Hello, dearest gentle motherfuckers of the Internet. I hope you’re having a wonderful day. This is Eight speaking, and I am here to talk about one of my favorite poems Allēna has ever written, her enormous seven part piece “Guernica”. This poem appears in full in our second collection of poetry, Singing Molten Gold To The Morning. Today’s focus in particular is gonna be on “Guernica” Part 1.
This hell of a poem is a seven-part ringer that was inspired by a lot of her own trauma and Picasso’s landmark anti-war painting with the same name. At the time, she felt pressured into making her trauma into beautiful art. She felt that people wanted her to smooth the pain over to make it pretty and less visceral. And she was sick to death of having to walk on eggshells in her own creative process. She wanted to write a piece that captured the horror that the original painting made her feel. So she used the painting and the events that inspired it as a framing device.
Because this poem is so rich and hits so hard, we’re gonna write a post for each part. Whoever is in front that day will break it down for y’all. We’ll also include the poem’s text and a video recording of yours truly performing it. So let’s jump in.
“Guernica” Part 1: The Performance
The Text and Breakdown
“guernica” part 1.
26 april 1937..
i don’t know what i do best anymore
except turn pain into something beautiful
but what about the horrors of it and not the glory?
i want to take what i feel and not what i say
turn it into something 11 feet tall and 25 feet wide
but my hands are little
my hands are little and no paintbrush is small enough to catch
all the detail
i’m tired of walking over thresholds of bombed out
buildings or a half built house
i’m tired of only seeing rubble
i’m a builder, damnit
i’m supposed to build people up
i’m supposed to help
not have nightmares like flashbacks that crush me!
so i dare myself
now –
put your own oxygen mask on before you
drop that bomb
and then stay awhile
before flying away.
What Does This Thing Actually Mean?
Before she ever started writing this poem, she looked into what inspired Picasso to even paint such a shocking thing in the first place. She found that he’d painted it in a frenzy as a response to the Spanish government ordering the near total obliteration of a village called Guernica in Basque country during the Spanish Civil War.
The bombing was completely unprovoked. Guernica wasn’t a military target. Most of the men were away fighting in the war, leaving women and children behind. The nearest military target was miles away and was completely untouched in the attack.
Yet, the government had bombed them so thoroughly that the roads were choked with rubble and the remaining citizens were unable to flee. Naturally, Picasso was horrified, and out came this incredibly shocking painting in response. ThoughtCo published a brilliant article about Guernica if you want to read more about it in depth.
This reminded Allēna of much of what she and her headmates suffered at her family and then our now-ex husband’s hands for the duration of our entire life up until that point. All we’d ever wanted was to be left alone to do our thing without being controlled or harmed. We only misbehaved when the people around us refused to honor that simple request.
We’ve always been very emotionally independent, while these people were very codependent and toxic. As a result, we were emotionally, mentally, and physically abused for most of our life. So when Allēna came across this painting while researching for a tutoring session later that day, she felt seen for one of the first times in her life in the subjects’ agony and grief. She, too, was enduring unimaginable pain that she could only paint, write in verse, sing, and scream out.
On Taking What She Felt, Not What She Said In “Guernica” Part 1
Our family also went to great lengths to attempt to silence us so that we wouldn’t out them for the terrible people most of them were, so we were often sick and in a great deal of emotional pain and terribly lonely with no idea how to articulate our suffering to another person outside of music and poetry, which Lēna learned to write in code to get past Hera’s ever-watchful eye. Her 2017 album Mago, which I helped work on as a kind of passive influence, is an excellent example of such coded work. It sounds like a Broadway musical or some kind of vaudeville piece to the untrained ear, but if you know what all we’re talking about, it’s absolutely fiery and damning.
I’ve embedded Mago below so you can listen without even having to leave this page.
But by 2019, when Lēna wrote this piece, she was tired of having to think and write in code. She felt like she was drowning in what was left unsaid, so this was her effort to start talking about everything that had happened to us. She broke free from Hera for the first time a bit later on 5 July 2019. Her successor, Peri, would leave our ex husband a bit over a year later. She told our story, and it paid off.
Final Thoughts
I’m really excited for Part 2. I or whoever is out will talk about Part 2 tomorrow. If you thought “Guernica” Part 1 was a kick to the soul, just you fuckin’ wait. I both hope and don’t hope that “Guernica” makes you feel seen, because if you feel seen in this poem, you’ve absolutely Seen Some Shit. But if you HAVE indeed Seen Some Shit, I hope you feel seen and less alone as you read this. As always, stay tuned for more magic, because this time, magic is definitely imminent.
-Eight, Your Faithful Super-Admin And Bastard
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