I. Witch House
I had to call you back –
the numbers were still new
and I wasn’t sure which
house was yours.
I was sitting right out
front in my mother’s car
but I didn’t know the witch
house was yours.
Lying on a hammock
in your back-yard
where the sun still knew
how to shine,
I was mislead by voo
doo, while your father
peeked through the blinds
like the lady counting twenty
eight days passed, and
I had to call you back –
it was April fool’s. My
sense of humor
commandeered, and
saw us apart twenty-eight
more, but I didn’t know the witch
house was yours.
So I followed you down
to the basement while
your father slept alone,
and in the blackened white
dark we gave names
to the love that we birthed,
breathing fire like a
dragon that was yours.
And mine.
The rhythm of that tree
was quick to not be caught,
ripping down the creek,
and whispered in the dark.
He stood on all the shadows,
made King to those below him,
and grew in all the others
that did not grow to know him.
He sat among the gods,
shooting up towards the heavens,
perched eternally in that place,
with a glowing smile on his old, wise face.
And while his reaching arms
kindled a loving fire within,
those very flames, fed with poison,
were the beginnings to our end.
III. Felix Culpa
What muddied lens covers my day-to-day, resulting in a transparent that is bleak and ugly? In my exhausted haze, with little concern for conscious, I chased poisons around my parents’ sterile suburban town, constantly reassuring myself that Thoreau was right –
That this time tomorrow I’ll be in Austin, sitting by a fire singing, “I ain’t got no name.” And I will.
Rimbaud fed the darkness that feeds everything else, and together we fought the seas on that dizzy boat. I had enough money, so I threw myself a birthday party, but I just wound up pissed off because everyone was fucking in the attic; I had no one to fuck myself. And it was my birthday.
I got a lobotomy and sniffled in the shower.
Two days later, in north Mississippi, a drunken catfish assaulted me. I walked down the main strip, past the video store and fast food restaurants, never knowing that life could be so coincidentally ironic; the fortune cookie I got from the Chinese restaurant that my white, racist grandmother works in read: “a pleasant surprise is in store for you.” I chuckled.
That weekend I found myself in the rural fields of lost America, walking lackadaisical down the fence painted silly with colors and shapes. It rained the first day but it was all right, because you ended up in the tent with me and ole’ Japhy.
The next morning the sun came up and you called me your “planaroo,” and I laughed. It may have been the music, everywhere. Or the way the light hit your freckled eyes that day – or maybe it was just the MDMA,
but I combed my hair and stood up straight.
When the words betray the truth, it’s like
opening your eyes for life at the very end – or
diving head-first into a swimming pool with no water.
I lay at the bottom with shards of my back –
bone protruding through my mangled neck,
when the words betray the truth. It’s like
having every drop of your thick, warm blood
flow slowly to the drain at the center, after
diving head-first into a swimming pool with no water.
Paralyzed, I try to call for help, but even if I could,
no one would come. Not “if” they had warned me, but
“when” the words betray the truth. It’s like
believing in the rejuvenation one receives floating
weightless underneath, only to realize that you’re
diving head-first into a swimming pool with no water.
When you sit outside with me, crying on my shoulder,
you make a personal confession and invite me over. But
when the words betray the truth, it’s like
diving head-first into a swimming pool with no water.
On the far side, desperation
is the breeding ground
for inseparable identities.
With your minds' mirror lost,
being is a sociopath,
or a violent psychopath,
with all the little possibilities
to sacrifice as martyrs.
My freedom is their Jesus;
creative fidelity, his holy word.
I can kick the tireless oppression
of boredom’s despotism with a
bottle of beer, and the inverted
triangle superimposed over
my face, always.
Remember what it feels like
yourself; remember the feeling
gives way to the despair, and
emerges as liberty. But if I die,
let compassion bury me.
Nickels and dimes, and spare –
changin’ the poor. I have,
and I’m rich, but I wasn’t before.
