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My non-haiku poetry tends to show a rather detached view of the human condition. This comes from my years of meditation within the Buddhist tradition. Sometimes my attitude slips and I become a little more hotly involved in matters of love and hate, war and peace. Most of my lengthy poems are in the form of blank verse.

For the Artworks series my poetry lapsed into rhymed doggerel which I enjoy doing enormously as I force the last words of lines into the uniform of rhyme. It becomes a serious problem of selecting words whose end-sounds are a close approximation without making the reader (and myself) wince too hard.

Requested poems:
Impromptu verse for too closely announced weddings and surprise funerals sets me alert to producing open-hearted poetry which meets the situation but stops short of maudlin.

 
To my twin on her 75th birthday

It is too late now for more than
nipping at things left undone;
dipping and bobbing at life's
last temptations, and hearing
doors close even before the next
has been pushed open.
Everything is coming at a rush -
the food trays, the check-ups,
the check-outs, the thinning hair,
and the start of sentences forgotten
before the end is uttered.
A few sepia images come through
from the past that draw us still
together -
Ouselves each end of an English
baby-carriage, facing, toes touching;
the phot of our father in full
swim-suit, covered shoulder to thigh,
(God forbid we see in between)
kneeling on the beach, his arms
around each small daughter,
freckled and mischievous;
Again ourselves in Shirley Temple outfits,
the dresses green polka dots on white,
the coats in green to match
with short puffed sleeves revealing
our bare bramble-scratched arms;
and another of us standing shyly
in our large kitchen receiving
each a Timothy and Johnny knitted doll
made by our cleaning lady, Isabella-Matilda.
Ouselves expecting to be given the world,
yet abashed when love comes in this knitted form.
And later, at college, two young women,
bodies barely restrained in summer cottons
each an arm around a Canadian student,
exotic with her accent and her Kleenex box.
Later she would draw me across the ocean and
make solid the split that our marriages
indicated, for there you are with your
first husband your feet in the wavelets
and myself nowhere to be seen.
It was marriage and children and many years
before we shared another photograph,
then profiles facing, your hair tamed
by money and sophistication,
mine still tangled in gipsy-ways and wildness;
you still Jaeger, me still Value Village,
reaching strands across a gaping divide.
Strands recalling shared womb, shared
baby-carriage and shared childhood.
Slender strands but still strong...
binding our linked flesh.
"Did it really happen?" I ask,
when some days there is just my life
alone, ocean and continent apart
and I can barely remember our face.

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WRITING NAOMI WAKAN DRUMBEG HOUSE ARTWORK