A poem is a struggle,

to say the unsayable,

a call to divinity,

to pray the unprayable.

Oops.  Forgive me; I fell into rhyme.

The modern technique is to seek the sublime

by leading the reader with cadence and time,

and writing in prose and hoping to score

the same thing today as we did before.

Slap my face!

Sorry, I’ll switch….

(Mais où sont les neiges d'antan?)

A poem is puppy breath,

perhaps even the pup,

but certainly the breath.

It signals the ineffable, 

but always fails: 

the ineffable is still ineffable,

and always will be,

notwithstanding the poem.

(I’ve been poeming for over sixty years, 

take my word for it).

It helps you almost see what cannot be seen,

almost hear what cannot be heard.

Almost.

A poem is a door knob….

There.  See?

(Might be a decent middle for a haiku, 

except I guarantee you some literary troublemaker

will say poem only has one syllable:  like pome, 

and the middle of a haiku needs seven, 

as everyone on the planet knows.

It just never ends.).

A poem is a thing, a thing that derails you,

and makes you glad you were thrown off the track.

If you don’t believe a poem is a thing, read my essay

The Ontology of a Poem 

which I may write someday.

(I’m also a philosopher 

but poetry’s more fun;

the philosopher just sits,

while the poet's on a run!)

Oh man, my cheek's starting to sting….

Poets have a tiny audience, a great man once told me,

which is fine by me.

Some poets have an audience of one, I responded.

(If you are reading this, 

I at least have an audience of two:  

an audience of me, 

and an audience of you).

Oops.  Careful.  Sorry.  Ouch!

I really need to work on that….

I am a poet.  

I’ve been poeming for over sixty years.

To be honest, 

I really don’t know what a poem is.

But here’s a haiku:

What is a poem?

Puppy breath is a poem.

I want a puppy.

Count’em.  5, 7, 5

-- Joseph Edwards

I Know You Homo

I know you, Homo.

I’ve looked out across you,

And seen the whole of you,

And seen your comings and your goings,

Homo;

And I’ve seen you recline as one across whole lands,

And I’ve seen you rise all with the dawn,

And take up your tools and your weapons,

And set out upon your roads and your byways,

And into the forests,

And assert yourself.

And your groupings of habitations have amazed me, 

Homo.

Domus! 

Civitatem! How can I speak of them?

How can I tell of the application of your paws

To the earth and the stone and the wood,

And the mixing of your mortar,

And the shaping of your spikes,

And then with them the making of your hut,

And then the placing of another and another

Till there are many, together?

You congregate, Homo!

I have long sought to view you from a metaspecial perspective,

And yet I cannot do it;

I cannot do it completely, Homo,

For your utterances make sense to me,

And your motions are my motions:

There have been times when I would have

Locked my paw around a club,

And a stout one, too!

And set out meanly upon the trail 

Toward that neighboring agglomeration

To injure and to kill:

I know you Homo.

--Joseph Edwards

Textual Analysis:

1. Structure:

   • The poem is written in free verse, with long, flowing lines that mimic the contemplative and observational tone of the speaker.

   • There is a rhythmic quality achieved through repetition and parallel structures, such as “I’ve seen you” and “you Homo.”

2. Imagery and Metaphor:

   • The poem uses vivid imagery to describe human activities and achievements, such as “recline as one across whole lands” and “the mixing of your mortar.”

   • The term “Homo” (short for Homo sapiens) is used throughout, emphasizing the speaker’s view of humanity from a detached, almost scientific perspective.

3. Language and Style:

   • The language is formal and somewhat archaic, with Latin phrases like “Domus!” and “Civitatem!” adding a sense of historical continuity.

   • There is a mix of admiration and critique, conveyed through the speaker’s detailed observations of human behavior and accomplishments.

Literary Analysis:

1. Themes:

   • Human Nature and Civilization: The poem reflects on the collective actions and societal structures of humanity, marveling at their complexity and scale.

   • Connection and Alienation: The speaker oscillates between a feeling of kinship with humanity and a sense of alienation, as they struggle to maintain a metaspecial perspective.

   • Violence and Creation: There is a juxtaposition of human creativity (building cities) and destructiveness (the desire to wield a club).

2. Tone:

   • The tone is contemplative and somewhat detached, yet there are moments of intensity and emotional involvement, particularly when the speaker acknowledges their own violent impulses.

   • This creates a complex narrative voice that both celebrates and critiques humanity.

3. Perspective:

   • The speaker adopts an almost god-like or extraterrestrial perspective, attempting to observe humanity from a distance.

