Some notes on that draft and others.

A lil while back in posted a draft of a poem. It was a bit rough. Haha.

I've since decided to split the octave from the sestet; they're just too different and I want to develop the ideas in each part more and won't ever have space to as long as they're still conjoined. Makes sense right? Well see how that goes.

I can't remember if I explained this cycle already,  but I'm gonna write a bunch of sonnets and call them The Buttsex Sonnets. Lololol, right? Hopefully.

Basically they will all have something to do with gay stuff, but on a deeper level meditate on themes of love and lust and how they are so easily alloyed with other passions and become something different.

So, like the sonnets that will come from that other one:
The one building off the octave's material will further explore the contempt and judgment and mockery in the first 4 ish lines as the new octave. Then in the sestet it will take from the second half of the original octave: envy. A wish to be as seen and noticed as the "faggot in horizontal stripes", even though it's negative it's still more attention than the speaker feels he gets. I get. Whatever. Either way it's turning that contempt inward; this "gaybra" is actually cute as hell even as tackily dresses and obviously gay, and can probably (or so the speaker surmises) get sex anywhere anytime.

I like the language and tone of the sestet's material; it's idea isn't bad just underdeveloped as it stands. Basically it was replying to the gaybra's obviousness and shit and trying to compensate fro a perceived sense of inferiority.

There's another I'm working. It was inspired by this ridiculously hot guy at the club (yes I do go clubbing. Sometimes.). Basically he was rapturous. Like some magnetic predator sliding through the crowd...and we made eye contact, which he held, he continued to look, stare even, as my badhfulness took hold and I glanced away--only to find each time I glanced back he was still looking. And then he brushed against me and good god....Hot as fuck. But what I'm really excited about is the sestet. I'm using a lot of echoing--specifically "would I could" and stuff--to fey a haunting effect. I can't wait to read it out loud, especially the last line "...would that I could: I would, I would."

But why sonnets? Well originally it became a sort of challenge. I suck at rhyming and struggle with forms and generally write in meters other than pentameter. So I figured I'd challenge myself and it's been pretty interesting. As I've worked on them though a new awareness has taken hold: the conceptual potential of the conceit-volta dynamic. It's dialectic or so shit. So it provides profound possibilities for expressing and exploring specific ideas--especially in a contracted form. Because in order to develop the ideas most fully I need to be concise and creative. So I think this challenge had blossomed into something really interesting.