12 March 2004. Right after posting my blog entry for yesterday, I made small changes to it. This morning, I woke up into thoughts about the more substantial repairs it needed.

Here's one: probably the most important way craftfare appeals to us is by giving order and coherence to the complexities and difficulties of existence.

Also, I now feel I need more explicitly to define my three kinds of poetry. So, take soulfare to be any lineated literary text (actually, any text with a significant number of flow-breaks, but I won't get into flow-breaks here) whose explicit focus is human experience.

Take craftfare to be formal verse. That is something I, in turn, take to be any lineated literary text whose lines are (mostly) one or more of the following (to a reasonably great degree):

parallellic (or significantly locutionally similar to other lines as with the Biblical psalms and much of Whitman), length-defined (or a certain amount of syllables or beats in length), metrical (or metrically regular), repenemical (or containing inter-acting repenemes at their terminals, "repeneme" being my coinage for a syllable that repeats some part of another syllable such as a rhyme or alliterant). Can anyone tell me what else formal verse might have?

Take aesventurefare to be any lineated literary text that contains something new: new subject matter, new technique, new tone (auditory, conceptual, emotional--any kind of tone or combination of tones). This brings up another question: is there anything else than the three I mentioned that can be new in a poem?

So much for that topic, for now. Before I end today's entry, though, here's the latest on me and Paint Shop. I feel I've hit a slump there. I'm still doing my daily sessions--but no more mathemaku, even ones that are revisions of previous ones, are happening. However, I made a textual illumage yesterday that seemed to me at the time mildly interesting, and no doubt revealing about where I'm going, so here it is: