The Wild Wind

[LorettaYoung]

The Wild Wind (2nd edit)

Hear the wild wind, his musical roar
as he sweeps from the north and kisses the moor.
He sings of adventure as he rattles your door,
riding the hills with his forceful grandeur.

Inhale the depth of the wild salt air
as he runs his fingers through your tossed hair.
Watch as he weaves through the cobblestone streets
tossing dead leaves that once dwelt in peace.

Ride the wild wind, as he seeks through your sill;
the spice of your kiss and the gift of your will.
Making wild merry, disturbing the sheets,
wreaking wild laughter in erotic feast.

Ride the wild wind whenever you can
over raging seas and mountain blessed land;
to unusual places of exotic reports,
let the wild winds enlighten your thoughts.

Reap the wild wind, a pure breath of life,
the fruit of the day when it is ripe.
There is only one question, this moment in time;
be it sublime, or a threadbare dead rhyme.

Reap the wild wind
come what may,
for death grins at you
from an open doorway.

Comments:
Verse 1: agree about allure; rattles your door I think has 2 implications. Changed streetlamps; evolved to cobblestone streets; really wanted to suggest the feeling of timelessness and referring the the moor and cobblestone streets suggest of old England

Verse 2: Took the advice; like it, except it didn't read well to me without the "tossed" hair

Verse 3: I see the sill as a small opening into which a more subdued wind would seep. I may be the minority but otherwise like the verse

Verse 4: The point in lines 3 and 4 is the Moment; not the wind, it asks if the moment is meaningful or the usual. Were not the astronauts Enlightened and ride the wild wind

Verse 5: " threadbare dead rhyme"; the usual, suggesting sublime outcomes may arise from the wild wind,

Verse 6: changed the inversion; also a different length and meter?
but I do this often to summarize and make an end point, which is here, what is experienced and of value when our life is at end.

I am not sure how to handle punctuation; some people have said they don't believe in it at all; I do, but not sure how to use it correctly but with simplicity.

I am very grateful to all of you for your kind and expert advice. Falling in love with poetry all the time; wish i had more; time that is. Most of my poems have much less form, but were well like mostly. I would be interested in your thoughts about those; but you
have more than done your job and I think I go on to the next site.
You folks are great! Loretta




The Wild Wind

Hear the wild wind, his musical roar
as he sweeps from the north and kisses the moor
he sings of adventure and groans to allure
riding the hills in his splendid grandeur

Inhale the depth of the wild salt air
as he runs his wild fingers through your tossed hair
watch the wild wind as he blows through the streets
tossing dead leaves that once dwelt in peace
swaying the lanterns the street corners keep

ride the wild wind as he seeks through your sill
the spice of your kiss and the gift of your will
making wild merry disturbing the sheets
wreaking will laughter in an erotic feast

Ride the wild wind whenever you can
over wild raging seas and mountain blessed land
to unusual places, of exotic reports
let the wild winds, enlighten your thoughts

Reap the wild wind, a pure breath of life
the fruit of the day, when it is ripe
there is only in question, this moment in time
be it sublime, or a threadbare dead rhyme

Reap the wild wind,
come what may,
for death at you grins
from an open doorway
g.e.Kaye

(I am unsure of some punctuation, and realize last line of 2nd verse throws of timing; I knew that but wanted something in here to represent the timelessness; swaying lanterns centuries ago). Any other suggestions, I want to learn. Thanks, Loretta (don't see where it says 1st or second revision)






Hear the wild wind,
his musical roar
As he sweeps from the north
and kisses the moor
he sings of adventure
and grons to allure

breath deep, the wild salty air
as he runns his wild fingers
through your wind tossed hair
watch the fild wind,
as he blows through the streets
tossing dead leaves
that once dwelt in peace
swaying the lanterns
the street corners keep

ride the wild wind
as he seeks through your sill
the spice of your kiss
and the gift of your will
making wild merry
disturbing the sheets
wreaking wild laughter
an erotic feast

ride the wild wind
whenever you can
over wild raging seas
and mountain blessed land
to unusual places
of exotic reports
let the wild winds
enlighten your thoughts

reap the wild wind
that breath of life
the fruit of the day
when it is ripe
there is only in question
this moment of time
be it sublime
or a threadbare
dead rhyme

reap the wild wind
come what may
for death at you grins from
an open doorway

g.e.Kaye

[Celestina Waters]

The wind is calling me right now and I AM GOING FOR A RIDE. Before reading this well well written poem I was going to use the wind as an excuse not to venture out. I honestly don't know what verse is my favorite. Each reaches deeper, urging the reader to feel the wind as never before. The last stanza made me shiver, and not because I was cold. What a great way to begin your journey here. I encourage you to continue, as I will be looking forward to the new elements you bring to life.

