Why  does it seem/

(perhaps it’s a dream?)/

that we’ve already met?/

(But we haven’t yet!)/

I think NOW is the time!/

(Now I’m done with my rhyme!)

 

Brilliance shall be/

unfolded soon!/

Then you’ll see/

something to make U swoon!/

Something U will both/

read and hear!/

Pleasant 4/

the eye and ear!/

Soon!/

Post noon!

ConTEXTing Poetry:

ConTEXTing Poetry is a poem created on a wireless mobile (cell) phone, in an SMS (short message service) application, where either the number pad or, in later instances, a QWERTY keyboard, is used to spell out words and make a poem. That poem is then typically sent to another SMS-enabled mobile wireless phone as a “text message.”

Because it is character-limited (160 characters per SMS), a ConTEXTing Poem is characterized by abbreviations, and by use of the / symbol (as opposed to a hard return) to indicate the end of the line.

This posting represents the first known on-line discussion — and some of the earliest examples — of this distinctive and new form of poetry.

ConTEXTing Poetry is a poetic conundrum, a quasi-literary form forced on society by the limitations of mobile technology. Yet, because of the very availability, mobility and immediateness of its delivery mechanism (that same mobile phone technology), it has the potential of making poets out of all of us, of capturing our most creative and poetic moments as they happen: In a car. On a bus. Walking to the store. To work. To School. Shopping. Eating lunch. Awakening at night.

The fear and danger is that, because of the transient nature of text messages, ConTEXTing Poetry may be lost unless ConTEXTingPoets take steps to save their (largely improvisational) work.

I invite you, ConTEXTing Poet,/

2 save yer samples on web page/

and blog;/

that some day readers may log/

in and recall this new poetic age.

Please feel free to comment and send samples of your own ConTEXTing work. (Yes, you’ll probably have to do as I do: open up your phone and copy what you wrote. And remember! Once you’re on your computer keyboard: No editing allowed!)

What is a ConTEXTing poem? Some of the hallmarks of a ConTEXTing poem include:

• The poem’s length is confined by the number of characters allowed in one SMS (Short Message Service), so you don’t have to go to the dreaded “SMS 2″ message, which really messes up the meter, the rhythm, and the visual effect of having the poem on one page. (Is it 160 characters? or does it vary by carrier?)
• That forced length requires the writer to severely edit the stanzas and adjust the meter and rhythm. “I think it’s insane” becomes simply “It’s insane”. “You are crazy!” or “I think you’re crazy” gets clipped into an Italian dialect “U crazy!” “Most ordinary, romantic women” is reduced to “Most women”.
• Text message abbreviations (”U” for “you”; “2″ for “too”, “two” or “to”; “4″ for “four” or “for”; “yer” for “your” or “you’re”; “r” for “are”.
• Because a “hard return” forces the poem off the page, line ends are shown by the / mark.

As ConTEXTing poetry becomes more popular, expect some debate on certain items, including:

• The use of emoticons in ConTEXTing poems. For example, what verbal sounds do : – D or ; – ) make?
• The use of common text message abbreviations. Is “LOL” pronounced “Laugh out Loud” or “el oh el” (”L O L” with each letter individually pronounced), or “Lawl”? What about ROFL and its extensions ROFLMAO, ROFLMHO, ROFLMBO, etc?? “Rolling On Floor Laughing” or “RawFull” or “R O F L“? And “ASAP”? While older than texting/SMS, it is frequently used. Is it: “A S A P,”, “Ay Sap”, or “As Soon As Possible”.
• The length as forced by technology. As the technology driving SMS or wireless phone texting expands and improves, will ConTEXTing poetry stay within the early confines of 160 characters? If not, how far can it expand without it losing its identity as an individual and distinct form within the genre? If so, can abbreviations, forced meters, etc., be enforced? Will a writer, unencumbered by the Damoclean fear of the dreaded “SMS 2″ message and the “Characters left” countdown, still resort to the limitations and abbreviations placed on current ConTEXTing poets?
• The length as forced by carrier or phone (device) limitations. Does every phone on every carrier have a character limit of 160 characters? Are those limitations only ATT? And only on certain phones, but not on others (for example, the Blackberry, iPhone, etc.) If Verizon, Sprint, T-Mobile, and others have different limitations based on cell capacity, packet size, or devices, do those poets become suspect simply because they do not conform to a strict 160 character limitation?
• If those “freed” poets do conform — to fit the parameters of ConTEXTingpoetry — can they do so without the forced limitations? If they can, then are they above those of us who are forced to stay within the boundaries of technological limitations? Do they become as the Haiku masters, transcending our poetic abilities because of the boundaries and rules they follow not because they have to, but because they want to and can?

Because ConTEXTing poetry is a new form of the poetic genre, these debates — and others — will gain added significance as time goes on. Since I invented the term “ConTEXTingPoetry” to specifically describe a poem written within the confines of a wireless telephone text message, I am as qualified as anyone to opine on these items. As in any academic or creative endeavor, however, I believe debate is healthy, and would welcome other opinions; here are some of mine: (I expect this list to grow as I think about it. Today, January 29, 2009, is the first day that I’ve thought in depth about the literary merits of my discovery!):

Regarding use of abbreviations (ROFL, LOL, etc) in ConTEXTing poetry:

Personally, I think that/

the governing principle should be/

the sender’s individual/

creativity!/

Also, I think as well/

that by the conTEXT/

you can tell/

how 2 pronounce what’s next!

 

In other words, if someone writes a ConTEXTing poem that says:

“He treated you so awful/

it made me ROFL!”

vs.

