I have heard you play your saxophone
late at night; your languid notes permeate
the foliage-fingers outside my window,
and keep me from my sleep.
The moonlight is thin, the clustered trees, dense;
and still you play your saxophone
and still I seek you, though I cannot see you,
I am hatching plans,
and three trees are already gone:
One, large, has been felled by a storm;
its trunk had been rotten for some time.
Uprooted now from its platonic soil-embrace, it withers in exposure.
(And still you play your saxophone).
Another has died from age, its leafless frame no longer
a modest screen, intercessor
between my window and the world.
(And still I seek you, though I cannot see you).
The third tree I have hacked to pieces myself
with only the small hatchet I possess
I am hatching plans.
And three trees are already gone.
And still I seek you
though I cannot see you,
and still you play your saxophone,
and still you keep me from my sleep.















Comments
i really got sucked in from this line onwards
"and three trees are already gone:"
the repeated "still you play" and "still i seek" are just perfectly placed. the description and the imagery of the trees is really fitting as well.
if i was reviewing this i'd call it "a masterpiece of elegant wordplay and delicate craftsmanship." or something.
for some reason the "your" in line 2 didn't entirely click with me. i wonder if you could personify the saxophone with a "his" or "her"? but that is entirely a matter of personal taste and there's no good reason why it shouldn't stay exactly as it is
I'm glad you like the repetition, I wasn't sure about it, but as I wrote it those lines kept repeating themselves in my head so I figured why not try it.
I think I have a small obsession with trees. Thanks again.
It's a good point, and I considered it for quite some time. I agree about the second line, but I think for consistency's sake I'd then have to change all the 'you' and 'your' to her, and it would read like:
I have heard her play her saxophone
late at night; her languid notes permeate
and
and still she plays her saxophone
and still I seek her, though I cannot see her
And then it wouldn't seem quite as personal as the 'still I seek you'.
Or maybe, this might work:
I have heard her play her saxophone
late at night; her languid notes permeate
and then
and still you play your saxophone
and still I seek you, though I cannot see you.
What do you think? I would value any thoughts. Maybe I'll stick the two versions in the notes and ask for other people's opinions too.
Thanks again for your kind words and feedback, I appreciate it [=
--
'Beauty will save the world'
--Fyodor Dostoevsky
i like having the contrast between the "her" and "you," there is definitely an added impact in the directness of the address to "you" when talking about seeking and seeing. i guess it depends on your vibe of choice
You're brilliant in the way you put together words...I wish you'd write prose sometime, i really do.
--
The sleep of reason produces monsters - Fransisco Goya
I must say I'm leaning strongly towards the "her" and "you" contrast, but I think I will let the whole thing incubate for a while longer.
Thanks muchly again for your comments and feedback, it's most valuable.
--
'Beauty will save the world'
--Fyodor Dostoevsky
Well, I always enjoy hearing your thoughts, and sometimes I find them very helpful. Being a critic is overrated anyway, and then some people will probably try to poison you too.
You know I actually do write prose, but it's been over a year since I managed to finish anything. I really should though, and so I will work at it now and submit some prose in a week or so. Please pester me about it if I don't though!
--
'Beauty will save the world'
--Fyodor Dostoevsky
--
"To avoid criticism: do nothing, say nothing, be nothing."
--
'Beauty will save the world'
--Fyodor Dostoevsky
as always,
consider the source.
--
"To avoid criticism: do nothing, say nothing, be nothing."
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