The Internet as a Boot Camp for Contemporary Love Poets

In this era, as never before throughout the course of history, contemporary love poets are at a distinct advantage as electronic communication via the Internet offers a potential boot camp for those writing contemporary love poetry. The same is also true with respect to contemporary love poetry critics and other readers.

Electronic communication allows immediate publication of contemporary love poetry. It also offers an inexhaustible data base for contemporary love poets, their critics and readers,  who may be seeking knowledge, or are interested in doing research on various levels.

For a new contemporary love poet, the moment he or she writes love poetry, he or she becomes a contemporary love poet. In other words, if you are writing and publishing love poetry, you are already a contemporary love poet.

To those who prefer to critique love poetry of the past in its own era, or that of the current era, you are contemporary love poet critics. For you, as well as for readers, there is a vast wealth of contemporary love poetry accessible on the Internet.

Now is always the era of the contemporary love poet. In other words, now is the time for participation in a boot camp experience that could enable you to learn something new, or improve your existing writing skills.

A contemporary love poetry boot camp can provide potential training with respect to poetic writing, as well as an opportunity for contemporary love poets to learn new Internet skills. Writing skills are instinctive to some, but not everyone. Skills improve with practice, and that is very much a part of a boot camp experience via the Internet.

Traditionally, anyone who felt inspired to write would simply use a pen and paper to document his or her work. While that is still feasible, electronic communication goes further and allows an immediate access to publication.

Where should the new, contemporary love poet start in the era of the Internet?

One must suggest that at any time, the best place to start is at the beginning. In other words, for a potential love poet, documenting his or her own personal inspiration or experience is the best place to start.

Do not underestimate the importance of love because with the topic of love being first and foremost, the contemporary love poet is unlikely to ever run out of inspiration. Love has endless new horizons of possibility.

Unconditional Love in Contemporary Love Poetry

Each era of the contemporary love poet introduces brand new thoughts and ideas, or at least, expresses some previous or earlier ones in a way that is unique to his or her writing style for contemporary love poetry, as well as for his or her era. 

Contemporary love poetry, as a collective whole, includes the full gamut of possible poetic expression of love, including both its positive and negative aspects. It also portrays the vast scope of understanding of spiritual love, as opposed to natural love. The love of the divine invariably finds a vast range of expression in contemporary love poetry throughout different eras, including the present. The same is true with respect to poetic expression of the love of man.

Contemporary love poets frequently express many kinds of love in their poetic writing, but not necessarily unconditional love, as such. Generally, expressions of the love of man appears to be more conditional than unconditional, or in other words dependent, at least to some extent, upon different levels of judgment by fellow man in conjunction with his or her understanding of good and evil. This in turn, makes poetic expression of love in general, conditional upon being socially acceptable, or approved of by others in its era or later.

The true Christian contemporary love poet expresses unconditional love in his or her contemporary love poetry.

What is unconditional love?

Unconditional love is the way that God loves man. In other words, He loves mankind regardless of his or her individual or collective sin, because in His divine plan for mankind, He has provided a provision that allows for forgiveness.

Many contemporary love poets may not understand the true significance of unconditional love fully, or even be able to express it appropriately in their contemporary love poetry. References to unconditional Christian love in contemporary love poetry are interpreted by critics and readers in every era, as being more conditional than unconditional, or as having imposed conditions of some kind. This depends a great deal on their individual and collective  perception of unconditional love in conjunction with social norms, values and personal and other preferences of the specific era.

In other words, contemporary love poets, critics and other readers, may or may not comprehend, express or interpret unconditional love on exactly the same level. Even when the contemporary love poet succeeds in expressing unconditional love, the perception of others may impose their individual or collective conditions upon it, in their interpretation of it.

Any expression of love is still better than none when it comes to writing contemporary love poetry, or interpreting it, regardless of its era. Thus, the contemporary love poet's efforts to express love on any level should be respected and appreciated by others.

One of the unique aspects of the topic of love has to do with the reality that it invariably encourages further development, as it is open to ongoing interpretation by other contemporary love poets, as well as contemporary love poetry critics and readers alike.

The same is true with the more specific topic of unconditional love. Unless someone chooses to place conditions upon it, it is just that, unconditional. Thus, the contemporary love poet is encouraged to write on, just as contemporary love poetry critics and other readers are encouraged to critique or read on, unconditionally in each era.

Self Disclosure by the Contemporary Love Poet

Self disclosure by the contemporary love poet is not always easy, as it can leave the contemporary love poet with almost over-powering feelings of vulnerability to others and to the world in general. At the same time, the contemporary love poet's degree of self disclosure is what allows or enables him or her to be, or become known and his or her poetic works to be recognized, or recognizable to others throughout the years.

