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BOOK II Summer Serialization

The Parliament of Poets

The Parliament of Poets, BOOK II

BOOK II of The Parliament of Poets An Epic Poem, now available at Earthrise Press eBooks.

Summer serialization of all twelves “Books” or chapters of The Parliament of Poets: An Epic Poem, in the manner of Charles Dickens and other 19th Century writers, available once a week throughout the entire summer of 2012, through the end of August, on Sunday mornings, by 10:00 am EST.

BOOK II, THE ARGUMENT: “A young Lakota Indian brave dances a hoop dance upon the moon, for the assembled poets, seers, and medicine men. Black Elk and Chief Seattle set forth the sacred vision of Mother Earth. Black Elk guides the Persona back to Earth and the ancient cave of Lescaux. The ancient philosophers and the Golden Bough. The cathedral cavern. An Australian aborigine, Japara, “moon man,” carries the Persona to Everywhen and Kulama, ceremony of renewal. Catalogue of the ships.” https://books.fglaysher.com/The-Parliament-of-Poets-An-Epic-Poem-Book-II-Book-II.htm

Frederick Glaysher

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Book Cover, The Parliament of Poets

The Parliament of Poets: An Epic Poem

The Parliament of Poets: An Epic Poem

Book Cover, The Parliament of Poets: An Epic Poem.

Arguably, fiction evolved out of epic poetry. As a story, a tale, I’m bringing it back!

For years I’ve dreamed about the book cover for The Parliament of Poets, a concrete metaphor of the epic itself, and have finally put it together, with the Hubble Telescope Ultra Deep Field image of space, in the constellation Fornax, from 2003 to 2004, looking back at the light of the universe more than 13 billion years ago, and the photograph from Apollo 11 of Earthrise.

I first began to think in this direction when I saw the Hubble Deep Field images, taken in 1995 and 1998. I knew I was looking at images unlike anything ever achieved by the human being. They came together in my mind, resonating with my long interest in astronomy and the themes of my thought and poetry, science and scientism, imagination and reason, man and woman, all the antinomies.

I’ve finished now the seventh draft through Book IX and should be able to finish the entire seventh draft in about a week to ten days. I continue to think that I’m closer to being done with the entire book than I had realized, the writing of the first five drafts of the epic by hand having put me considerably ahead of the curve. This seventh draft has turned out to be a reading of the printed sixth draft, with particular attention to the readability of the text, to word and eye. I intend still to do one more draft going over my “Epic Notes” folder on my hard drive, but it’s more out of a sense of diligence, now, than of any intention to make major changes or revisions. What I had wanted to include from there in the poem was incorporated long ago. I’m starting to feel that I’m nearly done with the poem and must  be careful not to overwork it.

I’d very much like to serialize the individual “Books,” highly episodic chapters, somewhere, as in a magazine or journal, in the old days, when more publications were willing to do so, reminiscent, in my mind, of Charles Dickens and other Nineteenth Century writers, and then the full book in the early fall. The small literary magazines, quarterlies, and academic journals rarely publish anything beyond short lyric poems and single short stories. The New Yorker, The Atlantic, and Harper’s have mostly become symptoms of our cultural problems, like Time and Newsweek. None of them would publish something like an entire epic poem! …even in installments of chapters. One Book would probably fill much of a thin issue of a literary magazine like Poetry.

A summer serialization, twelve weeks, as it were, into the fall. A dream in itself… but how, and what would be its fulfillment in the Post-Gutenberg Age? What would it look like? Where?

As someone involved for so long in independent publishing and Post-Gutenberg developments, I resist the idea of publishing The Parliament of Poets in a conventional manner, for reasons I explain elsewhere. There must be a way to publish it so as to affirm the expanding freedom of the individual as a result of the decentralization of the Digital Revolution. And given the Web 2.0 world of social networking, it would be interesting to receive and learn from reader feed-back prior to book publication. I know my poem has already benefited from discussion with friends on Facebook and Google Plus, and it’s an exciting thought to wonder what else might be the result of serialization.

