02.03.2016

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As a 40-year yoga practitioner, with over two decades practicing massage therapy and teaching yoga, I have seen countless injuries, chronic pain and joint issues in yoga clients of every age and fitness level. The sad truth is that years of practicing body positions that do not simulate real life function can lead to misalignment, chronic pain, and even surgical replacements. To be smart and safe in yoga, we need to consider postural alignment and natural joint function, rather than blindly following a list of "must-do" traditional poses and boot camp challenges. Paschimottasana and Uttanasana are straight leg seated forward bending poses practiced from sitting or standing that go against how our body is "wired" to move. All standing and seated forward bends with knees straight and ankles flexed in right angles undermine the spine's integrity creating the C shape, or slouch, stressing the necessary ligament tension needed for natural joint functions of our spine, hips and knees. The gluteus muscles are stretched out and weakened when we do straight leg forward bends because the butt muscles cannot functionally activate if both knees are straight. The flexible and bendy people have no trouble doing these poses and it can even feel "good," but over the long run, this flexibility becomes a liability.
When we lean forward from sitting or standing without bending our knees, we are asking the spine to stretch in ways it is not designed.
Protect your spine and lower back curves in yoga: Keep your knees deeply bent in all seated and standing forward bends, and stay out of all yoga poses that create a C shape in the spinal column.
In order for yoga to evolve and be safe for all, we must use critical thinking, discernment, awareness and simple bio-mechanical common sense. I always remind my students to practice naturally aligned posture as the most important asana.
Yogis need to take off the avidyas (blinders) and consider the long-range effects of yoga poses on the human body. Have you ever had a talk that involved stating your opinions in a linear fashion, laying out what you wanted, then reaching a conclusion?
Imagine you were teleported back to the third grade for a day and sat in a class where the teacher was quizzing multiplications tables. I actually currently have an unpaid parking ticket ($25 late fee) and am a month late on going to get a cavity filled. I here what you are saying about womens ups and downs being normal but I also think our lady symptoms are getting more severe due to the un natural environments we live in and the typical western diet.
I know there are some Holistic docs that treat minor hormonal imbalances by adding things like natural progesterone creams,and supplements and bio-identical hormone therapy. The 2-3 days before, I just eat all the chocolate in the world, and watch terrible rom-coms (which I usually hate). Your sister is right, just be more kind to yourself (which is really a good motto for life broadly as well…).
I’ve had the same problem, my period stopped for three months and then lasted for six months , on September 26th2013 it stopped and now I feel dizzy when I walk and it scares me ?? Dont know what to do. It sounds like you may be anemic due to an iron deficiency caused by having your period for so.
Thank goodness for my understanding husband, who cuts me some slack when my hormones go crazy. Back in tthe olden days women did not use anything special to catch their flow, so they just bled through their skirts.
Claire’s right a WFPB diet really helps a ton check out dr mcdougall with his it has cured endometriosis, also slices away any risks of breat it ovarian cancer. Aunty Flow stopped visiting me a couple of years ago, so now I’m free to be a cranky bitch (or not) whenever I want. Really after all us women complained about being tired, you have new stem cells for more kids? I think sometimes our period might be trying to tell us something, but in some cases it might not be what we think. I have noticed if my exercise levels are up, and my diet is optimal, that I have far less discomfort during my period. But anyway, regarding PMS… yeah, I totally lose my edge for the week right before my period (and sometimes for 2 weeks before) but I begin to feel normal again as soon as my period starts, so I actually prefer the week of my period to the week leading up to it. And, whoever came up with that “Have a Happy Period” campaign can bite me no matter what my DefCon rating is!
I get what you get too – however, luckily (sorry), mine only lasts a day or 2 at most. While exercise helps in the moment (sometimes), it doesn’t do anything long term and I usually just take it as a rest day, or at least, do something mellow like the elliptical.
The present survey is provisional and intended to serve as only the merest introduction to a vast and extraordinarily complex field, one that commands broad, ongoing attention. Frost simply could not understand why anyone would bother writing free verse, but still they did, and so a question presented itself with some urgency: after the widespread defection of poets from fixed or inherited forms, how would they go about organizing poems?
In Missing Measures, Timothy Steele points out that a strong-minded band of free verse pioneers in English—Ford Madox Ford, Ezra Pound, T.S.