The identity of each and every contemporary love poet is unique, regardless of his or time in history. In other words, a contemporary love poet in any era, has his or her individual identity. The degree to which his or her identity is revealed to others becomes a matter of personal choice, and is also a reflection of his or her comfort level with respect to self disclosure.

For a contemporary love poet in any era, including the present, this may vary. There are also other factors to consider like the social 'climate' of the era. Is the contemporary love poet writing during a time of war, or does an era of peace allow him or her the freedom to express him, or herself more freely in terms self disclosure in relation to his or her contemporary love poetry?

Of course, there are many other variables to consider with respect to self disclosure, including the mental, emotional, physical and spiritual health of the individual contemporary love poet. This is often revealed to some extent by his or her contemporary love poetry then, or discerned later by critics and other readers.

From a psychological perspective, the question of self disclosure may be related to the Id, ego or superego of the contemporary love poet. On the other hand, from a spiritual or religious perspective, it may be the disclosure of the human self in conjunction with, or in contrast to the divine Self.

Self disclosure by a contemporary love poet in any era, also depends to some degree of his or her personal circumstances. While it may be easier to write contemporary love poetry when living conditions are conducive to pursuing literary projects, the motivational aspect may be absent. Contemporary love poets living under difficult circumstances may feel inspired to write, but be reluctant to engage in any kind of self disclosure. The same is true when their lives are in danger, or being threatened in any way.

At the same time, contemporary love poets may be engaging in some degree of self disclosure unknowingly, simply by writing what they write. Partial self disclosure may be unearthed by critics or others, at the time when contemporary love poetry is written, or in later eras.

Self disclosure on the Internet in the current era may prove problematic and thus, caution is advised for potential contemporary love poets. At the same time, professional self disclosure can prove instrumental in respect to potential publication by contemporary love poets.

The Antagonist Versus the Protagonist in Contemporary Love Poetry

Profound contemporary love poetry in every era, demonstrates some degree of interaction between the antagonist who continually attempts to thwart the cause of a protagonist. This unique phenomenon reveals an ongoing struggle between the forces of good and evil and is often revealed in contemporary love poetry. The protagonist stands on the side of good, while the antagonist is on the side of evil.

Even in the 'voice' of the contemporary love poet, there may be an ongoing, internal struggle that may be interpreted or comprehended as being that of the protagonist versus the antagonist. In other words, he or she may have, or demonstrate two distinct 'voices' in his or her contemporary love poetry.

The nature of mankind is such that the light of the protagonist is in conflict with, and thus, causes struggles or  battles against the darkness of the antagonist in every human being, throughout the course of history. This continues to be true at the present time, as contemporary love poets around the globe continue to struggle for good, as opposed to evil, with that reality evident in their poetic works.

Each contemporary love poet has his or own unique battle of the protagonist versus the antagonist, regardless of his or her era. At the same time, no two contemporary love poets ever write identically, or state the same thing in their contemporary love poetry. The fact that there are two distinct 'voices' evident in contemporary love poetry suggests that one is rooted and grounded in love, while the other is not.

It is as if there is a constant divine-human conflict, and its struggle revealed in contemporary love poetry. It is more evident in one contemporary love poet's writings than in those of another, at times. It may also reveal man struggling internally with his or her own conscience.

This battle can reveal the contemporary love poet's own personal conflict, as he or she struggles with the realities of his or her external world. Each contemporary love poet has some degree of  internal conflict, as well as external conflict with others. The contemporary love poet of every era, including the present, tries to fathom, comprehend and write poetically about the ongoing struggle, at times wondering if those of the future learn from those of the past.

His or her poetic writings often reveal the quest to introduce a higher ideal, a better set of values, establish new mores or guidelines for mankind and stronger, more positive principles for future generations, in spite of the persistent opposition from the antagonist who continually attempts to refute, mock, or ridicule the best efforts of the protagonist.

In many ways, the constant interplay between the protagonist and his or her antagonist in contemporary love poetry, whether the battle is internal or external, and evidenced as such in his or her writings, is indicative of an eternal spark of life triggering fires of fury and passion throughout the eras. The critics and other readers of their eras, or different eras, merely serve to add more fuel to the existing fires of contemporary love poets and their contemporary love poetry.

Old age questions continue to resurface with different poetic 'voices' and new faces of poets appearing throughout the course of history, and will likely continue to do so in the future. There is no doubt that the bones of contention,  controversy and conflict between love and non-love will persist in future writings by new contemporary love poets. So will this phenomenon of antagonist versus protagonist in relation to the light and dark aspects of humankind and the world.

