Modern Shakespearean Sonnet 26. "On First Being Introduced to The Waste Land," by Andrew Barker смотреть онлайн

Andrew Barker's collection of original sonnets, "Joyce is Not Here: 101 Modern Shakespearean Sonnets," can be purchased, with a new cover, through Amazon at https://www.amazon.co.uk/Joyce-Not-Here-Shakespearean-Sonnets/dp/B091NLSHC3/ref=sr_1_3?keywords=andrew+Barker+modern+shakespearean+Sonnets&qid=1637282131&qsid=257-9044271-9050406&s=books&sr=1-3&sres=B09CG91YSS%2C1976583942%2CB091NLSHC3&srpt=ABIS_BOOK Modern Shakespearean Sonnet 26. "On First Being Introduced to The Waste Land." ‘They are the Alps. And one would have to go A long way to avoid them. Tread with care, They take some getting used to. But you owe It to yourself to climb them… ‘cause they’re there. Appealing first to ear, then mind, then brain, Acoustics and intelligence combine; Forlorn hope for the modernist campaign Against the metronome and length of line.’ I couldn’t understand a fucking word, Eyes treading through those peaks of timeless snow Where meaning meant much less than I’d believed, The impact of each image thrilled me so. Still ‘bats with baby faces’ sticks with me, Through all the world’s competing imagery. Andrew Barker I’ve fallen in and out of love with "The Waste Land," over the years as I’m sure everyone who has read it and reread it has. But I clearly remember reading it for the first time, and being very angry at how little I understood. I couldn't comprehend, or even see the way the narrators of the poem changed for instance, didn’t even understand that this sort of thing might happen in a poem. It was apparent that Eliot wasn’t writing the poem for people like the person I was at the time, and this angered me further. I thought it exclusive, elitist, and fascistic. I used to react quite strongly to feeling intellectually excluded. I was young. But also I knew, even then, that: A woman drew her long black hair out tight And fiddled whisper music on those strings And bats with baby faces in the violet light Whistled, and beat their wings And crawled head downward down a blackened wall And upside down in air were toward Tolling reminiscent bells, that kept the hours And voices singing out of empty cisterns and exhausted wells . . . was creating word pictures, images, and emotional connections that should not be ignored. The opening line of this poem, Basil Bunting's, "They are the Alps and you will have to go a long way to avoid them," was the very sentence with which I was introduced to "The Waste Land." It's good and true and a fair assessment. This poem extends that metaphor: "Because it's there," was Mallory's reason for climbing Everest. A forlorn hope is an initial attack, one that may not succeed. Even before the release of "The Waste Land" Ezra Pound proclaimed it: "The justification of the movement of our modern experiment since 1900," a statement that was and is a lot for a poem to live up to. On the line "I didn't understand a fucking word." There are only two of the sonnets in this collection where I use that word. It's actually too easy to use and should be inserted only sparingly, I think. Here, for me, it works. I wanted to show the childlike self-protective violence of my initial reaction to the poem to contrast with Eliot's use of language. The statement also has the virtue of accuracy. The other statement I remember about being first introduced to "The Waste Land" was one attributed to odd tasting sweets you might like but wouldn't know until you tried them: "Suck it and see." Andrew Barker

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