This post has taken way longer to put together than I expected. (All in all, I think I probably spent two weeks piecing it together…) But honestly, not sure why I keep assuming anything involving thinking and writing will be quick and easy—ha!
In any case, I want to welcome around 600 new folks to Beautiful Losers today! My middle-school-sitting-on-the-portable-steps-and-reading-Plath-and-Woolf-at-recess self is gobsmacked and delirious with gratitude.
I’m also happy to report that I feel zero imposter syndrome. I know I was always meant to read and write and share what I read and write. On that note, I’ve been working on several new essays for Beautiful Losers, and I’d love your opinion on which one I should refine and edit next!
Loading...
Alright, what follows is the second lesson of sorts in the free poetry curriculum I’m developing here. I very much intend today’s post to be kind of a living reference for y’all to return to as and when you may need it. I’ll also update this document every few months or so and if it grows unwieldy, I’ll think of a better place to host it.
And of course, it goes without saying, included here are only terms that I consider essential. An essential thing, however, does not strip significance from anything that might be non-essential. Often, “non-essentials”, in any field or work, can be more enjoyable or interesting. And, what is non-essential to me might be the most essential to another. So it goes with humanity and individualism!
These terms and examples should help open doors of curiosity and get you started in putting language to concepts and ideas you come across in your own poetic practice.
Here are the last two posts in the curriculum:
Introduction (or why I’m doing this and what this is)
ALLITERATION ✦Repetition of initial consonant sounds in nearby words. Overused in bad poetry, powerful when subtle.
The fair breeze blew, the white foam flew
The furrow followed free;
We were the first that ever burst
Into that silent sea
from “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge
ASSONANCE ✦ Repetition of vowel sounds within words. Creates internal music and cohesion.
Drift-Raft
by Atsuro Riley
Some nights, blank nothing:
The ice-box, milk-purling in the kitchen.
The eye-of-pine floorboards ticking, clicking, planking themselves cool.
CACOPHONY ✦ Harsh, jarring sounds. Deliberate ugliness for effect.
I shall never get you put together entirely,
Pieced, glued, and properly jointed.
Mule-bray, pig-grunt and bawdy cackles
Proceed from your great lips.
It’s worse than a barnyard.
from “The Colossus” by Sylvia Plath
CONSONANCE ✦ Repetition of consonant sounds within or at the ends of words.
Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
from “The Tyger” by William Blake
EUPHONY ✦ Pleasant, harmonious sounds. Smooth combinations of consonants and vowels that flow easily.
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o’er-brimm’d their clammy cells.
from “To Autumn” by John Keats
SIBILANCE ✦ Repetition of ‘ssssss’ / S sounds! Can create softness or menace depending on context. Can also be really horrible audibly speaking if done too much or without intention.
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? ...
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
from “The Love Song of J. Alfred Prufrock” by T.S. Eliot
SLANT RHYME ✦ Words that almost rhyme but don’t quite. Creates tension, feels modern.
I heard a Fly buzz - when I died -
The Stillness in the Room
Was like the Stillness in the Air -
Between the Heaves of Storm -
from “I heard a Fly buzz” by Emily Dickinson
⟡Line & Syntax ⟡
ENJAMBMENT ✦ When a sentence or phrase continues from one line to the next without punctuation. Creates momentum, surprise, controls meaning.
It’s not metaphor that bees make honey
of themselves while language only dreams
the hunted thing. Let’s be hungry a little
while longer. Let’s not hurt each other if we can.
from “Wound is the Origin of Wonder” by Maya C. Popa
You can see more of the wonderful Maya C. Popa right here on Substack!
DISJUNCTIVE ENJAMBMENT ✦ Extreme enjambment that breaks at grammatically weird places, fighting syntax.
The Red Wheelbarrowby William Carlos Williams
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens
SYNTACTIC FRAGMENTATION ✦ Deliberate sentence fragments. Incomplete thoughts that force the reader to fill in the gaps. Lends itself well to the aphoristic in poetry.
Fragment
by Ezra Pound
I have felt the lithe wind
blowing
under one’s fingers
sinuous.
⟡Figurative Language ⟡
METAPHOR ✦ We should all be familiar with this one (as well as a few others in this section) but it’s important to include these in an essentialist’s glossary! So, on with it then… a metaphor is when you say something IS something else. That is, direct equation without “like” or “as.”
Our love is an abandoned fair:
the lights all broken on the midway,
some glitter still hung in the air.
from “Abandoned Fair” by Amy Newman
SIMILE ✦ Saying something is LIKE something else. Comparative, using “like,” “as,” “than.” Oftentimes, poets might feel confused whether to use a metaphor or a simile. In such moments, I always feel one should read the line out loud as both and then, well, go with your gut, feel how it tastes (not your gut, the line!).
The plumber has to pull out the sink to get to the pipes in the walls. The pornographer has to adjust the bodies to catch the slant of the light. He moves them like furniture. In the barn, the rancher spreads a blanket and their clothes fall off considerably. They are technicians. It is a compliment. They clock and clam like eels and the night goes mink. I want to be them.
from “Pornography” by Richard Siken
OBJECTIVE CORRELATIVE ✦ External objects that evoke a specific emotion. Show don’t tell, but formalized. In “Hamlet and His Problems”, Eliot writes:
“The only way of expressing emotion in the form of art is by finding an “objective correlative”; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.”
ZEUGMA ✦ A single word (usually a verb) governs two or more other words, but applies to each in a different way—one literal, one figurative, or two entirely different meanings.
Here thou, great Anna! whom three realms obey,
Dost sometimes counsel take—and sometimes tea.
from “The Rape of the Lock: Canto 3” by Alexander Pope
⟡Structural Concepts ⟡
VOLTA ✦ The moment a poem pivots—changes direction, argument, or tone. Sonnets traditionally turn after line 8 or 12. But a volta need not be just reserved for a sonnet. Most poems will have a turning point intuitively.
Duskby Rae Armantrout
spider on the cold expanse
of glass, three stories high
rests intently
and so purely alone.
I’m not like that!
CLOSURE ✦ How a poem ends. Can be emphatic (strong ending), circular (returns to beginning), or open (unresolved).
Circles
by Karan Kapoor
I do not want my mother to die. My mother does not want her mother to die. Her mother does not want her husband to die. Her husband does not want his son to die. His son does not want his daughter to die. His daughter is too young to pronounce death, let alone decipher it. Three days later, when her grandfather will die, she’ll be braiding her doll’s hair. Thirty-six years later, when her father will die, she’ll be looking, with ocean eyes, at her six-year-old daughter braiding the hair of her doll. Three days later, tired of the doll, her daughter will ask her the question she did not ask her mother: where do they go? She won’t know what words to put in her mouth, so she’ll leave her mouth open. She’ll chew on it all night. Nobody wants to go somewhere they can’t return from, do they? But then, who wants to go so far only to return? My father cuts the strings of kites when they’re way up in the sky. The world is full of kites like these.
