Public Poem Comments

Richard

(2025-06-27 17:43)

Thank you for your comment, Maggie. That line stands out for me as well: it manages to be both startling and oddly beautiful, capturing the way Loy transforms even something as mundane as pigeon droppings into a kind of urban myth or spiritual metaphor. It is remarkable how a single phrase can shift our perspective on the ordinary, inviting us to see the city’s messiness in a new, almost sacred light.

Richard

(2025-06-27 18:11)

Thank you for your thoughtful comment. I am glad you found the idea of layering musical interpretation over poetic interpretation of visual art to be interesting. Mina Loy is indeed a fascinating poet, both for her experimental style and for how she navigated the artistic circles of her time. Her poem about Brancusi’s sculpture is a great example of how different art forms can speak to each other, each adding its own perspective to the conversation.

If you find Loy’s work intriguing, there is a lot more to discover in her poetry, especially her explorations of modernist themes and her unique use of language. I am always interested to hear how others respond to these cross-disciplinary experiments, so if you have any thoughts on how the music interacts with the poem or the sculpture, I would enjoy hearing them.

Richard

(2025-06-26 18:31)

Thank you so much for your thoughtful comment! I couldn’t agree more; humor really is a lifeboat in life’s stormy seas. I’m thrilled you enjoyed my take on Edgar A. Guest’s wonderful poem. Your words are truly encouraging and make the creative journey all the more rewarding. Thanks again for listening and sharing your reflections!

Richard

(2025-06-26 18:30)

Thank you so much for your kind words! I’m delighted that you enjoyed both tracks and that the whimsical, quizzical spirit of the poem came through for you. It’s always a pleasure to know the music connects and brings the poetry to life. Your feedback truly means a lot and inspires me to keep experimenting with new arrangements. Thanks again for listening and sharing your thoughts!

Richard

(2025-06-26 18:29)

Thank you so much, Maggie! I’m thrilled you enjoyed these arrangements—“Wind on the Hill” has always been a favorite of mine too, and it was a joy to reimagine it with Afrobeats rhythms. I’m glad the blend of playfulness and emotion came through for you. Your thoughtful feedback truly means a lot and inspires me to keep experimenting with new musical directions. Thanks again for listening and sharing your experience!

Richard

(2025-06-26 18:30)

That's quite an observation. "a dew" - "adieu" - Thank you for pointing this out.

Richard

(2025-06-30 08:53)

Your reflection on "O Ailing Love" captures exactly what draws me to Millay's work: her ability to transform personal sorrow into something universally resonant. The wounded bird imagery you mention is particularly striking; it suggests that love's decline isn't necessarily a failure but perhaps a natural progression, which makes the poem's melancholy feel less bitter and more accepting.

I'm glad the musical arrangement complemented your reading experience. The vocalist's interpretation was indeed carefully chosen to honor both the poem's delicate emotional terrain and Millay's precise language. There's something about hearing these words sung that seems to unlock their full emotional weight, isn't there?

Your observation about the "bittersweet complexity of letting go" resonates deeply. Millay had this remarkable gift for finding beauty even in loss, which I think is what makes her love poems endure. They don't shy away from pain but find grace within it.

Richard

(2025-06-28 12:19)

Thanks for sharing your thoughts on the arrangement. I’m pleased the reggaeton rhythms and desert blues guitar stood out for you. I was interested in how those contrasting elements might reflect both the energy of the poem and the unpredictable nature of the sea. Do you find that certain rhythmic patterns or guitar styles evoke a particular mood for you when paired with poetry, or was it the combination itself that created the atmosphere? I’m always curious about how listeners interpret these musical blends, especially when working with such evocative source material as "The Stormy Petrel".