Much as poets may like to pose as vatic singers, most still feel obliged to create a persuasive beginning, middle, and ending to a poem as well as engineer a texture or tone that will set it apart from others. As Paul Fussell memorably put it during the Cold War, “we will want to be aware that free has approximately the status it has in the expression Free World. Many strategies have emerged to cope with the open field of free verse, several of them before Frost was even born. Metered poems tend to be fashioned in simple symmetrical patterns, due to the spatial demands of poetic feet.
Although wing-shaped poems appeared in several languages in the Renaissance (modeled on early Greek examples), George Herbert’s “Easter Wings” is the shaped devotional poem perhaps most familiar to English-language readers.
Three and a half centuries later, Dylan Thomas would continue the mystical tradition in this style with his “Vision and Prayer” poems, which alternate between hourglass and diamond formations. Leaping forward several centuries, we discover an explosion of shaped poetry in tandem with Cubism and artistic modernism at large.
An earlier example along these lines is Lewis Carroll’s “Long and Sad Tale of the Mouse” from Alice’s Adventure’s in Wonderland (1865). Far more ambitious than Carroll or Apollinaire, Italian Futurists strove to unleash the pure euphoric energy of language, much as Futurist painters had done with color, line, and shape in their highly kinetic, kaleidoscopic canvases. The written word laid siege to the art world, and we see prototypes for later painted poems such as those by New York School members Larry Rivers and Kenneth Koch (“In Bed,” 1982), as well as major text-based contemporary artists like Jenny Holzer (“For the Guggenheim,” 2008), Glenn Ligon (“I Feel Most Colored When I Am Thrown Against a Sharp White Background,” 1990–91), Ed Ruscha (“A Particular Kind of Heaven,” 1983), and Barbara Kruger (“Don’t be a Jerk,” 1996). To leave the artist’s studio and return once more the print shop, one may contemplate John Hollander’s 1969 collection Types of Shape, in which poems are patterned much like Greek Bucolic figure poems to resemble their subjects, though shorn, in this instance, of regular meter. This icon-making tactic continues to enjoy some popularity today, as in the work of Paul Siegell, who takes the extra step of distributing small printed versions of his shaped poems during readings, to allow audiences to follow along as he performs the spoken component of the poems. Aside from such literal representations, the intoxicating influence of Cubism launched a brand of poetry designed to sport with the visual field while delivering an assortment of ocular signals.
Such early modernist experiments seem carefree when set beside their offspring in the effervescent sphere of concrete poetry, a conspicuously avant-garde international movement that germinated simultaneously in South America and Europe before spreading to the United States.
Early German pioneer Eugen Gomringer’s 1954 “Silencio” exhibits concrete poetry’s refusal of narrative.
Scottish poet Ian Hamilton Finlay went so far as to introduce systems of sculpture, gardening, and landscaping into concrete poetry, attempting to merge the written word with nature itself.
In the middle of the eighteenth century, while committed to a madhouse, Christopher Smart composed a long devotional poem titled Jubilate Agno, “rejoice in the lamb,” not published until 1939. Each morally instructive line proceeds from the anchoring preposition “for” to describe the admirable traits of the author’s familiar. Allen Ginsberg, a poet deeply indebted to this technique, cited both Smart and Whitman as models for his famous 1956 dithyrambic poem Howl. Ginsberg refers to the “fixed base ‘Who’” in a 1956 letter to Richard Eberhart (he also remarked that the poem is “really built like a brick shithouse”). William Carlos Williams patterned his late, long poem “Asphodel, That Greeny Flower” into tumbling indented tercets, a shape that makes the unmetered, unrhymed poem more approachable, though Williams claims he wrote in that fashion only because it helped him to see the poem more clearly despite failing eyesight. Beyond mere parallelism, line length itself may be used to reinforce larger rhetorical aims, as Paul Fussell observes in the gradual opening up of Whitman’s “Crossing Brooklyn Ferry.” The speaker’s senses fill with the panoramic view of New York harbor, and the lines enlarge to accommodate the vision, swelling from the opening line of 11 syllables through lines of 18, 23, and eventually 28 syllables. He accomplishes a similar feat in the slow winding down at the end of Leaves of Grass, after more than 1,300 lines. Combining modern typographic techniques with the mystical ingredient of medieval cubic poems, T.S.
