A sample poem from my new collection

I am currently working on a new collection of poems. They will be of a suitably darker nature than my last collection (of which I am currently considering uploading, maybe to this blog or elsewhere), I intend to focus on the Emotional rather than the Cerebral. Thematically, the poems express darkness, isolation and fear. Although I often view these themes as portentous and sentimental, I intend to convey them in an oblique manner so as to avoid being overtly obvious in terms of subject matter. I am also toying with the idea of dividing the collection into two books, one intimate reflections, the other more objective observations.
Nevertheless, I offer here a sample verse from an, as yet, untitled poem:

Now is the season I feel accustomed

To the love I cultivated in winter.

I was bereft of all hope

As I wandered into the autumnal copse

Like the leaves, my heart withered.

Dejected and denied the harvest.

In the coldness, I warmed my spirit

With one vain thought of hope

Now I feel a heat emanating,

Though I know no response to give,

Only to burn until nothing remains

But ashes to been blown in new directions.

Ulysses, Episode VIV: Scylla and Charybdis

In this chapter, set in the National Library at 2pm, we see Stephen deliver his interpretations of Shakespearean works. Throughout Ulysses, there are references to many of Shakespeare's plays, perhaps most importantly among is Hamlet. The theme of ghosts that is prevalent in Ulysses is also a major part of Hamlet, that being the haunting of the protagonist by the ghost of his father. A myriad parodies may be drawn between the two works, most strikingly is Bloom's father who having committed suicide haunts Leopold's memory, particularly in the Hades episode. Similarly, the digressive nature of Bloom and Daedalus is comparable to the procrastination of Hamlet in exacting his revenge for the murder of his father.
Nevertheless, it is not necessary for the reader to know Shakespeare's play chapter and verse to get a good understanding of the discussion that takes place in this chapter. Many of the views expressed by Stephen and
John Eglington (the real-life librarian of the National library) are based on dubious pseudo-biographical works of Shakespeare's life (in truth, little is known about his personal life). Joyce satirizes this by making absurd claims such as 'whether Hamlet is Shakespeare or James I' (p.177). Also though, there are points raised that relate to the novel as a whole, Stephen asks: 'What is a ghost?' (p.180).
The episode references other plays such as King Lear, Othello, the Tempest and the Comedy of Errors as well as many others. Although this chapter may seem an unnecessary digression from the novel it is in fact a closer analysis of the story and its characters. Joyce does not simply compare Ulysses to a series of Shakespeare plays but instead integrates Shakespeare into the minds of the characters, the result of this is a cerebral critiquing of the plays. The psychological and spiritual elements of the plays are expressed through narrative streams of thought: hesouls, shesouls, shoals of souls. Engulfed with wailing creecries' (p.184).
Stephen gives a summarising remark about Shakespearean tragedy: 'Where there is a reconciliation there must have been a sundering' (p.185). This is a fitting epitaph both for Shakespeare and Ulysses, though Joyce's fractured narratives inhibit any solid reconciliation, there is a progressive structure to the novel that links episode to episode.

Ulysses: Episode VIII: Lestrygonians

It's 1pm and Leopold Bloom is hungry. He walks around the environs of Trinity College, close to the river Liffey. The whole chapter is centred around the theme of food and hunger. The opening line describes: 'Pineapple rock, lemon platt, butter scotch' (p.144) and the peristalsis of Bloom's hungry gut is in rhythm with his brisk walking pace.
As he walks along, Bloom thinks of poetry and 'how poets write' (p.146). He conjures a couplet of verse relating to his hunger: 'the hungry famished gull /Flaps o'er the waters dull' (p.145). Bloom meets Mrs Breen and tells her about Dignam's funeral although, his thoughts are directed at the 'hot mockturtle vapours and steam of newbaked jampuffs rolypoly poured out of Harrisons' (p.150). The sensuous imagery that abounds this chapter is typical of Bloom's character.
Also within this chapter is a phrase that proves relevant to the novel as a whole. As Bloom walks by Trinity College, he contemplates the idea of coincidence whilst thinking of Parnell's brother and the Irish writer, A.E. Bloom reaches the conclusion that: 'Coming events cast their shadows before' (p.158). This notion of foreshadowing is crucial to the novel, Joyce repeats ideas and themes throughout Ulysses and thus casts a figurative shadow on the plot as it unfolds.
The chapter concludes with Bloom espying Blazes Boylan (of whom Bloom suspects is having an affair with his wife) walking towards him. Out of shame and disgust, Bloom diverts into the National Museum thinking: 'didn't see me perhaps' (p.175), before concluding; 'Safe!' (p.175).

