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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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The Decentralization of the Post-Gutenberg Age

ebooks, eReading

ebooks, eReading

The Decentralization of the Post-Gutenberg Age

‘E-books make the Gutenberg system, which still characterizes the industry after 500 years, absolutely obsolete,’ insists Jacob Epstein, the veteran publisher who invented trade paperbacks and founded the New York Review of Books.” “E-publishing radically decentralizes the marketplace,” Jacob Epstein.

The decentralizing of  post-Gutenberg publishing is something that I can speak about with intimate knowledge and ties in with my book of poems Into the Ruins and other books. In the mid nineties I became disgusted with the conventional avenues of cultural and literary publishing, both books, journals, and magazines. I had more than a decade of rejection slips from ignoramuses who demonstrated not the slightest understanding or familiarity with the manuscripts I sent them, along with a number from highly respected editors at major publishers, one, for instance, telling me he thought my book The Grove of the Eumenides should receive a hearing but did nothing to make it happen. I came to think very little of nepotism, especially in publishing. Other editors, publishing their post-modern drivel, enjoyed indulging themselves at my expense, they apparently thought. I quite consciously walked away from the whole conventional publishing scene, and the university in 1996, and began seeking ways to go around the stranglehold of both, directly to the reader.

I first thought the way to go around the decadent post-modern establishment and open a new path for literature, seeking to revive and renew its deepest humanistic traditions, was the time-honored route of typical self-publishing and brought out Into the Ruins through the printer McNaughton Gunn in 1999 under my own independent publishing company, Earthrise Press. While I sold some books through Borders and Barnes & Noble, through Baker & Taylor, I found them all to be opposed to an independent voice. A selection from the approximately twenty Reviews from that time are on my website. Despite a few insightful reviews, no one really understood what I was fully attempting with Into the Ruins. Thus far, the same has proven to be the case with The Bower of Nil in 2002 and The Grove of the Eumenides in 2007.

Along the way, I evolved into using POD (Print on Demand) technology through Lightning Source and thought the way around the stultifying post-modern status quo would lie in that direction, which nevertheless opened up the way to the global reach of the Internet booksellers to an amazing degree, shocking me that I could sell books around the world. Very early I recognized the value of Jason Epstein’s Espresso Book Machine, though it’s yet to fulfill its potential.

Along in there, too, ebooks increasingly became a possibility, and I published all of my books into ebooks, available worldwide and going around all of the conventional gatekeepers. The record of much of the evolution of my thinking is in my Publishing in the Post-Gutenberg Age
https://www.fglaysher.com/Post_Gutenberg_Publishing.html

Like everyone else, I’ve evolved along the way with a website since 1998 and a blog, eventually Web 2.0 social networking… Facebook, Google+ and Twitter.

Through all that, I continued to study and work towards my epic poem, the earliest notes for which are from 1982, recently finishing the fifth draft in March of 2012. It’s not only the methods of publishing that I’m talking about, but how the identification and promotion of disparate views and visions of life, in literary terms and otherwise, evolve and reach the broader culture. I have not devoted over thirty years of my life writing an epic poem to allow a corrupt, conventional corporate publisher ever to touch it. Everything I’ve written is about the freedom of the individual soul, and the poem must be published in such a way as to affirm it.

Frederick Glaysher

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Poetry Reading, Albany Word Fest

My reading from the fifth draft of my epic poem The Parliament of Poets at the Albany Word Fest, Saturday, April 21, 2012, in Albany, New York, at the Albany Public Library. Copyright (c) 2012 Frederick Glaysher. From Book III, still on earth, in the midst of things… the birds and hoopoe, and so forth.

Frederick Glaysher, Albany Word Fest, April 21, 2012

https://youtu.be/CJ_xbSXbN7k

Frederick Glaysher

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