Fade In: Spiral biting a pinkie cuticle and Other Poems
DOI:
https://doi.org/10.31273/reinvention.v15iS1.1067Keywords:
Wendigo, North American horror fiction, Indigenous monsters, appropriation of horror mythology, horror antagonists, Cannibalism, twenty-first century horrorAbstract
The following corpus of four poems indicates a knowledge and engagement with the retelling of antiquated myths in art and fiction. Chew and Swallow was informed by Francisco Goya’s Saturno devorando a su hijo (Saturn Devouring his Son), painted between 1820 and 1823. The poem investigates acts of masochism in terms of male-centric violence. It was a pity about her eyes is directly inspired from readings of John Polidori’s The Vampyre: A Tale (1819) and Angela Carter’s The Bloody Chamber (1979). Like Chew and Swallow, this poem explores acts of cannibalism, masochism and violence. However, It was a pity about her eyes is an exploration into the traumatic effect of sexual violence caused by men. I wrote Fade In: Spiral biting a pinkie cuticle in the form of a free verse poem that is aesthetically structured in the format of a script/screenplay. The truest moment of reflection is a palindrome; therefore, lines are repeated in descending order towards the end to demonstrate a reflective conversation between the speakers.
The selected poems focus on intricate themes of the self, horror and violence and the speakers go through a psychological process related to their mythological intertexts as each poem goes on. I close many of the poems with affirmed definitive statements reflective of newfound ideas.
References
Published
Issue
Section
License
Copyright (c) 2022 Francesca Amee Johnson
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors are responsible for obtaining permission from copyright holders for reproducing through any medium of communication those illustrations, tables, figures or lengthy quotations previously published elsewhere. Authors are also responsible for adding these permissions to the acknowledgement footnote that precedes all other notes or crediting the source and copyright of photographs or figures in the accompanying captions.
The journal's policy is to ask authors to grant us the licence to publish their work, which gives us the exclusive right both to reproduce and/or distribute their article (including the abstract) in printed, electronic or any other medium, and in turn to authorise others (including Reproduction Rights Organisations such as the Copyright Licensing Agency and the Copyright Clearance Center) to do the same. In return the author(s) assert their Moral Right to be identified as the author, and we promise that we will respect their rights as the author(s). That is, we will make sure that their name(s) is/are always clearly associated with the article and, while they do allow us to make necessary editorial changes, we will not make any substantial alteration to their article without consulting them.
Copyright remains with the author(s), however, the author(s) authorise us to act on their behalf to defend their copyright if anyone should infringe it, and to retain half of any damages awarded, after deducting our costs. The author(s) also retain the right to use their own article (provided they acknowledge the published original in standard bibliographic citation form) in the following ways, as long as they do not sell it or give it away in ways which would conflict directly with our interests. The author(s) is/are free to use their article for the internal educational or other purposes of their own institution or company; mounted on their own or their institution’s website; posted to free public servers of preprints and/or articles in their subject area; or in whole or in part, as the basis for their own further publications or spoken presentations.
If you have any queries about copyright please contact reinventionjournal@warwick.ac.uk
