The rocket's red glare

 This is one of the many crank rant poems I used to enjoy writing when the combination of coffee and cigarettes had sufficiently charged me and reinforced what my ego demanded a clean and sober artist must be in order to be interesting, expressive, a hat full  of cornball gestures: the personality I'm trying to project here is, please note, fictional and the intimations of wild things having happened with serio-comic consequences are created from whole cloth as well. This might blow my reputation as a poet who recounts hard living in funny and bittersweet couplets and rhythmically charged lines that simulate the rapid eddies of a Freddie Hubbard solo. Well, it might threaten what street cred if I had a reputation more expansive than friends, estranged drinking buddies, a few associate professors and members of my family who like what I do no matter what it is I put on the dinner table. I make stuff  up in half the stuff you'll find in my various chap books, anthologies I've been included in, the various blogs I fill with words that yammer and shriek a loud, if vaguely articulated discontent. 

Discontent with the skin I'm wearing, more than likely, as this current sheath is wrinkled, getting flabby and the joints ache worse than the linger effect of losing whatever person, place or thing that truly mattered to your existence. But don't think this a dishonest poem; I disagree with the notion that poetry in this age requires the poet to expose their darkest don't-tells. Poetry will not change behavior and will not make you feel better about being a shit heel; that is what therapists are for. 

This , I think, is worth reading for the same reason some recent science fiction movies are worth seeing because the computer generated animation sequences are  as spectacular as the stories that justify their use are insipid. This is honest poem because the attitude, the language, the tone that waivers between confirmed don't-give-a-goddamn and the  congealed frustration that threatens to become something louder ,  vulgar and violent. They ring true for me and reflect those days a time ago where going insane seemed a viable an option as any young alcoholic artist and poet could choose. Thankfully, I have survived the logic of the heated impulse and stayed around long enough to enjoy a more modest means of getting to the point. --tb

_____

 The rocket's red glare

how drunk could be get

before we began to

look attractive to the

flies that buzz around

our heads ,

against

the broad strokes

of red

and henna coded clouds

that set the horizon on fire

as the sun sinks

just a tip under the

blurred line of the planet

where earth and sky

are a duo

that play one masterful rondo

after another

one of us stands up

to God and his

whispering minions

that he is tired of

suffering the results

of a good idea

gone to bullet bursts

and fist fights over the change left
on cafe tables.

i raise my head from my palms,

stop studying the way

my shoe laces are

coming untied,

i gather a sense that

there is more to life

than gas , food and lodging

but would settle

for any thing

because i had

none of the above

and no love for curbs

and the drainage dreams

they inspire,

i ask

"IS THERE AN ARE ART SHOW

CLOSING SOMEWHERE TONIGHT??"

the other one of us

was still

drinking as he careened up the street,

one side to the other,

all the billboards

should read "tilt",

"LOVE STRAYS

AND STAYS ARID"

he yells at a passing bus,

i laugh, Jesus what a jerk,

i will take the bus

and play music in my skull

until it comes,

i will be serene and lean

on the vernacular

that's so spectacular

when I'm in the bag

and full of mean remarks,

i will behave,

i will be silent,

nothing will upset me,

i am invisible on the bus line,

but even as my mantra

is uttered and folded

into a vest pocket of the soul

over where the heart still beats

with what remains of

my sense of my self and

virtues beyond the

bulge of my wallet,

a car approaches

through the intersection,

it veers closer,

i sing to the streetlights,

the fixtures on the power lines,

the car slows down,

i'm on the twelfth chorus of "Cherokee",

something breaks in my lap

and then I am wet

with water

neither painful nor holy,

the car speeds away

into the slim v perspective

that runs right to the water's edge,

i am wet

yet am i blessed

in such a state,

i hum another chorus,

my lap drenched

with tap water and

bits of burst balloon,

and now it's dark

after eight pm in July

when the fireworks go off

from the end of the pier,

where i wanted to be

to make a phone call

under the rocket's red glare.

