Pearl in A Shell - A Collection of Rhythmical Literary Piece

Pearl in A Shell: A Collection of Rhythmical Literary piece [Neeraj V. Murali] on leondumoulin.nl *FREE* shipping on qualifying offers. This book contains poems.
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Through these passages Billy explores the difficulty of catching reality out of the fragments of memory and incomplete perception. Two half-blind owls are first seen as one, as Billy recalls that all he could see were its eyes "at least 8" apart" p. He remembers the look of the light at each hour of the day at the Chisums' house and continually corrects his account, disciplining his memory to precision; "Yes.

In long white dresses in the dark house, the large bones somehow taking on the quietness of the house. Yes I remember" p. Like the owls at the Chisum ranch in their cages, Billy is in darkness, perceived and perceiving fitfully and then dissolving again. Following a long prose passage describing the Chisum ranch is the first account of Billy's death:.

This poem leads to Billy's revelations of his vision of reality as a mechanism below the surface skin, something he can penetrate in the way that he can foresee the shattering of his skull. In this and in each succeeding replay of Billy's death, the limits of perception are tightly correlated with the poet's act of recording his works.

For example, Ondaatje writes of the difficulty of clearing his mind of the details of Billy's' rotting corpse, while his dreams are contorted in violence:. Last night was dreamed into a bartender with an axe I drove into glasses of gin lifted to be tasted. This set of three poems - "sad billys out," his eye "magnifying the bones across a room," and Ondaatje's experience of writing - runs in a sequence on separate pages and is completed by a fourth, which recapitulates Billy's awareness of the stress of stars and machines straining at each other.

A second long prose passage then terminates the group with the introduction of "Mistuh Patrick Garrett," who is destined to assassinate Billy. When Billy describes his experience in writing his Works , his imagery merges with that of Ondaatje quoted above:. Again, this poem is part of a sequence on Billy's death, and is completed with Bllly alone in the dark waiting for Garrett: All the machine metaphors for Billy's hands suggest the tense beauty of devices precision geared to movement and subject to error, "the one altered move that will make them maniac" p.

This account of fracture and imprecision reverberates in a poem that may be read as Billy's address to his poet, or to one who will compose a night-piece in capturing him in language:. Am the dartboard for your midnight blood the bones' moment of perfect movement that waits to be thrown magnetic into combat a pencil harnessing my face goes stumbling into dots.

In the final facing pages of the text, Ondaatje describes the salvaging of Billy's corpse, reworking Billy's initial description of his death and picking up the rhythm and the barracuda image of the earlier poem:. Poor young William's dead with blood planets in his head with a fish stare, with a giggle like he said.


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Throughout these sequences of parallels, there have been two complementary patterns. Billy's narratives of his death are an accumulation of detail, word upon word, view upon view. The process of Ondaatje's writing the Works is a reduction, as the telling ends. What the photograph does is to freeze motion, catching it and isolating it from a sequence of movements. So the poetry in The Collected Works of Billy the Kid manipulates a scene, plays it back, and reshapes it in new patterns:.

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This recomposing of a scene works on three scales in the book. In the example cited above, Billy replays a single stanza in reverse order. Again, Pat Garrett is described in a prose passage that is bracketed by the word assassin pp. In both the single, mirrored stanza and the Garrett passage, Ondaatje uses the page and facing page as his formal unit, the frame for his scene.

Ranging wider than these single scenes replayed in a single visual space, the book also reworks sequences of action, setting them up in different contexts. The death of Charlie Bowdre is played three times. First, quickly, Billy records the moment when Charlie's body was blown back into the room:.

In the second account, Charlie's death is expanded and shaped deliberately on the page - the exposition of time, character, and winter season all introduced before the shot lifts Charlie back. Billy then analyzes with precision Charlie's rigid walk straight to Garrett, and by the end of the scene Charlie is eliminated from the visual field:. January at Tivan Arroyo, called Stinking Springs more often. With me, Charlie, Wilson.

Charlie took my hat and went out to get wood and feed the horses. The shot burnt the clothes on his stomach off and lifted him light back into the room. Snow on Charlie's left boot. Wilson, Dave Rudabaugh and me. Third is the following sequel, picking up exactly where the story had been left and carrying it forward:.

Dave Rudabaugh and me. Garrett aimed and shot to sever the horse reigns. He did that for 3 of them so they got away and 3 of us couldnt escape. He tried for 5 minutes to get the reigns on the last horse but kept missing. So he shot the horse. The largest scale on which Ondaatje manipulates time and replays a scene is the series of passages flashing forwards to Billy's wait for Garrett in Maxwell's room and to Billy's death there. The techniqtles interconnecting the sequence are varied; the first death scene is connected with the last, for example, by the image of the barracuda in Billy's head.

