Monday, January 24, 2011

A Work of Jose Garcia Villa :When I Was No Bigger Than A huge


When I Was No Bigger Than A Huge
By Jose Garcia Villa
Quote:
When, I, was, no, bigger, than, a, huge,
Star, in, my, self, I, began, to, write,
My,
Theology,
Of, rose, and,

Tiger: till, I, burned, with, their
Pure, and, Rage. Then, was, I, Wrath-
Ful,
And, most,
Gentle: most,

Dark, and, yet, most, Lit: in, me, an,
Eye, there, grew: springing, Vision,
Its,
Gold, and,
Its, wars. Then,

I, knew, the, Lord, was, not, my, Creator!
--Not, He, the, Unbegotten—but, I, saw,
The,
Creator,
Was, I—and,

I, began, to, Die, and, I, began, to, Grow.

4 comments:

  1. The poem begins with the persona in the midst of reminiscing with “When,I,was,no,bigger,than,a,huge/Star,in,my,self,I,began,to,write.” If one is familiar with the way stellar bodies work, then it becomes apparent that the speaker is already of at least middling age, as stars actually grow larger (at the same time less brighter) as they grow. It could be compared to the point where a person is past their peak (physically or mentally) but not so much that their faculties become impaired with age, and at that point in one’s life where a person has enough life experience to be considered ‘wise’. The fact that the first line cuts at ‘huge’ (instead of the word that follows, ‘star’) seems to underscore this temporal waypoint and milestone, where the persona’s musings seem to turn towards how it defines its current existence, its ‘self’ (note how it is not myself, but ‘my’ and ‘self’). The persona then reveals exactly what it was internalizing: “My,/Theology,/Of,rose,and”. There’s an interesting interplay of words and references here, as one would expected philosophy (when one assumes that the persona is talking about what defines how it lives) to be a better choice; and yet with the image of the rose (which, while associated with many pagan goddesses is more recently linked to the Virgin Mary) a connection with the Divine is made.

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  2. This include a "DIVINE POEM" ,a philosophical or metaphysical reading might be more appropriate —sacrilegious musings finally given light, or a divinely-inspired epiphany could be seen as valid.

    The poem is classified as a ‘Comma Poem’ due to its use of placement of a comma after every word, most of the time without the space as expected in Prose. Paraphrasing Villa’s own words from the preface A Note on the Commas, the commas not only serve to regulate the poem’s verbal density and temporal movement, it also gives each word a fuller tonal value, allowing the more measured line movement. It also has the (possibly intended) consequence of altering the meaning of the poem when the commas are removed; as a demonstration of this (the Penguin Classics edition Doveglion: Collected Poems) a version without the commas (indeed, only three are present) immediately follows for the sake of comparison. Thus a truly diligent reader will have to read the poem unaltered, then with the punctuation ‘normalized’ to gain a better understanding of its theme and message.

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  3. Thus the poem as a whole could be seen as a person’s rediscovery of their Self, after years or decades of being dissolute, and affirmation of the capabilities inherent in all of us, breaking through the dam built of self-doubt and entrenched dogma espoused by the society the person had grown up in, thoughts that initially trickled through cracks in the firmament, but eventually becoming a broad torrent of ideas—where Humanity CAN stand on its own two legs, without an omnipresent Divinity watching over our shoulders. It is a revelation that can be cathartic, to say the least.

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  4. It also relates to a biblical revelation.
    The person in the poem is used to be older in age physically, but not mentally matured.

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