   • However, the poem reveals the difficulty of complete detachment, as the speaker admits to shared emotions and actions with humanity.

Conclusion:

"I Know You Homo" is a reflective and multi-layered poem that examines human nature from a broad, almost cosmic perspective. Through its formal language and rich imagery, the poem explores themes of civilization, connection, and the duality of human creativity and destructiveness. The speaker’s struggle to maintain an objective viewpoint while acknowledging their own humanity adds depth and complexity to the poem, inviting readers to ponder their own place within the vast tapestry of human existence.

The Angel of Thirst

When my thirsty yearning people come to drink from deeper streams,

to quench the greatest thirst of man, 

a thirst beyond their dreams,

they leave the land of shallow springs,

and come to deeper waters here, 

and for a time their thirst abates:

it abates, for a season, perhaps a year.

But always, always, their thirst returns, 

and then again they come,

when their thirsting spirit yearns

to draw from deeper waters here, 

to quench the greatest thirst of man, 

a thirst beyond their dreams;

they drink, and drink, and drink,

these yearning thirsty people, in the land of deeper streams.

And The Thirsty Say:

We drink deeply, we who thirst,

and yet we never get enough.

Before the coming dreadful drought 

we drink our fill, 

and then for seasons go without.

But in its time our thirst compels: 

we find and sound those ancient wells,

or dip our cups in flowing streams

that give us life beyond our dreams;

and from them draw their crystal healing waters, 

and then we drink, and drink, and drink, again, 

we who thirst. 

Literary Analysis of The Angel of Thirst

Themes:

1. Yearning and Fulfillment:

   • The poem centers on an existential thirst—a metaphor for humanity’s deeper yearning for meaning, spiritual fulfillment, or transcendence. This thirst represents an intrinsic human condition, highlighting the cyclical nature of desire and satisfaction.

2. Ephemerality of Fulfillment:

   • The fleeting relief provided by "deeper waters" emphasizes the transient nature of fulfillment. The repetition of thirst suggests that no single experience, knowledge, or insight can permanently satiate the human spirit.

3. Spiritual Undertones:

   • The "deeper waters" evoke spiritual or sacred connotations, reminiscent of biblical imagery such as "living water" in Christian theology. The poem suggests that ultimate fulfillment lies in something beyond the physical or mundane—a higher plane of existence or understanding.

4. Resilience and Cyclical Striving:

   • Despite the recurring droughts and the inevitable return of thirst, the "yearning thirsty people" persist. This resilience underscores the human capacity for hope and the relentless pursuit of life's deeper truths.

Imagery and Symbolism:

1. Water:

   • Water is the central symbol, representing life, healing, and spiritual sustenance. Its depth contrasts with "shallow springs," signifying the superficial versus profound aspects of existence.

2. Thirst:

   • Thirst embodies a primal, universal longing. It transcends physical need, suggesting an insatiable quest for purpose or enlightenment.

3. Seasons and Cycles:

   • The seasonal nature of thirst mirrors life’s ebb and flow, emphasizing impermanence and renewal. The cyclical return to thirst reflects the human journey of continual seeking.

Tone and Mood:

• The tone is both meditative and reverent, inviting the reader into a contemplative space. The mood alternates between longing and solace, capturing the bittersweet interplay of desire and temporary fulfillment.

Structure and Repetition:

1. Repetition as Emphasis:

   • Phrases like "they drink, and drink, and drink" and "a thirst beyond their dreams" emphasize the insatiable nature of human yearning and create a rhythmic, chant-like quality.

2. Dual Perspectives:

   • The poem alternates between the narrator's voice and "The Thirsty Say," creating a dialogue that deepens the exploration of collective and personal experiences of yearning.

3. Flow and Rhythm:

   • The poem's cadence mimics the flow of water, with long, flowing lines and repeated phrases that evoke the cyclical and soothing motion of streams.

Philosophical and Religious Undertones:

• The poem aligns with existential and spiritual traditions that grapple with the limits of human fulfillment. It recalls T.S. Eliot’s exploration of spiritual drought in The Waste Land and draws on religious imagery, particularly Christian notions of living water and renewal.

Textual Analysis of The Angel of Thirst

Key Lines and Their Significance:

1. "To quench the greatest thirst of man, a thirst beyond their dreams":

   • This line establishes the central existential metaphor of the poem, suggesting that humanity's deepest longing extends beyond material or mundane satisfaction.

2. "They leave the land of shallow springs, and come to deeper waters here":

   • The contrast between "shallow springs" and "deeper waters" highlights the dichotomy between superficiality and profundity. It suggests a deliberate, almost pilgrim-like journey toward deeper understanding.