My body, my bread
you ate off the floor,
now you rest in a hole
somewhere in Hooverville,
and even now, even still,
you cling to your pride and
damn compassion as “charity.”
But if you had the sight to see,
you would lose your fear of me,
and you could know your pride
for what it is; it’s the dark that
hides the day, or the strong
feasting on it’s prey. It’s the KKK.
**disclaimer: this is part of a more ambitious ten poem collection (I ran out of time, but everyone knows how that goes). Hopefully they will be finished soon.
Wow! Like, really, wow! I think you're the best title-r we've seen so far- except where you did numbers. If there's significance to them, I'd really like to know it in the poems. Some might find the "Okay. Alright." too Holden Caulfield, but I laughed.
ReplyDeleteAbout all the pieces: beautifully written. You have that command of the English language we talked about with Austin and Kylee's pieces. I rarely feel sure what your poems are about, and this is definitely a case of good, effective ambiguity, but sometimes I think it's too much. Specifically, the significance of 28 days in Witch House, and some pronouns in Freedom lacked clear antecedents for me.
Also, taking them as a whole, the mood and style shifts were intricate and exciting while keeping your voice solid throughout. I was intrigued, scared, laughing, sad, upset, and sympathetic, in the order. If one slips into telling and not showing, it's VI.
Now I'm going to point out my favorite pieces of imagery from each poem in order(btw you also handle the detail/abstraction balance we've all been whining about perfectly!)
"in the blackened white
dark we gave names
to the love that we birthed"
"He stood on all the shadows,
made King to those below him,
and grew in all the others
that did not grow to know him."
"walking lackadaisical down the fence painted silly with colors and shapes."
"I lay at the bottom with shards of my back –
bone protruding through my mangled neck,
...
having every drop of your thick, warm blood
flow slowly to the drain at the center"
"I can kick the tireless oppression
of boredom’s despotism with a
bottle of beer"
"it’s the dark that
hides the day, or the strong
feasting on it’s prey."
Sorry for the super-long comment. Amazing job!
You are a poet at heart. These are amazing. Antonia is right, you handled the detail/abstraction concept like a professional. The word usage in Felix Culpa makes it the perfect balance of poetry and prose. I also like the word play in Witch House. I caught one small error in V. Freedom in the first stanza, "minds" should be "mind's".
ReplyDeleteMy favorite lines were:
"and in the blackened white/ dark we gave names/ to the love that we birthed,/ breathing fire like a/ dragon that was yours./ And mine."
"those very flames, fed with poison,/ were the beginnings to our end."
"I got a lobotomy and sniffled in the shower"
"Or the way the light hit your freckled eyes that day – or maybe it was just the MDMA, but I combed my hair and stood up straight."
"When the words betray the truth, it’s like/ opening your eyes for life at the very end – or/ diving head-first into a swimming pool with no water."
"Remember what it feels like/ yourself; remember the feeling/ gives way to the despair, and/ emerges as liberty. But if I die,/ let compassion bury me."
Good luck with the rest of your poetry collection, beautiful work here though.
I don't even know what to say. I'm not very good with poetry, but I can recognize good poetry when I see it, and this is very good. I've love to read the rest of your collection when you finish it.
ReplyDeleteAnyway, I suppose I'll go by poem:
I. I love the wordplay here. It gives a hint of the whimsical to the poem, which is awesome because there's an element of magic and a sense of being young...I can tell that the speaker is young in this one. It's like young love with a twist, which is cool. There's also a sense of misplaced trust due to the magic, which is messing with the speaker's mind, I suppose. I'm not sure why the father is in there, but for me it just added to the mysteriousness and the youngness of the love.
I love the ending line by the way. It switches from narrative to introspection, which I like a lot. It's a nice button for the close.
I'm not sure if you wanted there to be a deeper meaning here. The language is so compact and rich that I may be missing something, but I kind of like that mysterious element to it. It adds to the magic, and it appears to be present in all of your poetry. I enjoy delving into it.
