I wrote my first abecedarian poem Instability Report to David’s W3 Poetry Prompt #200 where the Poet of the Week is Christine Bialczak

I’ve published two versions of my first attempt at an abecedarian poem. One follows the rules closely, while the other wanders from them a little.

Version B of my poem uses the constraint‑based form: a 26‑word abecedarian in which each word begins with a different letter of the alphabet, A through Z, used once and only once, in no fixed order.

Version A repeats the letters a, e, w, and m in a few places, which means it isn’t a pure abecedarian poem, though it was certainly shaped by the constraints of the form. I’ve published it because I prefer its strangeness to the more straightforward comic whimsy of Version B. I’ve enjoyed how the strictures of the form has pushed me to write a touch stranger than usual.

The image shows a humorous digital ink and watercolour cartoon sketch of three pink zits dancing by Lesley Scoble.
Pink Zits Dancing | Digital ink and watercolour©️Lesley Scoble

Narrated by me.

Instability Report Written and Narrated by Lesley Scoble

Here is the version that sticks to the abecedarian rules (I hope!). There’s no audio for Version B, and its title is Diagnostic Oddities.


THANK YOU
My thanks as always, to David Bogomolny, for hosting his inspirational poetry platform.
My thanks to Christine for her interesting abecedarian prompt.
And my thanks to you, dear reader, for spending time with me.


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3 responses to “Instability Report: Abecedarian poem (And Audio Narration)”

  1. I think you hit the nail straight on the head! Very clever and of course you know I love anything you read to me!

    Liked by 1 person

    1. Aw, Violet, you’re inordinately kind—thank you so much. 🙇‍♀️

      Liked by 1 person

  2. A is the poem.

    On the page it looks slightly unruly; in the mouth it comes alive. The rhythm carries it. The leaps feel intentional rather than random. “Geriatric / farmers’ / markets” working against “young knights / wearing white armours” is properly destabilising. That’s where the poem earns its title. It tilts perceptions and then tilts some more.

    Version B behaves. I can see the constraint working. I admire the engineering. But I can also hear compliance. It’s tidy. It completes the task. It doesn’t unsettle.

    A, by contrast, allows image to outrun explanation. That’s a surrealist instinct. When lungs become cocoons and pink zits dance in junkets, you’ve stepped out of diagnostic realism and into something freer and more disconcerting. Stay there. I dare you.

    The audio matters. Your phrasing, the micro-pauses, the lift on “nothing’s quite right, / alright” — that’s where the strangeness lands properly. You’re writing for the ear, not just the eye, and it comes through. I put a lot of weight on the delivery of sound myself. A poem that doesn’t survive exposure to air is half-built – at best.

    Anyway, welcome to Surrealists’ Corner where instability is the point and birdmen throw antimatter darts that morph into goldfish!

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