Eliot also borrows from the liturgy of the newly-embraced Anglican Book of Common Prayer to create a call-and-response pattern. One can almost hear a congregation responding to the poet-priest’s solitary appeal in the preceding line.
Readers are compelled to slow their reading pace and grasp the poem in a mostly arrhythmic manner, as if looking at a painting. Another method relies on the introduction of specific, arbitrary limits. Bob Perelman is known for sometimes using a fixed number of words per line, as in his poem “A Body” from his 1993 book Virtual Reality, which installs six words, of any syllabic length and sound, per line. The trouble with parameters such as this is that they only control for one aspect of a line’s creation, ignoring the number of syllables (as in syllabics) or regular rhythm (as in metered poetry). The physical limits placed by the edges of the tape result in extreme enjambment reminiscent of William Carlos Williams. On the far end of the gamut, small, deliberate visual patterns can imply meanings without distracting too much from a verse itself.
In this largely unrhymed passage, the terza-rima-like shape puts the reader in mind of Dante’s Commedia (specifically the Brunetto Latini passage in Canto XV of Dante’s Inferno),[4] allowing Eliot to be led through the bombed streets of the London Blitz by Dante much as the Florentine poet was led by his Imperial Roman predecessor Virgil. Other graphic techniques include use of acrostic patterns as well as anagrammatic and inverted end-words.
Vertically, the initial letters spell out the poem’s subject, Elizabeth, though one is hard pressed to argue that the trick does much to help an otherwise unremarkable poem. Consonance strengthens and amplifies words that, even rearranged, can sometimes remain half-rhymes.
A contemporary poet who makes use of this technique, one no less sardonic, is Frederick Seidel. Kasischke stretches rhyme very nearly beyond its capacity to hold a poem together, but this performance highlights the disintegrating personality of the poem’s central figure, who eventually falls apart altogether and perhaps commits suicide. Kay Ryan’s use of free verse rhyme is more muscular and taut, suited to her shorter, epigrammatic style. Some organizational techniques applied to free verse could be as easily applied to formal verse, yet their presence is typically more meaningful in a field devoid of set form. Formlessness may also, at times, assume the guise of a gesture toward aesthetic liberty or be employed as a tool of exploration. While one may be tempted to see a typical poem by John Ashbery, for instance, as gaseous or essentially shapeless, it is this very deflecting technique that lures a final shape from chaos.
A simpler, more common approach to shaping a free verse poem is what I will call the instinctive. Detail from 13th-century illuminated Icelandic Saga manuscript, the Arni Magnusson Manuscript Institute in Reykjavik, Iceland. Technology itself, advancing with dizzying swiftness, continues to alter the way poets compose.
The internet and home computers have given rise to hypertext and digital poetry, and inaugurated a restless age of sometimes dazzling, sometimes tedious interactive poems that change according to reader input. I will end what has become a rather dispassionate survey with something of a personal statement.
Kev Lincoln has approached me about writing a few articles for the Doncaster AC website based around my studies and my sporting experiences. Static (active- using the tension of opposing muscles to maintain the stretch or passive- external force (e.g. Dynamic (controlled ‘swinging’ movements, leg raises for example, using the entire range of motion of a limb). Isometric (voluntary contraction of the muscles being stretched, against an external force). Thomas Kurz wrote in his book of 1994 that using the above stretching methods in combination will produce the most effective, and rapid, improvements in flexibility.


After the main workout is done (before the ‘active cool down’), isometric stretches should be done. Research has shown benefits and drawbacks of flexibility training, with many studies contradicting one another as regards the best method for improving flexibility- and the effects these have on performance. Incorporating a stretching regime into your regular training will benefit your running performance no end. My work and investigations with yoga injuries has revealed certain yoga poses engage the body in positions that are unnatural for the design of the human body.
These poses and many variations are practiced with the compartmentalized idea that stretching the back while keeping the knees straight will lengthen the hamstrings and make the spinal column more flexible.