WHITE SPACE ✦ The silence around and within the poem. Strategic emptiness that controls pacing and emphasis.
from “River of Milk” by Kaveh Akbar
JUXTAPOSITION ✦ Placing two things side by side for comparison or contrast, often without explanation.
Merry and tragical? Tedious and brief?
That is hot ice, and wondrous strange snow!
How shall we find the concord of this discord?
from “A Midsummer Night’s Dream” by William Shakespeare
⟡Traditional & New Forms ⟡
SONNET ✦ 14-line poem, traditionally in iambic pentameter. Two main types: Petrarchan (octave + sestet turn after line 8) and Shakespearean (three quatrains + couplet). Contemporary poets fuck with the form constantly to wonderful results.
Cum Sonnet
by Gray Davidson Carroll
This is why we don’t need more gay poets.
All those fags ever write about is cum.
Cum in your sheets, cum on the streets.
Cum in my mouth, now cum in my mouth
again please. Come outside and watch the sunset.
Come inside and watch the rain. Cum inside
of someone but only if you’ve both been tested
and have clearly defined agreements around
consent and only if they have access to any
contraceptives you both need to feel
comfortable, and only if you’re into it.
Then cum your little heart out.
The days I remember to give thanks for my life,
I open my mouth and it catches in my throat.
VILLANELLE ✦ Traditionally a french form about sheep (or you know, a pastoral of sorts) composed of 19 lines, two rhymes, specific repetition pattern. Refrains at lines 1, 6, 12, 18 and lines 3, 9, 15, 19. Obsessive echo and music and beauty and an odd sense of peace.
Diocletian Upon Being Asked to Return to Rome
by Kate Deimling
You should see these cabbages of mine
fan their generous green leaves…and their size—
massive, stretching in an endless line.
I’m aware an emperor is divine,
and it’s kind of you to call me wise—
you should see these cabbages of mine.
Oh, yes, how the city did shine,
her marble monuments reaching to the skies,
massive, stretching in an endless line,
but here, since I have resigned,
I have secured a valuable prize:
you should see these cabbages of mine,
as plentiful as grapes on the vine,
as big around as one of your thighs—
massive, stretching in an endless line.
I’m afraid I must respectfully decline
to return as emperor, but please, come, rise,
you should see these cabbages of mine,
massive, stretching in an endless line.
SESTINA ✦ Provençal troubadour form, 12th century. 39 lines, six 6-line stanzas + 3-line envoi. Same six end-words spiral through in a fixed pattern. Obsessive, hypnotic, like being trapped in a beautiful maze of your own making. Creates a mystical, incantatory effect for the reader.
Sestina for Darkness and First Lightby Dick Westheimer“What but design of darkness to appall?
If design govern in a thing so small.”
—Robert Frost
Time had a beginning when even darkness
did not exist—when the universe was so small
that it fit on the sharp tip of a pin and was really nothing—
except for everything and all that now delights and appalls
(stars and dark matter, gentle caresses and men ungoverned
by right and wrong) — is this what is meant by “design”?
I am not superstitious but I see signs
everywhere: deer scat, fallen limbs, the dark
stains coffee leaves on my shirt. I am not governed
by the gods of rabbis and priests, but believe in the small
ones of dust mites and quarks and shadows—these appall
and thrill—like bits of ink, sprouting seeds—simple things.
Hydrogen, helium, black holes accreting gas, this thing
we call light from the beginning of time—who could design
the line from then to us myth-making machines, apple
eating, Eden leaving creatures who learn more from darkness
than a god would want us to, who feel large and small
at the same time, who suspect that we alone are love?
Ask my wife, she’ll find what you’ve lost—like that one glove
I tossed off picking through parts, looking for the thing
I needed to fix our pump. It was a spring, so small
I needed bare fingers to pick it from the bin. You should design,
she said, a tool to keep you from dying of lost things. Her dark
humor kept me alive when death visited and left its pall.
And yes, death has stopped by—in the way only it can, pale
and needy. The neighbor boy, my son’s best friend—governed
by doubts, possessor of guns—was overcome by a darkness
only he could see. And there was me, my beating heart, a thing
so clogged with rust and and crud. It gave me one clear sign—
that the cosmos is inside us all—infinitely large and small.
The night sky and its stars heal the wound of me feeling small.
Yet, the strip-mall’s lights casting their bile-spun pall
bury me. I’ll often stay inside even on clear nights, resigned
to let universe expand without me, to waste the awe I’ve been given.
In my room with books of poems, fingering my wedding ring, I think:
Before the florid light, there was all that could be made by darkness.
Inside us is something so small—all the goodness given
and all that will appall. This is the singularity—the one thing,
the universe, a sign—that the dark embraces all that shines.
GHAZAL ✦ Form from Arabic/Persian poetry: couplets with repeated end-words/phrases. Each couplet stands alone thematically. The repeated refrain creates longing, magic, grief, and so much more! Here’s my favorite one:
Tonightby Agha Shahid Ali Pale hands I loved beside the Shalimar
— Laurence Hope
Where are you now? Who lies beneath your spell tonight?
Whom else from rapture’s road will you expel tonight?
Those “Fabrics of Cashmere—” “to make Me beautiful—”
“Trinket”—to gem—“Me to adorn—How tell”—tonight?
I beg for haven: Prisons, let open your gates—
A refugee from Belief seeks a cell tonight.
God’s vintage loneliness has turned to vinegar—
All the archangels—their wings frozen—fell tonight.
Lord, cried out the idols, Don’t let us be broken;Only we can convert the infidel tonight.
Mughal ceilings, let your mirrored convexities
multiply me at once under your spell tonight.
He’s freed some fire from ice in pity for Heaven.
He’s left open—for God—the doors of Hell tonight.
In the heart’s veined temple, all statues have been smashed.
No priest in saffron’s left to toll its knell tonight.
God, limit these punishments, there’s still Judgment Day—
I’m a mere sinner, I’m no infidel tonight.
Executioners near the woman at the window.
Damn you, Elijah, I’ll bless Jezebel tonight.
The hunt is over, and I hear the Call to Prayer
fade into that of the wounded gazelle tonight.
My rivals for your love—you’ve invited them all?
This is mere insult, this is no farewell tonight.
And I, Shahid, only am escaped to tell thee—
God sobs in my arms. Call me Ishmael tonight.
PANTOUM ✦ Malaysian oral tradition, adapted by French poets in the 19th century. Repeating quatrains: lines 2 and 4 become lines 1 and 3 of next stanza. Creates obsessive echo, great for trauma/memory.