II. So I had to look up the title of this poem, and it has two meanings: the name of the oldest person whose age is mentioned in the Hebrew Bible and the 4800 year-old Great Basin Bristlecone Pine. So there's age involved. What I got out of it was a commentary on age--though triumph comes with age, and wisdom, it also brings poisoned logic and, I suppose, later generations that bring more mistakes. That relates to the world really well, but I like how you used the tree as a vehicle. Again, I love the wording. I feel like I cracked open a book of poems when I read your stuff. :)
III. Your title is interesting: Happiness Fault, if I have my Latin down correctly. This is a prose poem? I like how you did it. I love the beginning--there's a sheen, almost like depression, though I'm not sure if you were writing about that or just a feeling of being trapped in the mundane, covering perception--but then again, how can one tell what is the world's effects and what is one's own perception? This is episodic, and I assume it's a symbolic journey: leaving home, journeying, feeling alone, then finding someone out of the hard luck. But you mention the MDMA and it kind of cheapens everything. But that leads back to the perception at the beginning. It doesn't matter: the effects or the personal--it's just what you experience and how you feel. And I guess that leads back to the title, which explores happiness. And all of emotion for that matter.
I liked reading this one. It reminded me of a country song.
(sorry for the double comment all the way, but there's a character limit or something :P)
ReplyDeleteIV. I CANNOT DESCRIBE HOW MUCH I LOVE THIS ONE. For some reason, I'm reminded of Emily Dickinson, and how she told us to "tell all the truth but tell it slant." Because if you don't, this is what happens. I love the repetition of the swimming pool simile. It really brought to mind the way truth hits you--it's not all at once. It hits you again and again with the same intensity that it hits the first time. Again, the consequences of telling the truth. :)
V. There's a lot of religious imagery here, and I wonder if you were hinting at how it is in times of great trial that people turn to religion for help? Being isn't enough anymore, because being has betrayed you. There was also a lot of psychological imagery here (looooove).
Funny aside...the line "My freedom is their Jesus" kind of reminded me of the Lady Gaga song "Dance in the Dark." I know that was a coincidence, but it made me smile. :)
Anyway, I love how you also put in creativity and how it's your freedom, how you fix the boredom and desperation problems yourself. And then you close with compassion...which, I don't know. It came as a comfort. After going through all that, you find peace. What starts out as an angry-sounding poem ends almost happily. I enjoy it a lot.
VI. I feel like the speaker here is Jesus (forgive me if it isn't--I'm just Catholic and I saw Him in it). And He's critiquing the do-gooders for their pride. I love the wording--it's very human, kind of like someone sitting on their porch and halfway singing a song on a hot summer day.
Again, I'm not sure I have much to critique here. Your work demands attention--as it should, as it's advanced and very good. I love your line breaks. They seem to have purpose, and I wish I could comment on them a little more, but I'm not sure what makes them purposeful. It just seems like you put thought into it. Beautiful work-in-progress and wonderful job.
LOVE IT! These are amazing, however, I do agree that sometimes I didn't know what your poems were truly about. Witch House, I was just confused. Then again, it may just be me. I really loved this one though. Your attention to detail and abstraction were awesome. You nailed it. Not really sure of what else I can say besides awesome job dude!
ReplyDeleteI'm going to try to keep this short because all the comments are so long and I agree with what everyone else has said. The word choice ("lackadaisical"...loved it!) and imagery throughout all the poems kept me so intrigued. I don't ever remember being this into reading poetry...ever.
ReplyDeleteI'm not really sure how all the pieces relate at all in order to be part of one collection, but like I said, I'm a brand new poetry reader. I could very well just be missing something.
I would quote all my favorite lines, but I would pretty much be copy and pasting your entire post. So instead I'll just say, "great job!" haha
I honestly had no idea what was going on in some of the poems, but I loved that! You are honestly an amazing poet and your word choice is outstanding. You know what rhythm works. The ambiguity was great, but at points there was a little to much to follow. Other than that I was extremely impressed. Amazing!