_____

The past refuses to forget who I was

(My mood hasn't been the best lately, downright awful in fact, bordering on outright depression. Oh, alright, I've been depressed over my current state of mind, no pun intended, that state, ironically, being that my performance has suffered at work due to errors, the same damn errors, occurring over a period of time. It's the old Steve Martin routine in the flesh, the one where he screams "I FORGOT" as an acceptable explanation to the IRS as to why he hadn't filed income tax returns for several years. At work , at least, I am forgetting thing constantly, making mistakes, creating more work for those I work with as they mend the ruin I brought those cash register  cash register disasters.   I had to be given a written warning earlier this week. Not fun, let me say. So I might be having memory problems, it may have an organic origin, I am making doctor's appointments after the holiday to have myself assessed by professionals what my state of mind is, present and future, and then weigh options, medically and professionally. It sucks. But I did get a poem out of it. It's about the contrast to what I was like and what I am like now and the creeping sense that talking about one's past becomes a greater fiction each time one opens his or her mouth. --tb)

 The past 

refuses to
forget who I was
when I  lingered
and lounged
in bars, sleeves rolled up,
awaiting a free drink
and 
a ride home ,
anyone's home but my own.

I don't own a car
and driving's for queers
said I, thirst unslaked
and pants 
angular with lust
and sins
of the father
and his father's great aunt.

Ain't it shame
this hooterville
is all feathers and felonies,
i could show
these
Jeezers a time
to make time
irrelevant
to where you thought
the night was going.

I am in dress shirts now,
ties, pants pressed
and full of old knees
that make velcro noises
when I reach
for something I dropped
to the floor.

You look at me askance
as I speak
and sip your coffee,
you want to ask me a question,
i quit my speech
and take a breath,

"Ted" you ask me,
"why do you
always speak
with your hands?

TOM SLEIGH'S FANDANGO

 "Block and Bag", a poem  by Tom Sleigh, highlighted this month on Robert Pinsky occasional poetry discussion forum,  is an elegant and rowdy verse where animation is everything. The set up is a hotel guest freshly checked into his room, tired and perhaps bored with the traveling from city to city, seeing nothing but one bland motel after another in quick  succession. His mind is racing with an urge to create something that is not pre-mixed, popped from a mold, or other wise leeched of all spontaneity . He stares out the window and sees the courtyard of a typical motel, a "blah arena." True to his function as a writer, he creates his own fun. 

 

The writer's mind is a restless thing indeed, with its antennae always positioned to scan and notice and interpret the other wise un-narrated events of the world, the small happenstances that follow other related incidents of otherwise no particular consequence to the quality of the scribe’s day. I well imagine Sleigh and others like him staring out a tourist grade window in a generic hotel staring at the fabricated Americana in front of him, the comfortable swimming pool, the parking spaces numbered and marked with oil stains, the sequentially planted flora and shrubbery and the landscaping which is either obsessively maintained like a forty dollar manicure, or showing lack of care around the edges as brown spots on the lawn and dead leaves on the bushes reveal the brutalities of weather and bad staffing. 

The poet peers into this bland arena and desires to make something happen, to find details and commotions that stray from the scripted norm and which appear to bringers of chaos, the usurpers of authority,the life force that cannot be contained by check out times or planter boxes from Pottery Barn, So there is a block and bag in a chase and a duel and a gavot and high step that brush against the otherwise stationary world of a hotel public area, a bit of unruly behavior that could not be predicted; the narration begins, the struggles of being a alive come to mind and find themselves diagnosed and outlined in Sleigh’s telling what he sees and thinks. 

It is a fresh examination of things that rarely get scrutiny save for safety inspections and minor repairs; what I enjoy about this poem is the conceit that there is a secret life to things that have no nervous system, no brain, that do not breath nor procreate. It is a cartoon rendering, coyote vs road runner to an extent.