“He treated you like hell/

and you could tell,/

he was always ROFL!”

the context and positioning of the rhyme schemes previous to the abbreviation in question dictate “what comes next”. In the first example, “ROFL” is clearly meant to be pronounced “RawFull”. In the second, “ROFL” must be pronounced “R O F L”, with each individual letter pronounced so that “L” rhymes with “hell” and “tell”.

Conclusion regarding abbreviation pronunciation: Word placement, rhyme scheme, rhythm and circumstances dictate pronunciation.

——————–

 Regarding the technological, carrier and device limitations which force ConTEXTing Poets into an artificial 160 character (or less?) limit:

Because I invented the term “ConTEXTing Poetry” based on the 160* character limitation of my carrier (ATT), my phone (Sony Ericsson) and the system used (SMS) on ATT’s network, those are the standards which will be set. Any other forms (for example, an ode sent on a Blackberry, iPhone, or even through other service types on my phone (MMS, for example), are not ConTEXTing poems. If they were, what would differentiate them from any other form in the genre? The character limitation, the overshadowing fear of the “SMS2″ message, the palpitations and anxiety caused by the appearance of the “character countdown” as the ConTEXTing poet nears their limits, and the abbreviations and editing required to fit within that limitation — whether real or imagined — are all part of the discipline and experience the ConTEXTing poet must subject themselves to.

*(Note: my character counting on my phone may be incorrect. I will check with ATT to discover if the character count on an SMS is, in fact, limited to 160, if it varies based on the letter width (does a lowercase “l” carry less width than, for example an uppercase “W”? If so, then does writing ConTEXTingpoetry in all lower case allow you a few more characters than if you use uppercase? And would the word “beam” use more character space than the word “lilt”? (and how does that impact the writer, especially during the editing process? Does “a dream” become “1 think” to save a character or 2? More questions to discover! At this point, though, the definition is 160 characters, where a character is any letter, number or symbol.)

Conclusion regarding ConTEXTing Poetry and real or artificial limits: 160 characters maximum (no minimum) on a wireless (mobile) phone device.

——-

Regarding the non-forced limitations which ConTEXTing Poets with superior devices, carriers, or systems (now or in the future) subject themselves to. Does the fact they can, of their own free will, follow those limitations, like Haiku masters, make them “better” ConTEXTing poets?

Better? I’ll opine no. They are fitting words into a numeric limitation, by whatever means needed (except audio/visual/pictorial: not allowed!). I would also argue that they may be in fact missing part of the creative tension caused by the character countdown and the “SMS 2″ message. I wonder if that tension, of knowing by experience that you are nearing the “end”, when the character countdown starts (usually at about 20), and the frustration of having your last stanza end with a multi-syllabic word that fits perfectly into rhyme, meter, rhythm … but is 5 characters too long, so you have to go back and abbreviate and edit… and what if you have already, and the poem is very tight. Do you sacrifice that perfect word? or do you cast away another perfect, though lesser word? Or do you invent something new (if not new to others, maybe new for you?) “@” for “at”, for example! Does that tension exist for poets who are technologically unrestrained by those limitation? And, if not, can they really create ConTEXTing poetry?

I think some ConTEXTing poets will, in the future, be able to bring themselves to a ConTEXTing “Zen” place, where they can artificially create that tension and limitation in their own minds. In other words, they qualify with the restrictions below. I think the ConTEXTing form is too new yet to be able to tell. I know, for me, writing on a wireless laptop keyboard, keeping within an articical 160 character limitation, is nothing like the experience of thumbing a ConTEXTing poem on my Sony Ericsson! However, I will not judge: if it’s 160 character created and sent through SMS on a wireless phone (an important distinction, as noted below), then it qualifies as “ConTEXTing poetry”.

Conclusion regarding ConTEXTing Poetry and artificially-limited poets: 160 characters on a wireless (mobile) phone device. If there is no “forced” limit on the poet’s device, that doesn’t make them a better (or worse) ConTEXTing poet. It merely makes their experience different.

———-

Does ConTEXTing poetry require a wireless phone and SMS sending device? Or can anyone create a ConTEXTing poem based on following the 160 character, / for line break, conventions?

Like the forced character limitations discussed above, part of the tension of the ConTEXTing poetic experience is the frustration and limitation of caused by the device. I, for example, as a writer used to a QWERTY keyboard on a wireless laptop, can type more than 80 words per minute using every finger on both hands. Thumbing a text message on my 1.5 inch by 1.5 inch number pad on my Sony Ericsson, even using T9 and word prediction capabilities, slows me down to about 20 words per minute or less. I literally haveto slow my thought processes and rhyming processes down to match the rate my thumbs can move… and heaven help me if the predictive text puts in “gone” instead of “home”!

The argument could be made that ConTEXTing poetry requires a numeric keypad to really be “ConTEXTing” poetry. Before QWERTY keyboards became commonplace on cell phone devices, I would have agreed. If this description would have been written 3-4 years ago, I would have placed that limitation on it. However, I’m willing to bend a little on this, because I’ve seen that even friends who have QWERTY keyboards are slowed by the in-ability to use all their fingers when sending messages.

True, they don’t have the frustration caused by predictive word or T9 technology, and the requirement to go back and edit “gone” instead of “home”. Nor do they have the requirement to spell out “Less” by thumbing the 5 key three times, the 3 key twice, and the 7 key four times, waiting for a few seconds, then thumbing the 7 key four times again! BUT they do have the “fat thumb” frustration of thumbing two keys simultaneously. and ending up with:

(Interesting question: does the experience become poetic because of the tension and frustration? If so, could we then say that it has become a ConTEXTing Poem poetic experience for the ConTEXTing poet?)

