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Poetry is Life graphic designed by Idris Abdul-haq quote "words aren't meant to be conquered, they're meant to be journeyed" - St. Louis

Make Connections to Last a Lifetime

Writing can be such a solitary activity, but when you find a supportive group of fellow writers, you will make new friendships that will nurture your artistic spirit and inspire you to keep creating content and share it with the world. Come be a part of our welcoming community and we’ll make sure you grow as a writer and always feel the freedom to be your authentic self. Join us and discover how much we all have in common!

Eleven O Eight will ALSO provide opportunities for incarcerated individuals to share their poetry during special write-in poetry competitions to showcase the multitude of talents in that area.

Our Summer Youth Program! (Coming 2024)

P.O.E.T.R.Y.

placing our eyes on the rising youth

Eleven O Eight will provide an annual summer writing camp for youth ages 8 to 18 to develop and enhance poetry and writing skills.

diverse group of young children sitting outside, writing poetry or drawing- summer camp - youth program - St. Louis

The students will attend a two week day camp consisting of optional sessions from 9 am – 12 noon and 1 pm – 4 pm, Monday through Thursday.

The final project will include students presenting original work in a Youth Poetry Contest!

diverse group of young adults/teens sitting outside, writing poetry or drawing- summer camp - youth program - St. Louis

more information to come...

Choose your plan

If you’re curious about our group and want to learn more, why not get started with a Facebook Membership? It’s free! Come check us out and we guarantee you’ll like what you see. This is a fun, supportive group who will nurture you, not pressure you. We recognize you are an artist and you can share whatever you’re comfortable with. We promise, once you take that first step, you’ll love how wonderful it feels to have your work recognized.

Let us inspire you to grow as a writer and dig deep to explore emotions you never knew were there. You can have all this with a free membership, though you are always welcome to upgrade to a Premium Membership for a small monthly fee if you’re interested.

Facebook Membership

FREE Membership
$ 0 Monthly
  • Absolutely FREE
  • Access to FB Group
  • Post original work and media (to be approved by admin)
  • Comment, React, and Support other poets!

Premium Membership

PRO Membership
$ 9
99
Monthly
  • Reasonble price
  • Access to FB Group
  • Original work posted to website
  • First dibs on Poetry Slam/Event Spots

Want to be a Poet?

Anyone can be a Poet! Give it a try!

Humanity is what we all have in common—we think critically, we feel deeply, and we all have our own way of perceiving the world around us. What is truly important for shared experiences is to communicate those thoughts and feelings with each other. Anyone can be a poet! Don’t worry about following a rigid style or a set of rules. All you have to do is write truthfully from your heart. Write about what matters to you. Sometimes the words come easily, but sometimes you have to stick with it to develop a new skill. As a community, we believe in you and encourage you to keep trying. When you need support, guidance, or critiques, we are here to help you. Let’s grow together and deepen our connections with each other and explore what it means to be alive right now.

What do you care about? Grab a pen, your iPad, or your phone and start writing! We know you have something important to say, and you’re the only one who can say it. Find the words and let your voice be heard.

water color art, poetry coming off the page concept, birds burst from pages of a book - St. Louis

Acrostic Poem

Acrostic Poem: 6 Lines The first letter of each line in an acrostic poem spells out a word or phrase that is generally related to the topic of the poem. There are several types of acrostics, including a double acrostic, where the first and last letters of each line spell out a message. The abecedarian acrostic is another type where the first letter of each line appears in alphabetical order. Acrostics are frequently one of the first types of poetry that children learn, writing a poem using the letters of their own names.

Elizabeth it is in vain you say

Love not” – thou sayest it in so sweet a way:

In vain those words from thee or L. E. L.

Zantippe’s talents had enforced so well:

Ah! if that language from thy heart arise,

Breathe it less gently forth – and veil thine eyes.

Endymion, recollect, when Luna tried

To cure his love – was cured of all beside –

His folly – pride – and passion – for he died.

Elegy

Elegy: 6 Lines The poet expresses sadness, grief, or loss in an elegy. They’re frequently written in the aftermath of a death. Elegies can be any type of poem in terms of meter and rhyme scheme (or none at all). However, traditional elegies have a specific structure. The first is the “lament,” in which the speaker expresses their grief. The author then praises the dead or lost with a dedication before concluding with words of consolation and usually hope for the future.

O Captain! my Captain! our fearful trip is done,
The ship has weather’d every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
       But O heart! heart! heart!
         O the bleeding drops of red,
           Where on the deck my Captain lies,
             Fallen cold and dead.

