All thought, and all digestion, and pornographic
Inquiry, and getting about, and bewilderment,
And fear, avoidance of trouble, belief in what,
God knows, vague memories of friends, and what
They said last night, and seeing, outside of myself,
From here inside myself, my waving claws
Inconsequential, waving, and my feelers
Preternatural, trembling, with their amazing
Troubling sensitivity to threat.
Thursday, March 31, 2011
Wednesday, March 30, 2011
Thursday, March 24, 2011
Thursday, March 17, 2011
The intent appears to be to make things that would other wise be mere remains and relics on the ground on which they were found into heavenly creations by making them airborne, momentarily free of gravity, suggesting that they could ascend directly to the next level just before they reach their penultimate height and give into the call of the flat, hard ground below. It's a fine idea for a poem, I think, bringing a child's idea into view and to capture both the expectation of miracle graces meeting an inevitable fact that gravity always takes its toll; even better that poet Kimberly Johnson has the child blithely ignoring whatever lesson adults might reasonably expect to be learned instantly and instead try the endeavour over and over and over again, until the agent of arced aviation is satisfied with the results, or, in other words, merely bored with her game.
Bored or not, the child's devices and desires were to see things in transcendence, in flux, exhibiting the glorious suggestions that a light of God might shine on them; I sense a childhood fascination with flying, sensations of weightlessness, the exhilaration of being freed from the grasp of mundane earth with it's regimen of cause and effect and perhaps, as a result of that liberation, becoming empowered to transform the world one sees; this has much to do with magical thinking, I think, a child's cosmology that deals with the dark mysteries about why life is the way it is, hard, without joy, abrupt, the creation of private myth making as to why things are the way they are, locked into position, beholden to arbitrary laws of nature.
Our catapult operator here desires a peak behind the wall that separates her world of neighborhoods, driveways, schools, traffic lights and the higher realm where everything that matters is a manifestation of grace; this could be a child's version of Wallace Stevens lifelong poetic task, to imagine beyond the cruelty of appearance and to get at the perfected state of Things In Themselves. The difference, I think, would be that the intent here isn't as baroque as Stevens' ruminations were; Johnson, young Johnson, perhaps, wants only a glimpse of what things might be like if solid, material things were closer to God's breath, just an idea of what it would be like to tap into a source of great power. Just a glimpse, mind you. Like Stevens, Johnson's young catapult operator wouldn't know what to do with the transcendent state for too long a period; Stevens seemed stunned into awed immobility and, I suspect, our protagonist here might have gone where ever else her curiosity dictated.
Wednesday, March 16, 2011
Saturday, March 12, 2011
Red Alarm Clock"I want to sail down the Nile
Before I die,"
You said once, Cleopatra.
The room, I recall,
Had a plank floor,
A narrow bed, and a window
Facing a brick wall,
Plus a chair where I kept
A pint of bourbon,
The coffee cup we used as an ashtray,
And a red alarm clock.
It's not unlike some smooth camera work; you can feel the lens slowing panning the stark room, ending up in on the coffee cup --the additional bit of it being "used as an ashtray" is a precisely brilliant fit for the situation evoked here--and the red alarm clock, uncluttered with poetic language, it's color alone setting the tone of an urgency both these characters would rather ignore. The clock, though, is enough to bring home the fact that the clock is ticking all the same and that time runs out for everything, even regrets and reunions. Simic concerns himself with neither the back story nor the tale that continues after the last line, he focuses on this slice and creates, I think, a set of particulars that create a mood, if not a meaning.
The feeling of that time has expired is made more tangible even by the way the narrator says, lastly, at the end of his sentence, as throw away detail "...and a red alarm clock ." Unfreighted with meandering metaphors or latch key similes to ham handedly imbue the object with intangible qualities, Simic prefers the physical over the literary and lets the situation as described create the mood from within it's parts; the phone is mentioned,the color is emphasized, like something remembered , suddenly, brutally, an intrusion of truth that seeps into a conversation that reminds you that yes, whatever was the case before is done with and now is the time to move into respective horizons
Tuesday, March 8, 2011
Saturday, March 5, 2011
I like ugly, imperfect, ambiguous art, especially poems, but I also love form, elegance, an ordered pairing of opposing things that once, brought together, gives us a sublime thing indeed. What gets to me is a poetry that gets across what the poet attempts with a mastery of techniques that are true to themselves, not an ideology.Beauty is something that is limitlessly subjective, and as much as a protracted discussion about what constitutes a beautiful object can be, I'm inclined to think that poetry ought to be interesting on it's terms, the best effort a poet and his or her craft can create with their talent and personal inclinations. The problem with insisting that a poem should be "beautiful" according to a standard imposes limits on what the poet can do with a work and, in effect, implicitly dictates that a work adhere to requirements that are ill-suited for an emotion, an idea, an event, an experience that would motivate a writer to compose some lines.
