10 Chinglettes
Chinglettes
‘Chinglettes’(*) are six line poems – each line must contain either 6 or 9 syllables.
I ‘invented’ Chinglettes to help me write Wee Neds Day. They didn’t help very much – the idea was simple, but grew many limbs, application became too complicated, hence the unfinished state of WND.
I wanted a big frame for WND. Many of the best novels have a big solid skeleton for the writer to work around, in much the same way that some sculptors use maquettes: Joyce exploited his experience as a medical student to ‘use’ human body parts, as well as colours, and the more obvious references to Homer’s Odyssey in the construction of Ulysses; Melville employed the biggest skeleton of all – a whale’s; some have used the Bible, or other holy books, aping their structure and/or subject-matter more or less reverendly.
While working on Kin Right, I’d been using the I-Ching a lot. I’m not a hippy, and not involved in any form of mumbo-jumbo, but the I-Ching is a fascinating book, worth attention if for no other reason than its age – there is no definitive first-edition (the texts we see today have undergone many revisions, in variant forms of ‘Chinese’ and, in the past century or so, English) but it seems to be generally agreed that the text is approximately 5,000 years old. Without knowledge of Chinese, it is impossible to know how accurate the translations are – the basic titles attributed to various hexagrams vary, sometimes significantly.
My ‘idea’ was to use the I-Ching as the framework for a novel. I wasn’t at all sure what the application would be, what treatment it would involve, but I’d been reading Luke Rhinehart’s The Dice Man and felt that I’d found a similarly viable structure capable of sustaining a substantial book. The main question was – should I use the I-Ching to determine the subjects of stories, the treatment of the tales, or find a way of doing both?
By checking the numbers of the ‘pairs’ listed below against the table which appears in An Illuminated I Ching (Fox/Hughes/Tampion, Neville Spearman Ltd, 1982) it’s clear that they follow a pattern within each quadrant of the 64-square (chess-board) grid, and that these pairings mirror themselves across the dead-centre, in whatever order. What is not immediately obvious is that these hexagrams appear to have been precisely matched – in each quadrant, the ‘moving lines’ required to transform the first hexagram into the second are always (mathematically-speaking) ‘similar’. Regardless of which two hexagrams are selected from any quadrant, the moving lines required to turn one into the other (and vice-versa) are always identically mirrored in the other three quadrants.
Me ain’t no mathematician, but it’s clear that this arrangement is not a matter of ‘chance’. I showed the grid to a friend who knows his algebra from his elbow (he’s studying to become an astronomer, knew nothing about the I Ching) – his initial impression was that the grid resembles a computer programme. This is all way above my head, but mighty minds are surely at work, perhaps using computers to analyse the grid, establish whatever mathematical symmetry underlies the construction. The answers may already exist, and may be fiendishly simple, but for the likes of yours truly to understand it all? they would have to be.
So anyway, that’s what got me thinking about how a fiction writer might ‘use’ the I Ching – how could I refer to this patterning, this symmetry, via stories?
Take the first pairing. (How I decided on the first pair is forgotten, but it wasn’t a ‘real’ casting of coins – there’s a notebook somewhere with all the detail, but that can wait, and probably will, for a long long time…)
62 becomes 51
62 is ‘Attention to Detail’
51 is ‘Fear’
Okay, no prizes for observing, right away, that this is a handy workshop device. A wee readymade ‘idea-generator’ if you like – “You have precisely ten minutes, starting one minute ago, to outline a movie-script which starts off with Attention to Detail and leads to Fear!”
Fair enough. You’ll have your own within a matter of seconds…go for it, seriously, and no peeking. A ‘story’ starting with attention-to-detail, leading to ‘fear’?
Mine was (this is genuine – the first one to crop-up in my heid, after ten seconds or so) Hitchcock’s Psycho – the Janet Leigh character has clearly planned the theft from her employer meticulously (her ‘attention to detail’ is what makes tracing her so difficult) and she seems to get away with it, but, yeah, we know the rest.
