Author: aloysius5

Over the years, I have traveled extensively and kept journals, with the idea that one day all of those places would become locations in books. Notebooks filled with odd characters, people and incidents observed, and whole tracts of stories written when the on the spot inspiration has been a driving force. All of this is the basis of the first three novels, Sunday In New York, set, of course, in New York, probably my favorite city in the world, “Echoes From The Past’ equally set in New York, Brooklyn Heights and Philadelphia. The third, The Devil You Don’t, travels through Europe, starting in Geneva, moving to Rome, then Sorrento, and then to Venice. Now, my passion to write is fuelled by travel and fine dining. When I take a break from these, I get to torment my three wonderful grandchildren whom I actively encourage to read as much as they can, and more recently to also write. As for almost every other writer, I would not be able to do any of this without my wife who has put up with my moodiness, the times when I'm locked away in a room trying to push out another 2,000 words, and yet despite everything still puts up with me. I wish I could say the same for our cat. Alas, I am still trying to work out how to be his friend!

Writing about writing a book – Day 7 Continues – Jennifer

Jennifer again.

From Bill Chandler’s perspective,

She was a good worker, but extremely private.  Her path had been clear; work, no play, and avoid everyone.  I’d seen her deal with executives and office boys alike, and put up barriers that no one could penetrate.  She made herself deliberately unattractive and unapproachable for reasons unknown.

Over time I tried to penetrate that steely exterior with moderate success, trying to get to know her better.  And, in doing so I discovered she apparently had a bad experience early on in life with someone, and it had affected her deeply.

Of course, it didn’t progress much more than that one admission, not until the divorce.  It was long and problematical because Ellen had chosen to go the hard route rather than just call it off, perhaps to make me realize just what I had put her through.  The sad fact was, there was nothing I could do to make it right, now or in the future.

But because of that, and because it seemed to Jennifer that I needed someone to ‘lean’ on in my time of trouble, she became the only person I could talk to.  It wasn’t difficult.  We were both working long hours in each others company, and neither of us had a desire to go home.

Then three months ago, something happened and everything changed. 

Well, it changed between us, but to the outside world, no one would ever know.  That didn’t mean we hadn’t been friends of a sort before that, it was just we were, well, I don’t think I could describe it.  All I know is I knew my feelings for her had changed, or perhaps they were the same, and she had changed.  Whatever it was, I was glad.  Ellen had been dragging me down for so long; just being with Jennifer was like a breath of fresh air.

I found I could pour out the details of my sad and undistinguished life to her.  She was the one and only person to whom I could talk freely.  And, all of a sudden, apparently I was the only one she could talk freely to too.  From that point, we had become a different sort of friends, and, in the last week or so, a little more than that.

Our last encounter had been interesting to say the least.  I was still not sure of what I said, or how it ended, other than I had apologized to her the Friday night before we parted.  I hadn’t exactly wanted any vacation days, they were thrust upon me, but perhaps it was fortuitous in that it would give us both time to consider our relationship.

After Ellen, I hadn’t thought about getting involved in a relationship, or anything else for that matter, but it seemed that was where Jennifer and I could finish up, despite the fact neither of us were realistically looking for anything other than a friendship.

That very subtly changed on that Friday night.

Now I’d been thrust back into the fire, and I wondered just how I would feel seeing her. 

 

Jennifer is an important character in several ways, as a friend to Bill, and in a way, connected to him in a way he doesn’t yet know.  She will also have some impact when his past finally catches up with him.

I’m still working on her character background, but more will follow soon.

She is about to change, especially in the eyes of Bill.

 

© Charles Heath 2016-2019

The cinema of my dreams – I never wanted to go to Africa – Episode 11

It’s still a battle of wits, but our hero knows he’s in serious trouble.

The problem is, there are familiar faces and a question of who is a friend and who is foe made all the more difficult because the enemy if it is the enemy, doesn’t look or sound or act like the enemy.
Old friends, new tricks.

Genial tone, trying to win my confidence.  I wasn’t going to ask, but wait for an explanation.  Asking would be like leaving the door ajar.