In addition, ConTEXTing poetry requires that the keyboard be physically part of the wireless mobile phone device itself (in other words, a foldout attachable keyboard where the typist can use all their fingers does not qualify!), where the ConTEXTing poet is forced to use only their thumbs or another pair of fingers, but not all of their fingers as they could on a normal computer QWERTY keyboard.

Thus, Blackberries, PDAs, iPhones, etc., as composition instruments, as long as they follow all the other conventions and requirements of SMS/Text Messaging ConTEXTing poetry!

———— Finie: The endof the Initial Blog Discourse on ConTEXTing Poetry:

I’m now finished with the first draft of this dissertation. I’m going to post it, edit it and format it later. Because it was originally tied to the “It’s Insane/3? U crazy” poem, I’ll leave it attached to it, BUT will post it as a separate post or perhaps even page, later.

Then I’ll apply for my Doctorate/
(and won’t it be great?)/
As the world’s leading authority/
on ConTEXTing poetry!/
(I think, to prove I’m a nut!/
I’ll create a reward: Two BIG Thumbs Up!)

———-
I’ve had a poet friend who has been following this posting from the original to its final posting at about 12:15 p.m. I avoided calling her or writing her anything for fear of any discussion with her would have a Coleridge/Xanadu impact on me, take me out of the “moment”, and I would lose my thoughts. But, now, I’ve completed this first draft. Shortly before noon I decided to text her a brief “Please wait!” text, knowing I would soon be finished with this dissertation.

Appropriately, it turned out to be a ConTEXTing poem:

Brilliance shall be/

unfolded soon!/

Then you’ll see/

something to make U swoon!/

Something U will both/

read and hear!/

Pleasant 4/

the eye and ear!/

Soon!/

Post noon!

And so ends the first dissertation about ConTEXTing Poetry.

PS: I’d originally called this type of poetry “ConTEXTual”, meaning being in the context of a text message/SMS. However, “ConTEXTual” poetry is a valid term coined earlier to discuss and analyze the significance of a poem in the context of its history, surroundings, meaning, what the poet was thinking at the time, etc. In short, its context.

As a result, I decided (and I think this discussion is better for it), that this poetic form should be called “ConTEXTing Poetry” because textingis an activeverb, so it becomes a much stronger adjective for the type of poetry that it is.!

Note: Other examples of ConTEXTing Poetry can be found on this writer’s blog, primarily under the category: “Romantic ConTEXTing Poetry”

This is an example of a ConTEXTing poem (a term I invented):

 

It’s insane/

how u complain/

that I don’t call./

Instead, 2 poems/

got sent to your home!/

Most women/

r pleased with 1/

but u?/

not even 2/

will do!/

U want 3?/

U crazy!

=====================

What is a ConTEXTing poem? Some of the hallmarks of a ConTEXTing poem include:

• The poem’s length is confined by the number of characters allowed in one SMS (Short Message Service), so you don’t have to go to the dreaded “SMS 2″ message, which really messes up the meter, the rhythm, and the visual effect of having the poem on one page.  (Is it 160 characters? or does it vary by carrier?)
• That forced length requires the writer to severely edit the stanzas and adjust the meter and rhythm. “I think it’s insane” becomes simply “It’s insane”.  “You are crazy!” or “I think you’re crazy” gets clipped into an Italian dialect “U crazy!” “Most ordinary, romantic women” is reduced to “Most women”.
• Text message abbreviations (”U” for “you”; “2″ for “too”, “two” or “to”; “4″ for “four” or “for”; “yer” for “your” or “you’re”; “r” for “are”.
• Because a “hard return” forces the poem off the page, line ends are shown by the / mark.

As ConTEXTing poetry becomes more popular, expect some debate on certain items, including:

• The use of emoticons in ConTEXTing poems. For example, what verbal sounds do : – D or ; – ) make?
• The use of common text message abbreviations. Is “LOL” pronounced “Laugh out Loud” or “el oh el” (”L O L” with each letter individually pronounced), or “Lawl”? What about ROFL and its extensions ROFLMAO, ROFLMHO, ROFLMBO, etc?? “Rolling On Floor Laughing” or “RawFull” or “R O F L“? And “ASAP”? While older than texting/SMS, it is frequently used. Is it: “A S A P,”, “Ay Sap”, or “As Soon As Possible”.
• The length as forced by technology. As the technology driving SMS or wireless phone texting expands and improves, will ConTEXTing poetry stay within the early confines of 160 characters? If not, how far can it expand without it losing its identity as an individual and distinct form within the genre? If so, can abbreviations, forced meters, etc., be enforced? Will a writer, unencumbered by the Damoclean fear of the dreaded “SMS 2″ message and the “Characters left” countdown, still resort to the limitations and abbreviations placed on current ConTEXTing poets?
• The length as forced by carrier or phone (device) limitations. Does every phone on every carrier have a character limit of 160 characters? Are those limitations only ATT? And only on certain phones, but not on others (for example, the Blackberry, iPhone, etc.) If Verizon, Sprint, T-Mobile, and others have different limitations based on cell capacity, packet size, or devices, do those poets become suspect simply because they do not conform to a strict 160 character limitation?
• If those “freed” poets do conform — to fit the parameters of ConTEXTing poetry — can they do so without the forced limitations? If they can, then are they above those of us who are forced to stay within the boundaries of technological limitations? Do they become as the Haiku masters, transcending our poetic abilities because of the boundaries and rules they follow not because they have to, but because they want to and can?