3. "And then again they come, when their thirsting spirit yearns":

   • The cyclical nature of thirst is underscored here, pointing to the inevitability of human longing and the continuous search for renewal.

4. "We drink deeply, we who thirst, and yet we never get enough":

   • This paradox captures the core of the human condition—a relentless pursuit of fulfillment that is never wholly satisfied.

5. "And from them draw their crystal healing waters":

   • The "crystal healing waters" symbolize purity, renewal, and the promise of transcendence, reinforcing the poem's spiritual dimension.

Language and Style:

1. Metaphorical Depth:

   • The poem’s reliance on water as a metaphor provides richness and accessibility, allowing readers to connect on both emotional and intellectual levels.

2. Evocative Diction:

   • Words like "yearning," "healing," "crystal," and "dreadful drought" imbue the text with a vivid, almost sacred quality, enhancing its emotional resonance.

3. Use of Contrast:

   • The juxtaposition of "shallow springs" and "deeper waters," as well as "dreadful drought" and "crystal healing waters," reinforces the tension between scarcity and abundance.

Overall Impressions:

The Angel of Thirst is a deeply contemplative poem that captures the human condition through the universal metaphor of thirst. Its cyclical structure and evocative language draw the reader into an existential meditation on desire, fulfillment, and the inevitability of yearning. The poem’s spiritual undertones and philosophical depth make it a resonant and thought-provoking piece that invites reflection and re-reading.

4o

Homodeus

Prolegomena to Any Future Metaphysics

(With Apologies to Immanuel Kant)

Deus

Homo

Homodeus

Deus

--Joseph Edwards

Textual and Literary Analysis of "Homodeus"

Title and Epigraph

The title "Homodeus" immediately suggests a combination or fusion of the human (Homo) and the divine (Deus). This theme of blending humanity with divinity is further underscored by the epigraph, "Prolegomena to Any Future Metaphysics (With Apologies to Immanuel Kant)." This reference to Kant’s philosophical work suggests a foundational inquiry into metaphysical concepts, preparing the reader for a contemplation of profound existential and philosophical questions.

Structure and Form

The poem is minimalist in structure, composed of just a few words: "Deus," "Homo," and "Homodeus," repeated in a specific sequence. This brevity and repetition emphasize the fundamental nature of the concepts being explored. The simplicity of the form underscores the complexity of the ideas, inviting readers to delve deeper into the implications of each word and their combinations.

Language and Meaning

• Deus: The Latin word for "god" or "deity," representing the divine aspect.

• Homo: The Latin word for "man" or "human," representing the human aspect.

• Homodeus: A neologism combining "Homo" and "Deus," suggesting a being that embodies both human and divine qualities.

By juxtaposing these terms, the poem explores the relationship and potential synthesis between humanity and divinity. The progression from "Deus" to "Homo" to "Homodeus" suggests an evolution or convergence, where human and divine elements become intertwined.

Themes

1. Human-Divine Fusion: The central theme is the fusion of human and divine elements. This reflects philosophical and theological inquiries into the nature of humanity, divinity, and their potential union.

2. Metaphysical Inquiry: The reference to Kant’s "Prolegomena" indicates an exploration of metaphysical foundations, questioning the nature of existence and the possible transcendence of human limitations.

3. Existential Reflection: The poem invites readers to reflect on their own existence and the possibility of attaining a higher, perhaps divine, state of being.

Intertextuality and Allusions

• Immanuel Kant: The poem’s epigraph alludes to Kant’s work, which addresses the limitations and scope of human understanding and the conditions for possible knowledge. By invoking Kant, the poem situates itself within a philosophical tradition that seeks to understand the fundamental nature of reality and human experience.

• The Divine and Human Condition: The allusion to divinity and humanity touches on longstanding philosophical and theological debates about the nature of God, humanity, and their relationship. It also recalls Nietzsche’s concept of the "Übermensch," a superior human being who transcends ordinary human limitations.

Conclusion

"Homodeus" is a concise yet profound meditation on the intersection of humanity and divinity. Through its minimalist form and potent language, it prompts readers to consider the metaphysical and existential implications of blending the human with the divine. The poem's simplicity belies its depth, making it a thought-provoking piece that engages with significant philosophical and theological questions.

By combining the essence of Kantian metaphysics with a modern existential inquiry, "Homodeus" serves as a poetic exploration of our place in the cosmos and the potential for transcending our human condition.

Gone

Gone, my Love, are the high winds and the

soaring eagles.

Grim is the night.

Dim are the night beings and the night mind;

Gone is the light.

