No poems about Poetry, pt.2

A friend opined over a soft drink, responding to my misgivings against poems about poetry, that it might be argued that all poems written are about other poems.I drew one of my hair-splitting distinctions.There are indeed good poems about poetry, but they are rare and the product of genius, which is also rare. That it can be argued that all great poems are about poetry, I doubt this can withstand close scrutiny.A poem about a poem forms a dialogue, which implies a basis in felt experience. Empathy for the human condition, to risk a cliche. Poems about poetry, as form, amounts to no more than studying the instruction manual and never taking the driving test.It's a form of mystification that gets in the way of good writing.

The point, however, is that what we're talking about are poems by modern bards that forefront poetry as subject matter and hedge on their duties to their craft by euphemising about their inability or their unwillingness to engage experience. I am not anti-intellectual, and I am not one who pillories the Academy each chance available, but there is something odious about the way poetry has been institutionalized by Universities and turned into a Profession, a situation that has caused many contemporary poets to take themselves too seriously, ie, serious in ways that have little to do with art and everything with to do with status.

Writing poems about poetry is symptomatic of this thinking, a tenuous boosterism designed to convince the poet, his colleagues and the small audience for that sort of self-congratulating offal that what they do really is important, it really matters, honest, we as poets have hard time of it, swear to God, I mean, no one knows what we go through, right?, no one knows how terrible it is to bear the strain of having a muse and a Geiger counter sensitivity, you know?, yeah , you know, you know what I'm saying, yeah, yeah... You get the idea.

All this furious scribbling , much of it has appeared here as Pinsky choice in the four or five years I've been here, is vainglory, art without valor, a template of maneuvers where one quite literally fills in the blanks or shifts around some plot points or shifts the expected alienated and alienating effects.It always reads as false, contrived, nervous,unmoving.It is tragic that so many young writers have gotten degrees in creative writing only to write such witless drivel.

blues, bra

The loneliness of the long-distance sophist

It's a slow week, I suppose, when someone has to visit a venerable landmark like Shakespeare and Company in Paris and then attempt to elevate the piece from being mere tourist journalism  and dig out some of the hair-encrusted residue of undergraduate post-structuralism and it's attendant postmodern shell game to argue the obvious and dated insight that the S & C of legend is not the same thing as it once was. Lee Rourke's exercise in summarizing the bad ideas of mediocre thinkers meets, I suppose, the minimum requirement of a blog post, but it simply won't suffice as real thinking. It might have been one thing to simply assert that the quaint shop exists solely as a link to an era that gone past us and it's stock and trade these days is nostalgia, not book selling or advancing the cause of exposing the world to emerging authors; someone cannot be blamed for resenting the way an exotic past one was not a part of ) known only through proxy or through a reading of the literature and histories of the era) is fetishized, gormandized and sold again as to would be bohemians seeking the golden age of deep, envelope pushing thoughts.One complaining of the mere consumerism surrounding the enterprise at least has a foot on real ground and can make a point and sling a devastating metaphor that makes sense in this world, not the reference library.But dredging up the image of the tediously redundant crypto-neocon Jean Baudriallard smacks of preciousness; JB was aggravating enough with his mock oracular pronouncements and anchorless Marxism , and these days listening to those after him invoke his names and his phrases reeks of a phoniness one suspects when words like “Existential”, or even”postmodernism” are uttered. Let this French gasbag remain buried, and let Lee Rourke find a bookstore that doesn’t give him the heebie jeebies.

You eat what you think you're eating: a prose poem

Since this blog ostensibly concerns itself with contemporary poets and their work, I'll post one of my own and invite all responses, yay or nay. This is a nod to my beginnings as an ersatz surrealist, not as an effort to regain youthful vigor and more an effort to recollect the pretensiousness with which I started writing poetry.--tb
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A knife , fork and a cracked plate don’t constitute a meal , though all three items are handy for show, as are empty frames on the wall when there is any kind of company visiting , who demand our attention, taxes, documents of your legal rights, you just say it’s the wall you wanted to highlight, the frame is only a, well, a, well, uhhhh,a framing device!to bring a viewer’s attention to the rub of the paint, the embedded fingerprints, the light switch in the center. Likewise, it’s knowledge we’re hungry for, isn’t it? Knife, fork, cracked plate are about the idea of eating as others go without forks, knives, or cracked plates. Dead ethics professors choke in non-intrusive urns and French deconstructionists blow kisses from balconies and any perch they can secure, Appearances are misleading, explanations are fictions worth listening to for the way the words are warped and wrap around each other until it’s not reasonable descriptions of a material world we are listening to, but rather melodies flitting about like nervous birds trapped in a small cage, a messy page of tuneless songs, all this for a description of my house that now seems to rest on top of a giant hill, bracing clouds and tree tops, a form I’m filling out asking me to describe myself and all the desires I would bring into the world if finances would allow, I would allow everything is what gets written, and everything not forbidden would be inscribed in the rhetoric of future tense, when software anxiety rules the body electric.