Because ConTEXTing poetry is a new form of the poetic genre, these debates — and others — will gain added significance as time goes on. Since I invented the term “ConTEXTing Poetry” to specifically describe a poem written within the confines of a wireless telephone text message, I am as qualified as anyone to opine on these items. As in any academic or creative endevor, however, I believe debate is healthy, and would welcome other opinions; here are some of mine: (I expect this list to grow as I think about it. Today, January 29, 2009, is the first day that I’ve thought in depth about the literary merits of my discovery!):

Regarding use of abbreviations (ROFL, LOL, etc) in ConTEXTing poetry:

Personally, I think that/

the governing principle should be/

the sender’s individual/

creativity!/

Also, I think as well/

that by the conTEXT/

you can tell/

how 2 pronounce what’s next!

 

In other words, if someone writes a ConTEXTing poem that says:

“He treated you so awful/

it made me ROFL!”

vs.

“He treated you like hell/

and you could tell,/

he was always ROFL!”

the context and positioning of the rhyme schemes previous to the abbreviation in question dictate “what comes next”. In the first example, “ROFL” is clearly meant to be pronounced “RawFull”. In the second, “ROFL” must be pronounced “R O F L”, with each individual letter pronounced so that “L” rhymes with “hell” and “tell”.

Conclusion regarding abbreviation pronunciation: Word placement, rhyme scheme, rhythm and circumstances dictate pronunciation.

 ——————–

 

Regarding the technological, carrier and device limitations which force ConTEXTing Poets into an artificial 160 character (or less?) limit:

 Because I invented the term “ConTEXTing Poetry” based on the 160* character limitation of my carrier (ATT), my phone (Sony Ericsson) and the system used (SMS) on ATT’s network, those are the standards which will be set. Any other forms (for example, an ode sent on a Blackberry, iPhone, or even through other service types on my phone (MMS, for example), are not ConTEXTing poems. If they were, what would differentiate them from any other form in the genre? The character limitation, the overshadowing fear of the “SMS2″ message,  the palpitations and anxiety caused by the appearance of the “character countdown” as the ConTEXTing poet nears their limits, and the abbreviations and editing required to fit within that limitation — whether real or imagined — are all part of the discipline and experience the ConTEXTing poet must subject themselves to. 

 *(Note: my character counting on my phone may be incorrect. I will check with ATT to discover if the character count on an SMS is, in fact, limited to 160, if it varies based on the letter width (does a lowercase “l” carry less width than, for example an uppercase “W”? If so, then does writing ConTEXTing poetry in all lower case allow you a few more characters than if you use uppercase?  And would the word “beam” use more character space than the word “lilt”? (and how does that impact the writer, especially during the editing process? Does “a dream” become “1 think” to save a character or 2? More questions to discover! At this point, though, the definition is 160 characters, where a character is any letter, number or symbol.)

Conclusion regarding ConTEXTing Poetry and real or artificial limits: 160 characters maximum (no minimum) on a wireless (mobile) phone device.

——-

Regarding the non-forced limitations which ConTEXTing Poets with superior devices, carriers, or systems (now or in the future) subject themselves to. Does the fact they can, of their own free will, follow those limitations, like Haiku masters, make them “better” ConTEXTing poets?

 Better? I’ll opine no. They are fitting words into a numeric limitation, by whatever means needed (except audio/visual/pictorial: not allowed!). I would also argue that they may be in fact missing part of the creative tension caused by the character countdown and the “SMS 2″ message. I wonder if that tension, of knowing by experience that you are nearing the “end”, when the character countdown starts (usually at about 20), and the frustration of having your last stanza end with a multi-syllabic word that fits perfectly into rhyme, meter, rhythm … but is 5 characters too long, so you have to go back and abbreviate and edit… and what if you have already, and the poem is very tight. Do you sacrifice that perfect word? or do you cast away another perfect, though lesser word? Or do you invent something new (if not new to others, maybe new for you?) “@” for “at”, for example! Does that tension exist for poets who are technologically unrestrained by those limitation? And, if not, can they really create ConTEXTing poetry?

Conclusion regarding ConTEXTing Poetry and artificial limits: 160 characters maximum (no minimum) on a wireless (mobile) phone device.

I think some ConTEXTing poets will, in the future, be able to bring themselves to a ConTEXTing “Zen” place, where they can artificially create that tension and limitation in their own minds. In other words, they qualify with the restrictions below. I think the ConTEXTing form is too new yet to be able to tell. I know, for me, writing on a wireless laptop keyboard, keeping within an articical 160 character limitation, is nothing like the experience of thumbing a ConTEXTing poem on my Sony Ericsson! However, I will not judge: if it’s 160 character created and sent through SMS on a wireless phone (an important distinction, as noted below), then it qualifies as “ConTEXTing poetry”.

Conclusion regarding ConTEXTing Poetry and artificially-limited poets: 160 characters on a wireless (mobile) phone device. If there is no “forced” limit on the poet’s device, that doesn’t make them a better (or worse) ConTEXTing poet. It merely makes their experience different.

———-

Does ConTEXTing poetry require a wireless phone and SMS sending device? Or can anyone create a ConTEXTing poem based on following the 160 character, / for line break, conventions?

Like the forced character limitations discussed above, part of the tension of the ConTEXTing poetic experience is the frustration and limitation of caused by the device. I, for example, as a writer used to a QWERTY keyboard on a wireless laptop, can type more than 80 words per minute using every finger on both hands. Thumbing a text message on my 1.5 inch by 1.5 inch number pad on my Sony Ericsson, even using T9 and word prediction capabilities, slows me down to about 20 words per minute or less. I literally have to slow my thought processes and rhyming processes down to match the rate my thumbs can move… and heaven help me if the predictive text puts in “gone” instead of “home”!

The argument could be made that ConTEXTing poetry requires a numeric keypad to really be “ConTEXTing” poetry. Before QWERTY keyboards became commonplace on cell phone devices, I would have agreed. If this description would have been written 3-4 years ago, I would have placed that limitation on it. However, I’m willing to bend a little on this, because I’ve seen that even friends who have QWERTY keyboards are slowed by the in-ability to use all their fingers when sending messages.

