“I Lived and languished.” —Andrei Platonov

by “Weird” Ace Blues

Last year we learned th’ Empire struck back with fierce synergy.
The populace was pummeled by the techno-tyranny.
O, Obi Wan Kenobi—he was nowhere to be found.
Across the Globe we lived and languished; innocence was drowned.
From China to America th’ Empire’s power rose;
from bio-war-fare to enviro-roar-scare, freedom froze
There was no Princess Leia; Luke Skywalker had no guts,
and Yoda couldn’t help the people nullify the Putsch.
O, Planet Earth, though some fear you are warming far too fast,
my fear is not for Moon, Earth, Sun, but people being gassed.



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2 Responses

  1. Joe Tessitore

    Mr. Wise sums it all up and “enviro-roar-scare” is brilliant.

  2. BDW

    as per Wilbur Dee Case

    One of the best qualities of the fairly open poetic portal SCP, edited by poet, essayist and teacher Evan Mantyk, is its openness to literary criticism in its essays and its comments, with far fewer examples of censorship than most sites. That ability to criticize is vital to a lively poetic tradition. How might the history of English poetry have been if technical craftsmen, like Dickenson and Hopkins, had had a chance to explain their art to mid-19th century readers?

    “The People, Yes” is a poem by “Weird” Ace Blues, one of the many charichords (anagrammatic heteronyms of Bruce Dale Wise), who draws on jazz and Modernist poetry in his writing, as can be seen immediately in his title, a quote from Modernist Carl Sandburg (1878-1967).

    The poem’s structure is a tennos, one of the unbranded trademarks of the poet. A tennos is a poem of ten lines, five couplets, of iambic heptameter. The rhyme pairs are exact, until the last two pairs of guts/Putsch and fast/gassed, which suggest discord, a slightly ominous, prophetic dismount. It is also in the last four lines that the apostrophe to the planet is invoked.

    “Weird” Ace Blues uses a series of poetic elements in his tennos: alliteration, repetition, internal rhyme, and allusion, for example. Alliteration runs throughout the tennos. In L1, r, k, and s sounds “speak harshly” of the situation, compounded in L2 with plosive p and t. In L3 the repetition of the o introduces an assonantal focus. L4 is composed of two important allusions , one from Platonov (1899-1951) and one from Yeats (1865-1939), that feed into the almost despairing tone of the tennos. L6 uses internal rhyme to catalogue two of the poet’s present concerns: bio-war-fare, as practiced by the CCP in Wuhan, and likely origin of the ongoing worldwide pandemic; and enviro-roar-scare, as practiced by corrupt politicians, like Joe Biden, et. al. L8 also “fiercely” uses f and r alliteration. L7 and L8 use the central metaphor of the poem through allusion to filmdom’s “Star Wars”. The final couplet removes the poem to the Solar System, with an allusion to E. E. Cummings (1894-1962) and a final loaded term.

    Various general themes crowd this short poem: from the corporate take-over of America to the communist take-over of China, from the powerful pummeling of the people, to the rise of corruption “across the Globe”. The poet has the transnational crime syndicates in his sights, the disappearance of human rights, like freedom, and the specific theme of the Putsch—the fraudulent 2020 US election supported by the Socialists, the corporate media, like NYT, WaPo, ABC, CNN, NBC, CIA, FBI, Wall Street, corrupt courts, the FBI, BLM, Antifa, et. al. The poet’s fear, like that of PostModernist American poet Allen Ginsberg, (1928-1997) is the powerful, overreaching governmental dictatorship, now, in the New Millennium, the TransNational Socialists, that is, the T-Nazis; hence the fear of being “gassed” with its several meanings, from the oral to the material to the ominous. Obviously “Weird” Ace Blues sides with the populace, the populists, the very people the T-Nazis want to destroy.


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