Dead to Rights: A Circularity of Glosas
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About this ebook
Ladies and gentlemen, step right up, don’t be shy, and enter the rhyming gyre of glosas, forty-four line rock operas, poetic pas de deux, created by troubadours of the medieval Spanish courts. Dead to Rights: A Circularity of Glosas features eighteen dramatic mini-tales, introduced by quatrains and philosophies that include Poe, Milton, Epictetus and Dickens; spun to effervescence by the spirited Alain C. Dexter.
“Glosas deliver like a compact short story, in stereo; they’re a poetic high energy drink, a double shot espresso of verse. You can read one glosa and read it again several times to experience a kaleidoscope effect of something new with each reread. Or you can take in a whole wallop of them and begin to sense the underlying structure that gives the glosa its . . . well, glisten.”
— Alain C. Dexter
Contributors of Crown Stanzas include
John Milton
Gavriel Navarro
Herman Melville
Friedrich Nietzsche
Alfred, Lord Tennyson
Charles Dickens
Edgar Allan Poe
John Donne
Rumi
Alain C. Dexter
Alain C. Dexter is a professor of poetry at Brougham College and best-selling, heteronymic author of the award-winning Gizzard’s Luck & Other Organic Festivities, a collection of short stories; and the poetry collection, Poems from the Soles of his Feet. Dexter enjoys imported beer, hiking in the great Canadian north woods, and hobnobbing with the rich and famous. He appears as himself in Elaine Stirling’s novella of horror and good medicine, Dead Edit Redo, and lives on the north shore of Lake Superior. Alain C. Dexter photo: Kara Bobechko.
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Reviews for Dead to Rights
6 ratings3 reviews
- Rating: 2 out of 5 stars2/5Decent book but with limited appeal. I would only recommend this book if one has a love of poetry and/or familiarity with the authors contained within. Nevertheless, the author does have a lovely way with words.
- Rating: 2 out of 5 stars2/5This is an odd fish. At the end of the text I was neither moved nor engaged. Technically clever but none of the glosas moved me. I failed to see the point unless the references to Pessoa were meant to suck me into reading another of the heteronymic books to try and track down the position of these poems on a larger gloss.
- Rating: 5 out of 5 stars5/5This is my first Early Reviewer book, and what a delight to spend the last hour with something completely new, fast paced, witty and carefully constructed! I chose this book because as a former English major, now a busy mother to a large brood, i had hoped it would stretch me a little. But what i didn't anticipate was how much fun this book would be. One glosa i actually read aloud to my husband ("Haunted Yard Sale"), who laughed with me. The combination of images and word was like literary jazz, and it was just the right size to enjoy in an evening. I loved the footnotes, although they were half info, half riff. Thanks for sending me this book!
Book preview
Dead to Rights - Alain C. Dexter
Contents
Foreword: Glosa: isn’t that the floor wax they banned?
1. South: Innocence
Ostraka
Oh, How We Danced Through The Effable!
Venturing
Unbreaking Fine Threads
scene divider2. West: Chaos
The Twisted Crew Of S.S. Disappointment
Pleasers
Siege
The Minds That I Have Loved
scene divider3. North: Wisdom
A Branch Of Family Tree I Saw
Freedom Is Not The Absence Of Slavery
The Haunted Yard Sale
Who Rides The West Wind
scene divider4. East: Higher Ground
The Quiver Of Inanna
IP stands for Ice Point, don’t you know?
Pots And Poetry
Reviving The Blue Balloon
scene divider5. Center: Mastery
Meeting At The Bridge Of Quinametzin
Beyonding Buddha: The World’s Greatest Lover
scene dividerQuatrain Contributors
Acknowledgments
About the Author
FOREWORD
scene dividerGlosa: isn’t that the floor wax they banned?
The British-Canadian humourist, whose name you’d recognize, was plying his trade as assiduously as I when we happened to share an elevator in Montego Bay at the 1st Annual PFFF! (Poetry for the Fun & Fearless Festival!) a few months ago.
Why, yes it is,
I said, playing along. I hope you didn’t buy any.
Are you kidding? My wife was a distributor. Our floors were so buffed, you couldn’t take a step without cracking your head open. We had to hand out helmets at the front door for guests.
We both laughed with that hic-cough of anxiety common to successful writers, artists and musicians who never quite trust the dream they’re living. But in a larger sense, my new friend had nailed it. The glosa is a poetry form buffed to a gleam so reflective, you don’t even know, your first stanza in, that you’ve been concussed.
Glosas first entered our collective consciousness about nine hundred years ago, during what some call the Dark Ages, when European kings were warlords, dukes their boot-licking lackeys, and commoners fodder for whatever new war machines were being tested. The biggest employer in those days was the Crusades.
In the midst of that lunacy were a group of poet-musicians known as troubadours, whose job it was to keep royals and their courtiers entertained, to pass intelligence from dukedom to dukedom, and to assuage terror in the villages and on the treacherous, bandit-riddled byways between them. Like their in-house peers, the jesters, troubadours, quite literally, survived by their wits.
The competition to create new, exciting poetry forms was fierce. Some, like the ghazal, were already well established in the Persian and Arab worlds. Sonnets, those tight little fourteen-liners with intricate rhyme schemes, came later, and, like most poetic forms, served the medieval equivalent of corporate branding. Those in the know could tell you which kingdom or city-state a sonnet came from—Sicily, Venice, Genoa—by its themes and end rhymes. Those who didn’t know—well, you didn’t dare not know.
The glosa, of which you will find eighteen in this book, originated in 12th century Spain. The verb, glosar, means both to gloss and to sum up. The glosero or glosera—female troubadours did exist—would pay tribute to master poets by borrowing
four lines of their poetry. These served as the opening or crown stanza. The following four ten-line stanzas were crafted by the glosero; nine lines were his own, the tenth came from the opening quatrain. To blend the originating work with the new, the poet rhymed the end words of lines six and nine with the master