This Poem makes me think of no poem in particular

This poem makes me think of coming back late from a party in the late 70's and discovering that the phone has been off the hook for a least half the day. To this day I wonder who might have called, what good news or ill omens they might have had to tell me, what my  life might have been like if I left the phone on the hook, had been home to pick up the receiver as the  ringing filled the apartment with its clanging sonata of anxiety, if I had only  scraped together the coin to buy a Radio Shack answering machine. Those of of us with nerves even the sniffling drivel of bad poets at sparsely attended open readings cannot rattle know the anxiety of the phone off the hook, the screaming, whining, whirling sirens of hell filling an empty room from shag carpet to cob webbed ceiling corner, satanic variations within the monochromatic scale, bristling fingers on a blackboard amplified with Glen Branca's Fender Twin Reverb, a sonic variety of nerve gas that is nothing less than the hungry ID demanding more pie, or that you bake one right now if no slices remain. 

This  poem is sound intended to kill appetites and interest in community affairs; all one needs are books from which to paraphrase metaphors and contextualize the evidence of one's life until there are only footnotes and marginalia where a pulse used to be. There is the scraping of fingertips across a page of paper irritating to the touch, there is a click, a rattle in one's throat as instinct commands you to say something to void the emptiness, but there is only phlegm, a congealed incoherence suitable for a celebrity wedding. This poem is a compost heap of vowels and their modifiers that was left in back of the garage in the wan hope that they'd be rich with meaning by the time spring air altered the way clouds form on the morning and evening horizons. Often enough we write things down so we would have ad libs and occasional poems to utter when the plumbing groans and the siren rhyme of the cold water streaming to tub and basin obscures the pleasant voice of a lover you remember through the concrete of missing minutes in the day.  

 

This poem is like that noise, a constant string of phrases that are a constant noise textured with static and prickly heat. I would prefer to listen to someone continually busting open the Velcro fly on their old Members Only jacket. I imagine the being someone who would find placing his thumb on an old record turntable to be great fun, a reminder to himself and a warning to the world that entropy trumps ambition, needless ejaculations of fear and panic beat a massage and after dinner sex. 

This poem is finally about itself, not who ever he might have been addressing in whatever simulation of a life there is on the other side of his apartment door; we cannot, of course, escape the prison house of language, but there is a point where self reflexivity is merely a dodge, a distraction that we have yet another poet who is tone deaf to the art of collage, cannot construct an ear worthy pastiche, is unwilling to abandon the disguises and borrowed phonics and consider his future as an author of writing with uneven line breaks. This poem is the test pattern staring at you after you come out of a black out. The national anthem has been played and the stadium is empty, like this poem.

Get down and brood

Funeral
Roseanna Warren

In church, you lay in a casket open to your waist
as if you were in a ticket booth tipped over on its side,
selling tickets for an unearthly show. Your domed, bald
head, smooth cheeks, globed eyes, and modeled chin
were frozen into ideal shape as by Parmigianino.
You, in life all smiling quickness, now slept severely.
You had completed your lesson plans, handed back all corrected assignments.
Your hands rested one atop the other on your chest
guarding your final assessments. We shuffled by but you ignored us
as you ignored the massed bouquets and the preacher's manic grin
when he declared that Heaven was a retirement home
with plenty of vacancies. In the graveyard, they had closed you up.
The undertaker flicked at your gleaming mahogany coffin with his hanky.
The pallbearers placed their red and white carnations. The prayers
went on, and then they didn't. We left the box
on a gurney perched over a green rug atop the grave. We were not to see
you descend. A train chugged by
the full length of the country graveyard by the stone wall and the line of oaks,
freight car after freight car huffing with afflicted lungs
hauling behind them a long, ribboning wail.

When in doubt, find an unnamed person to talk to and address them as "you" through out your poem, taking care to make sure that this person is deceased . Emphasise the ritual and the props of a funereal send off, imply in tone that you think the prayers being said aloud sound pro forma, unfelt, lifeless as a voice mail entreaty.

