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Passions in Poetry

Digital Passions
Poetry Magazine

Digital Passions #2
published March 23, 2000


Editor's Musings by Sunshine
Anchor Point (our opening poem)
to WIT (Welcome, Introduction and Thanks)
Poetic License by Balladeer
Mid Point (our second poem)
Image-inary by Nancy Ness
Visitor Feedback
Interview with a Poet by Nicole Boyd
Closing Point (our final poem)
The Final Word by Poet deVine
End Notes / Unsubscribe

Active PageRead It All (one big page)

Issue #1 Issue #3



- Editor's Musings by Sunshine
- Anchor Point (our opening poem)
- to WIT (Welcome, Introduction and Thanks)
- Poetic License by Balladeer
- Mid Point (our second poem)
- Image-inary by Nancy Ness
- Visitor Feedback
- Interview with a Poet by Nicole Boyd
- Closing Point (our final poem)
- The Final Word by Poet deVine

Editor’s Musings
by Sunshine

Dear Friends, welcome to the second issue of Digital Passions, the newsletter of Passions in Poetry. When I first came into this web-world back in June, I didn’t know what to expect, or what I would find. What transpired was a welcome awakening in a cradle of humanity of talented and not-so-talented-but-loads-of-fun folks. I say "not-so-talented" because I cannot yet rank myself up there with the really talented folks, I’ve got a ways to go. I’m dancing as fast as I can!

Another way of welcoming you all to this place is to go ahead and show you what others think of Passions in Poetry - and there's no more apt way to do that than with our first poem below. I look forward to working on up-coming issues, and hope you will ask your poetic friends to come and give us a look in their spare time.

Thanks for subscribing!


Anchor Point (first poem)

Passionate’s Family Tree
By Lucie

Welcome newest members
to our passionate family.
In this site you'll learn of prose,
free verse and rhyming poetry.
We welcome you with open arms
and read with open hearts.
Cause just like in a family
each person plays a part.

The joys and hurts we write about
sometimes are quite the same.
Some poems have similarities
different places, different names.
We'll try to be constructive
with our comments and replies.
Don't want to damage egos
or discourage future tries.

Take your time and look around
and you will start to see,
There are many different branches
to this poet family tree.
There are love poems, sad poems,
and friendship poems, too.
Greeting cards and forums
with instructions what to do.

This site has been created by
the most wonderful of men.
Ron, accomplished poet...
he's our mentor and our friend.
You'll see if you just look around
the Moderators too.
They comment and encourage
and they write great poems too.

So if you'd like to stick around
we'd be glad to see you stay.
Click on Register and join us,
2451 strong as of today.

Click to visit Passions in Poetry
Passions in Poetry

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to WIT by Ron Carnell
(Welcome, Introduction and Thanks)

It's been a while, my friends. For those who have been patiently awaiting your first issue of Digital Passions, I offer my humble apologies for the delay. The good news is our poetry newsletter will no longer depend entirely on me. A very large handful of very generous friends from the Passionate Forums have graciously donated their time and considerable talents to bring you this issue - and the many, many more to follow.

There are a lot of things I could discuss with you today.

I could talk about the phenomenal growth Passions in Poetry has seen in our first year of existence. I could talk about the innumerable friendships I've developed because of Passions, both at the main site and within our very active Passionate Forums. I could (and probably should) talk about our next major update and the very imminent prospect of again accepting new submissions at the main site. I could talk about our upcoming book (you know, those things still printed with paper and ink), about our soon to be launched new web site called 100 Poems, or about any one of the dozen or so projects soon to explode from Passions.

But as tough as it for me to be brief, I'm going to skip all those exciting topics this time around. Rest assured you'll hear about them soon enough. Instead, I'm simply going to bid you welcome, thank you for your time and support, and let you get on with the rest of this educational and very entertaining issue.


Poetic License
by Balladeer

So what is poetic license, anyway?