--Joseph Edwards

Textual and Literary Analysis of "Gone" by Joseph Edwards

Overview: The poem "Gone" by Joseph Edwards is a brief yet evocative meditation on loss and the transition from light to darkness. With its concise structure and potent imagery, the poem encapsulates a profound emotional shift, using natural elements as metaphors for the poet's inner state.

Themes:

1. Loss and Absence: The repetition of "Gone" underscores the theme of loss, signaling the departure of something cherished. This absence is keenly felt, setting a somber tone for the poem.

2. Nature and Transition: The imagery of "high winds" and "soaring eagles" contrasts sharply with the ensuing darkness, symbolizing a transition from vibrancy and freedom to stillness and confinement.

3. Darkness and Light: The poem juxtaposes light and darkness to highlight the emotional gravity of the speaker's experience. The shift from "soaring eagles" to "Grim is the night" emphasizes a descent into a darker state of being.

Imagery and Symbolism:

1. High Winds and Soaring Eagles: These images evoke a sense of freedom and vitality, suggesting a time of joy and expansiveness that has now passed.

2. Grim Night: The night is personified as "grim," reflecting the emotional weight and perhaps inevitability of the coming darkness.

3. Dim Night Beings and Night Mind: The dimness suggests a lack of clarity or direction, both in the physical and mental realms. The "night mind" indicates a state of confusion or depression, aligning with the overall theme of loss.

4. Gone Light: The final line encapsulates the poem's central theme, with light symbolizing hope, clarity, and presence—now lost to the speaker.

Structure and Tone: The poem's concise structure, with its short lines and repetition of the word "Gone," creates a rhythm that mirrors the finality and resignation felt by the speaker. The tone is mournful and reflective, inviting readers to contemplate the stark transition from light to darkness.

Conclusion: "Gone" by Joseph Edwards is a poignant exploration of loss, using powerful natural imagery to convey the emotional shift from light and freedom to darkness and absence. Its brevity and simplicity enhance the impact of its themes, making it a resonant piece on the nature of change and the inevitability of night following day.

Stardust

When the stardust settles

and the glitter eases 

and does not matter,

and when the sharp has dulled

and the high notes ring less shrill and strident,

and the numbers matter less,

or matter not at all,

and when tomorrow teases

and does not threaten,

and yesterday recedes

and today is here,

and we have each said to the other

Well done,

I look at you one last time,

one last time,

before they close it.

--Joseph Edwards

Life On The Mountain

You want me to move down off the mountain?

I like living up on this mountain.

It's quieter up here.

The air is cleaner.

I can see things at greater distances,

and my dogs can run greater distances,

and they can do their business where they will,

without bothering my neighbors, 

who live at greater distances from me

than neighbors live from each other in the towns, 

down in the valley,

where the dogs cannot do their business where they will,

because the neighbors of the dog owners, 

down there off the mountain,

are afraid they will step in the dogs' business. 

So some nitwit down there says they will have to pass a city ordinance, 

making it a crime for dogs to do their business.

But the hard fact of the matter is that dogs must do their business.

So the people down in the towns in the valley,

they have to write the law very carefully, 

so that it is clear that the criminal is not the dog, 

but rather the dog's owner,

because in every instance the defense of necessity would be available to the dog,

because dogs absolutely have to do their business. 

It's a necessity.

And as everyone on the planet knows, 

necessity is a defense in criminal cases.

So this ordinance, this law, 

must make the dog owner the criminal,

not because the owner owns a dog or two, 

but because the owner allows

the dog to do his business, 

while running free,

unleashed,

in somebody else's front yard, 

or on the sidewalk,

where passersby might step in it, 

and get a good portion of the dog's business

stuck on the bottom of their shoe,

or even on the bottom of their bare foot,

if they are going about barefooted,

which some would surely say

should be a crime in itself, 

because that could be very unhealthy.

So these people who have business on the bottom of their shoe, 

or even on the bottom of their bare feet,

perhaps squishing up the side a little bit,

and maybe even some who don't, 

but who can imagine how awful it would be,

to get dog business on the bottom of their shoe,

or their bare foot,

perhaps squishing up the side a little bit,

in their imagination,

these people pass a law, 

making it a misdemeanor for a dog owner to allow his dogs, 

or her dogs,

to run free and unleashed, 

in the town down off the mountain.

Note that most of these ordinances only require leashing the dogs.

The owner can still carefully guide the dog to a (despised) neighbor's yard,

especially during the potty walk, 

just before bedtime, 

in the dark,

without violating the ordinance, 

as long as the dog remains on a leash.

