Saturday, July 14, 2007 21 Comments

The Pigeon

God is the whick-whick-whack-whack-whock
of gray wings cut so short his elbows knock
like a high-test motor on low-test gas -
can they really lift his plump, silky ass?
He's the converse of the case from design,
the fake Rolex, the Mississippi line,
and if the thing has the shape of the hand
I almost feel like I've worked with the man,
a good guy, if you didn't let him near
your code. Who's really born an engineer?
Your pinky'd ought to have a Philips head,
and balance argues for the quadruped;
and yet he flies, this pig, a miracle,
a joke, a love note to the cynical.


Blogger Conrad H. Roth said...

Move over Lucian. Not too fond of the 'silky ass' though.

July 14, 2007 at 3:05 PM  
Anonymous PA said...

A fine poem, which does something only good poetry can: simultaneously articulates what I've always felt when seeing a pigeon, and paradoxicaly makes me look at one in a whole new way.

I agree that "silky ass" is distracting and makes the poem vulnerable to mockery.

July 15, 2007 at 7:00 AM  
Blogger Mencius Moldbug said...

And how many of you gentlemen have ever enquired into the asses of the Columbidae? I swear on the bones of Confucius - the pigeon has an ass, and lo, it is silky.

However, all my verse is open-source, and dissatisfied readers can patch in any other adjective with the same general sound, such as "gritty" or "chewy" - either of which would certainly make the line more interesting.

July 15, 2007 at 6:59 PM  
Blogger Mencius Moldbug said...

BTW, all animal poems fail in comparison to Marianne Moore. This one remaining rebel is the sparrow-camel...

July 15, 2007 at 7:02 PM  
Anonymous J .Goard said...

Hey, man, I love your blog, but your iambic pentameter is terrible. Lines 3, 4, 5, 7, and 8 completely crash. Nice line in "balance argues for the quadruped", though.

July 16, 2007 at 3:14 AM  
Anonymous Anonymous said...

Well, I would say that, however silky it may be, it isn't the pigeon's ass, but his breast, that is "plump", so it's that part of his anatomy to which this line should be directed, if you're wondering about how his wings can lift him. Other than that, which is distracting, I really like this poem.

alias clio

July 16, 2007 at 9:13 AM  
Blogger Mencius Moldbug said...

j. goard,

Thanks! Actually the verse is not meant to scan at all, at least not in anything like metric feet.

(But there was an extra "whick" in the first line, which I have taken the liberty of correcting. Somehow I managed to remember this and read it to myself as "whick-whick-whack-whack-whock", when the original text actually had three whicks. Early senility will certainly be my fate.)

Anyway, my view, which admittedly puts me in a minority but is certainly not my invention, is that the natural line in English, at least modern conversational English "as she is spoke," is a four-stressed line with arbitrary count and placement of unstressed syllables.

One way to hear this natural line is to read verse, rather than in the sonorous diction of Garrick and Kean, at a normal conversational speed with normal conversational enunciation. Or even exaggerate the speed, like a car salesman, to counteract the usual recital voice.

If you try this exercise with the above, I think you will hear the four-stress line. At least I hear it. It is certainly true that if you recite this poem in the usual manner in which one hears poetry recited, it sounds like terrible pentameter.

The idea that actors should speak in conversational English dates, of course, to the 20th century. For some reason it has gained much less acceptance in poetry, which is always essentially a monologue.

Even when you read silently, your brain is sounding out the words - if you take a functional MRI of a subject reading silently, the area of motor cortex that controls the voicebox is active.

And there is certainly nothing wrong with reading - silently or otherwise - in a Garrick and Kean metered voice. Or, for that matter, in a hushed, pompous NPR free-verse voice. Many very fine 20th-century poets wrote in each of these voices.

However, I am very confident that if you read it in either of these voices, my verse sounds like absolute crap, because it is not written to be sounded in this way. Read it as if you were making a telemarketing call, and it should sound fine (and if it doesn't, I hope someone will tell me).

For example, there is an extra "whick" in the first line of the poem as I posted it. It should be

July 16, 2007 at 10:21 AM  
Blogger Mencius Moldbug said...


But the breast is the flight muscle. It is lifter, not liftee. Also, the pigeon's ass should not be confused with its tail - the latter is under the former.

I am not sure if it is the ass that is causing the objection, or its silkiness. If the latter, perhaps a minor variation could be introduced, and we could say "plump and filthy ass." The pigeon's ass is debatably unsilky, perhaps - not that I agree with the argument, but I feel obliged to respect it. But any man who claims it to be clean has - if I may speak frankly - no knowledge of pigeons.

July 16, 2007 at 10:30 AM  
Blogger Mencius Moldbug said...

Of course I mean the tail is under the ass. I am not one of these posers, these chattering pseudo-birders, who know nothing of the noble pigeon! I see the pigeon on a daily basis, he has no secrets from me. I know him dorsal and ventral, upside down and inside out, I swear he has an ass and by Christ's tits it is silky.

July 16, 2007 at 10:37 AM  
Blogger Alias Clio said...

MM, I see what you mean. But really, it's the plump breast, which is what helps it fly, that makes it look so unable to do so. Paradox, you know.

July 16, 2007 at 11:00 AM  
Anonymous J. Goard said...