The following scene from the sequence has a circular completeness on the page. Down the street waas a dog. One dog, Garrett and two friends. Down the street was a dog. Some nut spaniel, black and white. One dog, Garrett and two friends came down the street to the house, to me. Garrett takes off his hat and leaves it outside the door. Garrett smiles, pokes his gun towards the door.

The others melt and surround. All this I would have seen if I was on the roof looking. The composition of this scene is reworked once more in the final minutes of the book, beginning with Billy's meditative "MMMmmmmmm" and blocking in the action in a frame:. In the final minutes. It is Texas midnight. A large large square, well and buckets centre. The houses and sheds in rows making up the square. The long narrow porch running all around. Up to the well rides Pat Garrett and deputies Poe and Mackinnon.

Scuffling slow, smoking as they dismount gentle and leave the horses and walk to the large hut which is Maxwell's room. They pass the dog. An image, a rhythm, a single object in the visual field can provide an immediate point of reference to tie the sequence together; and the progressive expansion of structural units gives the pattern coherence and strength.

Billy provides his reader with a model for this composition of the plot of the book in folds of language, rhythms, visual detail, and narrative sequence:. Find the beginning, the slight silver key to unlock it, to dig it out.

Books Pearl Rhythmical Literary Piece

Here then is a maze to begin, be in. Two years ago Charlie Bowdre and I criss-crossed the Canadian border. Ten miles north of it ten miles south. Our horses stepped from country to country, across low rivers, through different colours of tree green. The two of us, our criss-cross like a whip in slow motion, the ridge of action rising and falling, getting narrower in radius till it ended and we drifted down to Mexico and old heat.


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That there is nothing of depth, of significant accuracy, of wealth in the image, I know. It is there for a beginning. The plot of the poem is that whip in slow motion, action transmitted in waves through the length of the text, with the ridges concentrating in the last death scene, where Billy's works and the process of their collecting end.

At the end, the poet has assimilated his subject within himself and focusses, like Billy, on the look of light falling in the room where he completes his work. The concept of collecting underlies The Collected Works of Billy the Kid , and a series of parallels amplifies its significance. The overlapping of imagery from Billy's memory to Ondaatje's commentary on the process of writing is one aspect of collecting already discussed in this study. Another is that of structure as collection: A third is the interrelation of the killers, the photographers, and the poet who catches life and fixes it on the page from a multiplicity of perspectives.

The killer Billy the Kid is a photographer, like Huffman fascinated by the look of motion frozen into form, as in his examination of Angela D's split arm: He presents himself and his memory of scenes in the frames of windows and doors, watching the play of light on a moving object. He is like Garrett, as both record the same scene at the Chisum ranch like technicians watching each other. Each is obsessed with the other.

Billy writes about Garrett: His mind learned to be superior because of the excessive mistakes of those around him. Flowers watched him" p. Garrett writes abut Billy: From his eyes you could tell nothing at all" p. Garrett is also a collector of dead birds. Michael Ondaatje, composer and collector of these left-handed poems, assembles the collectors and, like Billy, is both part of the process and outside it observing himself. From the first empty frame. The book's business is to collect a picture of Billy and a record of the dialect and content of his works, and the poetry communicates this process through the poet's experience of Bllly's character and exploration of himself.

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The Huffman comment on the first page is a directive to the reader: The boxes and frames that fix dead Billy, like the photograph taken of him with life escaping out of focus, catch onIy distorted fragments. Ondaatje imagines the pieces of Billy refraining in the coffin seventy years later: Front the head there'd be a trail of vertebrae like a row of pearl buttons off a rich coat down to the pelvis.

His legend a jungle sleep" p. In this book which explores the process of recording both history and legend. Segments of the collective account are quoted from the record of Billy's contemporaries, and they are amplified and illuminated by the poet's creation of a chorus of voices whose authenticity is compelling. The man called Billy the Kid is not impressed by the magnificent richness of his surroundings.

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The golden cutlery means nothing. The priceless china and crystal matter not, and the food cooked by a French chef? Ondaatje writes that this comic-book legend is "real" and encloses it in fat black lines on the page, adding one more angle of vision on his subject. Again, the poet records Deputy Poe's reconstruction of his conversation with Pat Garrett just after Garrett had blown someone's head off in Maxwell's bedroom: In the richness of Ondaatje's vision, no single picture of Billy would be enough. Billy's photograph, which is promised, captioned, described, and accommodated in the spacing of the pages, is never in fact printed; on the last page instead is a large empty frame containing a smaller framed shot of a child - presumably the poet, but perhaps the poet's child - in chaps, hat, and cowboy vest, grinning with guns held at waist height.

Anansi, , p.