So here's the scenario that I see sometimes,

or at least I imagine sometimes,

when I go down off the mountain,

to buy things in the towns in the valley,

or at least imagine that I am doing so:

If the dog enforcement officer happens by,

(In almost all instances it would be in a motor vehicle)

when a dog is just beginning to arch,

in preparation for doing his, or her, business on the sidewalk,

the owner can simply drag the dog into the gutter,

and won't be charged with a crime, 

as long as he doesn't kick the dog,

which I would never do,

or otherwise abuse it, 

as he is dragging the dog into the gutter,

before he, the dog, 

or she, the dog,

does his or her business illegally on the sidewalk,

instead of in the gutter.

And if the owner interrupts the dog sufficiently,

while the dog is in the gutter before doing his or her business there,

after the dog officer drives by,

the owner can drag the dog back into the (despised) neighbor's yard,

where the dog can re-arch and do his or her business there.

Frankly I would rather just live up here on the mountain,

with few neighbors, 

with unleashed dogs,

and without sidewalks,

or gutters,

if that works for you.

I love you, Baby.

--Joseph Edwards

Ode To The Rule

They came to measure me,

four of’em plus the main guy,

who’s not as big as they are.

They take out this thing they call a rule,

made of high quality durable hardwood, they explain,

and unfold it and hold it up against me,

and make sure they’ve got it right at one end, 

which they call an extremity,

and they say I’ve got an imaginary perpendicular there,

which you can't see,

which is why they call it imaginary,

I suppose,

but one guy puts a stick on top of my head just to make sure, 

and he doesn’t hit me with it.

They say not to worry about it —

it’s just imaginary without the stick, 

and the stick helps them see the perpendicular you can’t see, 

and I say how do you know the stick's really perpendicular 

if you don't have a tool to check that,

and they say it's close enough,

and they say I’m this long and they point.   

"That's you, right there," 

and they show me me on the unfolded rule,

and I'm just speechless because I can't see me right there,

where they are pointing.

All I see are numbers and various little lines.

But I guess if they say that's me, that's me.

Who am I to say?

And then they leave, starting with the little guy,

who just walks out,

and doesn’t even look back at me.

But then the big guys walk out backwards,

all four of’em, one by one, 

and they each look right at me,

the whole time they are backing out.

Weird…

And then the next time they measure me,

not too long after the first time, maybe a few weeks,

or it could have been a few months —

I’m pretty sure it was not as long as a year,

same four plus the main guy,

presumably with the same high quality durable hardwood rule

(it certainly looks like the same one),

which they unfold, 

and place precisely on my imaginary perpendicular, 

at the same part of me they called an extremity last time, 

which I believe was the top of my head, 

if I recall correctly,

they say I’m a little short, 

I’ve shrunk a little, 

and they say to each other… 

“He’s a little short; he's shrunk a little,

probably due to some spinal compression," they say, 

"probably has a little osteoporosis;

we'll monitor this,"

and they fold up the unfolded rule, that has brass joints.

Or at least the main dude folds up the unfolded rule,

that has brass joints,

and he writes all this down in a little book,

which I take to be the monitor.

So I’m both long and short?

Well that’s crazy, but I didn’t say anything.

If you open your mouth around here they think you’re crazy.

Over the last few days,

or frankly it could be the last few weeks, 

I’ve really been thinking about this,

and I’m pretty sure I’ve got it figured out,

and just for you who don’t live here, 

and who have at least some interest in what I am trying to explain to you, 

if you would just listen,

here’s the long and the short of it:

or I should say here’s the long and the short of me, not it:

There’s some guy out there, 

who can tell guys much bigger than him what to do, 

sort of a Leader, 

out there with a Rule, 

made of high quality durable hardwood, 

with brass joints no less, 

(I saw’em — the brass joints — when they were unfolding the rule,

and placing it against my imaginary perpendicular, 

and I know brass when I see it),

some dude going around out there with four big guys,

and I mean BIG,

and all wearing the same kind of clothes, and the same color,

(except there was something different about the little guy, 

but I can't quite put my finger on it),

coming into people’s rooms

measuring for longs and shorts.

Apparently the Leader needs to know who’s long and who’s short,

or maybe it’s for even a BIGGER Leader above him.

But the way I see it, one way or the other it's for a Leader,  

whether he's big or little,

or both.

I'll be honest with you:  If I see’em comin' down the hall, 

or comin' out of somebody else's room,

I’m going to scoot right back to my room, 

so I'll be there,

in case they need to measure me again.

I kinda like that rule.

I love those brass joints,

and the way it stretches out and gets longer

when the little guy unfolds it (he's actually really nice, 

even though he didn't look at me when he left).

