The Composition of Contemporary Prose Poetry
The poem, “Locally Sourced” by Gerri Leen emulates the structure of contemporary poetry because it is entwined with the literary techniques of theme, imagism, and allegory. In the literary world, the twentieth century was the formal inception of the Contemporary Revolution. Poets, or rather called “paragraphers” slowly infiltrated the industry and participated in this new era of writing. The twenty-first century, however, further cultivated the presence of these paragraphers. As a result, contemporary poetry became much more prominent and writers like Gerri Leen were able to freely compose prose verses that abandoned the traditional structure of poems without aggravated retaliation from disapproving critics.
Works that paragon contemporary literature often facilitate poetic innovation and vorticist compositions, inciting new genres and forms expanding poetic expression. This is most prevalent in such works when the basis of their theme vitally relies on imagism, or “phanopoeia”, and allegory. Relating this to the overall structure of “Locally Sourced” is quite homogenic, for the composition is supported by these techniques of conveying and visualizing emotion. Additionally, the peer-reviewed article “Making Modern Poetry: Format, Genre, and the Invention of Imagism(e)” by author Batholomew Brinkman, introduces the origin of imagism in contemporary poetry as well as the general format and genre; structural composition, of contemporary-based works. Brita Melts, the Estonian author of “Peripheries of (be)longing in contemporary Estonian literature” harmonizes the concepts of contemporary Estonian poets by fusing together the tonal similarities between landscape-centric pieces and autobiographical material with other cross-cultures of global literature. Most importantly, these two articles provide an introspective micro-decoding of Leen’s work, further delving into a message woven within her words. Parallel symbolsism can also affect contemporary prose because it can cleverly conceal the hidden intention and meaning underneath the work. Succinctly, the literary techniques of imagism and format, genre and diverse contemporary aspects, as well as figurative allegory and poetic decryption, will contribute to the explanation and intellectual understanding of Leen’s poem, “Locally Sourced”.
Primarily, in “Locally Sourced”, the contemporary-based composition of imagism and format are analyzed. Leen, the author, creates a complex piece that is difficult to decipher. The poem is compiled of words and phrases that tumble over each other, creating chaos; perhaps thoughtfully placed there to do so. And further, is the epitome of prose and poetic beauty because of the elegant and creative detail Leen includes. We can infer in the first line, “A painter has to paint so I had to get creative” (3), where the author is clearly referencing art, which the poem is laced around. Leen mentions that she has run out of art supplies, and as a result, must “source locally” (1–2). Though after reading the poem quite a few times, it was possible to comprehend that the emphatic mention of sourcing locally was quite serious. Rather, it was something deeper and much more meaningful than first conceived. The change impacted her art. Understandably, her art was her everything, her outlet, her escape. For reasons not disclosed, the reader will find great difficulty understanding the contents of her blurry past. The format of the story slowly adopts a hypothetical structure similar to the cycle of a sunrise to sunset. Events rise and fall at certain instances and fade in out slowly like light or receding waves along the shores of a chaotic beach. The poem presents itself as a piece mainly conveying the structure of a reflection, rather than an account detailed about the present or future. The setting of the story, as analyzed, occurs in the past, while the narrators all-knowing consciousness expresses prior knowledge to the events that transpired and their definite outcomes. Fascinatingly, though the current thoughts of and feelings of the narrator are evident to the reader, they are not as vividly detailed as the reader might expect. Indefinitely, she expresses regret and a type of bitter melancholy, but only in the climax of the moment. Relating to the article by Brita Melts, the Estonian author of “Peripheries of (be)longing in contemporary Estonian literature”, Melt’s concepts synergistically correlate with the autobiographical aspects of Leen’s work, perhaps implying that she herself has experienced a pain like this; the pain of losing a loved one. Furthermore, Melt mentions “self-presentation and works that center on the individual” (Melt, 1) in context of contemporary poetry composition. Leen’s poem is a perfect example of self-presentation, for her words denote a relationship to herself, hence bridging a contemporary work reflecting parts of her personal life. In parallel to “Locally Sourced”, Melt offers, “the author sculpts them (poetic composition) into a virtue of the site, binding to these elements an attractive and mysterious genius loci that poeticizes the manifestations of ruin” (Melt, 2), emulating the source of inspiration Leen procured: tragedy. She manifested from ruin, sadness, loss, and grief, and as a result, composed a thoughtful piece wreathed in lamentable regret. Leen intricately composes a symphonic prose piece, or vers libre, with an amalgamation of foreshadowing the past, while narrating from the present moment, in the perspective of an omniscient future. The complexity of the work has no ends, despite being rather short in word length, it functions like a clever riddle entwined in a maze of intricate knots. Equivalently, the article “Making Modern Poetry: Format, Genre, and the Invention of Imagism(e)” by author Batholomew Brinkman, contributes to the structural form of Leen’s prose poem and evocative imagism by accentuating polyphonic prose (Brinkman, 11) and exterior influence. Brinkman explicates the definition of prose, “Prose pieces (including fictional stories), which often reinforced one another in terms of topic or theme,” and analyzes its influences as, “productively grappling with the world while poems were meant to be taken as many of the illustrations and photographs” (Brinkman, 6). Homogeneously, Brinkman continues to elaborate on the subject further, expressing the significance of imagism, in context from the previously mentioned theme, “seen as self-contained texts, meant more as respite from the other writing on the page (and the real-world contexts it referred to), than as something to be integrated into it” (Brinkman, 6). Inclusively, another great line supporting imagism, is, “Imagism(e) was the first significant modern poetic movement and Poetry laid claim to its biggest proponents” (Brinkman, 14). Unmitigatedly, Leen’s contemporary prose poem possesses the presence of vivid imagism and sentimental-based format, supported by the explanations and intellectual interpretations from the two articles: “Peripheries of (be)longing in contemporary Estonian literature” written by Melt and “Making Modern Poetry: Format, Genre, and the Invention of Imagism(e)” by Brinkman. Evidently, Leen utilized detailed description to paint the reader a visual of what she was feeling. The literary explanation concedes that intention inspires innovation.
