The Cacophony of Sounds in Contemporary Love Poetry

Love, in its vast array of literary expression in contemporary love poetry, is not always expressed in a truly harmonic manner. The contemporary love poet in every era may also have deep, negative thoughts and feelings that surface in his or her contemporary love poetry and demonstrate disharmony to readers and critics alike.

At times, the cacophony of sounds that can be 'heard'  in contemporary love poetry may be discordant and even harsh in nature. Why does that happen?

The mixture of harmonious and non-harmonious sounds can be one way for a contemporary love poet to portray a poetic effect of some kind. Its meaning may be immediately apparent to some, but not necessarily to others who may regard it as insignificant or meaningless in any era including the present.

A cacophony of sounds in contemporary love poetry may seem shocking to its readers or critics. Is love not supposed to be an ideal? What comes across as discordant can be nerve racking and upsetting to some. It always seems more appropriate to have love expressed as the gentler, kinder and more compassionate side of love, does it not? No one really wants to read love poetry that reveals conflict, consternation or chaos, or do they?

In the ideal world love effects resolution, a does not cause a jarring dissonance of discordant sounds, but the ideal world is one to strive for, not necessarily an actuality in the real world, at all times.

The vast cacophony of sounds that can be 'heard', so to speak, in the world of reality cannot be denied even as contemporary love poets rant on while proclaiming themselves to love humanity with their rasping voices resounding throughout the course of literary history.

The question becomes one of who really listens to the grating sounds of contemporary love poetry without feeling irritated and frustrated by it. Is their screeching not more akin to mere, unnecessary noise?

Perhaps one should regard the cacophony of sounds in contemporary love poetry from the perspective of the contemporary love poet expressing his or her own frustration. That reality is not unique to his or her era, as it is a phenomenon that continues throughout every era.

From a totally different direction of thought, the cacophony of sounds creates a sense of literary balance, the positive versus the negative, light versus absence of light, good versus evil, etc. Can anyone differentiate one from the other without having both aspects to it? Every coin, literary or other, has two sides.

In other words, the cacophony of sounds in contemporary love poetry serves a distinct purpose in every era, including the present. It may seem like a rock concert instead of one put on by a symphonic orchestra, but part of that reality has to do with its interpretation. Critics of contemporary love poetry and even readers of contemporary love poetry find expression in the cacophony of sounds in their worlds. Should the contemporary love poet not be allowed the same privilege?

Strident apertures of literary communication are here to stay.