Marrow Bones and Cleaver Music A Collection of Poems edition by Marty Weil Politics Social Sciences eBooks
Download As PDF : Marrow Bones and Cleaver Music A Collection of Poems edition by Marty Weil Politics Social Sciences eBooks 
Marty Weil's poetry is rooted in historical realities.
Weil's writing is best described as ekphrastic. However, more than simple homage to art, his poems reflect the ancient meaning of ekphrastic poetry to include the analysis of any person, thing, or experience.
There is wondrous art in all creatures and creations, especially when viewed through a prism that blends truth with fable. In MARROW BONES AND CLEAVER MUSIC, Weil closely examines specific (often obscure) experiences and endeavors from the full spectrum of existence. Weil's poetry is designed to synthesizes his interests into universal expressions. He writes poetry to highlight the importance of little histories; to help process and embrace our fragile, fleeting, and beautiful lives; and, to enlighten, entertain, and enrich the mind.
Weil's poems are compact. The significance of brevity surfaces in the way that limitations can both complicate and cultivate emotion and how these complications may manifest themselves in our human attachments to objects, time, others, and the places that we call home.
"The poems in Marrow Bones and Cleaver Music are a welcome change from the usual poetry that we are so used to seeing these days. Fresh and refreshing with exquisite expressions, this book is a def. read for those who love good, contemporary poetry. My favorites include “What is real?, Celebrate the Word, Empty, and Irony”.”
-Praveen Kumar, Editor, Poetry of Life
Marrow Bones and Cleaver Music A Collection of Poems edition by Marty Weil Politics Social Sciences eBooks
The magic in Marty Weil’s poems comes not only from the depth of his observations, but also the unique phrases that caused me to stop and savor the words. Here are a few of my favorite lines:From Seeds of Regret: “A scene in which evil purposes pause—the middlemost mansion appointed for souls not perfected in this world.”
From Diamonds: “In lustrous long arcades among the willows and rattlesnakes most deadly search the strata for a brilliant stone so very difficult to obtain.”
From Scenes from an Orgy: “. . . the licentious, magical-mystical scene. The worship of greed always ends this way.”
From Abidingly Yours: “I’ll pledge myself for two returning moons . . . Time is my torment…”
From The Threat: “Never acknowledge the darkness of universal malice.”
I was intrigued by the title of the book, Marrow Bones and Cleaver Music, and so was pleased to see a poem of the same name. The last lines will long remain in my memory. “Well, let rustic moralists convey outrage. The music makers are strong enough to face retaliation.”
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Marrow Bones and Cleaver Music A Collection of Poems edition by Marty Weil Politics Social Sciences eBooks Reviews
A very enjoyable book of poetry, covering a wide-variety of subject matter. As a blues aficionado, I particularly enjoyed the music-themed poems. However, the one that stood out to me was named "Privacy 2013." Mr. Weil's work is often simple and direct, but he is not afraid to use evocative language to get his point across. Definitely recommended.
A journey for the mind to hidden corners and secret caverns... Weil takes us not only out of our element but also backward and forward in time. While his language is at times overreaching and difficult to follow without a dictionary, the poet does hit upon that transformational quality of true ekphrasis. Favorites from this collection include the down-to-earth "Drinking" ("...Throw the house /out the window /and let it tumble /over itself in its excess of life...") and short gem "Heart Spoon."
I always like discovering a new poet, so I was really glad to find Marty Weil. The poems in his book Marrow Bones and Cleaver Music remind me of Beat poetry, with a certain musical quality to the stanzas. I can imagine spending all night long at a coffee shop, maybe an open mike, listening to Marty’s wonderful poems, over a cup of coffee, or a glass of wine. These poems are really cool.
The collection opens with a fresh, punchy rhythmic poem ‘Folk Songs of the Underworld’ which eases through the idea of the Blues ‘sending sugar volts through legs that scramble/ for the 5.15 train’. The language in this poem, and in many others in the collection is both playful and sober, and on the whole Weil’s poems seem to manage this balance effectively. The sheer range of subjects (Pylons, Manga, 1984, Rens de Vache, a blacksmith, Asheville, NC to name a few) is to be admired; there is little Mr Weil resists exploring. Indeed, the best poems dance and weave with a Whitmanesque wonder (in fact, one begins ‘There is no obstacle on the road to wonder’) and this pleasure in the world balances carefully, just clearing the fence to ‘ecclesiastical mornings’ where we can see Weil watching how ‘A little blue light plays along the water - proclaiming your belief in myth’. Lovely observations punctuate the writing throughout. However, there are perhaps, some poems which veer towards an earnestness or sincerity which is weighted by a need to proclaim or determine the agenda of the poem, for eg ‘We proffer our anger/ remit our punishment./ Repent temerity./ Repent the outrage./ Repent the error./ Unwelcome consequences/ fall down from the steep mountains/ to germinate as regrets/ upon the heavy plowed ground.’ (‘Seeds of Regret’) In this poem it is regretful that the mountains are steep and the plowing is heavy, especially when up against the already determined language of repent and regret. And this reader winces a little at (admittedly rare but) archaic contractions and rather over-used decreasing-line-length-for-effect endings in many of the poems; these devices do not add to the effect of the individual poem which more often than not is sturdy enough without such quirks. In addition, the few weak poems seem weighted towards the end of the collection (John Fitzgerald Kennedy 1961, Residing Here, Fet Stat, The Poser) which is lends a slight declension in the power of the poems as a whole. Its hard to resist poems which ponder ‘straight line fever’ the one armed man playing billiards, the ‘grassy margin of the road’ alongside ‘the tar-paper roof/ of the Pylon School’. Jazzy, reeling, in love with life, Weil’s poems charm their way through the pages, refusing to sit still. That has got to be a good thing.
Do you know how many so-called poets have pelted me with poorly-written doggerel? If only I had a dollar for every one. I wouldn't be rich, but I could have bought a nice book of poems like this one. Isn't it a relief to read poetry that really is? What I thought about Marty Weil's collection was this whimsical in its depth, and deep in its whimsicality. It's like finding that well-buffed piece of sea glass on an ocean beach. What a delight.
My personal favorite
"In Bloom"
There is no obstacle
on the road to wonder.
We must have our journeys
ample for the wayside wanderer.
Stand rapt and marvel
at the collective imagination.
Somehow Martin Weil found his way into my mind and revealed my feelings about travel and Nature.
He wrote it, and I wish I had.
The magic in Marty Weil’s poems comes not only from the depth of his observations, but also the unique phrases that caused me to stop and savor the words. Here are a few of my favorite lines
From Seeds of Regret “A scene in which evil purposes pause—the middlemost mansion appointed for souls not perfected in this world.”
From Diamonds “In lustrous long arcades among the willows and rattlesnakes most deadly search the strata for a brilliant stone so very difficult to obtain.”
From Scenes from an Orgy “. . . the licentious, magical-mystical scene. The worship of greed always ends this way.”
From Abidingly Yours “I’ll pledge myself for two returning moons . . . Time is my torment…”
From The Threat “Never acknowledge the darkness of universal malice.”
I was intrigued by the title of the book, Marrow Bones and Cleaver Music, and so was pleased to see a poem of the same name. The last lines will long remain in my memory. “Well, let rustic moralists convey outrage. The music makers are strong enough to face retaliation.”
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