He sat after pulling the chair closer to the table and put his clasped hands on the table.

“This is a secret military operation known only to very few, apart from the team that is in situ.  Commander Breeman has been, against very specific direct orders, trying to find out what we are doing here.”  He stopped.

I think this was the moment I was supposed to ask, what was going on here.

If it was secret, then I didn’t want to know, and he was not going to tell me anyway.

I just looked attentive.

“You have been caught up in a jurisdictional issue.  It’s not hard to assume that you were sent here, with the pilot of that helicopter, to do an off the book search for this camp.  That, in itself, would be impossible, but the flyover coincided with a provedore run.  Just plain bad luck.”

For Joe, the pilot, it was.  Or not, if he had been given specific verbal orders, making it out to be a training run.  And the odds of me being on board at the same time, given my association with Breeman?

One coincidence too many.

And if it was as the man before had said, they knew everything, then Bamfield would know of my connection to her.

“You said you had no idea where you were when you were shot down?”

Time, I guess, to speak.  “No, I didn’t.  The desert looks all the same to me.”

“You will forgive me if I say I find that hard to believe.  I know you are better than that, Alan.  Who sent you out here?”

“I was along for the ride.  Standard operating procedure.  A helo goes up, someone like me has to be on board in case of trouble.  More conventional trouble than rockets.”

“But you specifically?”

“I don’t make the rosters, I just go where they tell me.”

Bamfield frowned.  I think he’d finally noticed I was not addressing him as ‘sir’.  Until I knew what side he was on, I considered myself a prisoner of war.

 

© Charles Heath 2019

Writing a book in 365 days – 275

Day 275

Poetry, again

…

The Necessary Madness: Why Poetry Demands a Certain Unsoundness of Mind

There are few pronouncements in literature as instantly arresting and delightfully unsettling as the suggestion that to truly engage with poetry—to write it, or even to enjoy it—requires “a certain unsoundness of mind.”

This quote, often attributed to the Romantic critic and essayist William Hazlitt (though sometimes debated), doesn’t just demand our attention; it challenges the very foundation of how we define sanity, rationality, and the purpose of art.

If the quote holds any truth, it suggests that the purest forms of human expression are found not in the center of logic, but on the fringes of accepted thought.

The Tyranny of the ‘Sound’ Mind

Before we celebrate this poetic madness, we must first define what the “sound mind” represents.

The ‘sound mind’ is the mind built for survival and efficiency. It is pragmatic, literal, and relentlessly focused on the material world. It asks: How does this benefit me? Is this efficient? What is the demonstrable return on investment? A sound mind appreciates a spreadsheet more than a sonnet.

Poetry, by its nature, is profoundly unsound. It is impractical. It sacrifices plain meaning for music, clarity for color, and the material for the transcendent. In the purely economic or rational sense, poetry is useless.

The poet, therefore, must reject the tyranny of the purely rational. They must be willing to stare at a blade of grass not as an element of photosynthesis, but as a small, green miracle demanding an ode. This ability to divert focus from the practical necessities of life to the consuming fire of feeling—this is the first hint of “unsoundness.”

The Poet as the Maximalist of Feeling

When we talk about the “unsoundness” necessary for poetry, we are generally not talking about pathology, but rather maximal sensitivity.

The poet is often someone who feels the world too intensely. They do not merely observe tragedy; they absorb it. They do not just see beauty; they are momentarily blinded by it. This heightened level of empathy and emotional responsiveness is exhausting, destabilizing, and deeply incompatible with the smooth running of mundane life.

To be a poet is to stand permanently outside the insulating wall of detachment that most people build to cope with existence. You must be vulnerable to the overwhelming sensory and emotional data the world constantly provides.

In this context, poetry becomes a necessary defense mechanism. It is the obsessive, painstaking labor of translating this overwhelming internal cacophony into structured sound. The rhyme, the meter, the perfect metaphor—these elements are not arbitrary decorations; they are the cage the poet builds to house their wild, excessive feelings.