The Apocalypse in Contemporary Love Poetry

Throughout the course of contemporary love poetry, there have been numerous apocalyptic contemporary love poets. The same is true in the current era as the literary phenomenon continues. [.

How to understand the apocalyptic in any era can be problematic for contemporary love poets, critics and other readers like historians alike.

What does the word apocalypse mean?

The word apocalypse appears to have a double meaning with respect to discovery, or revelation, as is recorded in the book of Revelations. It also has another more negative, dark, tragic, futuristic side. Appearing to be prophetic, this side focuses on sudden events of a calamitous nature for humankind, as well as for the world in general. For example, it stresses loss and disaster on a humongous scale, thus creating fear in the heart and mind of humankind.

A question often arises with respect to an apocalyptic contemporary love poet in any era, as to whether or not he or she is actually a true prophet who is able to predict future events, or merely a pseudo-prophet who is not gifted in that respect.

The question of love is also raised in regard to apocalyptic writings discovered in contemporary love poetry. For example, a Christian, contemporary love poetry critic or reader may ponder over the utterances of contemporary love poets, wondering whether they are prophetically justified with regard to the love of God and fellow man, or maliciously by someone attempting to instill fear in the hearts and minds of man.

Another question that arises with respect to the apocalypse is how the contemporary love poet understands the apocalyptic message he or she conveys to others. Is it pertinent to his or her time or is it more applicable to some time in the future?

In retrospect, critics of contemporary love poets and readers may attempt to apply apocalyptic events found in contemporary love poetry to actual historical events.

Since the contemporary love poet in any era has relative poetic freedom of expression, his or her vision of a pending apocalypse may reflect what is actually happening in his or her own era. His or her perception and thus, creative imagination as well, may be distorted, particularly when there are problems associated with reality. Fear often results in negative creativity with mental health implications.

Fore-telling is another possibility as a contemporary love poet attempts to fore-tell the future with the hope of saving the lives of others. For example, a fore-teller may see and depict in his contemporary love poetry, a great famine and nuclear holocaust and thus, lead others to build bomb shelters and stock pile large amounts of food and water that will enable them to survive.

The apocalypse portrayed in the contemporary love poetry of any era often raises serious questions about the ultimate fate of humankind.

No two contemporary love poets ever convey exactly the same apocalyptic message, although throughout different eras, there may be similar messages discovered in contemporary love poetry. How seriously they are taken, or otherwise acted upon, depends a great deal on the belief systems of the contemporary love poets, their critics or other readers.

To most people, the apocalypse remains somewhat of a mystery regardless of when or where the contemporary love poet writes about it in his or her contemporary love poetry.  

Tides of Time in Contemporary Love Poetry

Every contemporary love poet and his or her collection of contemporary love poetry reflects the tides of time in one way, or another. The poetic works of a contemporary love poet may appear to be timeless as well as timely, within the context of the era in which they are written. Others may seem to be only applicable to the time frame in which they are written. In other words, to literary critics or other readers, their significance in literary history may appear to be relatively limited.

The words and expressions used by contemporary love poets may enable others to place a date on the writing of contemporary love poetry. At times, they may also distinguish a true contemporary love poet from others who attempt to claim his or her identity at a different time, or in a different place.

It is the tides of time and its ties to various concepts that help to distinguish and help to explain the contemporary love poet's understanding of what it means to him or her to be human or divine. The realm of his or her beliefs about eternity, the afterlife, or questions about life and death, often surface in contemporary love poetry in every era, including the present one.

Change is invariably evident in conjunction with the tides of time discovered in contemporary love poetry, even when it is change that is related to nature, man or his world. Each contemporary love poet writes in accordance with his or her present time, although any writer may veer off in a futuristic sense, at various times in his or her writing revealing an almost prophetic voice.

Time is something in contemporary love poetry that is often beyond the necessity of explanation, as the descriptive words of the contemporary love poet effectively manage to portray a distinct picture of the time. No further explanation is necessary because there are some things that distinguish certain eras, but tides change and so do eras.

The time factor is often important when contemporary love poets are inspired to write, as inspiration leads to a compulsion to write with distinct limitations on time, in any era. The fierceness and relentless nature of the tides of time may compel the contemporary love poet to write quickly and furiously. In his or her era, he or she sense a lack of time that is in turn reflected in his or her writings, or discovered at a later date by contemporary love poets or other readers.

The senselessness of the tides of time as being in a constant state of flux and endless transition may cause the contemporary love poet to yearn for previous times when somehow, or in some way, life itself was perceived as being more peaceful, happier and a time where love prevailed. This is particularly evident in contemporary love poetry written during times of war. The exploitation of mankind has never ceased despite the various tides of time, and finds its vast expression in words written by contemporary love poets in every era.

