On Wednesday, February 1, 2023 at 4:14:08 PM UTC-5,
george...@yahoo.ca wrote:
> On Thursday, January 26, 2023 at 11:12:07 AM UTC-5,
michaelmalef...@gmail.com wrote:
> > On Thursday, January 26, 2023 at 7:20:20 AM UTC-5,
george...@yahoo.ca wrote:
> > > On Monday, January 23, 2023 at 3:10:32 PM UTC-5,
cocodeso...@gmail.com wrote:
> > > > On Monday, January 23, 2023 at 1:02:21 PM UTC-5,
george...@yahoo.ca wrote:
> > > > > On Tuesday, January 17, 2023 at 7:48:30 PM UTC-5,
michaelmalef...@gmail.com wrote:
> > > > > > Belts leave welts as boy George knows,
> > > > > > Belts leave welts, but nothing shows
> > > > > > (Long as George keeps on his clothes).
> > > > > To repeat, you're free to imagine things like "welts" and "buggering," as long as you make clear that it's your own imagination. Putting your imagination into your own poetry, rather than trying to twist mine out of shape, is at least a start.
> > > > >
> > > > You are aware that AAPC is a poetry *discussion* group?
> > > > We are discussing your poetry.
> > > If you want to discuss a poem, a good thing to remember is to discuss the poem. The poem says something; let it speak for itself, try to understand what it is saying, and learn the difference between what it actually says and the thoughts you have when you read it.
> > >
> > That's exactly what my colleague and I have been doing, George.
> No, that is not what either you nor NancyGoon have been doing. You've constantly been embellishing the poem with stories of your own that are not in it, from "child abuse" to a "psychobiography" of my father," to a tale of an escaped lunatic, to a "revenge" fantasy, none of which appear anywhere in the poem.
>
1) Telling your son that boys are "filthy" things, and forbidding him to sit on most of the living room furniture is child abuse.
2) Whipping your son's bare bottom with a leather belt is child abuse.
3) Forcing him to do chores all day long (essentially keeping him as a slave) is child abuse.
If the narrator of the poem did not feel that it was child abuse, he would not want to burn down his childhood home.
>
As I've said, that's what you do as a fiction writer: you start with a true account of some kind, and spice it up to make it more entertaining. But criticism is not fiction, and when doing it you should confine yourself to true accounts.
> >
Criticism is a reader's attempt to dissect, analyze, and report on a poem, in terms of it's perceived meaning (if any), structure, tone, mood, literary devices employed, symbolism, place in the poet's canon, etc.
Your poem is about the lingering effects of an abused childhood.
1) Your narrator has received permission from an unspecified group (presumably the doctors at an asylum) to visit his childhood home.
2) He describes a negative memory associated with each of the rooms.
3) His memories depict a childhood of drudgery, repression, confinement, emotional and physical abuse.
4) He expresses his wish to burn down the house (presumably as an attempt to purge his childhood memories.
You can deny that any/all of the above were your *intent,* but that is what you wrote, and that is what I have interpreted your poem to mean.
> > Your poem depicts emotional and physical child abuse, implies the probability of sexual abuse, and reveals feelings of unresolved anger, frustration, and vengeance on the part of the narrator.
> That's not true. The poem depicts a narrator who was raised strictly -- had to do chores, obey rules, and even take punishment -- and who experiences some anger over it. The idea he suffered "abuse" and wants to take "vengeance", as we've seen came from your and NastyGoon's interpretation or story about it.
>
Earth to George: He wants to burn down the house 60+ years later.
There is a world of difference between having some residual anger over how one was raised, and being under psychiatric care/wishing to burn down one's former home.
> > > > If your readers interpret your poem to be strongly implying things like "welts" and "buggering," that's something you should be interested in -- and something that you might wish to address.
> > > There's nothing to address. A reader who's experienced welts from a belt would be likely to think of welts when he reads the word "belt", and a reader who's been buggered is free to imagine buggery from the line "Face and pyjama bottoms down". But for either one to claim that either image is "strongly implying" or even implying either thought would simply be irrational, confusing the thoughts they're getting from the poem with thoughts they're getting from their own subconscious memories.
> > >
> > One doesn't need to have been beaten or buggered to pick up on the imagery and implications in your poem. You wrote them into it (most likely, intentionally).
> >
> Sure, a malicious troll might make the same interpretation as you two. However, once again that would be an interpretation, not something written into the poem.