Analogously, genre and diverse contemporary aspects of “Locally Sourced” are evaluated and deciphered according to two peer reviewed sources. The subjects of imagism and format have been reviewed and resolved to be an accumulation of influence from personal experience and sentimentality. In accordance to the article, “Making Modern Poetry: Format, Genre, and the Invention of Imagism(e)” by author Batholomew Brinkman, genre in contemporary literature is identified by the abstract and syntactical construction of the work. Furtherly, poetic cultivation of modern prose from the Contemporary Revolution has enabled intellectualist topics to arise and reform the literary world, expanding the genre of poetic Modernism. Leen quite obviously abandons typical poetic forms and traditional verse. Which, quite candidly, is refreshing and unique, unconventional rather. The reader, if open minded, is aware that there is an esoteric beauty in unconventionality. Brinkman’s article supports this concept here, “Poetry as genre can throw off the shackles of restrictive verse-form, allowing for other kinds of writing to be considered poetry — writing that may not comfortably fit a sonnet or common meter.” (Brinkman, 13–14). Refocusing on the contents of the poem, when the narrator explains that the art materials must be sourced locally and that she will be using watercolors, she begins to create her art piece. It should be acknowledged that her art was her expression. Therefore, to alter the materials used to express herself, though seemingly unimportant to an apathetic mentality, perhaps planted a seed of regret within her conscience. It is possible that she herself might have felt a sorrow and responsibility for the result of her pain, supported by, “Nobody looked twice at my painting. Nobody thought to question why I’d changed techniques” (28–30). It was almost painful, reading about how she had to change her materials from oils to watercolors, which she seemingly does not approve of. She painted with intention. A divine freedom certain artists can understand. According to these lines, “When I hung the first painting” (26), it is plausible that she felt constricted by guilt. It is brilliant to diffuse a beautifully crafted literary work, unraveling every word like a yarn until it lay in one long, straight line, clearly vulnerable to the reader’s interpretation. To think there is a certain genius present among the craft of words and integration of meaning is truly powerful and impressive. In continuance of this evaluation, the article, “Peripheries of (be)longing in contemporary Estonian literature”, by Brita Melts, expands on the idea of periphery {amplified point of view}, “just as sharply in the realistic sections are the region’s geography, structures, everyday life, documented events, personal thoughts,” (Melt,1). The descriptions, quite similar to imagery, strengthen the genre and enable it to develop a more prominent sense of identity and individuality. Building off this abstraction, Brinkman illuminates the true essence of poetic genre: “Poetry as a genre can become a collection of like objects, similar to books or paintings, because its constitutive poems, no matter what their form, style or subject matter, held in common this basic element of the poetic.” (13–14). Modern works and reformed critique facilitate a new generation of literature that is more free and more enlightened compared to strict works of the past.