[Erthona]

grons?? runns?? fild ??

There is a lot of repetition. There are a number of rhymes which seem forced. Full lines are cut in half example:

"Hear the wild wind,
his musical roar
As he sweeps from the north
and kisses the moor
he sings of adventure
and grons to allure"

Hear the wild wind, his musical roar,
as he sweeps from the north and kisses the moor.
He sings of adventure and grons to allure

I am assuming "grons" is suppose to be "groans", if so "groans to allure" makes little sense making "allure" and "moor" a forced rhyme.

If written in accentual verse, instead of meter, the first stanza (lined out the way I have it), has four stresses per line, making them four foot lines, or tetrameter. Which would be fine, except you abandon this pattern by stanza 2.

This seems mildly imitative of Shelly's "Ode to the West Wind".

Going off beat, or off stress is common with those new to poetry, who have a vague sense of the stressed syllables in a poem, and are able to imitate that for a brief time, but then lose it at times, then at times come back to the pattern, which is what is happening here. About the same thing can be said of the rhyming pattern, which seems to be trying to rhyme every other line starting with the second line, but this pattern falters at times or forces the rhyme. Were it lined out as I have above, the lines would be in rhyming couplets, more or less (see below).

On the positive side, the writer can hear the stresses, and can rhyme. If the spelling errors were corrected, the lines written in tetrameter, and the forced rhymes removed, it would not be a bad effort. After stanza 2, the lines fall fairly well.

Example

ride the wild wind as he seeks through your sill
the spice of your kiss and the gift of your will
making wild merry disturbing the sheets
wreaking wild laughter an erotic feast

ride the wild wind whenever you can
over wild raging seas and mountain blessed land
to unusual places of exotic reports
let the wild winds enlighten your thoughts

Of course punctuation would add to making the reading less difficult.

Maybe if the writer lines out the poem as I have shown, it will be easier to see (hear) which line are too short or too long.

Best,


Dale

[LorettaYoung]

grons?? runns?? fild ??

There is a lot of repetition. There are a number of rhymes which seem forced. Full lines are cut in half example:

"Hear the wild wind,
his musical roar
As he sweeps from the north
and kisses the moor
he sings of adventure
and grons to allure"

Hear the wild wind, his musical roar,
as he sweeps from the north and kisses the moor.
He sings of adventure and grons to allure


I am assuming "grons" is suppose to be "groans", if so "groans to allure" makes little sense making "allure" and "moor" a forced rhyme.

If written in accentual verse, instead of meter, the first stanza (lined out the way I have it), has four stresses per line, making them four foot lines, or tetrameter. Which would be fine, except you abandon this pattern by stanza 2.

This seems mildly imitative of Shelly's "Ode to the West Wind".

Going off beat, or off stress is common with those new to poetry, who have a vague sense of the stressed syllables in a poem, and are able to imitate that for a brief time, but then lose it at times, then at times come back to the pattern, which is what is happening here. About the same thing can be said of the rhyming pattern, which seems to be trying to rhyme every other line starting with the second line, but this pattern falters at times or forces the rhyme. Were it lined out as I have above, the lines would be in rhyming couplets, more or less (see below).

On the positive side, the writer can hear the stresses, and can rhyme. If the spelling errors were corrected, the lines written in tetrameter, and the forced rhymes removed, it would not be a bad effort. After stanza 2, the lines fall fairly well.

Example

ride the wild wind as he seeks through your sill
the spice of your kiss and the gift of your will
making wild merry disturbing the sheets
wreaking wild laughter an erotic feast

ride the wild wind whenever you can
over wild raging seas and mountain blessed land
to unusual places of exotic reports
let the wild winds enlighten your thoughts

Of course punctuation would add to making the reading less difficult.

Maybe if the writer lines out the poem as I have shown, it will be easier to see (hear) which line are too short or too long.

