Coelacanth

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(the new and improved version. older version is under spoiler)

I used to walk by the foot of eroded cliffs, my
hand tracing the cracks and the spirals of fossils, of
ancient shells: bones turned to stone and dust, and yet
still swirling at my fingertips. And I saw you then

for the first time, calcified and stripped down to the
barest outlines across the desiccated rock, like a
testament of things long gone. And yet you were
like the voice of friends long gone: distant, yet familiar

even as that image of you crumbled, oh so fragile, at
the wind’s first greeting. A photograph in bas-relief, I
thought you, to be so easily torn and stolen by the clumsy
breeze. Still I knew you now; had, with just that glimpse

of you, memorized the creases inscribed at your temples and
the lines on your palms crisscrossing like strands of hair
that perhaps once were carved out of white marble. I reached
for you, and my hands came back empty; between my fingers

whispered a void, and that void spoke of you. So I went
looking for you: into the cities and their carnivals of
lights and bodies, into the woods where life springs out
as streams from the earth, into the hills that rise in

solemn homage to history. I went in search of your name and
it was too light to be held, too cautious to be caught.
So I went deeper and there you were, in the dark waters
where as a child I had swum afraid and alone and alive;

I found you, flowing and breathing, like a myth come true:
with the tide twined around the hollows of your flanks
and the depths rising in a chorus of broken waves and
a hymn of salted sand, my voice drowning and my eyes

burning as I reached out, again, and touched—the contours
of your mouth, the charcoal shutters of your eyes, the
lacquered glimpses of your spine; and there was an ending
here, a book about to be closed. An ending, and a beginning too.

Spoiler
I used to go out at sea by night, when the skies were
clear and the stars pale and the moon obscure. I
would hold my breath and dive deep, deep into the dark,
where there was but myself, and silence, and fear.

And I used to walk by the foot of eroded cliffs, my
hand tracing the cracks and the spirals of fossils, of
ancient shells; bones turned to stone and dust, and yet
still swirling at my fingertips. And I saw you then

for the first time, calcified and stripped down to the
barest outlines across the desiccated rock, like a
testament of things long gone. And yet you were
familiar, so very familiar and whispering of home

even as that image of you crumbled, oh so fragile, at
the wind’s first greeting. A photograph in bas-relief, I
thought you, too easily torn and stolen by the clumsy
breeze. Still I knew you now; had, with just that glimpse

of you, memorized the creases inscribed at your temples and
the lines on your palms crisscrossing like strands of hair
that perhaps once were carved out of white marble. I reached
for you, and found uncharted lands within myself, that were

empty and void and bore your shape, and so I went
in search of you; into the cities and their carnivals of
lights and bodies, into the woods where life springs out
as streams from the earth, into the hills that rise like

monuments to history. I went in search of your name and
it was too light to be held, too cautious to be caught.
So I came back, and there you were, in the dark waters
where I once had swum afraid and alone and alive.

I found you by the waves, by the currents of far-off tides.
I found you in the depths and in the abysses, by the
swelling, murmuring crevices of deep sea-caves.
I found you, alive and breathing, like a myth come true.

I found you.
Last edited by Jagged on Tue Jun 15, 2010 10:44 pm, edited 3 times in total.
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Ok. Let's start. I like this poem, it's very structured and well written, but there's an issue.
I used to go out at sea by night, when the skies were
clear and the stars pale and the moon obscure.
With poem format, the purpose is to fit one whole sentence into a line. So instead of what I've put, it would be this:
I used to go out at sea by night, when the skies were clear and the stars pale and the moon obscure.
I would hold my breath and dive deep, deep into the dark, where there was but myself, and silence, and fear.
But your lines are so long, that you can't do this properly. So shorten the lines a bit. Don't be so vivid with your descriptions. Also:
And yet you were
familiar, so very familiar and whispering of home

even as that image of you crumbled, oh so fragile, at
the wind’s first greeting.
This long enter space shouldn't be here. Put the lines together, then put an enter space. There's no other problems that I can find beside this. Keep writing! :mrgreen:
And the angel said unto him, “stop hitting yourself, stop hitting yourself.” But lo, he could not stop, for the angel was hitting him with his own hands.




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Please, please do not listen to Vast. (no offense but i liked how the lines were placed-alot).
I loved your detail and for once, it did not bore me like most detailed poems. Also, sentences don't have to be all on one line.


However, "so I went in search of you;" did not work for me. It seemed out of place. Like a kid added his favorite stickers to a good piece of art.
So, a dyslexic man walks into a bra....




