This may be ridiculously ambitious for someone trying to find their way back into poetry after a long, long hiatus, but I wanted to see if I could do something challenging. I wanted to see if I could break away from my songwriting voice that always wants to write couplets. So I found my little college textbook The Book of Forms by Lewis Turco and thumbed through it until this form took my fancy. It's a glose, a Spanish/Portuguese form that requires four opening lines that are later repeated. Only lines six and nine of the four ten-line stanzas must rhyme; the rest is up to the poet. It was fun to write and re-write, getting tangled up in my own mistakes and discoveries, but it seems stiff and too obscure. It doesn't have the heat of poetry yet; maybe you can help me figure out why not.
Twist
For unexplained mystery lingering on
My music was struggle and fight
By the soul of water I was consumed
In my invisible dreams of liquid sound
The page descends upon this line of code
Hidden inside the need for sleep
A single letter of the sequence wrong
Thirty years later the code unleashed
A nighttime line by morning gone
Still twists me as the code explodes
A single grade held by heart too deep
Pushed me from poetry into song
With existential longing I took that road
For unexplained mystery lingering on
To indulge the morning with poetry
For he who knows rhythm can versify
But where to learn accent, splitting light
Prismatic beat for eyes and ears to verify?
I was rhythm at work by day and night
Turning dust and cattle into sovereignty
But the bard counts rhythm into surprise
Turns energy into that which feels right
Though my pulse was rising from poverty
My music was struggle and fight
The arcing waves of life episode
Would plant my face on a sandy beach
So twist my life until it blooms
Organic hope of learning to teach
From language by rules in college rooms
Always looking back at the hidden code
Finding a voice for classroom speech
Weaving it all on watery looms
Look a little deeper I must I know
By the soul of water I was consumed
I'm learning to grow like any other tree
As you pull my ears with your fingertips
Love and language, water and sound
Till an icy moment from my heart I rip
And it spins my brain in circles round
But I give it due for changing me
Now where else to go but to your lips?
I have flowers in ice where crystals abound
But only till it all becomes poetry
In my invisible dreams of liquid sound


Comments: 24
Now, that is poetry.
You're a brave man, taking on something like this. I think haiku and cinquain are as complex as I'll ever get.
I was with this writer fellow throughout, and got a sense of his presence, his existence in terms of the seeking of this poet voice. It is a very difficult subject to approach in a meaningful way, many simply speak of muses and inspirations and such, but you went right in after the reality of it.
It's a bit on the "intellectual" side, and many prefer a few good jolts of emotional imagery, but to be honest; writing poetry is pretty damn intellect intense.
What seems different from your "ancient" stuff is a greater consideration of the reader's (listener's) experience. You seemed to have a better grasp of what I would experience as I heard it, and avoided misdirections and extraneous movements more consistently.
Keep in mind that I'm not saying your older stuff was 'night and day' lacking where this is somewhat more abundant. It's just a matter of degree, and it seems to me you've grown more cognizant of the reader's view.
That was an amazing comment. I was not aware that I was any more cognizant of the reader's point of view, but I now want to be. I guess I am considering words differently than I remember having done before, less fearfully, more patiently. I guess I'm getting my desired outcome of feeling like I've grown and I appreciate your insight into this process.
Gerry, this is a prodigious undertaking. The poem is defined by its structure and that can be a fine thing, unless it misses the mark in telling or showing in a persuasive manner, appealing to some aspect of the senses, cognitive, remembering, emotional, even mutual identification... an "oh yeah," going on. We miss that here, because, I think, the poem is too thick with images that don't pull through along the way or builid up. Rather, you get more of a feel of individual colors isolated on a canvas. the poem begins strongly with a metaphor of water and sound. then, all of a sudden, we get these words: page, code, sleep and a sense of mystery. Next strophe is most obtuse. This really needs to be parsed out. I would look at the sentence structure here. One question is enough and then a line of investigation should follow or carrying it through, again. "Prismatic beat for eyes and ears to verify? It was rhythm at work by day and night." Why not explore the question rather than give a response in the very next line. Key here is to allow your reader to grow with anticipation with your poem... draw them in and along. No answers, at least not yet. then look at these key images/thoughts in the next two strophes. Think about simplifying, breaking down to essense:
. then look at these key images/thoughts in the next two strophes.
indulge with poetry
knows rhythm can versify
accent, splitting light
Prismatic beat for eyes and ears to verify?
Turning dust and cattle
counts rhythm into surprise
pulse was rising from poverty
arcing waves of life episode
Would plant my face on a sandy beach
From language by rules in college rooms
etc.
These need to be pulled into common themes versus stand-alone points. To do this I think you must explore the avenues of sentence structure that allow you to compare, contrast, highlight, etc. You can do this by connector words like, "this feels like," or "as with" or "not only" on "if not" or "When the" or "How did"... the list goes on. But that's what your poem lacks. Cohesiveness.
Bottom line, it needs to come down to our level. Some things you have to just say plainly. There's way too much obscurity here. You only get a couple lines to interest the reader. If you totally lose them in the first strophe, doubtful you regain them with the same venue.
So what to do. Easy. You have a framework. Go back and hew away any sentences that you feel obscure. Slim it down by one or two stanzas.
What I like to do is collapse it all into one paragraph for he purpose of reworking. then really get at what you're trying to do with the poem... extract (try not to add much), then begin to rebuild with a different stucture.
Find a theme, right it down, then keep coming back to the question, did I address that theme. Was that necessary... etc. etc.
Good luck!
did you ever read _the braid_, by helen frost? that was an incredible feat of poetry, and the lines, and the starting letters, and the pure beauty of words. i can see you working towards a project of that scope!
Your kindness inspires me to keep working with form and difficult subjects. Thank you so much!
And I am bound to read some more and ponder glose and linger
I'm so pleased for you.