Poems Bigger Than Your Head
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Poems With Commentaries free porn video
BURROWING
The iguana's dead;
It could not live
Through the slow eons
Of its dualistic visions,
Seeing breasts and buttocks,
Testicles and cocks
On each transformative
Occasion of your
Insistent awakening.
The doves, too, are released,
And the clocks count down
To Armageddon and its release;
The beast, though wild, is sweet
This time of year, perhaps
Because your fear is ripe, my dear.
Would we able to wrap
Everything up in a beau
Or bow or bough,
In a travesty of womanhood,
All feathery with snow,
But, alas, the highway
Is as empty as it is long,
Traveling
From coast to coast
And lonely between Fallon
And the east.
Stop!
Catch
Your
Breath,
And dry
Your eyes.
Feel better;
Then, explode.
There will come a reckoning;
Have no fear,
But you won't be here,
My dear.
The iguana's dead;
We buried it today,
Among the shifting dunes,
And it made quite a stir,
Burrowing.
IN HOLLYWOOD THESE DAYS
There are 26 letters
Of the alphabet,
And each one starts
The names of many
Women, so the alphabet
Is a sure bet
For introducing breasts
And buttocks,
Or tits and ass,
As they prefer
To call such assets
In Hollywood these days.
INTERLUDE
After the lube,
An interlude,
And then
Anal rejection
Of fecundity's
Half-hearted,
Stiff-armed
Attempt to woo.
Silence.
Stillness.
Flaccid
Acceptance
At last,
And then
Another
Interlude.
COMMENTARY ("BURROWING")
The iguana is a symbol of the shemale's developing awareness of his-her hermaphroditic state and the uncertainty and fear that attends this nascent consciousness. For many years ("slow eons"), the speaker has considered himself-herself to be both male and female, yet, paradoxically, neither sex. The "you" to whom the poem is addressed is the narrator's own anima, for it is the anima, I believe, that the male-to-female transsexual projects as his-her desire to become female (or, rather, shemale, for the shemale, as I understand and portray such a figure, wishes to retain his-her male genitals, but, at the same time, to acquire the secondary sexual characteristics of the female, to become, as it were, a third sex). The anima is not understood consciously; its existence and its desires are "awakening," albeit insistently. Therefore, the iguana's vision of itself, its self-image and its self-knowledge, is split, or bifurcated; it sees itself as being simultaneously male and female, its "dualistic visions,/ Seeing breasts and buttocks,/ Testicles and cocks." Because the shemale's nascent understanding of himself-herself is not fully conscious, his-her vision fragments his-her perception of his-her body as mere parts ("breasts and buttocks,/ Testicles and cocks") rather than as a union of opposites that can combine into a single, greater whole.
In Genesis, after releasing a raven, Noah releases a dove to determine whether the flood has receded from the earth sufficiently for him and his family to disembark from their ark. It is safe, the anima attempts to communicate to the shemale's ego, to come out to him-herself and, indeed, to the community at large. Moreover, his-her death is already underway, since one begins to die as soon as he or she (or he-she) is born. The shemale's developing awareness of his-her anima and its demand for birth, as it were, from his-her consciousness has set the clock of personal death, of "Armageddon and its release." The "beast" is the shemale's fear of being born again, out of himself-herself.
It is not enough for the narrator, the anima insists, for him-her to cross dress. Merely playing at being a woman, by wearing women's clothes, behaving as a woman, and acquiring a boyfriend, will not satisfy his-her true longing, which is to become a shemale, not a female; if anything, cross dressing would merely be a cover, like a blanket of snow: "Would we able to wrap/ Everything up in a beau/ Or bow or bough,/ In a travesty of womanhood,/ All feathery with snow...." Instead, a journey is required, along a "highway" that is "as empty as it is long,/ Traveling
From coast to coast/ And lonely between Fallon/ And the east." Fallon is on U. S. Route 50, the "Loneliest Road in America." This highway indicates the loneliness of the journey toward transformation, here represented as the civilization of the "East," a religious and mystical compass point; the shemale, the anima suggests, must work out his-her own salvation; no one can become the new creature he-she must become but him-her himself-herself.
