Photograph of Aldeyjarfoss, in Iceland‘Aldeyjarfoss’ and Other Poetry by Greg Tuleja The Society July 27, 2018 Beauty, Culture, Poetry 6 Comments Aldeyjarfoss If, in some grim sensory exercise In a laboratory, behind a screen Where staunch technicians memorialize Their findings, everything we’ve heard and seen, Or smelled and tasted, or in our hearts felt As hope, an urgency to touch these walls Of snow and ice, as groaning glaciers melt, We are asked to explicate a waterfall, To measure the sound, the rush and the roar, The strict taxonomy of this blue spray That brushes our faces as we search for A crossing in the mist, we might then pray For a sudden end, bewildered by this test, Our certainties vanquished and put to rest. Madame Is Interred It was not time to place her in the ground, Not yet, before an ending could be found, A dry response to debates she started In dim, whiskied halls where we once parted Company, our nostalgia left behind, With dreary, withered hearts we tried to find Our way home, a pale longing to resume These ashen tales, in moonlit sitting rooms. So with prayer-books closed, the guests sent away, We took her from the box, and in a plush chair, Propped her up, to hear all she had to say, Without judgment for once, generous and fair. An hour of this, to let the evening wane, And next morning, with the hole neatly built, It is time, but at grave’s edge we remain, Stayed by the vast authority of guilt. Greg Tuleja was born in New Jersey and received degrees in biology and music from Rutgers University. He has worked as a professional musician, piano technician, and flute teacher. Greg lives in Southampton, Massachusetts and is currently the Academic Dean at the Williston Northampton School in Easthampton. His poems and short stories have appeared in various literary journals and magazines, including the Maryland Review, Lonely Planet Press, Romantics Quarterly, Thema, and the journal of the California Literary Society. NOTE: The Society considers this page, where your poetry resides, to be your residence as well, where you may invite family, friends, and others to visit. Feel free to treat this page as your home and remove anyone here who disrespects you. Simply send an email to email@example.com. Put “Remove Comment” in the subject line and list which comments you would like removed. The Society does not endorse any views expressed in individual poems or comments and reserves the right to remove any comments to maintain the decorum of this website and the integrity of the Society. Please see our Comments Policy here. Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to print (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to email this to a friend (Opens in new window)Click to share on Pinterest (Opens in new window) 6 Responses Leo Yankevich July 27, 2018 Although some formalistas may complain of unscannable metre, I enjoyed both of these. I do, though, suggest you listen to more of Jethro Tull: https://www.youtube.com/watch?v=-0GAuexrVzo Reply E. V. July 27, 2018 Leo, I agree with you that both poems are enjoyable, but I thought you believe that formal poetry should always have perfect meter. I’m curious; under what circumstance(s) do you feel it’s fine for a formal poet to abandon meter? Reply Leo Yankevich July 27, 2018 E.V., What constitutes perfect metre? To me it’s metre that makes a poem mean the way it sounds; it’s metre that both gives the poem structure and beauty. The metre can be strict or lose; it can be accentual, iambic or syllabic. It can be many things. Think of metre as a canvas and beautiful frame, as a fresco or mural, etc. Reply Leo Yankevich July 27, 2018 E.V., What constitutes perfect metre? To me it’s metre that makes a poem mean the way it sounds; it’s metre that both gives the poem structure and beauty. The metre can be strict or loose; it can be accentual, iambic or syllabic. It can be many things. Think of metre as a canvas and beautiful frame, as a fresco or mural, etc. Reply E. V. July 28, 2018 Thanks, Leo. That makes sense. You also explained it poetically. Reply J. Simon Harris July 30, 2018 Both of these are very well done. This is a good example of a meeting point between modern and classical poetry. The forms are classical, but owing to the irregular meter and enjambment, the sound and flow is distinctly modern in both poems. Both poems, I think, are also very full in the sense that form and meaning complement each other well. Reply Leave a Reply to E. V. Cancel ReplyYour email address will not be published.CommentName* Email* Website Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.