True, they don’t have the frustration caused by predictive word or T9 technology, and the requirement to go back and edit “gone” instead of “home”. Nor do they have the requirement to spell out “Less” by thumbing the 5 key three times, the 3 key twice, and the 7 key four times, waiting for a few seconds, then thumbing the 7 key four times again! BUT they do have the “fat thumb” frustration of thumbing two keys simultaneously. and ending up with:

 

Conclusion regarding devices which can generate ConTEXTing Poetry: a ConTEXTing poem MUST be created on a wireless / mobile PHONE device with a limited space keyboard, capable of sending SMS/Text messages. (That’s why it’s ConTEXTing poetry!) That limitation, that forced physical frustration, the lack-of-speed tension, is part of the ConTEXTing poetic experience.

 (Interesting question: does the experience become poetic because of the tension and frustration? If so, could we then say that it has become a ConTEXTing Poem poetic experience for the ConTEXTing poet?)

In addition, ConTEXTing poetry requires that the keyboard be physically part of the wireless mobile phone device itself (in other words, a foldout attachable keyboard where the typist can use all their fingers does not qualify!), where the ConTEXTing poet is forced to use only their thumbs or another pair of fingers, but not all of their fingers as they could on a normal computer QWERTY keyboard.

Thus, Blackberries, PDAs, iPhones, etc., as composition instruments, as long as they follow all the other conventions and requirements of SMS/Text Messaging ConTEXTing poetry!

————
Finie: The end the Initial Blog Discourse on ConTEXTing Poetry:

 

An interesting example: You’ll notice that the example above (within the context of this discussion, where I talk about pronunciation) of ConTEXTing poetry doesn’t fit the requirements!
First, (you wouldn’t know this, but it’s a discussion for another time), it was created by me, in ConTEXTing poetry FORMAT, but using my wireless LAPTOP (QWERTY keyboard, all 10 fingers used typing 80 words a minute, therefore not allowed!). (Another interesting thought: Could I have EVER written THIS dissertation in text on my phone? NO WAY! My thumbs would have fallen off!)
Second (and a dead give-away that it was done on my laptop), without the character limitation/SMS2 message feature, I had no way of knowing that my character count is around 170 characters. I’ll go back and fix it later… but I’ll leave the original, to make certain people can see the difference and discipline required to fit the ConTEXTing Poem form.

I’m now finished with the first draft of this dissertation. I’m going to post it, edit it and format it later. Because it was originally tied to the “It’s Insane/3? U crazy” poem, I’ll leave it attached to it, BUT will post it as a separate post or perhaps even page, later.

Then I’ll apply for my Doctorate/
(and won’t it be great?)/
As the world’s leading authority/
on ConTEXTing poetry!/
(I think, to prove I’m a nut!/
I’ll create a reward:
Two BIG Thumbs Up!)
———-
I’ve had a poet friend who has been following this posting from the original to its final posting at about 12:15 p.m. I avoided calling her or writing her anything for fear of any discussion with her would have a Coleridge/Xanadu impact on me, take me out of the “moment”, and I would lose my thoughts. But, now, I’ve completed this first draft. Shortly before noon I decided to text her a brief “Please wait!” text, knowing I would soon be finished with this dissertation.

Appropriately, it turned out to be a ConTEXTing poem:

Brilliance shall be/
unfolded soon!/
Then you’ll see/
something to make U swoon!/
Something U will both/
read and hear!/
Pleasant 4/
the eye and ear!/
Soon!/
Post noon!

And so ends the first dissertation about ConTEXTing Poetry.

PS: I’d originally called this type of poetry “ConTEXTual”, meaning being in the context of a text message/SMS. However, “ConTEXTual” poetry is a valid term coined earlier to discuss and analyze the significance of a poem in the context of its history, surroundings, meaning, what the poet was thinking at the time, etc. In short, its context.

As a result, I decided (and I think this discussion is better for it), that this poetic form should be called “ConTEXTing Poetry” because texting is an active verb, so it becomes a much stronger adjective for the type of poetry that it is.!

The following poems deal with mature romantic/sexual topics. They are not meant to be offensive, but have some phrases and thoughts which may be offensive to some. So that these poems won’t appear on the main blog posting page, I’m putting them here on this static page. If you want to comment on them, you’ll have to do by commenting on the main posting page. IF YOU MAY BE OFFENDED BY THEM, PLEASE CLOSE THIS PAGE! I HAVE THOUSANDS OF OTHER POEMS WHICH SHOULD NOT BE OFFENSIVE!

—-
The following poem was written after a long IMing session, where my friend was tired of IMing. When I called, the response was “I can’t talk now: I’m IMing!” This is my response to a return call.
I Can’t Talk Now: a ConTEXTual Poem
I can’t talk now/
I’m urinating!/
Which will soon lead/
to flatulating!/
Then, hopefully,/
to celebrating!/
(But, by then,/
you’ll be done waiting!)
-Jan 21, 2009
————
Thots@2am: a mature ConTEXTing poem
I wish I was able/
to give u a facial!/
For although I dissed you,/
who knew/
I’d miss you!/
and your tender words/
and gentle touch/
so much!?
10 Feb., 2009 – 2 a.m.

This was written some time ago, (Feb 14, 2008?) But I’m just now posting it:
A Romantic (kind of) ConTEXTing Poem d’ Pavlovian

A Pavlovian response! /
I hear your voice just once /
and immediately get /
a huge bulge in my pants!