O Captain! my Captain! rise up and hear the bells;
Rise up- for you the flag is flung- for you the bugle trills,
For you bouquets and ribbon’d wreaths- for you the shores a-crowding,
For you they call, the swaying mass, their eager faces turning;
       Here Captain! dear father!
         This arm beneath your head!
           It is some dream that on the deck,
             You’ve fallen cold and dead.

My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor’d safe and sound, its voyage closed and done,
From fearful trip the victor ship comes in with object won;
       Exult O shores, and ring O bells!
         But I with mournful tread,
           Walk the deck my Captain lies,
             Fallen cold and dead.

Freeverse Poem

Free Verse Poem: 4 Line minimum This is the most open form of poetry, as there are no requirements regarding rhythm or rhyme. It frequently imitates the flow of regular speech, but what sets it apart from prose is the use of line breaks and other poetic devices such as imagery, alliteration, and others. Poetry is distinguished from prose by these elements. This is a great form of poetry for beginners to try so they have more freedom in expressing themselves and get a sense of the language.

What happens to a dream deferred?

Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?

Maybe it just sags
like a heavy load.

Or does it explode?

Haiku

Haiku: 3 Lines This Japanese style is highly structured and frequently emphasizes the wonders of nature. These poems strive to capture a fleeting moment in time through powerful words and phrases. The poems are written in three lines, with the first and third lines containing five syllables, and the second line containing seven. Words need to be chosen very carefully with this type of poetry, as they are heavy with meaning and must carry additional weight in the absence of what is left unsaid.

The light of a candle

Is transferred to another candle —

spring twilight.

Sonnet

Sonnet: 14 Lines A sonnet is a 14-line lyrical poem divided into three quatrains and one rhyming couplet. The sonnet form originated in 13th century Italy. There are four types of sonnets: the Italian Sonnet, the Shakespearean Sonnet, the Spenserian Sonnet, and the Contemporary Sonnet. A sonnet is typically divided into two sections: an eight-line section (the octet) and a six-line section (the sestet). The Shakespearean sonnet rhyme scheme, for example, is ABAB CDCD EFEF GG.

Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;

Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm’d;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm’d;

But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:

So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

Narrative Poetry

This is a broad category that includes forms of poetry such as epics and ballads. When you read a narrative poem, you’ll notice that it has a plot with a beginning, middle, and end. They’ve been written over the centuries to record significant historical events and to extol the virtues of famous individuals. The rhyme and rhythm help pass the stories along by word of mouth and memory. This approach is a celebrated form of classic storytelling, usually in an expressive way that kindles the fires of imagination.

Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-Five:
Hardly a man is now alive
Who remembers that famous day and year.

He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry-arch
Of the North-Church-tower, as a signal-light,—
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country-folk to be up and to arm.”

Then he said “Good night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war:
A phantom ship, with each mast and spar
Across the moon, like a prison-bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile, his friend, through alley and street
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers
Marching down to their boats on the shore.

Then he climbed to the tower of the church,
Up the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,—
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,
In their night-encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,—
A line of black, that bends and floats
On the rising tide, like a bridge of boats.

Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride,
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now gazed on the landscape far and near,
Then impetuous stamped the earth,
And turned and tightened his saddle-girth;
But mostly he watched with eager search
The belfry-tower of the old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height,
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!

A hurry of hoofs in a village-street,
A shape in the moonlight, a bulk in the dark,
And beneath from the pebbles, in passing, a spark
Struck out by a steed that flies fearless and fleet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.

He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.

It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river-fog,
That rises when the sun goes down.

It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.

It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.

You know the rest. In the books you have read,
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
From behind each fence and farmyard-wall,
Chasing the red-coats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.

So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

Acrostic Poem

Acrostic Poem: 6 Lines The first letter of each line in an acrostic poem spells out a word or phrase that is generally related to the topic of the poem. There are several types of acrostics, including a double acrostic, where the first and last letters of each line spell out a message. The abecedarian acrostic is another type where the first letter of each line appears in alphabetical order. Acrostics are frequently one of the first types of poetry that children learn, writing a poem using the letters of their own names.

Elizabeth it is in vain you say

Love not” – thou sayest it in so sweet a way:

In vain those words from thee or L. E. L.

Zantippe’s talents had enforced so well:

Ah! if that language from thy heart arise,

Breathe it less gently forth – and veil thine eyes.

Endymion, recollect, when Luna tried

To cure his love – was cured of all beside –

His folly – pride – and passion – for he died.

