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Words, Plural

IN THE BEGINNING
I am driven by my longing
In the beginning
Of arms and the man I sing
In the beginning
It was the best of times, it was the worst of times
In the beginning
A screaming comes across the sky

In the beginning
poetry was an act of creation,
explaining into being,
making garden Word
water Word, mountain Word,
woman Word, God Word.
Then we knew ourselves,
at least our lettered forms,
and the lines turned and twisted,
snaked in on themselves,
and in their wanderings
the Words became new woven garlands,
set upon the heads of heroes
whose deeds defied the dying years,
the Words became now thorny crowns
set upon the heads of prophets,
at whose bloody temples we worshipped.
These sounds we called valour and sacrifice,
were deafened by their echoes,
and we wondered how we could bear
to be so pinched between the Cross
and the Colossus of Rhodes,
living in their twofold freezing shadows,
till Words became bleeding wounds,
expressions of inadequacy,

a way of celebrating our own
imperfection, our failures.
So we tore down the garden Word,
the water Word, the mountain Word,
the woman Word, the God Word,
revelled in the death of meaning;
a grand poetics of grime.
But where does that leave me,
the Poet Notquiteyet,
striking up the old pose,
preparing to sing my songs?
Even the most bare-naked bitterness
has been drizzled with honeyed Words
and made a point of pride,
leaving me speechless,
feeling the promontory
crumble under my feet.
I can only sit upon my hands,
type out of my ass, literally,
longwinded ruminations on navel fuzz,
trying to conquer that last frontier
of technicalities and empty flare
turning Word back to formless sound.
I write serviceable poetry, indeed,
in meter, rhyme and verse
yet somehow lacking, lacunal,
that original voice
that lets poetry the air
to inspire lungs beyond my own.
Poetry, harder than turning
coal to diamond barehanded,
Poet, try harder to mean something,
shine
or stop.

II

And I would,
I would, I would,
cast Wordsworth's worthless Words
out into cloudless night,
mow down fields of dandelions,
and sit thoughtless in a concrete bunker,
at that sleepless hour when even candlelight
blares sterile like flickering fluorescence,
dreamless and so deprived,
rather than face freedom again.
But still Words fill my mind
Words challenge my silence
Words leave me sweaty, shaking, weak
till WordsWordsWords from lips finally tumble,
inappropriate, inchoate, embarrassing
as I fall to knees, desperate
to suppress these unconceived babes ,
cram Words back into mouth,
gnash Words with teeth,
paper to pulp till whole Words no more.
Yet a stone slips in and suddenly
I'm squirrelly-cheeked choking,
jumbles escaping lips pursed purple,
these Words, these Words, these Words!
This muse is demon,
this muse is Legion
for the days are many
when I awake, tongue still fuzzy
from licking Virgil's vellum,
with Blake's black inks boiling in my guts.
Save me from my mangled Words,
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth ,
a chewed up Mass cast into Pig's Latin
olyHay, olyHay, olyHay ordLay odGay,
a child's secret prayers to heaven,
Ite, missa est!
Iteyay, issamay estyay?
Ixnay on the upidstay .
Words pursue, Words pursue,
while the Great Dane remains inside;
contemplating my skull .

III

So fine then, have at me,
open up the floodgate veins
and let them fill the cup,
I’ll drink it all up,
every Word they’ve said,
every Word I’ve suppressed,
I’ll let the timbre of my voice carry them
as far as my breath will travel.
Paul Engle looked inside and found that
“Verse is not written, it is bled
out of the poet’s abstract head,
Words drip the poem on the page;
out of his grief, delight and rage,”
and an urn told Keats
“Beauty is truth, truth beauty – that is all
ye know on earth, and all ye need to know,”
yet had I but looked first at this crumpled scrap of paper
whose chiming Words have flaked and faded,
I’d have read a new poet’s declaration:
“No one ever feels fulfilled by half-measures;
The poet must commit the full cup,
And spill out all pain, all doubt, all love, all pleasure.
We can no more control the flow of a lifeline,
Than the Words by which it is defined.”
That last was me, so confident at nineteen,
this at least is me, these Words I’ve made my own,
made my lettered body, heart Word, brain Word,
cock Word, mouth Word, life Word.
If these wet new eyes are windows to the soul,
then look close and find my face
pressed white against the glass,
fogging it with happy laughter,
sharing drinks with Shakespeare,
composing all new odes
from the Words that defined our past:

O’ LET IT BE WRITTEN!
O’ LET IT BE SUNG!