Most readers will arrive at the same conclusion -- without being malicious or trolls.
You have a boy (a 6-year old according to one of your explanatory posts) lying bare-assed in bed waiting for a whipping. I don't see how *anyone* could fail to think of that as an extreme example of child abuse.
And the fact that he is lying on his stomach with his bare bottom exposed, waiting for a man to abuse it, smacks (p.i.) of homosexual/pedophilic overtones.
> > According to your own explanation, your narrator opens the poem by alluding to his being under some unspecified form of psychological care (most likely an institution, as he refers to his doctors as "they" (as opposed to simply seeing a psychiatrist). You close the poem by having him express his desire to burn down his father's (former) house. You have also stated that you've implied that he's broken into the house, and is walking through the rooms as he describes them.
> Here's what I actually said: "As well, it makes certain things more ambiguous, and I think that's a
> plus as well. By taking out the old L2, it's no longer clear whether the
> house this guy is walking around in is abandoned, or still lived in.
> It's also unclear who "they" are; my hidden idea was that the speaker
> was under psychiatric care, and "they" were the ones looking after him,
> but I wanted to keep that hidden."
>
> The poem's ambiguous -- the house may or may not be abandoned, and the speaker may or may not have broken in; he may or may not be under psychiatric care, and may or may not have escaped from a psychiatric institution. As I've said, the ambiguity allows more readers to identify or at least empathize more with the narrator, and as a byproduct it allows them to imagine their own entertaining add-ons. But, as I've said, that's what a reader brings to the poem, not something in the poem itself.
>
How does that differ from what I said above?
And even if we use your more detailed explanation, how does it not *imply* that he is under psychiatric care due to the abuse he suffered in his childhood? And how does his desire to burn down the house not constitute a desire for revenge?
> > Your narrator is one seriously messed up individual. And one doesn't get that messed up from a few childhood spankings.
> He definitely has issues, but he's not that messed up in the poem as you "interpret"; there's no sign of him being in a mental institution, or of breaking in, or of trying or even intending to burn down the house.
Bullshit.
George Dance: my hidden idea was that the speaker was under psychiatric care,
George Dance: it's no longer clear whether the house this guy is walking around in is abandoned, or still lived in.
George Dance: Oh, if I were a millionaire/I'd buy my father's house, and there/I'd build a bonfire, oh so high\Its flames would light up all the air.
> > Something very bad must have happened to pushed the narrator that far over the edge.
> >
> > You meant for your narrator to have been subjected to an extremely torturous childhood existence.
> No, I meant for him to have been raised the way I was raised, under strict discipline. Whether that adds up to "abuse" and "torture" -- where the line is between strictness and abuse, or punishment and torture -- are questions I'd welcome a reader thinking about after reading it.
>
Which is exactly what my colleague and I have been doing.
The line between strictness and abuse is crossed the minute one strikes a child with their hand, their foot, with a belt, a yardstick, a wire hanger, or any other instrument.
Striking a child is abuse. Plain and simple.
The line between punishment and torture is crossed the moment when the parent strikes their child, or subjects them to unduly severe restrictions. Restricting a child from watching tv for half an hour is punishment; whipping their bare bottom with a belt is torture.
Yes, people had different beliefs about what was considered harsh or abusive sixty years ago, but that doesn't change the fact that these abuses occurred.
The parents in your poem (and leave us not forget that the narrator in your poem had been "raised the way that I was raised") were extremely abusive -- even by 1950s standards. You may not think of it as abuse, because it was your norm. But that doesn't change the fact that it was.
> > What you didn't intend was for your readers to associate the narrator with George J. Dance.
> The narrator is not me.
True.
Except that:
1) you have stated that the poem is "largely" base on your own childhood experiences,
2) you have stated that the narrator had been "raised the way that I was raised," and
3) each of a writer's works is, at least partially, autobiographical.
So while the narrator may not be George J. Dance, he is someone very much like George J. Dance -- at least insofar as his childhood memories are concerned.
> Obviously putting it into first person will confuse some people, and again they'll have their own interpretation" -- but I think it makes for a far more interesting poem -- as in confessional literature, it's the speaker sharing private confidences with the reader. I'm not worried enough about that to publish it under a fake name or as "Anonymous" (as so many similar poems get bylined). As I once wanted to tell Corey (but didn't, because I was responding to what he offered as constructive criticism), those are the types who'd read "My Last Duchess" and think Robert Browning was married to a duchess whom he'd had eliminated.