When both knees are straightened and we stretch forward as in yoga forward bends, we are driving with our brakes on and stretching the ligament forces needed for natural anatomical function. Ligaments need to be "tight" enough to keep the hip joint stable during normal activity and movement. This is why people with strong tight butts have difficulty doing forward bends with their knees straight. The sacroiliac (SI) joint ligaments become lax and the hip joint is destabilized, lacking shock absorbing forces needed to protect joint function. When they lean over to pick up a toy, they move from core center, hips back, with knees bent and butt and leg muscles working. If an asana does not support your spine in good posture, it is quite possibly working to pull your body out of alignment, and what is the benefit of doing it?
Is the pose or position going to lead to a favorable outcome adding value to our lives and supporting the ancient wisdom of the yoga sutras?
I would rather be blasted in the thigh with a shotgun and denied medical care for seven hours than have this talk. You don’t like having a serious conversation about the relationship you’re in or about to end? For 20 days of the month I am a writing machine, coming up with posts, working on my book, doing research, conducting interviews and enjoying every second of it. My little Earth Mother sister might be onto something.  Historically in many cultures women were given a break during That Special Time.
If you lose your period it could be because you’ve over-exercised (ahem), dropped your body fat too low (learned that lesson), have an underactive thyroid, are overly stressed or even have cancer. I am almost considering this option because I am tired of the Rollercoaster, I have seen women on the PMDD forums saying that it works wonders. I took Yazmin for about 7 years, and it really messed with my mood (my anxiety is infinitely better since going off), but also, both are linked to blood clots, and a bunch of other heart issues (though cancer was not mentioned…). The week after my period im super cheerful, very energetic and my sex drive is through the roof. It’s trying to tell you to look after yourself and stopping running round like a headless chook. So I asked my yoga teacher (another earth mother) about PMS stuff, and she said something similar- that basically your period is really hard on your body too, so to take a little time. Courtesy of the pill, I barely have any other symptoms, but the day before my period or sometimes on the first day, I feel deeply sad and dissatisfied with myself. I have to remind myself of this before I send off e-mails (because man, can I get defensive)! The odd month on the day or two before I’ll get cramps or a bit sensitive, but most months I just get rediculous hunger cravings.
I definitely agree, women on their periods get treated like they have a terrible disease, and that is really unfair, since it’s a perfectly natural thing. I was told it was okay to use a cup…until it dislodged my IUD and I had to go to an after-hours emergency clinic to get it removed.
Useful examples and additions are welcome and may be entered in the comments section below the article.[1] An earlier version of this essay was given as a talk in the poetry symposium of “Writing the Rockies,” a conference sponsored by Western State College of Colorado in July 2011. Although Frost displayed modernist tendencies of some kinds, he never accepted free verse, one of the hallmarks of modernist poetry. Eliot foremost among them—never envisioned free verse as a means by which to abandon form, jettison technique, or turn entirely away from the past. The absolute freedom of the creator, axiomatic for over a century, has produced masterpieces that demonstrate the value of the ever-new. Not only is the poem’s form a natural and concomitant growth with the poem’s substance, but both are projections of the poet. That is, free, sort of.” Although it may make use of elements of formal prosody—meter that comes and goes like the ladies in “Prufrock,” for instance—most free verse since the 1950s strenuously avoids even the poorest vestiges of Victorian prosody.
When moving away from oppositional definitions—free verse is non-metrical, non-strophic—one is confronted with such a vast array of possibilities and examples that it is necessary to summarize and, at times, simplify them for the sake of argument. Although this is not, strictly speaking, a modern practice, it is one that twentieth-century poets readily adopted and made new. Thus we find wings and axes (they look the same, like hourglasses), diamonds, and plain old big squares.
The earliest true figure poems date to the Hellenistic era, in the second and third centuries B.C.
To accommodate its unusual shape, “Easter Wings” was printed vertically across two facing pages of Herbert’s 1633 volume The Temple: Sacred poems and private ejaculations.
Unlike Simias or Herbert, however, Thomas adds and subtracts lone syllables to sculpt his poems. Notable examples include the Calligrammes of Guillaume Apollinaire, an immediately posthumous 1918 volume that contained a variety of mischievously-shaped poems.
The mouse’s brief story rhymes as it diminishes in both line length and, eventually, type size, to resemble a mouse’s tail, thus setting up a pun on the world “tale.” It is whimsical and, basically, done for fun.