Best,


Dale

Hi Dale: I am very appreciative of your corrections and time. To be honest, my education is in another field; in addition, I live in Woodstock and everything you read in the literary magazines is free verse to the extreme. I do not know about stressors, footlines or tetratameter; if these vary does it ruin the poem. It was my ignorant idea I guess that no punctuation and quickening the pace would make it more rhymical. Thanks again, Dale, Loretta

---

The wind is calling me right now and I AM GOING FOR A RIDE. Before reading this well well written poem I was going to use the wind as an excuse not to venture out. I honestly don't know what verse is my favorite. Each reaches deeper, urging the reader to feel the wind as never before. The last stanza made me shiver, and not because I was cold. What a great way to begin your journey here. I encourage you to continue, as I will be looking forward to the new elements you bring to life.

Thank you so much Celestina; a work harrowed over in attempt to contact those deep reaches of emotion; it's such a happy thing for me, as a beginner, the think I can have effect. Loretta

---

Sorry Dale and Celestina; Was confused by the site and answered in the wrong place. Dale, I appreciate your comments; I am not educated in tetratameter, stressors, etc., I live in a free everything Woodstock poetic atmosphere; actually, they discourage form. However, I am trying to write good poetry and am open to ALL help. Celestina, I am very happy that the poem moved you, which is a main purpose for me, thank you. I may have read Shelly's Ode 50 years ago but don't remember. Thank you both, Loretta

[Erthona]

The revision is better, stanza 2 is still very off, easy to correct:

Inhale the depth of the wild salt air
as he runs his fingers through your hair
watch as he blows through the streets
tossing dead leaves that once dwelt in peace
swaying the lanterns the street corners keep
Best,

dale

[LorettaYoung]

The revision is better, stanza 2 is still very off, easy to correct:

Inhale the depth of the wild salt air
as he runs his fingers through your hair
watch as he blows through the streets
tossing dead leaves that once dwelt in peace
swaying the lanterns the street corners keep
Best,

dale

---

That line is supposed to represent the timelessness of the question; streetlamps hanging centuries ago. I was thinking of breaking up the first two verses to three:

hear the wild wind, his musical roar
as he sweeps from the north and kisses the moor
he sings of adventure and groans to allure
riding the hills in his splendid(?) grandeur

Inhale the depth of the wild salt air
as he runs his wild fingers through your tossed hair
2 more lines

watch the wild wind as he blows through the streets
tossing dead leaves that once dwelt in peace
swaying the lanterns the street corners keep
1 more line her

I know yours is simpler, but I think it sounds less rythmic. I would try to expand and keep the flow. Does this sound feasible? I can see i will need some time and isolation for those additional lines. Thank you again Dale, it is great to have an instructor; I appreciate it so much. Loretta

[abu nuwas]

Loretta, I cannot compete with Dale and his tetrameters (by which he means four feet to the line), but when I read this, making allowances for what I assume to be your American way of pronouncing some words, I heard a good deal of rhythm, and it reminded me of Sir Walter Scott's 'Lochinvar', like this:

Lochinvar



''O young Lochinvar is come out of the west,
Through all the wide Border his steed was the best;
And save his good broadsword he weapons had none,
He rode all unarm'd, and he rode all alone.''


Or eve this one, of rather the same period:

''The Assyrian came down like the wolf on the fold,
And his cohorts were gleaming in purple and gold;
And the sheen of their spears was like stars on the sea,
When the blue wave rolls nightly on deep Galilee.''

They have good old rolling ring to them, yet, in fact, if you look at the meter carefully, in each, it rather changes, or jumps about. The writers could do that because they had an ear for what was right. For us amateurs, the best advice, on properly metered writing, rhyme or no, is to get one form running through your head say iambic tetrameter, that is, 4 x de DA. Then words will tend to slot in quite naturally, and if there is an extra half foot here or there, so much the better.

As for Shelley, never mind him: he was a fine poet, but he can't have a monopoly on the wind....

[LorettaYoung]

Loretta, I cannot compete with Dale and his tetrameters (by which he means four feet to the line), but when I read this, making allowances for what I assume to be your American way of pronouncing some words, I heard a good deal of rhythm, and it reminded me of Sir Walter Scott's 'Lochinvar', like this:

Lochinvar



''O young Lochinvar is come out of the west,
Through all the wide Border his steed was the best;
And save his good broadsword he weapons had none,
He rode all unarm'd, and he rode all alone.''