Actually, poetic license consists of rules used to bend grammatical rules for the purposes of writing ... or to be precise, "the liberties generally allowable for a poet to take with his subject matter to achieve a desired effect or with his grammatical construction, etc. to conform to the requirements of rhyme and meter, but in a broader sense, it includes creative deviations from historical fact, such as anachronisms."

Still with me? OK, let's get a little more specific, just for kicks:

Anachronisms - The placement of an event, person or thing out of its proper chronological relationship, sometimes unintentional but often deliberate.

Anachronisms consist of:

Hysteron proterons > figures of speech in which the natural or logical order of events is reversed Ex: "I die! I faint! I fail!" (Shelley...The Indian Serenade")

Hyperbatons > transpositions of the normal grammatical word order, either a single word moved from its usual place or a pair of words reversed or even more extremes of syntactic displacement

Hypallage > interchange of two elements in a phrase which changes the reference of the words to a less logical relationship Ex: "to comb your hair each morning" to "to each morning comb your hair"

Anastrophe > inversion of the natural or usual syntactical order of a pair of words for rhetorical or poetic effect. Ex: "he was inspired" to "inspired he was"; "tall tree" to "tree tall"

Scratching your head yet? Me, too. There aren't a lot of people familiar with these terms. The only point I'm trying to make is that poetic license allows you to break the rules but there are rules for breaking the rules! Many of us are in the habit of fracturing the English language and hollering "Poetic License!" when brought to our attention. No deal. We can move things around, stick adjectives behind nouns, and perform a variety of acrobatic movements with our words and phrases that we wouldn't do in normal conversation, make up new words if we want, � la Ogden Nash, but grammatical laws are grammatical laws. Bending them is poetic license... breaking them is just poetry badly done.


Mid Point (our second poem)

Poetic License
by Balladeer

We've got driver's licenses, marriage licenses,
dog licenses, too.
Hunting licenses, fishing licenses,
just to name a few.
Camping licenses, business licenses...
these are no big deal.
Just give me my poetic one 'cause
that's my license to spiel!


By Nancy Ness

Hello, My name is Nancy, and I'm a poetry addict. I read poems. I write poems. I scourge and pillage the 'net for good poetry sites. I post poems. I critique poems. I talk to poets on ICQ. I go to bookstores to find new books of poetry to read when my computer is overtaken by those interminable gremlins. And when I'm not doing any of these things, I teach poetry. (Oh, shhh… BTW, if anyone knows of any other good poetic activities, email me, eh?)

Needless to say, I couldn't pass up this wonderful poetic avenue, Digital Passions, and our incomparably awesome host, Ron Carnell, who always manages to keep me busy. He'll get no complaints from me, though. I can ramble on incessantly about the makings of a good poem. So be it - ramble I shall.

Let's begin with the basics. What makes poetry such a wonderful craft? Each of us has our own individual opinion on this one. I love it because it creates such exquisite visages through the succinct use of syntactical imagery - besides that, it relaxes me and I love to play with words. (You've noticed already how reticent I really am, yes?)

First, let's cover some simple imagery, then we can get into the more involved aspects of poetic structure: rhyme scheme, meter, etc. So, what is imagery? Very simply put - imagery is the use of descriptive words or ideas to create a visual "comparison" which will enhance the reader's understanding of a literary work. Naturally, you already have some understanding about simile, metaphor, and the rest. But I must start somewhere, so if this is old hat to you, then feel free to go read some poems and come back when we get to the more complicated part. I won't be offended. But beware, we might be talking about you while you're away.

OK, novices, gather round. What is a simile, you ask? How does it differ from a metaphor? What is an extended metaphor? How about personification? Good questions! Simile and metaphor are nearly always used in conjunction with each other. Rarely is one mentioned without the other trailing along. An extended metaphor is merely a more inclusive version of the simple metaphor, and personification brings "life" to a poem. Each of these has its own special purpose in our writing.

