Sometimes sunshine makes us feel bereft
Rain and shadowed clouds would suit our mood
When we are the warp without the weft

As if we are the pen and no ink’s left
As if we hunger yet there is no food
Sometimes sunshine makes us feel bereft

Our mind slows down and all we do is drift
Evil thoughts into the soul intrude
Like we are the warp without the weft

Let the eye and all its muscles rest
With wider focus we may cease to brood
Sometimes sunshine makes us feel bereft

Do not try with will power nor it test
Relaxation brings back knowledge of the good
We take it in like babies at the breast

We must not test the will but let it go
Trust the ocean and eternal flow
Sometimes sunshine makes us feel bereft
Sometimes sunshine brings its golden gifts

.  From time and place and season I feel lost,

Disorientated , missing tracks well worn.

Do not suppose I’m unaware of cost,

Nor label me with adjectives of scorn.

For usual paths lead to the usual place

. The safest way to live and perhaps to die.

But wandering through the woods I find new space

And in wild grasses with the fox I lie.

Through distant trees, i see a way to go

as narrow as a slit in pallid stonm

This is my destined way, I seem to know

And courage rises even as I moan.

Remember when we’re lost , we may then find

Another way,a place,another mind

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“As much as we might admire what is fresh and innovative, we all learn by imitating patterns,” writes Irina Dumitrescu in The Times Literary Supplement. “To be called ‘formulaic’ is no compliment, but whenever people express themselves or take action in the world, they rely on familiar formulas.” It’s true. For her review-essay, Dumitrescu reads 5 books about writing and explores how writing advice is caught in a paradox: to get people to communicate clearly, logically, and find their own voices, instruction must first teach them rules and provide enough room to learn by copying. This is why most of us writers begin by imitating established writers. We find someone whose style or subject reflects our own – someone in whom we hear our ideal selves, someone who sounds like we want to sound one day – and we mimic them. This could start with a parent, move to a cool friend, then end with a famous novelist or memoirst, before we emerge from the pupae of literary infancy. In other words, to facilitate originality, we must teach formula, encourage imitation, and push for eventual independence. She explores the value of craft, structure, exploration, and formula, and the way sticking to rules erodes a writer’s style, their character, even the essence of the art. She contrasts John Warner’s book Why They Can’t Write: Killing the Five-Paragraph Essay and Other Necessities with the book Writing to Persuade, by The New York Times‘ previous op-ed editor, Trish Hall.

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