Perhaps the most widely-anthologized of these is the mirrored “Swan and Shadow,” which mimics the image of a swan and its shadow in the water. This year, Geoffrey Hill’s book Clavics—a word defined in the OED as the “science or alchemy of keys”—features on each page two rhyming, largely iambic nonce stanzas in the shapes of a key and what may be a keyhole (though the latter resembles nothing so much as Herbert’s “Easter Wings”). It reached its giddy peak in the 1960s, described by Italian theorist Clodina Gubbiotti as a golden age of visual poetry, when poets and artists attempted to bend and break the written word in every possible direction. It squats there on the page, striving to become as mute and monumental as a minimalist sculpture. Although shaped, optical poetry existed long before the printing press, graphic poetry is a product of the age of print. It has gained considerable popularity, largely due to its affectionate and inventive series of addresses to his cat, Jeoffrey.
This quality permits the poem to lunge forward and also lends a pleasing lilt to the otherwise unmatched lines.
Williams is known for composing in passages that, visually, at least, resemble prose paragraphs.
The repetition of “I remember” sets up a parallel that is amplified and turned with the conjunction “but, more vividly.” It is hard to imagine lines growing any longer without simply becoming small prose-poems.
Traditional stanza forms sometimes included dimeter or trimeter lines, known as “bobs,” to bring variety to the regular tetrameter or pentameter lines that surround them.[2] In a similar vein, the quatrain, perhaps the most recognizable stanza form in English, continues its popularity even in free verse, where it often appears more as a “ghost” stanza, in which the visual qualities of the quatrain survive while a standard aural shape—informed by meter and rhyme—has been dropped. The lines diminish in length over each of the two famous final verse paragraphs, lending a structural component to the gentle end of what has been called America’s second declaration of independence. Ammons typed the book-length poem Tape for the Turn of the Year on adding-machine tape, which severely limits line length over very long stretches (and, as Stephen Burt notes, is also a way for a poet to “try to seem endless”). English-born Canadian poet Peter Stevens wrote in the Ontario Review that Ammons’ tape technique was “an almost perfect method to allow his .
Thomas Hardy’s 1915 poem “The Convergence of the Twain,”[3] on the sinking of the Titanic, is composed of rhymed tercets, the first two lines of which are inset iambic trimeter built over a longer Alexandrine line, creating the silhouette of both a ship’s superstructure and the visible portion of an iceberg.
Eliot uses similar visual cues to summon a Dantean precedent in the ghostly terza rima of the “Little Gidding” portion of The Four Quartets. Acrostic poems relate loosely to cubic poems, which consisted of full mesostic[5] word squares that could be read in several directions, though acrostics employ only the initial letters of each line to spell out a word.
The beauty of this technique is that it can produce wonderful sound effects, as consonance is easily reared from the same group of letters in any order. Correspondingly, I make use of inverted end-words in my poem “Photographs above the Desk,”[6] though the results are less musical.
The use of mirrored words is intended, in this case, to evoke the mirror quality of poets facing each other across generations in a photograph as well as today’s poet contemplating the image of his or her predecessors as if gazing into a mirror. Laura Kasischke uses irregular and sparse rhyme to display the gradual unraveling of a speaker in “Miss Congeniality.” Some rhymes fall close together and relate musically, while stray rhymes reside as outliers, visible only to the eye and almost imperceptible, over such cold distances, to the ear. In a Paris Review interview (Art of Poetry XCVIII), she described what she terms “recombinant rhyme.”[7] Internal rhymes harmonize with end rhymes while working against other unrhymed, enjambed line endings to create palpable tension. We find the technique used to perfection in a poem like “Shark’s Teeth” from Ryan’s 2005 collection The Niagara River, as the aural contours of the poem grate against its visual ones, causing a sense of jaggedness and unease.
Lawrence uses repetitive sarcasm as a principle in his short poem “The English are So Nice.” His repetitions would become monotonous if not for their obvious intent.
