New Book Explores Life in 600 Entertaining and Enlightening Limericks

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Limericks can be fun to read and even to compose. I've composed a couple of my own over the years, but never could I have conceived of writing over six hundred of them. But Harold Richter has done so with a purpose, and he states on the back cover of "Love, Life, and Laughter in Limericks" that publishing this book of limericks has been a "long time ambition." He states that "A few years back, I listened to some audio books, directed towards enlightenment.

Though I didn't agree 100% with the authors' views on everything, they did put into words clearly, how they felt love and life work, in a fashion that, for the most part, didn't contradict my own outlooks and experiences."

After feeling he knew more about life and love from listening to these books and his own experiences, Richter wanted to write his own insights about them, but he wanted to do so "in an acceptable, enjoyable, and easily understood method." Since he had long been writing poetry, he settled on using the limerick form to convey his ideas to readers. A lot of self-help books are out there, but "Love, Life, and Laughter in Limericks" isn't one of them. Nevertheless, readers might become better people from reading this book-at least, they will feel lighter and happier, and they may come away with a new viewpoint about different aspects of life. And best of all, Richter's use of the short limerick form gets to the point of various matters, often with a sharp twist at the end of the poem, a turn that is often humorous or meaningful or both. Richter's poetry is sometimes sarcastic, sometimes just funny, now and then a bit sad, and frequently insightful; it is never cruel, biting, nor distasteful-he does have a few poems relating to body functions, but nothing too gross or grotesque. It's all in good fun.

In case anyone doesn't know what a limerick is, I'll quote a few of my favorites from this collection so readers can get an idea of Richter's style and some of his themes. The book is divided into several sections on different themes, and they appear at first glance to be lengthy poems, but each section is actually composed of numerous five line limericks. The section titles are: "What is Love?" "What is Life?" and "What is Laughter?" Each of these sections begins with a short essay on the topic. Several of the sections are further broken up into groups of poems with such topics as: Ego, Health, Smoking, Government, Cold and Flu Season, and Holidays.

Here are a few samples. Two of my favorites from the "Love" group, which reflect serious or philosophical aspects, are:

Love is magical when it's imparted.
Its mystical traits are uncharted.
You can take love today,
And just give it away,
And have more than you did when you started.
Some people pass judgments, with zeal,
In their minds, there is no appeal.
To add to distractions,
When you judge someone's actions,
It makes their love harder to feel.
Two of my other favorite poems come from the Christmas selections. The first one is an example of Richter's humor:
In his sleigh, Santa said a quick prayer
As his reindeer zig-zagged with a flair.
See, Rudolph, the bright,
Ate baked beans that night,
And the others were gasping for air!
And this other Christmas limerick is one of several limericks in the book that speak a bit to politics and current events (with humor):
The white house had a Christmas of drama,
When rockets shot past the first mama
They were fired at saint Nick,
Thinking terrorist trick,
He left nothing but coal for Obama!

I could quote several more, but I think those are fair representations of the variety of humor and seriousness in Richter's limericks, some of which made me laugh out loud, while others I went back to read over as they made me pause in thought.

Richter adds a few "Extras" at the book's end, poems not in limerick form, one of which pleasantly surprised me for what it reveals about Richter-I'll leave it up to readers to discover what that is for themselves. Richter concludes the book with "A Final Point," a thoughtful essay that asks us to think about how we define ourselves and how we think of others.

Overall, the book is thoughtful while being fun and easy to read. It's not Shakespeare, but it succeeds at what it aims at, and while I initially thought a book of limericks might grow tedious after reading a few dozen, it kept my interest throughout. A person could read just one limerick a day and have enough to be entertained for nearly two years, or read the book in a few sittings without being bored. Again, I cannot imagine writing so many limericks. I think I will have their rhythms in my head for many days to come and I will have to try to make up a few more of my own. I recommend "Love, Life, and Laughter in Limericks" for anyone who wants a fun, light, but meaningful book to read. I hope Harold Richter lives to write more limericks and give his readers more laughs.