Unsoundness is the Engine of Metaphor

Perhaps the greatest sign of poetic “unsoundness” is the absolute reliance on metaphor.

The logical mind deals strictly with A = A. The poetic mind insists that A = B, even when A and B share no literal qualities. It sees a lover’s eyes and calls them stars; it sees a city and calls it a sleeping animal.

This non-linear connection—this immediate leap across the chasm of logic—is the signature mental deviation required for the art form. The poet must briefly abandon empirical reality to create a new reality, one governed by emotional resonance rather than physics.

To create the brilliant, jarring imagery that defines great verse, the poet must be willing to let their mind wander into territory that the logical world deems nonsensical. They must embrace the illogical truth.

The Reader’s Necessary Leap

The quote states that even enjoying poetry demands this mental deviation. This is perhaps the more insidious and intriguing part of the claim.

If the poet is the architect of illogical truth, the reader must be willing to temporarily relocate their own mind to that space.

To truly enjoy a poem, you cannot read it primarily for information. You must allow yourself to be led away from the concrete ground you stand upon. The appreciation of poetry requires the reader to:

  1. Suspend Literal Meaning: To understand why the moon might weep or the wind might whisper secrets, we must momentarily sideline our rational understanding of astronomy and meteorology.
  2. Embrace Emotional Logic: We must prioritize the feeling the poem evokes over the fact it describes.
  3. Accept the Unexplained: We must allow the poem to exist outside the need for easy answers, recognizing that the beauty lies in the ambiguity.

In the brief time we spend with a stanza, we are happily infected by the poet’s particular brand of “madness.” We choose to be unsound, and in that fleeting moment of voluntary irrationality, we find profound emotional clarity.

A Celebration of Necessary Deviance

The history of poetry—from the romantic excess of Lord Byron to the stark, fragmented vision of Sylvia Plath—is littered with geniuses who struggled to align their profound internal lives with the demands of the pragmatic world.

The quote, therefore, is not an insult or a diagnosis. It is a profound observation about the nature of creativity. The “unsoundness of mind” is simply the maximal awareness of the human condition—the courage to feel disproportionately and to articulate those feelings without filtering them through the gauze of acceptable, practical thought.

If sanity is defined by the refusal to look beyond the mundane, then thank heaven for the glorious, necessary unsoundness that gives us the words to describe the sublime.

What Do You Think?

Do you agree that a departure from strict logic is necessary to appreciate poetry? Who is your favorite poet whose work seems to thrive on this “unsoundness” of mind? Share your thoughts in the comments below!

Searching for locations: Tiananmen Square, Beijing, China

Some interesting facts before we get out of the bus…

Tiananmen Square or Tian’anmen Square is in the centre of Beijing name after the Gate of Heavenly Peace, a gate that one separated the square from the Forbidden City.

The Square contains,

   the Monument to the People’s Heroes
   the Great Hall of the People
   the National Museum of China
   the Mausoleum of Mao Zedong.

The square is about 109 acres and was designed and built in 1651, and since then been enlarged four times since, the most recent upgrade in the 1950s.

The Monument to the People’s Heroes

This is a ten-story obelisk built to commemorate the matters of the revolutions.  It was built between August 1952 and May 1958.  On the pedestal are reliefs depicting the eight major revolutionary episodes.

The Great Hall of the People

This was opened in September 1959, and covers 171809 square meters.  The Great Hall is the largest auditorium in China and can seat up to 10,000 people.  The State Banquet Hall can seat up to 5,000 diners.

The National Museum of China

This is one of the largest museums in the world and the second most visited museum in the world after the Louvre in Paris.   It was completed in 1959, and sits on 65 hectares, and rises four floors.  It has a permanent collection of over 1,000,000 items.

The Mauseloum of Mao Zedong

This was built shortly after his death, and completed on May 24th, 1977.  The embalmed body of the Chairman is preserved and on display in the center hall.

