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-rw-r--r--src/apollo11.txt5
-rw-r--r--src/makefile24
-rw-r--r--src/words-irritable-reaching.txt16
3 files changed, 37 insertions, 8 deletions
diff --git a/src/apollo11.txt b/src/apollo11.txt index 78e150b..8e4b522 100644 --- a/src/apollo11.txt +++ b/src/apollo11.txt
@@ -2,6 +2,11 @@
2title: On seeing the panorama of the Apollo 11 landing site 2title: On seeing the panorama of the Apollo 11 landing site
3genre: verse 3genre: verse
4 4
5ekphrastic:
6 image: "img/panorama-apollo11.jpg"
7 title: "Big deal."
8 link: "http://apod.nasa.gov/apod/ap141220.html"
9
5project: 10project:
6 title: Elegies for alternate selves 11 title: Elegies for alternate selves
7 css: elegies 12 css: elegies
diff --git a/src/makefile b/src/makefile new file mode 100644 index 0000000..eefa4a3 --- /dev/null +++ b/src/makefile
@@ -0,0 +1,24 @@
1# Produce HTML & RIVER outputs with pandoc
2# Case Duckworth | autocento.me
3# inspired by Lincoln Mullen | lincolnmullen.com
4
5# Define directories, file lists, and options
6HTMLdir = ..
7RIVdir = ../river
8LUAdir = ../lua
9HTMLs := $(patsubst %.txt,%.html,$(wildcard *.txt))
10HTMopts = --template=$(HTMLdir)/.template.html
11HTMopts+= --smart --mathml --section-divs
12RIVERs := $(patsubst %.txt,%.river,$(wildcard *.txt))
13RIVopts =
14
15# Do everything
16all : $(HTMLs) $(RIVERs)
17
18# Generic rule for HTML targets and Markdown sources
19%.html : %.txt
20 pandoc $< -f markdown -t html5 $(HTMLopts) -o $(HTMLdir)/$@
21
22# Generic rule for RIVER targets and Markdown sources
23%.river : %.txt
24 pandoc $< -f markdown -t $(LUAdir)/river.lua $(RIVopts) -o $(RIVdir)/$@
diff --git a/src/words-irritable-reaching.txt b/src/words-irritable-reaching.txt index c616c95..97d3e8c 100644 --- a/src/words-irritable-reaching.txt +++ b/src/words-irritable-reaching.txt
@@ -29,14 +29,14 @@ Gilbert furthers Keats in asserting that no matter what we write, "the words / G
29In Gilbert's poem, though, he does reach after something. 29In Gilbert's poem, though, he does reach after something.
30In the second half of the poem he begins to imagine what the "mysterious Sumerian tablets" could be as poetry, instead of just "business records:" 30In the second half of the poem he begins to imagine what the "mysterious Sumerian tablets" could be as poetry, instead of just "business records:"
31 31
32> [...] My joy is the same as twelve 32> [...] My joy is the same as twelve \
33> Ethiopian goats standing in the morning light. 33> Ethiopian goats standing in the morning light. \
34> O Lord, thou art slabs of salt and ingots of copper, 34> O Lord, thou art slabs of salt and ingots of copper, \
35> as grand as ripe barley under the wind's labor. 35> as grand as ripe barley under the wind's labor. \
36> Her breasts are six white oxen loaded with bolts 36> Her breasts are six white oxen loaded with bolts \
37> of long-fibered Egyptian cotton. My love is a hundred 37> of long-fibered Egyptian cotton. My love is a hundred \
38> pitchers of honey. Shiploads of thuya are what 38> pitchers of honey. Shiploads of thuya are what \
39> my body wants to say to your body. Giraffes are this 39> my body wants to say to your body. Giraffes are this \
40> desire in the dark. 40> desire in the dark.
41 41
42This is my favorite part of the poem, and I think it's because Gilbert, like Hass, reaches for the specific in the general; he brings huge ideas like the Lord or Love or Joy into the specific images of salt, copper, or honey, or like he says at the end of his poem: "What we feel most has / no name but amber, archers, cinnamon, horses and birds." 42This is my favorite part of the poem, and I think it's because Gilbert, like Hass, reaches for the specific in the general; he brings huge ideas like the Lord or Love or Joy into the specific images of salt, copper, or honey, or like he says at the end of his poem: "What we feel most has / no name but amber, archers, cinnamon, horses and birds."