And I’m pretty sure I still have my imaginary perpendicular for it,

but if not, I’m sure they’ll have one they can use.

I just don't think it's my responsibility to store up imaginary perpendiculars,

especially for somebody else to use, for who knows what.

I mean, somebody could do some serious damage with that kind of stuff,

especially when you can't even see'em.

But I’m not going to worry about that.

I’ve got enough to worry about.

--Joseph Edwards

Hilda

The baby’s half dead

And I’m about to freeze.

Put some wood on that fire!

Mama’s sick and cain’t work no more.

What d’yuh mean there ain’t none?

Go chop some.

I’m cold.

I’m sick and tired o’ the whole rotten,

stinkin’ mess,

You hear me?

These sheets stink.

Seems yuh could at least get some more sheets.

Then wash’em! They stink.

And quit lookin’ at me that way.

It’s not my fault they busted up m’ still.

Ed was gonna fix the leak on the roof

this mornin’

But the damn law took his scooter,

And the shingles were in the saddlebag.

The stupid idiot ought to have carried’em

in his hand dammit,

I don’t care if it is cold.

All for two measly pints o’ licker,

And I betcha they drank a pint o’ licker

And claimed there wont but one pint

I’ll guaran damn tee it.

Sam,

Go get them burlap sacks,

And nail’em down on the roof.

Don’t you argue with me, boy,

Or I’ll kick your teeth in,

You hear me?

Now get up there.

Damn roof.

It’s cold as sin

And I can’t even keep dry.

Put some WOOD on that fire!

Hilda, I’m goin’ to the store.

II

Damn rain.

III

Hey Jim.

Gimme some matches.

Cold, ain’t it?

Where’s Bud,

After that fancy stuff up the road?

You reckon he’ll get it?

I’m gonna tell yuh somethin’,

Yuh never can tell.

They say her old man’s got money.

I’d like to get my hands on it.

Well, be seein’ yuh.

IV

House oughta be warm by now… .

V

Hilda?

HILDA!

You answer me woman, when I call you,

You hear me?

Now shut that baby up.

I’m sick and tired o’ hearin’ that 

fuss ever’ minute I’m home.

There ain’t no peace o’ mind around here.

What d’yuh mean she’s hungry?

Feed’er yuh idiot.

What d’yuh mean there ain’t no milk?

I bought’er a can day before yesterday!

Shut up,

I ain’t got no money.

And quit cryin’, will yuh?

Yuh make me nervous….

Hilda, come’ere.

Take this cigar back to the store

And tell’em to give yuh a can o’ milk.

I just bought it a little while ago,

And it ain’t broke,

So they oughta trade it.

AND SHUT UP THAT CRYIN’, WILL YUH!

Take my coat.

And don’t you break that cigar,

You hear me woman?

Now go on.

Stupid baby oughta eat fatback,

Like me and the rest.

Ma, you feelin’ okay?

Git’er another quilt Liz.

Huh?

Then give’er mine and shut up.

WAIT A MINUTE, don’t.

Ma, I’ll put my coat over yuh when

Hilda gets back.

It’ll dry out.

Put some WOOD on that damn fire!

Damn, that woman better not break my cigar.

Oh Lord, I forgot to tell’er about the HOLE!

That stupid woman,

If that cigar fell out it’ll get soaked,

And even if I find it they won’t take 

it back,

And she won’t get no milk,

And the baby’ll scream all night!

I”m goin’ after Hilda.

Y’all keep that baby warm,

You hear me?

VI

Damn rain.

Maybe she didn’t put it in the pocket.

Maybe….

Huh? Is that her comin’ yonder? Hilda?

HILDA! Yuh didn’t drop my cigar?

It wont broke?

Cold ain’t it? Gimme my coat.

Naw, keep the filthy thing.

And shut up that cryin’.

Aw come’ere Hilda.

Don’t cry.

We’ll be home in a minute.

VII

PUT SOME WOOD ON THAT DAMN FIRE!

It’s cold in here, I’m tellin’ yuh.

And give that baby some milk.

The roof ain’t leakin’ no more, Hilda.

I told yuh them burlap sacks’ud do it.

You okay Ma?

Think I’ll go to bed….

Come’ere Hilda.

--Joseph Edwards

Could you please give me a textual and literary analysis of Hilda, a poem that I wrote many years ago and which now appears on my website shankybottom.com?

## Textual and Literary Analysis of "Hilda"

### Theme

"Hilda" is a poignant depiction of rural poverty and desperation. The poem explores themes of survival, familial duty, frustration, and the struggles against relentless hardship. The speaker's interactions reveal a harsh reality where basic needs such as warmth, food, and shelter are precarious.