Or eve this one, of rather the same period:

''The Assyrian came down like the wolf on the fold,
And his cohorts were gleaming in purple and gold;
And the sheen of their spears was like stars on the sea,
When the blue wave rolls nightly on deep Galilee.''

They have good old rolling ring to them, yet, in fact, if you look at the meter carefully, in each, it rather changes, or jumps about. The writers could do that because they had an ear for what was right. For us amateurs, the best advice, on properly metered writing, rhyme or no, is to get one form running through your head say iambic tetrameter, that is, 4 x de DA. Then words will tend to slot in quite naturally, and if there is an extra half foot here or there, so much the better.

As for Shelley, never mind him: he was a fine poet, but he can't have a monopoly on the wind....

---

But I'm still not sure what you mean about feet and tetrameter? Iambic, 4Xde DA? Loretta

[ellajam]

Hi, LY, welcome. Here's a link that explains Basic Meter.

You can also check the individual threads in the Poetry Exercises forum for explanations of specific forms.

[kindofahippy]

From a novice to a newb, hello there, and welcome to the site! Now, dale pretty much illuminated all the points I was going to make, so it would be redundant to state them. Inversion, meter, and other metrical tools are his forte.

I am intrigued by the content. One thing about poem crafting that I find depressing is how cliched everything is. I mean, the wildness of the wind has been a recurring theme since thousands of years ago. How can you write freshly on a beautiful theme when the Greeks did it in the Odyssey?

I honestly belive that, at some point, you have to stop giving a damn what other people think. That's not to say you shouldn't regard it, as you should, but when you recognize that a perfectly fine poem will be crushed down just because the theme is overused, which is unavoidable given the epochs that poetry has been around, then you can take a deep breath, relax, and offer your own unique take on a subject combined with excerpts from history.

The Wild Wind

Hear the wild wind, his musical roar This is an Aeolian harp
as he sweeps from the north and kisses the moor sweeps and kisses work nice. sweeps give you this idea of dust flying off the moor while it's getting kissed
he sings of adventure and groans to allureUm, no, a groaning wind is usualy spooky. a groaning person, however, can be alluring
riding the hills in his splendid grandeur Here's where it hits cliche, and that is perfectly okay. It really says something that, througout human history, people have been so entranced by the wind, it's freedom and wildness. Repeating the theme doesn't extenuate a cliche; rather, it emphasises a culturally important theme. If aliens, or future historians, look back at the ruin of our culture, then they will see that we, as have others before us, and doubtless they, have this feeling of freedom and majesty attached to the wind.

Here is the poem Riding the Wind Together by Heather Burns.

I can actually read the first stanza and get a perfect tetrameter out of it. The iambs and trochees bounce around a bit, but it still sounds right. I have no idea if that opinion can be verified, though.

Inhale the depth of the wild salt air
as he runs his wild fingers through your wind-tossed hair
watch the wild wind as he blows through the streets
tossing dead leaves that once dwelt in peacenot sure if tetrameter
swaying the lanterns the street corners keep One time I tried to take a lantern from a street corner, and it bit me

Ocean winds and city winds add tactile feel to any work of prose or poetry, from The Ryme of the Ancient Mariner by Coleridge to A Tale of Two Cities by Dickens. It gives a sense of chill and foreboding, or it can give a sense of calm and refreshing

ride the wild wind as he seeks through your sill
the spice of your kiss and the gift of your will
making wild merry disturbing the sheets
wreaking will laughter in an erotic feast

This stanza doesn't work. It's inverted all to hell, for the sake of rhyming. Also, again, there is nothing sensual about a blast of wind through your window, it's more annoying than anything else. Try something like "he will ruin your bedding, and before he has passed,/you will see him wreaking laughter in a manic blast" (the meter doesn't work with that, but meh. just something less inverted, more natural). You might consider just deleting this stanza, it's long-winded.

Ride the wild wind whenever you can
over wild raging seas and mountain blessed land delete "wild"
to unusual places, of exotic reports
let the wild winds, enlighten your thoughts no comma, and What? Enlightenment is the concept of stillness and peace, but I can see how you might mean that the wind makes you think about things more

When I read this stanza, I get transported to the garden of the golden apple from the Chronicles of Narnia by C.S. Lewis. It brings a rush of childhood memories, soaring with the pegasi, so wild, wild and free, living life so antisocially.

