Comparative And Superlative Forms are fundamental aspects of English grammar, used to express degrees of adjectives and adverbs. Typically, we learn the rules for forming these correctly: adding “-er” and “-est” to shorter words, or using “more” and “most” with longer ones. However, language, especially in poetry, thrives on innovation and playful deviation from norms. A.H. Jerriod Avant’s poem, “Felonious States of Adjectival Excess Featuring Comparative and Superlative Forms,” brilliantly showcases this deviation, inviting us to reconsider the very nature of these grammatical structures and their expressive potential.
Deconstructing “Felonious States of Adjectival Excess”
The title itself is a declaration of intent. “Felonious States of Adjectival Excess” immediately suggests a deliberate transgression of linguistic rules, an “excess” that is almost unlawful in its grammatical freedom. The phrase “Featuring Comparative and Superlative Forms” then pinpoints the specific area of this linguistic rebellion. Avant’s poem isn’t just about adjectives; it’s about pushing the boundaries of how we compare and elevate them through comparative and superlative forms.
Playful Misuse as Poetic Tool
The poem’s body fulfills the promise of its title with a cascade of grammatically unconventional yet sonically compelling phrases. We encounter constructions like “mo’favoriter,” “mo’better,” “most favoritest,” “mo’simpler,” “mo’fluider,” “mo’wetter,” “most hottest,” and “mo’beautifuller.” These are not simply errors; they are deliberate choices that create a unique rhythm and voice. By layering prefixes and suffixes in unexpected ways (“mo’favoriter” combining “more” and “-er,” “most favoritest” combining “most” and “-est”), Avant draws attention to the mechanics of language itself. He exaggerates the forms to the point of absurdity, highlighting how easily language can be molded and remixed.
This “adjectival excess” isn’t arbitrary. It reflects a contemporary linguistic landscape where informality and colloquialism often blend with formal structures. Just as the original article’s author, Major Jackson, notes the “porous discourse between communities,” Avant’s poem embodies this porousness. It mirrors the way language is used in everyday speech, where grammatical rules are sometimes bent or broken for emphasis, humor, or stylistic effect. The use of “mo’” instead of “more” is a clear nod to African American Vernacular English (AAVE), adding another layer of cultural and linguistic richness to the poem.
Sonic and Rhythmic Impact
Beyond the grammatical play, the poem’s strength lies in its sonic quality. Reading it aloud is crucial to experiencing its full effect. The repetition of “mo’” and “most,” combined with the inventive adjective forms, creates a rhythmic, almost musical quality. The poem becomes less about conveying precise meaning in a conventional sense and more about the sheer pleasure of language sounds and their arrangement. This echoes the original article’s appreciation for poets who “bring imagination and attention to sonic idioms of a poem. They make reading aloud fun.” Avant achieves this by making the familiar strange, taking the mundane grammatical forms of comparison and turning them into something vibrant and new.
Language Evolution and Poetic Voice
Ultimately, “Felonious States of Adjectival Excess Featuring Comparative and Superlative Forms” is a poem that celebrates linguistic creativity and the ever-evolving nature of language. It challenges rigid notions of grammatical correctness and suggests that poetry can be a space for linguistic experimentation and reinvention. By focusing on comparative and superlative forms, Avant uses a seemingly simple grammatical concept to explore complex ideas about language, voice, and the power of poetic expression. The poem encourages us to listen to language in new ways, appreciating its flexibility and the boundless possibilities of wordplay.
