Wednesday, February 13, 2013

The second cut ...




               There are only so many body parts to puncture.
It used to be fresh, but now's an old trick –
     I know what the rending will feel like …
like a tug, like nothing, that pours blood
     and ages into throbbing (like all aging does)
          Then turns into stiffness (like any trauma),
               And from angst into tedium
(like every stale drama).

It used to be fresh, but now it's anything but:
     It feels more like a memory.
          An old familiar memory –
A sanctual infirmary,
     A septically self-loathing mammary,
          Drying, cracking, and clamoring
               Like a long-aired childhood fantasy
                    That begins to perceive its inanity;
                              To flush out its blush of insanity
All for      chary dreams      lauding dark canopies
(Because      these –          and THESE –      hold majority
     Over good-hearted, breakless revelry
          And the cunning, frameless cookery
               Of young and vibrant anarchy –
                    GODDAMIT I LOVE this wound;      it's me
                                             As much as any analogy:
                                        I ooze and bleed so incessantly;
                                   I crave the wind's medicality,
                              The hot-and-cold's evocatry
                         Of blood in a cleansing circuitry
                    Reaching edges gone ticklish from nursery –
          Overwhelming those rinds into rhapsody:
this THIS is myself as I long to be
     And have been, at center, since infancy –
          Like a dog in-kennel, a silkwormed tree –
               So alive under-shell that on breaking free
          I would writhe at the sting [coursing tenderly],
     Vaulting over old scores, past validity,
Breaking scar – little bonds of conformity –
     And expounding on skin's magic tacitly:
          Where it hides, it grows young, and so ageless we
               Become organs of touch in a timeless sea …
What's a scar but a ledger note, cursively
     Culling dark ink from veins-gelled-with-time to free
          Out that pressure of dull internality?
                    THIS is life.      This is truth.      Overflowingly).

                                        I appreciate you, shell. I do.
               But more so the touch growing under you.

6 comments:

  1. Chary – (adjective)
    1. Cautious; wary.
    2. Cautious about the amount one gives or reveals.

    As good a description as any for the apparent attitude of a scab, don't you think?

    *For clarity: the first “THIS” is the canopy (the scab; the self-imposed limit); the second “THIS” (this THIS) is the new fresh malleable scar underneath. And the third “THIS,” is the principle value embodied in the wounding/scabbing/regenerative process: experience exuberantly and, by this, grow.
    And yes (a fitting transition from that principle), the italicization of insanity is meant to imply its kinship with the italicized actions of incessant oozing and bleeding in the main parenthetical section: open your channels, what pours out into the world from down deep likewise makes room deep down for welcoming the world in.

    **Thanks, Angus, for helping to make this collage full [of scar] ;)

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  2. WOW! This poem is magnificent! From the very first line, I was hooked. "There are only so many body parts to puncture" filled me with curiosity and I was eager to read on and see the direction of the poem. The expansion of the sensation and progression of the wound to "all aging" and "any trauma" through the use of parentheses was very effective in substantiating the "old trick" claim. I absolutely love the line: "It used to be fresh, but now it's anything but" because it is full of implications. The repetition of "memory" in the next two lines makes it seem as though the speaker of the poem is working it over, fingering the grooves and bumps of the scab and returning back to the moment of the wound's creation. The rhythm established by all of lines with "y" ending-words reminds me a lot of beat poetry and the feeling of being yanked up, up, up with the increasing intensity of the poem. As I read the poem, I felt as though I could hear the speaker and feel the emotion building. All of this seemed to lead up to, by far and away, my favorite line of the poem: "GODDAMIT I LOVE this wound; it's me." Absolutely brilliant!! I love how you wove the wound/scab together with life and being. Likewise, I love the segment: "What's a scar...?" It is such a fascinating, enlightening perspective on scars. I never would have considered scars in such an intriguing way...thank you!! Also, thank you for the clarification in your comment! It added a whole new level of depth to the already mind-bogglingly wonderful poem! Thank you!!

    What is the function of the single parenthesis after "overflowingly" towards the end of the poem? I interpreted "overflowingly" to be a connection between the "truth" and the "incessant oozing and bleeding" earlier on in the poem, essentially tying everything together. I know every little detail of a poem is a function of the poet's choice and I was wondering why you chose that particular punctuation. Thanks! Last but not least, what inspired you to write this poem? I absolutely love it. Even after reading and rereading the poem (and even sleeping on it), I still feel like I could read it a million more times and discover something new and amazingly insightful each time! This is a true masterpiece! Thank you for your poetry! I thoroughly enjoy reading it!

    Also, the collage is awesome!

    Lauren H.

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    Replies
    1. Look up 25 lines and you'll see the beginning parentheses at "Beacuse ..." - I've made it a practice in my poetry - more and more regularly nowadays - to actively distinguish between the audibly-spoken parts of a poem and the silently-thought parts (parentheticals) which underlie them.

      If you cut out all the parenthetical statements in my poems, they still work, but they only show the PRODUCT of my thinking. The parentheses allow me to expand the reader's perception of PROCESSES going on in my head, while still keeping true - in spirit - to the conciseness that makes poetry such a potent form of communication.

      Without the (thoughts), this poem would only be 19 lines, and only hint - by implications and negative spaces - at what I meant by the "touch" growing under my shell.

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    2. *And the inspiration for the poem was [see collage: that's my left ring finger] my second cut.

      A shelter dog (a cute, kennel-stressed brown pit bull named Angus) leaped up and nipped at my hand when I tried to calm him down through the cage bars - and his tooth went into my palm. I don't think he intended it to ... but regardless, when he fell back down from his leap, his left lower canine unzipped my finger - down to the tendon.

      It was pretty messy, but not nearly as bad as my "First Cut," a glass bottle that broke and ice-cream-scooped into my palm, severing two tendons and the nerve in between.

      It took me 4 months to be able to touch my palm again with that one; I can already make a full fist & almost-full extension with this one. And no nerve damage ... so I appreciate that I can feel it. :)

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  4. That is so interesting!! I really appreciate the insight! Thank you!

    I think the distinction between the product and the processes of your thinking through the parentheticals is really cool! It adds yet another level of meaning to the poem, which is fascinating.

    And I'm glad you're second cut was less severe. I was hoping maybe the pictures in the collage were digitally created...I'm sorry you had to experience such gruesome cuts!

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