So, bear with me here; I know it’s not great, but I was mashing my brain against this first Canto without any true necessity. Poems like these require a certain heaviness I cannot fully achieve (just yet), my poetry still draws much from my own levity as a person. That being said, the form is still ridiculously volatile, and I apologise for that. So far, The Shades are mostly lyrical, Cocytus is mostly expositive and Luriam is mostly confessional. I would like to keep it that way, but still need to work on their cohesion and how the styles transition. Regardless, if you have any tips, I’m all ears!
Thank you for reading!
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,
I know the last poem and this one are a bit weird and off-tracks for me. Do not be alarmed, I’m tinkering with new sound constructions for “ofuscus“, the sister structure to “excelse“, but since I’m just starting, it’s mostly an exploration of how variant I can make them sound without sacrificing much of both. These are mostly free-hand practices that allow me to gage and compare.
Line 12 is a reference to the book of the same name, “Heights of Despair”, by Emil Cioran. Highly advise you to seek it if you enjoy some grim phylosophy.
Line 1 is a reference to a song, all my compositions have at least one of these, sometimes more. In this case, it is “Odd Look” by french musician Kavinsky.
Line 17 might look a bit weird, Child is the symbol, while intrumental pain is the syntax. This is done purposefully, but the Child himself won’t appear just here, that’s why I symbolized it by means of capitalization. Its sort of a character but also a projection.