Aesthetic and thematic analysis of Amuneni’s ‘There’s a Madman in Every Town’ – New Telegraph

The professional love of poetry cannot be taken away from a poet. Each work must be defined in art and poetry under the conditions of reality.

It is only relevant that poetry should, therefore, speak loudly congregationally and communicate to readers individually. It must be defined and presentable in its quest to communicate to the soul of the reader.

Being something of great beauty that not only brings peace but also ecstasy, it should be able to speak to the reader and the outside world with authority. This is the pleasure that we find, in all its quality, in Bash S.

Amuneni’s first collection of poems, There’s a Madman in Every Town. Bash S. Amuneni brings value and purpose in order to elevate the poems in his collection with the required emotion and openness. It is a confirmation that poetry can be used to address emotion and openness, and to shine light on those who encounter it.

It is also a confirmation of the truth that poetry, per se, is not complete when there is no intimacy directing the cycle of awareness of needs and desires. Billy Collins said in a Ted Talk when he introduced his poems to the public, “It’s a good thing to take poetry off the shelves and strengthen public life”. What leads to the ecstasy of poetry is that poems must be distributed in public places, to see if they will be accepted and passionately appreciated by readers who see things in a beautiful way.

In “We would continue the conversation”, the first poem that opens the collection, the poet talks about nature and human interactions. Nevertheless, he found discomfort in realizing human effort in achieving a goal. It talks about chance and the time spent in the aftermath of human conversations. He speaks of doubts and hurts that can be traced to broken narratives and distress: “When the sun sets / behind the hill of doubts / and the pain can be traced / in an honest blink of an eye / carving a broken streak of tears / down your cheeks / that carry with them / a cold hoof of an unsettling truce / and we try to fight / to a stalemate, every time.

The poet speaks of a wound prolonged to the bewilderment that humanity must overcome. Its disconcerting overwhelms the mind, forcing it to cry out, but with hope: “when we try / to erase these scars with honey of sweet caresses / in a few seconds of good emotions / and impulses that cross our skin / of the neck / no loins / and knees: / as we explode / to come back to earth again / from there / we would continue the conversation Amuneni’s poems are structured in monologue and are given to his audience who sees , in every line, a resonant grandeur. His poems, coming from different dimensions, influence the mind to dwell in the thoughts of their execution. They come alive as the body of a performed art. They carry a philosophical and rhythmic flow, sense and a certain collaboration of virtue.

They call for solace and the need to drown out social unease, thus embracing bliss. The poems, without failing also to draw attention to the whole collection, let the public discover for themselves the excellence and the attraction of their themes. In poems such as ‘Yesterday in Aba’, ‘Ghali’, ‘Ileyi’s’ and ‘The Man Who Never Died’ the character expresses sadness at man’s place in life, his conditions and the transient nature of its existence. But in the mood of this sadness, Amuneni’s poems take on a whole new celebratory look – of love, of the emotional joys of life. This is most evident in the section of the collection titled “Intimacy”.

This is where the poet’s voice widens and softens. This is where the poem ‘First Kiss’ tells of how quickly to taste sweetness and intimacy. Listen to him as he recounts how ‘The first kiss / so soft and deep / violated my innocence’ captures it with such intensity that it baffles the conscience ‘quickly / very quickly’. In this poem, the character needs something he has never felt or cherished before.

Body language speaks of reassurance and intimacy, a satisfying derivative of quick pleasure given in the most sensitive way. The poem reflects movement and the ability to love. Amuneni’s poems arrive with an aesthetic concern. They are there to overwhelm the mind, breaking it into places of thought and meaning, places where ecstasy plays a profound role. In the poem “Mirror”, where he says: “Paint me in contrasting tones / shrewd and clear / tear away the underside of consciousness / and buckle the world to heed / the chilling chatter / beyond these cracked walls .” In a long, joyful way, the persona pushes our awareness into an endless chain of thoughts.

It derides our psyche, laden with contradictions – “paint me in clever, clear contrasting shades” and then asks, urges us to go deep and understand it. Perhaps this collection has overwhelmed the consciousness of many. Amuneni speaks, directly, to the nation already steeped in madness. It digs into almost every possible perspective to talk about the state of the nation and individuals. He writes from the heart, from references and with things seen and unseen, heard and unheard, things around him that many would have perceived as common. In conclusion, Amuneni’s debut collection is a measure of his voice, what he sees and feels, and his uniqueness towards the thematic effort and style of his writing.

Meanwhile, his diction is extremely easy as he makes the words easy to read. Yet despite this, this is a collection worthy of its position at any price point. It is a collection that has the language of beauty, aesthetics and a thematic drift that paints words and insight.


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