Toward the end, as the funeral slowly winds down and the mourning procession passes the departed, introduce yourself with a third person pronoun and vent just a little about the deceased and how it came to be that your dead friend was someone  you thought of a soul mate, a confidant, someone you could confess your worst thoughts to and not judged or held accountable to a moral philosophy both irrelevant and absurd to your way of being and doing. Then confess your worst sin, that of viewing them as an intimate who betrayed your  trust  you know not how; regardless , you are they did and  your soul will not be satisfied until  you have thought, uttered, wrote and disseminated the articulated poetry of dull-witted rage that has been stewing. Make videos explaining all this and post it to You Tube.

Twitter yourself stupid with 140 characters of rancor and bile. Text people you don't know and threaten to disrupt what remains of their must see tv if they don't get their goddamned shit together and stay the course, maintain, obey orders, leave you alone, stop ignoring you, or  whatever else you can imagine .  Demonstrate at last that language fails  you and your  ears and eyes are lying to you in capital letters. Realize  you have no friends , finally, and this makes for the best of all worlds you put the effort into create. Wonder why you     are still unhappy and who's to blame for that.

The Rooster King

Jay  Hopler's poem The Rooster King seems at first like a paean to the good sport of chicken righting, but one detects an increasing exaggeration of the terms until a certain falseness of claim is exposed. In the early lines, one is attracted to the cocksure bravado of Hopler's language and quickly appreciates the parody of athletic boasting and promotion that has long made professional sports just a much a matter of running one's mouth as it is with the combined assets of agility, speed, instinct, and determination. One might imagine this as an old forties Warner Brothers barnyard cartoon featuring a caricature of Muhammad Ali strutting around in the background amid the rain barrels and the hens while a Don King lookalike flaps his wings (if not his gums) about the legend and good graces of his man rooster, The Rooster King.Hopler seems to have absorbed his Ring Lardner and Damon Runyon, as well as the more recent waxing about boxers by the late Norman Mailer and Joyce Carole Oates, as his writing has a high, cultivated lift to it's boasting, the myth-making that wants to convert something that is merely a few suppressed coughs from being mere thuggery and criminal enterprise into a tale of heroism, reaching the implied conclusion that some poor, hapless soul--or rooster--has had their character in the fires of tribulation and has made their brute aggression and ability to ignore pain into an art.

Like a cut throat and doesn't

………………………………….............Bleed. And when he bleeds,

He bleeds whiskey—Fighting Cock: 103-proof Kentucky Straight

Bourbon—the light of the world.

The light of the world:

Ruined. Magnificent; ferocious, gorgeous—

So what? You think he's afraid of fire? He wasn't born; he was forged.

He's the napalm love letter, the sweetheart

Carpet bomb, the 1967 Pontiac

With a straight-6, single-barrel

Boot in the face. No ram unto

The shackle, this bantam assassin, his death-red hackles flaring like a funeral pyre.

He's the Sacred Heart of Jesus

Wound 'round with barbed wire, the crucified

Christ tattooed on the back of a contract killer.