The journey (transformation) is frightening enough to make the wannabe-shemale cry or even to feel as if he-she may go insane, or "explode," and, the anima agrees, it will be traumatic ("There will come a reckoning"). However, because of, and after, the trauma, the speaker, as a person divided within himself-herself because of the unresolved sexual identity at his-her heart and soul (and body), he-she will transcend his-her present state, including the uncertainty and fear that attends it: "you won't be here,/ My dear."
The anima's work is done; she has made the shemale aware of his-her true state as a person who is both male and female, yet, at the same time, neither sex. As a symbol of the shemale's developing awareness of his-her hermaphroditic state and the uncertainty and fear that attends this nascent consciousness, the iguana can now be buried, or repressed, for its significance is now understood, and the shemale consciously and deliberately represses this knowledge, i. e., forgets it, for now that he-she is able to transcend this state, he-she can shed it as if it were a skin that he-she has outgrown and no longer needs.
COMMENTARY ("IN HOLLYWOOD THESE DAYS")
The alphabet is the primary means of communication between and among people. It is something of a marvel that communication is based upon an alphabet of only 26 letters. Indeed, the history of the alphabet suggests its mystery, including the mystical character it was once believed to possess. A woman's name starts with each of the letters of the alphabet, involving women in the magic and mystery of this letter (and the other letters) of her name. Women are as mysterious and magical as any other person, place, or thing that words identify, but, in Hollywood--here a symbol of the commercial and industrial use of personal beauty for entertainment and profit--they arte reduced merely to what is marketable to the masses, namely, "breasts/ And buttocks,/ Or tits and ass,/ As they prefer/ To call such assets/ In Hollywood these days." The horror of the dehumanizing reduction of women to "tits and ass" is multiplied by the fact that every woman, regardless of her name (her individual magic and her mystery) is so reducible and so reduced. The alphabet--a synecdoche for communication itself--has no power to save women from being made into mere commodities for the sake of the dollar.
COMMENTARY ("INTERLUDE")
This poem comments upon the apparent innate purposelessness of anal intercourse, an act which cannot, of course, result in pregnancy. The fact that a lubricant is needed suggests that the act is unnatural, since the vagina lubricates itself while the rectum does not. The "interlude" is the act itself of anal intercourse, which ends with the "rejection" of semen and sperm and the latter's "fecundity." Between two men, foreplay is not, perhaps, as important as it is between a heterosexual couple, which is why such play is characterized as clumsy and indifferent or lackadaisical, as a "Half-hearted,/ Stiff-armed/ Attempt to woo"). The aftermath of homosexual anal intercourse is not wild or even pleasant; instead, it is merely a "Silence," a "Stillness," in which "Flaccid/ Acceptance" finally occurs.
The second stanza contrasts sharply with the first. Stasis and ennui do not last, for, following the lovers' recovery of their strength and stamina, there is "Another/ Interlude" between them. Although, as "Another/ Interlude," this second act of anal intercourse is likely to end the same way that the first one did, in stasis and ennui. Nevertheless, the act itself is pleasurable enough to warrant repetition. Therefore, although it is a sterile and, from the standpoint of procreation, purposeless act, homosexual anal intercourse is pleasurable. Therein, as a means of giving and receiving pleasure, it has value, and therefore purpose, for the lovers who engage in it, however the moments before and after the act may be perceived.
COMMENTARY (A CONCLUDING THOUGHT)
My explications of these poems are not final, of course, for a poem, once it is released to the public, becomes public property and readers have every bit as much a right to interpret the imagery, rhetorical devices, rhetorical elements, themes, and other aspects of the work as the author him- or herself and, often, by a community's sharing of their interpretations of the "meaning" of a poem, it gains, not loses, meaning, its significance frequently being enriched as a result. (See my comments, for example, on "Magritte: A Transgender Reading.") Most artists don't "explain" their work, and, usually, for a variety of reasons, I subscribe to the belief that they should not do so. However, I thought that my commentaries might, in some cases, help some readers to see what a poem might suggest and, in other cases, spark debate.
Blaze
- 01.09.2020
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