 

[JM Francheteau]

Author notes

This poem is fairly rich in allusions, so if you do decide to embark upon it, expect a familiar ring or two.

Complete Text Explanation (see contest):

Prelude: "In the beginning" - An obvious Biblical allusion. The poem begins with an overview of poetic history, which is then linked to the poet's own development as an artist. This brief prelude foreshadows the structure of the first verse by referencing Creation myth (the line "I am driven by my longing" is from the Finnish national epic, the Kalevala ), classical heroic verse ("Of arms..." is a quotation from Virgil's Aeneid ), realistic populist lit (here Dickens' A Tale of Two Cities ) and finally deconstructionist modernist lit (from Pynchon's The Crying of Lot 49 ).

 

The next section elaborates on what the prelude alluded to, with poetry descending from questioning the infinite to questioning ourselves, and even to celebrating the obscene. With all of these points tackled, is it possible for the new poet to say anything new? And if one is not original, is there any point in saying anything?

 

Part II details the power of the poetic muse. Those of us who have (or are) chosen to be poets are compelled to write by the Words inside of us, regardless of whether we are good at it, or whether we have anything anyone else will care to hear. I express this situation dramatically, comparing the poet who tries to contain his muse to the Titan Cronos, who consumed his children only to eventually regurgitate them and lose his power to their control. I allude to several key figures in the history of poetry, including Wordsworth, Virgil, Blake and Shakespeare (the "Great Dane" is Hamlet; his 'lurking' in the poet's skull plays on the 'poor Yorick' monologue). The sections in Latin are from Catholic liturgy, which are gradually rendered into nonsense by conversion into Pig Latin. I compare the poetic muse to the demon Legion, who was composed of many demons bonded to one form; Jesus eventually cast him/them into a herd of pigs, which led to my punning on 'Pig's Latin.'

 

Part III finds the poet accepting his fate and calling. While the quotations from various literary sources had seemed to intrude upon the poet earlier in the text, here he is able to implement them on his own terms. While it would be arrogant for me to claim myself as a poet on a par with Paul Engle, let alone John Keats, the poem is about accepting myself as a poet and thus, if only in that respect, I may claim to be like them. Thus, the poem concludes with a quotation from a piece I wrote several years ago which, while rough-hewn, touches me with its confidence and enthusiasm. The journey from confusion and doubt to acceptance and confidence is reflected in the two lines that end the poem: "O' let it be written! O' let it be sung!" These lines are a play on the Biblical phrase "So let it be written, so let it be done." Here the poet acknowledges his debt to the past, while reshaping that past into something new, which expresses what he and he alone wishes to say.

 

Thanks for reading both the poem and the explanation to those who have trudged through; I trust the experience has not been too trying, and you can be sure that it is much appreciated.

Thoughts welcome.

    I plan to revise this poem: please leave constructive criticism!
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Comments

1 - 10 of 10

  • SweetWhiskey
    September 4

    Edit | Reply
    wow wow that is great u r a good writer and anyone who tells u otherwise is just plain stupid and wouldn't know what good is if u punched them in the nose with it

  • WOW

    I am probably to young to to give you any advise. I loved every bit of it and I could not believe how well you injected the emotions into my soul will every word, line, paragraph, and part. Keep writing and I would love to hear from you!
    <<<<<33333 Lot's of SISTERLY love!!!

  • This has to be the longest poem I have ever read. =]
    its really good


  • Daniel JD
    May 9
    Edit | Reply
    Wow This is great.


  • Wolfdog silver member
    May 9

    Edit | Reply

    Superb Plus +

    A marvelous write about the creative process, with a solid ring of truth. Thanks for sharing this one with us.

  • THUD! falls...dead upon the...floor....

    I am so humbled by these words, words, words!
    Breathless beauty sculpted every line and verse...
    I was mesmerized could not take my eyes
    off every single line.....tormented, tortured,
    scorned, and purified.....
    words, words, words.........
    the blood of redemption,
    the ink of sacrifice
    each verse stung my heart
    with it's ......beauty!

    THUD! fall...dead upon the floor.....
    (thankyou for the lessons that you teach)

    ears2hearyou
    Kathleen/Seattle
    humbling!


  • poor yorrick

    nothing timely starts with in the beginning
    consuming and regurgitating is the pulse of space
    in a constant state of now
    time equals space

    only sensorial makes it relative
    and only sensorial annihilates the relativity


  • Welcome To Allpoetry

    I added you as a favorite, after reading "Murmers" and this is just another testimony to your rich talent. I will be reading more of your work in the future!

    warm regards,
    Jeremy

1 - 10 of 10