Tyler R. Tichelaar holds a Bachelor's and Master's Degree from Northern Michigan University and a Ph.D. from Western Michigan University. His family's long relationship with Upper Michigan and his avid interest in genealogy inspired Dr. Tichelaar to write his Marquette Trilogy: Iron Pioneers, The Queen City, and Superior Heritage. Dr. Tichelaar is also a professional book reviewer and editor. For more information about Tyler R. Tichelaar, his writing, and his author services, visit:

http://www.marquettefiction.com/

The Fire Diaries - An Awesome Accumulation Articulating Actual Fires

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This is such an excellent poetry book regarding "Fire Diaries" by Matt Schumacher. Some of the poems are historical and very educational regarding time and place analysis (Pages 22, 24, 29, 33, 37...and 93). The use of figurative language brings out the sensory details of the poems in many ways. Reading the book after hearing his recital highlights another dimension to his creative writing style.

Schumacher uses similes and analogies for comparative analysis in an effective and efficient manner. They are very ingenious and remarkable in helping one to understand the poems in more depth (Pages 31, 32, 57...and 89).

The paintings of colors in the poems are vibrant. The sensory reflection of seeing glows of fire, smelling smoke, hearing the crackles, seeing sparks, and feeling the corresponding heat are vivid and places the reader at the scene (33, 55, 59, 64, 73...and 91).

It is also interesting how the thrust of the poems is elusive regarding the fire investigators. The fire setters are always gone, never caught red-handed, or display a confessional character; however, they are always taunting and haunting (24, 37, 62...and 65).

The sprinkling of Greek Mythology throughout the book is wonderful. This adds another flavor to the poems, thus bringing out the diversity of styles in Schumacher's arsenal of creativity regarding the penning of poetic style, language, tone, vibrancy, and other elements (Pages 31, 35, 56, 61...and 95).

The book is divided into four sections as follows: 1) Grey; 2) Ochre; 3) Green; and 4) Vermillion (relating to the variation of colors from and/or of fires). Each section has its own flavor of styles and documentation for a particular effect. One will also find corresponding entries from The Diary of Fires in each, except the last section.

There is also a variety of poetic forms and styles used throughout the book. For example, one will find the following poetry forms: concrete, freeform, narrative, prose, tercet, letter, couplet, and double columns, just to name a few. The forms and styles of the poems are calm on the eyes and they can be followed quite easily based on their alignment on each page (23, 33, 55, 57, 77, and 81).

Schumacher uses the rhetorical question as a poetic technique which leaves an array of thoughts for any reader to consider. They will stimulate inquiry in the mind of the reader. Some of these are listed on pages 35, 52, and 74.

The book ends with a picture and short biography of the author and some of his publications (Page 99). The Fire Diaries is an excellent poetry book. It is also a compilation of actions one would have never thought about until reading this excellent poetry book penned by Matt Schumacher.

Joseph S. Spence, Sr. (aka "Epulaeryu Master"), authored "The Awakened One Poetics" (2009), published in seven languages, "A Trilogy of Poetry, Prose and Thoughts for the Mind, Body and Soul," and "Trilogy Moments for the Mind, Body and Soul." Joseph is a Goodwill Ambassador for Arkansas, and is a US Army veteran.

http://www.TheAwakenedOnePoetics.com/

Poetry As a Means to Negotiate Alzheimer's and Other Dementia Related Diseases

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Book Review:

Kakugawa, Frances H. Breaking the Silence: A Caregiver's Voice. Nevada City, California: Willow Valley Press, 2010.

Despite striking achievements of science and technology, the problems of human life and destiny have not ended, nor have the solutions been seriously affected by scientific knowledge. Alzheimer's disease, which currently affects about 10% of people over 65 years of age and 50% of those over 85 years of age, has no cure. As many as 5.3 million Americans are now living with the devastating disease. According to a study, unless new treatments are developed to decrease the likelihood of Alzheimer's disease, the number of individuals with Alzheimer's disease in the USA may rise to 14 million by the end of the year 2050.