A simile is as easy as pie, but a metaphor is a piece of cake.

A simile is simply a comparison which utilizes one of the two words "as" or "like." For example: My dear friend, IsabelleSkye - Izzy, you recently posted Enchantress, where you wrote the line "he approaches slowly wary like a lion" - that's a perfect simile, because "like a lion" gives the reader a clear vision of your intended inference.

Then there's my friend, Wolfgang. You're One of a Kind, Sir. In that poem you said, "Each one of us, just like the trees,/We reach a different height." In subsequent stanzas you further compare humanity as being: "...just like the birds/ snowflakes falling down/ pearls inside a shell/ ...just like the flowers". Have I told you, Wolfie, that you're as refreshing as a nice tall Pina Colada?

Of course, I can't neglect Toerag. I wouldn't dare - that would be hazardous to my sanity. You posted that very hysterical poem, LongJohn's Hoover Has Y2K. If you missed this one, folks - it's a must read. Toerag, you wrote of LongJohn's vacuum cleaner, that the "Hose was weaving like a snake." There you have it folks - the simile.

What about a metaphor? A metaphor also makes a comparison, but it doesn't use either "as" or "like" to convey its intended message. It is more obscure and oftentimes takes a discerning eye to glean its meaning from a poem. It certainly is fun to conceal your intentions behind an elusive mask, though, isn't it? A metaphor connotes something entirely different from the literal meaning of the writer's words. In perusing the wonderful poems on the Passions site, I found some really good examples. For instance:

Gentle Soul, in your poem, My Suit of Armor, you wrote "My sword is his word." That's excellent! Your sword isn't really his word, but you convey a very explicit message through your metaphor.

Then, of course, there's Doreen Peri (aka Pandora) in A Mere Mirage. This one is just wonderful. Doreen you opened the poem with the line "The ocean is moments of time swept up in foam." What a great picture you conjure up in my mind. A metaphor uses one image in place of another to effect a descriptive picture in the reader's mind.

Personification is a wonderfully creative writing tool. It is just what it seems - giving the qualities of being human to an animal or inanimate entity, nothing more. The visual images created with personification really add to the zest of poetry, though. Now, which of you has utilized this one?

Seymour Tabin, my friend, in Commitment, you wrote, "A tongue strikes an inner shell./The ring cries, a double swell./The pressures of circles ply,/To infinity they fly." We all know a tongue cannot really strike, a ring cannot cry, and pressures cannot fly. But you do seem to make that happen, Sy, with some very adept use of personification.

Then, of course, Poet deVine, in The Search for Happiness, opened her wonderful poem with the line "All of her today woes/were pushing happiness away." Woes certainly cannot push - unless Poet deVine pens it - then it is so.

Now, I just can't let this one pass without reference to you, Wendy LaTulippe. You defy description, my friend. What is this Water poem posted on the main site of Passions? You've invented a new form of imagery. I think I'll call it "expersonating." I've never seen anything like this. Don't be afraid to break the rules, folks! Instead of personifying something inanimate, Wendy's done the opposite. She's turned herself into a non-living entity - though it's hard to visualize the water in this poem as being inanimate. That's some sensuous shower you give your reader. Wendy, you need to get out of the house more, or take more showers - I'm not sure which.

Then there's the extended metaphor, which usually takes the form of an entire poem, representing something other than the obvious or literal meaning of the words in print. Let's see, some examples - ah, yes, this one was easy.

My dear Balladeer, you wrote The Architect, seemingly about properly constructing a home. But on a deeper level, this poem is obviously about the construction of poetry - a subject very near and dear to my heart.

Another wonderful example is a poem written by Tim, entitled The Rocky Shore. Tim wrote, "Must one climb the mountain/ touch the sky above,/Soar on wings of eagles,/ find the answer why?" He continues to weave a thread of life around these profound words - the entirety of this poem is about attaining our life's goals. Yet, Tim presents his thoughts by climbing mountains and flying with eagles. I really love this one, Tim - it's a perfect extended metaphor.

