The Cleave Poetry Webzine [ISSN: 1758-9223]

A cleave by any other name…Part 5: Orchestrations in Perceptionalism by RH Peat

In announcement, submission on May 15, 2009 at 9:46 pm

I wrote a form very similar to this back 1996, In fact it was a complete book called “Thin Shadows” But it had a third part as well of a small topic poem attached to what you are calling a cleave poem. There were 80 full page poems in the book dealing on all kinds of subject, I’d be happy to share some of them with you if you would like to see some of them. I only self published 50 books at the time I compiled the book out here in California. I only have one copy left now. Interesting that you were doing the same thing back there around the same time. RH Peat

Preface “Thin Shadows”
To help the reader with my Orchestrations in Perceptionalism, I might say that syntax has been surrendered completely for the benefit of a type of free flowing parameter of consciousness, for there are several poems interlaced together with one poem-structure. There are at least four different poems intersecting upon one-another in different ways throughout any of the simplest of these poem -structures. There is a basic concept of reading from left to right and from top to bottom that is still carried throughout the poem-structures.

Because each phrase or word-grouping is to be read in more than one direction (either horizontally or vertically within columns downward or through continuous lines across he page). Syntax was somewhat bypassed for multiple kinds of meanings and uses within these groupings and phrases upon the field of a particular poem -structure’s particular subject matter. Although the writing may appear quite similar to stream of consciousness, I do believe I have managed to maintain a parameter of understanding upon a specific subject or topic of concern.

It is quite true this type of fracturing tends to appeal more to the connotative of the quantum experience rather than the denotative found within the overall scene flow of a narrative story-line, but I do believe that there are beginnings, middles (turnings), and endings throughout the poem-structures. My overall concern whoever was to appeal to the subconscious mind more directly rather than the conscious mind.

Abstractly speaking it is kind of like looking through a magazine quickly until you snag yourself upon something that identifies to your inner concerns—Then you delve into the subject matter more deeply; the diversity is still all contained or maintained in the parameters of the book-binding of the magazine. Unlike a magazine however I do fell that I have put a much tighter and more specific concern upon subject matter and/or top identification.

I must state that this is all terribly experimental within its written structural sense but actually more closely related to the common thinking process involved in and found inside light conversation or an informal letter: Personal letter writing where things tend to drift around a bit.

So at first you might have the feeling that you have walked into the middle of a conversation; it may sometimes be a bit disorienting at first glance until you get the gist of the conversation. I do believe this poetry itself is a bit more fractured in appearance than these other forms of consciousness by the breaking-up of the verses into various short picturesque imagery, and its quick motion-picture like movement of sudden changes like movie vignettes; In another way, it is also more condensed by the use of this picturesque imagery compressed into a static compacted-completeness as a single painting or photograph might appeal to the senses. Nevertheless the lines within the poem-structures are like stepping stones that lead you around and throughout the same walled garden. Stepping stones leading you toward more of an illumination of the experience rather than an understanding of the experience within any particular wall of the garden: i. e.

Morning rock-wall laughs silently/     A smoking man coughs
A steamy glass rises in ferns/     Cigarette shaded night into ashes
Sunlight unveils it’s burnt curtain/    Torn pack and opened book
A silky ghost gown takes flight/    A sky scratched blue flair
Yawn into transparent dove wings/     A quick match struck dawn
(a) side                                                      (b) side

(c ) construction
A Thin Shadow— coughed echo leaves
he stops to draw-up a sudden light
A moments rest from his worked earth
Awe unveils a silent laugh of delight
flashed match touched to cigarette tip
His flame bitten breath into ash will ignite
As smoke and steam curtains curl-up
Pulled root from the slow garden night
Outstretched fern arm into the lit dawn
Just as the rock-wall turns into sunlight
Dew and exhaled lugs become phantoms
Ghost wings opened into morning flight

One poem-structure is made up of several internal poems including the “A Thin Shadow” poem which can act as a prologue or an epilogue to any or the poems: 1(a ) side is a poem, 2. (b) side is a poem,  3. the lines of both poems  (a+b) read together horizontally into a single combined line are yet another poem. 4. Or yet another poem is the combined poems (a+b) read as two columns one read after the other. 5. The (A Thin Shadow) poem is a spin off of the overall umbrella of all the other poems: a shadow of some of the overall concept that is scattered throughout the total poem-structure.

Hopefully this is enough to get the reader started upon the adventure within my book. The voyage into what I would like to call my “Orchestrations in Perceptualism.” Perceptualism being the presentation of many perceptions simultaneously as all the instruments of an Orchestra combine their efforts together to play an opus in concert. Not that words don’t offer this concept within an individual poem, but here it is separate poems rather than words that are orchestrated in concert rather than single words.

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