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I love learning things from poetry. This one sent me on a wild goose chase across the net (not so wild, ha), searching for the meaning of 'coelacanth.' I have come to understand it refers to an order of fish including the oldest living lineage of Sarcopterigii, and that these fish were believed to be extinct since the end of the Cretaceous period. By the looks of things, the fish sound absolutely fascinating.

This poem is told with a sense of wonder, awe. It is vast, sweeping across centuries, millenia, oceans, lands; but at the same time, it is remarkably intimate with the way the narrator perceives the little details of nature. It could almost be a love poem, had it not that title. In fact, I was convinced it was, until I did some research :D.

I'll structure this a little differently: rather than a stanza by stanza, I'll give you my favourite parts, and then the ones that could be tweaked.

And I saw you then

for the first time, calcified and stripped down to the
barest outlines across the desiccated rock, like a
testament of things long gone. And yet you were
familiar


This was heaven. Need I say more?

Okay, I'll say more ^^. It's heart-wrenching, engaging, just...wow.

eroded cliffs, my
hand tracing the cracks and the spirals of fossils, of
ancient shells; bones turned to stone and dust, and yet
still swirling at my fingertips.


Geology, digging up fossils, bones...as a rule, I hate that area of science. It bores me. But when a poem can so completely capture my attention, and even make the thing I dislike beautiful - of all things - then, that's when you know you've done your job.

memorized the creases inscribed at your temples and
the lines on your palms crisscrossing like strands of hair
that perhaps once were carved out of white marble.


Flow, flow, flow. What's fascinating is that the tone and the style of the poem reflect the topic so well - to me, the poem is blue and it's mesmerising, fluent. Just like the ocean.

carnivals of
lights and bodies


*gasps wildly*

So...some remarkable imagery. Areas to improve:

I used to go out at sea by night, when the skies were
clear and the stars pale and the moon obscure. I
would hold my breath and dive deep, deep into the dark,
where there was but myself, and silence, and fear.


Not terribly enticing as far as beginnings go. Why did the narrator 'used to' go out by the sea - why not any more? The first line doesn't interest me much - and it falls flat in comparison to the beauty of the rest of the poem, so doesn't do it much justice. 'Skies were clear' - meh. Could be better. Pales stars and obscure moons...different, yes, original, yes, but not that intriguing all the same. Actually, I vote the removal of this entire stanza. Change it, fix it, delete it, whatever you like - the third line is likewise not powerful and the fourth...too tell, no show.

And yet you were
familiar, so very familiar and whispering of home


'So very familiar' doesn't interest me; doesn't add to the poem much.

found uncharted lands within myself


Sexual suggestion intended? Don't really think this belongs. Why might a researcher discover 'themselves' upon finding a fish?

that were

empty and void and bore your shape


Again, sexual reference. The 'empty and void' is unneeded - I have a wonderfully exact feeling of the vastness, the scope, the depth of this poem when I read it - like a uniiverse, empty and void. No need to spell out my thoughts for me.

I went in search of your name and
it was too light to be held, too cautious to be caught.
So I came back, and there you were, in the dark waters
where I once had swum afraid and alone and alive.

I found you by the waves, by the currents of far-off tides.
I found you in the depths and in the abysses, by the
swelling, murmuring crevices of deep sea-caves.
I found you, alive and breathing, like a myth come true.

I found you.


Hmmm...methinks me does not like...and I am trying to find a reason why. I think it is because the section, as a whole, is not as enlightening as the rest of the poem in the imagery-sense. It pales in comparison to the stanzas that have gone before it. It does them no justice - the repetition, alliteration, repeated adjectives and synonyms - they all lack the casual, quiet power of the rest of the poem. Almost bordering on the pretentious, but not quite.

Like I said, could easily be a love poem, which is what I adored about it (though it gets just a wee bit ridiculous once we start associating fish with sex...but that's just my opinion). Loved it, and wouldn't be surprised to see it featured in a little while!

Thank you for the read. :D And PM me if you make changes / write more (I'd prefer if you posted changes in a separate post on this thread, just to make it easier to compare the two!).




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Thank you for the reviews! I've tried to take them into account, and fixed those parts that needed working on - the new and improved version is up, with the older one under cut if you feel like comparing and seeing where the changes were made.

Navita: It was, actually, intended as a love poem - not so much towards the fish itself (because yes, that is a very weird thought) but more to someone who would be symbolized as one; someone who you might not have known existed, or if he/she did, it was a long time ago, or in some far-off place - entirely out of reach, and more of a dream than anything concrete (and dreams are made to be chased, are they not?), but would turn out to be that missing link between past and present; the one to fill that empty space you never knew was ever even there.
...Possibly I was trying to stuff too much stuff in XD
That said, all and any sexual reference were purely unintentional, I swear! :smt003
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Wonderful! So good to see you've given this a makeover. :D

And I know exactly what you mean about intending it to be a love poem - so many poems start off as one idea and somehow end up metamorphosing into another. I do not think you were trying to fit 'too much stuff' in there at all - on the contrary, the love-theme adds a fascinating dimension to the geology aspect of it - a satisfying combination of 'head/intellect' and 'heart/emotion' working side-by-side.