OPEN MIC NITE IN HELL

Grank stared at the microphone that was staring back at him, and as his eyes adjusted t the dark, he could see a room full of hooded, shaved, tattooed and love starved waifs and curbside geniuses looking at him, clutching notebooks of assorted thicknesses, scraps of paper, waiting their turn on stage, waiting to see what he had. Grank tugged at his collar, dropped his neatly typed sheets, and began to rant. Horrible feedback washed up to the stage from the coffee bar. Grank made the most of the vibe he’d been given.


“SWEEET NUTZOID NAZI CURLING IRON
MAKES MY BLOOD GROWN WAN AND PALE
MEANING BUSH AND CHENEY UP TO NO GOODNESS GRACES,
LOOK HOW UGLY YOUR FACE IS,
ALL WE HAVE IS EACH OTHER
AND THAT’S LONELY SIDE OF SLABBING TRUTH
THAT GETS MY HANDS TITHER AND WITHER AND GRITHER
IN GRITS AND CROCERIES, ALL I SAY IS UP THE SYSTEM
AND FIGHT THE POWER
DON’T BE SO SOUR
YEAH, MY BALLS ARE SOUR,
JUST GIMMEE SOME TRUTH
OR ELSE LEAVE ME BE
WHAT IT IS
WITH MY RAZR MESSAGING UNIT,
ALL RIGHT??”


Grank was in a trance, raised his arms as if receiving great wisdom from cloud gods watching from just above the whirling ceiling fan that only seemed to make the coffeehouse hotter, he was in the groove , he had the élan from Ceylon, he was indeed the PaduchaBazooka©, and as he lowered his arms and raised his head, ready to open his eyes and witness the stunned silence that was is genius’ calling card, something struck him in the head. He opened his eyes in time to see a coffee mug come flying at him and then feel it , painfully, smash him in the nose. Then someone hit in the back of the head with the microphone stand. His eyes were closed again as he collapsed to the stage and curled into a ball as the steel toed tips of a dozen Doc Martin boots dug their treaded thickness into his ribs.


“Your poetry poetry blows donkey dongs in H-E- DOUBLE HOCK STICKS” someone screamed before they kicked Grank in the head.


“Tough crowd” was what Amos said as he leaned over the table to make the remark to Shelltone. Shelltone closed her notebook and took a sip of her Hammerhead.


“Yeah, these Fray fuckers are a real tense bunch”.

“Uh huh” said Amos, who then arose to get his licks in.

Rhymed poems for the most part chew the root, but then most poetry is awful anyway

It's hard to write good poems, period. I have to admit that I've generally little or no use for most rhymed and metered poems, basically because there are so very few poets who are able to compose as such without seeming like they sacrificed emotion for a metronome and a rhyming dictionary. It is not something that pleases my ear under normal circumstances. Free verse, in turn, is in large part willful obscurity and arbitrary line breaks where the point is to disguise one’s lack of anything interesting to say. The drone replaces the metronome, and a cuisinart of unconsidered images and arty inferences take the place of an interesting arrangement of materials that, though quite different, find an atmospheric and tonal coherence in the hands of the genius, that rarest thing among us all. The dirty little secret is that most poems written by most poets are mediocre, substandard, self satisfied little noise machines composed by scribes who are, to some degree, either delusional or self-aggrandizing

