Welcome to the poetry of c. prismon-reed! I also go by songlin: 松林 (Chinese) and equivalent Songlim 송림 in Korean. It means pine forest or wood; the pine being a symbol of integrity and steadfastness. It was given to me by my calligraphy master teacher Yongsam Kei. You will see this name on translations as well as my calligraphy. The following is a summation of background on my current book of poems: footsteps in the night sky.
POETRY FOR A NEW MILLENNIUM: THE QUIET IMPERATIVES OF POETIC IMAGE
In a world that seems locked in endless angst, it can be hard to find things that speak to the heart in a gentler voice. But these 22 poems give the reader a chance to see how the nature around us, our external environment, can be the avenue to expressing the inner landscape of emotion and insight.
Two books in one — in misty seasons and footsteps in the night sky — footsteps in the night sky combines the forces of nature and the heart. The poems are geared to introspection, connections, and (often unexpected) wonder, as the poet’s language finds its own inner voice: the poetics of poetry become part of the fabric of expression as naturally as the sun rises or mist covers the moon on a winter night.
The poet uses the natural cadences of the English language, inlaid with vowel rhyme, alliteration and a minimalist form, to bring a unity of image and idea, subtly measured phrasing, and a satisfying synthesis to the poetic message. But the poems’ descriptive surface is only the beginning of the meaning, the gateway to the emotional undercurrents which sparked the poem in the first place.
This little volume steps outside the mainstream of academic genres that sometimes seem little more than truncated prose, and opens a new vista into a stream of consciousness language that invites the reader to share a moment of (perhaps not so) simple poignancy, as in orchid-scent love, alluding to a poem by Yu Xuanji (ca. 844-869) but bringing it closer to home.
Pictures and other artwork accompany these poems, as complements rather than repetition, and the notes to pictures include three of the poet’s translations — two from classical Chinese and one from Korean. A truly unique treasure — for oneself and the classroom.
The poet is available to do workshops and guest lectures.
c. prismon-reed 