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Orson Scott Card's avatar

This is a worthy effort, but an unnecessary one, in my view (having made a stab at the same kind of project thirty years ago.) Epic poetry arose at a time when the rhythms, rhymes, and tropes of epic poetry were needed to help the bards remember all the elements of great stories that people wanted to hear. But the purpose was always telling the story, and hearing the story.

Nowadays, we are largely literate, and the hexameters or other line structures are now static rather than music. We have shifted to the long epic novel as our means of receiving the long, complex narrative.

So what are our epics now? They can be beautifully or clumsily performed -- as they always were. And they can, like Middle English romances, be a historical-- i.e., it doesn't matter if the events really happened or could happen, as long as the truth of the story is upheld within the text.

So we have fantasy epics like Harry Potter, Game of Thrones, Lord of the Rings, Stormlight Chronicles. Futuristic epics like Dune, Foundation, The Stand. All of these have the scope and feel of the Great epics without burdening writers and readers with factuality or verse forms.

And a few writers have tackled the Matter of America. I think the greatest of these is Conrad Richter's The Awakening Land (The Trees, The Fields, The Town), which, as American epic should, focuses on lives of private citizens who are swept up in great events. Democratic heroism.

I have my own entry in the Matter of America, my Tales of Alvin Maker, which began as an epic poem until I realized that, unlike Homer's work, it would never have an audience even if I did it brilliantly, because we don't receive our significant stories that way.

I also suggest that William Shirer's The Rise and Fall of the Third Reich was an American epic, though the topic is our worst enemy since our founding.

I would also nominate Bruce Catton's Army of the Potomac trilogy, which, like the Iliad, focuses on one aspect of the Civil War, in this case Lincoln's forlorn search for a fit commander for his most crucial army, the one that had to protect the North's capital and defeat the South's great champions.

I regard all these works as serious epic literature, using the forms in which the public has been trained to receive their most significant stories. And I believe that your epic is far likelier to receive the attention and influence you seek (and deserve) if you tell it in narrative prose.

Remember that Lord of the Rings was intended to be the great English Epic, though it contains nothing of the Matter of England. Tolkien had mastered an updated version of the Old English epic verse form, which he uses for all of Tom Bombadil's speeches, so his use of plain prose elsewhere is not because he could not master the form. It is because there is no point to epic if its audience is not willing to receive it.

So, while appreciating the nobility of your poetic venture, I suggest that you prioritize story over form. It is the plain tale, plainly told, exploring why the great events happened as they did, that makes an epic Matter, not obedience to forms invented as mnemonic aids in a preliterate era.

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