Ulysses, Episode VII: Aeolus

This chapter, named after the Greek god of the winds, is about the hot air found within the world of journalism. The location is the offices of the Freeman's Journal at 48 Prince Street, the time is 12 noon. Structurally this chapter is composed of a series of articles each with their own (often irrelevant) headline. There is conversation between Daedalus, Bloom and other characters although the narrative is fractured by the division of articles. This is the first chapter of the novel where Joyce uses such bold structural devices. There is a conflict between narrator and the arrangements of the editor, the flow of dialogue is interrupted by strange headlines such as: 'the crozier and the pen' (p.114) and 'short but to the point' (p.120), these headlines are vaguely and comically related to the conversation between the characters, but it is ultimately Joyce's humourous portrayal of the ambiguity of the press. Joyce mimics the oratory of both Irish and Greek rhetoricians, but also makes gratuitous reference to Bloom's Jewish descent. The article titled: 'And it was the feast of the Passover' (p.118) is filled with Jewish terminology such as 'Shema Israel Adonai Elohenu' (Hebrew: Hear, oh Israel, the Lord our God'). Ulysses itself contains a myriad religious references, which I could never hope to cover here, but it is important to note that Joyce places great emphasis on how religion affects the individual. The Word, in the Biblical sense (the Word of God), is rendered to the same level as the printed words of news articles.Joyce's language fluctuates between grand rhetoric to inane banter to obscure nonsense; 'diminished digits prove too titillating for frisky frumps' (p.143). But it is this playful exploration of Ulysses that gives such a powerful insight into the creative mind. Aeolus is Joyce's attempt at transcribing the creative process of journalism, and the thoughts of those involved.

Ulysses, Episode VI: Hades

Following on from Bloom's stream of thought in Lotus Eaters, we follow him as he attends the funeral procession of Paddy Dignam. Hades, aptly named through its recurrent themes of death and ghosts; which Joyce referred to as 'incubism', focuses on Bloom's reaction to death. Paradoxically, attention is drawn to how the living cope with bereavement as Bloom states: 'more sensible to spend the money on some charity for the living'.
 As he rides along in the carriage with Martin Cunningham, Stephen Daedalus and friends, Bloom is thinking about 'if little Rudy had lived' (p.86) relating to his son who passed away at an early age. The conversation wavers from social events such as Marion Bloom's upcoming concert with Blazes Boylan to the uncomfortable subject of suicide where Bloom is haunted by the image of his deceased father. M.r Power, sitting in the carriage says of suicide: 'the greatest disgrace to have in the family' (p.93). To which: 'M.r Bloom, about to speak, closed his lips again' (p.93). Bloom is reminded of the untimely death of his father as he recalls the coroner's verdict: 'overdose. Death by misadventure. The letter. For my son Leopold.' (p.93). Bloom's emotion is summed up by the phrase: 'No more pain. Wake no more. Nobody owns.' (p.93). It is this forced acceptance of the inevitable that leads Bloom to question the rituals of death with a cynical view. As they arrive at the service, Bloom says: 'makes them feel more important to be prayed over in Latin' and that the priest 'said he (Dignam) was going to paradise or is in paradise. Says that over everybody. Tiresome kind of job. (p100). Bloom's derision for rituals for the dead is similar to Daedalus' rejection of religious doctrine in Portrait of the Artist, although here in Ulysses, Joyce uses the experience of an adult narrative to give a more learned argument against religion rather than Daedalus' youthful rebellion in Portrait. Still, Bloom thinks like Daedalus, he is unfazed by religious superstition yet is haunted by his own memory.
Hades sees the first encounter of the two protagonists, Bloom and Daedalus and although they only make small talk in the carriage, much is revealed about the similarities and differences between their characters. It has already been established that Daedalus is presented through cerebral narrative whilst Bloom, the corporeal but that they both share the nightmare of history and its ghosts is significant to the novel as a whole.
The Hades episode is not just about death, it is about how death affects the living.