He wants to make sure the reader knows exactly how he feels about his countrymen, who were not, after all, very nice to him much of the time. Ashbery has declared that his “poems have their own form, which is the one that I want, even though other people might not agree that it is there. A poem’s shape, its length, its sound, are determined not by strict observance of a pre-ordained structure of any kind but instead by the needs of a rhetorical gesture. Internal rhymes, “grate” and “gate,” for instance, and half end-rhymes, “best and “first,” lightly draw lines together while allowing them to flow. As Marshall McLuhan observed, “we drive into the future using only our rear view mirror.” Poetry has adjusted to accommodate every major technological transformation related to the word. Earlier this year The New York Times heralded the arrival of Twitter poetry, claiming much “evidence that the literary flowering of Twitter may actually be taking place. So, I thought I would write my first article on stretching, which is vital in my own sport, and will certainly be of benefit to all athletes at Doncaster AC. Running has been shown to reduce stiffness in the Gastrocnemius (Calf) muscles in the lower legs. Improved flexibility will cause greater stride length, which, with training, may improve running economy and performance.
In this series of posts, I will explain why these poses need to be radically modified or eliminated to protect yoga practitioners from finding out that which was considered to be useful may in time prove to be harmful. But how does this contribute to real life anatomical function and a balance of postural dynamics?
Try to walk without bending your knees and you will get the global picture of how your body works. Many famous yoga teachers and long time practitioners are getting hip and knee replacements as a result of over-stretching the SI joint as practiced in straight leg seated and standing forward bends. You are a fucking liar and if this were the 1740s you would be placed in the gallows for such perfidious crimes against the state.
PMS is seen as a weakness, something that needs to be fixed, covered up or ignored – a disease even. If your period is irregular it can be a sign of fibroids, nutritional deficiencies, stress and (again) cancer. I end up sitting in my office feeling nauseated from being so dizzy, it’s absolutely terrible. I find that during the first day or two I have to spend a good amount of time sitting down or resting or else I start feeling like I have the flu. I then even out for a while til the week before my period when i get sore boobs, a crankier mood and a low sex drive.
I was on juliet pill and took ponstan prescription tablets at that time of the month for 10 years because I had such bad periods.
Also the age of menarche for plant based cultures is very much later inset and earlier finish.


I totally have the over-sensitive, someone-broke-my-shell, weepy moments often in the days leading up to Shark Week. I guess (purely guesswork) that it’s because my nutrient levels are better suited to prevent problems (maybe naturally higher in minerals like magnesium?), and that my muscles are in better shape to deal with potential problems. It is to be expected that a poet like Frost, whose work embodies the persistence of the accentual-syllabic tradition in English, would be displeased, even disoriented, by the widespread acceptance of free verse in his lifetime. Rather, those involved held that free verse allows the rare genius, one who has internalized centuries of poetic technique, to realize infinite new forms, what some critics have called “discovered forms,” as if they had been there all along, in the Platonic manner, waiting to be revealed.
But since original genius is not given to every artist, much spiritless contriving masquerades as innovation. Examples are known broadly as carmina figurata—a term derived from the Renaissance practice of highlighting sacred shapes in red letter type within the standard black letters of a block of printed prose—literally figure poems, or, more recently, concrete poems. Non-metered poems can take on more supple and intricate patterns because slugs of type may be arrayed as tesserae in a mosaic to fashion just about any silhouette. The best known examples are Simias’ “Axe,” “Wings,” and “Egg,” alongside Theocritus’s “Pipe” and Dosiadas’ two “Altar” poems. He perceives a mystical dimension to the cascading lineation of “Axe,” and in fact mathematical and mystical varieties of shaped poetry appear across the centuries. Like Simias, Herbert shaves a foot from each line as it advances and then swells the figure out again by adding new feet from the midpoint. Although principally a poet, Apollinaire was deeply immersed in the artistic world of his day, and its influences are plain. Swiss critic Max Nanny decodes the “poempicture” as if it were a puzzle and leaves us with an amusing diagram. The mathematical precision of Renaissance permutational poems was combined with post-Cubist art theory to create a new strain of poem that thrived somewhere between art and literature, soaked in a rich Petri of radical politics.
Typographical arrangements of letters, lines, and words can send signals, create larger literary structures, divert attention, or even help to announce allusions. Their simplicity and seeming sincerity, coupled with their fragile transport through a large field of empty white, leave an impression entirely unlike poems of an earlier era. This is so, not least, because while the presence of vertical spelling might appear clever, or, perhaps merely cute, it makes no impression on the ear and contributes nothing to the poem’s music.
