Let’s hope that each and every SpiderWordser knows that constraints can be interesting. Restriction, the bondage of limiting the scope or vision of an artistic work, can lead to unexpected delights; strange and delightful creepy-crawlies can emerge from forced limitations.
On its own, Gorelets is a wonderful work. When viewed through its constraints, it’s even more impressive. By limiting the cruel aspects of his imagination, Michael A. Arnzen, who Cemetery Dance calls “a strong and important voice in horror,” brings to print fifty-two unpleasant poems that were originally written for PDAs or Palm Pilots. Those were his constraints, short jabs designed to fit the small screen of a handheld device. In eleven lines or less, no line greater than eight words, Arnzen has created bite-sized bits of insistent terror.
Eyes, scooped out, even swallowed, are a recurring theme. Fetuses and aliens, births and lots of deaths – these poems are definitive and powerful – as sexy as surgery. Bound by the little rules that shaped his dark vision, like Picasso embracing the constraints of the Blue Period or Cubism, these poems are stronger for their little glimpses into Arnzen’s febrile imagination. Gorelets is a landmark in the hazy atmospheres of experimental horror poetry, a compendium of brief but new perspectives, glimpses of body parts from wholly new angles.
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