My own observations
This is huge; one of the largest public squares in the world, and if you’re going to walk it, like we did, make sure you’ve been exercising before you go.  It covers 44 hectares, borders on the Forbidden City, and has a memorial to Chairman Mao in the center of it.  But you cannot go near it, it’s fenced off, and it is guarded.

That’s both the statue and the square as there are random guards marching in random directions all the while watching us to see that we don’t misbehave.No one wants to find out what would happen if you jumped the fence around the statue, but I’m guessing you’ll have a few years to contemplate the stupidity of your actions with some very unhappy government officials.

Around the edges of the square are huge buildings, on one side is the museum 

and on the other is the Chinese equivalent of parliament.

Around the sides are also large gardens

At one end, where the Forbidden City borders on the square, there’s a huge flag pole flying the Chinese flag, and this too like the monument is fenced off, and guarded by members of all of their armed services.  No tanks rolled out during our visit much to our disappointment.  There is no entrance to the Forbidden City from the square

At the other end is the Mausoleum of Mao Zedong, which was closed the day we were there, as was the museum. 

There are four sculptural groups installed outside the mausoleum.

Other than that, it’s just another square, albeit probably one of the largest in the world.  It can, we were told, hold about a million people.

What I learned about writing – When you need a distraction!

If I get a headache, I can take paracetamol

If I have a sore back, I can take ipBrufen.

If I can’t put words on paper … what is there I can take?

Therein lies the writer’s dilemma.

I have been staring at the blank screen on my computer for about an hour now.  I am in the middle of a rewrite.  I know what direction I want the story to go.  Yet, for the life of me, I cannot find the words.

Is it writer’s block?

Here’s the thing.

Not four hours ago, I had all the words in the world.  The new scene was all but writing itself; the words flowed, and the characters were alive and almost bubbling over with enthusiasm.  I was almost as if I was in the same room with them and their mental sparring.

That scene is done.

And usually, the next is already forming in my mind as I’m getting to the end.  This time, an untimely interruption put a spoke in the works, diverted my attention to resolving a problem, and everything I’d been thinking about has gone.

Not a block then, but a dastardly distraction.

I guess I’m going on a long walk around the neighbourhood, looking but not seeing, thinking but trying not to think, stopping at the café and have a long hot coffee and a cake, perhaps this time a custard tart with whipped cream (OK, I know that can’t be good for me, but it is delicious) and by the time I get back …

Hopefully, the words will return.

An excerpt from “The Things We Do for Love”; In love, Henry was all at sea!

In the distance, he could hear the dinner bell ringing and roused himself.  Feeling the dampness of the pillow, and fearing the ravages of pent-up emotion, he considered not going down but thought it best not to upset Mrs. Mac, especially after he said he would be dining.

In the event, he wished he had reneged, especially when he discovered he was not the only guest staying at the hotel.

Whilst he’d been reminiscing, another guest, a young lady, had arrived.  He’d heard her and Mrs. Mac coming up the stairs and then shown to a room on the same floor, perhaps at the other end of the passage.

Henry caught his first glimpse of her when she appeared at the door to the dining room, waiting for Mrs. Mac to show her to a table.

She was in her mid-twenties, slim, with long brown hair, and the grace and elegance of a woman associated with countless fashion magazines.  She was, he thought, stunningly beautiful with not a hair out of place, and make-up flawlessly applied.  Her clothes were black, simple, elegant, and expensive, the sort an heiress or wife of a millionaire might condescend to wear to a lesser occasion than dinner.

Then there was her expression; cold, forbidding, almost frightening in its intensity.  And her eyes, piercingly blue and yet laced with pain.  Dracula’s daughter was his immediate description of her.

All in all, he considered, the only thing they had in common was, like him, she seemed totally out of place.

Mrs. Mac came out of the kitchen, wiping her hands on her apron.  She was, she informed him earlier, chef, waitress, hotelier, barmaid, and cleaner all rolled into one.  Coming up to the new arrival she said, “Ah, Miss Andrews, I’m glad you decided to have dinner.  Would you like to sit with Mr. Henshaw, or would you like to have a table of your own?”

