I’d like to pin open his eyes
like Alex in A Clockwork Orange
make him focus
every charred child
every mourning mother,
every purple-blood soaked brother
sprawled on the streets of Falluja,
every warped, melted,
broken piece of iron,
every street covered
shattered black burnt glass
in Ramadi or Mosul,
every shrapnel torn innocent
shredded in a million
pieces of flesh
and kidney, and intestine,
and brain, and lung, and heart,
splattered on the walls,
the doors, the windows---
another extirpated life ---
the ashened earth,
even in his Green Zone.
And bind his hands
behind his back
so he can’t cover his ears,
and make him listen
the canon thunderclaps,
the whistling projectiles,
the helpless babe
yanking his bloodied,
corpse, and all the screaming
and crying and
grief stricken howls
contorted naked faces
of families un-made
by another artillery shell blast,
another trigger happy soldier
or another laser guided,
GPS guided, mis-guided
“smart” bomb off target.
Make him vomit to Beethoven.
2 Jun 09
Rated 9.3 (9) by 3 users.
Inactive (1): 9, 9, 9, 10
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i think that rather than come out and say
Alex in Clockwork Orange
which requires the reader to have specific knowledge, mostly of the film
it would benefit the writing to simply give an insider's text of what you mean
which requires the same knowledge, but will generate a more powerful effect
I'd like to pin open his eyes
make him focus...
see what i mean?
This is honest, heart-wrenching, up-to-the-minute, angry and well written. What more can I say?
unknown -- good idea. I will consider it.
an expulsion with
Naked, raw and true - maybe newpaper articles should be written this way to shake to sleep out of our eyes and the cobwebs from the collective apathy that surrounds not just the one man. I love this kind of diatribe that can express so eloquently the rage behind the injustices imposed by such hegemony.
Well done and many many intense and important images.
I thought the "Alex' line was essential, brilliant in this spot.
Right on, brotha! You nailed THIS one. Just a couple of small things I noticed: L13 has "ash"
and L23 has "ashened." What I might suggest for sonic's sake is to remove L13 completely where in L12, we already have the shattered, black, burnt... (ashes.) Also, the "un" in "unmovable" in L33 seems off to me. Maybe IMmovable? Funny how all of these things I'm noticing are in L's that end in the number 3. LOL. L's 13, 23 and 33. Hmmm...things happen in 3's, y'know. Great, kick-ass, in your grillpiece poem, Bobby! :-)
This reminds me of my "Republican('t)" poem. Yours says so much more though. :-)
I took your advice. I really appreciate the compliment on this, because I really appreciate your poetry. I have something a bit softer and gentler to add over here, but I have reached my limit for the week.
Wow! No beating around the bush here! Ha ha, sorry, couldn't help myself. This is good, good, REALLY good, in your face poetry you have written here RfrancisR. I've written about this damn war, but nowhere near as well as this.
I was so jacked by this I forgot to log in!
Thanks a lot unknown!
Thanks paul. I am flattered.
both the book, and the kubrick film, were titled
"A Clockwork Orange"
it (the film) continues to be one of my favourite films, and to see its title burped out in this ham-handed manner tells me something about the author. as a coincidence, i note that the poem seems to be a slam against an individual - on the basis of violence for which they should apparently be held accountable - yet starts out by relating a desire to do something violent to that person, and makes allusion to one of the most violent non-horror films of the time. funny.
after seeing the reviews you've received, i wonder if the penultimate line is some type of clever note on holding back a flood of material items, or whether the poem was not read very carefully.
opening the poem with
is an immediate political polarization, which tells me that 'here we go, another OPINION poem'. that is fine, if the poem that follows would deliver its opinion/editorial in a fresh way.
in all, the piece comprises a couple of run-on sentences, poorly punctuated. i might suggest that this is indicative of a rant, and the poem may benefit from the removal of all of the punctuation; or not, this is a matter of personal preference, by times.
please note how often certain words recur throughout the poem.
almost as well to title the poem 'and every'!
after reading a few times, it is obvious that the poem is really just listing a bunch of things the author finds less than tasteful. i really find no personal touch in this, any further than one might find in any of a million such 'political lobbylist' poems.
better to relate something of ones self, in poetry, than just a spittle-infused angry letter to the editor. in my opinion.
I like this poem - alot - but I think unk makes some valuable points. I like coming back to the poems that intrigue me to learn from the good critiques that are occasionally posted (hoping that learning to critique well will make me a better writer!) I think the voice is clear and the point of view is obvious. It's clearly an emotional rant which heavily condemns conflict. But it is one dimensional. It doesn't capture the complexity of why or how humans can kill so callously. There's no internal conflict in the poem, which could really bring this poem to whole new level, seeing as it's such an obvious rant against conflict in the first place (hitting on the hypocrisy of it all). Maybe there's a bit of that with the reference to The Clockwork Orange as unk suggested.
I'm thinking that it almost needs some perspective that holds not just one man responsible - what about the democratic nation that brought him into office - with whom does the responsibility really lie?
Could there be a more subtle deeper meaning to the rant - for example - the purported reason for going to war (oil? terrorism? economy of war?)
Finally - it occurred to me that the first half of the poem graphically ensures that the reader is keyed up for some pretty intense images (eyes pinned open) and you paint those images well.
The second half leads us to a different sense of hearing - might you bring more "sound" to this part to bring out the prepped entry into this stanza.
I like this poem - which is why I'm trying to spend more time with it - so I hope I don't offend you as I use your writing to dig deeper. :>)
really. what the fuk for?
Really. Dig deep - or just creep (around in the dark) with a desultory tale between your legs.