>
You don't give your readers enough credit, George.
Had I read your poem without your explanations, I would have suspected that you'd had a strict upbringing, but I would not have called the poem (largely) autobiographical.
It is from your accompanying statements (see my response immediately above) that I have come to such a conclusion.
FYI: If you don't wish your readers to think that your poem is (largely) autobiographical, you shouldn't go out of your way to tell them that it is largely based on your own childhood experiences.
> > But "truth will out," as they say. And in one of your earlier posts about the poem, you let it slip out that it had been "largely" based on your own childhood experiences.
> Indeed I did tell someone that, and indeed it is. The speaker had some childhood experiences that were somewhat the same as mine. His memory is more selective than mine -- he omits facts I remember, and adds a couple I don't remember at all -- and his emotional reaction to those memories isn't the one I'm experiencing thinking about them today.
>
You've enumerated which experiences were yours and which were not (all but two were yours).
As to the narrator's "selective" memory, most of us have more childhood memories than we can fit into a one-page poem.
If you say that you aren't experiencing residual anger over these memories today, I am not in a position to prove otherwise -- however, based on my interactions with you in this group, I strongly suspect that you are still suffering from their effects.
> > Now you're stuck blowing smoke out of your ass in a transparent attempt to escape from the truth.
> Wow!
I apologize for speaking in the vernacular. You are desperately attempting to sidestep an obvious truth.
> > > > I've read your poem several times, and have read your own interpretation of it, and *still* see it as dealing with unresolved childhood trauma, physical abuse, and possible sexual abuse. That is my interpretation of your poem. Had Jim, or Ash, or anyone else written the poem, it would still be my interpretation.
> > > Case in point. Try to take in what I just explained to you.
> > What you "explained" was a feeble attempt at IKYABWAI (which is pretty much the basis of all of your arguments).
> You obviously were unable to take it in. You really can't tell the difference the facts -- what the poem actually says -- and your 'interpretation' or story about them.
I have pointed out what the poems specifically states, numerous times. This is not a matter of interpretation. My interpretation is drawn from what your poem states.
Your poem depicts a specific punishment that the narrator received in/associates with each room of his father's house. Your narrator may also have happy childhood memories, but there is no hint of any such memories in your poem. The only memories mentioned in your poem are unhappy/abusive ones.
The punishments depicted in your poem run the gamut from "strict" to unduly harsh to physically abusive (whipping a bare bottom with a belt).
Your narrator associates the house with his father. He refers to it in both the title and text as "my father's house." This shows that he has emotionally separated himself from both his childhood home and his father.
Your narrator *implies* that he is receiving some sort of psychiatric care. Your narrator is therefore still suffering the effects of the traumatic events of his childhood.
My interpretation (that the narrator is still suffering from the negative effects of his abusive childhood) is supported by the text of your poem.
There is no other logical way of interpreting it.
> > What I've explained is that the implications of your poem exist independently of both its author and its readers. They exist in the words and imagery of your poem. Consequently, were, Jim, or Ash, or anyone else to read your poem, they would immediately pick up on those same implications. (Illiterate, semi-retarded Donkeys excepted, of course.)
> One would expect Chimp and the Ashtroll to "pick up" on your interpretation whether they'd read the poem or not, just from reading your many posts about it. They're your Flunkies, after all.
They most certainly are not my flunkies, George.
You assign different imaginary leaders to my imaginary team at will.
But you're really just falling back on your standard IKYABWAI variation (as I'd noted how anyone except for your flunkies -- The Donkey and his Stink) would share my interpretation of your poem.
> > > > For many readers, the idea of whipping a bare-assed boy with a belt is extremely harsh and abusive punishment; and the image of a boy lying in bed, on his stomach, with his pajama pants pulled down as he awaits the arrival of his father strongly implies that there may have been sexual abuse as well.
> > > >
> > > > If you don't wish to have these associations arise from a reading of your poem, you should rewrite it using less suggestive words and images. Keep the boy's pants up and have the father spank him with his hand. >That's normal corporeal punishment for the time period in which the narrative is set.
> > Beltings were reserved for only the most severe transgressions... and the idea of a child obediently lying in bed with his pants down (apparently as part of a nightly ritual) is anything but normal.
> > > It would be easy enough to change "my father's belt" to "my father's hand". But of course that wouldn't prevent a person wanting to see "buggery" from finding it in the boy being in bed; so he can't be sent there either.
