Le Cadavre Exquis Boira Le Vin Nouveau

Exquisite Corpse
André Breton, Man Ray, Max Morise
and Yves Tanguy
“Cadavre Exquis”
(Exquisite Corpse)
1927

The Uses of Sorrow

by Mary Oliver

(In my sleep I dreamed this poem)

Someone I loved once gave me
a box full of darkness.

It took me years to understand
that this, too, was a gift.


 

A couple of weeks ago, an acquaintance asked why I didn’t have cable television as an explanation for why I was sitting in a bar watching a baseball game that was on TBS. When I said it’s because I prefer to spend my free time writing instead of watching TV, she said, “I’m an English major, what do you write?” I said I write a blog about poetry. She proceeded to feign interest and asked if she could read it. I should have said no, as baseball, beer, bars and poetry don’t really go together, but I pulled out my phone, pulled up that day’s entry and handed it to her. She borrowed my glasses, proceeded to read the days poem with complete lack of interest dripping off of every syllable and continued on with my commentary in the same vein and then handed both my phone and glasses back to me, saying as she did, “you do realize you are not the first person to utter these sentiments?” I said yes, I am aware that nothing I write is unique and proceeded to go back to watching the game, smiling as I did. At least she found something I said related to something she considers poetry.

Her comment underlines one of the great questions about my artistic endeavors that I wrestle with; is anything I create original or is everything a derivation or a poor imitation? This is one of the reasons I write sonnets, their strict structure conveys clearly I am not trying to claim I am inventing something new. Rather, I am infusing the poem with a historical backbone that can’t be ignored. Does this mean that because my writing is unoriginal in its form that it is less creative as well?  Possibly. I choose to write mostly in rhyme because I find it more entertaining. If it is a poor imitation of more talented writers throughout history, then forgive my amateurish attempts as simply that; being an amateur. But it doesn’t mean my creative process doesn’t have value to me. My attempts to put to paper my own thoughts refine and sharpens my human experience. The process of writing brings a mindfulness to my daily routine that is worth the effort, even if the end product is mediocre.

I can always point to similarities to other poets in anything I write, the subconscious coloring inside and outside the lines based on what it currently finds interesting in whatever I am reading at the time. I find this to be true even when I have been involved in the creative brain storming process of writing called an Exquisite Corpse,  invented by the Surrealists in France in the early 20th century.  An Exquisite Corpse involves multiple people contributing to a drawing or a poem with only a small prompt to guide them on their portion, but no full understanding of the other’s contribution to the finished work. You would think that this collaborative spontaneous process would create the most unusual end products because of the inter-play between different people, but in hindsight there are always the footfalls of influence of others mixed in along the way.

The poem Eating Glass came about from a modified version of an Exquisite Corpse done online over email with a friend. I can point exactly to the words that are not mine, as I consider her contribution stronger. The start of the poem is based on an actual recurring dream I have frequently since I was a child of eating glass.  The dream always starts out the same. These are pleasant dreams, not nightmares. I am usually outside, somewhere relatively rural and picturesque and I come across a broken window pane, a broken wine glass or a bottle, usually old and I am intrigued by the color and delicateness of it. It feels like the most natural thing at first, to feed my curiosity and take a little bite. I carefully select a shard and remove it from the cracked maze that is broken glass and hold it in my fingers. The first tentative bites are crisp and crunchy, like satisfying clear delicious glass Doritos.  I take another bite, then another and suddenly I am conscious that I have a mouthful of glass and fear creeps in. The remainder of the dream until I awake is not panic, but the careful removal of every shard from my bleeding mouth.

I have not named my co-writer, unsure if she really would want transparent credit. The final stanza contains contributions from both of us but it is her words that another friend told me stops her dead every time she reads this poem; Can we manage this?   We need not be alone they say….

This poem elicits stronger reactions than any other poem I have been involved in writing. People either like it or dislike it, there is no middle ground. What is at the heart of this poem is loneliness. Eating Glass is about the conflict between wanting to be in a relationship and the safety in the intention of being alone during middle age.


Eating Glass

By T. A. Fry and J. M.

Tell me, does my Succubus owe you a favor?
How else, would you come by your knowledge of my dreams
of eating glass?  Each of us wraiths,  if not true to our dreams.  

Pass over, let me slumber this night, content in chewing shards.
Tomorrow shall bring another Exquisite Corpse,
defiant in defiling my larder.

Why do we fear agony or tragedy as companions on this journey?
We fight them, coddle them, while crooning in the darkness;
“It’s unfair!”…Cry or don’t cry…. We fuck with furious fingers.

We have been here before. Liars, drunkards and whores,
swapping omens, conjured from bloody entrails. Not one
ending with: “……happily ever after.”

Can we manage this? We need not be alone they say….
But I am weary, contemplating another’s demons in my crib,
next to my own, mewling to suckle at my tit.

 

 

 

 


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