Anyway, my view... is that the natural line in English, at least modern conversational English "as she is spoke," is a four-stressed line with arbitrary count and placement of unstressed syllables.

Yes, the form of "The Road Not Taken", a truly great poem. I guess I shouldn't have knocked you so quickly... although there are other parts (particularly 9-12) that scan pretty well as I5, so that the intended pattern is suggested. You know, those lines actually remind me of "John Shade's" style and subject matter in Nabokov's "Pale Fire".

Anyway, having a degree in linguistics and currently studying a syllable-timed language, I support your view on at least one level: English in most natural contexts is definitely stress-timed.

The catch is, I don't feel that meter ought to feel like natural language, any more than, say, creative imagery is like ho-hum daily metaphor. (Put another way, when other aspects of a poem are "natural", we tend to use the epithet "cliched".) Rather, I relish the artificiality of the pattern, and the fluctuating tension it has with the natural prosody of the language. It kills me to hear certain formal poets (Frost!) read their work as entirely natural language, as if the feet, lines, and rhymes existed only to satisfy some arbitrary stricture, but were ultimately irrelevant to how the thing is realized in the auditory cortex.

I suppose this relates to my view that formal poetry after Yeats, Auden, Millay and Frost made a pretty natural migration to a certain segment of "popular music". And that, today, its best representative is nobody in the literary journals, but rather Aimee Mann, who employs complex stanza structures, great alliteration, and evocative ambiguity, and meshes it perfectly with melodic rhythm. Fitting words to melodies, of course, screws with their natural prosody big time. When words and melody are close enough to create tension but not breakage, it's a big part of the appeal for me.

July 16, 2007 at 8:21 PM  
Blogger Mencius Moldbug said...

j. goard,

Thanks again for your comments!

Of course I can't disagree with your perspective at all. The simple fact of the matter is that there is no one true and natural way to read verse - it is all an acquired taste.

BTW, I fluoroscoped my bookcase to see who I am parroting with this four-stress theory - the best expression I can find is definitely in Bunting. I strongly recommend this volume, and of course Bunting's own verse.

There is a very clear example of these divergent readings in the line you liked, "and balance argues for the quadruped."

You can scan this line as orthodox pentameter, with stresses "bal", "ar", "for", "qua", and "ped". But when you say it in a fast conversational tone, you notice that "for" is not stressed at all. It is not even a light stress - it takes no more stress than "gues" or "the". In fact, when I say it I tend to convert "for" into f-schwa or even f-glottal stop, "f'the".

Now it's definitely true that the tension between this reading and the pentameter reading is interesting, because the pentameter reading comes so naturally to mind for anyone who reads poetry - and if you don't read poetry, what are you doing reading poetry? And this expectation is reinforced by the presence of a rhyme scheme, because truly nasty effects can only be achieved by ill-rhythmed rhyme.

Still, the only way out of the ghetto is the door marked "exit." (It's definitely not the door marked "slam.")

July 17, 2007 at 11:12 AM  
Blogger Mencius Moldbug said...

Oh, and I agree - Aimee Mann rocks. Songwriting is not the same thing as poetry, but this does not make either form essentially inferior to the other.

I should also note that, for anyone still following the great "ass" debate, this humble gray beast is doing Empsonian duty in its own small way, as you can easily see if you replace "plump, silky" with the mere Saxon monosyllable "fat" - the ass, thus, both part and whole.

No reference to Buridan's ass is intended, however, although I'm sure it could be glossed as such. Dan, as everyone called him, always liked it back there. We used to do some amyls and watch Long Day's Journey into Dwight...

July 17, 2007 at 11:22 AM  
Anonymous tggp said...

Poetry just doesn't do it for me, unless it's funny. I don't really pay much attention to the lyrics in music either, and in fact I think it would be for the better if it was all instrumental (though that is partly because the singing is frequently awful and obtrusive, which doesn't have any analogue with poetry). There have been several times when I've looked up lyrics I couldn't make out to songs I've liked, only to come away with a lower opinion of the creators. This is perhaps an indication that I should seek out more music in languages other than english, and then never bother to look up translations for those songs.

Speaking on a somewhat related topic, a few days ago I read Kahlil Gibran's "The Prophet" (the reason was that years before I had come across a quote from him in the game "Deus Ex", which I was dissapointed to find was not actually in this particular work), on whose opening flap appears a quote from the Chicago Tribune: "...If there is a man or woman who can read this book without a quiet acceptance of a great man's philosophy and a singing in the heart as of music born within, that man or woman is indeed dead to life and truth". I am dead to life and truth. Oddly enough, I've enjoyed the work of Lord Dunsany, who was similarly inspired by the style of the King James Bible although he was an atheist.

July 17, 2007 at 5:02 PM  
Blogger Mencius Moldbug said...


If you don't respond to lyrics, you don't respond to lyrics. It's just neurology. If anything it probably makes you a superior human being.

Song lyrics are almost never readable as poetry, because they depend on musical accompaniment. Poetry without the line breaks is unreadable (ie, it reads as stupid) for exactly the same reason. The sound is crucial.

Lord Dunsany, however, was a great writer, whereas Kahlil Gibran was a New Age hack. I find this an entirely sufficient explanation of your experience!

July 17, 2007 at 5:33 PM  
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