April 19, 2009
Lustful Haiku
—————
desire was known
passion warmed deep in her loins
her breasts were heaving melons

April 20, 2009
Staying at Home: A ConTEXTING Poem
————
Alas! I’m a loner!/
A poor stay-at-homer!/
A texting on the phone 2 her/
guy with a boner!

April 22, 2009, 9:11 a.m.
ConTEXTing Poem on Showering in the Nude
—————-
As I shower nudely,/
Please, think of me crudely!/
And then,/
today,/
as you wend your way/
and play,/
o’er dale and through glen,/
please think of me that way,/
again!

September 28, 2009, 6:31 p.m.
ConTEXTing Poem about a discussion, in a bar, on 69, with an elementary teacher

I spent some time/

pondering your lesson of ’69./

Is the thought/

whether we ought/

2 take turns?/

Or share?/

Which lesson is best learned?

Does anyone really care?
——————————–
ConTEXTing Romantic Poem
Nov 23, 2009, 12:48 a.m.
My girl told me/
don’t bust a nut!/
I said don’t worry!/
When I go down, I get up!/
I got the dining at the Y blues./
Serving U satisfaction/
makes it easier to snooze!/
But only if she agrees/
and says “Yes, please!”
———————

——————–
Nov. 25, 2009
With soft hand of blonde,/
zipper down, I let her fond/
le me./
You can’t see!/
No response?/
She/
is thee!
——————-
ConTEXTing Haiku (2)
Nov. 25, 2009
Between legs, trio:/
together solo mio./
Upstanding alone.
———–
Tonight I, Rambo,/
elect to get stiff and so/
I go commando!
—————-

Early morning Haiku
26 Dec., 2009
Reaching o’er her waist/
in the morning: Will he feel/
Moisture? Or Closure?
————————
Mature IMprov Sonnet April 13 3:45 p.m. 2010
“Women at a Toy Party”

She pulled out her rabbit/
from its soft silken case,/
and said “You’ve got to have it!”/
and a grin crossed her face./

And in the party of women/
those who knew what ladies need/
Shouted at once “AHH MEN!”/
to say they agreed./

For they had all felt/
its vibrating ears/
and were all dealt
pleasure in high gear./

And the thoughts of that bunny’s pink nose/
made all the women moisten their clothes.

June 9, 2010 – 2 p.m.
Being sinspired/
by the nude above the bed,/
only a moment transpired /
b4 clothes were shed./
In reality,/
t’was heat that got 2 me,/
tho summer/
hadn’t come/
early.

7/24/2010 -4:30 p.m.
Cutting Short An Island Trip For Nudity: Romantic ConTEXTing Haiku
My trip gets shortened/
when some hot cutie tells me/
she sunbathes nudely! B-)

Original:
My trip gets shortened/when some hot woman tells me/ she’s sunbathing nude!B-)

Sept. 18, 2010, 9:12 a.m.: A friend posted a photo of her sunbathing… waist down, BUT it showed ‘just a little”, so I wrote this:
Though some thought it rude,/
when she showed me her shaved pubes,/
I was just amused.

Sept 19, 2:50 a.m.
Something erotic/
for my story book! I’ll call it,/
if U please,/
The Incredible Lap Dance/
of What a Tease!/
U might have enjoyed it more/
off the dance floor.

2:31 p.m. Oct 8, 2010
As she at work stood, /
over the counter, leaning ,/
he came up behind her,/
caressing the fur./
It felt warm and good,/
but it was no longer dry cleaning.

A Birthday Spooning Wish October 22, 2010
You are the she/
who inspires me./
You give me a hard on,/
I give you a hard time,/
so let’s moon the moon while we spoon.

25 Dec. 2010 – 1:11 a.m.
Thumb Hard Cum: Romantic ConTEXTing Haiku
Who knew that she’d cum/
so hard on my thumb that it/
would become real numb.
Jan.3, 2011 10:49 a.m.
One Night Stand Lament: Romantic ConTEXTing Haiku
She said she’d never/
had a one-night stand. He’s sad/
that he was her first.

Jan.4, 2011 8:01 a.m.
Sleepy Morning Surprise: Romantic ConTEXTing Limerick
Would it be a surprise/
to greet the sunrise/
deeply,/
and sleepily,/
with my hand between your thighs?

7:54 a.m. Jan. 31, 2011

I won’t wash my sheets/

any time soon. Your scent gives/

lingering mem’ry

6:59 a.m. Feb. 2, 2011

A limerick/about my dick:

This is your nude alarm clock./

If you could see my cock/

you’d say: ‘Oh my heck!/

It’s so Erect!’/

and it would send you into shock!

2 Feb 2011 – 7:16 a.m.

Sordid Poem Temptation: Romantic ConTEXTing Haiku

So tempting to send /

you a sordid poem, but don’t /

you get them often?

Feb. 9, 2011, 7:54 a.m.
Pressure Reception: Romantic ConTEXTing Haiku
The only pressure/
you should feel from me is when/
I’m laying on you.

March 1, 2011: 7:38 a.m.
Missing You Gone: Romantic ConTEXTing Haiku
I hate waking up /
with a massive erection,/
thinking of you gone!

March 12, 2011: 10:14 a.m.
You Should See This! Romantic ConTEXTing Haiku
I wish you could see,/
again, what I woke up to./
Rather, woke up with.

March 13, 2011 – 2:45 a.m.
I love the smell of love making in the morning: Romantic ConTEXTing Haiku
I have forgotten/
how musky, deep, moving and/
wonderful sex smells.

March 30, 2011 – 7:23 a.m.
What You Already Lost: Romantic ConTEXTing Haiku
I would offer to/
f*!k your brains out but that would /
be redundancy.