Pantoum from the Window of the Room Where I Write
by Alison Townsend
At sunset the russet oak turns into a lamp.
Each polished leaf glows amber, lit by sun.
As a child, I raked leaves with my mother each fall.
We burned small pyres, their flames the color of loss.
Each polished leaf glows amber, lit by sun.
I could not know my mother would die young.
We burned small pyres, their flames the color of loss.
I stand here watching, older now than she ever was.
I could not know my mother would die young.
The tree is a galleon, its sails coppered by light.
I stand here watching, older now than she ever was.
I raked leaves into rooms and houses as a girl.
The tree is a galleon, its sails coppered by light.
I’ll always be a daughter, part of her body’s bright map.
I raked leaves into rooms and houses as a girl.
Death is a lit tree, its amber walls falling in pieces.
I’ll always be a daughter, part of her body’s bright map.
As a child, I raked leaves with my mother each fall.
Death is a lit tree, its amber walls falling in pieces.
At sunset the russet oak turns into a lamp.
HAIKU ✦ Japanese 3-line form: 5-7-5 syllables. Moment of perception, seasonal reference. In English, “haiku” often means any short 3-line poem, which purists hate but poetry is hardly puritanical, so feel free to write your heart out in 3-line chunks!
Haiku by Namratha Varadharajan
road trip —
whiff of marigold
before the marigold
ODE ✦ Ancient Greek form, think Pindar singing about Olympic victors. Elevated lyric poem, often praising or addressing something—love, grief, a nightingale, your favorite pair of socks. Permission to get big and earnest and weird about what you care about.
Ode to Hands
by Tim Lynch
What I know is once your mother pushed
& now she cannot hold you.
What I believe is hands are the real windows
fogged by what breathes in us, who we keep.
What I want to know is, lost
in her house as her body
led her nowhere, did you house her
hands in yours? There, there,
you know, are no doors.
ELEGY ✦ Greek origins again (elegiac meter), though every culture mourns in verse. A poem of lamentation, often for someone recently passed. The form that holds you when nothing else can—grief given shape and breath.
Elegy Owed
by Bob Hicok
In other languages
you are beautiful—mort, muerto—I wish
I spoke moon, I wish the bottom of the ocean
was sitting in that chair playing cards
and noticing how famous you are
on my cellphone—picture of your eyes
guarding your nose and the fire
you set by walking, picture of dawn
getting up early to enthrall your skin—what I hate
about stars is they’re not those candles
that make a joke of cake, that you blow on
and they die and come back, and you,
you’re not those candles either, how often I realize
I’m not breathing, to be like you
or just afraid to move at all, a lung
or finger, is it time already
for inventory, a mountain, I have three
of those, a bag of hair, box of ashes, if you
were a cigarette I’d be cancer, if you
were a leaf, you were a leaf, every leaf, as far
as this tree can say
PROSE POEM ✦ Poem in paragraph form, sans line breaks obviously! Still a poem because of compression, imagery, lyric intensity.
How to Build a Thirst Trap
by Leigh Chadwick
Refill your prescriptions on time. Trade in your quilted blanket for a pair of heels. Trip down a flight of stairs. Drink Cabernet Sauvignon straight from the bottle. Never wake up before your alarm. Wear your hair long. Wear your hair short. Shave off all your hair and learn how to play poker. Buy a bra that makes your tits look like Daytona Beach in the spring. Forget you bought the bra. Breed dinosaurs so you have a reason to hold hands and run through a forest with Jeff Goldblum. Go to Starbucks and spill coffee on every man peppered in salt. Touch their wrists. Look each of them in the eye and say, Oh, my my. Go to bed with rug-burned knees. Keep your phone charged. Briefly date a man who speaks in semicolons and traces rollercoasters down your spine. Make out on a park bench seventeen minutes before the start of fall. Buy a removable shower head. Buy a yoga mat. Drink eight glasses of water every day. Stop lying to your psychiatrist and actually take the prescriptions you refilled on time. Replace your shoulder blades with a pair of wings. Fly directly into the sun.
FOUND POEM ✦ Poem made from non-poetic source material. Can be documentary, legal documents, overheard speech, spam emails.
Found Lines for a Ghazal on Water
by Kimiko Hahn
her family avoids any contact with the water.
Her youngest son has scabs on his arms, legs and chest where the bathwater
enforcement of water
strengthening water
untreated human waste has flowed into rivers and washed onto beaches. Drinking water
Jennifer knows not to drink the tap water
The liquid in those lagoons and shafts can flow through cracks in the earth into water
decade ago, awful smells began coming from local taps. The water
put their house on the market, but because of the water
reinvigorate the drinking water
cavities until the family stopped using tap water.
violated water
Note: All lines are quotes from “Clean Water Laws Are Neglected, at a Cost in Suffering,” Charles Duhigg, The New York Times, 9/13/09.
CENTO ✦ Latin for “patchwork.” Roman poets stitched together lines from Virgil and Homer. A poem made entirely of lines borrowed from other poems or creative works. Literary collage, remix culture before we had a name for it—theft as tribute, mosaic as meaning.
Wolf Cento
by Simone Muench
Very quick. Very intense, like a wolf
at a live heart, the sun breaks down.
What is important is to avoid
the time allotted for disavowels
as the livid wound
leaves a trace leaves an abscess
takes its contraction for those clouds
that dip thunder & vanish
like rose leaves in closed jars.
Age approaches, slowly. But it cannot
crystal bone into thin air.
The small hours open their wounds for me.
This is a woman’s confession:
I keep this wolf because the wilderness gave it to me.
---
Sources: [Anne Sexton, Dylan Thomas, Larry Levis, Ingeborg Bachmann, Octavio Paz, Henri Michaux, Agnes Nemes Nagy, Joyce Mansour, William Burroughs, Meret Oppenheim, Mary Low, Adrienne Rich, Carl Sandburg]
ABECEDARIAN ✦ Poem where each line/stanza begins with successive letters of the alphabet.
Baltimore Pride Abecedarian
by Yasmine Bolden
An ancestry of belonging to anyone but ourselves ends here.
Bends beneath my binder and swells into a syncopated
call and response that begins: all Black trans survival is improvizational jazz. Nearly
dies on my lips while I’m singing with sapphics
entering the Pink Pony Club. Is made a deer in headlights by
faces that can Anansi spider, sliding between boy
girl boy girl. Whatever we do, we know we
have to remember everything. We could be tipsy
indolent after sad twerking to Southern hip-hop or
joaning in a way that’s code for: I love you pink-soft and red-hot. Several
Konas and bisexual cocktails in, we’d still
look for the wide-eyed form of our
most hurting histories. Bless the homegirl whose purse pockets
naloxone, water, and grandma candies. Who
opens her palms, taking her
place on the right hand side of the road, waiting. Who takes being the
queer salt of the earth seriously. Whose
rage could rival God’s. Whose pride holds my
sweaty hand in the hospital where I misgender myself, at
the parade where everyone knows and
understands both of my names: the one I was given and the one I wasn’t allowed to have. Voracious is the only word to describe the
way my ancestors must’ve felt. I know it from the way I’ve got to be capital
X xtra as soon as May and June kiss again.