Try another one.
41 becomes 18.
‘Deficiency’ becomes ‘Restoration’
Hmmmm….stopwatch on…
Nope. After three minutes, not much on that one. Got images of Jimmy Stewart in It’s A Wonderful Life, it seems to tick both boxes, but not sure.
Two minutes later, I’m thinking, yeah, there are connections there. That’s a similar process: he’s deficient in realisation; he’s too selfish; he’s then drawn out of it; there is a restoration of sorts, not just with his family, but with his own sense of self, worth, blah blah blah.
Yep. It does work.
I wanted to go further, using the hexagrams, and the (translated) texts attached to each.
In normal usage, a typically unsophisticated ‘casual’ user of the I Ching will be consulting the oracle for advice. Each hexagram has a title, but associated with this title are ‘Images’, ‘Judgements’, and ‘Lines’.
Sticking to the same example i.e. 62 becoming 51, we see that the changing lines provide specific statements, and these constitute the ‘result’ of the consultation – the 1st and third lines are:
1st: ‘When a person first suffers shock and fear he feels himself discriminated against. When the danger has been overcome, however, the inner strength which is gained enables him to succeed in his future activities’.
3rd: ‘When external fate deals us a blow it is all too easy to lose our initiative and flounder aimlessly. To succeed, we should allow such difficulties to stimulate action. Then the problems are easily overcome’.
These two statements appear to be very similar in their general ‘advice’ – the lesson/advice is clear, consistent. The first uses an example of an unnamed individual male dealing with events ‘over’, in the past. The second is more collective, philosophical, abstract, but the advice is broadly similar i.e. work through it, it’ll get better. An apt contemporary English idion might be ‘It’s always darkest before the dawn.’
We’re now looking at two very similar statements – depending on interpretation, the transition from one to the other might involve ‘drama’, but it’s not easy to discern at a first viewing, and certainly not a task to be tackled in ten minutes.
Rather, the two pieces of ‘advice’, taken together, may evoke or inspire certain stories. For me, it took longer to identify a story to which both statements seem appropriate. The best I could come up with, after a minute or so, was Charriere’s Papillon, but the idea that his problems were ‘easily overcome’ doesn’t ring true. There must be others which fit better – I find myself thinking about Michael Winner’s movies, the ones starring Charles Bronson (what were they called? Eat Lead Mother or something similar…). They were, fundamentally, revenge stories. Somehow, I’m not sure that the I Ching is about advising such activity, but to this western, mass-media soaked mind that’s what the ‘advice’ hints at, suggests associations with. Stallone’s First Blood would be another.
In the end, I abandoned the whole business as horribly complicated. It would take a long time to construct a ‘novel’ which used every hexagram, and even longer to do one in which the castings were real and the story had to be faithful to that ‘chance’. I’m not sure if Luke Reinhart used the I-Ching in The Dice Man and/or the sequel, but there are elements of the structure in both books which suggest that he was certainly very mindful of it. Herman Hesse also made several references to the I Ching in his amazing The Glass Bead Game. The modern western novel which (so far as I’m aware) relies most on the I Ching is Philip K. Dick’s The Man in the High Castle. Several of the main characters use the I Ching, to the extent that it becomes an important plot determinant – there exists an interview with Dick where he confesses that he was obsessed with the I Ching, but eventually abandoned it because he felt it was somehow diabolical. (If I can locate that interview I’ll post the link in here.)
What I ended up doing with the I Ching was produce these 64 ‘Chinglettes.’ It’s a nice name, like a Motown girl-group from the sixties. I’ve omitted the ‘themes’ relating to each – can you guess what each is about?
62 – The man I saw was bald
I say, his head was bald
I understand what you’re telling me
I realise the consequences
But the plain truth is this
The man I saw was bald
51 – Make sure it’s live, all networks at six.
That’s when families watch.