6 April 2011 Y Think About Y: Romantic IMprov Poetry
She wonders y/
I think about Y/
in many things./
But I sigh/
and explain y/
thinking of dining at her Y/
and pleasuring/
is y/
her Y/
is my thing.

Just Wanting To Be With Her: Romantic IMprov Haiku – April 6, 2011, 1:25 p.m.
For the first time in/
my life, I have the simple/
wish to hotel us.

The Mo’man Ho: Romantic Blogging Improv Poetry April 8, 2011, 11 a.m.
She was a Mo’/
man ho/
who simply wanted mo’!/
(At least, she told me so)/
but when I asked fo’ mo’,/
she smiled and just said “No!”/
So … /
I had to let her go.

Which Head Leads? Revolutionary ConTEXTing Rhyming Haiku April 14, 9:09 a.m.
The decision to /
get out of bed may depend/
by which head one’s led.

Wishing For Your Own Place: Romantic IMprov Haiku April 14, 11:10 a.m.
“If you were with me/
at my own place, you’d have me/
sitting on your face.”

What She Needs I Can’t Give: Romantic ConTEXTing Rhyming Haiku Lament April 14, 2011 6:14 pm
She says: ‘I need a/
good fuck.’ I wonder where she’ll/
find one, ‘cuz I suck.

May 1, 2011 – 2:20 a.m. – Who Is In The Bed: Romantic ConTEXTing Haiku
A naked man in /
your bed is like having rain/
moisten a desert.

May 1, 2011, 2:34 a.m. – Mormon Pioneer Decendent Juxtiposition: Romantic Improv Poem
He wondered if
this Puritan
Pioneer
Pollyanna
would ever simply
turn
her ankles out
and with soft lips,
moistened,
simply scream:
“F*** me
hard,
NOW!”

6 May, 2011, 5:40 p.m.
Dreaming Of Blonde, Impaling: Romantic ConTEXTing Haiku
Sometimes I dream that/
a blonde hovers above me,/
then impales herself.

May 15, 8 pm
How Women Worship: Revolutionary IMprov Humorous Haiku

Many men wish their/
women were loose like those who/
worship on bent knees.

May 19, 2011, 8:13 a.m.
Riding Bareback: Romantic ConTEXTing Poem
I was dreaming/
of her screaming/
as I pulled her hair./
T’was no nightmare./
She was willingly bare,/
and begged 2b ridden./
RU kiddin’?/
I was doing what was bidden!

May 27, 15:19 p.m.
Stuck Post Fuck: Romantic ConTEXTing Poem
Just my luck./
I am stuck/
on the toilet,/
and can’t get/away./
But it was worth your fuck/
any day,/
I’d say./
They turned off electricity/
and I can’t c,/
c?

Full Moon Rising: Romantic ConTEXTing Haiku
June 13, 2011, 12:59 a.m.
Sometimes I see a/
full moon. I think of you and/
want to fuck your ass. (!)

Poodle Piddle Panty Puddle Riddle: Romantic IMprov Limerick
June 20, 2011, 12:56 p.m.
She watched the poodle puppy piddle,
and thought of her own drip down the middle.
It caused her mind to muddle,
this panting panty puddle,
and she puzzled at the cause’s riddle.

Adjusting Kneeling: Romantic ConTEXTing Haiku
June 23, 7:30 a.m.
Why can I now just/
adjust me and dream of how/
I’d kneel behind thee?

Why Leave Your Door Unlocked: Romantic Blogging Haiku June 28, 12:38 a.m.
Leave your door unlocked/
so late at nght I can crawl/
in between your legs.

———
What type of Goo: Romantic Improv Poem June 28, 2011 11:31 a.m.
What type of goo
do you want me to do
for you?
Soft porn
is not my norm
but you seem to be
in that mode lately.
(it was begun
well before the V-tongue)

And I’m so sad
that I can’t find that “bad”
photo.
Where did it go?
Because I don’t want to forget it,
and I could do a quick edit
and it’d look way different
than the porn you meant.
———–

——————–

What Men Pray For: Romantic IMprov Haiku June 28, 2011, 12:17 p.m.
She suggested he pray/
for a wet dream. He instead/
prayed for good lovin’.

When Nothing Is Hidden: Romantic IMprov Haiku June 28, 12:20 p.m.
I have licked the juice/
from between your silky lips./
Do we have secrets?

Partaking In Rare Form: Romantic Improv Spoken Limerick — June 29, 23:44 p.m.
With her long, silken, glowing hair,
cascading, flowing on her shoulders bare,
she invites me
and excites me
to partake in her form so rare.

Expected Smut: Romantic ConTEXTing Haiku — July 2, 12:10 a.m.
Expected dirty/
poetry wasn’t sent. Her/
grandkids made it tough.

Wince The Silence: Romantic ConTEXTing Haiku Lament — July 5, 8:12 a.m.
When the convo goes/
from underwear and “down there” /
to silence, I wince.

Seeing Her Head And Mine: Romantic ConTEXTing Haiku 29 July, 2011 20:20 p.m.
The top of her head/
looks fine, especially when/
it’s wrapped around mine.

Lotion By The Bed: Romantic ConTEXTing Haiku 30 July, 2011, 7:39 a.m.
I keep a bottle/
of lotion next to my bed,/
in case she calls late.

Desire Auf Deutsch: Romantic ConTEXTing Iambic Poem 7 July 2012, 15:49 p.m.
Ich moechte meine Harte
zwischen deine Beine stechen
Und sanft deine roserote
Lippen lechen.

12:02 a.m. Aug 2:
An erotic doggy style sonnet

I’ve sometimes thought of you
On all fours like a dog.
Begging for a screw;
Pleading for my log.