> > It would not be implied if his pants stayed up.
> > > As for the person looking for "abuse," that word change wouldn't be enough; I'd have to spell out, in detail, what the father was doing with that "hand," which would spoil the stanza; one reason for the stanxa's effectiveness, IMO, is that the details are not spelled out, but left to the reader's imagination.
> > >
> > NEWSFLASH: Your poem isn't very good.
> I've reopened the thread on the poem, in case you'd actually like to discuss it there.
I'm not going to play musical threads with you, George. I found your post in this thread, and I've been discussing it in this thread for the passed half hour. Take it or leave it.
> > It's just not. You've done better, and are capable of doing better.
> OMG! Could you be any more passive-aggressive!
I'm being honest with you, George.
It's a laughably bad poem.
You've written several good poems, and you've written several bad poems.
I don't believe that you possess any poetic *talent* -- but I do believe you possess the skill to create well-crafted poetry.
> > Your poem isn't effective, because (as previously explained) you've written about a serious, and disturbing, subject in a style suited to light verse.
> Considering the responses that my poem has received, I'd say that it's been highly "effective".
You're sounding disturbingly like our resident Donkey.
Your poem hasn't been receiving the responses -- you have. The discussion has been over whether you are still suffering the effects of childhood trauma -- not about how well-crafted, memorable, etc., your poem is.
> > The reason why you *can't* change the narrator's childhood to more normal forms of corporal punishment (spanking with pants on) is because normal corporal punishment would not have sent the narrator to the loony bin.
> Hold on. You've claimed it's "the truth" that the poem's speaker was in a "loony bin" and also that it's "the truth" that I'm the speaker (with an actually logical implication that I've been in a loony bin). But, once again, neither of those "truths" corresponds to facts of the poem (ie, what the poem actually says).
>
I have not *claimed* any such thing, George.
I'm setting forth a literary theorem to you: One cannot imply that his narrator is under psychiatric care without having said narrator's story imply the need for psychiatric care.
Understand?
> > > Unlike some, I think it is important to leave some things to the reader's imagination; having the reader actively thinking, contributing rather than merely passively absorbing, bonds or identifies him with the poem. The problem with that is that the part of the process is out of the poet's control. Whatever fantasies the reader has, from sexual ones of buggery and incest to dramatic ones of escaped prisoners and revenge, are going to be part of that reader's experience of the poem. That's one reason to emphasize the distinction between a reader's experience and the poem's reality.
> > >
> > But you haven't left them to the reader's imagination. You've made the implications loud and clear. Your narrator has been granted leave from a mental institution in order to drive to his childhood home. The house is now someone else's home, and the narrator breaks into it and gives himself the grand tour. He then expresses his desire to burn the house (and the memories it represents) to the ground.
> No mental institution, and no break-in, are mentioned in or implied by the poem. Nor do we know if anyone is living there or not. The rest sounds accurate enough to me.
Bullshit.
George Dance: my hidden idea was that the speaker was under psychiatric care,
George Dance: it's no longer clear whether the house this guy is walking around in is abandoned, or still lived in.
> > Keeping the above framework in mind, what events depicted through his memories could have combined to bring him to this emotionally disturbed state?
> >
> > 1) His parents' lack of affection for him,
> > 2) His having been treated as a chore boy,
> > 3) His having been kept in a state of near isolation,
> > 4) His having been beaten with a belt on a more-or-less nightly basis,
> > 5) His having been so broken in spirit that he would lie in bed with his pants down awaiting his punishment,
> > 6) His (possibly) having been sodomized as part of the punishment routine.
> >
> > I maintain that *any* reader (Donkeys excepted) would necessarily draw the same conclusions from your poem -- since there is no other way to read what you have written.
> >
> Yet, in the 15 or so years the poem's been around, it's only Michael Monkey and NastyGoon who've drawn any of those conclusions; so I strongly suspect
Perhaps not one else has read it, or thought enough about it/you to comment?
> > And, again, I stress that the real point of contention is not one of whether the father was a monster; but whether the narrator accurately represents the childhood (and adult psychological status) of his author. And, again, we have your previous admission that the poem was based "largely" on our own childhood experiences.
>
>
>
>
>
> > > > If you're unable to handle constructive criticism of this nature, you might wish to reconsider posting to AAPC.