Tides of time also tend to introduce unique, new and different aspects of human progress in contemporary love poetry. The contemporary love poet may respond to transition in his or own era in a positive, or negative way, in his or her poetic work. The element of newness may be loved by some and hated by others, as is anything contemporary. Or there may be some degree of indifference expressed towards it. There may also be a total disregard for it indicative of the lack of awareness. A critic may wonder why it was not important to the contemporary love poet. Does or did he or she not have eyes to see? Has he or she been blinded by the winds creating the tides of time?

Contemporary love poetry with reference to the tides of time, or the lack of reference to it, may raise more questions than answers, but the topic of the tides of time is relevant when it comes to understanding how a contemporary love poet thinks and expresses his or her thoughts and feelings in any era.

Ranting in Contemporary Love Poetry

Throughout the different eras of literary history including the present, contemporary love poets have expressed, or voiced their disgruntled thoughts and feelings poetically, in many different ways. These could be referred to as poetic ranting.

What is ranting?

Ranting is speaking, arguing or complaining vociferously, in an aggressive, or potentially violent manner that reveals varying degrees of anger, frustration or intolerance. Ranting in contemporary love poetry expresses these same kinds of impassioned utterances, but in a poetic voice. Ranting has a time element to it, as it generally continues over a long period of time. It is like an incessant record that never seems to end. It goes on and on.

Why do contemporary love poets rant?

Contemporary love poets are people and people get angry. All contemporary love poetry is not focused on love in a positive, constructive manner. Love also has a negative, unloving or non-love aspect to it. Poetically objecting to non-love, lies within the realm of poetic freedom in conjunction with the contemporary love poet's ability of expression.

The vociferous nature of a poetic ranting is not unlike any other kind of ranting by mankind. Consider for instance, ranting in social protests, political rebellion, etc. The difference with contemporary love poetry lies in how it is stated, recorded or documented poetically, within its own era. Poetic ranting is not prosaic as such, even though at times, it may appear to be stated, written or read more like prose than poetry.

Ranting by a contemporary love poet is often reflected in his or her contemporary love poetry during its era of writing, or discovered by critics and other readers, in a later era. At times, ranting appears to be an angry plea by a contemporary love poet that directed towards others who he or she wants to be more humane, loving, kind and compassionate. It may be loud cry for justice from a humble contemporary love poet expressing his or her own feelings of helplessness and frustration with respect to the hungry and hurting world, in his or her era.

Ranting in contemporary love poetry may be a serious attempt to attract the attention of others to current issues of concern, like the abuse of women, children and the elderly during times of war. Ranting about war is evident in contemporary love poetry in every era, including the current one, even though it may not be recognized as such immediately.

The response to ranting may be one that happens immediately by others who are equally concerned about the same thing, at that particular time in the same era. Ranting may also result in growing indifference, as ranting is not necessarily easy to 'listen' to, or read in contemporary love poetry. Some may seek to silence the ranter rather than to respond to it in a positive, constructive manner that offers a solution, even if only temporary.

Ranting on a personal level may be comprehended by later critics or readers as being a contemporary love poet's 'woe is me' mode, particularly when the ranting seems endless in nature. Initially, it may be taken seriously, but when it goes on far too long, others tend to close their ears to it. The critics may label the continually ranting contemporary love poet as being mentally unstable, which may not be the case at all, but rather his or her way of expressing him or herself poetically. Or the radical ranting contemporary love poet may be regarded as a raving lunatic in his or her era, as well as by others later. If the ranting if a contemporary love poet is too radical, he or she may simply be regarded as being 'off on a tangent', again and again.

To some, ranting in contemporary love poetry may be perceived as thought provoking and revealing, with respect to the truth about an era. Wild ranting that appears to be unreasonable, vehement, or 'shouts' at its reader, may upset potential contemporary love poetry readers. There are also those who view ranting in terms of personal 'targeting' by contemporary love poets. To them, it may be frightening in terms of its potential implications.

Thus, the wise contemporary love poet learns to use discretion when ranting in any era.

Flight of Fancy in Contemporary Love Poetry

Every human being regardless of his or her place and time has the unique gift or imagination, and thus the potential to experience and enjoy a flight of fantasy. The same is true of contemporary love poets engaged in the writing of contemporary love poetry in every era, including the present. Critics and readers of contemporary love poetry also have the gift of creative imagination.

What is a flight of fantasy?