The beauty of the best poems I read comes less from their adherence to formalized structures and strategies as it does from those elements that seem to break away from the phrase making one expects and combine with a writer's honed instincts for developing a rhetoric that allows a poem to stop you for a moment, ponder the phrase, parse the image, appreciate the shifts in tone and sound as layers are added, and appreciate the unexpected places where the stanzas stop , where they jump to, where they land. These are elements achievable in any number of ways.
I care less for the aesthetic choice a poet selects from the outset than I do for the results he or she gets when they're finished with a work and judge it ready for a reader's appreciation and response. The validity of any of any idea is in how it works. Henry James said that, in better prose.
"Interesting" might be a mild word, but I used it because I think it encompasses more things for discussion than whether one goes by whether a poem is "beautiful" or not; beauty, I think, is a banal consideration since it funnels one's concentration on the surface qualities of a work. You can discuss only so much about the heroic efforts of writers who desire to make their experiences--or the experiences they would like to have had--stand out because they've mustered up a High Rhetoric and a line of striking, fussed-over images. Beauty, more often than not in my readings, comes down to how well the world is made to harmonize in all its shades, hues and tonalities, the conversion of notions into ideal types; what makes a poem interesting, the elements that bridge the gaps between experience, a philosophical position and the word choice which produce, in turn, that effect, the irony, the unexpected perception, gets glossed over. Interesting poems for me are those that get at an exactness of particular states of mind, shifts in personality, dissonant situations that are uncomfortably linked, and a understanding what makes these written expressions fascinating makes for a fuller discussion, or debate, as it were. Beauty, for me, is a vague and useless term when applied on such a broad scale--as I mentioned before it's more compelling to discuss how successfully you think a poet is getting across those inexpressible things in terms of the unforgettable.
Too much of the time "beauty" represents a conservative, repressive and reductionist set of conditions that , at their essence, seek to contain whatever socially provocative or critical aspects a work of art, a poem in this case, might contain and which could be delivered to a readership. Herbert Marcuse saw "beauty" as having become bankrupt a term in the late global capitalist formations after World War 2, and argued in his book "The Aesthetic Dimension" that the role of art is solely to produce joy, that state which comes from a liberated, enlightened condition, and that society's obligation to the artists was to leave them alone. I would agree with him, since what he wanted was a population that could uncover the wit and wisdom of a piece (in a manner of speaking) by considering the particulars artist's obligation is to be truthful to their gift, their talent, and to apply it fully so that the particular sorts of truth they're capable of sensing and sussing out from the dissonant happenstances that , presumably, are not readily gotten by those of us who go to work , have families, struggle with daily things rather than ponder the big questions.
This is Marcuse's point, in that he believes, quite beyond any political or philosophical predisposition regarding the default job and obligation of being an artist, that they are definitely the antennae of the race, that their senses are enhanced by their being poets, novelists, painters, architects and have the ability to make us aware of nuances and intrigues, truths usually not told nor considered. I would agree with Marcuse that the culture would benefit far greater from the work these folks undertook if the rest us changed the conversation about whether the poems, the paintings, the books , the buildings created by these folks adhere to a shackling set of imperatives and instead considered the work on it's own terms--what is that the poem, for example, might be saying about a set of contradicting factors, and is the language adequate to the goal of helping you go further than the received reactions a duller aesthetic would have you settle for. It's a dialectic, to advance an singularly unoriginal idea about the process--I don't think the artist delivers a set of redecorated cliches about affirming life that experience proves to be patently false. Yes, the artist ought to challenge expectation, and the audience would need to argue how well the crafts person succeeded in the attempt.