Obviously, I'm only going to comment on changes made:

I used to walk by the foot of eroded cliffs, my
hand tracing the cracks and the spirals of fossils, of
ancient shells: bones turned to stone and dust, and yet
still swirling at my fingertips. And I saw you then


You have removed the 'I used to go out by the sea at night' part and replaced it with the amalgamation of that line and the second stanza, I see. Just a little thing: this one does not hint at 'night' and I think that's too important a feature of your setting to miss out. It adds to the vastness of the ocean and the colour of the sky, makes both seem dazzling. I'll leave it to you to slot that idea in somewhere, subtly. And I just figured out what I didn't like by the original (and hence the new) opening line: the 'I used to' bit. To be honest, I don't particularly care what the narrator 'used to' do - it suggests a time so far back in the past that it becomes uninteresting, as if the novelty of whatever you're about to say has worn off before it began. There's no nostalgia in 'I used to,' no irrepressably urge to return; just the single, flat statement sitting there doing the rest no justice.

And yet you were
like the voice of friends long gone: distant, yet familiar


Actually, I know what annoyed me about the original 'so very familiar' bit - it was the 'very' that was excessive there (pardon the pun). I think the original is actually much neater, with the 'you were familiar, so familiar' - it adds a sense of longing to it that the rest of the poem has. This 'like the voice of friends long gone' seems like you're hunting around for words to fill up the space; I think we both realise that it's a tad cliche.

for you, and my hands came back empty;


Much better than the original vaguely sexual reference. Can you think of a more interesting way to say 'came back'? Maybe with something a little more exciting like 'washed' or even 'swashed,' should such a word exist?

I found you, flowing and breathing, like a myth come true:
with the tide twined around the hollows of your flanks
and the depths rising in a chorus of broken waves and
a hymn of salted sand, my voice drowning and my eyes


I realise there's other changes before this bit, but they're alright, so I thought to get to what could be tweaked a little: 'a myth come true.' There is a glaring cliche in that line that makes the rest of this memory more shallow, faker - opposite to the intended effect. The rest is fine.

burning as I reached out, again, and touched—the contours
of your mouth, the charcoal shutters of your eyes, the
lacquered glimpses of your spine; and there was an ending
here, a book about to be closed. An ending, and a beginning too.


The imagery here is great, like the majority of the poem. The 'boo,' however, does not belong in the slightest - it's too 'square' an image for something so sweeping, vast and endless. A book in this setting would look hopelessly out of place. The ending is not inventive, precisely because you say the word 'ending' (and 'beginning') in it. I'd say leave it for a week or so, come back to it, and you'll be able to replace the line much quicker rather than hunting down for words to fill the four-line stanza.

Anyway, good work and I must say, out of your poetry I've seen so far, this is one of my favourites. :D




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Hi Jagged,

Great poem by the way. It's not melancholy, but...kind of a sad-pretty. I don't know how to explain it :P

I've never really read a poem like this and I found it very interesting to read. Because you had a first copy, I read both kind of at the same time, to compare.

I must say, I do slightly miss the first verse of the older version, but you have definitely improved it. You have a great beat to the poem and I usually look for that first. You use good words that seem to work with the poem and don't make it sound like you dug for really good words :) Did I make sense?

You have great description, and I especially appreciate the last verse because of this. You only need to step back a bit, because description can be a little over-the-top sometimes. Like Stephenie Meyer, but you are far from her :) But in some cases, your description is overpowering (verse 4).

Overall, I really enjoyed this. Hm, maybe poetry is my thing...

Lavvi
this tender selfmetamorpoiesisi have returned with the swell

What is to give light must endure burning. – Viktor Frankl




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Goddamn (excuse my Czech), that was freakin' amazing.
Teach me how to write, please?

Seriously though; you have incredible word choices and language, and the imagery is simply fantastic. Sometimes, the rhythm was a bit difficult to grasp for me, but that's probably just me. I do love the old version, especially the end, but I do have to say that I really like the new version as well. They seem separate in a way. I can't decide which one I like better- probably the new. Overall, I have absolutely nothing helpful to say. Just a little bit more gushing. :)

Excellent piece- really beautiful language and emotion. I'm definitely looking forward to reading more from you (I think you just stole the space of my favorite writer on this site).

-Coral-



so many languages have fallen / off of the edge of the world / into the dragon's mouth.
— Lucille Clifton