Reap the wild wind, a pure breath of life like in the book of genesis, where God breathes life into people
the fruit of the day, when it is ripe Como?
there is only in(one) question, this moment in time
be it sublime, or a threadbare dead rhyme ok, what's that have to do with the wind?

Reap the wild wind,
come what may,
for death at you grins at how silly this inverted sentence is
from an open doorway yes, but I'm sure he was grinning when he rang the doorbell
g.e.Kaye[...]

I don't know, I see the link between reap/Death scythe, but in general the wind is associated with life and purity, not death and decay.

[LorettaYoung]

Elajam: thank you so much for all of your time and thoughts. I must have more time than now to study this; and the site on form. I will say though that can be a positive and negative result from riding the wild wind; and groan was one place I saw it. I am intent on having a verse relating to romance; when I think imaginatively, the wind mellows as it crosses the sill, it's not meant to be a bother but to bring the new, the wild. Why is it wrong to have inverted sentence; i see them all the time in poetry, and there is something i seem to like about it; do you think it sounds bad or is just bad poetry form? I will study more; consider everything said; am in deep gratitude for all this input. Loretta

[ellajam]

Elajam: thank you so much for all of your time and thoughts. I must have more time than now to study this; and the site on form. I will say though that can be a positive and negative result from riding the wild wind; and groan was one place I saw it. I am intent on having a verse relating to romance; when I think imaginatively, the wind mellows as it crosses the sill, it's not meant to be a bother but to bring the new, the wild. Why is it wrong to have inverted sentence; i see them all the time in poetry, and there is something i seem to like about it; do you think it sounds bad or is just bad poetry form? I will study more; consider everything said; am in deep gratitude for all this input. Loretta

The critique is hippy's, I just posted the link for you, I haven't commented on the poem yet.

I'm sure there are threads on inversion around here, but if you want to discuss it you could bump or start a thread in the discussion forum.

[LorettaYoung]

Elajam: thank you so much for all of your time and thoughts. I must have more time than now to study this; and the site on form. I will say though that can be a positive and negative result from riding the wild wind; and groan was one place I saw it. I am intent on having a verse relating to romance; when I think imaginatively, the wind mellows as it crosses the sill, it's not meant to be a bother but to bring the new, the wild. Why is it wrong to have inverted sentence; i see them all the time in poetry, and there is something i seem to like about it; do you think it sounds bad or is just bad poetry form? I will study more; consider everything said; am in deep gratitude for all this input. Loretta

---

The link to death is that you will reap your choices in the end, it questions what one want to put into their lives. Loretta

[milo]

Elajam: thank you so much for all of your time and thoughts. I must have more time than now to study this; and the site on form. I will say though that can be a positive and negative result from riding the wild wind; and groan was one place I saw it. I am intent on having a verse relating to romance; when I think imaginatively, the wind mellows as it crosses the sill, it's not meant to be a bother but to bring the new, the wild. Why is it wrong to have inverted sentence; i see them all the time in poetry, and there is something i seem to like about it; do you think it sounds bad or is just bad poetry form? I will study more; consider everything said; am in deep gratitude for all this input. Loretta

---

The link to death is that you will reap your choices in the end, it questions what one want to put into their lives. Loretta

You will find inversions in Victorian era poetry for a number of reasons including a diction that is considered quite quaint and archaic today. IOW, at the time, the speech was quite natural but reading inverted sentences today reads rather awkward and is almost always a sure sign of an amateur writer.

If you believe your poetry is somehow improved by backwards writing the sentences or if trying to achieve a specific effect you are then continue it you should but carefully think about it first you should as the overall effect amateurish or clownish it might seem to the reader.

[LorettaYoung]

Elajam: thank you so much for all of your time and thoughts. I must have more time than now to study this; and the site on form. I will say though that can be a positive and negative result from riding the wild wind; and groan was one place I saw it. I am intent on having a verse relating to romance; when I think imaginatively, the wind mellows as it crosses the sill, it's not meant to be a bother but to bring the new, the wild. Why is it wrong to have inverted sentence; i see them all the time in poetry, and there is something i seem to like about it; do you think it sounds bad or is just bad poetry form? I will study more; consider everything said; am in deep gratitude for all this input. Loretta

---

The link to death is that you will reap your choices in the end, it questions what one want to put into their lives. Loretta

You will find inversions in Victorian era poetry for a number of reasons including a diction that is considered quite quaint and archaic today. IOW, at the time, the speech was quite natural but reading inverted sentences today reads rather awkward and is almost always a sure sign of an amateur writer.

