Loving Poetry and Lies

Saturn's Calling

Saturn’s Calling

Poetic Form

Poetry- temporal in nature
Fickle, refined
Lacking mass of its cousins,
The novel and the story, shortened

Threatening a state of grace,
With face demure, as incisors
Clamp within, hiding tooth.

Poetry affords itself
No luxury, carrying the bearing
Of the be nimble and the be quick.

Coy mannerisms of line, meter, rhythm
Conceal steel-
The rigid prescribed structures provide
Protection for the small in stature

As if Poetry suffered the Napoleonic
complex and compensated with form
Where sheer volume fails

Form becomes the pose of the aggressor,
Posturing,
Scribing a game of “chicken”, victor
Called with the last stanza standing

Daring other forms to capture more with less

Teasing, as if one glance could send
It scurrying while instead it cements,
Sauters, welds, and caulks
One image to another

I love Poetry because it
Commiserates with my telling lies

I lie sometimes
(regularly)
Scratching into paper
Images that never touched in physical life.

They juxtapose in my mind as if
Conjoined twins insisting
Life is better when linked
And to split is to welcome death.

So I write and I edit-
Not the words, but the memories.

Optical visions carrying hidden
Messages of emotive patters
Requiring translation and decoding

Poetry, unbothered by such
Machinations,
Confident that the form holds

In fact, poetry,
In its beguiling,
Charming ways, encourages
Such behavior.

Like the minor plot character
That dupes the heroine
In order to move the narrative
Along

Poetry accepts,
Subsumes, absorbs,
Reveals, with no apology

The gift of image and participation-

I read my own story, as if I never lived it.

6 thoughts on “Loving Poetry and Lies

  1. Ultimately, what I see are two different sections with stanza 8 being the transitional stanza.

    The second section is clear but the first section is confusing, because of how stanzas 1-3 and 4-7 do not sit well together. Stanzas 1-3 come together to form a unit, 4-7 come together to form a unit, and 8 is the transition into the next section of the poem. This is made more confusing by stanzas 13-14, where there seems to be some real agreement with stanzas 1-3 and no connexion to stanzas 4-7.

    Were two ideas coming together at the same time in the first section of the poem? If so, which was meant to be the stronger? If not, what might I be missing?

    • Hi! Thanks for your great comments. YOu are not missing a thing at all. I think it was choppy, contained too many ideas, and the links were weak. I don’t know about you, but when ideas come to me, I have to get them out before other things can move on in my mind. So, sometimes, I create but the creation remains in a rough form for now. I guess that is just the way it is. I do feel free now to move on to other things, and perhaps at some point, return to this poem 🙂

      • I’m not far off from that when it comes to my own process. There have been several times when I would look at the conceptual and initial text that I have for a given piece, begin to work with it, and then see it take a very different direction. ‘You’ is actually a great example of that, where the conclusion is the only bit of material from my original work that was kept. And I did a lot of conceptual work with that one, too! There are notes in the margins, even scraps of paper clipped to that page in my notebook, yet the poem defiantly said, ‘fuck your couch, buddy, THIS is the way that I will be written and that’s all there is to it.’

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