Shock and awe the sheeple
You’ve got your bucks now give us our bang.
An arse-slackening fright
For the couch-potatoes
:::
54 – I could meet you when we walk the dogs.
- There’s no chance we’d get away with it.
- But no-one has to know.
- You can’t scratch your arse in this hell-hole.
- How would anyone know?
- We’ll know. So will the dogs.
32 – Goes around, comes around,
Big wheel hits the top then comes back down
Tiny village becomes thriving town
Pulses to city, to capital
And not for one moment
Is everyone at rest.
53 – One wee square at a time
Down one of the big snakes
But a six gives us another run
Then two, hit the ladder
In theory it could last forever
But we’ve not not finished a game yet
42 – If I scratch your back, you scratch mine
Alright, you’re not itchy
That’s not really the point
There’s a stone in my shoe
Not some Sicilian metaphor
There really is a stone in my shoe
:::
61 – We burned them in order to save them
In your hearts you know this must be true
No option existed
It had to be that way
So remember this, if nothing else
We only acted on your behalf
57 – It’s not me stirring it
It’s gone too far. Something must be done.
You can’t expect me to accept this.
I never did trust you
And you’ve underestimated me.
Step outside man, we’ll finish this off
15 – We couldn’t possibly
You really are too kind
Unaccustomed as we are to this
We don’t deserve your kiss
We only want to find
Whatever we’ve all missed
24 – Of course, there’s that point of no return
The bottle is empty
That battery is dead
No more lipstick and lace
Toes tingle at cliff’s face
Do yourself a favour…
:::
19 – Walk out the door backwards when you leave
Then I might feel you’re coming back in
One of us has to move
I do want you nearer
Let’s both shift a finger
We can take it from there
46 – In the boy’s mind, a time
Decades ahead, way way up above.
He knows only that he thinks of it
Gazing out at the sky
His parents watch him stare
Just a wee daydreamer
33 – Take a good big breath now
Stay still till we fix this
Keep moving back there anti-clockwise
He’ll be launching the right at that eye
Just another five rounds to go son
This towel will show how much we love you
25 – We had no idea it was coming
And nor, it seems, did you
A sudden rip in Time
Our civilisations must now clash
The reasons? Purely academic
Our role is to hate one another
:::
10 – - He was born to carry a clip-board
- They don’t call her scissors for nothing
- Aye, it makes ye wonder.
- There’s them that canny put a foot wrong,
Magic silk purses oot ay pig’s ears.
- Talkin’ ay pig’s ears, want another?
44 – It’s me. I’m on the train.
I should be there in twenty minutes.
I don’t care if you meet me or not.
No-one’s making you do anything.
How can I change the time it arrives?
The thing’ll get there when it gets there.
52 – I’ll just sit here anon.
John’s on a marathon.
Neil’s doing a sponsored hopalong.
You fancy joining me?
There’s not that much to see.
It’s called a sitonyerarseathon.
27 – Power and responsibility?
One without the other?
That’s not how it works pal.
We trusted you and yours
You took us for a ride.
Hear ye now the judgement of this court.
:::
41 – The sun shines out of that guys backside
He can do no wrong for man nor beast
Always has the answer
Still has all his own teeth
I’ll not seek his favour
I might not be much but I’m still me.
18 – Big JJ’s Ulysses
Shakespeare, Paris, 1926.
Text intact, but not the best of nicks.
No title-page or spine
But otherwise near fine.
N.B. Molly Bloom passage well-thumbed.
31 – Talks a good game that one.
Ready smile, earnest nods
Forever all ears for everyone
But you keep your hand on your knickers
And I’ll keep my own on the wallet
Always has an angle
17 – Come and let me show you such a sight
Just a wee bit further
No, that’s not the summit
Stop for a breath but don’t chuck it now
Gets steeper yet, but levels out top
Then we’ll rest together
:::
58 – We were good friends through all the young years
It took that long to locate the cracks
And then the easy split
No weighty matter of principle
Mutual exhaustion and envy
Love and peace all the same
28 – My cup overfloweth
You all know what I’m on about here
It couldn’t have gone any better
I know it can’t keep going so well
Lets do brilliant and wonderful things
In the time we have left.
