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Between Silk and Cyanide by Leo Marks, HarperCollins (1998), ISBN 0-00-255944-7.Marks was the Head of Codes at SOE and this book is an account of his struggle to introduce better encryption for use by field agents. it contains more than 20 previously unpublished code poems by Marks, as well as descriptions of how they were used and by whom.
Greg Williamson (born 1964) is an American poet.He is most known for the invention of the "Double Exposure" form in which one poem can be read three different ways: solely the standard type, solely the bold type in alternating lines, or the combination of the two.
A quatrain is any four-line stanza or poem. There are 15 possible rhyme sequences for a four-line poem; common rhyme schemes for these include AAAA, AABB, ABAB, ABBA, and ABCB. [citation needed] "The Raven" stanza: ABCBBB, or AA,B,CC,CB,B,B when accounting for internal rhyme, as used by Edgar Allan Poe in his poem "The Raven" Rhyme royal: ABABBCC
The Mad Libs books were conceived around the same time as Strachey wrote the love letter generator. [ 3 ] It was also preceded by John Clark 's Latin Verse Machine (1830-1843), the first automated text generator.
The first published collection of double dactyls by a single author was Centicore Poems, [Series] I; being, A Non-canonical Collection of Entirely Prejudiced Double Dactyls "perpetrated by Jay Dillon" (Ann Arbor, Michigan: Dactylomaniac Press, 1972), OCLC (Worldcat) no. 498258515. Only one copy of this book is known to survive, in the British ...
A code poem may be interactive or static, digital or analog. Code poems can be performed by computers or humans through spoken word and written text. Examples of code poetry include: poems written in a programming language, but human readable as poetry; computer code expressed poetically, that is, playful with sound, terseness, or beauty.
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A treatise on poetry by Diomedes Grammaticus is a good example, as this work categorizes dactylic hexameter verses in ways that were later interpreted under the golden line rubric. Independently, these two trends show the form becoming highly artificial—more like a puzzle to solve than a medium for personal poetic expression.