If you believe your poetry is somehow improved by backwards writing the sentences or if trying to achieve a specific effect you are then continue it you should but carefully think about it first you should as the overall effect amateurish or clownish it might seem to the reader.

Were not the moonwalkers enlightened by the wild wind. Loretta

[Erthona]

Milo with agree I, sure for, sense it plenty makes!

elad

[LorettaYoung]

Milo with agree I, sure for, sense it plenty makes!

elad

---

I see your point; you make it sound rather silly; but language can get boring, in it's usual sense, I've read poetry like that; it's just like someone would speak it, but i will really think about it; perhaps there is a better way. Thank you again, Loretta

[milo]

Milo with agree I, sure for, sense it plenty makes!

elad

---

I see your point; you make it sound rather silly; but language can get boring, in it's usual sense, I've read poetry like that; it's just like someone would speak it, but i will really think about it; perhaps there is a better way. Thank you again, Loretta

If language gets boring than we have much larger concerns but as for the inversions, what were you hoping to accomplish by including them in this poem?

[abu nuwas]

Milo with agree I, sure for, sense it plenty makes!

elad

---

I see your point; you make it sound rather silly; but language can get boring, in it's usual sense, I've read poetry like that; it's just like someone would speak it, but i will really think about it; perhaps there is a better way. Thank you again, Loretta

One reason that inversion is now rare, is that it has been hunted nearly to extinction, by the plain-speaking brigade. There is nothing in the least wrong about using it, or archaistic language either, or made-up words, or foreign words. Words and punctuation and structure are what a poet has available in his paint-box. To eschew some, because of nervousness about fashion, or for fear of being called 'amateur' makes no sense, most especially, since there is nothing in poetry, more often than not, which resembles the day-to-day lingo we all use -- so why pick on this? How many people =, myself apart, use strings of alliterated words in daily speech? They don't. How many rhyme, when they go to the supermarket? Do they use dozens of dactyls at the deli, or reserve trochees for the tax-man, or pillory their postman with pompous pentameters? No, nor are amphibrachs and anapaests aimed only at artists animals and actors. But maybe this should be a thread -again.....

[LorettaYoung]

Milo with agree I, sure for, sense it plenty makes!

elad

---

I see your point; you make it sound rather silly; but language can get boring, in it's usual sense, I've read poetry like that; it's just like someone would speak it, but i will really think about it; perhaps there is a better way. Thank you again, Loretta

If language gets boring than we have much larger concerns but as for the inversions, what were you hoping to accomplish by including them in this poem?

---

I think knowledge of death is of great import when considering things; like riding a wild wind; may walking on the moon; but it could have been said without inversion; I was thinking

for death grins your way
from an open doorway

---

How many here don't like stanza 2? Can't the wind seep through a crack in the window sill? I still like the stanza; what is wrong with it except the coming in the sill?

---

The wind is calling me right now and I AM GOING FOR A RIDE. Before reading this well well written poem I was going to use the wind as an excuse not to venture out. I honestly don't know what verse is my favorite. Each reaches deeper, urging the reader to feel the wind as never before. The last stanza made me shiver, and not because I was cold. What a great way to begin your journey here. I encourage you to continue, as I will be looking forward to the new elements you bring to life.

---

The wind is calling me right now and I AM GOING FOR A RIDE. Before reading this well well written poem I was going to use the wind as an excuse not to venture out. I honestly don't know what verse is my favorite. Each reaches deeper, urging the reader to feel the wind as never before. The last stanza made me shiver, and not because I was cold. What a great way to begin your journey here. I encourage you to continue, as I will be looking forward to the new elements you bring to life.

Celestina: Thank you so much; did i already? This site is amazing; how willing you all are to be helpful and reply to questions. I'm so glad you liked it; you know there's really a more important thread here than the wind; it's our choices; what we reap, what we can see; what we can feel, in a way, the wild wind is really a metaphor for open doors in our lives. Thanks again, Loretta