Henry could feel her icy stare as she sized up his appeal as a dining companion, making the hair on the back of his neck stand up.  He purposely didn’t look back.  In his estimation, his appeal rating was minus six.  Out of a thousand!

“If Mr. Henshaw doesn’t mind….”  She looked at him, leaving the query in mid-air.

He didn’t mind and said so.  Perhaps he’d underestimated his rating.

“Good.”  Mrs. Mac promptly ushered her over.  Henry stood, made sure she was seated properly and sat.

“Thank you.  You are most kind.”  The way she said it suggested snobbish overtones.

“I try to be when I can.”  It was supposed to nullify her sarcastic tone but made him sound a little silly, and when she gave him another of her icy glares, he regretted it.

Mrs. Mac quickly intervened, asking, “Would you care for the soup?”

They did, and, after writing the order on her pad, she gave them each a look, imperceptibly shook her head, and returned to the kitchen.

Before Michelle spoke to him again, she had another quick look at him, trying to fathom who and what he might be.  There was something about him.

His eyes, they mirrored the same sadness she felt, and, yes, there was something else, that it looked like he had been crying?  There was a tinge of redness.

Perhaps, she thought, he was here for the same reason she was.

No.  That wasn’t possible.

Then she said, without thinking, “Do you have any particular reason for coming here?”  Seconds later she realized she’d spoken it out loud, had hadn’t meant to actually ask, it just came out.

It took him by surprise, obviously not the first question he was expecting her to ask of him.

“No, other than it is as far from civilization, and home, as I could get.”

At least we agree on that, she thought.

It was obvious he was running away from something as well.

Given the isolation of the village and lack of geographic hospitality, it was, from her point of view, ideal.  All she had to do was avoid him, and that wouldn’t be difficult.

After getting through this evening first.

“Yes,” she agreed.  “It is that.”

A few seconds passed, and she thought she could feel his eyes on her and wasn’t going to look up.

Until he asked, “What’s your reason?”

Slightly abrupt in manner, perhaps, because of her question and how she asked it.

She looked up.  “Rest.  And have some time to myself.”

She hoped he would notice the emphasis she had placed on the word ‘herself’ and take due note.  No doubt, she thought, she had completely different ideas of what constituted a holiday than he, not that she had said she was here for a holiday.

Mrs. Mac arrived at a fortuitous moment to save them from further conversation.

Over the entree, she wondered if she had made a mistake coming to the hotel.  Of course, there had been no conceivable way she could know that anyone else might have booked the same hotel, but realized it was foolish to think she might end up in it by herself.

Was that what she was expecting?

Not a mistake then, but an unfortunate set of circumstances, which could be overcome by being sensible.

Yet, there he was, and it made her curious, not that he was a man, by himself, in the middle of nowhere, hiding like she was, but for quite varied reasons.

On discreet observance, whilst they ate, she gained the impression his air of light-heartedness was forced, and he had no sense of humour.

This feeling was engendered by his looks, unruly dark hair, and permanent frown.  And then there was his abysmal taste in clothes on a tall, lanky frame.  They were quality but totally unsuited to the wearer.

Rebellion was written all over him.

The only other thought crossing her mind, and incongruously, was he could do with a decent feed.  In that respect, she knew now from the mountain of food in front of her, he had come to the right place.

“Mr. Henshaw?”

He looked up.  “Henshaw is too formal.  Henry sounds much better,” he said, with a slight hint of gruffness.

“Then my name is Michelle.”

Mrs. Mac came in to take their order for the only main course, gather up the entree dishes, and then return to the kitchen.

“Staying long?” she asked.

“About three weeks.  Yourself?”

“About the same.”

The conversation dried up.

Neither looked at the other, rather at the walls, out the window, towards the kitchen, anywhere.  It was, she thought, unbearably awkward.

Mrs. Mac returned with a large tray with dishes on it, setting it down on the table next to theirs.

“Not as good as the usual cook,” she said, serving up the dinner expertly, “but it comes a good second, even if I do say so myself.  Care for some wine?”