You can feel a hunger that ripples through my lineage. A
zest wild and horned and all our own.
LIST POEM/CATALOGUE ✦ Ancient as Homer’s catalogue of ships, biblical as psalms. A list. Can be inventory, accumulation, or obsessive enumeration. Whitman made it sing. The form that says: look at all this, all of this, let me show you everything I see.
1 ✭ Lotus feet, lotus hands, lotus eyes, lotus rage. 2 ✭ The Kosi embankment’s failure was first blamed, in 1968, on rats and foxes. 3 ✭ Imagine the river is a tongue. 4 ✭ The upper lip basins from southern Tibet and eastern Nepal. The lower lip glaciates to the Ganga, singing to the Himalayan snow leopards and wild yaks.
ARS POETICA ✦ Latin, from Horace’s manual on craft. A poem about poetry itself—“the art of poetry.” Can be earnest manifesto or ironic meditation on the impossibility of writing. The snake eating its own tail. The mirror looking at itself. Sometimes the only honest way forward is to interrogate the tools in your hands.
Ars Poetica as the Sexy Little Em Dash
by Katherine Irajpanah
lounging in your maroon dress at the end of my sentence—
your sweaty hand reaching out into the silence, always
sipping on the hush of a lover who swears off erotic
pleasure—the split between poplar & tree—the pressure
to live off the surface of your cold, cold knees. Because
my loaded, rupturing heart sinks down in reflection pools
at the center of that old cemetery—now, bird sanctuary.
Come with me & whisper conspiratorially—the only
way I know how—to the red cardinals writing poety
on the burial site of Henry Wadsworth Longfellow—
he has rested long enough—so long we have arrived
at that terrible precipice, again. Say we live in his death
box with the third wall cut out like a diorama, & we are
made of clay—remade by something traceable—not dust
but the curvature of your pursed lips. You are the line I
hold in my chest with too much certainty—I cannot
release you without this pause about how I am angry
with the gentleness of your teeth—the stinger to your
bee—boomerang of history—O, how we threw it—
throw it all back to the sky—
PERSONA POEM ✦ Latin “persona” means mask—actor’s mask in ancient theater. Poet speaks through an assumed character/identity. Browning perfected the dramatic monologue. Permission to inhabit anyone: the drowned girl, the murderer, the saint, the myth. Sometimes you have to become someone else to tell the truth.
Rejected Persona: Patron of the Arts
by Dorsey Craft
At the poetry open-mic, I watch a woman
flirt while I drink water in my fox fur coat
and think Jesus is it almost February
already? To psyche myself up, I did black
winged eyeliner, wine dark lips. Still
this beige, this nude nothingness buzz.
I try to metaphor desire, but it’s just
a thin veil for “I want—”: Desire is
a pair of leather pants. Desire is a throat
full of come. Desire is the endless scroll
of videos, the stretch marks un-stretching
from my stomach. A man presses his face
into the woman’s abdomen below her breasts.
He thumbs her ear next to the jukebox.
When he gets a drink, she swears she’s not
feeling him. Lately, I am having a hard time
feeling anything. I am one of my son’s plastic
balls rolling down its track, the hollow clatter
that repeats, repeats, repeats. My need
used to pulse and ripple the surface of me—
a bulging, hungry, thrum waiting to combust.
Now, the me that wants is down a deep well,
Silence of the Lambs-style. I follow them home
and she clutches his arm and I want to stop
and spin her around and say, You can’t do this
to me, I am in my fox fur coat. The sidewalk
is cracked and the streets are dark and the week
is only beginning to unfold its ugly efforts.
The cold raws my cheeks with its quiet, little beat:
just me, just me, just me.
ZUIHITSU ✦ Japanese form meaning “following the brush.” Fragmented, associative, essay-poem hybrid. Sections accumulate by intuition rather than argument.
Zuihitsu
by Jenny Xie
Sunday, awake with this headache. I pull apart the evening with a fork. White
clot behind the eyes.
Someone once told me, before and after is just another false binary. The
warmed-over bones of January. I had no passport. Beneath the stove, two mice
made a paradise out of a button of peanut butter.
Suffering operates by its own logic. Its gropings and reversals. Ample, in ways
that are exquisite. And how it leaves—not unlike how it arrives, without clear
notice.
These days, I’ve had my fill of Chinatown and its wet markets. Gutted fish.
Overcooked chattering. The stench making me look hard at everything.
Summer mornings before the heat has moved in. Joy has been buried in me
overnight, but builds in the early hours. My attention elastic.
The babbling streets of Causeway Bay, out of which the sharp taste of the city
emerges. Nothing can stay dry here. The dark cherries of eyes come and go,
as they please.
Let there be no more braiding of words. I want a spare mouth.
My father taught me wherever you are, always be looking for a way out: this
opening or that one. Or a question. Sharp enough to slice a hole for you to slip
through.
Long car trips where I sat in the back of our family’s used Nissan. The stale
odor of plush seats and sun-warmed cola. My parents’ and my words do not
touch. I grow adept at tunneling inward, a habit I have yet to let go of.
I am protective of what eyes cannot pry open. The unannounced. The infinite
places within language to hide.
A Zen priest once told me that without snagging on a storyline, the body can
only take loss for ninety seconds. The physical body has its limits, is what I
heard. The imagination can break through them.
Boiled peanuts. Leather of daybreak. Cotton thinning out into thread. Dried
vomit. Ice water from the spigot. The sacred and profane share a border. In the
desert, small droppings of unknown origin.
Even when I was young, I loved peering at faces in films. The pleasure of
watching and of not being watched.
Black koi fish open their mouths at the skin of the pond for oxygen. At the edge
of the water, I hold two lines from Ikkyū in my mouth. Make my way slowly.
Nights when I shared a bed in a small room. Another’s body to the left, hooked
by a heavy dream.
Funny, the way we come to understand a place by wanting to escape it.
I can shake out the imprint of my body on the sheets each morning. But the
mind–the mind is a different matter.
When I was four, I ate spoonfuls of powdered milk straight from the canis-
ter. The powder was sweet. There wasn’t enough money for fresh milk. Seven
hundred years ago, Chang Yang-hao wrote, All my life seems / like yesterday
morning.