Fiction writers of every time and era demonstrate flights of fantasy in their writing, evident then and later. Being categorized as fiction, makes it acceptable or does it? With contemporary love poets and their contemporary love poetry, flights of fantasy may or may not be perceived in terms of having the gift of creative imagination, or writing 'poetic fiction'. Interestingly, there is no label for that aspect of fiction in contemporary love poetry, at least not yet.

Becoming, or being a fiction writer in any era, is generally regarded as an acceptable occupation, while being a contemporary love poet using fiction in his or her contemporary love poetry may be regarded as suspect, at least by some. The label of flight of fantasy may be used to depict the imagination of a fiction writer, if or when his or her work appears to be radical in nature. It is more frequently applied to contemporary love poets who demonstrate a degree of creativity of imagination in their contemporary love poetry.

The use of creative imagination in contemporary love poetry does not necessarily suggest that the contemporary love poet is out of touch with reality. The contemporary love poetry that he or she pens may be regarded as a pipe dream, a day dream, or mere speculative thought on his or her part. Who is there that does not have pipe dreams, day dreams or speculative thought, at one time or another? Their narratives may be regarded as as humor or 'fish' stories, so to speak, with gross exaggeration or distortion of facts.

The difference between the ordinary, everyday person who recounts 'fish' stories and the contemporary love poet whose creative imagination is at work in his or her contemporary love poetry, is the way it is written or recorded. The contemporary writes in poetic form, as opposed to the ordinary, every day person who may or may not record his or her imaginative 'fish' stories in prosaic fiction, or in any other way either. Many 'fish' stories are evident in oral tradition passed along from generation to generation.

Meditation, contemplation and reverie often lead to a soaring of the imagination where in the mind's eye, there is the play of fancy. Sometimes, it may appears to be more like a stretch of the imagination that is regarded as an impractical, unrealistic notion or idea that is impossible with respect to possibility, much less reality. Such is the world of fiction regardless of its form as contemporary love poetry, or other literary genres of expression.

Why do writers in general, resort to an occasional flight of fantasy, at times?

Perhaps what is happening is visionary in some respect as the contemporary love poet, like other writers, has a vision for the future. Maybe it enhances or creates some mysterious aspect to his or her contemporary love poetry that is intended to intrigue readers. There also the possibility that it just happens like many other different kinds of phenomena.

With respect to romantic contemporary love poetry, there may be a could have, would have and should have aspect to it. Love and its expressions of different levels of passion have a wide degree of expression, at times fictitious in nature.

Flight of fantasy may also be metaphorical in contemporary love poetry, as it proves to be a viable or even the best way for a contemporary love poet to express his or her thoughts and feelings.

The truth or untruth revealed in a poetic flight of fantasy by the contemporary love poet, often kindles the fire of imagination in its critics or readers, then, or at a later time. The fire of imagination may appear to be uncontrollable to some, particularly to those who do not understand it. At any time, a flight of fancy may simply warm the hearth, hearts and minds of those who love contemporary love poetry and the writers thereof.

The Real World and Contemporary Love Poetry

Every contemporary love poet writes in the real world in his or hew own era, as there really is no other place or time to write contemporary love poetry. What the contemporary love poet writes in the real world may be questioned by others, either in his or her place and time of writing, or later, by other readers or critics of different eras.

Contemporary love poets in any place or time may write contemporary love poetry that others perceive as having some aspect of other-worldliness. In other words, to the reader or the critic, it may not seem to depict the real world at all. It is regarded as other-worldly or not real.

No two contemporary love poets ever write exactly the same with respect to their perception of the real world they live and write in. No two critics or readers have exactly the same perception of it either.

Many questions arise as literary critics and readers attempt to understand contemporary love poets and their contemporary love poetry. At times, they are frightened by it. How can the question of the real world versus other-worldliness, or the non-world of the contemporary love poet be resolved?

In life itself, regardless of who perceives it from whatever direction, there are similarities, but also differences. What is reality to one person is not necessarily reality to others, but that does not increase or decrease the validity of the individual or collective perception of others.

The same is true with respect to contemporary love poets and the contemporary love poetry that they write. The difference lies merely in the fact that they write it, while others do not. The fact that they write, creates some degree of vulnerability, as others can read it.

Trying to find appropriate words and expressions that accurately depict one's perception is not always easy either for anyone, much less the contemporary love poet. At times, there are no appropriate words or expressions.

The contemporary love poet struggles to state in poetic writing, what he or she perceives, thinks, feels or understands. The critic or reader may not comprehend it and thus may condemn it as being other-worldly or not real, because he or she does not understand it.

