It’s Fun to Go Gamming with Morris’s Pequod Poems
Wilda Morris’s latest collection, Pequod Poems, is delightful for its vibrant story telling through poetry. Its publication commemorated the 200th anniversary of Herman Melville’s birth. It consists of poems written in an outstanding variety of forms, some rarely used, and even some invented by the author. Each poem relates in some way to Melville and his famous whale and each one attests to Morris’s artistry and vivid imagination.
Organized into five sections. The poems in Part I introduce us to major characters in Moby-Dick treated here in unique fashion. Morris presents Ishmael by way of a Mesostic poem. In this form, all the printed characters of the epigraph weave vertically through the poem and form the sentence: “What a fine frosty night; how Orion glitters…” “Oceans” uses the Pleiades form, seven lines of six syllables each, in which the first letter of each line is from the poem’s title. “The Captain,” is rendered as a spiraling (and double) Abecedarian.
The full enjoyment of Morris’s poems derives not only from her abundant variety of poetical forms. Her clever wielding of content brings us so clearly into the whalers’ experiences. “A Pequod Sailor Speaks,” imagines the watery vistas the captain and crew might have seen.
Sudden winds bellow, curdle foam.
Sword-sharp, they rip the sails, shriek
and break the mast. Lightning stabs…
We read of Ahab considering the wind, learn of Pip, the tormented cabin boy, and encounter poems written from the viewpoint of Ahab’s wife. Using the sestina, Morris describes Stubb pondering the shadows he sees
…when the Angel of Death knocks and I hear
the window of my life closing…//
…I try to be bold, look into the face of death.
Ahab vows the finish of the great white whale in “Prophecy.” In “White” we find “…like tempestuous / wind and breakers, the spun / water that the white whale / whipped into a fury…” The Captain’s monomaniacal quest to avenge himself of his dismemberer is ever present in the lines.
In Part II, Morris uses the bouts-sonnet form, an erasure poem, the “a gram of &s” form, and other playful narrative styles, one of which takes end words from Shakespeare’s Sonnet No. 80. Throughout, the poet deftly maintains her theme.
The poet speaks in more philosophical tones in Part III. Here she sometimes addresses Melville directly. In Part IV, unexpectantly she brings out a bit of backtalk, assuming a new pitch. In “Meditation by the Water,” a speaker asks just what the psalmist means when he declares “the Almighty will keep you / under his wings.” And in “No Harm in Ahab,” a poem significant for our current times, Morris delves into the theme of evil and the question of righteousness.
Five poems in Part V bring the volume to a close. Here we come upon the “Golden Shovel,” the “lipogram,” and a form Morris herself devised.
With its rich content and variety, the skillful manipulation of words into logical form, and Morris’s imaginative imagery, Pequod Poems forms an engaging collection. One can read it for story, for reconnection with Melville’s novel, for pure delight in the richness of Morris’s descriptions, and for her skillful rhyming techniques.
About the Reviewer:
Carole Mertz, poet and essayist, has reviewed for Arc, Eclectica, Main St. Rag, The Bangalore Review, The Compulsive Reader, The League of Canadian Poets, World Literature Today, and elsewhere. She is the author of Color and Line, with Kelsay Books, 2021. Carole lives with her husband in Parma, OH. Her chapbook, Toward a Peeping Sunrise is available at Prolific Press.
Howard-Johnson is the multi award-wining author of fiction, creative nonfiction, and poetry. She is
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