These cases belong to the world of “constrained writing,” in which arbitrary structures and limits, or deletions, are imposed on the language during the act of creation. The metaphorical ‘music’ of verse structure was once indeed music.” He is not implying that the poem as heard takes precedence over or precedes, for that matter, the written poem. Note the rhyme of floor (repeated), bore, war (internal), shore—as well as the slant-rhyme “despair”—spread out over fully 13 lines. A formal predecessor to her technique can be found in “Sunlight on the Garden” by Louis MacNeice. He beats the reader half to death by repeating the words nice, nicer, or nicest no fewer than 17 times in a mere 22 lines. I feel that there is always a resolution to my poems.” His poems are not the result of chance operations, as are (at times or in part) the poems of John Cage, Jackson Mac Low, Fluxus poets, and their internet-age progeny, Flarf poets. Once a point is made, an image completed, an emotion displayed, a story told, the poem ends. It ends much as one might expect a short story to end, just at the moment when enough, but not too much, has been said. Before the age of the printing press, when writing surfaces were costly and hard to come by, verse was often written in continuous lines. It is impossible to know what bizarre breeds of poem will be unleashed by future technologies, but, barring a wholesale return to traditional verse forms, as well as to the types of publishing technology that reigned from Gutenberg to the age of the smart phone, poems will continue to scatter, reform, and shift shape as long as poets practice their venerable, endlessly variable craft. I am an active competitor and hold numerous British and European titles and am a current World Champion (I will be representing England in the WKA World Championships in Orlando, Florida, in November- where I will attempt to win my second World title). Depending on the nature of a sport, the level of flexibility required will differ, and may differ within certain muscle groups. The first tension should be held for around 3-5 seconds then within the first second of relaxation (after the 3-5 second tension is over) stretch further and repeat the tension once again. Hamstring flexibility has not been shown to improve through running alone, although a stretching programme aimed at increasing hamstring flexibility may increase stride length and running performance.
What is the purpose and function of doing yoga poses that flatten the curves, and stretch out the very seams of the fabric that holds us together? Where you have to explain your emotions and feelings, despite the fact that they are inexplicable because THEY ARE EMOTIONS AND FEELINGS.
Sure I get all the usual PMS crap like cravings (for like two weeks, so basically half the month I’m fighting sugar), bloating, moodiness and cramps. But either way women were generally expected to be different during their periods. It was normal to not be your normal self. If your period is excessively heavy then you could possibly have polycystic ovarian syndrome, endometriosis, are overly stressed or (you saw this one coming) cancer. I also hate how it feels trying to live in a society that expects women to be on a perfectly even keel 365 days a year. I almost wish I had worse cramps, and no dizziness, because at least I can help cramps with advil, I have no idea how to cure dizziness (more water, etc. If the dizziness is severe, constant, gets worse, etc PLEASE PLEASE PLEASE go see a doctor. After being kept at the same hormonal level for so long by the pill, im really enjoying the super positive week of the red-ruled-roller-coaster. You’d treat it differently right before and after a hard race, so kind of do the same thing at your period. And yes, I’ll probably treat myself to a whole row of silly TV shows on hulu ?? and I indulge in copious amounts of expensive dark chocolate.
I started journaling to vent my feelings so that I don’t accidentally say wrong things to the people I love. You may also listen along to the author’s recordings of the essay by using the embedded audio players. One senses his exasperation as, writing the introduction to a very traditional verse romance—E.A. The age called for new techniques, but no one knew quite what the ideal free verse poem might look like.
The terms are largely interchangeable and may be used to describe poems that rely primarily on shape to provide meaning (as opposed to the more nuanced examples of graphic poems, below). These consisted of dedications composed specifically to be incised on the objects they described. Notable examples include 16th and 17th-century cubic poems that may be read in several directions—such as cruciform poems designed to be read mirror-wise out from their centers.
He coined the term “orphism” to describe a tendency toward pure abstraction, and he also published an important early essay on Cubism. Practitioners assiduously avoided literary allusion or literal shape, stripping letters of meaning, scattering punctuation in non-semantic clusters, erecting colossal letters as landscape art, and even exhibiting carp swimming in a tank with words attached to them as a supreme example of textual instability.
