> Morning Perceptions
> by Will Dockery
>
> To awaken on the morning of the journey
> cross out the front lawn
Yard tic tac toe?
> to the pass.
When a poem starts off with gibberish, it doesn't bode well for the remainder of the text. At this point, experienced readers would stop reading it, and experienced editors would consign it to the circular file.
> It was a crisp blue Spring morning in Atlanta
> the sky was a rich cobalt color
> the skyline
> seemed melancholy and sparse.
Here we have three sentences strung together into one, run-on non-sentence. Cobalt is redundant as the sky has already been described as "blue."
Unless a significant portion of the city had collapsed overnight, the skyline should have seemed no different than it had the day before.
> Morning perceptions
> of the
> mother of the hill.
Damn, that's one mother of a hill! It's also a sentence fragment.
> The hot dog skate land pizza pie with cheese
> and all the wide-eyed people
> in the park.
Another fragment. I don't even want to speculate as to what a "hot dog skate land pizza pie with cheese" is -- nor, for that matter, do I wish to consider one without cheese.
> We sat on the concrete slabs
> of an abandoned highway
> overlooking the sewage dunes.
Who are "we"? Have the wide-eyed park people joined you?
I'm happy to say that I've never had the experience of watching sewage dunes. In fact, I can't imagine any situation in which there would be enough accumulated sewage to create a landscape of dunes.
> There was a balmy wind
> cutting from the South.
Let's hope that the sewage dunes were to the north of you.
> The horns were instantaneous and gone
> gone as quickly
> merged in with the other city sounds.
Run-on gibberish.
> An impossible group of cars roared by
> they left me disturbed.
Two sentences morphed into one run-on non-sentence.
What is an impossible group of cars? If the cars are impossible, how could they roar by?
> So let them all just vanish in the night
But... it's morning.
It's also a run-on sentence.
> take their bright showmanship
> and egg rolls, too.
So the cars are "impossible" because they're made out of egg rolls?
> Break it up soon and go on home
> the policeman told us
> there would be no more jazz to hear there
> that morning.
Run-on.
When was there any jazz to hear?
The only sounds mentioned were car horns and traffic.
The narrative:
Will wakes up and crosses out his lawn.
The blue sky was blue.
The skyline was sparse and sad.
There is a mother of a hill.
Patrons at an amusement park stare in wide-eyed amazement at a "hot dog skate land pizza pie with cheese."
Will and some of the patrons sit on concrete highway slabs and watch sewage dunes.
It was windy.
Horns were heard.
Cars roar by.
Morning has become night.
The cars have egg rolls.
A policeman tells Will and his wide-eyed friends to go home.
There will be no more jazz to hear.
There is no narrative cohesion. Nothing is connected. Nothing has anything to do with anything else.
If these are "morning perceptions," why does the latter part of the poem take place at night?
What have the "perceptions" to do with anything?
> **********
>
> Fool Me Once
> by drive-by
>
> Isn’t he the one, son,
> who has been seen lurking about
> our manicured lawns
> and white life[?]
"Manicured lawns and white life" doesn't read naturally.
> Get the truck.
>
> Lock and load, daddy?
>
> Lock and load, son,
> we’re gonna end his run.
The latter portion feels much more realistic.
AFAICS someone is "lurking" in a segregated, white neighborhood and a family lynching seems immanent.
I don't see where anyone has been fooled.
> **********
>