And yet after thirty years of study and reflection, four of incessant writing, I’m not about to give the book away, lose control of my own book, so I won’t be posting it here on my blog or anywhere else online.

I suppose I could publish each chapter separately on Amazon, Barnes & Noble, Kobo, Google ebookstore, and their affiliates, as well as Earthrise Press, though I don’t believe that alone would achieve what serialization in the Nineteenth Century accomplished for writers, publishers, and readers.

In Post-Gutenberg terms, a serialization that reflects our new world would have to go around the old intermediaries. Again, it must affirm the freedom of the individual now made possible globally, while protecting the individual right to intellectual property. It would, too, I believe, contribute to the exponential change that is sweeping the globe, by helping to demonstrate what is now possible, brought further to fruition, which has not yet really been made evident by a piece of literature of the highest order, but rather only the popular genres, such as detective, romance, and vampire fiction.

The clearest wake-up call to the old order will be when a serious literary work goes global and viral, without them. I believe I’m the poet, with the epic poem, that has that potential. Where is the Post-Gutenberg venue that has the vision and ability to make it happen? That is ready, and has evolved, to the point that it can? I have the history and background congruent with what’s required, and the poem. Do they have, not only the technical ability, but the humanistic, visionary prerequisites to recognize and promote it?

Frederick Glaysher

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Finished the 6th Draft of The Parliament of Poets

A Long Journey

A Long Journey

Yesterday, May 18, 2012, I finished the 6th Draft of The Parliament of Poets.

Having written by hand all five previous drafts, I typed the entire manuscript of my epic poem for the first time on the sixth, revising throughout along the way. I’ve actually been quite surprised to discover I think I’m much further along toward completion than I had expected. I believe it’s really a result of my having written each previous draft by hand, which kept the poem very fluid and malleable, in my mind as well as on paper. Each sweep through allowed me to remold and revise more than I tend to once I’ve actually typed a manuscript. With a handwritten manuscript, I think I tend to concentrate on the thought and language much more deeply and am drawn entirely into it. So I’m delighted at the feeling that I’m close to a final manuscript. There are only a few short scenes, of probably only several lines, in a few places, that I want to add. Mostly, from here, I want to continue polishing at the level of phrasing and the line, nothing on the macro scale.

Having begun writing in March of 2008, at a little over four years now, I feel, looking back, quite thankful to be at the point that I am. It’s been a hard struggle, though, every inch of the way, thirty years, truth be told, my earliest notes dated 1982, a long journey. To have the poem finally out of my head and on paper is an incredible feeling. Whether the epic ever makes its way to readers or not, I have accomplished much of what I set out for decades ago.

Almost all of the notes I made over the years are also now incorporated into this draft, which I’ve worked at on each successive pass through. During the writing I had eventually arranged all my notes into folders corresponding with each of the twelve books in order to be able to handle them, on a practical level, so as not to become lost in the enormous number of themes I was trying to grapple with and reconcile. I think the method I evolved into helped to accomplish all that, and there are now very few details I want to add, everything now largely incorporated into the sixth draft. The last cache of notes and material I must go over before I’m done, during the 7th draft, is largely the epic notes I’ve complied for years on my computer, roughly arranged again by the twelve books. Most of it is less germane to the structural and thematic levels of the poem but essential in my mind as background material and thinking, so I feel I must pass through it again to make sure I’m not leaving anything out that has helped to form the poem through the years. Since each draft has required less and less time to write, I don’t anticipate the 7th to take months, but, I hope, perhaps only some weeks.

