LOVE

A Poem by Rose Meyer

It is about someone who has found love and does not know what to think and it is talking about how you need to savor the love that you are given.

LOVE- Is something that everyone needs

LOVE- IS life itself

LOVE- is sacrificing yourself for someone you love

If you have the worthiness to love someone for the rest of you life

Then you will love that person

And if you don’t lie or cheat

Then you can have a good life

If you can get through your rough spots with the person you love

Then it was meant to be

If you can find the one that truly loves you

Then you are set for life with that person

LOVE itself is pure to no extent

LOVE itself is willing to work out your problems with your partner

LOVE itself is compassion

Honesty

Healing

Trustworthiness

Respect

LOVE itself is a family

LOVE itself is in your heart….

© 2022 Rose Meyer

Author's Note

This is a little bit of how I feel So if you think I could be really good please say something because I know I could do better but I know I have some type of feelings that helps me write my poems.

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Reviews

poetgurl (Plainly Meg)

Such a wonderful write here this whole world needs love.

Posted 2 Years Ago

Unspoken poet

Yes, everyone needs Love. Love as well as kindness.
I like how you said;

LOVE itself is a family
LOVE itself is in your heart….

Nicely written and said. I enjoyed your write.

Posted 2 Years Ago

1 of 1 people found this review constructive.

JayG

• I know I have some type of feelings that helps me write my poems.

That may be true. But in poetry, it's the feelings you evoke in the reader that make them come back for more. Right? But if you don't know what tickles a reader's fancy...

You did ask, so you have only yourself to blame for this. 🤪

The reason you’re not as satisfied with your poems as you hope to be is something you’ll not see. It's something that’s not your fault, and, has nothing to do with talent. But still, it does get in the way, and you have a LOT of company in this.

First, you’re missing a critical piece of information: the goal of poetry. It’s not to inform the reader, it’s to move them, emotionally. It might be via your use of vivid and evocative language. It could be the imagery you call up in the reader’s mind with your words. It might also be the empathy that causes your reader to identify with a person or situation. And if you can make use of all three… As E. L. Doctorow put it: “Good writing is supposed to evoke sensation in the reader. Not the fact that it’s raining, but the feeling of being rained upon.”

But...a series of, “This is what I believe?” statements? Interesting, perhaps, and the reader could be responding with anything from, “Right on!” to “Are you out of your mind?” as a result. That is emotion, I’ll admit, but it’s not an emotional experience of the kind Mr. Doctorow meant.

You’ll not see a problem when you read, though, because you’re not seeing your own words as a reader will. You have both context, and, your intent for how the words are to be taken—plus backstory on any situations described. And you have all that BEFORE you read the first word. So for you the narrator’s voice—your voice—is filled with emotion. But the reader “hears” only the emotion that punctuation suggests. For you, the words mean precisely what you intend them to mean. The reader? They have what the words suggest to them, based on their life-experience, not your intent.

The real problem? It’s what I call, The Great Misunderstanding. In our school days we were given a skill called writing. We honed that skill for over a decade, so, when we begin to write poetry or fiction, we make the natural assumption that the skill called writing that poets use, is the one we were given. But it’s not. That was nonfiction writing. It’s great for the reports and papers and letters that employers call on us to write, but, it’s fact-based and author-centric, so all it can do is inform and explain, not involve. It can be interesting, but it's seldom emotionally captivating. Unfortunately, if it’s the only approach to writing that you’re aware of, it’s what you use. And since you’ll not address a problem you don’t see as being one…

See the problem? With the best of intentions, we begin to write, and see that it’s not as exciting as we want it to be—especially when we come back to it a month later—but can’t see why it's lost some of the immediacy it had when we wrote it. The good news is that it’s fixable. For poetry, the first step is to, always, edit from the seat of a reader, one who has not a clue of how you want it read. One way to do that is to have your computer’s Narrator program read it aloud, to you. It’s a really useful technique for fiction, as well.

In addition, dig into the tricks of poetry that they’ve been developing for centuries. There’s a lot that’s obvious once pointed out. And for that I have a few suggestions:

Mary Oliver wrote what most people feel is a great book on the basics of poetry. You can pick up a used copy on Amazon for about $6, shipping included. And that’s a bargain.

To show you what kind of a poet she is, here’s a sample of her work that took my fancy:
- - - - -
I go down to the shore in the morning
and depending on the hour the waves
are rolling in or moving out,
and I say, oh, I am miserable,
what shall–
what should I do? And the sea says
in its lovely voice:
Excuse me, I have work to do.
- - - - -
The Shmoop site can be a good resource for lots of subjects. When you get there, select Student. Then use the button to the left of the mid-page search window to select Poetry. There are lots of great poems analyzed to a great depth, to show how and why they worked.

