual, especially color, as Hobkirk shares memories of his surroundings, his childhood, and of his mother, father, and Polish grandmother. There are elements of literary naturalism in unflinching portrayals of death, as in the poem “Sparrow,” and of the cycles of nature and of life, as in one of the finest poems in the collection, “Scarecrow in Winter Field.” At his best, Hobkirk’s lines are in par with practically anyone else’s, making use of ordinary words and images to create lines with just the right economy of sound and syllable to bring the reader into the world of the poem, as in these simple but evocative lines from “Memories” (p.93):I was back in MichiganOn a cold gray dayBundled up in woolWearing leggings and black galoshesComing home from school“Grandma, I’m home”Read aloud, these lines contain no excess, nothing other than the bits of narrative spun to successfully convey scenes from childhood, simple, predictable pleasures all too often taken for granted until, as Wordworth said it best, “emotion recollected in tranquility” prompts the poet to infuse such memory with feeling to be appreciated by an attentive reader.On occasion, Hobkirk’s poems may remind readers of Carl Sandburg, a poet who without pretense captured the humble everyday sights, sounds and smells of his place, or even of William Carlos Williams, as in “Wild Almond Tree,” a poem which refuses to “mean” anything, instead offering readers a poem that fits Archibald MacLeish’s definition from “Ars Poetica: “A poem should not mean/But be.”Hobkirk is a talent placed loosely in American tradition; his poems show a remarkable craftsmanship firmly grounded in the American free verse canon. However, he may pay a price among contemporary critics for ignoring some commonly accepted caveats currently preached in MFA programs. For example, if one peruses the pages of the typical elite literary magazine, one might find that most poets (admittedly not all) conform to the standard rules of punctuation, as these conventions often help rather than hinder reader understanding. While it is true that most of this punctuation is not much missed in Hobkirk’s poems, it seems also true that the poet might reconsider the use of commas, periods, and other standard conventions of punctuation as potentially useful in sculpting his lines and stanzas.When it comes to line breaks, American poets must devise an “inscape” for a poem that doesn’t wrangle itself into a standard form, and one must carefully study the choices of other writers, the rhythms of our language, and the energy and tempo of a particular poem to determine where line breaks should go. If poems are to be read aloud successfully without the poet present, and if the poet means to give readers sufficient cues as to how to read a poem, it is helpful to think of punctuation marks as cues for varying degrees of silence and the control of pace in a poem. Without them, Hobkirk has nothing but stanza and line breaks to suggest a place for a pause. At points, he uses a single conjunction or preposition to fill an entire line, and since all the poems in the collection are double-spaced, this seems to apportion an inordinate amount of time and sound/silence combination for a single connecting word. For the most part, the lines themselves are quite carefully crafted, and so those that seem less careful are all the more apparent.In addition, Hobkirk has chosen to center his poems on the page instead of left justifying, which again seems to ignore a fairly standard convention. True, contemporary poets will often stagger lines on a page for perfectly good reasons, but to simply center the poem seems unjustifiable (pardon the pun?) if a writer means to show his or her knowledge of how fuzzily-understood free verse conventions are most commonly practiced in the U.S. today.Clearly, Hobkirk is a gifted poet, one who should be read. The poems in this collection establish that fact. His work should be read not only for pure appreciation, but also close analysis of his poems could be used to introduce questions about the use of punctuation and the crafting of lines and stanzas and what these things signify to a wider readership.Should it be “Grandma was in the kitchen/cooking/”, or “Grandma was in the kitchen cooking,” or “Grandma was in the kitchen, cooking”? For a poet as talented as Hobkirk, such subtleties and the messages conveyed by those choices can be quite meaningful to other poets.“Back in the Sea” is the poem most helpful in understanding the poet’s overall intentions. In holding back work that has the potential “to make something bleed,” Hobkirk shows an admirable wisdom and unwillingness to exploit his subjects for shock value or for vengeance. His poems project the maturity of a gentle voice that can be trusted. In the last lines of the last poem in the collection, he attributes his unwillingness to use words to harm others to his mother, who is the subject of the poem.A reader can’t help but hope the best for this poet and to look forward to more of his work. The written word holds a power misused by many in a society where we all defend one another’s right to say pretty much anything. Hobkirk doesn’t take that right or the power of his words for granted; consequently, anything he puts on a page is probably worth a reader’s time and attention.
See all 3 customer reviews... Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert HobkirkSomewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk PDF
Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk iBooks
Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk ePub
Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk rtf
Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk AZW
Somewhere Poetry Grows Wild Under the Eucalyptus, by Robert Hobkirk Kindle
Tidak ada komentar:
Posting Komentar