The movement’s name derives from a mysterious Provencal word, whose meaning remains unclear to scholars but which nonetheless appears in Ezra Pound’s Cantos. A common form of organization in free verse is syntactical parallelism (which often produces long lines referred to by David Rothman as “anaphoric versicles”). My breath is long—that’s the measure, one physical-mental inspiration of thought contained in the elastic of a breath.” The extraordinarily long lines trigger a head rush and can be held together only by repeating the descriptive “who” did this and “who” did that of the poem’s reportage. The line breaks are surely not intended as instructions for reading the poem aloud, rather serving as brakes on a car.
Further examples include palindrome-poems (poems that read the same back to front), univocalic poetry (limited to a single vowel), and lipograms (in which a letter or selection of letters is disallowed).
Ashbery’s poems may at times incorporate overheard conversations and found texts,[8] but they are designed, in each case, to generate a specific effect. It thus appeared prose-like, upon first glance, though verse qualities readily surfaced when audited. Sufficient flexibility of the muscle groups of the lower legs is crucial for successful running performance. Repeat this cycle until you reach your maximum stretch, at which time the last muscle tension should be held for up to 30 seconds. The lack of sleep then necessitates OD’ing on sugar and dark chocolate to keep moving.
Us ladies are fine-tuned machines and perhaps our menstrual cycles are the canaries in the coal mines.
She also said that the foods they say to avoid because of bloat (like salt, caffeine and bready starchy foods) can also make emotional roller coasters worse, for what that’s worth.
What tactics will permit a poet to lend meaningful form to a poem without recourse to established strophic, metrical patterns? Simias’ “Axe” is made up of choriambic lines that contract and then expand by one foot per line in axe shape, in order to fit on a ceremonial axe—in this case, a votive artifact housed in the temple of Athena and thought to be the instrument with which Epeius constructed the Trojan Horse. Apollinaire conveyed these new trends onto the printed page with such poems as “La Cravate et la montre,” truly a typesetter’s nightmare. As Gubbiotti explains, they made “consistent attempts at problematizing the capitalist and imperialist values conveyed by the advertising industry,” as one is meant to understand in Decio Pignatari’s 1957 poem “Beba Coca Cola,” one of the most famous concrete poems.
Mimicking repetitions common to ancient Hebraic prosody, it establishes a pattern that may continue over the course of a long poem. If the poem were read by Victorian standards, its speaker would sound like a drunken William Shatner. I am not aware of any poems written with such constraints that also achieve lasting artistic effects, though I remain hopeful that an example may emerge. Rest for one minute, then repeat the same stretching exercise again – complete three to five repetitions of this exercise.
Just you, and your boyfriend or girlfriend, sitting there, either pretending to care or pretending like you are thinking because it isn’t like you made up your mind before engaging in this conversation. Much like a crossword puzzle, this characteristically permutational poem can be read in a number of different directions. In Apollinaire, one reads poems about a necktie and a pocket watch formed on the page as those very items. This method may be used to build a theme, amplify a sensation, or mint ironic juxtapositions, but most importantly it creates form in the absence of meter. Consider Ogden Nash, whose epigrammatic style, even in his longer poems, relies on extraordinarily strong, whole rhymes. A magnificently designed acoustic entity, relying not at all on regular rhyme or meter, such a poem is a marvel, and hard to surpass. Readers thrill to the unpredictable qualities of the poems, the semantic back-flips, funhouse wordplay, and rhetorical barrel rolls. Ashbery’s poems twist and turn, defying obvious logic and conclusions, varying line length with feverish enjambment, screeching to a halt in unusual places. This type of poem illustrates the prevailing variety of free-verse poetry over the past few decades; it characterizes a departure from poetry that aspires to the purely aural or visual. The side effects felt too scary and I already have an IUD for birth control so the risk wasn’t worth it for me. We wait for big, hammering rhymes as we might anticipate the closing of a musical passage, as in “More About People” (note the double-word rhymes). This strain is not experimental according to any avant-garde logic, nor is it, strictly speaking, what one might consider traditional (although one could argue that it has become the new tradition in many respects). It’s gotten so bad that I actually have a calendar alarm set up to remind me not to send any ill-advised e-mails for those couple of days.



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