Henry looked at Michelle.  “What do you think?”

“I’m used to my dining companions making the decision.”

You would, he thought.  He couldn’t help but notice the cutting edge of her tone.  Then, to Mrs. Mac, he named a particular White Burgundy he liked, and she bustled off.

“I hope you like it,” he said, acknowledging her previous comment with a smile that had nothing to do with humour.

“Yes, so do I.”

Both made a start on the main course, a concoction of chicken and vegetables that were delicious, Henry thought when compared to the bland food he received at home and sometimes aboard my ship.

It was five minutes before Mrs Mac returned with the bottle and two glasses.  After opening it and pouring the drinks, she left them alone again.

Henry resumed the conversation.  “How did you arrive?  I came by train.”

“By car.”

“Did you drive yourself?”

And he thought, a few seconds later, that was a silly question, otherwise she would not be alone, and certainly not sitting at this table. With him.

“After a fashion.”

He could see that she was formulating a retort in her mind, then changed it, instead, smiling for the first time, and it served to lighten the atmosphere.

And in doing so, it showed him she had another more pleasant side despite the fact she was trying not to look happy.

“My father reckons I’m just another of ‘those’ women drivers,” she added.

“Whatever for?”

“The first and only time he came with me I had an accident.  I ran up the back of another car.  Of course, it didn’t matter to him the other driver was driving like a startled rabbit.”

“It doesn’t help,” he agreed.

“Do you drive?”

“Mostly people up the wall.”  His attempt at humour failed.  “Actually,” he added quickly, “I’ve got a very old Morris that manages to get me where I’m going.”

The apple pie and cream for dessert came and went and the rapport between them improved as the wine disappeared and the coffee came.  Both had found, after getting to know each other better, their first impressions were not necessarily correct.

“Enjoy the food?” Mrs. Mac asked, suddenly reappearing.

“Beautifully cooked and delicious to eat,” Michelle said, and Henry endorsed her remarks.

“Ah, it does my heart good to hear such genuine compliments,” she said, smiling.  She collected the last of the dishes and disappeared yet again.

“What do you do for a living,” Michelle asked in an off-hand manner.

He had a feeling she was not particularly interested, and it was just making conversation.

“I’m a purser.”

“A what?”

“A purser.  I work on a ship doing the paperwork, that sort of thing.”

“I see.”

“And you?”

“I was a model.”

“Was?”

“Until I had an accident, a rather bad one.”

“Oh, I’m sorry.”

So that explained the odd feeling he had about her.

As the evening wore on, he began to think there might be something wrong, seriously wrong with her because she didn’t look too well.  Even the carefully applied makeup, from close, didn’t hide the very pale, and tired look, or the sunken, dark-ringed eyes.

“I try not to think about it, but it doesn’t necessarily work.  I’ve come here for peace and quiet, away from doctors and parents.”

“Then you will not have to worry about me annoying you.  I’m one of those fall-asleep-reading-a-book types.”

Perhaps it would be like ships passing in the night and then smiled to himself about the analogy.

Dinner over, they separated.

Henry went back to the lounge to read a few pages of his book before going to bed, and Michelle went up to her room to retire for the night.

But try as he might, he was unable to read, his mind dwelling on the unusual, yet compellingly mysterious person he would be sharing the hotel with.

Overlaying that original blurred image of her standing in the doorway was another of her haunting expressions that had, he finally conceded, taken his breath away, and a look that had sent more than one tingle down his spine.

She may not have thought much of him, but she had certainly made an impression on him.

…

© Charles Heath 2015-2024

lovecoverfinal1

Searching for locations: The Golden Mask Dynasty Show, Beijing, China

The Golden Mask Dynasty Show was located at the OCT Theatre in Beijing’s Happy Valley. 

The theatre was quite full and the seats we had were directly behind the VIP area; as our guide told us, we had the best seats in the house. 

The play has 20 different dance scenes that depict war, royal banquets, and romance.  There are eight chapters and over 200 actors, and throughout the performance we were entertained by dancers, acrobats, costumes, lighting, and acoustics.