⟡Modes & Approaches⟡
LYRIC ✦ Short, personal, emotional/meditative poetry. The dominant contemporary mode. First-person, focused on voice and feeling.
Syntaxby Carol Ann Duffy
I want to call you thou, the sound
of the shape of the start
of a kiss - like this - thou -
and to say, after, I love,
thou, I love, thou I love, not
I love you.
Because I so do ―
as we say now - I want to say
thee, I adore, I adore thee
and to know in my lips
the syntax of love resides,
and to gaze in thine eyes.
Love’s language starts, stops, starts;
the right words flowing or clotting in the heart.
NARRATIVE ✦ Poem that tells a story. Can be short or book-length. Has plot, characters, sequence of events.
CONFESSIONAL ✦ Extremely personal poetry about intimate/taboo subjects. 1950s-60s movement but the mode persists.
The Ballad of the Lonely Masturbator
by Anne SextonThe end of the affair is always death.
She’s my workshop. Slippery eye,
out of the tribe of myself my breath
finds you gone. I horrify
those who stand by. I am fed.
At night, alone, I marry the bed.
Finger to finger, now she’s mine.
She’s not too far. She’s my encounter.
I beat her like a bell. I recline
in the bower where you used to mount her.
You borrowed me on the flowered spread.
At night, alone, I marry the bed.
Take for instance this night, my love,
that every single couple puts together
with a joint overturning, beneath, above,
the abundant two on sponge and feather,
kneeling and pushing, head to head.
At night alone, I marry the bed.
I break out of my body this way,
an annoying miracle. Could I
put the dream market on display?
I am spread out. I crucify.
My little plum is what you said.
At night, alone, I marry the bed.
Then my black-eyed rival came.
The lady of water, rising on the beach,
a piano at her fingertips, shame
on her lips and a flute’s speech.
And I was the knock-kneed broom instead.
At night, alone, I marry the bed.
She took you the way a woman takes
a bargain dress off the rack
and I broke the way a stone breaks.
I give back your books and fishing tack.
Today’s paper says that you are wed.
At night, alone, I marry the bed.
The boys and girls are one tonight.
They unbutton blouses. They unzip flies.
They take off shoes. They turn off the light.
The glimmering creatures are full of lies.
They are eating each other. They are overfed.
At night, alone, I marry the bed.
ECO-POETICS ✦ Poetry engaging with ecology, environment, climate. Don’t just think of it as poems about trees, though…these is poetry that truly interrogates and excavates and holds us accountable!
Anxious Behavior
by Jarod Povanda
The way blackbirds solve for
winter. How upset I am
without feathers. No black collar, no tailwind. On the floor,
regardless, crying. Health insurers hate me. I hate me too,
I tell Denice from Toledo, so who wants me
in the divorce? My days are all light haloes and
automation. I don’t look at sunsets like I used to. Honeybees mob
in flung distance; worries oxen the sky across my forehead, owl down inside the
dales of my cheeks. Charred land and brawny newscasts
tracking Canadian wildfires from helicopter. New York stained tangerine
in June. Below
my bedroom window, coyotes harangue. I imagine they’re wolves when
I’m scared. I don’t know what that says
about me. It means I want
a wolf. I want to know enough to name
the way wolves scent along the wind with senses so superior
they stir storms of electrical signaling after every inhale. And the beaver,
how her teeth curve against different kinds of trees. I also crave
empty spaces. Hunger
gaps. The sensation
of biting a male spider raw. To lick a bear cub’s paw after a thorn. I catalog
the underside of a tern’s upturned wing, a pair of gulls, a brown bat’s sewing
flight. Swifts spend so much of their lives planning
around incoming storms. Anxious
behavior? We’re similar animals: ozone
stung and afraid
of the horizon. My mind,
a fishing net. Too many holes; the trout swim
through. Off the path
white bones lance a village of mushrooms. The blackbirds have been
and gone. What I know
I know without help: By now
the dead carry different names.
WITNESS POETRY ✦ Poetry bearing witness to atrocity, war, violence, injustice.
Such is the story made of stubbornness and a little air,
a story sung by those who danced before the Lord in quiet.
Who whirled and leapt. Giving voice to consonants that rise
with no protection but each other’s ears.
We are on our bellies in this silence, Lord.
Let us wash our faces in the wind and forget the strict shapes of affection.
Let the pregnant woman hold something of clay in her hand.
For the secret of patience is his wife’s patience
Let her man kneel on the roof, clearing his throat,
he who loved roofs, tonight and tonight, making love to her and her
forgetting,
a man with a fast heartbeat, a woman dancing with a broom, uneven breath.
Let them borrow the light from the blind.
Let them kiss your forehead, approached from every angle.
What is silence? Something of the sky in us.
There will be evidence, there will be evidence.
Let them speak of air and its necessities. Whatever they will open, will open.
from “Deaf Republic: 1”by Ilya Kaminsky
⟡Rhetorical Devices ⟡
APOSTROPHE ✦ Directly addressing something absent or unable to respond—a dead person, abstract concept, object. Adds intimacy and urgency. Makes the abstract tangible by speaking to it directly. Can heighten emotion or become overwrought depending on execution.
I think of Wind and her wild ways the year we had nothing to lose and lost it anyway in the cursed country of the fox.
...
And, Wind, I am still crazy. I know there is something larger than the memory of a dispossessed people. We have seen it.
from “Grace” by Joy Harjo
ANAPHORA ✦ Repetition of a word or phrase at the beginning of successive lines or clauses. Builds momentum and intensity. Has a ritualistic quality. Hammers an idea into the reader through accumulation.
Dream Journal
by Kareem Tayyar
If you’re swimming
then you have lost something important.
If you’re flying
then your heart’s been broken.
If you sit at a table before a deck of cards
then you are afraid of getting older.
If you undress beneath a single spotlight
then you are about to commit a crime.
If you are singing while holding a Spanish guitar
then someone you know has passed away.
If you are preparing to leap from a balcony
then you are mourning the loss of your childhood.
If you place your lips to the breast of a cloud
then you have forgotten to say your prayers.
If you run three red lights in a row
then there is a lesson you still haven’t learned.
If you pull water from an old well
then your father is preparing to call you long distance.
If you hear music playing from another house on your street
then your sister is about to come back from the dead.
If you cup your hands as a hard rain begins
then you are days away from falling in love.
If you find that you cannot run when you want to
then there is a book that you need to reread.
If you awaken in a field of strawberries
then a long journey awaits you.
If you eat the strawberries
then you won’t be going alone.
EPISTROPHE ✦ Repetition of a word or phrase at the end of successive clauses. Drives a point home through emphasis. Creates a sense of inevitability or conclusion.
I resist any thing better than my own diversity,
Breathe the air but leave plenty after me,
And am not stuck up, and am in my place.