39 – - Something wrong with that lock
Just can’t get it open.
The key fits, it’s turning quite smoothly
But the thing just won’t budge.
- There’s nothing wrong with your lock missus.
Someone’s behind that door.
3 – He tries to get off to a flier
But his laces are loose
Ties them up superfast
Takes to his heels again
Gets the leader at the final bend
That’s a photo-finish
:::
60 – Never know when to call it a day
Just can’t bide your time nor hold your tongue
Waiting for that big break
You never can say no
So rack them up again there brother
Tomorrow never comes.
48 – You were so fucking good
We walked miles just to listen to you
There was nothing you couldn’t have done
And you just didn’t care
You were proof that the Muses exist
But booze and sleep came first
56 – They call me a stranger
But I am only one
To me, everyone is a stranger
I know nothing about anyone
But they are together
Pack up the bag and keep on going
21 – So get your teeth stuck into this one
Something to chew over
No obvious answer
A phenomenal anomaly
But someone made it up
We must trust that an answer exists
:::
38 – - I hate their guts, I want them all dead
- Are you sure you really do mean that?
- And their weans, want them dead
- Do you think we could talk about this?
- Only when they’re all dead
- But I’m one of them, so, please, let’s talk?
50 – - You don’t want to do that
- That’s right. I don’t want to do it
- So what are you? Some kind of hero?
- I’m only doing what I have to
- No-one makes you darn socks
- It’s my job, to soothe soles
23 – When all blows asunder
When top bits go under
And sky-side is darkened
As forehead turns arse-end
Spare us the hysterics
Just put it all down to magnetics
29 – She’s just fourteen years old
We stripped her and gave her a kicking
Her Dad’s an insurgent
Two brothers are martyrs
God help her when the night-shift comes on
I’ll slip her some water
:::
26 – You believe what you want to believe
I’m not getting into the details
We have all the evidence we need
Big towers demolished
That’s the hairy-arsed fact
Let’s see the bastards prove otherwise
63 – Leave the body hanging until dawn
Clean that floor thoroughly
Ensure swift disposal of the corpse
Write to the family
Express our deepest condolences
Then get the next one done
45 – Gathered at the river
We screamed, beat on our drums
But you’d already gone!
Soon enough we will gather again
At our wee tellies and radios
Awaiting the verdict
64 – We’ll get it all sorted
Just let’s have a good look at it first
I’m ready if you are
Grab that big kismet-bull by the horns
That’s him down on the deck
But don’t go popping any corks yet.
:::
43 – Take the bastards on at their own game?
So, the ends do justify the means?
I never thought we’d stoop to this.
Getting in the ring with such low-life.
But give them a boot in the jarlers
Just get it over with
30 – The world was brighter when he was here
Candles burned at both ends
We saw more dawns than before or since
Raging blazing arching corona
Fountain of burning sparks
We crowded too near and snuffed him out
2 – We are all waiting here
Here we are, all waiting
Waiting, here we all are
All waiting, here we are
Are all waiting here we?
We are all here. Waiting.
7 – Why not get your medal?
Your efforts are justly rewarded.
You followed your orders,
You sacrificed your troops
And all in the service
Of a foreign power.
:::
11 – The weans have finally gone to sleep
The rent arrears are all paid-up now
There’s credit in the gas and leccy
Come we’ll have a sit down
Watch a wee bit telly
Maybe have a night-cap?
36 – Cheapened all life, extinguished all hope
Progeny of Satan
Your friends have protected you thus far
But their time is passing
One day you will stand bare
Shit running down your legs.