At 264 pages, formatted for a 6 x 9 book, I’ll probably add several to about ten more pages. I have half of the headnotes for each book mostly done from writing them for this blog, although quite sketchy. They will need considerable revision at this stage, but give me something to begin with. The other half will have to be written from scratch. I intend to add a short introduction of two to three pages, basically discussing my versification and rational for the form of blank verse I’ve used. My thoughts and practice of blank verse go back to my book-length narrative poem The Bower of Nil and the dramatic monologues of Into the Ruins. It is quite important to me that I have always thought in terms of reviving the epic form and creating on the technical level, as well as thematic, the means for renewal. Aristotle’s reflections on epic have been the essential influence on my own, though I would not want to leave out Longinus, Sidney, Milton, Matthew Arnold, E. M. W. Tillyard, and other poets and scholars.

I’ve thought long and hard about length. I don’t believe a modern epic can be as long as Vergil or Dante’s 12,000 to 19,000 lines. Even Milton at 10,565 lines is too long, in some books, for most readers, especially people without a literary background, of varying English command, which would be a very hard ordeal and take the enjoyment out of it, and there are such people who read Milton. I want to reach all of them, too, so I’ve intentionally carved down the form to about 8,600 at the moment. I have much that I want to say to international readers as well as in the West. I’ll add another hundred or so lines, still 9,000 or less total. I believe form and symmetry are more important than length. Aristotle’s old saw about the poet choosing the right details and so on have always remained in my head. Focus and selection, to help the reader pick up the epic and read the whole thing is more important than length.

I think, too, since the epic covers the major regional civilizations, religions, and literatures around the globe, the book needs a glossary of some terms, even though I’ve tried to use those that are already fairly well known and universal. Inevitably, for some readers, especially given the extent to which academic specialization and nationalistic insularity narrow perspective, a glossary would help other readers. One of my concerns in writing a universal epic has always been the difficulty in reaching and helping a reader understand the scope of the poem itself. I believe I have found and used many strategies to accomplish that while circumventing the poem becoming a research project, instead of keeping the narrative flow engaging the reader.

My goal at the moment is to aim for the epic to be completed by July 1, 2012, with a publication date of November 1. I believe I can adhere to this schedule and hope to have review copies available for select readers by very early July so that they might have two or three months to read and consider it, reviewing it if they feel so inclined.

For nearly half of Book III, watch my two poetry readings on YouTube. First, to view in sequence, watch the one at the Albany Word Fest, then the one at the Buffalo Small Press Book Fair:

“I found myself sitting in my study, dozing
over a book, Cervantes’ Don Quixote…”

https://www.youtube.com/playlist?list=PL21F9D6C4DA6FE818

Frederick Glaysher

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Sixth Draft, The Parliament of Poets

Earthrise Bubble

Earthrise Bubble

I finished the fifth draft of The Parliament of Poets at the end of March, so it’s on to the sixth… I think I now have to type it up because on the last pass through I discovered I had written the same several-line incident twice, in different books! I suppose, running around in my head, I wanted to be sure I worked it into the poem. Anyway, I’ve decided writing seven drafts by hand is no longer the way to go. I have probably over 98% of the poem on paper and need to be able to search the text to avoid repetitions and polish foreshadowing, things like that. Why not take advantage of technology Tolstoy didn’t have?

Also, I found reading from Book III in Buffalo, and preparing for it, that I revised passages and lines more in terms of oral and colloquial impact, though I had usually or often read the poem out loud to myself when writing the previous drafts. I think now that this is what I must do for the sixth draft. Read it as much as possible to a live audience and think and hear it, reflected back to me, really, in that way. I’ve always remembered hearing that Dickens would often try out different versions on audiences during his readings, revising accordingly. Something like that…

I’ve been astonished that I felt like the figure on the Rhapsode Amphora, lifted to that realm of transcendent song. I can not imagine ever having too much of that experience.

I’ll be reading from The Parliament of Poets at Austin International Poetry Festival in September, but two to four times a month between now and then would really help. If you know of any place willing to listen, let me know… use Contact under About.

Frederick Glaysher

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