Let us not forget our host, Ron Carnell (I just want to be invited back). In Winter's Threads, your title is, in itself, a foreshadowing of what's to come. This entire poem represents solitude and the introspection of life's accomplishments. If you haven't read it, find the time.

Well, folks, I tried - but I can't sign off without mentioning my favorite - malapropism. I have an obsession with this one. Those of you who know me certainly harass me enough about it, and the rest might as well join in. Very few of my poems escape my MissNTropic wand. A malapropism is, over simplified, an unintentional pun - and such fun it is to pun in craft. Don't be surprised to see me using this one frequently. I can't help it. It's an affliction that I have.

Here are just a couple of quick examples from my poems: These are some lines from my personal pride and joy, Serendipity:

"From sheltered *berth* embarks the maiden sail" (and)
"Hibernal mariner with *white-capped* lore", (and)
"That beck "Red-Right-Return" forever *moor*.

Or, there's my haiku:

Up, Up, and *A-weigh*
From the burdens of life in
Search of Levity

So, my poetic pals - have you any questions? Ask away! I'd certainly welcome any and all of you to let me know what you'd like to hear about. What about hyperbole, alliteration, onomatopoeia, iambics, anapestics, refrains, quatrains, sonnets, rhyme schemes, pentameter, internal rhyme, free verse, blank?

Feel free to email me at 'cause there's so much more to talk about, folks. But I have to go right now (a poem, that is) �;-)

Then I have my weekly Poets' Anonymous meeting…


Visitor Feedback
Voice of the Passionate People!


Each day we get letters from our readers and our poets. We'd like to share some of those thoughts, comments and suggestions with you.


"Hi, I love poems and I am always on your site, it is a great site!!!!! I really like those gretting postcards. You did a great job, thanks, Jade"

"I found you via a link tonight and yes I have stayed over an hour. Very enjoyable - I've read, thought, shared poems with friends, submitted my own and had a very good time. Marvelous site - easy to use, basic and was my entertainment for the evening! I've added to my favorites and will be back. Regards! Wanda"

"I read and liked some of the poems I found here. I work for a local newspaper, and I am always looking for a few good inspirational poems, stories, etc. I would like permission to use some of the poems for the newspaper. The name of our small hometown newspaper is:

The Mt.Pleasant Beacon
Mt.Pleasant, Tn. 38474

Please let me know if it is alright or not to use them in the paper, thanks, or Thank you, pbshipp"

(Ron's Reply: We publish the poems, but copyright stays with the author. So, of course, you have to ask them. But I'll be happy to print your request in our newsletter if you'd like - and I suspect you'll get a deluge of new mail!)


Interview with Alicat by Nicole Boyd [Satiate]

I recently had the pleasure of interviewing a very talented writer and poet for this issue of Digital Passions; he is known in the Passionate Forums as Alicat. His varied writing style is excellently shown in his many poems and one-acts, each possessing its own unique voice. Couple such talents with a very clever wit and you have a delightful read, to say the least. So come walk with me, my friends, over to the window that will show us a glimpse of what makes this exceptionally creative man tick.

S: First off...why 'Alicat'?

A: Well, back about 11 years ago, I got tired of my first name, Michael (too many Michael's around) so I started using Alastair. A female friend decided that was too pompous and shortened it to Ali... Alicat was the next logical step. Plus, I have a lot of feline in me.

S: I like it, suits you.

A: Thanks.

S: How long have you been writing?

A: Since '89, first year of college... don’t know how it happened, just did. Now it is like breath to me.

S: I understand. Do you have to be inspired by something?

A: It all depends... sometimes it just comes and I write fervently before it passes... other times something external sparks the flame. A book, a movie, a line, an accent, butterflies, sunsets, anything could trigger it. I have a very, very, very fertile imagination, and see scenes in my head, real and imagined... sometimes that is the catalyst.