It's argued that the poem is a play on the sufferings of Jesus, but Hopler's intentions are grittier, I think. The pain and suffering of Christ on the cross is a plausible scenario, but Hopler intended a narrower reference, I think. The gospel accounts of his death are not all that reliable as an accurate historical record, with the elaborations of his story purposefully elevating the tale to sanctified mythology that demands that we regard Christ as a man of destiny fated with enacting an absurdly convoluted Plan to make humankind worthy of God's love. All things considered, I suspect the actual Jesus had as much choice as anyone else had when confronted with a situation as to flee from danger or face his accusers. The boxing analogy is apter, I think, and even a gladiator comparison is a closer fit to the level of metaphor Hopler is successfully attempting. Roosters, being animals with only instinct to push their actions, have no choice but to battle; boxers, the poor men who try to make a living with their fists in some vague hope of achieving, have no choice but to battle because brawn was their only resource. What I read Hopler as doing is deconstructing the layers of heroic mythic association on the idea of brutal spectacle being somehow honorable and necessary for the social and political cohesion of the populace by applying the meme to an absurd example, a battling rooster. For all the fanfare the pitchman can muster, it never eludes us, not for a second, that what he's extolling is a bloody, awful event. The attempt to graft a grand narrative to the cockfighting exposes the lie of battling skill and that more often than not the results are determined not with skill or guile or flashes of pugnacious brilliance, but rather with raw, unforgiving, unyielding. He who is bigger, stronger, faster wins the fracas.

Hopler does a sweet balancing act here between heaping on the hyperbole and maintaining a straight face as he ramps the praise and the qualifications meant to soften the audience's perception of the frenzied, gouging agony before them. Each stab, peck, talon rip and snap is valorized, connected by association to great battles, hero's funerals, the spirit of invention that forges raw steel into classic automobiles; the declarations become precarious and unsustainable if questioned an iota. One only turns up the volume of the pitchman's incantation and seeks to enter into the illusion that the banal bit of fatal sport betting is a History in the Making. Hopler understands it seems, the vanity the pitchman is speaking to. The rhetoric, though, isn't for the nominally honored Rooster King, nor does it have anything to do with the skills or extraordinary qualities the toastmaster makes claim for; rather, the tale-telling and accumulating myth-making are for the audience's sake, a sales pitch voiced in such a way that it dually obscures the meanness of the activity and creates the illusion that the creature is there, prepared for combat, by some manner of free choice. It's a rhetorical zone that is impermeable to logic, and it is banter that is kept up without pause, to concoct a dramatic narrative over the bare facts of the situation--that these birds, and the analogous boxers they're standing in for, have no choice in whether they fight or not. Whether through the repetitive causation of murderous behavior modification, or the grim forces of economic survival, the fighting, the killing has nothing to do with glory, legend or principles: the goal is for one of the combatants to not ring the arena alive.

RAPTURE

 (What I should make clear is that I am not a practicing Christian , have the mind of an agnostic, and haven't much faith in theologies that pretend they have knowledge of what the end of history is like. I do appreciate the poetry of The Rapture concept, though, and meant only to create a "what-if" scenario, such as what would be like if this event occured in one of the many neighborhoods John Cheever might have attended cocktail and wife swapping parties at.I'm agnostic toward religion, not God. I've done my seeking and have found what I've needed. Needed today, to be even clearer.
A usefully spiritual life is a day-at-a-time thing, and this day, this morning I'll seek guidance for the day yet to come. Plainly, I don't think God is much concerned with getting the lot of us into Heaven as He is living good, useful , creative and and kind lives in this life, on this planet. If God is all wise and all knowing, He hasn't the time nor patience to set up our existence like it were a Game Show. -tb)

 RAPTURE

The mailman drops his parcels and

falls to his knees in the middle of the street

 

as a light comes through the clouds and

makes the commotions of the city radiate

 

gold tones like the frozen poses

of ancient photographs

 

found under the stairs of every parent’s house

that aging children have to close.

 

You see the mailman on his knees and wonder

why he’s praying, hardly aware of the increase in light

 

or the music that blares all the big band music of

trumpets and saxophones that disguise the grind of

 

passing cars, it’s such a shame that religious fanatics

are hired to deliver the mail, you think, so much depends

 

on what comes through the System, envelopes full of

what’s owed and what’s not covered by any plan

 

that can be written down; you run the water in the sink,

 you wonder where did the clouds go? 