When there are no words or expressions that are timely and appropriate, the contemporary poet may speak metaphorically, or try to voice concepts instead of words or expressions typical of his or her era. At times, he or she may have to create or coin new words and expressions which others may or may not be able to understand or appreciate. There are also those in every era who are intrigued, delighted, exited and even overjoyed at the discovery of literary innovation in contemporary love poetry.

There are no rules when it comes to literary innovation by contemporary love poets writing contemporary love poets in the real world, in any era, including the present.

An attempt to impose rules on contemporary love poets and their contemporary love poetry may happen in their own era or later, as readers and others attempt to comprehend their poetic writings. Literary or social norms often result in the formation and imposition of rules.

Thus, contemporary love poets and their contemporary love poetry are invariably subjected to scrutiny in every era. They and their writing may or may not be perceived within the true context of the freedom of love that all contemporary love poets should experience in their efforts to write contemporary love poetry in the real world.

Romance and Its Role in Contemporary Love Poetry

Romance plays a tremendous role in contemporary love poetry during every era, even the present, because by its very nature, it appeals to the hearts and minds of humankind. 

Romantic love in contemporary love poetry has always been a valid source of inspiration for mankind and likely always will be. The romantic contemporary love poet uses a vast interplay of words, expressions and imagery often not found in other kinds of contemporary love poetry.

Are not all contemporary love poets romantics? Not necessarily, as humankind can and does have a multiplicity of ways to express love, not necessarily all romantic in nature, depending upon who, or what is the object of affection. 

For example, a contemporary love poet who loves humankind in general, may write contemporary love poetry that is not necessarily romantic in nature, even though it is rooted and grounded in love. A contemporary love poet may also love nature and not necessarily write romantic contemporary love poetry about it either. Perhaps his or her love of nature is apparent immediately, or simply surfaces later in his or her romantic contemporary love poetry addressed to a person.

The person to whom, or about whom, a contemporary love poet writes romantic contemporary love poetry, is important and may be a real or fictitious divine personification of something or someone, a divine-human person or someone human. Romantic thoughts and feelings are portrayed in words and expressions used by the romantic contemporary love poet throughout the course of history, with respect to each. The words and expressions may vary, but not the romantic love itself.

Everyone loves a romantic, right? That is not necessarily true either, as unfortunately, many critics and others see and condemn romantic contemporary love poetry as being too mushy, gushy and blatantly inappropriate. Not every critic or reader is a true romantic at heart, or loves to read romance in contemporary love poetry. In fact, some may reject it outright, or rebel against it.

What is unromantic about contemporary love poetry? Consider this example. A country is at war and a contemporary love poet addresses his or her love for another person in terms of romantic love. To some critics or others, it may appear to be appropriate in his or her collective body of works, while to others, it has no place at that moment in time, or that period of history.

On the other hand, the expression of  romantic love poetry always has a distinct place in every era, as human beings are romantically involved with one another, simply because romance is inherent in their nature.

Puppy love is an early expression of romantic love in the younger generation, but not necessarily limited to them. Teenagers, adults and even seniors, can express puppy love in their own romantic contemporary love poetry, or experience romance as puppy love when reading other romantic contemporary love poetry.

Romance can be adventurous, fun and exciting to most readers and critics, as well as to contemporary love poets who are intrigued by the potentiality and actuality of romance in real life scenarios. At times, words that cannot be stated openly can be more appropriately expressed in romantic contemporary love poetry.

In contemporary love poetry, romantic love may have its negative side too, often revealing the yearning or languishing of a love-sick or love-crazed poet. Romance does not come easily to everyone in any era and rejection by a potential lover often thwarts the writing efforts of potential romantic contemporary love poet whose voice may be temporarily silenced.

The plight of the rejected contemporary love poet can bring out the elements of tragedy experienced by contemporary love poets, as well. New romantic love can also be realized by those in love, who are writing. New romantic love and romantic rejection are real in life. Rejection in romantic love has its own unique pain and sorrow, often left open to expression in romantic contemporary love poetry in any era, including the present.

Romantic and non-romantic contemporary love poetry will continue throughout time, in spite of the best efforts of critics, or others to quell it. Love is always at the heart of true romance.

Credibility and the Contemporary Love Poet

The credibility of the contemporary love poet comes into question in every era. Perhaps this is partly because the writing of contemporary love poetry with its new words and expressions of the day, attempts to depict its era. It also reflects the perception of the contemporary love poet in that era subjectively, even though his or her objectivity may be the initial source of his or her inspiration.

The vast majority of people are often unaware of much of what is happening around them, or in the world in general. Many of them do not want to be confronted with new thoughts, or ideas that would force them to re-evaluate or re-assess their own values because then, they have to deal with them. It is so much easier to live in one's own, real world than to have to deal with that of another, or many others. Why leave one's own comfort zone?