> > > Oh, don't get huffy. If you comment on a poem, a writer should at least listen to what you have to say about it, but he doesn't owe you anything more than that. If he finds your criticism unhelpful, or even questions whether you understand the poem, it's easy enough to take that as a challenge to your ego; but remember that your ego is not what the group her for, or what it is about.
> > > <snip>
> > You're simply doing another variation on IKYABWAI, George.
> >
> > You seem unable to handle comments that your poem has received. When one comments on a poem, the writer should listen to what is said and thank the reader for having commented. He can either agree with the reader's explanation, or offer an alternate explanation of his own -- bearing in mind that there are often multiple ways in which to interpret a poem, and that his readers' explanations are every bit as valid as his own.
> I don't think so. Interpretations can be more or less true (ie, more or less correct given what the poem says), and incorrect ones are not "every bit as valid" as correct ones.
Look at what you're writing, George. That's yet another of your "strawman" arguments.
No one has said that "incorrect (interpretations) are 'every bit as valid' as correct ones."
That's a Donkey-worthy oxymoronic piece gibberish.
I said that a reader's interpretation can be just as valid as, if not more valid than, the author's.
There have been times when I was unsure what some of my poems were trying to express, until a reader pointed it out to me. There have been other times when I'd missed another level of interpretation that was suggested by my poem until a reader pointed it out to me. Once those readers pointed out their interpretations, I *realized* how valid their interpretations were -- and how clearly they were expressed. I hadn't been able to see them because I was too close to the poem to view it with a critical eye. They were.
The same holds true with your poem.
>
Nor do you think so, since you obviously don't think the writer's interpretation (no loony bin, no break-in, no neglect, no strict isolation, no nightly whippings, no sexual abuse, no father-hatred or revenge fantasies) is "every bit as valid" as yours.
>
Not when the writer has stated that all of the above were either directly expressed in the poem or implied.
> Rather, you've been claiming that your interpretation is "the truth", and the fact that I interpret my own poem differently is evidence that I'm mentally ill. A reader who started talking like that, and kept it up for two months, would strike me as at least a crank or a kook.
>
The evidence that you're mentally ill is not in your interpretation of your poem. It is in your hostile behavior toward those of us who interpret your poem differently than you do.
> > You, however, have engaged in lengthy arguments crossing over several threads, in which you've referred to your readers as Nasty Goons and Monkeys. One or two lengthy explanations are understandable, as the author is often discovering the meanings as he writes... but your posts have been too many and too extreme. This tells us that you're obviously disturbed by implications others have noticed in your poem, and especially in their having applied it to your childhood experiences (on which it is, by your own testimony, "largely" based).
> Yes, I've engaged in "lengthy arguments crossing over several threads" -- all of which have been arguments with Michael Monkey and NastyGoon, and in which you two have actually outposted me. In this thread, eg, this is my eighth post in this thread, eg, while you two already have 16. So there's no reason for you to complain about thate; your posts have been just as "many and ... extreme."
>
I'm not going to tally out everyone's number of post, George. I think that a bit obsessive, don't you?
Your posts are long and detailed (indicating that you've given a lot of thought to the topic, and taken the time to address the points my colleague and I have raise), so I am giving you the courtesy of addressing your posts in return.
> While your idea that I'm disturbed by "implications" that only you two apparently can see, and not by your crazy talk about your so-called "implications" revealing hidden "truths" about me and my father indicates to me that if anything, I've been too polite with you both. You're both acting like cranks, if not outright kooks.
>
You're babbling, George.
No one has claimed that only they can see the implications expressed within your poem. We've said that you are too emotionally close to the topic (your abused childhood) to see them.
> > Unfortunately, your present state of denial will only condemn a continuation our argument to a series of endless repetitions.
>
> > I do, however, urge you to rewrite your poem in a more serious, less sing-song, style better suited to its disturbing subject matter. I suggest free verse, written in a direct, unadorned style. Try thinking of it as more of a dramatic monologue than a set of verses, and develop it from there.
> IOW, you're suggesting something like this:
>
> "Though the pants-up spankings
> belong in the past and your house
> still holds a son's anguish, I do understand
> punishment is meant to teach a lesson
> but perhaps your hand didn't do the job --
> you see I'm still a fuck-up."
>
> With all due respect, even if I wished to rewrite my poem after so many years, I really don't think that's the sort of thing to aim for.
That's a spoof of your poem, George.
The style, however, is better suited to the subject than the one that you have chosen.