There is no rain anywhere,

says the radio announcer,

and the light is tremendous all over the globe,

 

there is not a dark corner

 in any corner or nook on the earth,

 

And then the radio gives out to static, and the TV

releases itself to snow, the music in the street is very loud

 

and swinging hard to the left and the right and then right down the

middle as all the notes scurry brilliantly through the hedges

 

and up the driveways, into the homes with each reed instrument

improvising disembodied melodies that form their own sheet music,

  

That is a very loud set of speakers in that passing car, you think.

and the radio announcer cuts through the music and says something you

 

hear as that millions of people all over the world have just vanished in

plain site under bright light and big bang music, gone in a wisp and puff of smoke,

 

You look at your watch and note that it’s time for lunch,

the clouds have fallen over the city again, the sky darkens,

 

the shapes of the neighborhood take on their deep hues again, saddened

with history, dense in dumb witness to what never ends,

 

You stop, look out the window; you turn off the water you ran,

in the middle of the street, by itself, flat on the cement,

 

The mailman’s bag and his clothes,

topped by his hat,  kissed by a cool breeze.

The Comings and Goings of Every Tide

Oh, I had thought of getting my thesaurus a good dusting off and making some of you readers work for your clarity, but the truth is that I've nothing critical or insightful to say after two weeks with a summer cold that would not abate, beginning shortly after my simultaneous celebrations of age, my 61st birthday and my  26th year of sobriety, my mind is rusty, crusty and mushy all at once. What is thought of isn't fresh, quick or crisp, in any case, and a quite a bit of air let of the tire that is my metaphorical ego; what I would be a sweet rant or a rapid essay outlining the contradictions inherent in some insanely trivial pop cultural matter is instead just a murmur of words, a rattle of syllables before the   brain begins to shut down again, for the night, delving into the dreams of tinfoil nostalgia and the kind of dread only the snoring and inert can experience. In stead of the rant, here is bit of prose wandering, a poem maybe, or maybe not, but certainly a kind of writing the demonstrates the quality of this flu ravaged stew we bemusedly refer to as a mature mind and personality to boot. Hope you find something to appreciate.-tb

______________________________

THE COMINGS AND GOINGS OF EVERY TIDE

Picture if you will,  full lips wrapped around a pipe denying it's smoky plume, 

Shredded dresses priced as high gear, the possibilities of  wide ties  and thick lapels

and belt buckles the size of home base coming together in an historical turn,

a sartorial demand.

It frightens me to think of these things, nervousness inhabits the veins the blood attempt to pulse through with something resembling a life. Better to be attending an elevated Mass, a refuge from in some hamlet where there are only phone books and want ads, admonishing the earth of slow down, to stay in place, to give a break on the gravity which costs nothing at all and costs us everything to defy as we ease ourselves between mountain ranges \and large bodies of water.

The whole thing sinks, against better judgment, my clenched and shaking fist, acres and acres of  prime land  boast the late bloom of architectural tyranny, coyotes, rodents, families  that have crossed the border seeking work flee the drying cement and are  crushed halfway across  the Interstate as police and

Television station helicopters chase one car full of guys who might or might]   not have done something someone a hundred years ago didn't like when the music

became too much like sex and men and women couldn't help but notice what there was to see beyond the archeology of clothes.  Meanwhile, meanwhile, in all the mean time

that never lightens up to what each hour means it's time for,  whole populations huddle in corners and vote amongst themselves for better dreams, visions from windows overlooking a coast line  where they can live with the comings and goings of every tide and slap of wave against  a white pier.

I talk so the birds

I talk so  the birds

I talk so the birds
do not fall from the trees
and bruise their feathers
whatever the weather,

I  sing so the bricks kiss the mortar
like the two were sealing a deal,
a conspiracy to grow old fall where they stand,
I dream so that you will love me
because you see my face
when I'm not looking at it
rehearsing a pose and stare
I think will send you to the stars,

I walk everywhere I go
to keep the earth spinning
where it belongs
with the other marbles,
making music that
is far from the center
yet near the heart
of wonderful things
nameless and unseen.