### Structure

The poem is divided into seven sections, each representing a different scene or moment in the speaker's day. The fragmented structure reflects the chaotic and disjointed life of the characters. The lack of traditional stanzas and the use of dialogue give the poem a raw, unfiltered feel.

### Voice and Tone

The voice in the poem is rough, colloquial, and authentic. The use of regional dialect and informal language grounds the poem in its Appalachian setting. The tone fluctuates between anger, frustration, resignation, and fleeting moments of tenderness, particularly towards the end.

### Characterization

The characters in the poem are sketched through their dialogue and actions:

- **The Speaker**: Dominant, frustrated, and weary. The speaker's harshness masks a deep concern for his family, revealed in his final tender moment with Hilda.

- **Hilda**: A silent presence in the poem, defined by the speaker's commands and her actions. She endures the speaker's anger and carries out her duties, reflecting resilience.

- **Other Family Members**: The baby, Mama, Ed, Sam, and Liz are part of the speaker's immediate concerns, each contributing to the depiction of a family struggling to survive.

### Imagery and Symbols

- **Cold and Fire**: The persistent cold symbolizes the harshness of their lives, while the fire represents a desperate need for warmth and comfort.

- **The Roof and Rain**: The leaking roof and rain signify the constant threats and instability they face. The burlap sacks used to patch the roof highlight their resourcefulness in dire situations.

- **The Cigar**: The cigar symbolizes a small luxury and a tradeable item. Its potential loss causes significant anxiety, illustrating the precarity of their existence.

### Literary Devices

- **Repetition**: The repeated commands to "put some wood on that fire" emphasize the immediacy and urgency of their needs.

- **Dialect and Vernacular**: The use of regional dialect adds authenticity and grounds the poem in its specific cultural and geographical context.

- **Direct Address**: The speaker's direct addresses to family members and Hilda create a sense of immediacy and involvement, drawing the reader into the domestic struggles.

### Emotional Impact

The poem evokes a strong emotional response, capturing the reader's empathy through its vivid depiction of hardship. The raw, unvarnished portrayal of the characters' lives creates a powerful narrative of endurance and resilience.

### Conclusion

"Hilda" is a compelling and unflinching look at life in a rural, impoverished setting. Its strength lies in its authentic voice, emotional depth, and the stark portrayal of a family’s fight for survival. The poem resonates with themes of love, duty, and the relentless pursuit of betterment against overwhelming odds.

Now take me down to London Town --

I'll belt my songs from there.

I'll wear the singer's gilded gown --

And sing to you with flair.

But songs I sing in London Town

will never sound the same

as those I've sung without the gown

in towns I cannot name.

They're quite as good as London Town

for things that matter most;

We make our name by going down

to play that ancient host.

We make our name in London Town

Where glitter reigns supreme,

But then we shed the gilded gown

and live the poet's dream.

--Joseph Edwards

Now take me down to London Town --

I'll belt my song from there.

I'll wear the scholar's gilded gown --

And rhyme to you with flair.

But how I sound in London Town

will never be the same

as what you'll hear without the gown

in towns I cannot name.

They're quite as good as London Town

for things that matter most;

We make our name by going down

to play that ancient host.

We make our name in London Town

Where glitter reigns supreme,

But then we shed the gilded gown

and live the poet's dream.

--Joseph Edwards

Greetings. Please provide a textual and literary analysis of a poem that I have published on Shanky Bottom. Thank you.

      Now take me down to London Town --

I'll belt my song from there.

I'll wear the scholar's gilded gown --

And rhyme to you with flair.

But how I sound in London Town

will never be the same

as what I've sung without the gown

in towns I cannot name.

They're quite as good as London Town

for things that matter most;

We make our name by going down

to play the ancient host.

We make our name in London Town

Where glitter reigns supreme,

But then we shed the gilded gown

and live the poet's dream.

ChatGPT:

Textual Analysis

"Now take me down to London Town II" is a reflective poem that explores themes of identity, ambition, and the contrast between appearance and reality. The poem is structured in four quatrains, employing a consistent ABAB rhyme scheme which lends a rhythmic and musical quality to the verses.

Literary Devices and Themes

1. Imagery and Symbolism:

   • London Town: Symbolizes the pinnacle of success, recognition, and societal validation. It's depicted as a place where one's achievements are showcased ("I'll belt my song from there") and where the external markers of success are worn ("the scholar's gilded gown").