(The moth and the fish-eggs are in their place,
The bright suns I see and the dark suns I cannot see are in their place,
The palpable is in its place and the impalpable is in its place.)
from “Song of Myself” by Walt Whitman
ALLUSION ✦ Reference to another text, myth, historical event, artwork, etc. Compresses entire contexts into a single reference. Depth through layering… has the potential to enrich meaning or can also just feel like showing off.
Intimacyby Paisley Rekdal
How horrible it is, how horrible
that Cronenberg film where Goldblum’s trapped
with a fly inside his Material
Transformer: bits of the man emerging
gooey, many-eyed; bits of the fly
worrying that his agent’s screwed him—
I almost flinch to see the body later
that’s left its fly in the corner, I mean
the fly that’s left its body, recalling too
that medieval nightmare, Resurrection,
in which each soul must scurry
to rejoin the plush interiors of its flesh,
pushing through, marrying indiscriminately
because Heaven won’t take what’s only half:
one soul blurring forever
into another body.
If we can’t know the boundaries between ourselves
in life, what will they be in death,
corrupted steadily by maggot,
rain, or superstition, by affection
that depends on memory to survive?
People should keep their hands to themselves
for the remainder of the flight: who needs
some stranger’s waistline, joint problems,
or insecurities? Darling,
what I love in you I pray will always stay
the hell away from me.
POLYSYNDETON ✦ Using many conjunctions. Slows the pace, makes each item feel weighted and considered. Creates a sense of accumulation or abundance. Can feel biblical, exhaustive, or suffocating depending on context.
Master Song
by Leonard Cohen
I believe that you heard your master sing
When I was sick in bed
I suppose that he told you everything
That I keep locked away in my head
Your master took you travelling
Well, at least that’s what you said
And now, do you come back to bring
Your prisoner wine and bread?
You met him at some temple
Where they take your clothes at the door
He was just a numberless man in a chair
Just come back from the war
And you wrap up his tired face in your hair
And he hands you the apple core
Then he touches your lips, now so suddenly bare
Of all the kisses we put on some time before
And he gave you a German Shepherd to walk
With a collar of leather and nails
And he never once made you explain or talk
About all of the little details
Such as who had a word and who had a rock
And who had you through the mails
Now your love is a secret all over the block
And it never stops, not even when your master fails
And he took you up in his aeroplane
Which he flew without any hands
And you cruised above the ribbons of rain
That drove the crowd from the stands
Then he killed the lights in a lonely lane
And an ape with angel glands
Erased the final wisps of pain
With the music of rubber bands
And now, I hear your master sing
You kneel for him to come
His body is a golden string
That your body is hanging from
His body is a golden string
My body has grown numb
Oh, now you hear your master sing
Your shirt is all undone
And will you kneel beside this bed
That we polished so long ago
Before your master chose instead
To make my bed of snow?
Your eyes are wild and your knuckles are red
And you’re speaking far too low
No, I can’t make out what your master said
Before he made you go
Then I think you’re playing far too rough
For a lady who’s been to the moon
I’ve lain by this window long enough
You get used to an empty room
And your love is some dust in an old man’s cough
Who is tapping his foot to a tune
And your thighs are a ruin, you want too much
Let’s say you came back some time too soon
I loved your master perfectly
I taught him all that he knew
He was starving in some deep mystery
Like a man who is sure what is true
And I sent you to him with my guarantee
I could teach him something new
And I taught him how you would long for me
No matter what he said, no matter what you’d do
I believe that you heard your master sing
While I was sick in bed
I’m sure that he told you everything
I must keep locked away in my head
Your master took you travelling
Well, at least that’s what you said
And now, do you come back to bring
Your prisoner wine and bread?
ASYNDETON ✦ Omitting conjunctions. Creates speed, urgency. Makes the language feel stripped down, breathless. Things pile up without pause…unshakeable, wild, glorious OR could become overwrought.
Metaphorsby Sylvia Path
I’m a riddle in nine syllables,
An elephant, a ponderous house,
A melon strolling on two tendrils.
O red fruit, ivory, fine timbers!
This loaf’s big with its yeasty rising.
Money’s new-minted in this fat purse.
I’m a means, a stage, a cow in calf.
I’ve eaten a bag of green apples,
Boarded the train there’s no getting off.
PARALLELISM ✦ Repeating grammatical structure. Creates balance and rhythm. Makes separate ideas feel equivalent or connected through their structure. Can feel formal, ordered, or relentless.
He has left the village and mounted the steep
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders, that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
from “Paul Revere’s Ride” by Henry Wadsworth Longfellow
⟡Critique & Theory ⟡
A note before I begin this: this part of the glossary fucking killed me to compile it took so motherfucking long what the fucking hell no fucking wonder critics are so fucking miserable but also this was the most fucking interesting enriching part to think about, discover, distill and bring to you so fuck me for being such a fucking nerd arghhhhhh
INTENTIONAL FALLACY ✦ Core to the New Criticism’s methodology: judge the work by what’s actually on the page, not what the author says they meant. W.K. Wimsatt and Monroe Beardsley’s 1946 essay argues:
The poem is not the critic’s own and not the author’s (it is detached from the author at birth and goes about the world beyond his power to intend about it or control it). The poem belongs to the public. It is embodied in language, the peculiar possession of the public, and it is about the human being, an object of public knowledge. What is said about the poem is subject to the same scrutiny as any statement in linguistics or in the general science of psychology or morals.
AFFECTIVE FALLACY ✦ Judging a poem by its emotional effect on you rather than by the poem’s actual construction and meaning. This one’s also Wimsatt and Beardsley (1949) as above, essentially warning that you can’t say a poem is good just because it made you cry, or bad because it bored you. That conflates your emotional response with the poem’s achievement. But of course most readers commit this “fallacy” constantly, and contemporary criticism often argues the affective dimension is precisely what matters. The tension between close reading and felt experience. The aforementioned scholars write:
The report of some readers, on the other hand, that a poem or story induces in them vivid images, intense feelings, or heightened consciousness, is neither anything which can be refuted nor anything which it is possible for the objective critic to take into account. The purely affective report is either too physiological or it is too vague
ORGANIC FORM ✦ Form grows from content, emerging from within rather than imposed externally. You might think of “form follows function”, but this isn’t exactly what this concept means. Rather, think of it as “form and function/content are one and the same.” Coleridge writes:
The form is mechanic when on any given material we impress a predetermined form, not necessarily arising out of the properties of the material—as when to a mass of wet clay we give whatever shape we wish it to retain when hardened. The organic form on the other hand is innate, it shapes as it develops itself from within, and the fullness of its development is one and the same with the perfection of its outward Form. Such is the Life, such is the form. Nature, the prime genial artist, inexhaustible in diverse powers, is equally inexhaustible in forms.