ReplyDeleteThis is really impressive, Justen. I really really like these. Of course I dont understand them all-- that probably makes for a lot of the beauty. You have such a command of the language, such a way with discription. One image that sticks out in my head is being in "lost America" with a "fence painted silly with colors.".
ReplyDeleteYou do leave the reader in the dark a bit with your use of ambiguous and seemingly shifting "you" but that may have been intentional. Really great job.
Great poems. They were definitely dense and intense. I thought that you had very good control of the language, and overall that really made the poems stand out. Some parts were hard to follow, and I wish I had more time to analyze these poems. I think you did a good job of putting enough action in the poetry to make it interesting. Great Job.
ReplyDeleteIn the first poem, I love your imagery and your enjambment. You broke the lines apart in interesting ways, and the isolation of the words you were drawing attention to was powerful. The repetition was also great. The line about the fire and the dragon was my favorite in this particular poem.
ReplyDelete“and grew in all the others/that did not grow to know him.” That’s fantastic! I love that line and the play on words. Again, your imagery is powerful, and even though it’s a short poem, I thought it conveyed a big experience/idea well.
You have a great command of language. You’ve made that evident in all the poems. Again, powerful imagery. Your words are all carefully chosen, I love that I can feel the effort you put into it—but you still manage to make the writing feel completely effortless.
I’m so sorry I waited this long to comment on the writing you did. You’re an AMAZING poet. You have such control over word choice, but also enjambment, and tone.
I also like that you don’t capitalize every line. That’s my poetry pet peeve.
This whole collection is really impressive, and I’m sure I’m not the only one who’d love to see what it looks like when you get everything finished. I'm sorry this isn't a more coherent comment!
Amazing.
<3 Liv
Good stuff. Why did you separate the word "voodoo?" Was there an emphasis on "voo" or "doo?"
ReplyDeleteThese were a great read. I really wish I had more time to analyze these more closely!
ReplyDeleteI really liked the way you used structure in these poems; the line and stanza break worked well and facilitated reading. My favorite would have to be the prose poem, though. Great work on this one; despite the uncommon paragraph breaks i knew this piece was still a poem and it read like one. Great diction and imagery all around.
And btw, is "Okay. Alright." the title of this 10 piece collection? I rather like its sound.
The first thing that comes to mind is the way you use rhyme. I like that it rarely gets sung-songy, you use rhyme to make a point and that is very effective. It's almost irony to use cute rhymes to turn serious ideas on their heads.
ReplyDelete1. Im not sure why her house is the witch house. I guess it's because she's mystical but clarify. Two bits that get sentimental are "live we had birthed" and "sun still knew how to shine." I love the enjambment of voodoo and the repeated o sounds throughout. Good instinct, and you could continue to magnify your use of sound throughout.
2. I love the use of mythology and how it blurs weather ur talking about the man or the tree. But I don't know how ur reference to this figure contributes to ur message, in fact, I'm not sure what your message is.
3. I love "and it was my birthday. So cute. Words like sterile and "I chuckled" work a little too hard to drive home the points you've already made.
4. Words betray the truth is, like, too obvious? I would leave the poem but change truth to a concrete. And maybe an image to contrast the empty pool, like at the end it's a pool with water or something.
6. Cool opening, I like how you make yourself Jesus like you did in freedom. Love the end.
Five is my favorite. Sonically beautiful but so ambiguous I get really confused.
Your super fucking talented, keep it up. I'm intimidated by ur awesomeness.
I really like your pieces! I think my favorite is "witch house." I felt like I could understand the entrancement and the cautious feeling (of being watched). I don't know too much about critiquing poetry, but from what I could tell, they were all well structured. In "Journey into the woods" I would like to know more of what's going on or some more description. I very much enjoyed V! I think you definitely organized that one well.
ReplyDeleteGreat Job!
Hey, PS- you should post the rest when you finish! I would love to read them.
ReplyDelete