Breakfast of Champions

Kurt Vonnegut, Jr.

1973

(Little do a frustrated writer and a troubled car dealer realize, that their impolite author is using their journey to meet each other as an excuse to mastermind a deconstruction of modern values!)

RaboKarabekianTheTemptationOfSaintAnthonySort of The Temptation of St. Anthony, sort of by Rabo Karabekian, 1950. Sort of Sateen Dura-Luxe acrylic wall paint and day-glo tape. 20 x 16 feet. This can sort of be seen in the Midland City Art Gallery, to which it was sort of sold by the artist for $50,000.

 

A Vonnegut novel grows on you… like an exquisite acquired taste… or else a nagging corn on the foot. All three experiences are underestimated at first, and with time a realization dawns that there is something here that cannot be ignored. Some deride Breakfast of Champions as one of his “lesser”, although more popular, novels. For my part, I think that here we have a wine that is initially very peculiar on the palate, and its apparent confusion will conceal the vibrant undertones if one is not careful to taste it slowly and carefully. Or else, here we have a blasted gadfly of a corn that starts insidiously in a part of the foot’s ball that is unlikely to feel it until the thing has incubated for a mighty long time, insinuating deeply into one’s tissues. And when finally noticed, ouch does that root go deep!

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Pearl

The West Midlands Poet

14th century

(A father struggles to recover faith and peace after losing his baby daughter.)

 PearlIllustration2Illustration of the vision of the narrator of the Pearl poem, from its only manuscript: Cotton Nero A.x.  Courtesy of the Cotton Nero A.x. Project at the University of Calgary

 

Diversity of structure is one of the wonders of poetry.  Today’s poets often celebrate freedom from structure, which has its own beauty.  The medieval mind cherished a different kind of beauty, one that is neither extinct nor obsolete today, just overlooked.  It is the elegant euphony of placing what one wishes to convey into a strict, unifying framework.  Rather than delivering a point casually or even haphazardly as we may do in everyday life, the medieval poet would conform ideas to a predetermined scheme of alliteration, rhyme, stress, mid-line breaks (caesurae), and a multilevel organization of lines into stanzas and groups of stanzas, interconnected by strands of repetition.  Surely it is a handicap to expression—but this is part of its charm!  The skill required to create a meaningful poem that has a detailed or complicated structure is so great that its demands separate the geniuses from the dabblers.  Modern poetic sensibilities may balk at this comment, but in this age where much art and poetry is still very polarized into distinct “high” and “low” forms, I think these sensibilities are a little hypocritical.  It seems in fashion today both to create art that only a fraction of society can understand, and at the same time to repudiate notions of hierarchy, including hierarchy of understanding, wherever they appear.  Generally the medieval mind, cultivated within the feudal economic and political system and a strongly hierarchical Church, was more candid about social stratification.  Medievals did not tend to preach egalitarianism except under God, which would be realized only in another world.  This perspective characterized their art as well as society.  Thus, I would argue that the structured medieval poem’s handicap to expression is in itself, aside from its resulting euphony or atmosphere, a badge of excellence.

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