TENSION ✦ Allen Tate’s term for what holds a poem together. He pulled it from logic terms—extension (literal meaning) and intension (metaphorical meaning). The idea: good poetry works on both levels at once. The poem’s literal language has to mean something concrete AND carry figurative weight. Without that dual pull—that tension!—the poem either collapses into vague sentiment (all feeling, no precision) or becomes impenetrably obscure (all abstraction, no anchor). Examining “The Vine” by James Thomson, Tate writes:
Now good poetry can bear the closest literal examination of every phrase, and is its own safeguard against our irony. But the more closely we examine this lyric, the more obscure it becomes; the more we trace the implications of the imagery, the denser the confusion. The imagery adds nothing to the general idea that it tries to sustain; it even deprives that idea of the dignity it has won at the hands of a long succession of better poets.
AMBIGUITY ✦ William Empson catalogued seven types of multivalence, so to speak. Multiple meanings coexisting productively. Here they are:
The first type of ambiguity is the metaphor, that is, when two things are said to be alike which have different properties. This concept is similar to that of metaphysical conceit.
Two or more meanings are resolved into one. Empson characterizes this as using two different metaphors at once.
Two ideas that are connected through context can be given in one word simultaneously.
Two or more meanings that do not agree but combine to make clear a complicated state of mind in the author.
When the “author is discovering his idea in the act of writing...” Empson describes a simile that lies halfway between two statements made by the author.
When a statement says nothing and the readers are forced to invent a statement of their own, most likely in conflict with that of the author.
Two words that within context are opposites that expose a fundamental division in the author’s mind.[2]
INTERTEXTUALITY ✦ How texts reference, echo, and speak to other texts. Every text is in conversation with what came before it—sometimes directly (allusion, quotation), sometimes through form, sometimes through subtle echoes the writer might not even be conscious of. Writing is always a response to other writing, even when it’s trying to break from tradition. Julia Kristeva writes:
The word’s status is thus defined horizontally (the word in the text belongs to both writing subject and addressee) as well as vertically (the word in the text is oriented towards an anterior or synchronic literary corpus) . . . each word (text) is an intersection of words (texts) where at least one other word (text) can be read . . . any text is constructed as a mosaic of quotations; any text is the absorption and transformation of another.
MISE EN ABYME ✦ French term from heraldry (a shield containing a miniature of itself). In literature, it’s when a text contains a smaller version of itself—a story within a story that mirrors the larger structure. While we could conceive of it as a nested tale, more accurate would be a narrative that reflects or comments on the work containing it. Think of the play within the world of Hamlet. Borges, too, does this constantly—stories that contain versions of themselves, libraries containing all possible books including books about those libraries. The effect: you realize the text is aware of itself as a text, and that recursive loop pulls you into infinite regress. It’s dizzying, vertiginous. A mirror facing a mirror. André Gide elucidates:
In a work of art, I rather like to find thus transposed, at the level of the characters, the subject of the work itself. Nothing sheds more light on the work or displays the proportions of the whole work more accurately.
NEGATIVE CAPABILITY ✦ Keats’ term for what separates great poets from the rest: the ability to remain in doubt and uncertainty without needing to resolve it into clear answers. Most people get uncomfortable with ambiguity and rush to explain, categorize, make logical sense of things. Poets with negative capability can sit in that discomfort. They let contradictions exist. They don’t force meaning or tie everything up neatly.
This brings to mind F. Scott Fitzgerald’s “The Crack-Up”:
The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise
Additionally, I’ll give you Keats’ entire letter here, which is brilliant:
[On Negative Capability: Letter to George and Tom Keats, 21, ?27 December 1817] Hampstead Sunday 22 December 1818
My dear Brothers
I must crave your pardon for not having written ere this [ . . . ] [T]he excellence of every Art is its intensity, capable of making all disagreeables evaporate, from their being in close relationship with Beauty & Truth—Examine King Lear & you will find this exemplified throughout; but in this picture we have unpleasantness without any momentous depth of speculation excited, in which to bury its repulsiveness—The picture is larger than Christ rejected—I dined with Haydon the sunday after you left, & had a very pleasant day, I dined too (for I have been out too much lately) with Horace Smith & met his two brothers with Hill & Kingston & one Du Bois, they only served to convince me, how superior humour is to wit in respect to enjoyment—These men say things which make one start, without making one feel, they are all alike; their manners are alike; they all know fashionables; they have a mannerism in their very eating & drinking, in their mere handling a Decanter—They talked of Kean & his low company—Would I were with that company instead of yours said I to myself! I know such like acquaintance will never do for me & yet I am going to Reynolds, on wednesday—Brown & Dilke walked with me & back from the Christmas pantomime. I had not a dispute but a disquisition with Dilke, on various subjects; several things dovetailed in my mind, & at once it struck me, what quality went to form a Man of Achievement especially in Literature & which Shakespeare possessed so enormously—I mean Negative Capability, that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason—Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half knowledge. This pursued through Volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.
DUENDE ✦ Lorca’s term for the dark, irrational force that separates art that matters from art that’s just technically good. It’s not talent or training—it comes from somewhere deeper, older. The earth. Blood. Death. The duende shows up when a performer abandons safety and control, when they risk breaking. Flamenco singers strip their voices raw for it. Bullfighters put their bodies against the horns. It’s what makes an audience lose their minds even when the technique is rougher, messier than a polished performance. You can’t manufacture it. Lorca writes:
“These ‘black sounds’ are the mystery, the roots that probe through the mire that we all know of, and do not understand, but which furnishes us with whatever is sustaining in art. Black sounds: so said the celebrated Spaniard, thereby concurring with Goethe, who, in effect, defined the duende when he said, speaking of Paganini: ‘A mysterious power that all may feel and no philosophy can explain.’ The duende, then, is a power and not a construct, is a struggle and not a concept.”
I also want to share this lovely poem:
Lorca's Duende by Ursula K. Le Guin
The duende got into my head
by the back staircase,
a gypsy girl- child dressed in red
with an old mans face.
My bedroom turned bitter cold.
There were banging noises,
loud knockings in between the walls.
Things left their places.
My comb crawled across the bureau,
clicking like castanets.
My grandmother's ivory-backed mirror
cracked itself into bits.
Get out of my head, old child.
Te exorcizo!
Take your tricks and your wild ways
back to Andalusia.
Go home, poltergeist,
and do Spanish damage.
I have my own bad guests
that speak my own bad language.