12 – Stuck still in the doldrums
Moss growing on your nose
No breeze, no rain, no clouds
Mushrooms slowly covering your toes
Fusty brackish algae coats your clothes
Will you ever leave here? No-one knows.
6 – What are you looking at?
You asking me what I’m looking at?
So what are you saying?
Make your mind up what you’re asking then.
I’m saying you’re looking and that’s that.
Looks like you’ve said a bit too much. Pal.
:::
1 – There was a young poet called Potter
Who sat with a pencil and jotter
His stanzas were clunky and wooden
But he knew he’d come up with a good ‘un
Three hundred and six jotters later
He croaked it and met his creator.
13 – You know that bloke Machiavelli?
Does he have any pals?
Always over there in that corner
Scribbling away, glancing about
Asked him if he wanted a pint once
Looked at me like I was growing horns
8 – I’m not pleased to meet you
Don’t take that the wrong way
We don’t know each other
So it’s not personal
Facetious twisted immoral bastard
I don’t want to know you
59 – This isn’t about me
I don’t want to be in the spotlight
But what about this thing?
Just leave it in shadow?
Someone has to shift it centre-stage
It won’t go there of its own accord
:::
5 – None of these restraints can be loosened
But I’m doing press-ups with my brain
Synapses in good working order
I know you’ll do your worst
But short of killing me, you won’t win
Waiting nourishes me
37 – This family, this sound brotherhood
Together through it all
Blood’s thicker than water true enough
We see each other right
For as long as anyone’s looking
Then it’s every fucker for themselves
35 – Chalk that up as a win
Another hurdle cleared
Positive progression.
As far as this report is concerned
Things are now looking up
Now get your sad carcass back to work
40 – God bless us and save us
Lather up the whiskers and shave us
Deliver us all from
The claws of these repugnant fuckers
And perpetual light
Soothe us forevermore
:::
14 – I’ve got more than I ever wished for
Talent, looks, love of a wife and weans
More money than I could ever spend
Ever-improving health and wisdom.
So, why is it I feel
Like a complete and utter wanker?
55 – I can’t believe it needs defrosted
- There’s too much grub in there
- What are we doing with all these loaves?
- I got them in the reduced section.
- There must be forty here.
- We’ll live by bread alone.
20 – So, what’s this all about?
What is this thing’s nature?
Have a good look at it.
Take a deep sniff of it.
Aurelius’s Meditations
Warrant similar contemplation
47 – The ball is on the slates
We can’t take any more of this shite
We know how you did this
All brains well-racked searching for an out
You knew our limits, banked on our fear
Fair do’s big guy. You win
:::
9 – I’m not saying it unless he does
Well, he won’t say it until you do
If either of us says it we’re fucked
So I’ve to say it then?
If you want to say it, go ahead
I won’t say it until you two do
49 – If only we could shed them like hairs
Shake them off like fleas
But parasites have the right to life
We have been their hosts since Time began
Pondering the features of bed-lice
Never aids restful sleep
| 16 – I am not joking man!We were purely like that!We couldny believe it!
Just the very idea of it man! It just gets ye goin! Pure fandabydozy! |
4 – I want another pint
I could really murder a kebab
Maybe pick a wee scrap
Let’s head up the jigging
Try and get a lumber
Here’s a bus coming. You got your pass?
:::
34 – - A new evil in our world today
We will eradicate this evil
We will hunt it down and confront it
- Pull that pensioner from his bunker
Make sure we see his face
As you tighten that rope.
22 – You make me feel as a teenager
That cramping of the guts
Boredom, staleness, it’s all washed away
You only have to smile
And I’ll stay on awhile
To savour the movement of those lips
(*)‘Chinglettes’, Copyright 2010 Ian Brotherhood, and I really mean it – by all means have fun creating your own, but if I find anyone trying to pass these off as their original work, or claiming that they invented a prosodic form syllabically identical, I will hunt them down and force them to listen to Jeffrey Archer talking-books until their ears bleed. You have been wormed.