And the excerpt, on Amazon, for Stephen Fry’s, The Ode Less Traveled, though its primary focus is on structured poetry, is a great resource, for what he has to say about the flow of language.

So…I’m pretty certain this wasn’t what you expected to see. But as mark Twain put it: “It ain’t what you don’t know that gets you into trouble. It’s what you know for sure that just ain’t so.”

I hope this helps. In any case, hang in there, and keep on writing.

Jay Greenstein
https://jaygreenstein.wordpress.com/category/the-craft-of-writing/the-grumpy-old-writing-coach/

Posted 2 Years Ago

• I know I have some type of feelings that helps me write my poems.

That may be true. But in poetry, it's the feelings you evoke in the reader that make them come back for more. Right? But if you don't know what tickles a reader's fancy...

You did ask, so you have only yourself to blame for this. 🤪

The reason you’re not as satisfied with your poems as you hope to be is something you’ll not see. It's something that’s not your fault, and, has nothing to do with talent. But still, it does get in the way, and you have a LOT of company in this.

First, you’re missing a critical piece of information: the goal of poetry. It’s not to inform the reader, it’s to move them, emotionally. It might be via your use of vivid and evocative language. It could be the imagery you call up in the reader’s mind with your words. It might also be the empathy that causes your reader to identify with a person or situation. And if you can make use of all three… As E. L. Doctorow put it: “Good writing is supposed to evoke sensation in the reader. Not the fact that it’s raining, but the feeling of being rained upon.”

But...a series of, “This is what I believe?” statements? Interesting, perhaps, and the reader could be responding with anything from, “Right on!” to “Are you out of your mind?” as a result. That is emotion, I’ll admit, but it’s not an emotional experience of the kind Mr. Doctorow meant.

You’ll not see a problem when you read, though, because you’re not seeing your own words as a reader will. You have both context, and, your intent for how the words are to be taken—plus backstory on any situations described. And you have all that BEFORE you read the first word. So for you the narrator’s voice—your voice—is filled with emotion. But the reader “hears” only the emotion that punctuation suggests. For you, the words mean precisely what you intend them to mean. The reader? They have what the words suggest to them, based on their life-experience, not your intent.

The real problem? It’s what I call, The Great Misunderstanding. In our school days we were given a skill called writing. We honed that skill for over a decade, so, when we begin to write poetry or fiction, we make the natural assumption that the skill called writing that poets use, is the one we were given. But it’s not. That was nonfiction writing. It’s great for the reports and papers and letters that employers call on us to write, but, it’s fact-based and author-centric, so all it can do is inform and explain, not involve. It can be interesting, but it's seldom emotionally captivating. Unfortunately, if it’s the only approach to writing that you’re aware of, it’s what you use. And since you’ll not address a problem you don’t see as being one…

See the problem? With the best of intentions, we begin to write, and see that it’s not as exciting as we want it to be—especially when we come back to it a month later—but can’t see why it's lost some of the immediacy it had when we wrote it. The good news is that it’s fixable. For poetry, the first step is to, always, edit from the seat of a reader, one who has not a clue of how you want it read. One way to do that is to have your computer’s Narrator program read it aloud, to you. It’s a really useful technique for fiction, as well.

In addition, dig into the tricks of poetry that they’ve been developing for centuries. There’s a lot that’s obvious once pointed out. And for that I have a few suggestions:

Mary Oliver wrote what most people feel is a great book on the basics of poetry. You can pick up a used copy on Amazon for about $6, shipping included. And that’s a bargain.

To show you what kind of a poet she is, here’s a sample of her work that took my fancy:
 - - - - -
I go down to the shore in the morning
and depending on the hour the waves
are rolling in or moving out,
and I say, oh, I am miserable,
what shall–
what should I do? And the sea says
in its lovely voice:
Excuse me, I have work to do.
- - - - -
The Shmoop site can be a good resource for lots of subjects. When you get there, select Student. Then use the button to the left of the mid-page search window to select Poetry. There are lots of great poems analyzed to a great depth, to show how and why they worked.

And the excerpt, on Amazon, for Stephen Fry’s, The Ode Less Traveled, though its primary focus is on structured poetry, is a great resource, for what he has to say about the flow of language.

So…I’m pretty certain this wasn’t what you expected to see. But as mark Twain put it: “It ain’t what you don’t know that gets you into trouble. It’s what you know for sure that just ain’t so.”

I hope this helps. In any case, hang in there, and keep on writing.

Jay Greenstein
https://jaygreenstein.wordpress.com/category/the-craft-of-writing/the-grumpy-old-writing-coach/

Rating /100