DEFAMILIARIZATION (OSTRANENIE) ✦ Shklovsky’s term for what art does when it works: it makes you see things you’ve stopped seeing. Habit turns perception into recognition. Language becomes automatic. Experience gets flattened into shorthand. Defamiliarization breaks that. It describes things as if you’re encountering them for the first time, strips away the familiar names and frameworks, forces you to actually see. Tolstoy does this constantly—describing an opera as if he’s never seen one, flogging as if the practice is brand new and horrifying, having a horse narrate a story about property ownership so the concept looks insane. The goal is restoration as opposed to mere cleverness. Shklovsky writes:
And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar,’ to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.
THE SUBLIME ✦ Edmund Burke’s term for the experience of confronting something so vast, powerful, or terrifying that it overwhelms you. And also anything that makes you feel small and mortal. The key: terror mixed with awe. You need some distance from actual danger to experience it and obscurity amplifies it; the less you can see or comprehend, the more overwhelming the effect. Burke writes:
The passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it. Hence arises the great power of the sublime, that, far from being produced by them, it anticipates our reasonings, and hurries us on by an irresistible force.
I am also keenly reminded of the eleventh chapter in the Bhagavad Gita entitled Vishwarup Darshan Yoga or The Universal Form. I quote part of the relevant sections here:
II
Thus as you have described
this about your Self,
O Highest Supreme Lord,
I desire to see your
supremely powerful form,
O Ultimate Person.
III
If you think it is possible
for me to see you
in this way, O Lord,
O Supreme Lord of Yoga,
then reveal to me
your everpresent Self.
IV
The Beloved Lord said:
Behold my forms,
O Prtha,
by the hundreds,
or by the thousands—
Divine, of various types,
and of various colors
and appearances.
V
Behold the dityas,
the Vasus, the Rudras,
the two Ashvins,
also the Maruts.
Many of these never
have been seen before—
behold these wonders,
O Bhrata.
VI
Before you, in one place,
behold now
the entire universe,
with every moving
and nonmoving being
Within my body,
O Gudkesha,
and whatever else
you desire to see.
VII
But you are unable to see me
with only this, your own eyes.
I [therefore] give divine eyes to you—
behold my supremely powerful yoga!
VIII
Sanjaya said:
Thus having spoken,
O King, the exalted
Supreme Lord of Yoga, Hari,
Then revealed to Prtha
his supremely powerful
majestic form:
IX
Of numerous mouths and eyes,
of numerous extraordinary
appearances;
Of numerous divine ornaments,
of numerous upraised
divine weapons;
X
Wearing divine garlands
and garments, with divine
perfumes and ointments;
Consisting of all wonders—
the Divinity, endless,
facing in all directions.
XI
If a thousand suns
were to have risen
in the sky at once,
Such brilliance as this
might resemble
the brilliance
of that supreme Self.
XII
There, in one place,
the entire universe
was unlimitedly divided.
The Pndava then
saw this in the body of
the Divinity of divinities.
XIII
Then struck with amazement,
the hairs of his limbs
standing on end,
the Conqueror of Wealth,
Bowing his head
to the Divinity,
with palms joined
in prayerful gesture, spoke
from Bhagavad-gita transalted by Graham M. Schweig as The Beloved Lord's Secret Lovesong
THE UNCANNY ✦ Freud’s term for the dread that hits when something familiar becomes disturbing. A childhood doll that now feels sinister. Your own face in an unexpected mirror. A word repeated until it sounds alien. The feeling comes from repression: something once known gets buried, then resurfaces distorted. You half-remember it and that’s what makes you uneasy. The German word reveals this—heimlich means both “homely, familiar” and “concealed, kept secret.” The familiar contains its opposite. What was home becomes unhomely. Freud writes:
This unheimlich is in reality nothing new or foreign, but something familiar and old—established in the mind that has been estranged only by the process of repression. This reference to the factor of repression enables us, furthermore, to understand Schelling’s definition of the uncanny as something which ought to have been kept concealed but which has nevertheless come to light.
DEEP IMAGE ✦ A term coined by poets Jerome Rothenberg and Robert Kelly, it refers to those images that reach down into the unconscious and connect the physical world to something spiritual or psychic beneath it. Alongside being inspired by Lorca’s “deep song”, the idea comes from the symbolist theory of “correspondences”—a belief that concrete images can tap into deeper, hidden realities. Kevin Bushell writes":
Deep image poetry, however, is not without merit, and has contributed to the advancement of American poetry in several key ways. It is the first attempt in American poetry to incorporate fully the theories of Freud, Jung and other depth psychologists into the poet’s expression, although as I have argued, its over-reliance on these theories is its failing. In addition, Bly’s unwavering dedication to breaking down old systems of thought and poetic technique has resulted in greater freedom than in the Modernism of Pound and Eliot for intimate and confessional expression in poetry, a style which Pound had dismissed as “the mere registering of a bellyache and the mere dumping of the ashcan” (PW 42).
In posterity, deep image poetry may be regarded as a counterbalancing force to the technique-oriented craftsmanship of the great modern writers, and later the Black Mountain Group. In this regard, Bly helped open the door to an era in which the imagination is more readily accepted as one of many forces shaping and contributing to the poem.
ASSOCIATIVE LOGIC ✦ Connections made by intuition, image, and sound rather than linear argument. How the poem thinks through leaping rather than stepping. In his essay “Looking for Dragon Smoke”, Robert Bly writes:
My idea, then, is that a great work of art often has at its center a long floating leap, around which the work of art in ancient times used to gather itself like steel shavings around the magnet. But a work of art does not necessarily have at its center a single long floating leap. The work can have many leaps, perhaps shorter. The real joy of poetry is to experience this leaping inside a poem. A poet who is ‘leaping’ makes a jump from an object soaked in unconscious substance to an object or idea soaked in conscious psychic substance. What is marvelous is to see this leaping return in poetry of this century.
…
Thought of in terms of language, then, leaping is the ability to associate fast. In a great ancient or modern poem, the considerable distance between the associations, the distance the spark has to leap, gives the lines their bottomless feeling, their space, and the speed of the association increases the excitement of the poetry.
OH MY GOD. I’M DEAD. OR WICKEDLY ALIVE. EITHER WAY, GOOD NIGHT BEAUTIFUL LOSERS!
This is so beyond the call of duty, even for a poet, even for a poet's poet. Even for a slave to the practice of poetry, even for the nerdiest of the slaves to form and function in poetry.
There aren't really enough words to thank you for pouring this resource onto the page. But one can try. THANK YOU for this generous offering. This is manna from heaven, a masterclass in one go. Amazing.
This is so beyond the call of duty, even for a poet, even for a poet's poet. Even for a slave to the practice of poetry, even for the nerdiest of the slaves to form and function in poetry.
There aren't really enough words to thank you for pouring this resource onto the page. But one can try. THANK YOU for this generous offering. This is manna from heaven, a masterclass in one go. Amazing.
Shannan, this is deeply useful as a resource and guide. Thank you for all your hard, important work here.