The HappenStance website has a free competition flagged on its home page. It is supposed to change every two months, though this year it has really been every three. To begin with, it was a kind of quiz, but there were few entries. Latterly, it has invited poems, and this attracts more interest, it would seem, though the prizes are modest.
The entries are anonymised before being passed to a judge, who is usually one of the HappenStance poets taking on this role for no fee, though much appreciation. The most recent competition invited poems about dreams (not more than 18 lines). It was judged by J.O. Morgan, and his comments on the competition and the winning poem were detailed – too detailed to fit easily inside the competition page. So here they are as a kind of guest blog.
J.O. Morgan's comments on the Dream Poem Competition, 2017
The subject of dreams seems apposite for poetry, or so it would appear to me, since the somewhat elusive nature and tumbled imagery of many poems I read does seem to have a sort of dreamlike quality.
Also, the way in which poets read their poems aloud often has a similar dreaminess to the tone of delivery. Had I not known the subject before I began reading the submissions, it might have taken me a while to realise what they all had in common.
And yet many of the poems did capture the sense of dreaming remarkably well; that stream-of-conscious-craziness where the unlikely seems wholly possible, even expected, and what might at first sound metaphorical is in this case simply real – at least in dream terms.
That then could be a problem: a poem's metaphors have clear meanings, whereas a real dream's imagery may have a meaning so muddled that it is in essence meaningless. As such, do you stay true to the dream and have a meaningless poem, or stay true to the poem and in so doing tweak the dream to give it a false profundity?
Both approaches were evident in the poems submitted, and both with interesting results – some with the sheer delight in dreamy weirdness, others with dreams of sometimes worrying portentousness.
'Formication', the poem I chose as winner, did something else again. It stood out at once for its shift in perspective. But also, in particular, for how much it achieved through suggestion, while actually saying very little and in so few lines. There seems to be a great deal going on beneath the surface, as well as an interesting take on how the anxiety produced by nightmarish visions bleeds through into waking activities.
I'll share some thoughts about it shortly, but first here it is:
The Dictionary for Dreamers says insects
are worries, at least in dreams. Therefore
all those ant poisons, the Raid and Nippon
under the sink, are there to calm me.
I loathe their collective mind, the purposeful lines
that trickle from my ears onto my pillow.
I hate how once you get one, you get more,
lofting bitten dreams in their leaf-cutter jaws.
The dream itself is only hinted at in the first half of the poem, but the hint is enough to put us on our guard. Later the dream is still only mentioned from the perspective of the waking world, but it's a dream we can immediately recognise, even if for us – thankfully – it's not a recurring one. There's subtlety in how a real-world, almost off-hand, reference to the dream suddenly becomes the dream, even if only for a single line.
And then again, following a reference to dream-architecture, how the brain won't be satisfied with a small cast of antagonists, there's the sudden description of tiny delicate mouthparts, which – closer-in, and arrayed in multitudes – might be a lot more concerning for the dreamer.
I also loved those simple phrases 'I loathe' and 'I hate', which seem so controlled, almost polite, in their expressions of dislike, but which have a sense of annoyance, of frustration, of helplessness, of resignation.
Of course we have already been told of the familiar brand-name products that may have no effect on dreams, but which will certainly help in the moment of waking, when the imagined world and its unassailable army lingers for a while in the dark of the bedroom, and then beyond into the daylight hours.
And does the consultation of a dreambook ever really help? Probably not. But when the products of your own mind trouble you this much, what else is there to do?
If it seems that I've analysed this poem partly backwards, that's because it made me read it that way. I read it down, then back up, then through again. It was the poem that made me want to do that. And poems so rarely make me want to do that. A clear sign, for me, that it was something just a bit special. And that last image, both in the dream and out, is really rather marvellous.