Ulysses: Episode V: Lotus Eaters

Continuing on from the previous episode, we follow Leopold Bloom around Westland Row station. The time is 10am and he is on his way to the post office to collect a letter. He notices in a shop window, tea label that describe faraway countries. Bloom imagines what it must be like to live in 'the garden of the world' (p.69). When he arrives at the post office he finds a letter from his erotic penpal, Martha Clifford addressed to his pseudonym, Henry Flower. As he leaves the post office, he attempts to read the letter when he is approached by a friend called McCoy. They talk about Paddy Dignam's funeral which is due to take place at 11am, McCoy states that he will not be able to attend. Bloom notices a woman's leg in the background and thinks of his wife's bad singing abilities.
After being lost in thought about his father's death, Bloom decides to read the letter. He then arrives at the church for Dignam's funeral. It is here where the chapter's most profound imagery occurs, Bloom sees Latin church services as a 'stupefying' thing, similar to the narcotic effect of the lotus that features in Homer's Odyssey. Bloom continues with his blasphemous metaphor, likening the consumption of bread and wine that symbolize Christ's body and blood to an act of cannibalism: 'Rum idea: eating bits of a corpse why the cannibals cotton on to it.' (p.77). This puts into perspective both the humour and ideology of Leopold Bloom, throughout the novel he is continually questioning ritual and metaphor as well as reducing the divine to the banal.
After the service, Bloom visits a chemist to buy a lotion for Molly. As he browses the store he thinks of medicines and disease and concludes 'poisons the only cures' (p.81). Bloom picks up a bar of lemon soap offering to return later to pay for the lotion as well. Bloom then meets Bantam Lyons and inadvertently offers him a tip for a horse race. He then walks towards a public baths and imagines his naked body floating in the water like a flower.

Ulysses: Episode IV: Calypso

This chapter sees the introduction of the novel's second protagonist, Leopold Bloom. At the Bloom's residence, Number 7 Eccles Street, Leopold is having breakfast at 8am. The opening line of the chapter describes how Bloom 'ate with relish the inner organs of beasts and fowls.' (p.53), this is typical imagery of Joyce's corporeal characterisation as opposed to the mental portrayal of Stephen Daedalus.
Calypso, (the name; like all other chapter titles is taken from Homer's Odyssey) bears a subtle resemblance to the opening episode, Telemachus. The explanatory notes of the Oxford Edition of Ulysses state: 'Bloom is the height of a tower to the cat which has eyes like green gems and laps milk brought by Hanlon's milkman' (p.793). This pertains to the Martello tower, the green gems and the milk woman which all feature in Telemachus. Joyce expertly introduces Leopold Bloom by playing on the reader's concept of familiarity.
As Bloom feeds his cat, questioning whether it can understand him, he eats breakfast. He then goes to see his wife, Marion Bloom, who is in bed. She has received a letter from Blazes Boylan, a music hall arranger who has requested her to sing at an upcoming concert. Leopold reads a letter from his daughter, Milly. Then, whilst explaining to his wife the origins of the word 'metempsychosis', Bloom realizes the kidney he put on the  
stove is starting to burn. He runs into the kitchen and eats the burnt kidney.
Towards the end of the chapter, Bloom thinks about the upcoming funeral of his late friend, Paddy Dignam and in a crude sense of irony he goes to the outhouse to defecate. The chapter is composed of three elements; the ingestion of food, the digestion of news and letters and the excretion of thought, the death of Paddy Dignam and in the vulgar sense, waste. However, there is also a vital insight into the relationship of the Blooms, particularly in the revelation that they 'dislike dressing together' (p.67) this will prove significant as the story develops.