Elegy

Elegy: 6 Lines The poet expresses sadness, grief, or loss in an elegy. They’re frequently written in the aftermath of a death. Elegies can be any type of poem in terms of meter and rhyme scheme (or none at all). However, traditional elegies have a specific structure. The first is the “lament,” in which the speaker expresses their grief. The author then praises the dead or lost with a dedication before concluding with words of consolation and usually hope for the future.

O Captain! my Captain! our fearful trip is done,
The ship has weather’d every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
       But O heart! heart! heart!
         O the bleeding drops of red,
           Where on the deck my Captain lies,
             Fallen cold and dead.

O Captain! my Captain! rise up and hear the bells;
Rise up- for you the flag is flung- for you the bugle trills,
For you bouquets and ribbon’d wreaths- for you the shores a-crowding,
For you they call, the swaying mass, their eager faces turning;
       Here Captain! dear father!
         This arm beneath your head!
           It is some dream that on the deck,
             You’ve fallen cold and dead.

My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor’d safe and sound, its voyage closed and done,
From fearful trip the victor ship comes in with object won;
       Exult O shores, and ring O bells!
         But I with mournful tread,
           Walk the deck my Captain lies,
             Fallen cold and dead.

Freeverse Poem

Free Verse Poem: 4 Line minimum This is the most open form of poetry, as there are no requirements regarding rhythm or rhyme. It frequently imitates the flow of regular speech, but what sets it apart from prose is the use of line breaks and other poetic devices such as imagery, alliteration, and others. Poetry is distinguished from prose by these elements. This is a great form of poetry for beginners to try so they have more freedom in expressing themselves and get a sense of the language.

What happens to a dream deferred?

Does it dry up
like a raisin in the sun?
Or fester like a sore—
And then run?
Does it stink like rotten meat?
Or crust and sugar over—
like a syrupy sweet?

Maybe it just sags
like a heavy load.

Or does it explode?

Haiku

Haiku: 3 Lines This Japanese style is highly structured and frequently emphasizes the wonders of nature. These poems strive to capture a fleeting moment in time through powerful words and phrases. The poems are written in three lines, with the first and third lines containing five syllables, and the second line containing seven. Words need to be chosen very carefully with this type of poetry, as they are heavy with meaning and must carry additional weight in the absence of what is left unsaid.

The light of a candle

Is transferred to another candle —

spring twilight.

Sonnet

Sonnet: 14 Lines A sonnet is a 14-line lyrical poem divided into three quatrains and one rhyming couplet. The sonnet form originated in 13th century Italy. There are four types of sonnets: the Italian Sonnet, the Shakespearean Sonnet, the Spenserian Sonnet, and the Contemporary Sonnet. A sonnet is typically divided into two sections: an eight-line section (the octet) and a six-line section (the sestet). The Shakespearean sonnet rhyme scheme, for example, is ABAB CDCD EFEF GG.

Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;

Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm’d;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm’d;

But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:

So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

Narrative Poetry

This is a broad category that includes forms of poetry such as epics and ballads. When you read a narrative poem, you’ll notice that it has a plot with a beginning, middle, and end. They’ve been written over the centuries to record significant historical events and to extol the virtues of famous individuals. The rhyme and rhythm help pass the stories along by word of mouth and memory. This approach is a celebrated form of classic storytelling, usually in an expressive way that kindles the fires of imagination.

Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-Five:
Hardly a man is now alive
Who remembers that famous day and year.

He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry-arch
Of the North-Church-tower, as a signal-light,—
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country-folk to be up and to arm.”

Then he said “Good night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war:
A phantom ship, with each mast and spar
Across the moon, like a prison-bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile, his friend, through alley and street
Wanders and watches with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers
Marching down to their boats on the shore.

Then he climbed to the tower of the church,
Up the wooden stairs, with stealthy tread,
To the belfry-chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,—
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town,
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,
In their night-encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,—
A line of black, that bends and floats
On the rising tide, like a bridge of boats.

Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride,
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now gazed on the landscape far and near,
Then impetuous stamped the earth,
And turned and tightened his saddle-girth;
But mostly he watched with eager search
The belfry-tower of the old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height,
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns!

A hurry of hoofs in a village-street,
A shape in the moonlight, a bulk in the dark,
And beneath from the pebbles, in passing, a spark
Struck out by a steed that flies fearless and fleet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.

He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.

It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river-fog,
That rises when the sun goes down.

It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, blank and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.

It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadows brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket-ball.

You know the rest. In the books you have read,
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
From behind each fence and farmyard-wall,
Chasing the red-coats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.

So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo forevermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.