Read against this background, Frances Kakugawa's book, a mix of poetry, story and practical guide, is a recognition of the services rendered by professional and voluntary organizations that seek to minimize the pangs of Alzheimer's sufferers as well as the sufferings of their near and dear ones. It pays tribute to caregivers who have been untiringly working for creation of a world without dementia, stroke, or cancer just as it seeks to help them endure the innumerable crises of caregiving.

Breaking the Silence: A Caregiver's Voice merges Frances Kakugawa and her poet-colleagues' varied experiences with a broad human perspective, engaging both mind and heart. The caregivers seek to share their compassionate spirit with a sense of gratitude to all those who help the victims of Alzheimer's disease negotiate their mentally vacant existence. They are not only aware of the sufferers' substantial loss of brain cells or progressive decline in their ability to think, remember, reason, and imagine, or their language problems and unpredictable behavior, confusion, or loss of sensory processing, but they also know well how the Alzheimer's victims suffer a sort of living death, becoming a mere body stripped of its humanity. They have been witness to caregiving family members of increasingly confused and helpless sufferers themselves often becoming the disease's exasperated and exhausted victims:

" Is she the mom who nurtured me?
Is it the dementia playing havoc with my mind?
Or is this really my mom? I don't know."

('More Glimpses of a Daughter and Mother')

and

"I am torn between two needy factions.
Mom unaware, daughter pushing all boundaries
Both out of control."

('The Sandwich')

For Frances Kakugawa, caregiving is a mission even as the memory and image of her Alzheimer's struck mother persists in her life as a "loud presence". She gives voice to many caregivers who are ever worried about their loved ones not even able to carry out the simplest tasks and/or are completely dependent on others for their care. She expresses the very haunting fear of death:

"Is she breathing? Is she alive?
Is she finally gone, freeing me once again?
I continue my sentinel watch."

('Unspoken Mornings')

Frances not only articulates their fear but also learns to negotiate it by boldly facing it as part of life. In fact, she turns the metaphor of death as integral to life, be it in the form of "an ache of emptiness", "unfulfilled dreams", or "unlived moments". In her deeper silences, she explores the very meaning of life:

"A second gust of wind
Lifts another fistful of ashes.
Be still and listen."

('Song of the Wind')

It is hearing the inner silence, which is something meditative, Biblical, and spiritual. It is awaking to the self, the Holy Spirit, the Divine himself. When the soul peaks into silence, human becomes divine. She sounds earnest and exceptional, seeking harmony with the highest ideals, irrespective of chaotic personal experiences. As Setsuko Yoshida says in 'Can I?':

"Poems by Frances this morning
Reveal the feelings of 'divine'
In caregiving."

In fact, as women poets, Frances Kakugawa and her caregiver colleagues (Elaine Okazaki, Linda McCall Nagata, Eugene Mitchell, and others) present a feminine and yet very humane perspective to the dementia-related illnesses. Jason Y. Kimura, Rod Masumoto, and Red Silver, though male poets, demonstrate the 'Prakriti' or 'Yin' aspects in rhythm with other contributing caregivers' sensibility. They variously turn the Alzheimer's into a metaphor for the loss of language, the loss of memory, and the loss of voice. Their poetry, often brief and personal, and rich and insightful, becomes a means to communicate the sufferers' loss of feeling, love, dignity, honor, name, and relationship; in short, their isolation, or threat to living itself:

"All my life I have lived
With crayons in one hand,
Filling in spaces,
Spaces left by departed lovers, family, friends,
Leaving me crayons smashed against walls
Creating more grief than art."

('Empty Spaces')

They also use the metaphor for challenge to survive, to exist, without fears and anxieties:

"I am woman,
Suppressed,
Dying."