Friday, March 4, 2011
In some sense most of the poems we read tease the edges of a death wish, not in the sense that the poet desires to merge with the molecules and greet the large dark before him, but rather more like a curious soul daring the unknown and the unspoken dimension of human experience, the end of one's life, to reveal some knowledge. David Blair's "A Poem About Heaven" poem seems something like that, a fragmented, giddy swirl of associations that have been triggered by his mother's death; what this mind creates isn't a metaphysical speculation on ideal associations remaining permanent while the flesh fails, or an autobiography to where another's mortality furnishes the punch line to one of the chapters, but rather a rush of sensation, of images, associations that bump, careen and otherwise swerve around one another. As with the issue of rage, unleashed anger, overwhelming the mind to the degree that the world is presented as linked in a sequence of irrational targets that have misery to one's life, the shock that precedes the onslaught of grief is full of sensations of being whisked around a gallery of past events, significant and inane details dovetailing into one another against rational association. The silly and the sublime are not so much linked as they are twined and untwined in what seems like pulverizing vortex.
I am such an impressionist.
My legs get cold;
my arms get cold,
weird thinking of my mom dying
in my old bedroom, now the den.
And kneeling is weird. The northern lights,
weird. Arcade lights. Wildwood, New Jersey,
weird, inside my eyelids. But I'm not thinking
of Poe again and the dance of colors.
I'm thinking of the hierarchy
that my mind wants Heaven to be.
A house keeping is suddenly in order, a reinforcing of what one knows in their world is required; Blair gives is a hurried desperation of one examining the things of their world, their experience, their accumulation of habits, talents, material things, in an attempt to repair the gap a family death creates. What he does here with the fast jumps between stanzas, the giddy and the reserved clamoring against each other to set the tone for the young man's attention, is create the sensation of being in free fall. It's not unlike being thrust into the reality of an old cartoon where the coyote, during his chase, missed the bend in a mountain pass and finds itself in mid air, falling only when it realizes that there is nothing supporting his feet; I think the feeling of spiraling down, clawing at the air for anything that might be there to grab onto, is unmistakable.
from a deck of cards,
kings and queens kneeling down to Jesus
in the neon shoreline,
tunnel of love, of horrors, boardwalk
are blissful religious figures. They kneel
because they are weak in the knees.
So much goes through the mind, combinations of shock, anger, denial, fleeting relief; the narrator argues against the concept of heaven and assigns the kneeling tribute to a Jesus figurine not as an acknowledgement to divine presence but rather to weak minds or merely fatigue, insist instead that the things in the world he has grown to know, his family, friends, his community, have a significance that provides him with everything with everything Heaven was promised to be. The doubt is palpable, and the argument Blair's narrator tries to make lacks coherence, but this is someone trying to regain their balance, to brace themselves for the inevitable rituals he knows are coming.
<i>I go back downstairs
to a house full of the voices
of all my family, my whole life,
sure, we are going there.
There comes the point in all of this frantic self-scrutiny where one the dissonant, radio like static of doubt, denial, anger becomes white noise of kind and fades and one is left numb, finally, alone with a stark
set of facts that makes the best lyric poetry and most inclusive philosophies seem no more than an archive of chiseled sophistry; there is the irreducible fact that whatever one thinks the meaning of their life happens to be, whatever one thinks about how things should be or how they should turn out, that however high or low one climbs or descends on the scale of measurable things , we all, finally, going to the same place. Blair's protagonist, it seems to me, isn't at this moment convinced that it will be place where they will all meet again; he is convinced, though, that it will be a situation when the arguments stop and there is a peace only eternity, by any definition, can provide.I think of the last lines as a paraphrase of Samuel Beckett's famous line " I can't go on, I'll go on." The whole enterprise of living becomes an intolerable burden, and yet one pushes further and deals with what's in front of them--family, job, friends, --because one cannot simply resign from their commitments. It's not that one cannot resign, of course, only that it's not simple. Blair's narrator by poem's end appears to come out of the conflictied swirl of sensations and decided to return to the family that quarrels, cries and banters, thinking , perhaps, that in the meantime, the time before one's own demise, it's better to be amid the clamor of the irresolute than be be self-sustaining and isolated.