As we move beyond Song 1, Dark Waters, and continue to the second Song, I encourage readers of this epic poem to revisit the very first post of this work. That was 7 January 2019. There, I offered an introduction that may warrant a re-reading at this time. Just a suggestion for your consideration. Also, a reminder that sooner rather than later, the techie of the Wannaskan Almanac family will be constructing a separate blog devoted to The One, where all installments from start to finish will appear in proper order.
Most readers correctly intuited that Song One took us on the original journey of birth, a part of the odyssey experienced by each of us. With that in mind, perhaps Song Two’s place in the chronology of the main character – actually, the only character so far, for just as a baby cannot tell the difference between itself and others, so too, the life that has begun to act in the world feels at one with it. This state of being has both advantages and disadvantages.
Now that you have one Song of 23 under your belt, so to speak, I ask you to let me know how you like this new feature, this epic. One or two of you have commented, but like any poet, I’m always looking for a larger audience – or any audience at all.
First Movement (Arriving) Song 2 – Dismembered
Sounds drop on me like stones and pound my ears
Round rocks falling with no rhythm against
my unshielded face and make me cry out
to currents to lift me and rush far away
just away leaving somewhere else beyond
I can’t stop the bruising blaring cascade
I hurt deep down and I can barely move
A red-eyed rat gnaws at my frail middle
and only sleep drives the red rat away
I want to thaw out but the air swirls cold
I want to swim but cannot raise my head
Looking down on a green and quiet sea
Struggling to dive deep – stroking out and free
Looking down to find the current flowing
but too far to call the drift’s direction
I bellow thunder to shake the water
listening for an echo – ripples’ reply –
some answer to my hovering cloudy mind
but only green silence shimmers beneath
Somehow the dead quiet brings strange relief
~~~~~~~~~~~~~~~~~~~
Gray shapes fly and flutter flashing radiance
Middle-straight, my head soaks in sweetest air
but then a face spills dank and sour blowing
I hear rustling hums but they make no sense
I make outcries but none seem to hear
My fussing whirs and spits and goes nowhere
Other voices fall like dirt clods tumbling
heavy on my head – landing hard and flat
Every sound I make, punctured, airless, stiff, black
Some times I remember I’m still flowing
out and away on a night-tide rhythm
I melt into water I am all gone
no one all forgotten nowhere else done
Small bits of me glitter in the current
slant and sink wide below to shaded green
Tiny shreds streaked and striped shine and drift down
familiar-colored swirling scraps of me
Some times the rat in my gut falls asleep
Some thing chilled and wet touches my tired face
The sea flares up to stars’ cold distant light
It’s getting harder to remember them
I rock back and forth between wake and sleep
A blue-gray vapor folds my mist inside
where thinking recedes to deep water gone
I am tired of trying to find the sea
Swimming stops and with it small bits of me
that I knew once but can no longer hold
I grow curious about this stony place
and since I can no longer find the shore
I explore the mirror that is water
the eyes that look at me and do not blink
~~~~~~~~~~~~~~~~~~~
I start to notice buzzing in my head
a high single note – a singularity
This humming infinitely dense
a great matter of wisdom not my own
The humming tells me what is safe and not
The drone has no words but lends me judgment
When things are held out toward me, the tone tells
me when to take and when to push away
When I am tired, the hum tells me to sleep
When my middle hurts, the buzz tells me, eat.
I want to meet the one who makes this sound
We should be together – we are alike
But no matter how quick I turn I can
never see who is humming close to me
and so I just listen and hope to see
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
One day, one who calls himself my father
takes me to a wide place to pull up fish
First, he lays me face up on the water
swirling me like the currents used to do
Who is this one who holds back the river?
All the sounds in my mouth cannot name this
Now I crouch on the edge peering into
water copper-black running very fast
I try to see below but I cannot
I remember flashes of older water
Now I am free – swimming fast, stroking down
back to the old place I just dis-membered
where the singing ghost split me in two and
the specter urged me closer to the edge
the sound growing louder as I approach
It’s drowning out all the other voices
I squat closer to the brink and listen
to the water’s many singing voices
Then . . .
Exploration 1: You’ve probably noticed that sections of the poem are in italics. Why? Do italicized passages have something in common?
Exploration 2: In this first segment of Song Two, what has changed in the voice from Song One? Is the voice becoming clearer, i.e. easier to understand, less abstract, or does it remain in the world of symbols and images more than it abides in the concrete world?
Exploration 3: So far, in this Song, have you discovered a meaning within the title, “Dismembered?”
Next – second segment of Song 2 – “Dismembered”
As I read the segments combining italicized segments it seems to me a rapid fire sensory experience, suggesting both visual and psychological spontaneity of no end.
ReplyDeleteI am honored by your willingness to read the posts from The One. Say, given this comment, if I ever do publish this epic, I will ask you to write a blurb for it. It some ways your comment is applicable to the entire poem. And you’ve hit the bullseye when you identify the two ways of “knowing” – visual/sensory, and psychological/inner experience beyond the senses. I invite you to consider exactly why certain segments are in italics. Hint: more than one reason exists for the italics, and exploration #2 contains other possibilities. We will see italics off and on throughout the poem. Again, thank you for diving into this post.
DeleteThe italicized parts seem like the internal (becoming ever more wishful) part of what the character is feeling. It seems as if the character is fighting or pushing away what we might refer to as the "real world" in favor of the more comforting, familiar internal (or spiritual?) universe (the word "world" seems too limiting).
ReplyDeleteI was a bit surprised by the sudden jump from baby to child crouching over the edge of the water. That must be why it's indented.
This is a very interesting poem and I'm looking forward to following it!
Dear Anonymous,
DeleteFirst, your interest in this epic humbles me. Not only have you read the work, you also resonate with it, and have pierced the heart of the poem. Second, you may be interested to know that The One now has its own blog spot where it will be posted from beginning to end, as each “Song” is completed. The address: https://theone-wannaskanalmanac.blogspot.com/ The posts will still be available on the Wannaskan Almanac blog spot, as well.
Regarding your comment concerning the 7 Jan 19 post, yes, your take on “the transition between life and death” is definitely one viewpoint. We might also take the perspective of the transition from death to life? When you say, “the vale of tears,” and then guess that there may be “something more,” you are riding a “fast black ship.” This epic is about one and/or many lives, and life being what it is, contains tears and joy.
Your comment on the 11 Feb 19 post dives even deeper. I am excited that you are exploring the italicized passages. They carry much information about the poem. Keep an eye out for them as the poem unfolds. You are on the right path to start by distinguishing the internal/external, and the “real world”/” spiritual.” I’m intrigued that you identify the latter as being “familiar,” and that “the word ‘world’ seems too limiting.” You skirt the edges of what religious/spiritual paths call unity, interdependence, cosmic oneness, etc. That’s fine. Just keep your eyes on those italics!
As for the “jump from baby to child,” I understand what you are saying; however, this poem nears 200 pages, and I had to choose which parts of the story to emphasize, yet I still wanted to begin at the beginning, or rather, even before the beginning, and include the very earliest experiences. I hope that some of the next “Songs” will smooth this out for you.
Again, you have my gratitude for your interest in this work, and I look forward to hearing more from you. JP Savage
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