Furthermore, the enciphered message of the poem is embodied by figurative allegory and poetic tangents. Leen’s narrator is analyzed to possess a potential acataleptic motivation resulting from a tragic occurrence in her life. Conceivably, when she was painting this work, she did so with a certain intention that inherently enforced her to be responsible for the influence and or effect of her art. The effects of foreshadowing are observed when she writes, “But surely a little paint wouldn’t hurt anyone?” (9–10). She is gazing into the past, taunting herself with the guilt-driven thoughts of, “Perhaps, it would have been all right” (21) implying that an event has transpired, and that she is reflecting on its occurrence. Through the use of figurative allegory, one is able to clearly and concisely understand the intention of some of the sentences. Regret, mentioned often, is a valiant retaliation of her actions or self-inclined rebellion. She predominantly questions herself before she begins painting with these foreign materials. Her hesitant thoughts inflict a certain brewing guilt; the birth of a storm that will soon reap destruction. The stygian suspense is quenched when the purpose of her painting is revealed. She paints for the man she loves, to make him happy. However, most tragically, he becomes sick and quickly dies. Consequently abandoning her to feel hopeless and depressed. In part, she feels responsible for his death. This is supported by the short verse, “I meant to make him happy… I don’t paint anymore” (26–36). Figuratively, her overall message varies. Some parts can be quite direct, as interpreted from the mentioned quotes above, or can be quite vague. It is interesting to acknowledge that though she expresses sincere love for him, when he died, she claims to have done nothing, “He died, slowly and horribly and I never said a word. I just took the painting from his quarters and destroyed it once I got outside. I don’t paint anymore. Okay? I don’t paint anymore” (31–37). That is interesting. If you love someone to the extent of which she expressed, how could you do absolutely and passively nothing when they are dying and suffering? Was she paralyzed by fear? Or did she intend to kill him? A crime of passion consumed with instant regret. She says, “I’m sorry and I miss him, and I miss, Art too and someday, if a ship ever, comes back, I’m going to go home and the, first thing I’ll paint will be his portrait, made with oils, not water” (37–42). Her heart rebels against her mind and her mind disagrees with reality. This painting was her orphic nepenthe, sincerely inspired by varying existential experiences. As a result of his death, she abandons her will and passion for art, she quits painting. It is also mentionable, like the Portrait of Dorian Grey, she destroys the painting. In Melt’s article, “Peripheries of (be)longing in contemporary Estonian literature”, an additional concept is slightly introduced to explain the generic connection between an author’s reflected emotions in their work. The lines, “the depiction of mindscapes set somewhere in the periphery has become a distinct trend in contemporary literature” (Melt, 1) supports the previous concept. In contrast, however, the perception or connection between the author and their emotions are not expressed, rather, the figurative meaning is emphasized. The article, “Making Modern Poetry: Format, Genre, and the Invention of Imagism(e)” by Brinkman also contributes to the use of direct interpretation, or figurative allegory, here, “We take the line itself as a unit of meaning but then confront the colon and recognize that another line will follow it in some relation” (Brinkman, 15). Additionally, Brinkman includes this commentary as well, “syntactical construction of the poem, isolating these words, phrases and marks of punctuation” (Brinkman, 17). Comprehensibly, form, imagism, ad structure, largely contribute to the allegorical figurativeness of a work. The most important line from the poem is when Leen writes, “what color is regret?” (42), a question risen from great cleverness. Her final statements will keep the reader pondering the figurative collectivity of her poem as well as the profound last line. Words have such meaning, such truth, such impact, such beauty; a work as expressive and creative as Leen’s is not rare nor quite common, but it is unique.
Conclusively, the art of contemporary prose poetry features the diverse characterization of imagism, form, genre, and figurative allegory embodied by the supporting articles and poem. An author utilizes imagism to assist the words in painting a vivid picture of the meaning and setting of the work. The genre present within general contemporary poetry varies. However, in Leen’s poem, “Locally Sourced”, the genre is prose and is based around personal affliction and emotion. Lastly, allegory is most striking in a work when all elements can combine and align, defining the message. The contemporary prose poem “Locally Sourced” ultimately consisted of a woman who had loved to paint until she was forced to buy her art materials locally. Furthermore, in hopes to make a loved one happy with one of her art pieces, they fall ill upon receiving it and die. This consumes her with the burden of guilt and regret. She blames herself for his death. The poem does not rhyme. It is simply a broken paragraph of unfinished sentence and thoughts left scattered. But in each broken path lies significant meaning and value. Bold creation bore the birth of bold manifestation and bold unconventionality. Contemporary, or modern poetry and general literature, breaks barriers in the literary world. Lastly, personal experience, past, pain, affliction, conflict, regret, all synergize into a literary mixture that metamorphosizes into sophisticated cocktail of words with profound meaning and philosophy.
Works Cited
Brinkman, Bartholomew. “Making Modern ‘Poetry’: Format, Genre and the Invention of Imagism(e).” Journal of Modern Literature, vol. 32, no. 2, Jan. 2009, pp. 1–23.
Leen Issue: 8 March 2021, Gerri. “Locally Sourced.” Strange Horizons, 9 Mar. 2021, strangehorizons.com/poetry/locally-sourced/.
Melts, Brita. “Peripheries of (Be)Longing in Contemporary Estonian Literature.” Estonian Literary Magazine, Sept. 2016, pp. 1–7.