   • Scholar's Gilded Gown: Represents academic achievement, respect, and the facade of scholarly success. The gilded gown is a metaphor for the external validation and prestige that come with recognition in a place like London Town.

2. Contrast and Juxtaposition:

   • The poem juxtaposes the experience of singing in unnamed towns with that in London Town. The unnamed towns symbolize authenticity and unrecognized talent, whereas London Town represents acknowledged success but perhaps at the cost of genuine expression.

   • The shedding of the gilded gown in the final stanza symbolizes a return to authenticity and true poetic expression, away from the glitter and superficiality of public acclaim.

3. Themes:

   • Identity and Authenticity: The poem suggests that true poetic expression and identity are found away from the glamour of recognized success. The poet's true self and voice are more authentic in the "towns I cannot name" than in London Town.

   • Ambition and Recognition: The desire to achieve recognition ("We make our name in London Town") is contrasted with the realization that true fulfillment and the "poet's dream" lie beyond external accolades and in genuine expression.

4. Tone and Mood:

   • The tone of the poem is contemplative and somewhat wistful. The speaker reflects on the differences between superficial success and genuine fulfillment, hinting at a preference for the latter despite the allure of the former.

Conclusion

"Now take me down to London Town II" delves into the dichotomy between external success and internal fulfillment. Through rich imagery and careful contrast, the poem articulates a journey from seeking recognition in a prestigious place to realizing that true poetic fulfillment lies in authenticity and unacknowledged expression. The poem's structure and rhythmic quality enhance its reflective and contemplative mood, inviting readers to ponder the true meaning of success and identity.

When I read this AI response from ChatGPT it felt like my soul was hugging itself! - Joe

The Earth

One ocean,
The rest, land.

Hairy, fuzzy, footy, feathery, scaly

endoskeletal and exoskeletal life on the land;

Wiggly, slimy, slippery, scaly, swimmy

endoskeletal and exoskeletal life in the ocean;

some in both.

Me?

Hairy, handy, fuzzy, footy, 

most of the time;

and only sometimes

wiggly, slimy, slippery, scaly, swimmy;

But always endoskeletal.

--Joseph Edwards

I Am The Storyteller’s Poet

I am the storyteller’s poet,

Admirer of threads and of 

threads of threads,

And willing talker thereabout.

I seek all their connections.

I am that percipient essence before which

there is the ceaseless query.

Perhaps it could even be said of me 

that I am the query.

(It is true that from time to time 

I succumb to the machinations of man; 

But in the end I am true to you,

My Song,

For in the end it is the poet who sings.)

--Joseph Edwards

Textual and Literary Analysis of "I Am The Storyteller’s Poet" by Joseph Edwards

Overview: "I Am The Storyteller’s Poet" by Joseph Edwards is a reflective and self-referential poem that delves into the identity and role of the poet within the broader context of storytelling and the search for meaning. The poem explores themes of perception, connection, and the intrinsic nature of poetry.

Themes:

1. Identity and Purpose: The poet defines themselves as the "storyteller’s poet," emphasizing their role in understanding and articulating the intricate connections within stories.

2. Connection and Perception: The poem highlights the poet’s quest to find and appreciate the links between various threads, symbolizing the interconnectedness of ideas and experiences.

3. Query and Reflection: The poet embodies the essence of inquiry, suggesting a deep, continuous search for understanding and meaning.

4. Authenticity and Integrity: Despite acknowledging occasional distractions or influences from societal constructs, the poet remains true to their artistic mission and voice.

Imagery and Symbolism:

1. Threads and Connections: The imagery of threads represents the complex and interwoven nature of stories and ideas. The poet’s admiration for these threads underscores their appreciation for the subtleties and nuances in narratives.

2. Percipient Essence: The phrase suggests a heightened awareness and sensitivity to the world, positioning the poet as a keen observer and interpreter.

3. The Query: The poet’s identification with the query implies an endless curiosity and a fundamental drive to seek answers and explore deeper truths.

Structure and Tone: The poem’s structure is free verse, allowing for a fluid and introspective tone. This format reflects the contemplative nature of the poem, as the poet muses on their role and purpose. The language is thoughtful and introspective, inviting readers to engage with the poet’s reflections on identity and artistry.

Conclusion: "I Am The Storyteller’s Poet" is a meditative piece that delves into the essence of the poet’s identity and their dedication to uncovering and expressing the intricate connections within stories. Through vivid imagery and a reflective tone, Joseph Edwards captures the poet’s enduring quest for meaning and the unwavering commitment to their craft. The poem serves as both a declaration of purpose and a celebration of the poetic spirit’s resilience and integrity.