This is an addendum to my previous post, https://marilynonaroll.wordpress.com/2018/08/27/order-order-or-on-finding-a-unifying-principle-in-the-disorderly-poem/
But I guess the question remains: HOW do I go about finding or highlighting the thread among the disparate pieces of a poem? It has something to do with theme, and something to do with imagery. For example, I’m working on a piece that uses repeated imagery of a bridge to talk about, well, various bridgey ideas, both literal and figurative. Movement, transition, change, stasis, choice-making, connection, communication are all things I’m thinking around as I think about this bridge. One thing I threw in was a segment not about the bridge I was standing on, but the bridge in my mouth, and tied it back in to the road sort of bridge, and to an idea about trust and connection sort of. I think I may be able to let that stay. I think I manage to have enough of a string that it stays attached to the whole. Another section talks about alignments of standing stones in France that may act as a bridge for the gods, or for human beings to move between life and death. That section strikes me as going too far off the image and the collection of ideas, so I think I’m going to jettison that one. Neither the image nor the idea are quite enough in keeping with everything else going on in the…well…whatever this thing is, poemy thing or essayish thing. So the answer to “how” seems to be a constant querying of each thing I throw in to the kitchen sink and a check back to look at the whole confabulation. What is this thing I’ve thrown in, and will it find its way to fit with the whole group? If I’m setting a table with silverware, I may not need a cowbell.