The credibility of the contemporary love poet may also be questioned because his or her contemporary love poetry is understood as fiction, not fact, unlike the work of a journalist, in spite of the reality that both may be writing about exactly the same thing, during the same time frame. The journalist is regarded as having credibility, but not the contemporary love poet, even though actual facts may be distorted by the journalist, while the contemporary love poet speaks the truth.

Truth is not necessarily always perceived as truth by everyone, which makes the contemporary love poet who writes about truth appear non-credible. The journalist is obligated to include facts, times and dates of events, whereas contemporary love poetry does not demand that information.

Sometimes, it may be many years later before the truth in contemporary love poetry is confirmed or verified. In the meantime, the contemporary love poet may have been subjected to rejection, abuse, even exile from his or her own family, friends, community and country for his or her contemporary love poetry.

History records that contemporary love poetry critics can be extremely harsh!

The work of the  contemporary love poet who pens a gentler contemporary love poetry may be accepted during his or her own era, simply because his or her work appears to be less offensive to critics and others. He or she may be respected by others, or even loved by them. Contemporary love poets who write expressing higher values like love, may also find their writings accepted during their own era.

Contemporary love poets often write metaphorically using imagery that critics and readers can relate to, and their credibility may be validated because of it. On the other hand, contemporary love poets who use more radical metaphors may find their works outlawed, as they are not understood or accepted. Their attempts at writing contemporary love poetry may be censored or subjected to destruction, either in their era or later. For example, consider events recounted historically, like the burning of books. 

Even some exemplary works written by contemporary love poets may be rejected because they are understood by only a few, not by the majority. The credibility of contemporary love poetry can be subject to severe scrutiny by critics, as well as others in any era. The credibility of the contemporary love poet may be questioned even though there are a few who recognize the validity of what he or she has written and they may even be struggling to protect or preserve his or her poetic works.

Complexity of thought as opposed to simplicity of thought, expressed through the words of the contemporary love poet, may make a difference between acceptance and rejection of his or her contemporary love poetry either in its own era, or later. That may also appear to make a difference in the credibility of the contemporary love poet, as well.

Thus, there are many factors that come into play with respect to the credibility factor of the contemporary love poet, as well as his or her contemporary love poetry. There is no guarantee that the new contemporary love poet will be regarded as credible in his or her era, or others. The same is true with respect to his or her contemporary love poetry, but that should not ever stop contemporary love poets inspired to write.

The Cacophony of Sounds in Contemporary Love Poetry

Love, in its vast array of literary expression in contemporary love poetry, is not always expressed in a truly harmonic manner. The contemporary love poet in every era may also have deep, negative thoughts and feelings that surface in his or her contemporary love poetry and demonstrate disharmony to readers and critics alike.

At times, the cacophony of sounds that can be 'heard'  in contemporary love poetry may be discordant and even harsh in nature. Why does that happen?

The mixture of harmonious and non-harmonious sounds can be one way for a contemporary love poet to portray a poetic effect of some kind. Its meaning may be immediately apparent to some, but not necessarily to others who may regard it as insignificant or meaningless in any era including the present.

A cacophony of sounds in contemporary love poetry may seem shocking to its readers or critics. Is love not supposed to be an ideal? What comes across as discordant can be nerve racking and upsetting to some. It always seems more appropriate to have love expressed as the gentler, kinder and more compassionate side of love, does it not? No one really wants to read love poetry that reveals conflict, consternation or chaos, or do they?

In the ideal world love effects resolution, a does not cause a jarring dissonance of discordant sounds, but the ideal world is one to strive for, not necessarily an actuality in the real world, at all times.

The vast cacophony of sounds that can be 'heard', so to speak, in the world of reality cannot be denied even as contemporary love poets rant on while proclaiming themselves to love humanity with their rasping voices resounding throughout the course of literary history.

The question becomes one of who really listens to the grating sounds of contemporary love poetry without feeling irritated and frustrated by it. Is their screeching not more akin to mere, unnecessary noise?

Perhaps one should regard the cacophony of sounds in contemporary love poetry from the perspective of the contemporary love poet expressing his or her own frustration. That reality is not unique to his or her era, as it is a phenomenon that continues throughout every era.

From a totally different direction of thought, the cacophony of sounds creates a sense of literary balance, the positive versus the negative, light versus absence of light, good versus evil, etc. Can anyone differentiate one from the other without having both aspects to it? Every coin, literary or other, has two sides.

