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You Should Read This: Poetry As Insurgent Art by Lawrence Ferlinghetti

Abstract image resembling a shadow over dots
You must decide if bird cries are cries of ecstasy or cries of despair, by which you will know if you are a tragic or a lyric poet. -Lawrence Ferlinghetti
One of the distinctions that I sometimes hear people making is “regular” Sf and “literary” SF, usually with some baggage about the literary SF being art. I say, if you’re making something you don’t really interact with for food, shelter, or clothing (and even then, in some cases), you are probably making art.

Word-wrangling is art, no matter whether it is used for the lowest purposes or the most exalted, and the artist who relaxes and enjoys it learns to use artful techniques for the entertainment or edification of her/his readers. And they may, in that process, create something lasting.

At the same time, a dose of art in whatever form — visual, music, verbal — can shake things loose in our heads to the point where better and more interesting words fall out. This is why you should read books like Poetry as Insurgent Art.

Here’s Ferlinghetti himself on the notion of rejecting poetry, aka all that artsy stuff.

Don’t let them tell you poetry is bullshit.

Don’t let them tell you poetry is for the birds.

Have a good laugh at those who tell you poets are misfits or potential terrorists and a danger to the state.

Don’t let them tell you poetry is a neurosis that some people never outgrow.

Laugh at those who tell you poetry is all written by the Holy Ghost and you’re just a ghost-writer.

Don’t ever believe poetry is irrelevant in dark times.

If you’ve ever been inside Ciy Lights Bookstore in San Francisco, you’ve walked the same floorboards as Ferlinghetti, who co-founded the store with Peter Martin in 1953. He and Shig Murao, the manager, were arrested in 1956 on obscenity charges for selling copies of Allan Ginsberg’s Howl.

Why should you read this? I tell you what. I’ll let Ferlinghetti speak for himself by quoting the beginning of Poetry as Insurgent Art.

I am signaling you through the flames.

The North Pole is not where it used to be.

Manifest Destiny is no longer manifest.

Civilization self-destructs.

Nemesis is knocking at the door.

What are poets for, in such an age? What is the use of poetry?

The state of the world calls out for poetry to save it. (A voice in the wilderness!)

If you would be a poet, create works capable of answering the challenge of apocalyptic times, even if this means sounding apocalyptic.

You are Whitman, you are Poe, you are Mark Twain, you are Emily Dickinson and Edna St. Vincent Millay, you are Neruda and Mayakovsky and Pasolini, you are an American or a non-American, you can conquer the conquerers with words.

If you would be a poet, write living newspapers. Be a reporter from outer space, filing dispatches to some supreme managing editor who believes in full disclosure and has a low tolerance for bullshit.

Ferlinghetti should be read as a subversive act:

The idea of poetry as an arm of class war disturbs the sleep of those who do not wish to be disturbed in the pursuit of happiness.

The poet by definition is the bearer of Eros and love and freedom and thus the natural-born non-violent enemy of any police state.

Read this for the sake of poetry, “the last lighthouse in rising seas.”

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The next morning, Teo did not like the priest’s look. His hands were clammy but his face was red as though with blushes. His forehead under Teo’s hand was scorching hot. After a few minutes of hesitation, Teo examined the spot he thought might be a Fairy bite.

His suspicions were confirmed by the lump that lay under the surface. He’d seen the alta treat such injuries. That would be best if she did it, but he didn’t think there was time enough for that. The parasite would grow and begin to control its host’s nervous system, making it little more than an empty shell, moving about to suit the creature’s needs, until the fairy was finally born. It would not emerge from the wound that shifted under Teo’s fingers. No, it would burrow deep, then upward, till it found itself in its host’s brain, which it would devour until sated. Once it was ready, it would eat its way out through his eyes or the soft tissues of his mouth. No, it would have to be removed now, before it burrowed any deeper.

He built the fire as high as it would go, and put the wineskin from the priest’s pack to the side near it, where it could warm without burning. He took the tiny kettle and filled it with water before sifting in the mixture of dried fish and tea that was the last of the priest’s chal; this far on the journey, he’d nearly run out, and he’d confided in Teo that he was saving it for some special occasion, but it was the most sustaining and easily fed to a patient thing that Teo could find in the pack. For what he had in mind would definitely require sustaining.

He had not seen it done, but he had listened to stories. Everyone was taught the signs of a fairy bite early on, and what to do if caught away from the village with one.

He prayed the priest would stay asleep during the operation. That would make things easier. But as his knife poised above the mark, Grave’s eyes opened.

“I have to do this,” Teo said to him, afraid that the priest would take this as some attempt to escape. “You have a Fairy egg in you, and I need to take it out before it hatches and starts eating inward.”

Grave’s lids fluttered, but he said nothing. His forehead was red with fever, and Teo wondered if the man even saw him. How would he react when he felt the cut of the knife? Would he thrash around, or think himself attacked and attack Teo in turn? He hesitated, not sure what he should do.

The words were barely audible, like a breath of breeze escaping the priest’s dry lips. “Give me something to bite on, first,” he whispered. “I do not wish to crack a tooth as well.”

Teo took a piece of leather and rolled it into a tight cigar, putting it sideways between the priest’s lips. “This will hurt,” he warned, and felt the words’ foolishness as soon as they left his mouth. Of course the priest knew that this would hurt, otherwise he would not have asked for something to bite down on during the operation. Teo took his own deep breath, steeling himself, and cut.

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He jammed the tip into it. Muscles spasmed in the priest’s face but he remained rigidly still. Teo hooked the loathsome thing out and took no time to contemplate it as it hung mewling and wailing on the end. He flung it into the fire as quick as thought and with a last whimper it curled into ash.

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He took needle and thread from the priest’s kit and took four careful stitches in the skin, tying it back together to close that painful looking mouth of flesh. All the time the priest was silent and still.

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