“A man does not live by bread alone….but by every word from the mouth of God” is a good motto for the Gavan Hurley story. He allegorically articulates being happy to have found writing because he has escape ignorance and symbolizes this state of the art standard to the tale of the Socrates Plato Republic prisoners escaping their blindness of cave life. In his blog, “Parting of a Fog” he narrates a philosophical ideology of readability and curiosity which proves a good groom of literacy for the post modern man. His reflections are a male gender orientated discipline and could be contrasted to his connected protegé Melissa Brinkman strong women voice. In Melissa poetic blog “Blistering Hot and Humid” female body language and voices dominate an interesting comparison. Both Gavan in his male identity practice and Melissa’s female counter part rhetorically engage in a mental pedagogy skills during the same writing grace period of time. Melissa’s poetry is an adult toy and offers giant steps to relate feminine reality while Gavan stoically mimics a writing reproduction of verbal expressions and techniques in line with popular music and lyrical composition. These personalities saw truth and authorship staring back at them in the mirror. In a duet of discovery of gender relationships they affect a coming of age and right of passage experience. Gavan masculinity reflects a trendy male voice that produces exemplary verbal insights, for example, he wrote, “I delight in writing and reading convoluted, stark language, and therefore will not see myself abandoning it anytime soon in the future.” Melissa is a poetic Woolf.
Gavan is to Melissa as Melissa is to critical reading, thinking, and writing. They both move purposeful themes causing psychological imprints on audiences. Melissa, for instance, takes advantages through a comic reinvented articulation that interrogate the senses in a light-hearted and submissive girl type poetry communication. She balances and invites deeper levels of emotional meaning. Gavan style argues with the use of a strong enlightened and talented philosophic rhetoric. This comparative outlook collaborates a form of contemporary criticism. These two writers connect selectively with an obvious lightness of spirit and a hidden dark side of workmanship that revolve like hotel doors or like Zen ying yang symbols moving a distribution of signs pointing to a great read. The appropriate criticism here may be that her allusion in poetry masks the idyllic illusion of his sound prose. This music man philosopher accepts new excitements stirred from the depth of a poet and the poet finds a huge attraction viable to a man’s writing style.