In other words, the cacophony of sounds in contemporary love poetry serves a distinct purpose in every era, including the present. It may seem like a rock concert instead of one put on by a symphonic orchestra, but part of that reality has to do with its interpretation. Critics of contemporary love poetry and even readers of contemporary love poetry find expression in the cacophony of sounds in their worlds. Should the contemporary love poet not be allowed the same privilege?

Strident apertures of literary communication are here to stay.

The World as a Playground for Contemporary Love Poets

Perceiving the world as a play ground for contemporary love poets can raise the question of the seriousness of contemporary love poetry in any era. Is writing contemporary love poetry merely play in every era, including the present?

One might also ask the same question about war games. Are they mere play to humankind in a world of suffering humanity? A contemporary love poet can play in reference to them too.

One might also suggest that the work someone loves is often more like play than work to him or her. Thus, the literary world can also be regarded as a playground of the world for serious contemporary love poets in any era, including the present.

A source of inspiration for a contemporary love poet can be the actual world with its vast natural phenomena, happenstances and occurrences throughout the eras, as he or she learns how to playfully incorporate thoughts and feelings about them into his or her contemporary love poetry.

There are numerous other ways a contemporary love poet plays in terms of his or her writing projects. Playing with the word love itself, often brings home the reason why a contemporary love poet would write in any particular time or place. He or she writes contemporary love poetry because of his or her love of someone, something or the love of love itself.

The contemporary love poet may play with words and expressions referring to divine or human love in his or her spiritual realm, as well as the natural realm.

There is a vast potential for possible literary play as the contemporary poet explores the world of children, in terms of their reality or fantasy. Fantasy is a wonderful realm of discovery for any contemporary love poet who relates well to children and is able to play with them with words and expressions that are applicable to their world. Learning how to think and play like a child in a literary sense is an art too.

The political realm is another world where contemporary love poets play and often give expression to their thoughts and feelings, as well as those of others. These may become expressions of positive or negative play.

No one should ever under-estimate the importance of play to contemporary love poets, or to those who read or critique their literary work. It is often the literary play of critics that leads to exposure of various elements of truth, as well as untruth, sometimes that which has been hidden or disguised throughout different eras.

A contemporary love poet can often express the truth or untruth of his or her own era without risking exposure, condemnation or persecution from others, simply by playing with it.

The beauty of truth in the natural and spiritual world is a wonderful realm of play and exploration for contemporary love poets. It becomes a delightful world of its own to explore.

Truth is not always comprehended until it is given a natural metaphorical meaning or signification of some kind, often associated with the world as a playground and the play of contemporary love poets.

Mystery in Contemporary Love Poetry

Regardless of its era, each individual piece or collection of contemporary love poetry has some degree of mystery associated with it. The mystery needing to be resolved may be realized in the era of its contemporary love poet, but that is not necessarily the case. There are times when the mystery remains unresolved and can only be resolved in another era, but that is not always the case either, as some mysteries are never solved in part, or in total in any era.

It may be the element of mystery that causes others to question the sanity of the contemporary love poet during any specific era. Sometimes the question of the contemporary love poet's sanity may be raised in later eras by critics. Even the contemporary love poet may not fully understand the mystery he or she is inspired to write about. Which poet truly understands his or her muse?

Critics or readers of contemporary love poetry often discover a new mystery with respect to contemporary love poetry. If the contemporary love poet is still alive, he or she may be able to solve the mystery. If not, it may require a more extensive investigation. For example, questions arise like who is, or was the contemporary love poet with respect to a specific piece of contemporary love poetry, or a collective body of poetic works? What is or was  the source of his or her inspiration? Why was a particular piece of contemporary love poetry written? Was there a legitimate reason for it to be written at some specific time in history, rather than earlier or a later?

The question of its original poetic meaning is often a mystery in contemporary love poetry. A multiplicity of meanings may be possible, even though the contemporary love poet's original meaning may remain undisclosed. 
Is there a change in meaning in its translation? Is its translation accurate in conjunction with the original version?
How many different versions are there? Are they complete or incomplete?

Another mystery may be related to specific realities like the beauty of nature in a certain time or place, or the natural world and its phenomena in general. There is also the question of why things happen. Is there divine intervention or is it natural phenomena?

Part of what makes contemporary love poet so intriguing is its mystery. Critics and readers alike love the challenges of solving poetic mysteries. The mystery of life itself keeps many contemporary poets, critics and readers wondering. The power of words and expressions used in contemporary love  poetry is often a mystery , as well, but probably the greatest mystery in contemporary love poetry is the topic of love itself. No contemporary poetry ever explains all of the possible mysteries of love in the words of contemporary love poets.

A contemporary love poet can learn to use the element of mystery to enhance his or her contemporary love poetry. That is an art in itself.