The story:

It is of romantic legend and historical memories, the Golden Mask Queen leads her army in defeating the invading Blue Mask King’s army, and afterwards the lands return to a leisurely pastoral life until the Queen forges a ‘mysterious tree’.  When the tree has grown, the Queen has a grand celebration, and releases the captured Blue soldiers, much to the admiration of the Blue Mask King.
This is followed by monstrous floods, and to save her people, and on the advice from the ‘mysterious tree’, the Queen sacrifices herself to save her people.  The Queen then turns into a golden sunbird flying in the sky blessing the people and that of the dynasty.

Billed as the best live show in China, described as a large scale dramatic musical, “The Golden Mask Dynasty” it lived up to its reputation and was thoroughly enjoyed by all.

It was not just singing dancing and acrobatics, it had a story and it was told so that language and cultural issues aside, it worked.  There was a narration of the story running beside the stage, but it was hard to divide attention between what was happening, and what was being related.

Then came the peacock dance, with live peacocks

And this was followed by a waterfall, well, I don’t think anyone in that audience could believe what they were seeing.

I know I was both astonished and in awe of the performance.

What a way to finish off our first day in Beijing.

Oh, sorry, that high was dented slightly when we had to go back to our room.

“One Last Look”, nothing is what it seems

A single event can have enormous consequences.

A single event driven by fate, after Ben told his wife Charlotte he would be late home one night, he left early, and by chance discovers his wife having dinner in their favourite restaurant with another man.

A single event where it could be said Ben was in the wrong place at the wrong time.

Who was this man? Why was she having dinner with him?

A simple truth to explain the single event was all Ben required. Instead, Charlotte told him a lie.

A single event that forces Ben to question everything he thought he knew about his wife, and the people who are around her.

After a near-death experience and forced retirement into a world he is unfamiliar with, Ben finds himself once again drawn back into that life of lies, violence, and intrigue.

From London to a small village in Tuscany, little by little Ben discovers who the woman he married is, and the real reason why fate had brought them together.

It is available on Amazon here:  http://amzn.to/2CqUBcz

Writing a book in 365 days – 275

Day 275

Poetry, again

…

The Necessary Madness: Why Poetry Demands a Certain Unsoundness of Mind

There are few pronouncements in literature as instantly arresting and delightfully unsettling as the suggestion that to truly engage with poetry—to write it, or even to enjoy it—requires “a certain unsoundness of mind.”

This quote, often attributed to the Romantic critic and essayist William Hazlitt (though sometimes debated), doesn’t just demand our attention; it challenges the very foundation of how we define sanity, rationality, and the purpose of art.

If the quote holds any truth, it suggests that the purest forms of human expression are found not in the center of logic, but on the fringes of accepted thought.

The Tyranny of the ‘Sound’ Mind

Before we celebrate this poetic madness, we must first define what the “sound mind” represents.

The ‘sound mind’ is the mind built for survival and efficiency. It is pragmatic, literal, and relentlessly focused on the material world. It asks: How does this benefit me? Is this efficient? What is the demonstrable return on investment? A sound mind appreciates a spreadsheet more than a sonnet.

Poetry, by its nature, is profoundly unsound. It is impractical. It sacrifices plain meaning for music, clarity for color, and the material for the transcendent. In the purely economic or rational sense, poetry is useless.

The poet, therefore, must reject the tyranny of the purely rational. They must be willing to stare at a blade of grass not as an element of photosynthesis, but as a small, green miracle demanding an ode. This ability to divert focus from the practical necessities of life to the consuming fire of feeling—this is the first hint of “unsoundness.”

The Poet as the Maximalist of Feeling

When we talk about the “unsoundness” necessary for poetry, we are generally not talking about pathology, but rather maximal sensitivity.

The poet is often someone who feels the world too intensely. They do not merely observe tragedy; they absorb it. They do not just see beauty; they are momentarily blinded by it. This heightened level of empathy and emotional responsiveness is exhausting, destabilizing, and deeply incompatible with the smooth running of mundane life.