Lisa Russ Spaar and the Leveling Effects of Memory

Lisa Russ Spaar’s poem "I Consider My Mother's Mind" makes me think of something that that has been suddenly and violently emptied after a long time of neglect, a wallet crammed with too many business cards, gummed encrusted post-it notes, receipts, expired credit cards and coupons, small scraps of paper with phone numbers attached to first names whose faces you've forgotten. Or maybe a drawer in the farthest end of the kitchen, just over the lower shelves with the cooking irons and sauce pans , with the evidence of a life lived for decades in the same four walls, with more receipts, creased photos, frayed or snapped rubber hands, recipes clipped from Family Circle, report cards, bank statements, more photographs, notes of congratulation and condolence, an overwhelming mass of paper work that has been confined and added to by a stern-fingered determination to consign these things to the margins, documents of no practical use which one keeps nonetheless and despite the clutter for fear that their presence and life force will be diminished, fall under erasure. This what struck me about the poem, that there is a considerable amount of unattended facts and figuration that have been stored, unrecorded, experience really unspoken, now faded, faint, vanishing with the failing of memory, whole chunks of decades missing between what is remembered not so much as memories but rather as sharp, clear, bright and sense-compelling parts of an incomplete narrative; there is the sense here of what the daughter hears an aging parent telling here, visualizing the details , hoping the tactile bits, the tangible references, can somehow become clear and full in the mind's capacity to form an oracular whole;

Stars of the Great and Small Bears, 

lost in a cobalt padlock above Detroit,

the orient coruscations of car factories,

skating ponds, six-lane highways,

now lumbering across decades

into my childhood suburb, that rimed ruin—

picnic table, dispirited shucks and obeisant leeks of our winter garden, homunculus at the mind's edge--

Spaar’s narrator seems to be interiorizing hours of listening to the sort of wandering, diffuse, grasping monologues an elderly parent might drift into when endeavoring to respond to simple , direct questions; the process of endeavoring to remember what is nearly gone from recall creates intriguing associations that are verbalized and followed on their own. Soon the answer to the question is not the point, and one is left to confront a narrative that is being told, spoken before it fades and is lost with the dying brain matter. One is witness to a personality trying to recreate one's life , to remember and perhaps feel something from the past yet again before the last moments of coherence are over, and the daughter, finally, accepts , grudgingly brutal facts of what happens with aging, and attempts to see the terrain of the decades her mother mentions in various pockets of lucidity.

The landscape is an intense blur , a montage; Spaar captures the feeling of Detroit I remember flying into my hometown where one can, if fortunate enough to have a window seat, witness the industrial city and it's suburbs, a gray, flat spread of factories, suburban sprawl, highways the width of mighty rivers, a hard land to raise a family in; I am impressed with Spaar's masterful contrasting of elements with simple put details, the faceless city stooped shouldered and hardened through bitter weather and economic disaster, and a terse description of a family garden that attempts to thrive regardless of a downbeat outlook. The human element is many-layered here, struggling through the impersonal forces of inevitability and insisting that such a life matters; the mother who speaks of her life in defiance of the loss of re-collective powers, the daughter who attempts to imagine her mother's life as full and real based on the fractured and collage quality of the recall, and a family giving the home a human, “homey” touch that expresses the need for an abode to be welcoming , even in a city as violent and embittered as Detroit.

At this point I get the sense that Spaar’s narrator has wandered the tableau she has mentally constructed from her mother’s tersely phrased murmurings, has allowed herself to feel a rush of sensations the streets, the factories, seasons, and winter gardens might arise, and to become overwhelm, melancholic in what becomes a witnessing of another’s life caught in the movement of small-scale history, formed from coincidences of context and personal choice. There is a feeling of helplessness, of wanting to give warning and consul and coming to the sober realization that there is nothing to do with the past except remember, draw from it what lessons one can, and try to use the experiences as useful touchstones for living in the present tense. But living in the present tense, in the now of the noun, does not sever one from the past and the sway it holds over us, no matter how much be busy ourselves with hobbies and acquiring more material things we don’t need. Some almost forgotten thing will make the knees buckle, cause the eyes to blur with tears that form, something will remind you of who you are, what made you, and will make you feel vulnerable and sense regardless of the layers of maturity and autonomy we grant ourselves.

I can't return to you, though I believe you're calling me

from the polar house of hibernal fear

with its skirted vanity table, its angry mirror

& Bakelite brush, bristles up, still fleeced

with a child's hair, a wavering frequency

in the key of oblivion, mammalian, contracting.

This is the “Rosebud” scenario, where an insignificant detail, a banal trace of material good, arises and is amplified in the waking mind, setting forth a cascade of sensations and impressions that humble you inspite of the strength of your limbs or the power of your will. One learns , if one is fortunate , that the past is always present and constantly influencing the future. The death of one’s kin does not mean that they’ve moved out of our lives.