The ship hits the reef and spews out oil,
seabirds don't know why they can't fly
deadly black stuff smothering
ev'rything in it's path;
sandy beaches now
globules of tar
where we once
 walked and

A ship came to grief quite a few years ago, just off the coast where I live. Slowly but surely the tide brought in the oil slick, coating the coastline for miles and miles. But eventually, with a sterling effort by volunteers, all of the oil was mopped up. The beautiful white, sandy beaches are back to their former glory now.


Too much fertilizer on the mint
shrivels the green leaves to burnt brown.
Bother! Thought it was okay.
Too much of a good thing
or just the wrong sort?
Mint condition
no longer.
Ah well,

Always Learning…..

The more I write poetry the more I am discovering all the various formats one can use! My favourite presently is the ‘haiku’ format but there are other formats that I’m now attempting as well. For example, haibun; cinquain; tanka; as well as writing ‘flash fiction’ stories, for which I use a very old fashioned term – storiettes. It must be my love for order that I am choosing to mostly write poems where their assigned syllables create a rhythm, to be tapped out on my desk when constructing said poems. Hey, I even do this tapping when lying in bed at night, as my mind swirls with poetic ideas. No one knows that I do this but I bet I’m not the only one who uses this form of undetected tapping when putting poetic words together!

Here is an example of a ‘nonet’ poem, which involves quite a bit of tapping! It uses 45 syllables descending in order from 9 down to 1, using 9 lines altogether. Go on, tap out the syllables and you just might get hooked too!

I've learnt what a nonet poem is
first line nine syllables followed 
by eight syllables tapped out
and so on and so forth
lines getting shorter
until they stop
on a dime.