('Nissei Woman')

and

"I am not merely heaven, man and earth
Rooted by cultural hands.
Sift those sands. Yes!
I am free!
I am tossed into the winds.
I shed my kimonos.
I spread my legs.
I am free."

('Lesson #3')

and

"When I am 88
I will still be woman,
Yes!"

(''When I am 88')

and

"I am still here
Help me remain a human being
In this shell of a woman I have become.
In my world of silence, I am still here.
Oh, I am still here."

('Emily Dickinson, I am Somebody')

They convert the Alzheimer's into a search for reprogramming the mind, the thought, and the attitude to overcome the irreversible suffering and helplessness. As Frances very feelingly asserts: it is the search for

"...the same umbilical cord
That once set me free
Now pulls and tugs me back
To where I had begun.
There must be hidden
Somewhere a gift very divine
In this journey back."

('Mother Into Child, Child Into Mother')

They are true to themselves as they voice their search for the whole. With an empathetic awareness, they disclose their innate goodness, trust, and compassion to make a "symphony of truth." At the core of their musing lies a desire to integrate themselves, to live in time as well as in eternity:

"What other path is there
Except the divine
Where love, kindness, compassion,
Help me discover little pieces of myself
That make me smile
Bring me such quiet joy
At the end of each day."

('Bless the Divine')

They reveal the working of the primal impulses of the human soul which rises above the differences of race and of geographical position. In short, they give vent to the thought of all people in all lands.

As poet-caregivers they cope with their tensions, fears and anxieties through introspection, and accommodate their inner and outer conflicts, sufferings and celebrations through imaginative insight. They mirror the broad social or familial conditions as well as their own personal state with perceptions that are often different from those of the male poets (or male caregivers). Their quest is for real reality vis-?-vis degeneration, privation, insecurity, helplessness, anonymity, and death. They search for life and live with awareness of what lies beneath the skin of things around, the psycho-spiritual strains, the moral dilemmas, the betrayals, and the paradoxes:

"Why do you say I am sacrificing
Good years of my life
For caring for my mother,
When it shouldn't be a secret
That I am really living
In a way I have never lived before?
...
No, this is not sacrifice.
It is just reality.
I am really living
In a way I have never lived before.
I am living love."

('What I Know')

Against the complexities of experiences, they demonstrate a sense of values such as love, faith, truth, tolerance, patience, peace, charity, harmony, humility, and healthy relationships. They tend to think intuitively and/or turn personal, inward, spiritward, or Godward, without indulging in intellectual abstraction. They write with poetic sensibility. Their metaphors and images reflect their inner landscape as much as their responses to what they observe or experience externally. They are often reticent and honest in their verbal expression, and their inner vibrations touch or elevate the readers' senses. As they create discourse of themselves as caregivers, they also sound committed to their home, family, children, motherhood, and neighborhood, often voicing their own vision and understanding which cuts across cultures and regions.

They seek to transcend their body or femininity and respect the woman in themselves, even if affected by the Alzheimer's environment. They turn inside out and reveal what is personal yet universal in their different roles as mother, wife, daughter, and feel the agony of the spirit while trying to know "Who I am?", or "How I should live, who I should be", or "What am I looking for? Why did I come?"

As they look back or reflect their present, they also voice the need for strong sense of togetherness vis-?-vis their inner conflicts, spiritual hunger, loneliness, or dependence. They sound challenging the Alzheimer's itself:

"You could not rob us, though we forgot.
You could not erase us, though we could not write.
You could not silence, though we could not speak.
The stories, the laughter, the moments that passed
Into their keep, you could not steal
Into a night of silence."

('Hey Alzheimer's')

As they fill one with hope for ageing with grace and dignity despite the challenges of loss, they create an alternative motive and impulse for social action at a very personal level:

"Through this deepest darkened night
I will hold the light
To take away all your fears.
Just know I will always be near."

('To My Mother')

There is an urge for changing the situation for themselves, or for being in peace with oneself. The poets and caregivers of Breaking the Silence seek to create a new culture as they rationalize how we ought to live in future.