S: Any particular setting that you are fond of?

A: Hmm... well, I usually carry around a notebook and pen... anywhere is good for me. I've written in some odd places at odd hours.

S: I've looked at your website (like it) and noticed you're Scottish.

A: Yep, Clan Gordon and Mackintosh. Mainly Gordon.

S: Do you have, oh please pardon the term, 'clan meetings' that you attend?

A: Nope... I would love to meet others of my ancestral heritage, but lack the time and funds to facilitate. About the only thing I can sometimes do is the SCA.

S: Which is?

A: The Society for Creative Anachronism, a living history society focusing on the life and times between 600 and 1600 A.D.

S: How interesting!

A: Very... I have a great love of medieval history.

S: How did you come across Passions In Poetry?

A: Ladycat, a very wonderful friend, happened to be sent a poem from there from another party, which she in turn sent to me. I checked it out, read some, read some more, and decided to submit one poem. Been hooked ever since. Ron is wonderful, as is Nan and DeVine. Balladeer has captured my eye for many a spell, and the entire community has blessed my creative life.

S: It truly is a wonderful place, I am certainly glad I happened across it! Ok... If you were to have someone comment on your work, who would you just love it to be? Not limited to the Resident Poets, it can be anyone dead or alive.

A: Hmmm.... toughie. Poe for my darker works, Shakespeare for my one-acts and sonnets. I guess for a current poet(ess), I would love to be critiqued by Maya Angelou.

S: Why?

A: Well, she is an author (still living) that I have read and greatly respect... I love her work.

S: Are you, one day, looking to be published?

A: That is a dream I wish to be reality, but one day at a time.

S: Words to live by, for sure. I would love to one day have a novel or two published... but it is as you said... One day at a time. I'm a book nerd, I love to read.

A: Same... which is why I have glasses now... too eager a reader while a wee lad.

S: Who is your favorite author?

A: Toughie again. Tolkien, Thurber, Shakespeare, Poe, Hobbs, Goodkind, Lawhead.

S: When you write, do you want to make a statement? Change someone's outlook?

A: Sometimes, but not normally. I write to write, regardless of audience. In the beginning it was a cathartic release which gradually evolved.

S: Well, I must say that you have certainly enlightened my evening, I'm pleased to have met you.

A: Well, I've always held that a light on a hill cannot be hid, nor should it.

Note: If you would like to learn more about Alicat, please check out his website. Also, check out Ali's substantial contributions to Passions.


Closing Point - Editor’s Poem of the Month

by Ruth Grattan (hoot_owl_rn)

I don’t want you to be my savior
shed your blood on a cross of words
for our sins

I don’t want your sympathy
given out like candy on the street
I am not a child

I don’t want your gift of love
laid out in sacrifice upon the alter
like a slaughtered lamb

I don’t want to feel
your tainted kisses burn upon my skin
with passion’s fire

I don’t want the lies
you told that tore my soul apart
and left me bleeding

I have asked nothing of you
but to give of yourself
yet, you give me nothing.


The Final Word
by Poet deVine

We are excited about the growth of our home on the Internet! The site is barely a year old and has had such phenomenal growth this year! The next year, will present us with challenges and triumphs. Please join us as we travel into the next century.

If you have any comments or questions, please feel free to contact me at:

End Notes

To unsubscribe from Digital Passions, please click this link and enter your subscription number and registered email address (both are included with your latest copy of the newsletter)

If you need to change your email address, simply drop me a line at with the new information. I'll make sure you don't miss a single issue. Please include the subscription number and email address listed in your latest copy of the newsletter.

(c) 3/24/2000 by the individual authors - All rights reserved. No part of this publication may be reproduced in whole, or in part, without the express written consent of the authors.

But, by all means, feel free to forward it to a friend any way!

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Passions In Poetry