I watched your smooth bottom
Rise up in the air.
White and soft like cotton
Glowed your derrière.

And when I slid inside
And penetrated your hot wetness,
It was not with pain you cried.
T’was a moan from internal caress.

And when you involuntarily at last exploded,
Your tight squeezing released what your passion had loaded.

———————-
I can only dream
And imagine how you’ll feel/
Sliding down on me.

Aug 24, 2012 — 00:25 a.m.
If I wrote something/
> sordid would my passion and/
> romance be thwarted?
>
> If I send you a/
> photo of me nude would you/
> think it crude and rude?
>
> Me too. So I will/
> bid u adieu and goodnight/
> before your long flight.

===========
Aug 25 2012 9:58 pm Bare On A Blanket
She lay,
bare,
there,
milky white,
bathed
in moonlight.
All I could do
was stare
with delight.

——
Sept 10, 2012 18:40 p.m.
Oft Twisted Off Knickers: Romantic ImproVerse Haiku
She got her knickers/
in a twist because I thought/
oft about them off.

—–
Jan 7, 6:31 a.m.
Where Am I Sleeping? Romantic ImproVerse Haiku
If I was sleeping/
with you then you wouldn’t ask/
where I was sleeping.

April 10, 2013, 7:15:
Do You Like Sex? Romantic ImproVerse Limerick
She asked, somewhat direct: /
“Do you like sex?”/
That kept me up all night/
’til, by morning’s light,/
I was a quivering wreck.

Aug 20, 21:58 PM
Adult Kitty: Romantic Adult ImproVerse Haiku
Each time I see your/
furry pussy, I want to/
gently caress it.

Sept 22, 2013 12:42 p.m.
Red Pubic Hair
If you have your head/
up your rear, how will I know /
what’s your pubic hair?

Jan 6, 2015 6:16 a.m.
Wisconsin Winter Dreaming: Romantic ConTEXTing Haiku
Her furrowed field is/
warm, moist, and anything but/
frozen. I’ll plow it.

Jan 6, 2015, 6:57 a.m.
Homage to the Moon, Setting (Full Mature Version)
(The first half of this piece was published in the normal blog. This reflects the entire piece, and what I was thinking about).

Sent at 5:56 Central

It’s early morning./

The sun,/
Sleeps in/

In this winter farmland,/
He/

Lazy like me/

Has not yet shucked

his blanket.

But the moon,/
Bright,/
Woman-Full

and luscious,/
Works her way/
Through cold/
Spindley/
Cottonwoodmaple/

tree fingers/
That reach skyward

to cup her/
And hold her/
And uphold her/
Longer/
Until Apollo/
Can wake up.

—-

I wonder/
If you were here/
(And we were),/
And we honored her/
Through the bedroom/
Patio/
Window,

you,

prone,

bowing/
On all fours,/

back arched slightly/
Skin white and shining

like the snow;/

Me kneeling behind/
Gently rocking back/

and forth,/
Her moving/
In and out/
Of my view,/
Both of us/
Rhythmically chant-moaning/
In the early morning/

A Higher pitched

ohhhhmmm:/

Would she feel/
Like/

a voyeur?

IMAGINING A MOUTH: ROMANTIC IMPROV HAIKU
2:29 a.m.Dec. 30, 2015
Sometimes I try to/
fathom a mouth wrapped around/
me. And I just can’t.

CAN I WRITE A SONNET YOU GORGEOUS: ROMANTIC SONNET
8 p.m. January 15, 2015

Can I write a sonnet
about how you are gorgeous?
You say you are chubby, yet
I’m glad you are not less.

I love your breast, firm and round.
And your belly’s soft mound.
I yearn to feel them.
I’d like to reveal them.

And between your thighs I’d gladly dive,
and tast you to make you sigh
and taste your juice divine
with my tongue, lips and hands.

Let me touch your heart
and be your man!

(The words stare out from the page,

although I’ve seen them in my mind before.

Have I?

I’m not sure!)

 

I’ve ridden – and ride — the bus

Not when it was dangerous

But when it is obnoxious.

Not for Civil Rights.

But for Earth’s Rights.

 

I am a revolutionary.

I’ve dug my hands deep

Not into plantations’ soil

Nor sharecropper’s clay,

But into the teaming,

Steaming,

Still hot, though winter’s day

at minus 20 degrees,

Compost heap,

That I first learned to keep

At ten,

And again,

At thirty,

To get my hands dirty.

And now

I know how

To show younger folk,

That they may pick up

That revolutionary yoke.

 

I am a revolutionary.

Though not the great-great grandson

Of anyone

Who history would honor

Nor remember.

 

Mine came across the water as well,

To seek a new life

in a promised land.

A land of opportunity they sought out

Of their own choice.

 

I follow that dream

Because I am the son of a father

Who has been to many mountaintops,

And rivers and marshes and forests and lakes

And said: “Make no mistake:

This is ours to preserve …

Or to eradicate.”

 

I am a revolutionary.

As the son of women who

Gave a hand up

When that’s all they could do.

Who, when others saw opportunity,

In times of greed,

Looked through with clarity,

And saw need,

And gave with charity.

 

Even now,

within my soul, I guess,

There is an inner vow:

“I can do no less!”

 

I am a revolutionary.

Lest there be any confusion

The earth,

and its people,

Are the roots of my revolution.

  

— Written after the Inauguration of President Obama, on my mother’s birthday, January 20, 2009

I read this poem at a committee meeting of the Seattle City Council in August, 2010. If you go to this link: YouTube copy of Inauguration Day Revolution Revelation at Seattle City Council sub-committee, “Words Worth”, 2010

Do we truthfully/
frustrate each other? Or just/
hold up truth’s mirror?