To be a poet is to stand permanently outside the insulating wall of detachment that most people build to cope with existence. You must be vulnerable to the overwhelming sensory and emotional data the world constantly provides.

In this context, poetry becomes a necessary defense mechanism. It is the obsessive, painstaking labor of translating this overwhelming internal cacophony into structured sound. The rhyme, the meter, the perfect metaphor—these elements are not arbitrary decorations; they are the cage the poet builds to house their wild, excessive feelings.

Unsoundness is the Engine of Metaphor

Perhaps the greatest sign of poetic “unsoundness” is the absolute reliance on metaphor.

The logical mind deals strictly with A = A. The poetic mind insists that A = B, even when A and B share no literal qualities. It sees a lover’s eyes and calls them stars; it sees a city and calls it a sleeping animal.

This non-linear connection—this immediate leap across the chasm of logic—is the signature mental deviation required for the art form. The poet must briefly abandon empirical reality to create a new reality, one governed by emotional resonance rather than physics.

To create the brilliant, jarring imagery that defines great verse, the poet must be willing to let their mind wander into territory that the logical world deems nonsensical. They must embrace the illogical truth.

The Reader’s Necessary Leap

The quote states that even enjoying poetry demands this mental deviation. This is perhaps the more insidious and intriguing part of the claim.

If the poet is the architect of illogical truth, the reader must be willing to temporarily relocate their own mind to that space.

To truly enjoy a poem, you cannot read it primarily for information. You must allow yourself to be led away from the concrete ground you stand upon. The appreciation of poetry requires the reader to:

  1. Suspend Literal Meaning: To understand why the moon might weep or the wind might whisper secrets, we must momentarily sideline our rational understanding of astronomy and meteorology.
  2. Embrace Emotional Logic: We must prioritize the feeling the poem evokes over the fact it describes.
  3. Accept the Unexplained: We must allow the poem to exist outside the need for easy answers, recognizing that the beauty lies in the ambiguity.

In the brief time we spend with a stanza, we are happily infected by the poet’s particular brand of “madness.” We choose to be unsound, and in that fleeting moment of voluntary irrationality, we find profound emotional clarity.

A Celebration of Necessary Deviance

The history of poetry—from the romantic excess of Lord Byron to the stark, fragmented vision of Sylvia Plath—is littered with geniuses who struggled to align their profound internal lives with the demands of the pragmatic world.

The quote, therefore, is not an insult or a diagnosis. It is a profound observation about the nature of creativity. The “unsoundness of mind” is simply the maximal awareness of the human condition—the courage to feel disproportionately and to articulate those feelings without filtering them through the gauze of acceptable, practical thought.

If sanity is defined by the refusal to look beyond the mundane, then thank heaven for the glorious, necessary unsoundness that gives us the words to describe the sublime.

What Do You Think?

Do you agree that a departure from strict logic is necessary to appreciate poetry? Who is your favorite poet whose work seems to thrive on this “unsoundness” of mind? Share your thoughts in the comments below!

Harry Walthenson, Private Detective – the second case – A case of finding the “Flying Dutchman”

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What starts as a search for a missing husband soon develops into an unbelievable story of treachery, lies, and incredible riches.

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It was meant to remain buried long enough for the dust to settle on what was once an unpalatable truth, when enough time had passed, and those who had been willing to wait could reap the rewards.

The problem was, no one knew where that treasure was hidden or the location of the logbook that held the secret.

At stake, billions of dollars’ worth of stolen Nazi loot brought to the United States in an anonymous tramp steamer and hidden in a specially constructed vault under a specifically owned plot of land on the once docklands of New York.

It may have remained hidden and unknown to only a few, if it had not been for a mere obscure detail being overheard …

… by our intrepid, newly minted private detective, Harry Walthenson …

… and it would have remained buried.

Now, through a series of unrelated events, or are they, that well-kept secret is out there, and Harry will not stop until the whole truth is uncovered.

Even if it almost costs him his life.  Again.