Hi Lillian,

I found this enigmatic and interesting, stronger because of its muted, 
restrained tone and because of what it chooses to leave out.  Beyond 
that, it's hard to give critical comments on something so short, but a 
couple of line edits which could be widely applicable to other poems:

--I think you're misusing commas in the first and third lines.  My sense is 
that you're using the comma to create a caesura (pause) in the middle of the 
line, but that's not always what the work of a comma is.  Usually the caesura 
is inbuilt into the rhythm of a line and doesn't have to be indicated.  At any 
rate, to my ear, the music of the line works much better without a pause 
between "not" and "what" and between "know" and "is" and-- this is crucial, 
WITH a pause between "when" and "or", "here" and "even".  Thus the music of the 
long unpaused clause is played against that of the short one.  Incidentally, 
the commas after "when" and "here" are fine and grammatically correct; though 
note that the combination of comma and line break creates an extra-long, extra 
heavy pause-- was this intended?  The pause would still be there without the 
commas, but would be a little gentler.

And another point-- why not change "even" to just "and", or better still just 
"here, now", "when, how"?  The rhythm is a little more balanced that way; 
"even" just serves to repeat the time lag between the first and second moment, 
something which is already clear from the use of tense.

The real trick would be able to stick with this form you have made, and use it 
to explore different subjects.  That way you'd slowly get a 
deeper sense of its possibilities...?

>
> ---------------------------------------
>
> I know not, what made you,
>                                when,
>                              or how.
>
> All I know, is I feel the sting,
>                                  here,
>                            even now.
>
>
> -Lillian D'Costa-
> 3rd October 05
>
>




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