No Signal, Please Stand By

by Lu “Reed ABCs” Wei

Perhaps the most intriguing thing about the past debate
between vice-presidential candidates was its strange fate,
that when Vice President Pence spoke, the Chinese censored it:
“NO SIGNAL PLEASE STANDBY” was how the Chinese rendered it.
The moment Harris, Californian’s senator, began,
the answers that she gave appeared; upon the screen; they ran.
And now one hears of rumours that the Chinese Communists
are funneling finances to Joe Biden’s strategists.
It can’t be true that Biden through his son made money from
the Chinese Communists; they are not traitors; they’re not dumb.

 

 

The Deep-State Conspiracy

“Monitos etiam atque etiam volo.” —Cicero, “Second Catilinaria”

by Brice U. Lawseed

While reading now about the Catiline Conspiracy,
I’m jarred to think of an attempted, recent piracy,
that is, the strange election back in 2016’s run,
where figures in the government used dirty tricks. I’m stunned.
I never would have dreamed so many souls were so corrupt,
from lower bureaucratic folk up to the very top.
The deep state takes my breath away. The Swamp, I now can see,
was based in actuality, in fact, reality.
I never dreamed the media complicit in such acts,
although I knew that Camelot already had been sacked.

 

 


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3 Responses

  1. BDW

    In the New Millennium, one of the poets most concerned with the nightmarish dystopia of the Red Dragon, is Mr. Robin, as can be seen, for example, in his book “Organ Harvest”. He is well aware of the recent atrocities of the Chinese Communists, which span a century, seventy years in power. There is no doubt that in our time the Communist Chinese have managed to reach the pinnacles of state terror and murder. That the World can be so accommodating to such is an indictment of our era.

    As for the “sideways sonnets”: One of my favourite Postmodernist essays is that by John Hollander, “Romantic Verse Form and the Metrical Contract”. His essay delineated the verse struggles of the Romantics. It was from the practice of Keats that I explored the sonnet, eventually settling into what I call an American sonnet that did away with the volta (rhyme scheme, ababcdecdefgfg). Through this sonnet form I was able to build longer structures without the constant octave-sestet pattern. From the practice of Shelley (and Dante) I used interlocking 15-syllable structures in early failures, like “Roma”.

    But, though I preferred the works of Byron and Wordsworth, it was the impulses of Blake and Coleridge, which moved me to the tennos: Coleridge for the ballad, as in his “Rime”, and Blake for his fourteeners. Blake fought harder than any of the Romantics against the sonnet and iambic pentameter, and it was his independent spirit that put me in touch with the “sideways sonnet” long after my experiments in free verse, which though exciting, were anti-epical.

    Reply
  2. BDW

    There are many reasons why I turned to charichords; but one of them was because no one would critically engage with my poetic vision. In fact, this year was the first year, in forty years, that anyone even questioned what a bilding was. It wasn’t until the creation of the charichords that anyone would deign to publish a poem, insisting often on banning the charichord.

    Although my political poems, subsumed under my docupoetry, are but one aspect of my poetic vision, they are the poems that editor Mr. Mantyk @SCP prefers to publish. He even created one of my two political poetic voices, the positive Brice U. Lawseed. My political Swamp charichord is Caud Sewer Bile. Mr. Mantyk is one of those editors (and he is not alone @SCP) who insist on my given name. Mark Twain, two fathoms deep. Those are pearls that were his eyes..

    Reply

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