American-way. (english poetry)

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JOHNNY

street lights and reeds. (english poetry)

street lights and reeds.


Author’s Notes:

This one is very sloppy structure-wise, but I’m living this thirties fantasy right now and I really felt like writing some stuff related to that, not sure why. But it makes me really happy!

The entire poem has references to Al Bowlly.

Thank you so much for reading,

JOHNNY

A “book” excerpt on hope.

A little while back (I seem to start all my posts with this phrase), I started writing a book of actual fiction, as in, not poetry, called Brass Towers. With less and less time on my hands, and still trying to finish the various projects of poetry I have ongoing, this one got a bit lost, but I still have some hope it might see light of day. Here goes a rough-cut excerpt that I like, considering I don’t have nearly as much experience with prose as I do with poetry:


 

(A reminder, this is a character in the work, and not actually me writing about myself, although… it’s probably both)

As I lay my head against the bed-frame, I hope for better days. Some hope for those, others hope for better nights, and along those plaguing and exhausting hours of sleepless thought: we hope. As human misery goes, we hate hoping as much as we require it, since it fuels our glimpses of those better days, because hoping is somehow less painful than anything else we could be doing. We hope for days when we won’t need to hope anymore, in that sickly irony of circular thought, and those better days have knocked our wooden doors thousands of times over, banged, even. They scream to be claimed, but we are busy at the moment, we are busy hoping that they will come. We are addicted to hope, and in such woven spheres of contemplation, even knowing how much hope can hurt and how much misery it can bring, we keep hoping… for days that aren’t as miserable, for days that never come.

If only, perhaps, the sciences of the mind or arts of the psyche could provide a more easing method of withstanding life and its barrage of variables, we could stop the cycle of hope, and we could once-and-for-all close that wretched box Pandora opened so long ago, or even erase our understanding of human inadequacies and undo Eve’s apple eating habit. But closing a box or un-eating an apple are far too mundane to syphon our hope, no, they are insufficient. We yearn tragedy, great loves tossed into the claws of cruel oceans, even greater minds felled by their own ambitions, high spiritual connections with concepts that have far evaded our reductive minds, all grandeur, all splendour and garish displays of agony, because we already have hope to give and sell, but a fictional character only translates fully into our reality when it becomes hopeless, because hopelessness takes the highest courage, and because it is the most tangible thing we could never be.

With my head still laid upon the bed-frame, I look back: my childish years, filled to the brim with hope hidden between rays of sunlight, I hoped pine cones would fall so I could harvest the seeds and eat them, I hoped my words could convince Felicity to join me into the endless quest of fantasy awaiting beyond those pines. My adolescence, stacked with confusion and hopes for lesser confusion, a deep yearn for better days in adulthood, those that we produce, direct and act inside our minds, running so smoothly and beautifully, with liberty as the soundtrack and hope… always there, writing the screenplay. Now, an adult, nothing runs as smoothly as I’d hoped, Felicity never joined me behind those pines of magical wonder, she instead moved to Delaware. And as fate would have it, the pine cones were barren and seedless. I still hope for all the same themes under different guises, all a match of semantics duelling within ones mind. Felicity was my hope of love, which I never felt; pine cones were my hope for luck, which I never had; and life beyond the pines was my hope to escape, which I never did.
I still hope for all those things, all those days, as much as I miss them, and between missing hope as it was and hoping for it to cease, there is little of me left, and even that little me seems to be annoyingly hopeful.


JOHNNY

noise, peace (english poetry)

Y’all, I’ve been reading too much American poetry, so I’m going through this mixed phase of modernism and romanticism, I hope something good comes out of this because its certainly weird for me to write like this.

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Disclaimer: bulletless doesn’t seem to be a real word, but I don’t get why, so I’m gonna use it anyway.

Disclaimer 2: I’ve since revised the second part of the poem, so if you’re reading for a second time, you may find it different than the original. If you seek the original, you can find it here.


JOHNNY

Poetic Tips IV (supposing intensifies)

VERSE CONDENSATION AND SYMBOLIC IMPORTS

One relatively important thing I’ve taken notice lately by glancing at academic standpoints to grand compositions is symbology by association and how that impacts the _weight_ of a present verse or structure. The greatest example might be any poem written by T.S. Eliot (most notably, The Waste Land), which packs a myriad of literary and symbolic references in a singular modernistic composition almost subdivided by those very same symbols. (II: A Game of Chess contains references to the Prothalamion, Verlaine, Sappho, St. Augustine, and many more. Although this part of the composition is considerable in length, one can still assume the level of referential usage is greater than the one of the specific narrative.)
So, the question lays still: how are these references important to the spine of the poem, and not only Waste Land, any poem that references anything?

One general device of “writing the best words in the best order” (a quote by Samuel Taylor Coleridge believed to be said in 1827, when asked about poetry),
is the usage of symbols to convey a wider sense of emotion. As magical as poetry can be, it can also be very restrictive, you must be economical in every verse and stanza, siphoning from inner images in order to convey as much as possible with as little words as possible. Importing symbols from previous works of literary culture allows for a greater condensation of the message, through the somatic marker present in those works (of course, it relies on the knowledge from the reader’s side to actually know the referencing, otherwise it loses all leverage and becomes rather the opposite: a confusing word-salad).

Exemplifying, if I wanted to relay the toxic nature of hope without going through the hassle of creating a full stanzaic foundation for it, because that toxic interaction is only background to the skeletal basis of the poem, I can import from a generally known and easy-to-understand mythological fable (as many have before me, mythology is great for this exercise)

‘All evils dare not compare to Pandora’s youthful hope’

Merely an example, Pandora’s Box fable ends with the opening of the box and subsequent discovery of hope being the last of evils locked within it, also the only one that didn’t flee. The symbolical magnitude of this fable is great, and great will also be the impact it has on your poems message, if used correctly.

“But Johnny, you cursed fool, I haven’t seen many of these on your poems!” says Lucian the Annoyed, with a monstrous expression in stand-by to ambush.

I actually make a slightly ridiculous amount of references in my poetry, but I avoid the usage of names as I don’t find their sonority very helpful to the flow. Some names work, others do not, but I generally avoid them all, and prefer subtle references to film or music in place of literary symbolism. It is, however, nowhere as ridiculous as Ezra Pound or T.S. Eliot, they took it a bit too far, in my humble opinion (I’m not a fan of either, I do not enjoy poems that overly rely on symbolic imports because I prefer poetry to homework), although T.S. Eliot’s Love Song is still one of my favourite compositions of any author, which proves that the level of connectivity between a symbolical poem and it’s reader is how much it relates to that readers elected literary sphere.

TL;DR, use references and challenge yourself to stretch them and paint them some beauty as you do it, but also allow them to be accessible and thematically fluid with the poem, not only cosmetically. Also, do not sacrifice the spine of your poem by jamming in a fun-summon, all pieces must still fit, as I said on Poetic Tips I and II.

And in that note, I too should take my tips, since I recurrently make all the mistakes displayed above.


JOHNNY